‘What isn’t music?’ Kilkenny ponders the big questions
Musical fusion of different stripes could be heard at the recent arts festival – with varying degrees of success
Ian Wilson: his interesting writing for strings was constantly supplanted by the jazz trio and its improvised solos
‘What isn’t music?”
A composer put this twist on the classic question – what is music? – at a public interview during the Kilkenny Arts Festival. It was the American Michael Gordon, and he was suggesting that music had moved on in the 60 years since John Cage silenced the performers so that random, ambient sounds would emerge as music in his famous 4’33”.
“So are all sounds equal?” Gordon asked. “Or do we need to give different values, say, for the sounds in a Brahms symphony and for the sounds that drift in through an open window? Because if all sounds have an equal value, so that any sound can be music, then what isn’t music?”
These interesting observations echoed during the Crash Ensemble’s premiere performance of Gordon’s festival commission, Dry, inspired by the subtle beauties of the desert and infused with a kind of Morse code minimalism.
Whether you approach it from the perspective of what it is or what it isn’t, music is notoriously hard to define. The angle I found myself chewing on over five days at the Kilkenny festival had to do with whether music always featured fusion of one kind or another.
Fusion front and centre
Fusion was front and centre and worked well in extracts from Roger Doyle’s as-yet-unfinished first opera, The Death by Fire of Giordano Bruno. It tells the true story of the 16th-century monk and intellectual who, like his near-contemporary Galileo, published ideas about the universe that were contrary to Catholic teaching. He was consequently tried as a heretic and burnt at the stake by the Inquisition.
Opera, of course, is an art form already full of fusion – joining music, words, movement, drama, visual design and so on – but Doyle additionally melds together taped electronic music with the voices and live instrumental music. In this way he emphasises the 400-year gap between the original story and his retelling of it.
The full opera – with libretto by Jocelyn Clarke and directed by Eric Fraad – is due for completion in 2015. It presents its opposing sides in black-and-white terms, relentlessly lampooning the church while depicting Giordano, sung by tenor Julian Podger, as a straightforward hero-martyr. The rest of the small cast fill multiple roles, with versatile tenor/counter-tenor Morgan Crowley, for example, appearing as the king of France, the cardinal who leads the trial, and finally a vision of James Joyce (Giordano features in Finnegans Wake).
Falling between stools
One of the hazards with fusion is that it sets up stools between which things can fall. This was what came to mind during The Hours, Ian Wilson’s “jazz triple concerto” for string quartet and jazz trio.
The components remained defiantly separate, unfused, like oil and water, and were mutually distracting, with Wilson’s interesting writing for strings (played by the ConTempo String Quartet) constantly supplanted by the jazz trio and its improvised solos.
There was misdirection, too, between the Latin subtitles of the work’s seven movements – based on the seven prayer times of the Catholic Liturgy of the Hours – and Wilson’s assertion that he was only making use of the seven-part structure with no intention of responding to the prayers.