Archive for the “Contemporary Classical” Category
On October 11, the Oneonta Concert Association of central New York presented an unforgettable concert by Musicians from Marlboro. For half a century, Vermont’s Marlboro Music School and festival have spawned top-flight, ad-hoc ensembles pairing rising stars in classical music with established names in the field. The fact that the name of Kim Kashkashian, one of the world’s finest violists and a tireless champion of contemporary music, was mentioned nowhere in the touring group’s modest marketing package indicated the level of Marlboro’s commitment to apprenticeship. Indeed, despite her unmistakable tone and timbre, Kashkashian contributed humbly to an atmosphere of total and mutual respect.
The program was itself a work of art. Before bows contacted strings, Kashkashian described György Kurtág’s Officium breve as “very gestural and dramatic music.” That it was, for its sparse notecraft nevertheless required of the four string players an uninhibited comportment by which the sounds might freely unravel. The moods of Kurtág’s compendium, written in memory of Hungarian composer Endre Szervánszky (1911-1977), are as varied as their source materials. With characteristically intertextual grace, he references the canon from Webern’s final completed opus (the second Kantate of 1941-43) and works by Szervánszky, the latter not least of all by way of self-quotations from the ever-expanding Játékok (specifically, the bipartite “Hommage à Szervánszky” thereof). The opening harmonics, courtesy of cellist Karen Ouzounian, established a haunting undercurrent that would flow throughout. To this were added the floating lines of violinists David McCarroll and Nikki Chooi before being conjoined by Kashkashian’s peerless tonal qualities. Despite the brevity of its 15 sections, most lasting under a minute, what the piece lacked in duration it made up for in Kurtág’s wealth of invention. Shifting contrasts of altitude, distance, and texture throughout made this sometimes-challenging music feel as organic as rain. Harmonies were elastic, pulled as they sometimes were from a single note in tutti or alit upon from above. The occasional outburst came across not as an interruption but as a catharsis of self-discovery. The ending left us with a drawer of knives, each of varying sharpness and resilience but all bearing the stamp of meticulous smithery.
To this, Szervánszky’s Trio for Flute, Violin and Viola made for a natural follow-up. Enlivened by the virtuosity of flutist Marina Piccinini, alongside violist Wenting Kang and Chooi again on violin, its flowering field carried scents of Bartók, Dvořák, and Smetana. Impressive was Szervánszky’s constant shifting of register, as was the trio’s ability to evoke it. The first two movements, lush and pastoral, were feathered by the veiled Adagio, which gave way to the final Vivace with dreamlike reluctance. Throughout, moods morphed from exuberant to tearful and back again, Piccinini navigating the strings’ crosscurrents with a seafarer’s proficiency. The dance was always waiting—not in the wings but with them, ready to fly at a moment’s notice.
The Sonata for Flute, Viola and Harp of Claude Debussy took yet another logical step into 20th-century repertoire. Piccinini, Kashkashian, and harpist Sivan Magen—newly fashioned as Tre Voci—charted the centerpiece of their 2014 ECM New Series release with élan. Debussy’s popular trio, tailored specifically to the idiosyncrasies of its instruments, is divided into three movements with seemingly arbitrary titles. A Pastorale introduces the fluid impressionism one typically associates with the Frenchman. And yet, as this piece’s bold strokes make clear, Debussy was anything but an impressionistic composer. Boldness was especially apparent in the Interlude, the enchanting harping of which only served to emphasize the clarity of its partners. With a strong backbone and even stronger sense of destination, the sportive Finale further proved that Debussy isn’t all sparkles and rainbows. Key to this performance was each musician’s take on the equal role given to her or him. Piccinini was like the writer’s pen and Magen the weaver’s dance, while Kashkashian took on a visual artist’s intuition, her bow as descriptive as a painter’s brush. In a word: exquisite.
[Photo source: (le) poisson rouge]
Intermission prepared us for the finale of Beethoven’s String Quintet in C Major. Its four-movement traversal of atmospheres showcased the string players at their most integrated. From the massive, seesawing Allegro to the show-stopping Presto (its tight tremolos providing full yet distant support for the violin’s acrobatic exposition), the musicians handled every twist and turn with ease and a unity typically seen only in far more established ensembles. Between these juggernauts, however, were the piece’s highlights. A romantic yet earthy Adagio, its tendrils wavering in freshwater current, paired beautifully with the Scherzo’s delicate anchorage. It was a fitting summation of the dramas that preceded it, spoken in a language at once canonical and freeing.
Also canonical and freeing was the pre-concert performance by Jonathan Fenwick, a high school junior from nearby Ithaca, who presented the Adagio and Fugue of Bach’s Sonata No. 1 for Solo Violin. In addition to polishing the concert’s educational sheen, Fenwick’s performance was further proof of the inspiration absorbed by coming generations of classical purveyors. His sensitive pacing, artful trills, and warmth of execution proved that all roads not only lead back to Bach, but also proceed from him.
The Brand Library in Glendale was the site for an evening of piano music by Steve Moshier on Saturday, October 25. Cynthia Law performed three Moshier pieces, including the premiere of Into the Safety of the Abyss (2014).
The concert opened with Unchained Melody: Eight Bagatelles for Piano (1999) and the first of these began with a series of strong, decisive chords that invoked an important, stately feel The opening passages were repeated in the higher registers, slightly subdued, before returning to the powerful lower chords. The second bagatelle was softer but along the same lines, as if a development on the opening theme. It featured a bit more complexity as well as counterpoint that produced a sense of rolling motion.
Other movements of the Eight Bagatelles for Piano were variously fast and running or featured melody and counterpoint that smoothly changed between the left and right hands. The forth bagatelle, Andante non troppo e grazioso, was perhaps the most characteristically Moshier – starting out slowly but with an exotic feel, turning more introspective with a question and answer dialogue in the passages. The contrast in dynamics in this section were nicely accented by Ms. Law and there were a number of sections that featured well-played counterpoint.
Bagatelle 7 featured a series of light arpeggios that gave a feeling of uplift with a counter melody that contained an elegant, distinguished polish reminiscent of a Beethoven sonata. The final bagatelle started as a fast, irregular series of notes – like code carrying some message. This was accompanied by a series of bright chords that gradually turned warm, followed by some nice syncopation in the right hand. The piece finished strongly in the deep lower registers , recalling the declarative feeling of the opening movement.
The music of Steve Moshier is most closely connected with the Liquid Skin Ensemble and this piano music was recognizably similar, with its precisely regular rhythms and crisp minimalistic repetition. Ms. Law provided an accurate, even reading – exactly what this music requires. The piano filled the recital hall with a big sound that was especially effective in the lower registers.
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The friendly confines of Boston Court in Pasadena was the venue for a concert by Los Angeles-based gnarwhallaby on Saturday, October 4, 2014. The quartet appeared complete with their trademark rock-solid playing and black jumpsuits for the performance of six pieces by European and American composers of new music.
The concert opened with Euphorium (1995-96) by the Czech composer Martin Smolka. This featured Matt Barbier on euphonium and Brian Walsh on baritone saxophone. Combined with the piano and cello this produced a wonderfully robust bass line and a big sound that bounced and jumped playfully about. The rhythms were fast, bold and angular with an active feel, like a city at rush hour. The composer describes this piece as follows: “The tempo is breakneck and there are too many notes leaping up and down the entire range and the irregular rhythms in alternate measures remind a maze… The score invites the players to find alien tones. It is full of indications to play out of tune and at times out of rhythm… It is a musical illustration to a Scrap Iron Art Manifesto.” Even so the playing by gnarwhallaby was tight and the irregularities well managed. As the piece progressed the driving rhythms often broke into a satisfying groove and this offered a measure of accessibility amid the split tones and intense textures. The overall feeling was like standing too close to a slightly out of control street band and enjoying the sense of imminent catastrophe. The piece eventually wound down with a quiet trombone solo that trailed off, as if by exhaustion. Euphorium is an exercise in joyful anarchy, accurately captured in this performance despite what is surely a challenging score to play. Read the rest of this entry »
On Friday October 3, 2014 Cal Arts opened the WaveCave, a new experimental sound installation space and hosted a reunion concert by alumni on campus at the Roy O. Disney Music Hall. The WaveCave occupies a room just off the lobby of the concert hall and is intended to be a permanent venue for sound art installation. The space will be filled with Experimental Sound Practices alumni works for the Fall of 2014 with current student works premiering in 2015.
Zephyrs, a sound installation by Mark Trayle is the initial work to appear in the WaveCave and included three separate assemblies consisting of a flask of glitter, a piezoelectric disk and electronics to actuate a valve in the flask and to drive the disk with ultrasonic square waves of various frequencies. A small amount of old glitter is periodically dumped onto the discs by electronic actuation and the sound energy applied to the disk causes patterns to form, change and disappear. According to the program notes “The ultrasound waves (and their lower frequency auxiliary tones) also create patterns of varying amplitudes and frequencies in the acoustic space.” The sounds that were audible were of a very high pitch and as one moved about they could be heard only in certain locations. Watching the glitter form and reform in patterns, seemingly on its own, was a fascinating visual component and created an effective focal point for experiencing this piece.
The evening continued with a series of pieces presented in the adjacent Roy O. Disney concert hall. The first of these was Body Wave by Daniel Eaton and this was performed by Matt Barbier and Daniel Eaton, both on trombones. A series of amplified electronic tones accompanied the horns and the first of these, a low pulse, filled the hall with a warm wash of sound. At one point the combination of trombones and electronics was powerful enough to evoke a train horn and the sound seemed to move from left to right. Later in the piece it felt like being inside a large machine, immersed in the sounds and pulses of its inner workings. The combination of amplified trombones and electronics worked well together, and this was a also a tribute to the sound system.
Noctiluca Scintillans by Cooper Baker was next and this piece was realized with a series of hanging tubes, microphones and software. According to the program notes, the system consisted of “Hanging acrylic tubes containing bead chains generate acoustic impulses that trigger and control the synthetic sounds… Each tube has a contact microphone embedded in its cap, and when a tube is tapped or shaken the vibrations are transmitted to a computer running custom signal processing software.” Cooper Baker used small mallets to strike the tubes, and it was much like watching bell chimes played. Some of the tubes produced a running, liquidy sound when struck, another sounded like something from an arcade game. Still others had musical chime-like tones. Cooper Baker was able to create different moods and textures during the course of this piece by striking the tubes in various combinations – sometimes the resulting sounds were soft and lovely, other times more intense and complex. Noctiluca Scintillans is an impressive attempt to connect computer-processed sounds to a device suitable for performance.
Loud Sleep by Stephanie Smith followed and this was an ingenious mix of small motors, bells, magnets and mechanisms suspended in the air by strings from a cross bar. Then entire installation fit on a small table and microphones were used to amplify the tiny mechanical sounds. The different mechanisms were started each in turn, and went clicking merrily away, going in and out of phase with each other. The result was a charming, almost organic sound – like listening to mechanical crickets. At one point it sounded like the room was full of ticking alarm clocks, but overall this piece produced a playful feel that was complimented by the simplicity of its concept and construction.
A more dramatic work came next, COMPRESSIONOFTHECHESTCAVITYMIRACLE by Ezra Buchla. The program notes state that this piece incorporates “Gesture and sound-inducing narratives [that] collide with software-induced limitations via nonlinear functional mappings in time and harmonic space, resulting in a spectrum of shifting tensions between intimate somatic texture, crystalline tonality, abrasion and emptiness.” Mostly electronic in nature, although at times a viola played by Ezra was incorporated into the mix, the low rumbling, roaring and moans gave a convincing approximation of what it must be like inside a body cavity. A heartbeat could be distinctly heard. There was a sense of being semiconscious and the overall feel was one of a bleary melancholy. As the piece concluded the tension escalated as higher pitches joined in, culminating in a sort of slow scream. COMPRESSIONOFTHECHESTCAVITYMIRACLE certainly delivered on its title and effectively conveyed the listener to its unique point of view. Read the rest of this entry »
At Window Rock: ETHEL’s Kip Jones, dear friend James Bilagody, Jesse and Fiona Sherman.
For the past decade, the nationally acclaimed string quartet ETHEL has served as the Ensemble-in-Residence of the Grand Canyon Music Festival’s Native American Composer Apprentice Project (NACAP). To date, ETHEL’s residency has impacted almost 18,000 students, premiered over 150 works by Native American children, and touched more than 15 schools throughout Utah, Arizona, and New Mexico. For about three weeks, the quartet conducts intense, one-on-one tutorial sessions, readings and rehearsals to help student composers refine their works. They then showcase the children’s pieces at school performances, all culminating at the public performances at the Grand Canyon Music Festival, which are recorded and sometimes later aired on National Public Radio (NPR). In the post that follows, ETHEL founding member, artistic director and viola Ralph Farris reports on the quartet’s most recent residency.
by Ralph Farris
From late August through early September, NACAP students (ages 13-21) participate in composition intensives in schools across Arizona, Utah and New Mexico, under the expert tutelage of superstar Native American composer Raven Chacon and his brilliant associates Trevor Reed, Blair Quamahongnewa and Mike Begay. Resident ensembles then visit these schools and workshop with the young composers on their new works, working out all the nitty-gritty details in service of the composers’ intentions. This new music is then performed at school assemblies – showcasing the young local talent, and celebrating these students’ work, right there, in their home communities. The resident ensembles then pick up and drive 100+ miles to the next school, and do it all again the next day.
After a fortnight of criss-crossing the Southwest, the resident ensembles ultimately arrive at Grand Canyon National Park, where the festival presents ALL of the new student pieces in a marathon concert. Each year there are some 30 pieces presented; the event is recorded and each student is provided a CD of their own work – for future study, for college applications, for sharing with grandmother…
Several of our NACAP students are now in music school; several of them are pursuing other career paths. All of them have been deeply moved – as has ETHEL – by their work with NACAP. Through this festival, these young people see themselves anew – they find their voices. And in turn, ETHEL has found new depth, new color, new joy – in ours.
NACAP itself has received numerous honors, including NewMusic USA’s New Music Educators Award, Arizona Governor’s Arts Award, and an Award from The President’s Committee on the Arts and the Humanities(!). Our NACAP students have even been visited by John Lennon Educational Tour Bus.
What an amazing thing that happens each year in the Southwest! What a gift it has been for ETHEL to be a part of this extraordinary program!
ETHEL has enjoyed inspired collaborations with groups and soloists through our tenure with NACAP. In 2011, we were very pleased to welcome the Sphinx Organization’s powerhouse Catalyst Quartet as the NACAP Fellowship Quartet. This season, we were thrilled to work with trombone ensemble the Guidonian Hand, as well as ETHEL’s former (and founding) member, Mary Rowell. Under the auspices of this festival, ETHEL has toured the Southwest with Hawaiian slack-key guitar virtuoso Jeff Peterson, Bluegrass legend Dean Osborne, and Taos Pueblos’ master of Native American flute, Robert Mirabal.
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[Editor’s note: Samuel Vriezen is a brilliant Dutch composer, performer, poet, polymath… oh, let’s just say the list goes on. I’ve known Samuel — online, at least — for the better part of 15 years now, following his artistic and aesthetic progression, getting into stimulating conversations and sharp smack-downs along the way. Just the other day Samuel approached me with an essay that he’d been working on, that he felt might be ready for a wider audience through a place like S21. Of course I immediately agreed; Samuel has one of the sharpest minds I know, and whatever rolls around and finally drops from it to the page is quite likely worth a bit of our time to read.]
OUTSIDE OF MUSIC — On the role of the audience
Heiner Goebbels, composer, director and a major presence in contemporary German music theatre, gave a presentation at a conference devoted to Gertrude Stein and the arts in May 2014 in Copenhagen, on his use of Stein’s work. For him, Stein’s vision of a theatre piece as a landscape to be enjoyed rather than a drama to be followed was highly inspiring for his own theatrical conceptions. In passing, Goebbels made a very interesting remark. All you need to make theatre, he claimed, is an audience. What he meant was that it is the audience that completes the theatrical experience. If you present an audience with any staged image, you practically don’t even need actors any more, as the audience will invite itself into making it a theatrical experience, into filling in the drama itself. You just need to give it a landscape, something to look at, well staged and probably with stuff happening in it; but what the theatre really only requires is the audience.
This struck me as a strongly theatre-based approach to the audience, one very much about presenting a spectacle, about the experience of watching and presenting, perhaps even about ‘communication’. My own focus as a composer being mostly on chamber music, I couldn’t imagine myself making such a statement at all. In chamber music, you really need some performers – something that is even true of a piece like 4’33”, which only requires (a) dedicated performer(s), more or less inviting the audience to become a performer itself.
The next day at the symposium, Andrzej Wirth, a major figure in German theatre one generation older than Goebbels, was interviewed. Wirth, who had collaborated with Brecht in his youth, and who had himself used Stein’s work in his productions, seemingly made the exact opposite claim during his talk: the audience, he said, is an obstacle, something that threatens to get in the way of theatre. The point being that the theatre is what happens, what people on stage do, the whole action of it, rather than its passive consumption (a position that fits the tradition of the Brechtian Lehrstück well.)
Instinctively, I found myself more sympathetic. The idea that an audience is needed for something to be music is quite evidently not true. If I play piano at home, just because I feel like it, there is no audience. There is only me, the performer, working at the music, and even if this involves my hearing and listening in the process, it doesn’t make me into my own audience. In fact, it has always been my feeling that the vast majority of music that gets practically made by humans does not involve an audience. For instance, ritual music – and let’s interpret ‘ritual music’ broadly: a birthday song at a party or a stadium of supporters chanting to inspire its team could be an example just as much as liturgy being chanted or a village tribe honoring its ancestors. Likewise, there is music that is merely play, or a way to pass time. There is humming to yourself; there are the songs that are part of children’s games; there is practice, which is playing for the sole purpose of getting better at playing. Work songs, campfire songs, protest songs. Clearly, to think of such events in terms of ‘performer’ and ‘audience’ would be to miss the point completely. All these things are music; none of them involve an audience.
Yet it is not quite satisfactory to see the audience as an obstacle. Even if it should be true that the main thing that happens would be the process among actors or musicians, that does not necessarily imply that the audience has no role to play. Surely it must have one, or we wouldn’t spend so much time organizing concerts. But what is this role? Read the rest of this entry »
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Posted by Wes Flinn in Contemporary Classical, Review, tags: Ann DuHamel, ensemble: Périphérie, George Crumb, Joseph Dangerfield, Karim Al-Zand, Kumhee Lee, Libby Larsen, Luke Dahn, Michelle Crouch, Rebecca Ashe, Stephen Fine, Tomasz Skweres, Yasmin Flores
(image source ensemble: Périphérie)
A common theme in my reviews is that new music is what and where you make it. ensemble: Périphérie ascribes to the same philosophy. The group, founded in 2010 by composers Luke Dahn and Joseph Dangerfield, contains performers from all over the United States; they get together a few times a year for a week of intense rehearsals and a short tour. Make no mistake, though; while the rehearsal time may be brief, these musicians are skilled and the performances are high-quality.
The group started its Fall 2014 tour at the University of Minnesota Morris, where pianist Ann DuHamel is on the faculty. (Full disclosure: So am I.) The concert opened with Karim Al-Zand‘s work Hollows and Dells (2010) for viola and piano, played by violist Stephen Fine and DuHamel. The work, cast in three movements, is based on the composer’s recollections of attending an English-style boarding school, and features paraphrases and arrangements of stacking songs, hymn tunes, and a reel that can only be described as a moto perpetuo. It is a fun and exciting work, and was performed with a high level of fun by Fine and DuHamel.
The second piece, Tomasz Skweres‘s Direkt (2006), is a setting of Psalm 14 for soprano, flute, and cello. One of the longer pieces on the program, it taxes the skills of all performers, with substantial use of extended techniques for the players. Soprano Michelle Crouch ably negotiated the intense vocal line, which required both control and power, and flutist Rebecca Ashe and cellist Kumhee Lee tackled their difficult parts with aplomb.
Co-founder and co-artistic director Dangerfield was represented by Broken Obelisk (2013). Originally for saxophone and piano, this version was played by clarinetist Yasmin Flores and DuHamel. The work was inspired by Barnett Newman’s sculpture of the same name. This effective piece showcases the sound of the instruments beautifully, and uses modes and little bluesy licks to great effect.
If it’s Minnesota, you’ll find some Libby Larsen. Flores, Fine, and DuHamel presented two movements of Black Birds, Red Hills (1987). This work, which draws inspiration from Georgia O’Keeffe’s paintings of New Mexico, provided a solid close to the first half of the program.
After intermission, co-founder and co-artistic director Dahn’s Confessions of St. Augustine (2009, rev. 2014) was performed by Crouch, Flores and DuHamel. Originally for soprano and orchestra, this adaptation for soprano, piano and clarinet used two texts by the 4th-century theologian for a work that was by turns austere, intense, and expansive. Dahl did a fine job condensing the orchestral textures for the reduced forces; the interplay between the players signified a great familiarity with each other.
For any other group, a program this ambitious would have been sufficient for a full evening of exciting and interesting music. In this case, however, the organization also presented George Crumb‘s Vox Balaenae (1971), which counts as a venerable war-horse in new music circles. For this performance, flutist Ashe and cellist Lee were joined by Dangerfield on piano. The trio handled the extended techniques with grace and style, and gave the work a solid, powerful interpretation.
For a group that only rehearses and performs in short bursts, ensemble: Périphérie (which draws its name from a quote by Henri Dutilleux) shows a maturity and skill that should serve as an inspiration to other ensembles. The group played Carnegie Hall in October 2013 to outstanding reviews, and their devotion to quality performances of challenging music should resonate with other composers and performers. Here’s hoping they come to your town sometime soon.
On Tuesday, September 9, 2014 the Southland Ensemble presented a concert of the music of Pauline Oliveros at Human Resources in the arts-friendly Chinatown district of downtown Los Angeles. The performance space, with its wide open floor and lively acoustics was the perfect place given that the works of Ms. Oliveros typically include a theatrical component. The seating, arranged logically around the perimeter, was completely filled by those attending.
The concert opened with Sonic Rorschach (1971) and for this groups of electric fans were arrayed in the corners to provide white noise, as called for in the composers notes for this piece. A member of the Southland Ensemble was also stationed in each corner to model a contemplative pose for the audience as they filed in. After a dozen or so minutes, when all were seated and quiet, the ensemble rose together, each holding a percussive whip – two wooden slats joined by a hinge. At a signal, all the whips sounded simultaneously with a single loud crack that reflected nicely off the cement walls. The single sonic pulse from the whips was delivered with remarkable precision, given that the players were several dozen feet apart. The performers then resumed their seats as the piece concluded, immersed in the meditative white noise of the fans. Sonic Rorschach is scored for a duration of 30 minutes – and this performance was probably close to that – the time spent in meditation was a useful prelude to the rest of the concert.
Thirteen Changes (1986) followed, performed by Eric KM Clark on violin. For this piece there was recorded narration of thirteen phrases such as “Standing naked in the moonlight – Music washing the body.”, “Rollicking monkeys landing on Mars”, “A singing bowl of steaming soup”, etc, and these preceded a short impression of the text by the violin. This was also accompanied by recorded samples and audio effects – skittering and swirling, or at times a wash – and various other recorded sounds. Eric KM Clark created all of this and his voice read the text. In one sequence there were the sounds of a forest coming from the speakers, and the violin answered with a sort of mooing, matching the organic character of that segment. A distinct sentimentality is brought into the recorded mix by the violin. This seems characteristic of Ms. Oliveros work – which seems to exist at the conjunction of human emotion and ambient sound. The playing by Eric Clark was controlled and precise and nicely complimented the evocative recordings.
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On August 27, the Seoul Philharmonic Orchestra, conducted by Myung-Whun Chung, in its first appearance at the Proms, included, along with Debussy’s La Mer and the Tschaikovsky Sixth Symphony, Šu, a concerto for Sheng and orchestra by their compatriot Unsuk Chin, with soloist Wu Wei. The sound of the sheng, which is ethereal, if not down right ineffable, dominates the work. Not only does the soloist plays almost continually throughout the work, but the orchestra’s music grows out of the music of the sheng, expanding and amplifying it. Šu, whose title comes from the name of the ancient Egyptian god of air, begins with high motionless clusters of notes, which expand and move downward in register, developing tremors and vibrations as the work progresses. The whirring motion of these slowly moving harmonies eventually develops into genuinely fast music and then a short sort of thumping dance-like section, which evaporates, leaving reminisces of the beginning, literally echoed by instruments in the back of the hall (or in the case of the Albert Hall, from somewhere in the upper tier of the boxes). The delicacy and beauty of the sound of Šu and the profound mastery of the instrumental writing is remarkable and the impression of the work lasts long in this listener’s memory. Ms. Chin apparently had avoiding writing for Asian instruments until she encountered Wu Wei’s playing, and one can easily understand why the encounter changed her mind. His playing combines overwhelmingly virtuoso playing with irresistibly compelling musical expressiveness. I’ve been trying not to use the word “astounding,” to describe it, but…
On August 20, The West-Eastern Divan Orchestra, conducted by Daniel Barenboim, presented a concert which largely had a Spanish connection, albeit in a rather roundabout way. The concert began with the Overture to the Marriage of Figaro by Mozart, set in Seville, and its second half consisted of pieces by Ravel which are contributions, as the program said, to the rich repertoire of Spanish music by Frenchmen, Rhapsodie espagnole, Alborad del gracioso, Pavane pour une infante défunte, and Boléro. The orchestra’s playing in all of this music was elegant, stylish, polished, and just about perfect. Perhaps the most interesting aspect of this concert, and more closely allied with the goals of the enterprise which the orchestra is, though, was the bulk of its first half, which included works by the Israeli composer Ayal Adler and the Syrian-American composer Kareem Roustom, both receiving their first UK performances. Adler’s Resonating Sounds presents, across its two movements, the first slower and the second faster and more intense, different realizations of the image evoked by its title: sometimes simple echoes of loud and forcefully jabbing chords, and alternatively immense motionless and rather ominous clusters succeeded by lightly swirling and shimmering textures of micro-polyphony. The title of Roustom’s work, Ramal, is the name of the pre-Islamic arabic poetic metre on which its rhythm is based. The irregular and jagged rhythm underlies a driving and intensely dramatic music which occupies the bulk of the work’s durations is occasionally broken by slower uneasy brooding moments. Although not overtly programmatic, Roustom intended it to suggest “the unsettled state of the world, specifically the devastating current situation in Syria.” Both of these pieces received intensely vivid and rhythmically vibrant performances on the same level as those of the Ravel pieces that followed.
On the ninth of August, the Hallé Orchestra, conducted by Mark Elder, included, along with performances of works of Berlioz, Elgar, and Beethoven, the first London performance of Near Midnight by Helen Grimes. In a mood suggested by a poem of D. H. Lawrence, Near Midnight consists of an initial assertive clanging music whose echoes dominate and roll through the succeeding three sections, finally dying out at its end. The piece is thoroughly expertly written and orchestrated with spit and polish, in a thoroughly British manner heavily indebted to and reminiscent of Britten and Knussen.
Late in the afternoon of August 20, preceding the concert of the West-Eastern Divan Orchestra, the Aurora Orchestra, conducted by Nicholas Collon, performed works written by the winners and the highly commended contestants of the BBC’s Inspire competition for pre-college composers, chosen by a panel of judges including composers Stuart MacRae, Anna Meredith, Martin Suckling, Fraser Trainer, Judith Weir,and Radio 3 Editor Jeremy Evans. The pieces were written for ensembles ranging from duos (La Trahison des Images, for ‘cello and piano, by Harry Castle, and Dithyramb, for bassoon and piano, by Mattew Kitteringham) to chamber orchestra (Mirror, Mirror by Matthew Jackson, Study in Anarchy by Rob Durnin, and Dis-pulsed by Harry Johnstone), with other varied instrumentation in between (Two Cells, for flute, oboe, and bassoon, by Nathaniel Coxon, Underneath for vocals and beat boxer, by Anna Disley-Simpson, The Unteachable Lesson for string quartet, by Edward Percival, Furu Ike Ya? For timpani and tape by Electra Perivolaris, and Two of Three Pieces for pierrot ensemble and percussion by Thomas Carling). There was also one family affair, since among the winners were Pilgrimage, for harp and two percussionists, by Thomas Sparkes, and The Throstle, for soprano, flute, cello, and piano by his older sister Sophie Sparkes, which set a text by their father, Edward Sparkes. The works were given serious and respectful attention and highly polished and eloquent performances. The concert also included the first performance of Darkened Dreams, commissioned by the BBC from Tom Harrold, an alumnus of the Inspire program and a current graduate student at the Royal Northern College of Music. The work, for instruments with a tape part whose source sounds were submitted by listeners of Radio 4’s PM program; it was in fact broadcast immediately on Radio 4. The other performances were recorded for later broadcast on Radio 3, along with works by Jacob Davies, Tammas Slater, Toby Hession, and Kieran Timbrell, which were recorded for the broadcast, but not performed on this concert.
That broadcast, along with the other concerts can be heard at http://www.bbc.co.uk/ programmes/b007v097/episodes/player
The birthdays of Harrison Birtwistle and Peter Maxwell Davies, both of whom turn 80 in 2014, is one of the major focuses of this year’s Proms. Each has a complete Proms Portrait matinee concerts in Cadogan Hall dedicated to their music on August 30 (Davies) and September 6 (Birtwistle), and Davies’s birthday, on September 8, is marked with a late night Prom in the Albert Hall. Unfortunately I will not be around for any of those concerts, but I have heard other concerts marking the birthdays.
On August 9, in Cadogan Hall on a Saturday matinee concert combined the birthday strand with another theme of this summer’s Proms, presenting orchestras new to the festival and from far afield. The Lapland Chamber Orchestra, conducted by John Storgårds, presented a concert which included Birtwistle’s Endless Parade, with Håkan Hardenberger as the trumpet solo, and Davies’s Sinfonia. The Birtwistle, for trumpet with vibraphone and strings, written in 1987 for Hardenberger, was intended by Birtwistle, who had, he said in the short discussion before the performance, cubism on his mind, as a study in discontinuity, cross cutting six kinds of music, with different tempi, figuration, and textures, in disconnected and apparently illogical ways. Birtwistle also apparently had Stan Kenton on his mind, and there is from time to time a sort of whiff of jazziness in the music, although that may be as much an effect of the sound of the vibraphone as the actual notes.
The Davies Sinfonia was written in 1962, after he had studied in Italy with Petrassi, but before he had gone to Princeton to study with Sessions and before he had begun work on Taverner, the central work of his early career. It was written under the influence of the Monteverdi Vespers and makes use of procedures from that work. The work is in Davies’s earlier, post-Webernesque Euoprean modernist style, but nonetheless has in it the beginnings of the isorythmic cantus firmus procedures that one recognizes in slightly later and possibly more characteristic piece such as Antechrist.
Both of these works received very strong, very strongly characterized, and highly persuasive performances. The concert began with a Symphony by Carl Philipp Emanuel Bach, and also offered, between the Birtwistle and Davies, Honegger’s Pastorale d’été, and ended with Rakastava by Sibelius, a very beautiful piece for strings and percussion, of whose existence prior to this concert I had been completely unaware.
Storgårds conducted the BBC Philharmonic on August 14 in Proms concert at Albert Hall that featured Davies’s Fifth Symphony, along with works of Sibelius (Finlandia and the Second Symphony) and Frank Bridge (Oration for ‘cello and orchestra, with Leonard Elschenbroich as the soloist). Written in 1994, when Davies performing career had moved from working with The Fires of London to conducting orchestras, mainly the BBC Philharmonic and the Scottish Chamber Orchestra, the Symphony is in one movement and reflects Davies’s involvement at the time with the Sibelius Sixth and Seventh Symphonies, which had figured in his repertory. The Symphony which at first seems to be in discontinuous shards, consists of the braiding of a fast music with increasing intensity and emphaticness and an equally impassioned and forward moving slow music with a motionless music providing moments of stasis in the overall progress, which in certain respects resembles the arc of the Sibelius Seventh Symphony. It is a highly dramatic piece and it received a very dramatic and impassioned, although somewhat under-shaped performance. This Prom was preceded by a Composer Portrait concert at the Royal College of Music in which Davies talked to Andrew McGregor about his chamber works Antechrist, Runes from a Holy Island, and Six Sorano Variants, which were given excellent performances by Musicians of the London Sinfonietta Academy.
Two nights earlier The BBC National Orchestra of Wales, conducted by Thomas Søndergård, presented the suite from the second act of Davies’s ballet Caroline Mathilde, along with the Violin Concerto of William Walton and more music of Sibelius, The Swan of Tuonela and the Fifth Symphony. Walton’s rather elegant and glamorous concerto is just the sort of piece that one would have written for Heifetz, who, in fact, commissioned it and gave its first performance, and it received a suitably luxurious performance from James Ehnes. Davies’s ballet is about the misadventures and eventual downfall of the title character, the sister of George III of England who, at the age of 15, was married to the Danish king Christian VII and who became the lover of his person physician, with attendant unfortunate personal and political consequences. The music from the ballet is, compared to more austere and abstract works such as the Fifth Symphony, relatively easy listening and depicts fairly clearly the story line of the choreography. The performance mirrored the clarity and sonorous beauty of the orchestral writing.
Davies’s birthday is also being celebrated by other festivals. The North York Moors Chamber Music Festival in North Yorkshire between August 24 and August 30 features a work by him on each of their concerts. I heard the concert on August 25 in the beautiful Victorian Gothic Church of St. Helen’s and All Saint’s, in Wykeham, in which the Quartetto di Cremona began the concert with the Beethoven Quartet, Op. 74 and ended it with Davies’s 6th Naxos Quartet. In the between another quartet, consisting of Zsolt-Tihamér Visontay, Simone Brown, Meghan Cassidy, and Jaimie Walton played the Berg Lyric Suite. The 6th Naxos Quartet is a big, thirty minute long, impassioned piece which interpolates into a fairly traditional four movement layout, two short “arrangements” of plainsong hymns for the third Sunday of Advent and for Christmas Day, the day the piece was finished. All of the performances on this concert were outstanding.
The Proms was also marking the 80th birthday of the British born American composer Bernard Rands with the first UK performance of his Piano Concerto performed by Jonathan Biss and the BBC Scottish Orchestra, conducted by Markus Stenz. The Concerto is an imposing work which presents the soloist as a predominant member of the ensemble rather than, as Paul Conway’s program note said, “a protagonist striving heroically for supremacy over massed accompanying forces.” After a bright and lively first movement, entitled Fantasia, the second and third movements, were not clearly enough differentiated, especially in terms of tempo, as opposed to speed of figuration, to remain as separate impressions on this listeners memory.
On August 17, the BBC Scottish Symphony Orchestra and Andrew Manze presented a concert entitled “Lest We Forget,” to commemorate the centennial of the First World War. The first half consisted of works written by composers who died in the war. The German composer Rudi Stephan (1887-1915), who died in the trenches of Galicia on the eastern front, was represented by Music For Orchestra from 1912, which was steeped in the language of late German romantics particularly Strauss. The Elegy for Strings in memoriam Rupert Brooke (who had himself died in the Navy in the war) by Frederick Kelly (1881-1916), who died in the last phase of the battle of the Somme, reflects more of the language of Debussy. Both of these works were indications of great potential as yet unrealized, especially the Stephan. A much stronger and more personal impression was made by the Six Songs from ‘A Shropshire Lad’ by George Butterworth (1885-1916), who also died on the Somme. He was a more fully developed composer, and several of his works, including these songs, which he wrote with piano accompaniment, but were performed here in a orchestration by Phillip Brookes, are fairly well known and not infrequently performed. Two of them, Loveliest of Trees, and The Lads In Their Hundreds, are, I think, particularly good. They were sung, more of less perfectly, by the baritone Roderick Williams, with a beautiful sound and perfect British English diction; it is hard to imagine anyone ever doing them better. The concert ended with the Vaughan Williams Third Symphony, written after the war, but formed by his experiences as an ambulance driver in France during the conflict. I was very excited to hear this piece, which I’ve know since I was in high school, but had never heard live. The performance was all that one could wish for. There were a number of other Vaughan Williams pieces on the Prom presented by the BBC Symphony Orchestra, conducted by Sakari Oramo, on August 13: The Overture to the Wasps, The Lark Ascending, and his big ballet (or as he called it ‘a masque for dancing’) Job. These performances were rather less radiant than that of the Symphony, but they did bring to mind what a very good composer Vaughan Williams was, and, especially in pieces like Job, people often don’t remember, a modernist.
All of the Proms concerts can be heard at http://www.bbc.co.uk/programmes/b007v097/episodes/player