concerto

Per Nørgård – Three Nocturnal Movements (World Première)

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It’s Constitution Day (Grundlovsdag) in Denmark today, the closest the country gets to a national day, so i thought i’d mark the occasion with a piece by one of the country’s best-known composers that i’ve been spending time with lately. It’s a re-thinking by Per Nørgård of one of his earlier works, Remembering Child, a viola concerto written in 1986 in commemoration of Samantha Smith, the 13-year old American girl who became famous for contacting Yuri Andropov to express her fears about the possibility of a nuclear war between Russia and the USA. Material taken from that piece, in conjunction with some “nocturnal sketches”, resulted in a new double concerto for violin, cello and chamber orchestra simply titled Three Nocturnal Movements.

Concertos, whether composers intend them to or not, inevitably raise the question of the nature of the relationship between soloist(s) and orchestra, with concomitant aspects of influence and power-play, the individual pitted against the mass. But in the Three Nocturnal Movements, the answer to this question is obvious: from start to finish the two soloists are emphatically at the helm of the entire musical argument. This stems directly from a generalised atmosphere of somewhat lugubrious vagueness, from which even the soloists are not exempt. On the one hand, it’s apparent that violin and cello have something important to say, from the outset tripping over themselves to articulate it (literally, the two lines overlap each other throughout). Yet on the other hand, it’s also apparent that a predetermined sense of direction is seemingly very far from anyone’s minds. Pensivity reigns. Read more

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Proms 2015: B. Tommy Andersson – Pan, Guy Barker – The Lanterne of Light (World Premières)

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Homage, allusion and evocation have all been heavily foregrounded in many of this year’s Proms premières, and the most recent pair are in no way an exception. Swedish composer B. Tommy Andersson has turned to the Greek god Pan for inspiration in his eponymous latest work for organ and orchestra (not, according to Andersson, a concerto) while British Jazz musician Guy Barker has turned to an early 15th century tract classifying the seven deadly sins as the basis for his new trumpet concerto The Lanterne of Light. Read more

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Proms 2015: Luca Francesconi – Duende – The Dark Notes (UK Première)

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The concerto form is a popular one for new works at the Proms, and the most recent, Luca Francesconi‘s Duende – The Dark Notes (originally intended for the 2014 Proms), has, i think, set the bar higher than any of the last few years. ‘Duende’ is a somewhat complex Spanish term implying aspects of heightened emotional response to artistic stimulus, which the work’s soloist, violinist Leila Josefowicz, summarises as a “hypnotic, demonic zone in which a performer loses themselves in the feeling and emotion and in the physicality of what they’re doing […] and it can also be angelic”. To tap into this, and also partly to obviate the pitfall of rehashing conventions, Francesconi has sought to revert “back to primal matter […] something which is hidden energy; [an] unknown, uncharted land which is within each one of us, beyond originality”. Read more

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Proms 2015: HK Gruber – into the open … & Hugh Wood – An Epithalamion, Or Mariage Song (World Premières)

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Proms premières come in all shapes and sizes, and last week’s new works from HK Gruber and Hugh Wood were larger and more aspirational specimens. Scale and stature are different things, though, and despite their respective composers’ demonstrative ambition (and experience, composing veterans both), each of these pieces were hobbled by considerations that would have been less problematic in smaller-scale forms. Read more

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Rebecca Saunders – Void (World Première)

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To bring my Lent Series to an end, i’ve chosen a work rather fitting to the general atmosphere of Easter Eve, Rebecca SaundersVoid, 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.

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Arne Nordheim – Spur

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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

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Pierre Boulez – Domaines

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Joyeux anniversaire, Pierre!

Today’s the day, the 90th birthday of Pierre Boulez, and, continuing the concerto theme, the piece with which i’d like to celebrate the occasion is Domaines, for clarinet and orchestra, completed in 1969. Typically, the piece began life a decade earlier (early sketches pertaining to it, tentatively titled ‘Labyrinthe’, date back to April 1959), and also typically evolved via the material for other compositions. During the 1960s Boulez was working on a cantata for baritone and ensemble, setting texts by E. E. Cummings; this would ultimately lead, in 1970, to cummings ist der dichter, but a couple of years prior to that Boulez took material from the nascent work, together with ideas for an opera (never completed) and refashioned it into Domaines, both as a solo work as well as one involving six instrumental groups, with a gradually increasing number of players:

  1. bass clarinet
  2. marimba, contrabass
  3. oboe, horn, guitar (amplified)
  4. alto trombone, 2 tenor trombones, bass trombone
  5. flute, alto saxophone, bassoon, C trumpet, harp
  6. 2 violins, 2 violas, 2 cellos

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