James Dillon – Nine Rivers

Posted by Jamie Munn on Monday 15 November 2010

Steven Schick/Jessica Cottis/BBC SSO/BBC Singers/Les Percussions de Strasbourg/Carl Faia
14 November - City Halls Grand Hall and Old Fruitmarket

Unfortunately, I missed to pre-concert talk given by James Dillon in preparation for Nine Rivers; four hours of very difficult (for wont of a more suitable word) music. Perhaps it would have shed some light on a dense musical ethos of which I admit, I have only the most superficial understanding of. Dillon’s biography describes his music as “the product of a fertile imagination and a multi-faceted and independent musical personality.” Quite.

I am by no means a musical conservative, and my music tastes are catholic and often experimental. I have heard Dillon’s music live several times before; including the now infamous RSNO performance of Via Sacra, which the BBC deemed so awful that it was un-broadcastable. So I knew what I was in for, so to speak.

Nine Rivers is a monumental work. Four hours long, running for up to 90 minutes at a time without any sort of break or respite. The music is relentless and very difficult to penetrate as a listener. The programme notes, written by the composer, were so esoteric and (over)cerebral that any sort of ‘enjoyment’, even an abstract academic appreciation was diminished.

Such complex music requires superlative performers – with which we were granted in abundance. Les Percussions de Strasbourg owned the first section of Part I (Leukosis); it was almost as if it was written for them, and they had a hypnotic intensity throughout. Sixteen of the BBC Singers travelled up to Glasgow for their two substantial chunks, tackling some of the most demanding choral lines I have ever heard, with aplomb (it certainly was not written ‘for the voice’); there were consonants and vowels, but the impenetrable texture meant that any text was impossible to distinguish. I’m not even certain there was any actual text; the programme notes didn’t indicate to any.

Solo percussionist, Steven Schick was captivating to watch during his Part II solo hour in the Old Fruitmarket, accompanied by some effective, and not overly intrusive, live electronics. Players from the BBC SSO, guest-led by Cleo Gould tackled their music with great drive, and were very ably conducted by Steven Schick and Jessica Cottis, who both led the various ensembles with a much required sense of decisiveness.

As is often the case with such music, as a listener (and sometimes as a performer…) it is almost impossible to pick out any mistakes, but the knowingly wry looks between singers and players often indicated a slip; though I doubt a ‘perfect’ rendition would endear the music much more.

By the end, I felt drained (not necessarily emotionally, just in general) and had a headache. I’m not sure that these are the most desired of desired after-concert effects. Interestingly though, the audience for this event was more than double what it had been for both Tasmin Little and Andrew Kennedy in October. Whether it was the music or the free tickets that drew in the punters is hard to say, but it is heartening to see that there is a willing audience for everything.

JM

Tags: Classical