Three recent releases on Wergo have stayed true to the German label’s tendency to go above and beyond one’s expectations. It’s hard to say which is more remarkable, John Cage or percussionist Matthias Kaul, on Cage After Cage, an album featuring renditions of six of the composer’s works for percussion, dating from as far back as 1956 to as recent as 1990. In many respects, the collection as a whole can be heard as tapping (literally) into the very essence of what percussion is, namely the banging, scraping and rubbing of objects. The range of sounds and timbres captured here borders on the encyclopaedic, even in otherwise modest contexts, such as Kaul’s version of Composed Improvisation (1990) for solo snare drum. i’m not sure i actually heard anything approximating to a snare anywhere in the piece; instead, following a collection of friction noises with light ricochets, comes a high chord(!), perfectly in tune, spacially-separated hocketing impacts, and a descending Shepard tone-like sequence of strikes. In other words, sounds that defy one’s understanding of a snare drum, articulated and excited via an assortment of unconventional triggers (including, by the sound of things, an ebow). Read more
i’ve commented in the past about the number of contemporary composers drawn to writing violin concertos—they’ve been a regular fixture among the works premièred at the Proms in the last few years—but personally, i’ve always been more drawn to the cello concerto. Composers exploring this medium seem, almost unavoidably, to feel the urge to tap into things deep & profound—or at least, profoundly mysterious. This is definitely what pervades one of the more interesting CDs i’ve been sent recently, a disc that has been strangely ignored by most commentators. Showcasing the seriously impressive talent of Danish cellist Jakob Kullberg, together with the Poland-based New Music Orchestra conducted by Szymon Bywalec, the disc explores cello concertos by arguably the three most renowned Nordic composers, Per Nørgård, Arne Nordheim & Kaija Saariaho. Nørgård’s second cello concerto lends its name to the album as a whole—Momentum—& it’s a wisely chosen title, as the concept of momentum—or more specifically the way it manifests itself within a larger dramatic dialogue—seems to be of central importance in all three pieces. Read more
The first UK performance of Kaija Saariaho‘s 2008 work Laterna magica took place at tonight’s Prom concert in decidedly sumptuous company, Strauss’ Also Sprach Zarathustra & Four Last Songs on one side, Sibelius’ Seventh Symphony on the other. It was a superbly-judged juxtaposition; while Saariaho’s music occupies places hard to define, nonetheless there’s often a kind of restrained opulence (i hope that’s not too strong a word) as well, lending her work a sensibility that one could almost describe as ‘Romantic’. Read more
A fortnight ago, the BBC Symphony Orchestra celebrated its 80th birthday with a concert including a pair of premières, both concertos: one for percussion by Stephen McNeff (composed for the boisterous O Duo) and a clarinet concerto from Kaija Saariaho.
McNeff instructs the orchestra to establish the mood, the first few minutes of the opening movement filled with big, emphatic gestures. The contrast of the soloists’ entry—starting simply, using only their hands to slap, brush and tickle the instruments—is massive, and makes for a highly effective start. Influences quickly fly in both directions; the soloists echo and maintain the considerable momentum already established; in return, the percussion’s abrupt, restless material leads to hectic, spikey figurations in the orchestra. A marimba idea heralds a dramatic reduction in tempo, and with it a lyrical episode, in which the strings’ music is especially rich, their harmonies familiar but searching. The remaining few minutes are a tussle between these two moods, the more frantic ideas thrusting forth when they can; and while it’s the softer ripostes that ultimately claim the movement, the brass and timpani colour its conclusion with some brief, rather obstreperous gestures. Read more