As we go into a new year, I’ve taken the opportunity to gather some responses to VALE, my new disc, released in July 2017. During the process of making VALE, the disc took shape thematically as an answer to, or the antithesis of, INWARD, my first disc released some years ago now on the same label: VALE attempts to go back to working with the instrument in an unadorned way. The purpose being to find the instrument’s core again after living with a repertoire in which the identity of the flute had become more concerned with an eagerness to ‘make new sounds’. The repertoire on the disc is then a distillation of practice in terms of the sonority of the instrument/s and the musical focus of the playing and repertoire. Perhaps the most perceptive account of what I tried to achieve in terms of my performances and the choices I made came from the Gramophone magazine. Further reviews can be found here REVIEWS. There is also a very articulate review in TEMPO magazine, which I will write about on another occasion.
Forget new complexity: some of the music on flautist Richard Craig’s second Métier disc might simply be called post-everything. When there’s no tonality, no atonality, no melody and few pitches, what exactly is left? Quite a lot, as it happens – and therein lies the interest. Such technically complex, ‘post-everything’ music paradoxically brings us back to a primal, at times ecstatic state of Fauvist force.
At the end of 2017 Ensemble Grizzana came together again to perform and record at HCMF. Again, another very perceptive round of reviews (Spectator and the Financial Times) came from this concert, no less a new disc ‘Early to Late’ with Another Timbre featuring new works by Jürg Frey and Magnus Granberg. The CD will be released this February.