Karlheinz Stockhausen died with two parts of his projected 24-hour cycle Klang (Sound) still to be completed.
The third Hour, Natürliche Dauern, is a solo piano sequence that lasts more than 120 minutes. Nicolas Hodges spread the work over two concerts, the first of which is almost completely static: the player ponderously picks out wide intervals, like a pendulum swinging to predictably hypnotic effect.
The second half is more animated, though certain gestures - such as slamming the forearms against the keyboard, or playing the piano pizzicato by reaching inside - are well-worn cliches of the avant garde. During the 15th movement, Aufstieg (Climb), Hodges suddenly calls out "ascension" like a lift attendant asking if anyone is going up. But it's an extraordinary display of concentration and stamina, and when Hodges doubles up on temple bells, it reinforces the impression that this is more of a ritual than a recital.
Salvatore Sciarrino is an Italian madrigalist whose microtonal word-painting feels like Monteverdi beneath a high-powered microscope. His sequence of a cappella nature studies based on 17th-century haikus by Matsuo Basho¯ is given an entrancing UK premiere by the outstanding Neue Vocalsolisten Stuttgart, whose delicate response to the sibilance and susurrations of Sciarrino's score perfectly echoes the whispering expression of the Japanese master.
Jeanne of the Dark is a multimedia homage to femmes fatales, vampires and cannibalism. Conceived by Marko Ciciliani and Terre Thaemlitz, its pulverising combination of electronic jazz and heavy metal is perfectly suited to the industrial surroundings of Bates Mill. It's a measure of the Huddersfield Contemporary Music festival's ever-expanding range that there is even something to make goths feel included.
