Dichroic Light: Matthew Whiteside

Although Dichroic Light is Matthew Whiteside's first CD release, it covers a considerable amount of the composer's work: the title track is his earliest piece of electro-acoustic music, while the collaboration with Emma Lloyd (featuring her on the viola d'amore augmented by Whiteside's electronics) was only completed this year. Yet throughout the release, Whiteside's fusion of electronic and classical instrumentation expresses a consistent and confident identity.

By turns melancholic and aggressive - his scores for viola and cello both have a waspish attack - and even surprisingly playful (Well, Well, Well almost resolves into a jolly jog), Whiteside's sensitivity to the acoustic instruments is matched by a subtle and responsive electronic accompaniment. 

Allowing the viola d'amore to lead, or the cello to set the tone, the electronics escape the predictable crackle and squelch that frequently passes for experimental. Rather, the effect conjures up an acoustic space that warps or enhances the musicality, as if the recording - done by Whiteside himself alongside Timothy Cooper and engineer Jimmy Eadie - is capturing the ambience of diverse recording locations. 

This atmosphere - notable in Three Pieces for Bass Clarinet and Electronics ensures that the 'classical' is not lost in the contemporary. While Whiteside evokes minimalism - although more suggestively than in a rhythmic connection to Reich or Glass - the influences of baroque, romantic and spectral composition are melded into a striking and distinctive sound.

Surprisingly for an album that could be seen as 'the greatest hits so far' (The World in an Oyster... and Well, Well, Well are already signature compositions for Whiteside), the journey of the twelve scores across the CD suggests a continuity of style and intention. Whether working with The Red Note Ensemble or Emma Lloyd - who kicks off the album with Ulation, a savagely mournful introduction on viola - Whiteside is not just exploring the range of electro-acoustic music, he is finding a rare musicality and accessibility.

Edit Point and Sound Lab

Sound Lab has been working steadily at developing opportunities for new composers working in the electro-acoustic arena: sitting between the rigour of classical composition and the infinite potential of the modern machine, their events cultivate emerging artists and the hook up with Edit-Point (Timothy Cooper, Matthew Whiteside and Nicholas Virgis) is a comfortable fit. Taking a closer look at the way the violin and viola interacts with electronics, the programme goes back to Ligeti, a pioneer of experimental composition, and towards the future with two world premieres from Michael Cutting and Gordon McPherson.

String Factory, from Ed Bennett, begins the evening and sets out a clear agenda:  Kay Stephen sets her live violin part against precorded violins. While Reich has used similar techniques to emphasis the pounding energy of minimal grooves, Bennett makes a case for composition as a reflection of a very contemporary isolation. The broken sounds of the violin encase Stephen within a ricocheting racket of noise, disorientating and brutal: her playing is all-too-human, vulnerable and ultimately lyrical.

Next up, Shimmering is a melancholic and episodic reflection on light playing across water - more gentle than String Factory, it harks back to the romantic era, without losing the more modern enthusiasm for eastern  melody. Meditative and calming, despite occasional pizzicato attacks, composer Timothy Cooper combines a sensitivity to elegance with an ear for the exotic.

After the interval, Ligeti's Sonata is an almost deceptive introduction to the second half: against McPherson's Lamenta Infracta, it sounds traditional and ponderous. For McPherson, the technology is all about liberating sound from the limitations of the human player - the subtitle, Stunt Double reveals his intentions. A synthesized version of the instrument plays along, echoing and illustrating Stephen and deepening the sound with languorous additions and chiming notes.

It makes a perfect seque into the finale,  Kaija Saariaho's Vent Nocturne, an almost apocalyptic vision that slides between violence and reflective interludes.

Edit-Point's programme makes a series of bold claims: placing electro-acoustic music firmly in the classical tradition - no tacky nods to dance music here - it suggests that it is capable of addressing contemporary concerns without ignoring the past. The electronics provide the depth equally available through acoustic instruments, but offers a different sort of bed. Not always comfortable, often bracing but ever emotive, the connection between human and machine is imagined as battle and collaboration.

If there is a trend for composition to chase increasingly obscure strategies, these selections balance between accessible and challenging: the lessons of serialism are present, but alongside a respect for older faith in melody. The booming ferocity of much minimalism has been replaced by a more nuanced use of electronic possibilities. Yet at the centre, Stephen's virtuosity brings soul to the mechanical roar and hum.

Recital Room, City Halls

April 17th 2013, 7.30pm

Drums. And Tape. And Drums. And Drums.

Matthew Whiteside is a regular co-host on  The Vile Arts Radio Hour: bringing a touch of intelligence and knowledge to my usual vague understanding of contemporary classical music, he is a tireless supporter of new composition. He's part of the wonderful Said Ensemble, a group committed to bringing classical music into unfamiliar places, like the pub, and he has been known to compose a cheeky electro-acoustic number, or two. In fact, he is prolific. 

His entry into the next Edit-Point show explains why he is a good match for the Vile Arts ethos. It's called Sanshen and early indications suggest that it is going to be a big drum solo. Edit Point have got young percussion Glynn Forrest on board to bash some bits - six new compositions, and the full range of percussion, from maracas (Javier Alvarez’s  Tamazcal sees the instrument made popular by Bez face off against tape) to a rock'n'roll style kit.

Edit-Point are in one of those marginal areas that I love so much: not purely classical composition, not purely electronic and intrigued by the possibilities of sound in specific spaces. Of course, every experimental musician likes to say something like that, but Edit-Point back it up by having a constant programme that challenges emerging composers to think about sound as "cinema for the ears." 

It might be said they are John Cage's children, in their fascination with the complete listening experience. Then again, maybe Cage had an affair with Stockhausen, because these kids like to get plugged into the machine. 

Edit-Point are performing as part of the Sound Lab series: 7.30pm, Wednesday 27 February, Recital Room, City Halls, Glasgow