Tag Archives: minimalism

Putting the fine in undefinable: the music of Graham Fitkin

Graham Fitkin‘s music first attracted my attention in 1998, when I came across an SPNM sampler disc containing a tantalising segment of Cud and a complete performance of Hook which all but took my head off. That was enough: bam, I was, well…hooked. I think I had those two pieces on the disc on repeat for the best part of a year, a blissful relationship only interrupted by my moving house and losing the disc.

His music defies those neat genre-defining labels that critics and music shop stockists love: classical, minimalist, techno, jazz. Combining repetition, polyphonic rhythmic inventiveness, sampled and electronic sounds and a tonal language glittering with bright colours, it’s a music that refuses to be neatly pigeon-holed.

I love the vibrancy of Hook; the driving rhythmic vitality, brash modern textural writing, and the sheer exuberance in the music that makes it infectious listening.

There’s something rather ‘X Files’-like about ‘Warm Area’ from Still Warm for harp and electronics (although that might just be my response to the tonal colours and the imagery of the accompanying video…!)

There’s exciting news about a new concerto for MIDI harp, premiered at the end of last month, with a sneak preview from BBC Radio 3;

Fervent. for solo piano, has a relentless energy to its ostinato-driven material. Last year, PK was commissioned for, and performed at, the BBC Proms; dealing with the first sending of Morse code signals from Porthcurno in Fitkin’s birthplace of Cornwall, the piece employs Morse code-inspired rhythms, blazing brass and big orchestral gestures occasionally reminiscent of John Adams’ Harmonielehre. Then there’s the contrasting intimacy of Skirting, for solo harp, with its evocative arabesques, or the bustling Vent for four clarinet or saxophone quartet.

Then there’s the minimalist electronica of K2, from Kaplan, that could almost be something by Aphex Twin.

Just listen to the way the music dances and shimmies in the advert for Uniqlo jeans: brief but utterly captivating, like much of Fitkin’s music there’s a wild urgency that cannot be denied, a delight in revelling in bright textures married to bold rhythmic gestures.

It’s compulsive stuff that luxuriates in the sheer joy of music-making. Is it classical ? Is it minimalist ? Or post-minimalist ? Or jazz ? Electronica ? Or all of them, or perhaps none ? Who cares… Keep an ear out: a new piece by Fitkin is always worth waiting for.

(Audio excerpts via LastFM).

Another Adams: composer John Luther Adams.

It’s always exciting to discover a new composer whose musical language instantly appeals to you.

I can still recall the exact moment when I first heard a piece by Steve Reich: Vermount Counterpoint. I was immediately hooked.  A pal at school had made a compilation tape of pieces for me, including Eight Lines, Music for Mallet Instruments, Voices and Organ, Six Pianos, and a piece by another Minimalist, John Adams, Grand Pianola Music. Now my listening library is dominated by these two composers.

John Luther AdamsI’ve recently discovered another Adams: John Luther Adams, whose hypnotic music occupies a similar niche. The beautiful soundscape of In a Treeless Place, Only Snow  is a delicate gem.

Listen to it for yourself: In a Treeless Place, Only Snow.

And if you like that, try this: The Farthest Place.

Both performances by the American Contemporary Music Ensemble, with other pieces streamed from WXQR, the classical radio station in New York’s website here as well.

(And continuing the leap into the Digital Age: you’re now using a media player on this blog as well. Blogs, virtual magazines, video-clips, floating media player: the modernisation continues!)

So, what music struck you like a thunderbolt early on and has stayed with you ever since ?