“die Glieder, welche nichts als Pendel wären, folgten, ohne irgend ein Zutun, auf eine mechanische Weise von selbst.”;* : Über das Marionettentheater, Heinrich von Kleist
*After all, the limbs are pendula, echoing automatically the movement of the centre.
Red Note Ensemble opens the 40th edition of Huddersfield Contemporary Music Festival on Friday 17 November
in a concert culminating in the premiere of a new work, Tanz/haus : triptych
2017, by James Dillon.
The 45 minute composition, commissioned by Red Note Ensemble, Huddersfield Contemporary Music Festival, Sound Scotland, Transit Festival and November Music, marks a continuation of Dillon’s relationship with Red Note Ensemble following their critically acclaimed performance of New York Triptych
at Huddersfield 2013.
The following day, Saturday 18 November
, sees the UK premiere of Brian Ferneyhough’s Umbrations.
Following on from performances at Wittener Musiktage and Festival d’Automne, the piece features eleven separate sections spanning from 2001 to 2017, and is performed once again by the Arditti Quartet and Ensemble Modern, conducted by Brad Lubman.
Ferneyhough clarifies that these movements, whose writing was spread over 16 years, should not be understood as a definitive, formally balanced cycle but rather as an almost open-ended collection of encounters with degrees of affinity and contrast. What connects them is the influence of Christopher Tye's remarkable array of stylistically homogenous works.
The new sections of Umbrations
– Lawdes Deo, In Nomine, Christus Resurgens, In Nomine à 5
and In Nomine à 12
– were commissioned by Westdeutscher Rundfunk, Ensemble Modern, Festival d’Automne à Paris with support from Ernst von Siemens Foundation for Music, Huddersfield Contemporary Music Festival and Wien Modern.
The weekend also features the rare opportunity to hear both composers in conversation with Robert Worby, at 3.30pm on 18 November