Posts Tagged “Tanglewood”
Guest conductor David Fulmer leads TMC Fellows in Pierre Boulez’s ‘Derive 1,’ 7.24.16 (Hilary Scott)
The Sunday concert at Tanglewood’s Festival of Contemporary Music is always something of a marathon. It starts at 10 AM and is chock full of offerings that usually challenge the ear as much as tantalize it. The Sunday concert has traditionally also been the one that tests the capacities of the TMC Fellows most thoroughly. This year was no exception, although it was a horse race between Sunday’s chamber music concert and Monday’s presentation of Messiaen’s formidable Turungalila-Symphonie, a work that vibrated and thundered with intensity, shaped with eminently detailed care by conductor Stefan Asbury.
Ander’s Hillborg’s Brass Quintet is one of his most often played pieces, and one can readily hear why. Its opening antiphonally spiralling textures reveal a kinship to a more recent orchestra piece, Hillborg’s Vaporized Tivoli: both make a similarly captivating impression. There is an excellent use of repeated note textures, and the bold harmonic language makes it clear he’s studied a fair bit of Copland.
Brett Dean’s Sextet (Old Kings in Exile) is a cleverly crafted Pierrot plus Percussion piece with a number of scoring touches that set it apart from the average piece in the genre. There’s the clever use of percussion, with bowed vibraphone and gongs occurring simultaneously to create a two-headed beast of an instrument. The middle movement gives a nod to Carter’s Triple Duo by splitting the ensemble into a double trio. There’s also some mid-movement scordatura that changes up the harmony and proves to be quite an impressive feat from the strings. Jonathan Harvey’s Song Offerings, settings of Tagore, featured soprano Sarah Tuttle. The piece combines several of the composer’s harmonic interests, including spectralism, microtonality, serialism, and modality. Glissandos and melismas are ably deployed to further variegate the texture.
David Fulmer has appeared at Tanglewood as a string soloist and composer. In the intervening time he has added conductor to his resume, and he did a fine job leading two pieces on Sunday’s concert. The first was Pierre Boulez’s Derive 1, one of his finest chamber pieces from the 1980s. Much shorter than his later Derive 2, seven minutes compared to nearly an hour, it is a compact utterance, but an eloquent one. Long sustained harmonic regions are parsed out again fast melodic filigrees and rapid trills. Christian Rief led Franco Donatoni’s Arpege, a piece that was originally a vibraphone piece and was later built up to a Pierrot plus Percussion Sextet. As one might expect, the vibraphone’s arpeggios lead the proceedings, in a curious amalgam of post-tonality and minimalist figuration. The ostinatos appear in almost “locked hands” scoring at first, then gradually stagger to create a lustrous shimmering from the ensemble.
Fulmer returned to the podium to conduct Harold Meltzer’s song cycle Variations on a Summer Day, settings of Wallace Stevens. The cycle has grown over time; I saw an earlier performance at Symphony Space that had, if recollection serves, around eight songs. It has since expanded to sixteen. Not only are the Variations longer, they have become more elaborate. There is a use of microtones in the winds that is quite attractive. The vocal part, here performed by the estimable Quinn Middleman, takes up far more vertical real estate, casting down into a nearly contralto register and up to high soprano notes. Middleman is billed as a mezzo soprano and her effort here was impressive, but I’m curious if subsequent performances might benefit from using two singers, a mezzo and a soprano, to better capture the distinct registers required by the songs. It is clear that Meltzer has lived with the poetry for a long time, and his settings of it are imaginative, ranging from terse utterances to attractively varied textures. Those who eschew the morning hour on Sundays at the Festival of Contemporary Music miss out.
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Saddening news. Gunther Schuller has died at the age of 89. A musical polymath, Schuller was active as a composer, conductor, arranger, historian, educator, arts administrator and, earlier in his career, French horn player. He pioneered the concept of “Third Stream” music: works that combine influences and materials from jazz and classical music.
In Schuller’s honor, today I’m listening to a Boston Modern Orchestra Project recording of his pieces for jazz quartet and orchestra. Given all of the attempts over the years to synthesize jazz and classical, it is amazing how fresh these pieces remain, how effortlessly Schuller (and BMOP) move from one style to another, and how seamlessly they blend the two.
I was looking forward to this summer’s tribute to Schuller at the Festival of Contemporary Music at Tanglewood. Now this concert, with Magical Trumpets, a new work by Schuller, as well as his formidable Concerto da Camera, will serve as an elegy in memory of an extraordinary man of extraordinary talents.
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After all this music, maybe a hike?
Three Concerts in One Day! Twelve pieces, including two one-act operas: 6 1/2 hours of music.
Here’s what we heard:
Fantasia for String Trio …Irving Fine
Ten Miniatures for Solo Piano … Helen Grime
Circles … Luciano Berio
Piece pour piano et quatuor de cordes … Oliver Messiaen
Since Brass, nor Stone … Alexander Goehr
Design School … Michael Gandolfi
2:30 PM (BSO in the Shed)
An American in Paris … George Gershwin
Seven Studies on Themes of Paul Klee … Gunther Schuller
Prelude, Fugue, and Riffs … Leonard Bernstein
Piano Concerto in F … George Gershwin
8 PM Two one-act operas
Full Moon in March … John Harbison
Where the Wild Things Are … Oliver Knussen
Christian’s Top Three
Knussen – a momentous experience to hear this live!
Fine – Beautiful performance. Makes me want to know his work better.
Schuller – His best piece: hands down.
Kay’s Top Three
Knussen – I loved how he evoked the different locations & moods — and the barbershop quartet near the end!
Gershwin – An American in Paris – It transports me to Paris every time I hear it. It was stunning to hear it played so beautifully by the BSO (in terrific seats!)
Messiaen – Unexpected sound qualities from the instruments – hearing a piano quintet played in such an exciting, colorful, and fresh way.
We both also enjoyed Helen Grime’s music a great deal. She’s a special talent – keep an eye out for her!
Tomorrow – Elliott Carter premiere!
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- Knussen conducts Maderna. Photo credit: Hilary Scott
The 2010 Festival of Contemporary Music at Tanglewood has moved away from its recent model of having a solo curator conceive the festival. Instead, the curatorial duties are shared by three of its longtime faculty members: Gunther Schuller, Oliver Knussen, and John Harbison. The focus this year is on Tanglewood’s past and present faculty composers. Far from feeling like ‘old home week,’ the programming has demonstrated a wide range of stylistic diversity among those who’ve taught at Tanglewood. In addition, one can observe how each successive generation of Tanglewood students has benefited from their instruction here and, in several cases, returned to mentor the Festival’s next generation of up and coming composition fellows.
Thursday August 12’s concert felt the curatorial presence of Gunther Schuller looming large, although the composer himself wasn’t present (apparently, he has a conflicting commitment at the Edinburgh Festival). One could hear why he might be attracted to George Perle’s Concertino for piano, winds, and timpani (1979). Though Perle isn’t generally known for jazziness in his music, the Concertino mixes some lushly voiced verticals – recalling Gershwin or, indeed Schuller in Third Stream mode – amidst the otherwise prevailingly neoclassical ambience. William McNally played the solo piano part with dextrous execution. Both he and the ensemble, led by Cristian Macelaru, provided a well prepared account of the Concertino, sensitively shading its complex harmonic palette.
Theodore Antoniou’s Concertino for Contrabass and Orchestra (2000) was a virtuoso showcase for soloist Edwin Barker. Rhythmically propulsive and harmonically eclectic, it demonstrated a host of playing techniques for the instrument. Barker rose to every challenge, suggesting that the bass fiddle is not just some lumbering beast to be kept confined to anchoring the orchestra’s low end. Rather, in Barker’s hands, it proved nimble, wide-ranging, and capable of thrilling effects: one especially noticed the brilliant glissandi harmonics.
Schuller’s Tre Invenzioni (1972) an angular piece for five spatially dispersed chamber groups, was conducted by Oliver Knussen, who artfully shaped its often punctilious, angular surface. One didn’t envy the students for having to tackle some of the exposed and punishing altissimo lines Schuller put in their paths. But it was an impressive rendering of this unforgiving and formidable piece.
Written in 1922, it’s somewhat curious to find Paul Hindemith’s Kammermusik No. 2, an incisive but conservatively neoclassical work, on a festival devoted to contemporary music. But Hindemith did indeed serve on Tanglewood’s compositional faculty back in 1940-41. That connection alone might not suffice for some, who might wonder why they couldn’t program one of his more daring works. But the piece was well worth hearing if only to enjoy pianist Nolan Pearson, who played with dazzling virtuosity and impressive, almost Mozartean, elegance, as well as the fine support he received from an ensemble conducted by the youthful up and comer Alexander Prior.
The highlight of the evening was a thrilling performance of Bruno Maderna’s Il Giardino religioso (1972), led by Oliver Knussen. Dedicated to longtime Tanglewood patron Paul Fromm (the title’s religioso is a pun on the meaning of Fromm: “devout”), this chamber orchestra piece contains quasi-aleatoric complexity and bold theatricality.
Things began with a bit of a snag. In the midst of the work’s hushed introduction for antiphonally seated solo strings, an audience member took a cell phone call, interrupting the proceedings. Sans histrionics, Knussen stopped the performance, tramped offstage, and returned after a moment. “Let’s try again,” he said.
One was certainly glad that he did, as the delicate balance of the resumed opening brought the now raptly attentive audience into a fascinating labyrinth of sounds. Knussen got to do double duty as a performer, first playing chimes, then drums, and finally celesta. The piece builds to a ferocious climax which is punctuated by two large cymbals being flung to the ground. In a gradual denouement, it returns to gently haunting antiphony. Incantatory music, magically rendered. Makes me want to hear much more Maderna!
The festival continues through Monday, August 16th. Stay tuned for more dispaches from Lenox.
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