Plug 7: Calum Huggan & MusicLab
Royal Conservatoire of Scotland, 1 May 2025
During the 19 years of its existence, the RCS’s Plug festival has premiered 750+ new works. Festival regular Calum Huggan joined the conservatoire’s contemporary music ensemble MusicLab on Thursday to add another five to the list.
Niall Docherty’s Shift, which opened the concert, was a marvellous tour de force of for the percussionist. Regarded for his deft playing of tuned percussion, Calum’s facility across the entire gamut of struck instruments was put to the test throughout the evening. The only overtly soloistic work on the programme, Huggan expertly excelled in seamlessly turning the dial back and forth between committed ensemble member and virtuoso individuality. Special mention however, should be made of trumpeter Beth Harby, whose playing in this number veered between taut fanfare figures and breathy lyricism.
Thankfully, the music of Ember Murray’s Odium was far more appealing than its title. Eschewing a programme note, the onus was on the listener to discern what general or widespread hatred or disgust Murray’s work inferred. Stabbing rhythms contrasted with a more pleasing sensibility, Abby Felton’s attractive guitar work holding its own over block brass accompaniment.
The universe of Victor Hugo hung over La Fête des Fous by Mingyi Yang. Translating as The Feast of Fools, at the centre of the work Huggan delighted in providing a peel of apocalyptic tubular bells worthy of Quasimodo, followed immediately by an almost silent two-handed triangle solo – a technique I have not witnessed before - serving to illustrate within a few seconds the tremendous range of Huggan’s percussive palette. Yang also displayed a keen spatial awareness, creating a snappy dialogue between accented brass and timpani at opposite sides of the room. Despite opening in apocalyptic fury, the Gallic theme was maintained as the music wound down to an almost impressionistic afterglow, reminiscent of something by Joseph Canteloube.
Milos Czarniecki’s Samsāra, a Sanskrit word meaning wandering, immediately transported the audience east of the Danube by way of the Ganges with its meandering exotic scales, beautifully realised by clarinettist Isobel McKeeve. It is to Czarnieki’s credit that he is able to integrate such disparate material into a single work.
The final piece the night was Hiro Kayo’s Flowing Aroma Resonance, literally a feast for the senses. As the ensemble tuned up, ushers moved through the auditorium like perfume sellers, handing out fragrance strips for the audience to indulge in during the piece. The least rhythmically firm item on the programme, Kayo’s imaginative orchestration of winds and delicate violin harmonics complemented the aromas presented to us. The three sections corresponded to an ingredient of Kayo’s olfactory offering; sandalwood, ginger and tobacco.
The fledgling composers’ efforts showed an impressive maturity of thought, form and colour that belied their years.
