SoundState Festival: LPO at the Royal Festival Hall review ***

London Philharmonic Orchestra, Marin Alsop (conductor), Stewart McIlwham (piccolo), Colin Currie (percussion)

Royal Festival Hall, 16th January 2019

  • Arne Gieshoff – Burr
  • Anders Hillborg – Sound Atlas
  • Erkki-Sven Tuur – Piccolo Concerto (Solastalgia)
  • Louis Andriessen – Agamemnon
  • Helen Grime – Percussion Concerto

It is amazing what a little bit of knowledge, a dash of pretension and a fair amount of persistence can do. A few of years ago, like any right-minded, gregarious, gainfully employed individual, the Tourist wouldn’t have gone near a concert comprised solely of contemporary classical music. A minority pursuit for the culturally affected. Now I am wondering how many of the Southbank’s SoundState festival to attend. In the end I bottled it and only pitched up to this but there was plenty across this adventurous festival ,for the musically curious to get their teeth, and ears, into. Try it. What have you got to lose.

The draw here, aside from the always perky Marin Alsop on the podium and, of course, the LPO, was the Percussion Concerto from Helen Grime, written for master whacker Colin Currie, and the Louis Andriessen premiere. I also figured three Nordic composers, who I admit I had never heard of, couldn’t be a bad thing. (Though it turns out only one was actually from the region showing how little attention I was paying and the pitfalls of lazy ethnocentricity). And who would’t be tempted by a piccolo concerto.

Well it turned out that the Andriessen was as bold and brassy as expected, the Percussion Concerto will definitely require a revisit but the big surprise, for me if not the cognoscenti as he is already a big noise in their world, was Anders Hillborg’s Sound Atlas.

As Marin Alsop wryly observed her introductory interview with Arne Gieshoff was in danger of lasting longer than the piece itself. It was inspired by a wooden “burr” 3D puzzle, dates from 2014 and certainly had some spunk about it. There was an echo of Elliot Carter in the concentrated energy circling more stable “pedals”.

Estonian Erki-Sven Turr lives on an island in the Baltic Sea, (images of Nordic noir crime drama immediately pop into my head – a dull day and very windy,) and was prompted to write Solastalgia by the visible impact of climate change on his surroundings. Solastalgia is a time coined by philosopher Glenn Albrecht to describe the distress we feel when we see how the climate is changing the environment of our memory.

(Now my regular reader has probably divined that much agonising has left the Tourist in the Stoical camp, philosophically speaking. We humans will come and go, we are not special, we will have failed to hang around for very long in the scheme of things (despite thinking we are better than every other species) and the earth will get over the damage that our brash, selfish selves do. Still he can’t deny that it is pretty scary to watch how our infantile inability to defer gratification has left us f*cking up so much in my lifetime, with climate the obvious victim).

In Solastalgia the piccolo acts as the squeaky catalyst for much bigger shifts of texture and process across the orchestra.. E-S T describes his “vectorial” compositional style in the programme but I confess it is beyond me. As was frankly this work. Never mind, if you don’t try it you won’t ever know if you like it.

Sound World was commissioned by the LPO alongside the LA Phil, the NDR Elbphilharmonie and Goteborgs Symfoniker, and this was its world premiere. Now this was much more my style. Crystalline is the word used to describe its sound world and the first section, which makes sense giving the extensive use of string micro-tones and the eerie squeals of the glass harmonica, expertly played here by Philipp Marguerre. River of Glass, Vaporised Toy Pianos (!!!), Vortex and Hymn follow this first section and all accurately describe the mood and texture of the music. It is measured in tempo and there is enough relation to diatonic history to make it easy to digest. Ligeti sat on top of Romantic, Sibelian string drones.

Helen Grime, like the three composers mentioned above, had a few words to say ahead of her piece, again receiving its world premiere. For someone so talented she is remarkably modest. To be fair there wasn’t anything ground-breaking about the Concerto in terms of structure, with three movements played straight through, (Bright, Subdued/Lamenting and Fleet-footed/Mercurial), instrumentation or technique, but, if you have one of the best percussionists in the world, then you might as well turn up the virtuosity quotient, which she duly did. The outer movements were predominantly tuned percussion, marimba, glockenspiel and vibe, with the inner section largely tom-toms, bongos, cymbals and woodblocks. The best ideas came with the frenzied, semi-quaver rhythmic repetitions at the beginning and end, counterpointed with strings and with the interplay between soloist and orchestral percussion. The wobbling pitches of the middle section, like all “drum solos”, was remarkable more for CC’s skill than musical inspiration. Even so I was rapt, but then I always am by this musician. Given how excited he was it is remarkable he didn’t crash into anything as he bobbed from one side of the podium to the other.

Louis Andriessen’s Agamemnon was here also receiving its European premiere. The inspiration was The Iliad and LA helpfully lays out the Dramatic Personae to include homo-erotic warrior Achilles, defecting bird-watcher Kalchas, the hapless, wind sacrifice Iphigenia and best-served-cold vengeful wife Klytaimnestra, as well as the brutal Mycenaen king himself. I must admit to being a little suspicious of this conceit especially when I saw that LA had pimped up his orchestra with a couple of pianos, a sax, electric and bass guitar and a drum kit. Well, as is always the case with this veteran composer, I should not have worried. The characters do not appear in programmatic sequence, except at the end, when Kassandra, she of the prophecies, steps ups with text from Aeschylus, via Ted Hughes, and here voiced by woodwind Principal Sue Bohling. Instead the colour and tone of the various episodes in the 20 minute piece indicates the various mortals of the story. War and terror are audible, this is Greek tragedy after all, but there are softer, more lyrical passages, notably for oboe and sax. There isn’t too much of the LA post-minimalism with which I am more familiar, though there are echoes of ancient musical structures a la his classic De Staat, but there are jazz infections and syncopated percussion. A kind of post-modern tone poem/film score if you will.

It was a lot to take in but there was more than enough that warrants further examination and would be surprised if any of these pieces fail to get a further outing in years to come. The hall wasn’t full but it was busier than I have seen for many a more traditional programme. That perhaps speaks to the esteem in which Marin Alsop is held. Many a conductor talks a good game when it comes to new music: she, and the LPO, were prepared to put in the hard yards to make it happen. There were certainly four happy looking and grateful composers on stage.

Oxford Philharmonic Orchestra at the Barbican review ****

Oxford Philharmonic Orchestra, Marios Papadopoulos (conductor), Anne-Sophie Mutter (violin), Maxim Vengerov (violin), Martha Argerich (piano)

Barbican Hall, 12th January 2019

  • JS Bach – Concerto for Two Violins in D minor BWV 1043,
  • Robert Schumann – Piano Concerto in A minor Op 54
  • Beethoven – Symphony No 3 in E flat major

I cannot tell a lie. I didn’t go to the Oxford Philharmonic’s 20th birthday bash at the Barbican Hall to listen to the orchestra though there were clearly a fair few university types, students, alumni and academic staff, in the packed house, who plainly did. No it was the chance to see three world class soloists strut their stuff, though try as I might I couldn’t find a chum to accompany me.

Well they didn’t disappoint. Anne-Sophie Mutter and Maxin Vengerov were, unsurprisingly, electric, and Martha Argerich showed why she is, unarguably, the world’s greatest living pianist. And that in a piece of music, the Schumann Piano Concerto, that remains a mystery to me. It is a very disorientating feeling, being enraptured by an artist’s playing yet not really caring about, or even liking, what she was playing. Quite the opposite with the Bach Double Concerto which is a belter. As is the Beethoven, obviously, though sadly, not here. Too rich and too slow for my taste.

The Bach was, surprisingly, Baroque-like however. Of course these two were never going to abandon the vibrato completely and this was a pretty fulsome band, but there was more than enough motoric chug from the continuo and strings to keep this HIP-ster happy. And when the two of the started riffing off against each other, especially in the sensuous Largo aria-like movement, you’d have to be a particularly humourless period music fanatic not to get carried along. Particularly as the two soloists, with their contrasting sounds, Ms Mutter brighter and sweeter, Mr Vengerov, richer and darker, and the OP players, seemed to be having such a ball. A-SM, what with her mannered interpretations and sergeant major-ish exhortations to the orchestra can seem a bit serious at times, and MV can be too doggedly static. Not here as they belted through the canonic closing Allegro. Easy to see why JSB always had Vivaldi on shuffle.

Now obviously I would rather listen to Martha Argerich playing stuff that does it for me. Bach, Beethoven, Scarlatti, her Chopin and Ravel, some Mozart and her way with the Prokofiev concertos (there is also a bit of Bartok, Stravinsky and Shostakovich in her recorded chamber repertoire I think). But Schumann is pretty close to the top of her favourites and she, because she is close to the divine, gets to choose. Now it seemed to me that in the opening Allegro she had to set Marios Papadopoulos and the OPO on to the same page as her, but once done, the magic started to work. Like I say I don’t understand or care for Schumann’s music but watching and hearing MA weave a reverie in the slower, middle movement and then show her superpower technique at the end of the closing Rondo, even with the orchestra doing its level best to blast her out, was a privilege. How on earth she can play that fast, that accurately and that beautifully is a mystery. Even if you have no truck with this, or any other classical music, I am convinced, if you heard here play live, you would understand. No encore. Shame.

Mr Papadopoulos is no mean pianist himself, especially with Beethoven, but his main musical legacy will be the creation of a top notch orchestra from scratch for Oxford, the town and the University. However on the basis of this Eroica he is resolutely old-school. Now I have a fair few recordings, Harnoncourt, Rattle, Szell, Gardiner, Haitink, Furtwangler and an Abbado (BPO. I mostly listen to the Harnoncourt with the COE, the classic Szell with the Cleveland and the Haitink with the Concertgebouw. So you can see I like my Beethoven, quickish, exact, rigorous and detailed. Not stately, lush, long on vibrato and rubato and all ubermensch-y. The orchestra doesn’t have to be chamber+ sized but it has to have that intent. The best live performance I have ever heard was the Britten Sinfonia’s under Thomas Ades in 2017. (You can still get to hear their 7,8 and 9 in May this year at the Barbican for just £15. The bargain of the decade).

I see a number of proper reviewers liked this “traditional, unidiosyncratic, steady, sturdy, big-boned” interpretation. Not me I am afraid. I began to wonder if it was my own funeral in the Adagio. There is no reason why a performance clocking in at 50 minutes can’t bring a sense of Beethoven’s overall structures. Not here though. I started inventing repeats that weren’t there.

Still it takes all sorts. And, like I said, I came for the soloists and to share in the celebration which was rounded off with a cheesy Happy Birthday medley encore.