I’ve been writing about music for twenty years this month and I don’t remember a time that new Irish music was more independent, energised or interesting than it is now. (Though the mid-90s lo-fi boom, as immortalised in Daragh McCarthy’s The Stars Are Underground, was really something). Part of the reason for the current flourishing is the decade-long decline of what used to be the standard music business model. Bands once made a dozen copies of a demo, sent them off, and waited, fingers crossed, for a label to register interest. In the Bandcamp era, that seems quaint; weird. Why would you wait? Your music just gets out there, to stand and fall on its own. By now a generation of musicians has emerged that has no experience of anything other than independence, and self-released Irish albums are some of the best of the last five years.
Accompanying the increased availability of all genres of new music is a liberating indifference to genre itself. You don’t have to go far back in time to find strict battle lines between, say, punk and prog; you were not allowed to not like both. By law. Now, interviewed for this piece, the composer, multi-instrumentalist and Ergodos collaborator Seán Mac Erlaine says: “At a gig, in the moment, there is no such thing as genre. Musicians and listeners know this. Genre is really a marketing tool.” For me, reared in the aftermath of the punk wars, Mac Erlaine’s declaration still sounds a little unnerving – and I am still not listening to Pink Floyd. But I’m getting there.
Ergodos is a music company in existence since 2006 that is dedicated to releasing records and staging performances and dedicated to dismantling illusory barriers between different types of music. Founders Garrett Sholdice and Benedict Schlepper-Connolly (pictured) are both composers from a contemporary music tradition, but Ergodos’ last two releases are I Call To You, an album-length reconfiguring of a 17th century Bach choral prelude, and Seán Mac Erlaine’s Long After The Music Is Gone, which is spacious, modern, meditative woodwind music rooted in improvisational jazz.
Ergodos, along with the like-minded Journal of Music (edited, as it happens, by Benedict Schlepper-Connolly) exemplifies an attitude that is joyously present in new Irish music: that the spirit of the music, rather than the strictures of style, is what matters. So, they release a Bach album and a Séan Mac Erlaine album; Mac Erlaine plays in This Is How We Fly with Caoimhín Ó Raghallaigh; Caoimhín works both with Peadar Ó Riada, of Cúil Aodha, and Doveman, who produces the albums of half of hipster New York. And we get from 400-year old German baroque to Séan Ó Riada or David Byrne in about four moves, and seamlessly; without even blinking. This, I would suggest, is the genius of new Irish music.
For this piece, I spoke with the following Ergodos alumni: Benedict Schlepper-Connolly; Garrett Sholdice; Seán Mac Erlaine; Michael McHale (pianist on I Call To You); and Kate Ellis (prolific cellist, co-artistic director of the Crash Ensemble, and curator of the monthly Kaleidoscope Night of new music). I also got a comment from Donnacha Dennehy, composer among other works of the acclaimed Grá Agus Bás, who is also co-founder of the Crash Ensemble and a mentor of some years’ standing to both Garrett and Benedict. We discussed the origins of Ergodos, the state of contemporary music in Ireland, the DIY attitude required of musicians today, and the sacred and secular beauty of Bach.
I Call To You is a record of instrumental music and songs inspired by the music of Johann Sebastian Bach. More specifically, it’s an album of music inspired by Bach’s piece ‘Ich ruf’ zu Dir, Herr Jesu Christ’ (‘I Call To Thee, Lord Jesus Christ’); the tracks that are not actually interpretations of that piece are named for lines in the German text of the song.
Garrett Sholdice: The text of the song actually pre-dates Bach’s music. Bach often used Lutheran hymns such as ‘Ich ruf’ zu Dir’ as basic material for his compositions. So Bach’s organ chorale prelude ‘Ich ruf’ zu Dir, Herr Jesu Christ’ — the piece we based our album around — is an elaboration of a hymn of the same name, the words and music of which were written by a Lutheran minister named Johann Agricola around 200 years prior to Bach’s composition.
I wondered what it was about that particular piece by Bach that led you to choose it as a starting point for this project.
GS: It’s an incredibly beautiful piece — it just hits you. For me, it’s like a place you can get inside. The music is constructed such that there are three voices singing — a high voice singing the original hymn tune by Agricola very slowly, a middle voice simultaneously singing these more fleeting quasi-arabesque figures, and a low voice propelling everything along steadily. Each voice is constructed with such elegance, and the way in which the voices combine is so perfect, that you feel like the piece contains endless nourishment.
The album eases the listener in with a relatively straight reading of ‘Ich ruf’ zu dir’ by Michael McHale, although less ornate than you expect from Bach keyboard music; then moves away to somewhere more abstract and unfamiliar over the following pieces, then back to Michael’s beautiful, stark, hollowed out rendition at the end.
GS: Yes, my transcription of the Bach that opens the album is consciously restrained. I wanted to present the music that I love as vividly as possible — although there are a few subtle personal touches. And my “hollowed out” arrangement at the end was an attempt to present what I hear (feel) as the essential elements of the music nothing more.
Michael McHale: I was very impressed by [Ergodos’] work for the I Call To You album – the way in which the tracks all link and unite creates an expressive arc that is most impressive, and as a result the album as a whole adds up to much more of the sum of its parts. The Bach chorale prelude is most touching, tinged with melancholy. I simply wanted to perform it as simply and as naturally as possible, allowing the music to breathe and to create a background atmosphere of absolute stillness, which I felt served the music well.
I hadn’t heard it to my knowledge till I Call To You, but ‘Ich ruf’ zu Dir’ is actually quite a famous piece — used recently in Michael Haneke’s Amour, and not so recently in Tarkovsky’s Solaris and the 1931 version of Dr Jekyll and Hr Hyde.
Benedict Schlepper-Connolly: Interesting that you mention Jekyll & Hyde. I haven’t seen it and didn’t know ‘Ich ruf’ zu Dir’ was used in that. However, the Tarkovsky film is where we first encountered the tune and I think a lot of our association with it is tied up with some of the images used in it (that wonderful floating scene with the close-ups of the Breughel painting, for instance). Amour came out after we recorded the album, but it’s a beautiful film. There’s certainly something timeless in the tune itself that has caught the ear of Bach, ourselves and these various film directors.