Abstract
As diverse and inquiring as ever, the 35th Huddersfield Contemporary Music Festival provided nine days of unfamiliar and rarely encountered repertoire, sometimes rewarding, sometimes baffling, but always worth sampling. The 2012 late-November celebration of avant-gardism placed an emphasis on Norway and the voice in its many guises, both strands exemplified by the choice of Trondheim-born vocalist Maja S. K. Ratkje as composer-in-residence. Yet despite this spotlight on vocal and choral works, there was no shortage of instrumental and chamber music, most of it new to Britain.
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