For my 50th birthday this year, I was absolutely delighted to receive on the day a volume containing seventeen short piano pieces written for the occasion, and subsequently four other pieces for piano and one for electronics. I am performing all of these, together with a new piece of my own and three lesser-known early twentieth-century works, on Friday 20 April (tomorrow) at the Performance Space, College Building, City, University of London, St John Street, London EC1V 4PB. The concert will be live-streamed complete, and can be viewed from the FB page for City University Concerts from 18:30. The concert is free, but to reserve a place, please see this page.
I was incredibly touched by the collection, assembled by US composer Evan Johnson, who wrote that this collection was ‘in recognition of a career built around the persistent championing of young or unduly ignored composers, and of difficult or otherwise unreasonable music: the sort often thankless effort that can indelibly shape a nascent compositional career, build decades-long collaborations, and begin to change the face of a repertoire’.
The full programme is as follows, and below are a selection of excerpts from the scores (and in a few cases, complete piece). Earlier versions of the programme also included Roger Sessions First Piano Sonata, but for reasons of programme length I have decided to postpone this work to a later date. Further information about my own piece auseinandergerissene Hälften, from which I will post a snippet later, are given at the bottom of this page.
Arthur Lourié, Deux poèmes op. 8 (1912)
Stefan Wolpe, Sonata for piano. Op. 1 (1925)
Frederic Mompou, Charmes (1920-21)
Christopher Fox, Fifty Points of Light (2017) (WP)
James Dillon, amethyst (2018) (WP)
Roddy Hawkins, Down-Time for Ian (2007, rev. 2017) (WP)
Lauren Redhead, nothing really changes (2017) (WP)
Mic Spencer, A Maze I(a)n (S)pace (Space [G]race) (2017) (WP)
Michael Finnissy, Were we born yesterday? (2017) (WP)
Sadie Harrison, gentle (2017) (WP)
Ben Smith, burnt (2017-18) (WP)
Patrícia Sucena de Almeida, Desperatio (piano piece no. 5) (2017-18) (WP)
Alwynne Pritchard, 50 is a magic number (2018) (WP)
Paul Obermayer, Fra (electronic music) (2018) (WP)
William A.P.M., Fragment aus einem gebrochenen Geist „kaum intakt“ (2018) (WP)
Walter Zimmermann, Stars for Ian (2017) (WP)
Ian Pace, auseinandergerissene Hälften (2018) (WP)
Jesse Ronneau, AGHB (2017) (WP)
Eleri Angharad Pound, pbh (2017-18) (WP)
Morgan Hayes, Comparison (2018) (WP of revised version)
Marc Yeats, exordium (2017) (WP)
Alannah Marie Halay, Progress always comes late (2017) (WP)
Nigel McBride, wide stare stared itself (2017-18) (WP)
Alistair Zaldua, Sylph Figures for Ian Pace (2017) (WP)
Wieland Hoban, Whiptail (2017) (WP)
Evan Johnson (2017) qu’en joye on vous demaine (2017) (WP)
Christopher Fox, Fifty Points of Light (2017)
Roddy Hawkins, Down-Time for Ian (2007, rev. 2017)
Lauren Redhead, nothing really changes (2017)
Mic Spencer, A Maze I(a)n (S)pace (Space [G]race) (2017)
Michael Finnissy, Were we born yesterday? (2017)
Sadie Harrison, gentle (2017)
Ben Smith, burnt (2017-18)
Alwynne Pritchard, 50 is a magic number (2018)
Patrícia Sucena de Almeida, Desperatio (Piano Piece No. 5) (2017-18)
Alwynne Pritchard, 50 is a magic number (2018)
William A.P.M., Fragment aus einem gebrochenen Geist „kaum intakt“ (2018)
Walter Zimmermann, Stars for Ian (2017)
Ian Pace, from auseinandergerissene Hälften (2018)
Eleri Angharad Pound, pbh (2017-18)
Morgan Hayes, Comparison (2018)
Marc Yeats, exordium (2017)
Alannah Marie Halay, Progress always comes late (2017)
Nigel McBride, wide stare stared itself (2017-18)
Alistair Zaldua, Sylph-Figures for Ian Pace (2017)
Wieland Hoban, Whiptail (2017)
Evan Johnson, qu’en joye on vous demaine (2017)
My own auseinandergerissene Hälften is a short work which nonetheless could be considered ‘mixed media’, to use the fashionable term, as it will consist playing as well as spoken and written text, and a small amount of theatre. The title comes from the notorious letter written by Theodor Adorno to Walter Benjamin on 18 March 1936, in the context of discussion of the latter’s ‘Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit’, first written the previous year. Adorno wrote to Benjamin on the subject of the dialectics of ‘high’ and ‘low’ culture:
‘Beide tragen die Wundmale des Kapitalismus, beide enthalten Elemente der Veränderung (freilich nie und nimmer das Mittlere zwischen Schönberg und dem amerikanischen Film); beide sind die auseinandergerissenen Hälften der ganzen Freiheit, die doch aus ihnen nicht sich zusammenaddieren läßt’ (‘Both bear the stigmata of capitalism, both contain elements of change (but never, of course, simply as a middle-term between Schönberg and the American film). Both are torn halves of an integral freedom, to which, however, they do not add up’).
My starting point for this piece is both this conception of the ‘torn halves’ of cultural freedom, but also my own ‘torn halves’, as both a pianist and a musicologist intensely engaged with the conflicting demands of both things – how one maintains scholarly distance and independence whilst still operating in an external musical world with its own pressures to conform, flatter, etc., how the criteria for deeming creative practice valuable ‘research’ might be quite different from other criteria of value, how my own interests as a performer are not synonymous with priorities as a historical musicologist – and indeed the music I choose to teach does not necessarily simply reflect my personal preferences. In the latter context, I return to the high/low culture question as it has informed my teaching of a former core module in music history, perhaps the most important teaching I have done. This attempted to navigate fairly between this ‘torn halves’ and their continuous co-presence, sometimes interacting, sometimes antagonistic, in Western musical history since 1848.
For this piece I have drawn upon the materials I used there to create a series of interconnected musical vignettes, each of which draw upon different species of music from a series of dates (including 1936, the date of Adorno’s letter to Benjamin). All of these are heavily modified, viewed from a contemporary perspective, but I attempt, inevitably unsuccessfully, to make them ‘add up’. The music is accompanied by slides with disembodied fragments of actual lecture slides, together with passages from radical modernist texts from the periods in question, material placed here on social media (a low culture of today in contrast to the supposedly elevated world of the lecture).
Bright Futures, Dark Pasts: Michael Finnissy at 70 – Jan 19/20, Conference/Concerts at City UniversityPosted: January 13, 2017
On Thursday January 19th and Friday January 20th, 2017, City, University of London is hosting a conference entitled Bright Futures, Dark Pasts: Michael Finnissy at 70. This will feature a range of scholarly papers on a variety of aspects of Finnissy’s work – including his use of musical objets trouvés, engagement with folk music, sexuality, the influence of cinema, relationship to other contemporary composers, issues of marginality, and his work in performance. There will be three concerts, featuring his complete works for two pianos and piano duet, played by the composer, Ian Pace, and Ben Smith; a range of solo, chamber and ensemble works; and a complete performance (from 14:00-21:00 on Friday 20th) of his epic piano cycle The History of Photography in Sound by Ian Pace. The concerts include the world premieres of Finnissy’s Zortziko (2009) for piano duet and Kleine Fjeldmelodie (2016-17) for solo piano, the UK premiere of Duet (1971-2013) and London premieres of Fem ukarakteristisek marsjer med tre tilføyde trioer (2008-9) for piano duet, Derde symfonische etude (2013) for two pianos, his voice/was then/here waiting (1996) for two pianos, and Eighteenth-Century Novels: Fanny Hill (2006) for two pianos. There will also be a rare chance to hear Finnissy’s Sardinian-inspired Anninnia (1981-2) for voice and piano, for the first time in several decades.
Keynote speakers will be Roddy Hawkins (University of Manchester), Gregory Woods (Nottingham Trent University, author of Homintern) and Ian Pace (City, University of London). The composer will be present for the whole event, and will perform and be interviewed by Christopher Fox (Brunel University) on his work and the History in particular.
The composer and photographer Patrícia Sucena de Almeida, who studied with Finnissy between 2000 and 2004, has created a photographic work, continuum simulacrum (2016-17) inspired by The History of Photography in Sound and particularly Chapter 6 (Seventeen Immortal Homosexual Poets). The series will be shown on screens in the department and samples of a book version will be available.
Patrícia Sucena de Almeida, from continuum simulacrum (2016-17).
The full programme can be viewed below. This conference also brings to a close Ian Pace’s eleven-concert series of the complete piano works of Finnissy.
A separate blog post will follow on The History of Photography in Sound.
All events take place at the Department of Music, College Building, City, University of London, St John Street, London EC1V 4PB.
Thursday January 19th, 2017
09:00-09:30 Room AG09.
Registration and TEA/COFFEE.
09:30-10:00 Performance Space.
Introduction and tribute to Michael Finnissy by Ian Pace and Miguel Mera (Head of Department of Music, City, University of London).
10:00-12:00 Room AG09. Chair: Aaron Einbond.
Larry Goves (Royal Northern College of Music), ‘Michael Finnissy & Wolfgang Amadeus Mozart: the composer as anthropologist’.
Maarten Beirens (Amsterdam University), ‘Questioning the foreign and the familiar: Interpreting Michael Finnissy’s use of traditional and non-Western sources’
Lauren Redhead (Canterbury Christ Church University), ‘The Medium is Now the Material: The “Folklore” of Chris Newman and Michael Finnissy’.
Followed by a roundtable discussion between the three speakers and composer and Finnissy student Claudia Molitor (City, University of London), chaired by Aaron Einbond.
12:00-13:00 Foyer, Performance Space.
13:10–14:15 Performance Space.
Concert 1: Michael Finnissy: The Piano Music (10). Michael Finnissy, Ian Pace and Ben Smith play Finnissy’s works for two pianos or four hands.
Michael Finnissy, Wild Flowers (1974) (IP/MF)
Michael Finnissy, Fem ukarakteristisek marsjer med tre tilføyde trioer (2008-9) (BS/IP) (London premiere)
Michael Finnissy, Derde symfonische etude (2013) (BS/IP) (London premiere)
Michael Finnissy, Deux jeunes se promènent à travers le ciel 1920 (2008) (IP/BS)
Michael Finnissy, his voice/was then/here waiting (1996) (IP/MF) (UK premiere)
Michael Finnissy, Eighteenth-Century Novels: Fanny Hill (2006) (IP/MF) (London premiere)
Max Ernst, Deux jeunes se promènent à travers le ciel (1920)
14:30-15:30 Room AG09. Chair: Lauren Redhead (Canterbury Christ Church University).Keynote: Roddy Hawkins (University of Manchester): ‘Articulating, Dwelling, Travelling: Michael Finnissy and Marginality’.
15:30-16:00 Foyer, Performance Space.
16:00-17:00 Room AG09. Chair: Roddy Hawkins (University of Manchester).
Keynote: Ian Pace (City, University of London): ‘Michael Finnissy between Jean-Luc Godard and Dennis Potter: appropriation of techniques from cinema and TV’
17:00-18:00 Room AG09. Chair: Christopher Fox (Brunel University).
Roundtable on performing the music of Michael Finnissy. Participants: Neil Heyde (cellist), Ian Pace (pianist), Jonathan Powell (pianist), Christopher Redgate (oboist), Roger Redgate (conductor, violinist), Nancy Ruffer (flautist).
19:00 Performance Space.
Concert 2: City University Experimental Ensemble (CUEE), directed Tullis Rennie. Christopher Redgate, oboe/oboe d’amore; Nancy Ruffer, flutes; Bernice Chitiul, voice; Alexander Benham, piano; Michael Finnissy, piano; Ian Pace, piano; Ben Smith; piano.
Michael Finnissy, Yso (2007) (CUEE)
Michael Finnissy, Stille Thränen (2009) (Ian Pace, Ben Smith)
Michael Finnissy, Runnin’ Wild (1978) (Christopher Redgate)
Michael Finnissy, Anninnia (1981-82) (Bernice Chitiul, Ian Pace)
Michael Finnissy, Ulpirra (1982-83) (Nancy Ruffer)
Michael Finnissy, Pavasiya (1979) (Christopher Redgate)
‘Mini-Cabaret’: Michael Finnissy, piano
Chris Newman, AS YOU LIKE IT (1981)
Michael Finnissy, Kleine Fjeldmelodie (2016-17) (World première)
Andrew Toovey, Where are we in the world? (2014)
Laurence Crane, 20th CENTURY MUSIC (1999)
Matthew Lee Knowles, 6th Piece for Laurence Crane (2006)
Morgan Hayes, Flaking Yellow Stucco (1995-6)
Tom Wilson, UNTIL YOU KNOW (2017) (World première)
Howard Skempton, after-image 3 (1990)
Michael Finnissy, Zortziko (2009) (Ian Pace, Ben Smith) (World première)
Michael Finnissy, Duet (1971-2013) (Ben Smith, Ian Pace) (UK première)
Michael Finnissy, ‘They’re writing songs of love, but not for me’, from Gershwin Arrangements (1975-88) (Alexander Benham)
Michael Finnissy, APRÈS-MIDI DADA (2006) (CUEE)
Marcel Duchamp, Nude Descending a Staircase, No. 2 (1912).
21:30 Location to be confirmed
Friday January 20th, 2017
10:00-11:00 Room AG21.
Christopher Fox in conversation with Michael Finnissy on The History of Photography in Sound.
11:00-11:30 Room AG21.
11:30-12:30 Room AG21. Chair: Alexander Lingas (City, University of London).
Keynote: Gregory Woods (Nottingham Trent University): ‘My “personal themes”?!’: Finnissy’s Seventeen Homosexual Poets and the Material World’.
14:00-21:00 Performance Space.
Concert 3: Michael Finnissy: The Piano Music (11): The History of Photography in Sound (1995-2002). Ian Pace, piano
14:00 Chapters 1, 2: Le démon de l’analogie; Le réveil de l’intraitable realité.
15:15 Chapters 3, 4: North American Spirituals; My parents’ generation thought War meant something
16:35 Chapters 5, 6, 7: Alkan-Paganini; Seventeen Immortal Homosexual Poets; Eadweard Muybridge-Edvard Munch
17:50 INTERVAL (wine served)
18:10 Chapter 8: Kapitalistische Realisme (mit Sizilianische Männerakte und Bachsche Nachdichtungen)
19:20 INTERVAL (wine served)
19:35 Chapters 9, 10, 11: Wachtend op de volgende uitbarsting van repressie en censuur; Unsere Afrikareise; Etched Bright with Sunlight.
What characterizes the so-called advanced societies is that they today consume images and no longer, like those of the past, beliefs; they are therefore more liberal, less fanatical, but also more ‘false’ (less ‘authentic’) – something we translate, in ordinary consciousness, by the avowal of an impression of nauseated boredom, as if the universalized image were producing a world that is without difference (indifferent), from which can rise, here and there, only the cry of anarchisms, marginalisms, and individualisms: let us abolish the images, let us save immediate Desire (desire without mediation).
Mad or tame? Photography can be one or the other: tame if its realism remains relative, tempered by aesthetic or empirical habits (to leaf through a magazine at the hairdresser’s, the dentist’s); mad if this realism is absolute and, so to speak, original, obliging the loving and terrified consciousness to return to the very letter of Time: a strictly revulsive movement which reverses the course of the thing, and which I shall call, in conclusion, the photographic ecstasy.
Such are the two ways of the Photography. The choice is mine: to subject its spectacle to the civilized code of perfect illusions, or to confront in it the wakening of intractable reality.
Ce qui caractérise les sociétés dites avancées, c’est que ces sociétés consomment aujourd’hui des images, et non plus, comme celles d’autrefois, des croyances; elles sont donc plus libérales, moins fanataiques, mais aussi plus «fausses» (moins «authentiques») – chose que nous traduisons, dans la conscience courante, par l’aveu d’une impression d’ennui nauséeux, comme si l’image, s’universalisant, produisait un monde sans differences (indifferent), d’où ne peut alors surgir ici et là que le cri des anarchismes, marginalismes et individualismes : abolissons les images, sauvons le Désir immédiat (sans mediation).
Folle ou sage? La Photographie peut être l’un ou l’autre : sage si son réalisme reste relative, tempére par des habitudes esthétiques ou empiriques (feuilleter une revue chez le coiffeur, le dentist); folle, si ce réalisme est absolu, et, si l’on peut dire, original, faisant revenir à la conscience amoureuse et effrayée la letter même du Temps : movement proprement révulsif, qui retourne le cours de la chose, et que l’appellerai pour finir l’extase photographique.
Telles sont les deux voies de la Photographie. A moi de choisir, de soumettre son spectacle au code civilise des illusions parfaits, ou d’affronter en elle le réveil de l’intraitable réalité.
Roland Barthes, Le chambre claire/Camera Lucida.
Eadweard Muybridge – A. Throwing a Disk, B: Ascending a Step, C: Walking from Animal Locomotion (1885-1887).
Patrícia Sucena de Almeida, from continuum simulacrum (2016-17).
Last night I went to a concert at Clothworkers’ Centenary Concert Hall, at the School of Music for the University of Leeds. The programme included postgraduate student Allanah Halay‘s Energy Cannot Be Created II, as well as world premieres of Scott McLaughlin’s an infinity of traces, without an inventory and Wieland Hoban’s Wyrdlines, Michael Finnissy’s 1984 Câtana, inspired by Romanian folk music. It was a fantastic opportunity to hear four very fine pieces in strong performances given by student musicians; the concert can be viewed complete online here. for now I want however to write about the conductor and director of the ensemble – and also extremely fine composer – Michael (known to all as Mic) Spencer, whose work at that university, making the department into the finest of its type for new music, has been to my mind insufficiently recognised. On another occasion I would like to write about Mic’s compositions, but here I want to describe the seminal work he has done at Leeds.
I first met Mic in 2005 (at the premiere of Richard Barrett’s orchestral work NO) and soon afterwards became keenly aware of his activities at Leeds, after going to give a talk there the following year, performing on three occasions at the university, playing his piano piece The Eemis Stone and more widely getting to know the important community of people intensely dedicated to new music which would never have come about without Mic and his efforts.
Whilst many in academia spend as little time as possible on students, concentrating instead primarily on whatever will gain maximum prestige and the quickest advancement to the top jobs, Mic is the very opposite, and one of the most selfless figures I know. I know of few others so utterly devoted to helping to make available and accessible to his students, in full knowledge that the most complex or challenging new music is absolutely graspable by all who are open-minded and receive the type of guidance and encouragement that Mic can uniquely give. And I have seen for myself just how much time he devotes to students, how he wouldn’t hesitate to help them have access to any number of recordings, scores, or texts by many in the French and German intellectual and philosophical traditions to which he is so strongly attached.
The music of Helmut Lachenmann, Brian Ferneyhough, Hans-Joachim Hespos, Gérard Grisey, Emmanuel Nunes, Mathias Spahlinger, James Dillon, Beat Furrer, Richard Barrett, Chaya Czernowin and many others have become like Mozart and Beethoven to composers, performers and scholars at Leeds all because of Mic. In other contexts, academics dismiss all work in this type of European modernist tradition out of hand (sometimes in an underhand manner, using language of identity politics which makes others reluctant to challenge such a view), or simply preach it in a didactic way. Everything I have heard suggests a quite different approach from Mic: teaching as an enthusiast, with a passion for this music, but in such a way as allows students to find their own way in.
But equally important is what Mic has achieved with the ensemble LSTwo, which he ran and conducted over an extended period, for a period jointly with composer and conductor Adam Fergler. They have been able to perform well works almost unimaginable for a student new music ensemble in a UK university department, including Lachenmann’s “…zwei Gefühle…”, Musik mit Leonardo, Harrison Birtwistle’s Trageodia, Grisey’s Vortex Temporum, Nunes’s Improvisation I, Furrer’s Gaspra, Dillon’s Zone (…de azul), James Clarke’s Delmenhorst, and much else. In November there will be a major feature, the most significant of its type to date in the UK, of the music in Hespos, which I for one would not want to miss.
Amongst those who have passed through Leeds and either already gone onto great things or in the process of so doing are Lauren Redhead (who I remember Mic describing to me, when she was an undergraduate, as someone with an unnatural obsession with Spahlinger), Roddy Hawkins, Eleri Angharad Pound, Adam Fergler, Vicky Burrett, Caroline Lucas, Marcello Messina and many others. Not that these are simple acolytes or devotees; many have strong differences and have taken quite different paths in terms of their own music or ideas. I certainly wouldn’t agree with Mic on lots of things musical, aesthetic or otherwise – I cannot remotely share his taste for the likes of Kaikhosru Shapurij Sorabji or writer Aleister Crowley, for example – but there is no such topic about which I would not be intensely interested in his thoughts. But I do not believe it would be too exaggerated to talk about a Leeds School of New Music, for which Mic is undoubtedly the central figure.
But when reading this I’m sure Mic will end up acting self-effacing and maybe a bit embarrassed, so I’m going to end up in his own language and tell the fucker to get a move on with writing his piano piece for me!
But do all raise your glasses (an activity with which he is intimately familiar) to Mic.