
It was a busy old weekend. In between a visit to the Anthony Gormley fog-in-a-box exhibition at the Hayward (disorientating), watching the FA cup final (disenchanting), going to the cinema to see Zodiac (discomfiting), and a trip to London Zoo (ummmm, brilliant, actually, hooray for the spider monkeys!) I squeezed in this London Sinfonietta Ligeti tribute, which also had an art installation - pictured above - and a bit of Reich thrown in as a sweetener.

Ligeti’s Self-Portrait with Reich and Riley (and Chopin in the Background) had two pianists setting about each other with short, one-handed phrases, repeating and overlapping in the best traditions of the two avant-gardists mentioned in the title. It was like a game of piano ping-pong, and looked like it would be thoroughly infuriating to play. The Chamber Concerto was next, and I must confess I struggled to join the dots between the four clearly delineated sections of this piece, which swung wildly between quiet introspection and excited credit card-plucked strings and clarinet chirrup.

I’m not sure what setting this next to Steve Reich’s Sextet was meant to achieve, as the irrepressible flow, boundless rhythm and good humour of that piece made me forget all about the Ligeti within minutes. First time I’ve seen a bowed vibraphone too, which added long resonant textures under the drums and marimbas. The players looked like they were having a blast, particularly the drummers, who appeared about to crease up laughing at any moment, and this joy was infectious.

My good mood was to be sustained for the rest of the performance, as the night closed with Ligeti’s nonsense pocket operas Aventure and Nouvelles Aventures. Three vocalists singing gibberish - hissing, spitting, burbling, barking, laughing, yelling through paper loudhailers - over-acting wildly all the while, in particular the bearded baritone who was giving it the full Brian Blessed. The “percussionist” ripped newspapers, beat carpets, and threw crockery around in dramatic fashion. They laughed. We laughed. They left. We left.

P.S. Photo above of Anthony Gormley’s Space Station, with thanks to the kind member of staff at the Hayward who turned a blind eye to me crawling about underneath it with my camera


8 comments
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May 24, 2007 at 7:44 pm
Colin
Hmmm, doesn’t sound overwhelming. I was put off by the pairing of Reich and Ligeti, like you I don’t get the association at all. One of my all-time favourite orchestral experiences was hearing Ligeti’s Requiem at the RFH 10 or more years ago. I guess I’m waiting to go to another really great concert of his work and this didn’t promise to be it. The chance to hear Lux Aetera, Atmospheres or even the smaller chamber works such as the Trios, Hungarian Rock and their like would be really welcome.
May 24, 2007 at 8:00 pm
mapsadaisical
You are making me want to go and watch 2001 A Space Odyssey now…
May 24, 2007 at 10:03 pm
mapsadaisical
…or at least go and listen to Lux Aeterna, which is what I’ve decided to do. Mmmmm, I would have loved to have seen this live, this is a different beast altogether.
May 25, 2007 at 5:23 pm
Colin
Many, many years ago I imbibed a small square of card and about half an hour later decided, foolishly, to listen to a Ligeti CD. Within a minute I was crouched under a duvet on the living room floor and found myself unable to come out until the CD had ended, which seemed to take a very, very long time. I’ll not do that again. Speaking of challenging(ly wonderful) music, I’m sat here listening to The Drift (he’s just sung jada… jada… jada jada jing jing jing). I know you’re a fan, was wondering (oops, there goes the saw) what you made of it after the first flush of experience?
May 29, 2007 at 9:14 am
mapsadaisical
Yes, I’m a fan of Scott Walker, but I’ve probably listened to The Drift no more than half a dozen times. A hugely impresive construction though I think it is (better than Tilt too), I’m rarely in the kind of mood required to actually listen to it.
It makes me feel like a very small person trapped in the innards of a awesome machine of unknown function, perceiving all these giant moving parts and hearing the chatter of signals through wires. Trying to make sense of what is going on so as to be able to navigate my way back out to daylight is such a challenge, requiring the investment of so much energy. I think if I tried listening to it with the aid of one of those small squares of card you mention, I’d never make it back out alive.
June 5, 2007 at 9:15 pm
Colin
Thanks for the answer - through the magical wonder of iTunes’ playcount, I can observe that I’ve listened to each track on The Drift an average of 12.9 times. I’m surprised you rate it ‘better’ than its predecessor (setting aside the Pola X soundtrack). It’s yet to bring tears to my eyes - unlike, say, that moment when the strings surge on Farmer In The City. It rises up before me like a post-apocalyptic dirge unleavened by melody or contrast. I’m hoping to find my way in one day. I currently stand outside, awed but not entirely convinced as to its greatness (unlike Climate of Hunter, 3, the Engel-penned songs on Nite Flights, the two songs written for Ute Lemper and Tilt).
June 6, 2007 at 9:11 am
mapsadaisical
Yes, but apart from Farmer In The City…
*shrugs*
June 7, 2007 at 12:01 pm
Colin
Everyone I’ve known who’s heard Tilt either loves or hates it. You’re the first person I’ve encountered who’s professed indifference. I take my hat off to you.