Posts Tagged Ensemble 360
This was the year we threw off the shackles of paid employment. Martyn first, in March, and me at the very close of 2015. It feels terrifying and liberating all at once.
For me, this new freedom will give me more time to do the things I care most about. My PhD, which I hope I will now be able to do justice to. And Inspiration for Life, in particular the 24 Hour Inspire. Of all the things I’ve done over the years, this is what I’m proudest of.
And I hope of course to have more time to do the other things I love, more time to read, write, listen to music, go to gigs, go to the cinema/theatre, meet up with friends, travel, watch some of the box sets which are gathering dust by our DVD player…
Below are some of the cultural highlights of 2015. I’ve been lucky to have access to Ensemble 360, Opera North, Tramlines, Sheffield Jazz etc, and to have wonderful friends and family to share these experiences with.
The best of the year, without a doubt, was Timbuktu. Abderrahmane Sissako’s film is both beautiful and harrowing, a passionate cry from the heart about the threat posed by fundamentalist jihadists to the people, the culture and the music of Mali.
I won’t rank my other favourites, but they are:
Inside Out – Pixar at its very, very best. Clever, imaginative, daring, funny and moving. As the Guardian review said, ‘In the film’s wildest moment, the wanderers enter a zone of abstract thought, where they are zapped into a series of increasingly simplified geometric shapes, as they – and the film itself – dizzyingly self-deconstruct (“Oh no, we’re non-figurative!”)’.
A Girl Walks Home Alone at Night – Ana Lily Amirpour’s film has been tagged as ‘the first Iranian vampire Western’. Atmospheric and full of unexpected touches (including a skateboarding vampire), and a powerful feminist narrative. Sheila Vand has a fascinating face that can look very young and somehow ageless at different moments.
Love and Mercy – biopic of Brian Wilson, portrayed both in the Beach Boy years and in later life, by Paul Dano and John Cusack respectively. Cusack’s portrayal is fascinating – seeing the clip of the real Brian Wilson at the end of the movie, I realised just how perfectly he had captured him, despite the lack of obvious physical resemblance.
I Believe in Miracles – the story of Nottingham Forest’s astonishing European Cup success. A joy from beginning to end. And featuring a couple of brief glimpses of my kid brother who was a ball boy at one of those games, as well as glorious clips of my all-time footballing hero John Robertson at his best. And funny and poignant anecdotes from the players, and clips of Clough running rings around interviewers.
Mad Max: Fury Road – just a blast, possibly the best action movie I’ve seen, with a powerful female lead in Charlize Theron’s Furiosa (an action movie that passes the Bechdel test!), visually almost overwhelming and with an awesome soundtrack. And the Doof Warrior.
Avengers: Age of Ultron. I’ve written previously about how much I love the Marvel films. This was a joy, thanks in large part to Joss Whedon’s crackling dialogue (the script is often where costs are cut in big budget movies, but thankfully not here).
Lots of Marvel here too, with Agent Carter, Daredevil and Agents of Shield all delivering in spades. Daredevil was the darkest of the three, but the others had their moments and all had humour, well-drawn characters and moments of poignancy as well as action. In other sci-fi/fantasy telly, Tatiana Maslany continued to be astonishing in Orphan Black, The Walking Dead continued to ramp up the tension till it was almost unbearable, and left us at mid-season break with everyone we care about in mortal peril – again. The latter also spawned a prequel (Fear the Walking Dead) which showed the start of the crisis – the bit we missed as Rick Grimes was in a coma in hospital whilst society crumbled in the face of the undead onslaught. And Humans was a thought-provoking and engaging take on issues around AI and what makes us human.
As always we watched a lot of detectives. Two French series – old favourite Spiral was back (we missed you, Laure, Gilou, Tintin et al), and a new drama, Witnesses, was complex and compelling with an intriguing female lead (Marie Dompnier). River was something else – Stellan Skarsgaard’s broody Nordic cop haunted by ‘manifests’ of his dead partner amongst others. Nicola Walker was stunning in this, as was Adeel Akhtar as River’s actual living partner. Walker also caused considerable potential confusion by simultaneously leading in Unforgotten, which made one forget the implausibility of an entire police team investigating a very cold case (and nothing else, apparently) by the subtle and compassionate portrayal of the various suspects as their past actions resurfaced to disturb the lives and relationships they had built. No Offence was refreshing too (though we felt uneasy with some particular plot developments in the later part of the series) with Joanna Scanlan’s DI being startlingly rude, but also funny, forceful and warm, and a fab supporting cast.
This is England 1990
This is England deserves a much more in-depth consideration than I can give it here – one would need to re-view the whole series from the film to this final (if it is indeed that) instalment. But there’s no denying – they can be a tough watch, as brilliantly funny as they often are. It’s not just the moments of horrifying violence, I think the hardest thing would be to have to go through again with Lol her descent into despair in TiE 88. Vicky McClure’s performance was intense without any histrionics and all the more devastating for that. This final part had moments too, relating to Kelly, and to Combo, which stay in the mind. And whilst the ending was upbeat, with that long-postponed wedding and Kelly’s return to the fold, Milky’s separation from the group and the reasons for it, and the likelihood that Kelly’s recovery will not be as straightforward as all that, mean that the darkness is not far away. It’s been a hell of a series, with superb writing and direction and equally superb performances.
Raised by Wolves
When it comes to comedy I can be a hard woman to please. Not that I don’t like a laugh, GSOH, that’s me. But I’ve given up on so many sitcoms because they’ve made me cringe more than they’ve made me chuckle. However, despite feeling slightly neutral about the pilot, I did get into Raised by Wolves, and fell rather in love with the magnificent Della (Rebekah Staton) as well as with the writing, which as expected from Caitlin Moran (and sister Caroline) was rude and exuberantly funny.
We watched this back in the day (88-97) and rewatching it now is punctuated by cries of ‘OMG that’s George Clooney’, or spotting Big Bang Theory cast members (Sheldon’s mum and Lesley Winkle, with Leonard still to show). But what we also realised was how much of our approach to parenting came from this show, where family life is chaotic, temperamental, combative but always loving. And ‘our’ tradition of summoning family members to the meal table with a loud cry of ‘FOOOD’ appears to have been inspired by the Conners as well. As I recall, things went seriously off kilter in later series, but so far, so funny. Joss Whedon had a hand (probably just a fingertip in some eps) in the early series, which can’t ever be a bad thing.
French drama focusing on the activities of various Resistance groups in Occupied France – this was obviously a must-watch for me. I hadn’t expected it to be as close to real events as it was, which was a mixed blessing, as I quickly realised who was doomed and who might survive… The central female character, Lili, was a fictional construct, which seems to have annoyed some viewers, but I felt it was a valid way of providing a thread to link the early activity of the Musée de l’Homme group with the Maison de la Chimie and the Combat and Manouchian groups, taking us all the way through to the Liberation. It was a powerful, well constructed drama. And the renditions of the Marseillaise, ringing out in prison cells and in the face of firing squads, came back to us so intensely in November when that spirit of defiance was called upon once again.
If the idea of series 1 seemed in principle a bit odd, a second series was all the more so. But if anything, series 2 is even better, even madder, even wittier than the first. The film had Frances McDormand, who is always a very good thing, and series 1 had Allison Tolman, who filled those shoes admirably. In series 2 we root for her dad, Lou (we’ve gone back in time) and grandad Hank (played by Ted Danson), and her mother Betsy (I would like some time to see Cristin Milioti NOT dying of cancer, if that’s OK). And we do kind of root for Peggy too, with her passion for self-actualisation and ‘being the best me I can be’, even if it proves somewhat dangerous for those around her.
Honourable mentions to Homeland, Doctor Foster (Suranne Jones magnificent as a woman scorned), and Jonathan Strange & Mr Norrell.
And of course there was Doctor Who. This year’s Who was top notch. Capaldi really found his voice, the plots were rich and complex without being merely baffling, and the climactic episodes were powerful and moving. I will be writing more about Who in due course.
On the Crucible main stage, we saw Arthur Miller’s Playing for Time, with a stunning performance from Sian Phillips, and Romeo & Juliet, with Freddie Fox and Morfydd Clark as the lovers. The Miller play seemed stagey at times (an odd criticism, in a way, for a stage play) but the performances carried it and I reflected afterwards on the way in which the Nazi death machine was itself stagey, whether the intention was to terrify and subjugate, or to deceive. Romeo & Juliet was terrific, but reminded me of how bloody annoying those two are, and it’s no disrespect to the actors that I wanted to give them both a good slap.
Operatic outings this year included a fabulous Kiss me Kate, a powerful Jenufa, and a magnificent Flying Dutchman, all from Opera North.
I’ve written previously about the splendid Bassekou Kouyate gig at the University’s Firth Hall.
At the Crucible Studio, Ensemble 360 treated us to performances of Mendelssohn, Ives, Janacek, Watkins, Brahms, Berg, Boulez, Kurtag, Mozart and Bartok, amongst others. Such fantastic musicians, and particularly delighted to have had the chance to hear so much 20th century music this year. Same venue, different ensemble – Chris Biscoe’s Profiles of Mingus feat. Tony Kofi on sax (we’d heard him playing Mingus last year, with Arnie Somogyi’s Profiles of Mingus). More jazz, courtesy of Leeds Jazz Orchestra (feat. one Aidan Hallett) in Leeds Golden Acre Park.
And then there was Tramlines. Nothing much to add to what I said at the time, except that I can’t wait for the 2016 festival.
So, thanks to those who shared these highlights with me. I look forward to lots more in 2016.
I hope to blog more in 2016, of course. I managed a post most months in 2015, and the overall total looks more impressive thanks to eight in Refugee Week and a few reblogs from That’s How the Light Gets In and Nowt Much to Say. I blogged for Holocaust Memorial Day, wrote about the Hillsborough inquests, the 24 Hour Inspire, Marvel films, Tramlines, the phenomenon of the ‘fugueur’, the music of Mali, the ‘refugee crisis’, and the murderous attacks by Daesh in Paris and elsewhere. I also blogged for Inspiration for Life, and on the aftermath of the May General Election. Thanks to all who have read, liked, reblogged, commented, etc.
And for 2016, which may seem to hold so much threat and so little hope, I cannot do better than to quote this poem, by Sheenagh Pugh. Apparently she doesn’t rate it – scribbled it in a hurry on a card for a friend going through a tough time. I beg to differ.
Sometimes things don’t go, after all,
from bad to worse. Some years, muscadel
faces down frost; green thrives; the crops don’t fail,
sometimes a man aims high, and all goes well.
A people sometimes will step back from war;
elect an honest man, decide they care
enough, that they can’t leave some stranger poor.
Some men become what they were born for.
Sometimes our best efforts do not go
amiss, sometimes we do as we meant to.
The sun will sometimes melt a field of sorrow
that seemed hard frozen: may it happen for you.
May it happen for you, may it happen for all of us.
A child in the dark, gripped with fear, comforts himself by singing under his breath. He walks and halts to his song. Lost, he takes shelter, or orients himself with his little song as best he can. The song is like a rough sketch of a calming and stabilizing, calm and stable, center in the heart of chaos. Perhaps the child skips as he sings, hastens or slows his pace. But the song itself is already a skip: it jumps from chaos to the beginnings of order in chaos and is in danger of breaking apart at any moment. There is always sonority in Ariadne’s thread. Or the song of Orpheus. … One launches forth, hazards an improvisation. But to improvise is to join with the World, or meld with it. One ventures from home on the thread of a tune.
(‘1837: Of the Refrain, Deleuze & Guattari, pp. 343-4)
There’s so much in this short passage that resonates with me. Often with Deleuze my grasp is fleeting – I understand (or think I do) for a moment and then it’s lost again (rather like the offside rule, or long division). But that last phrase – ‘one ventures from home on the thread of a tune’ – stays with me, and moves me somehow. That thread – Ariadne’s thread – sounds so fragile. And whereas it led Daedalus and Theseus out of the labyrinth and to safety, this leads from home to who knows where. The music is the magic, the song is the charm.
Another phrase that’s lodged firmly in my mind since a fascinating seminar on Proust and Barthes by Thomas Baldwin from the University of Kent, is ‘variations without a theme’. If there’s no theme, then what is it that’s being varied? I think it’s Deleuze’s thread of a tune. Whatever we begin with changes as we venture further from home – music as a form of becoming – and we never go back to it, but what we hear is still connected, it carries the memory. Beethoven’s Diabelli Variations give us a foretaste of what twentieth century composers would do with that freedom from the constraints of a theme – as Alfred Brendel wrote, ‘The theme has ceased to reign over its unruly offspring. Rather, the variations decide what the theme may have to offer them. Instead of being confirmed, adorned and glorified, it is improved, parodied, ridiculed,disclaimed, transfigured, mourned, stamped out and finally uplifted’ (Brendel, p. 114).
Music in the last century has truly ventured from home, and often denies the listener a reassuring homecoming, a resolution. Beethoven can confound the listener’s expectations along the way, can sound a century later than he was, but finally, we know that all the threads will be gathered together, in a very firm and decisive final chord (albeit one for which we are made to wait, thinking each could be the final one, only to hear another, and another – as unforgettably parodied by Dudley Moore). Even in jazz, we often know whilst we hear each of the soloists take the theme and play with it, however far out they go, that they will return at the end to the theme as we first heard it.
Music that doesn’t do that is hard. The ‘difficult’ composers of the serialist movement and the postwar era have not become mainstream – the process whereby what appears new and scary gradually becomes accessible worked for Stravinsky and Debussy but not (yet?) for Boulez and Stockhausen. We struggle to find the thread, to hold on to it, to follow it through the piece, and we feel unsettled when we end up not back at home but somewhere else entirely.
Deleuze and Guattari were drawn to Messiaen’s music because it puts ‘in continuous variation all components’ and forms a rhizome instead of a tree (Bogue, p. 24). As in a raga, the music could in theory go on forever, and so we hear it as part of something bigger, not complete in itself. (Sometimes an unresolved ending is very clearly an ending, nonetheless – I’m thinking of a chamber piece by Kurtag, beautifully performed by the incomparable Ensemble 360, which ends abruptly, cut off in mid-phrase, as was the life that it commemorates, and I wish I could recall its title.).
Butor’s long-term musical collaborator Henri Pousseur shared his vision of polyphony and openness, saying that ‘composition will not always be the production of closed and finished objects which one can buy and sell …. We will have to think increasingly in a collective way ‘ (Obituary), and in his work expanded serialist techniques to integrate past musics, to mediate between styles which might seem irreconcilable. As Butor said of poetry, ‘one can play infinitely, multiplying the variations and the processes of construction’, and he preferred to speak of art as transformation rather than creation, because the artist starts not with a blank slate, at the beginning of the process, but with all that there is already in the world, all of the words, the notes, the colours. The threads are there to be woven together, to be followed wherever they lead.
All music is a dynamic, complex conversation; it’s ‘the domain of possibilities, or potentialities … a fold, a flow, a source of possibility, and in consequence a labyrinth‘ (Bidima, in Buchanan & Swiboda, p. 179). The composer engages with the conductor and the performers, and they in turn engage with the audience in an encounter which will be repeated in other places and other contexts but will never be absolutely the same. Some have taken this several steps further, giving opportunities for participants (performers or audience) to change the music by making choices, or introducing elements of pure chance (albeit within predefined parameters). In Pousseur’s Miroir de Votre Faust (libretto by Butor), the soprano has to listen for her cue when a particular phrase recurs, and it recurs arbitrarily, because the pages, unbound so that the music can be shuffled around before performance, contain many ‘windows’ – rectangular holes that allow one to see through to the next one or two pages. The performer cannot be sure what is coming next or what will return in an entirely new context. In performance (and this can only work in performance) this creates enormous tension as she gathers herself up to sing and then pauses, realising this is not her cue, or launches herself, seizes the moment, just in time. The sense of risk is exhilarating.
In the post-war world the notion of going home became at the same time more poignantly desirable and more problematic. In Europe between 11 and 20 million people were displaced. Many never found their way home. Others did, but found that home, and they, had changed beyond recognition or recovery. Even those who were not displaced by war – Butor and Sebald amongst them – had to question notions of home. Butor, growing up in occupied Paris, saw a familiar childhood home become a place of darkness, suspicion, fear and danger, and his subsequent restless travels suggest that transformation had a long-term effect. For Sebald a growing understanding of the Nazi era forced him to see his childhood home as a place of darkness and he found it impossible to settle in Germany; he said once that his ideal station ‘would be a hotel in Switzerland’, just as Butor chooses to live near the French/Swiss border. So to be unsettled is to be of our times. To venture from home, like Butor and Sebald, like Revel and Ferber, is to accept risk, but to set off new harmonics, to find in a city of emigrants the thread that connects with the unrecoverable home: ‘The valleys of Bleston do not echo/And with them is no more returning’ – Bleston IV, p. 21).
Jean-Godefroy Bidima, ‘Music and the Socio-Historical Real’, in Deleuze and Music, ed. Ian Buchanan & Marcel Swiboda (Edinburgh: Edinburgh University Press, 2004)
Ronald Bogue, Deleuze on Music, Painting, and the Arts (NY, London: Routledge, 2003)
Alfred Brendel, ‘Beethoven’s Diabelli Variations’, in Alfred Brendel on Music (Chicago: A Cappella, 2001)
Michel Butor, Dialogue avec 33 variations de L. van Beethoven sur une valse de Diabelli (Paris: Gallimard, 1971)
Gilles Deleuze & Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, translated by Brian Massumi (London; NY: Continuum, 2007)
Umberto Eco, The Open Work (Cambridge, MA: Harvard University Press, 1989)
Henri Pousseur, Musiques Croisées (Paris: L’Harmattan, 1998)
W G Sebald, Across the Land and the Water: Selected Poems, 1964-2001 (London: Hamish Hamilton, 2011)