orchestral

Schnittke Week – Cello Concerto No. 2 & Symphony No. 5 (Concerto Grosso No. 4)

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Today’s featured Alfred Schnittke concert was broadcast on 14 January 2001, and comprised two monumental pieces, the Cello Concerto No. 2, with Torleif Thedéen taking the solo role, and the dual-named Symphony No. 5 (Concerto Grosso No. 4); Vassily Sinaisky directs the BBC Philharmonic. More than the others, this recording has suffered the effects of time (and, possibly, previous attempts at cleanup); there’s some crackle audible in the performances as well as the speech, and to add insult to injury, on the original recording (made on cassette) i neglected to use Dolby. So—despite my best efforts—my apologies for the sound quality, although the performances are so good that (for the most part) they transcend these problems.

Completed in 1990, Schnittke’s Cello Concerto No. 2 is a work that dives into high lyricism at the outset, the cello’s opening gambit pitched towards the top of its compass, followed by an extensive meditation at the opposite end of the pitch spectrum, ushering in a loud declamatory statement from the orchestra; throughout this short opening movement (Moderato), the orchestra’s role is restricted to punctuating the ends of the cello’s lengthy meanderings. While it seems as though the soloist is going to stay ponderous for some time, the second movement (Allegro) abruptly establishes a tempo, and a fairly brisk one at that. The orchestra gets excited once again, but falls back almost as quickly as before; only the brass engage with the cello, although from a distance. Things continue in this vein for a while, until a more pointillistic idea initiates more assertion in the orchestra, seemingly placing their notes in the momentary gaps left by the soloist. They construct a curious waltz that fizzles immediately into a strangely sparse string chorale, in which a flexatone can just be heard. Aggression breaks out; it’s clear this is an orchestra profoundly irritated at being sidelined, and they seem to form packs that assault the soloist from all directions; for the cello’s part, its material, ever in flux, is thus instantly forgettable and yet projects itself as though each and every leaping note was agonisingly important. At the movement’s crashing final beat, one is left breathless and wondering where things stand; in this performance, there’s a significant pause at this point, which adds to the drama. Read more

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Schnittke Week – Concerto Grosso No. 6, Monologue, String Trio & Concerto for Three

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Day three of my celebration of the music of Alfred Schnittke features music from a concert focusing on works involving solo strings, broadcast on 14 January 2001. Taking centre stage are soloists Ula Ulijona (viola), Marta Sudraba (cello), and the great violinist Gidon Kremer; they’re joined by the London Sinfonietta, directed by Eri Klass. In addition, there’s a fascinating survey by Gerard McBurney of Schnittke’s relationship with the Concerto Grosso form; apologies for the sound quality in these sections, which have become rather crackly for some reason.

Schnittke’s sixth Concerto Grosso is also his last, composed in 1993, and it’s a short work, the three movements lasting under a quarter of an hour. After a momentary—rather angry—pondering from the piano, the short first movement lets loose into a non-stop Allegro; far from taking a neo-continuo role, the piano’s relationship to the strings is more like that of a concerto, with distinct echoes of Shostakovich at times. Structurally, it’s highly formal, almost the entire movement repeated in its entirety before a wildly exuberant coda. The central Adagio is a duet for piano and solo violin, very simple at first, although this only goes to highlight an apparent discomfort between the two instruments. Read more

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Schnittke Week – Concerto Grosso No. 1, Fragments (World Première) & Symphony No. 4

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The second concert being featured in this week of music by Alfred Schnittke comprised two of his major compositions plus the world première of a work unfinished at his death. It took place on 13 January 2001, and was given by the London Sinfonietta, conducted by Martyn Brabbins.

The concert began with perhaps Schnittke’s most-performed work, the Concerto Grosso No. 1. Opening movement ‘Preludio’ begins on prepared piano, gently clattering its way through a nursery rhyme-type melody. It’s answered with a hocketed idea in the solo violins, rocking back and forth on adjacent semitones (one can see already where this may be going: clusters a-go-go), while the lower strings form a backdrop of sustained harmonics. There’s a brief soloistic flourish in the violins, the violas slither down their strings to a bottom pedal note, the harpsichord teases its keyboard, and a gorgeous second idea begins. Above a glacial viola chord, a violin solo explores a melody at the bottom of its register; it’s not specified in the score, but in this performance Clio Gould opts to play near the bridge, making the line effectively fragile, and causing some delicious overtones to appear at the edges. A duet is formed, and the harpsichord re-announces the nursery tune; a curt, loud response in all the strings (tutti for the first time), brings the movement to an end, the violins’ hocketing idea now widened from a semitone to sevenths and ninths. You’d be forgiven for thinking a composer like Vivaldi had a hand in the second movement. Titled ‘Toccata’, it’s a diabolical parody of Vivaldi, overstuffed with ridiculously strict and stretto canons, Schnittke at his most caustically comical. Read more

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Magnus Lindberg – Al largo (UK Première)

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A little over a week ago, on 13 October, came the first UK performance of Magnus Lindberg‘s new orchestral work, Al largo, given by the London Philarmonic Orchestra under Osmo Vänskä. The title is an interesting one; as well as suggesting the musical term, associated with considerable slowness, the expression in fact refers to “being offshore, specifically referring to the moment when you reach the open sea and you don’t see the coast anymore, and what is before you is vast” (from Lindberg’s programme note).

The opening is all grand fanfares, dominated by the heavy brass (but nicely flecked with muted trumpets), out of which emerges a music in search of its own momentum. Bass drums make leaden stabs at something pulse-like, the rest of the orchestra respond with an inchoate morass of melodic tendrils; with Lindberg’s title in mind—and without wishing to get too Donald Tovey about it—this opening episode is highly suggestive of a boat slowly gathering speed. The grandiosity of the moment isn’t over-stated, however; Lindberg treads carefully through the momentous triads and imposing bass pedals, peppering the texture with softer woodwind flourishes, introducing a rapid chromatic motif that will become important later. After a short time it becomes clear that a pulse—at least, a clearly delineated one—isn’t a prerequisite for momentum, and the music charts a new path, one made particularly vibrant by the strings’ lush chords. Read more

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Vale of Glamorgan Festival: World Premières by Arvo Pärt and Arlene Sierra

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On 9 September, a concert given at the Vale of Glamorgan Festival of Music by the BBC National Orchestra of Wales with the Estonian Philharmonic Chamber Choir, conducted by Tõnu Kaljuste, was for the most part concerned with the music of Arvo Pärt, featuring a new work commissioned by the festival, In Spe for wind quintet and strings. It’s a short piece, in which the winds take precedence at first: horn, oboe and bassoon take turns stating the work’s fundamental idea. The rest of the work is essentially a series of what E. E. Cummings might have called “nonvariations” on that theme; the melody is draped in constantly changing decoration, the voice moving between registers, inversions and retrogrades adding what little spice there is to be gleaned from Pärt’s agonisingly constricted use of material and harmony. Surprisingly, it all feels terribly technical; while the temptation with so much of Pärt’s music is simply to drift, switched off and blissed out, on the surface, i found myself pulled under during In Spe, staring at what lay beneath; i don’t think this is due purely to the paucity of invention on display in the work; Howard Skempton’s Lento goes round in even more demonstrably regular circles for much of its duration, but there the result is hypnotic and entirely convincing. Somehow, the material here all feels terribly workaday, almost like an exercise; unfortunately, as neither the inner workings nor their surface sheen are that interesting, this militates against In Spe, enfeebling it, even in its brief attempts at more dynamic strength. Arvo Pärt’s fans will be delighted; all the ‘tintinnabuli’ stuff is present and correct, and the piece presents them with absolutely nothing unfamiliar, nothing to think about. Read more

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Proms 2010: Martin Matalon – Lignes de fuite (UK Première)

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On Thursday evening, the Proms was treated to the UK Première of Argentinian composer Martin Matalon‘s Lignes de fuite (“Lines of convergence”), tackled with obvious relish by the splendid BBC National Orchestra of Wales.

The work opens, appropriately, with a single static line, passed between the horns, gradually coloured and fragranced by the percussion and woodwind; it’s a captivating introduction, pregnant with potential. Matalon doesn’t take any time whipping his material into shape, however; the music is positively marshalled around the orchestra. Special attention is given to the brass, who deal with their passages with brusque efficiency, while the strings (aided by celesta) strike more elegant poses, their lines almost coyly twirling their way upward. The structure is given space and more interesting shape by brief episodes where everything momentarily stops, a chance for everyone to get their bearings before launching off somewhere new. Read more

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Proms 2010: Albert Schnelzer – A Freak in Burbank (UK Première)

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A week ago at the Proms—a more innocent time, before seemingly everyone started talking about Mark-Anthony Turnage’s new work for all the wrong reasons (Beyoncé) instead of the right ones (it’s crap)—came the first UK performance of Swedish composer Albert Schnelzer‘s wonderfully-titled A Freak in Burbank. Schnelzer is at pains to stress the connection he feels in this work to director Tim Burton, desiring it to exhibit a parallel kind of quirkiness to that found in Burton’s movies. The work began with Joseph Haydn as an inspiration, but while the size of the orchestra is of late 18th century dimensions, Haydn as an explicit point of reference is more-or-less lost entirely—Schnelzer’s half-apology that Haydn’s influence remains in “the use of G.P. and the transparent textures” isn’t terribly convincing. Read more

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