City Halls, Glasgow & online
Of all the events having to adapt to online delivery during the past year, none seems a more natural fit than the annual Tectonics Glasgow festival, run by and featuring at its heart the BBC Scottish Symphony Orchestra. Following last year’s Covid-related cancellation of this audacious exploration of classical music’s experimental twilight zone, it was back big style last weekend with a two-day programme. Live presence was limited to being featured on BBC Radio 3’s New Music Show from 10pm till midnight on both nights. Otherwise, it was down to digital content uploaded progressively onto the BBC SSO website over the entire evenings.
Casting aside the missing thrill of actually attending in person, it was effectively business as usual, but with added bonuses. There was a resultant globalising of the content. “We are at the beginning of something that takes away the limitations of ‘space’”, stated Ilan Volkov in an introductory Zoom discussion with fellow curator Alasdair Campbell and BBC Radio 3 presenter Kate Molleson.
He’s absolutely right. The requirement on this occasion to feed in performances and related conversation on video from around the world completely redefined the experience as something more universal and less intellectually constrained.
Add to that the availability of the entire festival online now for 30 days. Tectonics, through the very toughness of its content, can often induce sensory overload when experienced in real time. Choosing when and how often we listen to it offers a flexible alternative. Even better, once things return to normal, why not maintain and develop both options?
Ultimately, the benchmark must always be quality, and by and large this 2021 programme succeeded in delivering technological creativity married effectively to the challenging unorthodoxy of the music itself.
In many cases, such as Frédéric Le Junter’s quirky visual and sound installation Where Am I, there was even something to (unintentionally) amuse. The sight and sound of the madcap mechanised contraptions engineered in his farmyard workshop was bizarrely Pythonesque. German composer and performance artist Frieder Butzmann’s Street Music, filmed on a Berlin street, road-raged to a surreal electronic symphony of assorted traffic noise.
On more traditional grounds, the impressive Glasgow-based inclusive ensemble Sonic Bothy, led by violinist Claire Docherty, performed Verbaaaaatim, an improvisatory score driven by animated visuals – plenty sheep – and live captioning (accommodating the impaired hearing musicians involved), with a sparky, to some extent cartoonesque, outcome.
All in all, the range and scope of the Tectonics programme was comprehensive and engaging, from Listener Music, a reflective lockdown reverie by Scots composer Ian Findlay Walsh for electronics and small ensemble, to the weird giddiness invoked by Angelica Sanchez’s jazz-infused Piece for Piano and Moog, and much more besides.
As for essential premieres, they were plentiful. Australian composer Cat Hope’s The Rupture Exists, played by widely dispersed SSO players, its diaphanous language defined by Hope’s computer-generated “animated notation” and electronic underscore, offered a haunting and reflective festival opener.
Violinist Ilya Gringolts performed two short solo works commissioned by the I & I Foundation he has established with Volkov to help bring young composers into direct creative contact with performers.
Filmed among the lush vegetation of a Budapest botanical garden, American composer Sky Macklay’s Trrhythms, the elemental energising repetitiveness of which treads on minimalist grounds, glowed in the reverberant acoustics. Yu Kuwabara’s Bai and Dharani, which draws beguilingly on her deep interest in Japanese Buddhist music, is a virtuosic showpiece, Gringolts’ finding none of its complex multilayering a task too far. His performance was utterly compelling.
While the orchestral premieres were predominantly reserved for Saturday’s late-night live BBC broadcast, Sunday also featured the pre-recorded world premiere of Marc Yeats’ the importance of events, which dispenses with conductor and full score, relying on the SSO ensemble players to operate individually via the stopwatches on their mobile phones. Yeats relates the desired result to a “wobbly jelly”, where the outward “construct” remains sound so long as the “internal rendering” is adequately controlled.
Remarkably it works, and the inevitable and excitable sense of menagerie that arises was as robust in this instance as it was vibrant. Exceptional, super-confident playing by the SSO turned a hugely challenging concept into a stimulating delight.
Two live orchestral premieres offered contrasting styles. Michael Parsons’ Saitenspiel (Piece for Strings) was a refreshing reminder of how things were in the late 1960s when he was part of the experimental crowd engaged with Cornelius Cardew, Howard Skempton and the ground-breaking Scratch Orchestra. Re-composed as a strings-only version of a piece created previously for a full-scale Berlin student orchestra, Saitenspiel’s simplicity – question and answer phrasing that smacks of applied naivety – is strangely its charm. Does it run out of steam? It certainly ends perfunctorily, mid-flight.
Not so Scott McLaughlin’s Natura Naturans (“nature doing what nature does”), a more ethereal complement to the dry abstraction of Parsons. Scored for clarinet and orchestra, and featuring Heather Roche as a soloist well-equipped to negotiate the multiphonics on clarinet, the basis is still one of simplicity through limited pitch and harnessed dynamics. Under Volkov, the subdued timelessness of McLaughlin’s music was transfixing.
Access all Tectonics Glasgow 2021 events (available for 30 days) via the BBC SSO website.