Thomas Ades, Gerald Barry, Britten Sinfonia
Milton Court Concert Hall, 30th May 2017
- Beethoven – Septet in E Flat Major Op 20
- Gerald Barry – Five Chorales from the Intelligence Park
- Beethoven – Piano Trio in E Flat Op 70/2
I’m guessing that composer heaven is a miserable place. All those blokes (the world of classical composition, at least until the mid C20 is, like pretty much every other sphere of human activity, a damning indictment of the patriarchy), sitting at their pianos with a rictus grin unable to conceal their seething of the one bloke who wears a permanently beatific smile. He is called Ludwig van Beethoven and he is smiling to himself (cast that famous scowling portrait of him out of your mind) because he knows he is better, way better, at his job that all the rest of them. And they too know it.
I suppose it is possible to spend a life without Beethoven. I might have done and I know plenty of people who do. And I realise how much of a pretentious pr*ck I sound for saying it. And that I am implicitly asserting the cultural supremacy of Western and “high” art by doing so. This is not my intention. The thing is, his music is just so very, very good. Pulse, beat, rhythm, melody, harmony all perfectly laid out. To quote the zeitgeist there is always an “emotional journey” in our Ludwig’s pieces, sometimes trivial, sometimes on a grand scale. But more importantly there is musical logic. I can’t read music and don’t really understand the language. But I know that this music is, at its best, perfect and can conjure up that sensation of “nothing else mattering but the music” like nothing else.
So I was looking forward to my week of concert going which was basically just one long Ludwig love-in, largely, though not exclusively, in the company of Thomas Ades, and his fellow contemporary composer, Gerald Barry. Mr Barry is a self-confessed Beethoven nut. Mr Ades, whose work betrays his chameleon-like snaffling of the history of Western art music culture, is also a champion, as revealed by this three year cycle of Beethoven symphonies with the Britten Sinfonia, which has just kicked off. I really like Mr Ades as a composer, witness my review of the Exterminating Angel below. But now I have been bowled over by his skill as a performer and conductor as well.
The Exterminating Angel at the Royal Opera House review *****
This chamber concert ahead of the symphonies, kicked off with Beethoven’s Septet. Old Ludwig gave this a right pasting in his life-time as he considered it a bit of a trifle compared to all his later “serious” stuff. Far be it from me to disagree but I think he was wrong on this. It certainly easy on the ear with six movements all based on dance forms, and it unmistakably still Classical, but it is still full to the brim with ideas. Direction is provided by the solo violin and here Thomas Gould was excellent, supple, yet still candid, in his playing.
Mr Ades and Mr Barry then took to the floor for a two piano version of Five Chorales from the Intelligence Park, Mr Barry’s first opera. I have seen performances of his last two operas, The Importance of Being Earnest and Alice’s Adventures Underground (semi-staged and conducted by …. one Thomas Ades), and I bloody loved ’em. Anyone who thinks contemporary opera isn’t for them should see Importance – it is a hoot.
Anyway this piano piece delivers excerpts (literally) from his earlier opera which showcase his rhythmic power and use of comfortable dissonances contrasted with quieter, simpler, almost lyrical passages. It is this bold rhythmic attack that I like as well as the bawdy humour that seems to break out. Mr Ades composes in a similar vein even if the influences are a little more diverse. Their music doesn’t require a PhD to grasp and there is far less of that long, drawn-out, slow movement, plinky-plonky, atonal musing that has turned me off other contemporary composers. I can’t call it easy listening, but it is easy to understand. So seeing them bash the bejesus out of the pianos was a joy.
In the final piano trio, Mr Ades was joined by Thomas Gould on violin and Caroline Deamley on the cello. Op 70 no 2 is a little less well-known that no 1 the “Ghost”, but I prefer it. By now Beethoven was well and truly in his brave new world as he starts shifting us all over the place in terms of mood and tempo but still basically serving up a robust structure amidst all the “how did he do that moments”. Now Mr Ades is a big fella and he packs a punch (as the previous piece had shown) and he did’t hold back here. This contrasted with the more measured reading of violin and cello to great effect (for me if maybe not the purist). But this power is what I think Ludwig heard. There is a perfectly formed skeleton, there is flesh on these bones, and there are pleasing, delicate features. But for me the one abiding characteristic of Beethoven is muscle. And this performance suggests Mr Ades agrees.
I think I am going to like the symphonies.