4:5 is a English-speaking blog specialized in the field of classical music and opera. As such, 4:5 is a qualified source of soclassiq, like ClassicsToday or South Florida Classical Review and many others. The oldest article indexed by soclassiq is dated 2017-12-30. Since then, a total of 342 articles have been written and published by 4:5.
4:5 blog activity
With 24 articles published in the last 90 days, 4:5 is currently a not very active news source. "Not very active" does not mean that 4:5 is less interesting than another more prolific source. Each blog follows a specific editorial line, publishing according to its own rhythm.
This editorial activity is slowing down compared to the previous period.
The last article in 4:5, "Joeri Chipsvingers – De Avonturen van Joeri Chipsvingers", is dated 2020-11-25. By 2019, this source had published 124 articles (105 since the beginning of 2020). Over the past 12 months, 4:5 has published an average of 10 articles per month.
4:5 in the last 36 months
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One of the shorter albums i’ve heard this year, but nonetheless one of the more arresting, is by the improbably named Joeri Chipsvingers (nom de guerre for Belgian composer Michiel de Naegel). Titled De Avonturen van Joeri Chipsvingers, it comes across as a sort of unhinged electroacoustic chamber farrago in…
Coincidentally, another project i’ve been involved with also materialised last week. For Gunnar Geisse‘s new CD TRIPTYCH, released on the NEOS label, i’ve contributed an essay to the liner notes. Titled ‘Liminal (un)reality’, my text explores the music’s complex amalgam of reproduced and recreated, supposedly real and actually real sounds,…
Forgot to say: my Best Beloved is fast approaching what can only be described as a ‘significant’ birthday this week, so i’m currently away on a not-quite-holiday-but-not-quite-not-holiday-either at the moment, during which i’ll be celebrating / commiserating as required. Back next week.
The other newly-released portrait album that’s got me thinking about polarities lately is Earthing, featuring four works for string quartet by Italian composer Clara Iannotta. The reason it provoked that particular train of thought (among many others) is due to the fact that, unlike most new music, it doesn’t so…
Something that comes up a lot in my writing about music is polarities. Perhaps it’s understandable; many composers strive to establish some kind of drama in their work, which often involves the juxtaposition and/or interplay of polarised types of material or behaviour. A lot of the satisfaction and enjoyment from…
Back in 2017, when writing about the fifth and, at the time, latest in Catherine Lamb‘s ongoing series Prisma Interius, i talked a lot about consonance and dissonance, the way that its pitches began life around a central point from which they emerged and split off, ultimately creating a harmonic…
At the more intriguing end of the Icelandic contemporary music continuum is HĪBER, a new album of electroacoustic pieces by Bára Gísladóttir. When writing about Bára’s performance at this year’s Dark Music Days (with Skúli Sverrisson), i remarked how “what we heard in the first five minutes … was essentially…
One of the aspects of contemporary music from Iceland that i find most fascinating is its tendency to position itself at extremes, rooted either in slavish convention or daring unorthodoxy. It’s a polarity that’s revealed itself again in some recent releases of Icelandic music, the results of which have been…
In recent years i’ve realised that, more than with most artists, i tend to listen to each new Autechre release in the context of what came before. i know it’s hardly a mistake to listen like that – and it obviously makes sense for anyone wanting to appreciate it on…