The London Contemporary Music Festival (LCMF) has carved out a unique niche for itself as a platform that embraces musical diversity and experimentation. Over the past decade, it has wandered through various unconventional venues across London, bringing its eclectic mix to diverse audiences. The 2024 edition, primarily held in Hackney, extended into the new year with an event at Wigmore Hall. This juxtaposition of avant-garde performances in a traditional setting not only introduced younger crowds to the hall but also showcased innovative compositions like Éliane Radigue and Carol Robinson’s Occam Delta XXIII. Additionally, the festival revisited early 20th-century Italian futurist composers, featuring recreated intonarumori instruments and premiering contemporary works that ranged from abstract to whimsical.
Avant-Garde Performances in Unexpected Spaces
The LCMF's nomadic nature has allowed it to thrive in unexpected locations, each venue adding its own character to the festival. In 2024, the festival found temporary residence in Hackney before concluding with a performance at the prestigious Wigmore Hall. This unusual pairing brought a youthful energy to the usually staid concert hall. The final piece, Occam Delta XXIII, exemplified the festival's commitment to pushing boundaries. Performed by Ensemble Klang without a written score, this collaborative drone work for baritone saxophone, trombone, and percussion was inspired by the North Sea's colors and wave patterns. The musicians' intense concentration and memorized performance underscored the piece's profound impact on both performers and listeners alike.
Performing in memory and without a score, Occam Delta XXIII demanded exceptional focus and skill from the musicians of Ensemble Klang. The piece's inspiration derived from the visual and auditory elements of the North Sea, creating an immersive experience that transcended traditional musical boundaries. The drone composition's meditative quality resonated deeply with the audience, offering a fresh perspective on how sound can evoke natural phenomena. By choosing such unconventional pieces, the LCMF continues to challenge and expand the horizons of contemporary music, inviting listeners to explore new sonic landscapes.
Reimagining Futurism Through Sound
In addition to modern compositions, the LCMF delved into the past, exploring early 20th-century Italian futurism. The first half of the program featured recreations of Luigi Russolo's intonarumori, or "noise intoners," instruments designed to mimic urban and industrial sounds. Conducted by Luciano Chessa, these homemade devices produced rumbling, crackling, and whispering noises, evoking the bustling city life of pre-war Italy. The Orchestra of Futurist Noise Intoners performed several short pieces, including works by Paolo Buzzi and Russolo, showcasing the innovative spirit of this movement.
The inclusion of futurist instruments provided a historical context that enriched the overall experience. These 16 wooden boxes, each equipped with a megaphone, generated a wide range of sounds, from the subtle to the cacophonous. The world premieres of contemporary pieces added a modern twist to this historical exploration. Works like Pauline Oliveros’s Waking the Noise Intoners, Peter Ablinger’s Weiss Weisslich, Chris Newman’s People, and Jennifer Walshe and Tony Conrad’s Fancy Palaces offered diverse interpretations of sound art. Moreover, Walshe's performance of Irish dadaist sound poems further highlighted the festival's unpredictable and provocative nature, making it a must-attend event for those seeking the unconventional in music.