Xenakis, Reich and Stockhausen: New Noise, Purcell Room London 6.5.2008 (CR)


This was a well constructed programme of new music, performed by the innovative ensemble New Noise. At the centre of the group, formed in 1999, are oboe and percussion duo Janey Miller and Joby Burgess. For this performance, they were joined by sound designer Matthew Fairclough, percussionists Richard Benjafield and Scott Wilson, bass clarinettist Richard Haynes and pianist Helen Reid.

The programme included iconic works by Xenakis, Stockhausen and Reich, alongside works composed for the ensemble. Opening with Xenakis’s Okho, it was immediately clear that this is an ensemble that works at the highest standards. The trio of djembes was perfectly matched, with a seamless interplay between the performers. The instruments were resonant, and the variations in pitch gave a striking sense of melody. This was a slick and theatrical performance, with good communication between then ensemble and an unfaltering and even rhythmic groove.

Four Organs by Steve Reich was one of the highlights of this concert. Skilfully led by Burgess, the sound of four electronic keyboards, heard against the accompaniment of an impressively even pulse from the maracas, was captivating. The psychological aspect of Reich’s work is something that I have often found fascinating, and it was wonderful to watch the concentration on the performer’s faces. This was a highly accomplished performance with impressive stamina from all the players.

The third of the major works on the programme was Stockhausen’s Kreuzspiel. Composed when Stockhausen was just twenty-two years old, the title refers to the compositional processes used. The ensemble made interesting use of the performance space for this piece, with Miller positioned on a higher platform and the others standing around the piano. There was a sense of relaxed concentration from the performers, and some particularly enjoyable bass clarinet playing.

The remainder of the programme comprised new works which had been commissioned by New Noise. The opening of Pedro Gómez Egaña’s Clark Nova was perhaps the least convincing of these, with its combination of air sounds and key clicks from the oboe against a flexatone. The sounds were eerie but seemed not to develop with much of a sense of flow, and there was distracting shuffling from some audience members during the quietest moments. Having said that, after a while, the piece improved dramatically, to include a beautifully played and expressive oboe solo and some fascinating percussion effects using water, bowls and music boxes. There were also some imaginatively used electronic effects, although I would have liked these to have been a little bit louder in the balance.

Martin Parker’s Grab, receiving its world premiere this evening, was one of the highlights of the concert. With an exciting interplay between the live elements and electronics, the bass clarinet provided a lovely timbral variety to the oboe sound and the two complimented each other very well. The percussion held all the disparate elements together and served as the main driving force for the work. This was an exciting and dramatic work, which was given a highly convincing first performance. I have no doubt that this will become a part of the core repertoire for this combination of instruments, and I look forward to hearing more from Parker in the future.

The concert ended with the second world premiere of the evening, in the form of Fold by Donnacha Dennehy. Starkly contrasted in style to Parker’s work, this was equally as successful, making use of gradually evolving consonances based on the overtone series. Subtle use of electronics helped to combine the live elements and this beautifully conceived work was given a very fluid performance.

The members of New Noise deserve the highest praise for their innovative work and excellent standards of performance.

Carla Rees


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