In small-scale venues up and down Britain, young music makers are curating experimental events that take their lead from composers.
Throughout this year and without much fanfare Alex Nikiporenko and Nicholas Peters have been building up this small series of small concerts of what I am tempted to call, in the least non-disparaging way possible, ‘small music’. Music by composers like Luiz Henrique Yudo or Laurence Crane. Music that doesn’t have any pretensions to be more than it is, that doesn’t seek to fill a space or a time outside of its own container, but that fills what it has just perfectly.
...Peters and Nikiporenko both wrote new pieces too, and I was especially taken by the latter, which seemed perfectly balanced in all directions.
Alex Nikiporenko provided the lightest (but by no means slightest) work on the programme, Volumus ut Iesus exaltetur, a wittily lopsided collage of a caccia by Niccolò da Perugia and the evangelical song We Want To See Jesus Lifted High by Doug Horley. The quicksilver medieval counterpoint provided BLOCK4 with the opportunity of showcasing its considerable ensemble skills and stylistic finesse.
Alex Nikiporenko details the process he used to write a piece for recorder quarter BLOCK4: “I found it curious that I, an atheist living in the 21st century, was writing music for medieval instruments to be performed in a church.”
Very few modern scores for theatre or installation work for me, but the one by composers Alex Nikiporenko, Louise Drewett and sound artist Lee Berwick certainly did.