This day marks the anniversary of the premieres of two Haydn symphonies, from the group of 14 known as the ‘London’ symphonies.
While many Haydn symphonies are labelled with nicknames, their unnamed counterparts are far from inferior! That is certainly the case for Symphony no.98 in B flat major, premiered at the Hanover Square Rooms in London on this day in 1792 with Haydn directing from the keyboard and the violinist Johann Peter Salomon, who commissioned the symphonies, leading the orchestra:
Haydn’s penultimate published symphony is no.103, the Drumroll – which was also given its first performance in London, on this day in 1795. It was given in the King’s Theatre, again with Haydn at the fortepiano and the famed violinist, Giovanni Battista Viotti, leading the orchestra.
The symphony is scored for a larger orchestra, with a fulsome wind and brass section – plus the timpani, responsible for the drum roll that opens the work:
In Maxime Caperan’s thriller Un Monde Violent, two brothers plunge into a spiral of violence, with uncomfortable results. For the soundtrack, he enlisted cellist and composer Gaspar Claus who has responded with a score in which he produces and performs.
What’s the music like?
In a word, tense. Claus has already shown a gift in his music to evoke scenes and emotions, and those qualities immediately come to the fore.
The Ouverture is laden with dread, its dark ambience creating waves of uncertainty, though it is still possible to admire the rich and fulsome colours Claus applies in his playing.
His Tancade album of 2021 showed how a wide range of techniques and skills with the cello can produce an unusually wide range of sounds, and that is again the case here, from the unsettling tremolo figures of Un meutre to the pizzicato thrumming of Moto joie or the existential dread of Moto Drame, with its widescreen panning.
Vers l’hôpital is a different story, its affecting chorale richly scored, and Claus moves from this to the flickering, wispy arpeggios of Le père, showing the sonic palette his cello has at its disposal.
The last two tracks are more substantial – Channel is a co-production with vocalist Caspar Clausen, but also features the disorientating appearance of a brass band in the middle of is cluster of chords. Peace is finally achieved in the closing credits, delivered in a concoction of softly voiced harmonics and drones.
Does it all work?
It does, provided you’re in a quiet room. Claus achieves a wide range of dynamics in his writing, and a silent backdrop will ensure all are brought to the fore.
Is it recommended?
It is. Gaspar Claus writes for the cello with great imagination and inventiveness, and this response to the story of Un Monde Violent is as dramatic as it is musically convincing. Strongly recommended.
For fans of… Julia Kent, Sarah Neufeld, Hildur Guðnadóttir, Peter Gregson
Optometry – John Tejada and March Adstrum – return with a second album. Lemuria is described as a ‘sci-fi musical diary – a deeply personal record that processes the year’s events through introspection and creative exploration’.
By way of background, Tejada is known as a quality source of largely instrumental techno, while Adstrum is a guitarist and vocalist, whose parents played baroque violin. She toured backstage with a number of their ensembles.
This time the pair share production duties, realising the whole project in person and with lyrics taken from Adstrum’s diary entries. The songs ‘explore themes of rebirth, loss and closure.
What’s the music like?
There is certainly a wider range of emotions on this album than the pair’s After-Image debut, though there is a strong sense of melancholy that can be felt in the downtempo offerings. Unanswered captures this keenly, Adstrum singing of “another step on the treadmill”, before changing gears for the excellent Never Coming Back, a compelling quicker number.
Fear (Is The Mind Killer) is expressed through a twisted synth line, whose presence is a vivid source of anxiety. Distortion of a different kind pervades the slow and stately Target Practice. Emphasising the contrasts on the album, resignation is the overriding feeling on Antidote, but Bon Voyage promises a great deal more with its bubbling energy.
Does it all work?
It does, largely – with an instinctive meeting of minds that works well. Lemuria is defined as “an annual event in the religion of ancient Rome, during which the Romans performed rites to exorcise any malevolent and fearful ghosts of the restless dead from their homes”. This is not necessarily a dramatic rite, but a therapeutic one.
Is it recommended?
It is. Tejada and Adstrum have a compelling musical chemistry and their storytelling is well worth following.
For fans of… Steffi, John Tejada, Francis Harris, Michael Mayer
This is effectively a collection of big and small screen offcuts, written over the last half decade. They have been selected and sequenced by Tim Hecker into a short LP.
The compositions were originally written for scoring projects including Infinity Pool, The North Water, Luzifer, and La Tour.
What’s the music like?
This is an intriguing collection from Hecker, whose work is never less than descriptive. In his company we move easily between electronic and acoustic music, the running order set by the mood.
The slow-moving Heaven Will Come is cold and eerie, oddly majestic but fragile at the same time as it slowly takes shape, its slowly descending motif compromised by glitches at the bass end. Monotone 3 is distinctly unnerving, with quarter tones that spread unease.
Morning is more restful, led by an easy piano figure, while Icesynth is also more consonant in its language. Sars Requiem feels transported in from a much earlier period in musical history.
Joyride Alternate is the most immediate track, warm and consoling as its keyboards inhale and exhale, a natural complement to the following Sunset Key Melt and its airy panorama of the end of the day.
Does it all work?
While understandably fragmented, Shards is a successful grouping of disparate pieces.
Is it recommended?
While not necessarily the right starting place for a full appreciation of Tim Hecker’s craft, this is certainly recommended for those familiar with his work. The vivid evocations of place create lasting and memorable pictures in the mind’s eye.
For fans of… Lawrence English, Stars Of The Lid, Fennesz, William Basinski
Listen / Buy
Published post no.2,457 – Wednesday 26 February 2025
Colombian producer and vocalist Ela Minus made waves with her debut LP for Domino, Acts Of Rebellion, in 2020.
Now DÍA, the follow-up, is described as “a record about becoming, from a process that entailed self-discovery at a deliberate pace to songs that seem to collectively ask where we go from here, long after we’ve been broken but long before we intend to be broken forever.”
Minus worked with the same team as her debut, Marta Salogni and Heba Kadry providing the critical studio support.
What’s the music like?
There is a notable urgency in the way Ela Minus makes her music, and a confidence that she is saying exactly what she wants to say, with a compelling mixture of pop sensibility, underground electronic creativity and a willingness to try new things.
After Abrir Monte gives us an airy introduction, Minus goes for broke with the epic Broken, and the glitchy track IDK. Onwards drives forward with impressive intent and focus, while Upwards takes those qualities to the next level with terrific momentum, a suitable way to crown the short but urgent tracklist.
Does it all work?
It does. While DÍA could arguably benefit from being longer, it is a statement of intent, a compressed but vital piece of work.
Is it recommended?
Yes, enthusiastically – a telling reminder of the abundance of talent in South American electronic music. Ela Minus is an original voice who, on this evidence, has plenty more to say and plenty more places to go.
For fans of… Miss Kittin, Ellen Allien, Sofia Kourtesis, The Hacker
Listen / Buy
Published post no.2,457 – Wednesday 26 February 2025
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