Biography

Christian MASON

A 2015 winner of an Ernst von Siemens Musikstiftung Composer Prize, Christian Mason is enjoying a prolific career with an array of prestigious commissions. His latest premieres include ‘Zwischen den Sternen’ for Ensemble Recherche, which was described by the journal MusikTexte as a “highlight of the festival [Ultraschall Berlin]”, ‘Eternal Return’ written for hr-sinfonieorchester, celebrating Breitkopf & Härtel’s 300th anniversary in January 2019, and ‘Eternity in an hour’ written for Vienna Philharmonic (conducted by Christian Thielemann), performed as part of its Bruckner series in April/May 2019.

Among these latest works are, This present moment used to be the unimaginable future for the Arditti string quartet premiered at the Philharmonie de Paris in January 2020 as well as books III and IV of songbooks by the Ligeti string quartet, The Singing Tree by the Birmingham Contemporary Music Group, Neue Vocalsolisten Stuttgart, Ex Cathedra Children's Choir, An Ocean of Years, with the Konzerthausorchester Berlin, Christoph Eschenbach whose premieres are scheduled for 2021 ...

In addition, Christian is developing a music-theatre project initiated by the Royal Opera House: ‘(Dis)embodiment’.

Recent years have seen the premieres of: ‘Man Made’ with soprano Anu Komsi and the Philharmonia for the ‘Music of Today’ series in May 2018; ‘Aimless Wonder’ by the Münchener Kammerorchester and ‘Remnants’ for Opera Erratica, both in June 2017; and ‘In the Midst of the Sonorous Islands’ composed for the participative CONNECT project, which was performed around Europe by the London Sinfonietta, Ensemble Modern, Ensemble Remix and Ensemble Asko-Schönberg during Autumn 2016.

Christian is a visiting teacher of composition at the University of Cambridge and is Composition Support Tutor for the LSO Panufnik Young Composers Project. He has been invited as a resident artist at the Internationales Künstlerhaus Villa Concordia in Bamberg, Civitella Ranieri (Italy), and SWR Experimental Studio in Freiburg. He was ‘Composer in Residence’ at Eton College (2014-15) and has worked as Composition Assistant to Sir Harrison Birtwistle. He completed a Ph.D at King’s College London with George Benjamin in 2012, following which he was awarded the 2012 Mendelssohn Scholarship to study privately with Frank Denyer. He previously read music at the University of York and has studied composition with Sinan Savaskan, Nicola LeFanu, Thomas Simaku and Julian Anderson.

Christian is a founding co-Artistic Director of the Octandre Ensemble. He also plays the Theremin.

His works are published by Breitkopf & Härtel.

www.clbmanagement.co.uk

Work(s)

" This present moment used to be the unimaginable future… (2019) "

Pour quatuor à cordes

Ed. Breitkopf & Härtel

SELECTION 2021

I Supernal: with a fluid sense of time

II Breathing: gentle, luminous, intimate, as if time hardly existed…

III Lost in a mist…

IV Joyfully resonant: with a sense of transparency

 

Dedicated to the Arditti Quartet

 

Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment. And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas – if they are ideas, but maybe they are simply experiences? – are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey, albeit a circular one where the arrival might, who knows, prove to be a new departure. One situation gives way to another and relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity.

Whether or not this unity is expressed texturally – sometimes literal unisons pervade, but not always – there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal ‘double-spectral-mode’ (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed…

And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: “We performed your Quartet in E-flat Op. 127 in his [Weber’s] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. – Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this.”

Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe –  why not? – tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began…

Lastly, about the title: it comes from a book called ‘The Clock of the Long Now’ by Stewart Brand, published at the turn of the millennium. It’s about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a ‘longer’ feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask… It’s probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might – whether consciously or unconsciously – influence the time of art, for listeners and creators alike.

And what if time is running out?