To bring my Lent Series to an end, i’ve chosen a work rather fitting to the general atmosphere of Easter Eve, Rebecca Saunders‘ Void, for two percussionists and chamber orchestra. Saunders was recently awarded the 2015 Mauricio Kagel Music Prize, for composers who, among other things, “are forever in search of new forms of artistic expression and explore new aspects of musical reception”; it’s a description that aptly summarises Saunders’ music in general, and Void in particular. The work bears a few familiar hallmarks, beginning with a typically allusive single-word title, allusions that once again find the beginnings of their articulation in the writings of Samuel Beckett. On this occasion, Saunders’ inspiration comes from the last of Beckett’s tortuous Texts for Nothing; the text doesn’t actually include the word ‘void’, although it would seem to be an implicit omnipresence behind the breathless monologue, which, in reference to a ‘voice’, bears resonances with Saunders’ earlier work, not least her 2006 ensemble work a visible trace:
A trace, it wants to leave a trace, yes, like air leaves among the leaves, among the grass, among the sand, it’s with that it would make a life, but soon it will be the end, it won’t be long now, there won’t be any life, there won’t have been any life, there will be silence, the air quite still that trembled once an instant, the tiny flurry of dust quite settled.
For the penultimate work in my Lent Series exploring concertos, i’m turning to the innovative Norwegian composer Arne Nordheim, who died in 2010. He composed Spur for accordion and orchestra 40 years ago; the title is a German word meaning ‘track’ or ‘(foot)print’, which here, in part, relates to the sociological connotations that the concerto has for Nordheim:
The history of the concerto as a medium of communication is without any doubt closely interlinked with its role as intermediary between social convention and individual freedom and the process through which individual creativity is absorbed to become common property, leaving behind footprints and signposts in culture.
The programme note also alludes to the footprints made by the soloist on the rest of the players. And this, i think, is what projects most immediately, as the accordion’s very particular timbral qualities—which consistently blur the distinction between acoustic and electronic—make an instant impression on the orchestra, befuddling and inspiring it in equal measure. Low undulating buzzes, eerily static high pitches, wild dissonant scrunches, angular acrobatic leaps, each of these appear in the soloist’s music within minutes and, although they will eventually form the blueprint for most of their activities, the orchestral reaction initially seems not to have a clue what to do in response. They emit a huge burp, but then opt, via the strings, for an ethereal collection of slow-moving lines, providing the context for the soloist to quieten and become pensive. That gear-change was instigated by the orchestra, and as if reflecting on that point, the accordion becomes more forceful, resembling a surly, pocket-sized brass/wind section. Read more
It was many, many years ago (at the 1993 Meltdown Festival, in fact) that i first encountered the music of Hungarian composer György Kurtág and became instantly entranced by it. Like Webern, Kurtág is drawn to expressing himself in tiny, fleeting musical acts for modestly-sized instrumental groupings, but unlike Webern there’s usually a powerful emotional current obviously flowing through them (that’s not to suggest Webern’s music isn’t emotional; Kurtág’s is simply more demonstrative). During the 1980s, he was commissioned to write a work for large forces for the Berlin Festival, which caused Kurtág difficulties that were only surmounted when he explored the Philharmonie’s chamber music hall, at the time still being built. This led to a realisation that he could preserve his outlook and approach by writing for a number of small groups spatially arranged around the hall; the result, premièred in October 1988, was …quasi una fantasia…, a small-scale concerto for piano and “instruments dispersed in space”.
From the recorder to the flute, and a typically dramatic concerto for the instrument by Australian composer Brett Dean. Composed in 2007, The Siduri Dances, for flute and string orchestra, began life three years earlier in Dean’s work for solo flute Demons. The inspirational scope here is broader, drawing on the mythological goddess Siduri who lives by the sea and, in the eponymous epic, gives advice to Gilgamesh, attempting to make him rethink the necessity of his quest for immortality and focus instead on the here and now:
Gilgamesh, where are you hurrying to?
You will never find that life for which you are looking.
When the gods created man they allotted to him death,
but life they retained in their own keeping.
As for you, Gilgamesh, fill your belly with good things;
day and night, night and day, dance and be merry, feast and rejoice.
Dean’s intention seems to be to tap into the spirit of Siduri’s admonition. Read more
A general shift in register now, from low to high, and to a pair of concertos using a reduced orchestra comprising just strings. Dai Fujikura seems to have written his Recorder Concerto despite himself, describing his initial view of the instrument as a pretty negative one. What makes the piece so interesting, i think, is the way Fujikura seems to have overcome that rather awkward starting position. It’s a little hard to articulate, but one’s attention is drawn not so much to the material he has composed for the instrument but to the instrument itself and the way it is behaving. In other words, it feels more a concerto about the recorder than what the recorder is playing. Sort of.
In terms of what actually happens, the setup is pretty simple, with the soloist taking the lead, their articulations serving as a model for the strings. Fujikura makes that very clear at the outset, low flutterings on the recorder translating into tremolandi in the strings; the recorder progresses to a melody made up of fragmented moments, and the strings’ material is equally fractured. Fujikura allows this kind of thing to play out at various points throughout the piece for minutes at a time, enabling two things to happen. Read more
From the cello to the electric guitar, and a curiously strange concerto by Romanian composer Iancu Dumitrescu (husband of Ana-Maria Avram, featured on 5:4 last year). Particularly well-known (and self-described) as a composer with ‘spectralist’ leanings—but not, according to Dumitrescu, in the same way as the French spectralists—his guitar concerto Élan and Permanence seems almost to go out of its way to reduce or at least radically rethink the role of the soloist. Even describing the guitar as a soloist is stretching a point.
Uncertainty reigns throughout the piece, both in terms of the way material is articulated as well as the material itself. Utmost abstract, much of the music takes place as if from a distance which, considering how much energy is regularly displayed, makes for a decidedly weird listening experience. The energy bubbles up to the surface of seething textural masses, punching outwards in the form of brass reports, coagulating into clouds of string tremolandi and unleashing wild percussive outbursts that have a distinctly Varèsian sense of autonomy. This orchestral behaviour, which subsides into glades of middlegrounded repose as much as it lets rip, is curious enough, but the way the guitar interacts with it—if ‘interacts’ is the right word (i don’t think it is)—is downright odd. Read more
Without wishing to appear too biased towards the cello, the next concerto in my Lent series is another work that features that instrument at its epicentre. A few months back, i was enthusing about Davíð Brynjar Franzson‘s radical treatment of the piano; in his new work on Matter and Materiality, he puts the cello into an equally radical but altogether more gruelling context.
If the soloist can be described as not doing much, it’s certainly not for want of trying. It sounds as though Franzson has detuned the C-string down to a bottom D (a similar effect to that in Rebecca Saunders’ Solitude), and this note becomes the unwitting nadir of the cello’s repeated failed attempts to haul itself up or out or along. These attempts are expressed in a dogged series of grinding swells (orchestral colours can be barely glimpsed within them); ostensibly tinged with aggression, the instability of the cello’s timbre coats its pitch with spasmodic harmonics and overtones, exposing it as utmost fragile, all throbs and palpitations, music in dire need of defibrillation. Heavy bow pressure, far from obtaining some kind of solidity (or, considering the title, ‘materiality’), only undermines this fundamental further, causing it to waver and distort. Read more