Tag: Debussy

Ensemble InterContemporain at the Wigmore Hall review ****

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Ensemble InterContemporain

Wigmore Hall, 20th June 2017

  • Debussy – Premiere rapsodie
  • Bruno Maderna – Viola
  • Messiaen – Le merle noir
  • Philippe Schoeller – Madrigal
  • Luciano Berio – Sequenza 1
  • Ravel – Violin Sonata
  • Matteo Franceschini – Les Excentriques

Ensemble InterContemporain was founded in 1972 by Pierre Boulez and tenures 31 musicians, based in Paris but international in origin, and allows them to focus on contemporary chamber music. Thank you dirigiste France and take note you English philistines.

Having said that I confess I needed a bit of encouragement to pitch up to this which was provided by the Ravel Violin Sonata, which I haven’t heard performed live for donkeys years, as well as the Berio and the Messiaen pieces. I was less interested in the Debussy and the others works were going to be pot luck. But I figured if anyone could make this all work it would be this renowned collective.

Anyway it turned out to be a largely fascinating programme. The Debussy was more colourful than I anticipated. It was written as a test piece for students at the Paris Conservatoire so it gave clarinettist Jerome Comte a chance to work out accompanied by pianist Hideki Nagano (who I think on the night was the most assured performer – I would like to here him play in a solo capacity). The Bruno Maderna is a whole different barrel of fish. This is scored in open form which means the performer (Odile Auboin here) can choose their own route through the score. Interesting but I couldn’t help feeling this made for a somewhat tentative performance with no line I could follow,

The Messiaen piece was also written for students at the Conservatoire, this time flautists. There is a bit of bird song at the off as you might expect, then a few twiddly phrases and finally a mix of serial phrases on the piano and more rhythmic patterns on the flute, here sympathetically played by Sophie Cherrier. Good stuff. Now I confess the structure of the Philippe Schoeller piece escaped me, and the programme notes here went in to pretentious overdrive as they did with the premiered work by Matteo Franceschini. It is a piano quartet “informed” by Renaissance madrigals which contained some dazzling tremolo and glissando sounds as strings and piano came together. It will require some further investigation.

Berio’s Sequenza I is written for flute and, like all the Sequenzas, is a fine, direct piece. It consists of individual notes but you can discern the chords these would create so has a logic which makes listening straightforward. I thought Sophie Cherrier’s rendition was perfect. Ravel’s Violin Sonata (No 2) took him a bit of time to complete and is contemporaneous with his opera L’Enfant et les Sortileges. Like that work it is imbued with the spirit of the jazz, most notably in the “Blues” second movement, but also in phrases in the first movement. The last movement with its dancing semi-quavers for the violin is a personal favourite and I thoroughly enjoy Jeanne-Marie Conquer’s playing.

The soloists all returned for the Franceschini piece which is a collection of six character studies based on real though unnamed “eccentric” people. The first and last studies had a bit of pace about them but the other four were a bit more pedestrian and I am afraid I wasn’t up to the task of following the thread of the music.

Overall this was a rewarding evening listening to some fine musicians explore some exciting repertoire. Both Mr Schoeller and Mr Franceschini were in attendance. It is such a joy to see a composer and performers taking a bow. Glad I took the plunge. Contemporary classical music is a specialist pursuit and I get that for the vast majority of people this is all nonsense. But for me it is important that composers and musicians push the boundaries. The audience for modern and contemporary plastic arts is expanding. In time I think the same will happen for contemporary classical music. Mind you finding some mug to go along with is proving a challenge for me but I am convinced I will prevail, even if I may have to employ a little subterfuge.

 

 

 

Royal Philharmonic Orchestra at Cadogan Hall review ****

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Royal Philharmonic Orchestra, Martyn Brabbins, Jan Mracek

Cadogan Hall, 16th June 2017

  • Berio – Sequenza V for solo trombone
  • Prokofiev – Quintet in G Minor
  • Debussy – Prelude a l’apres-midi d’un faune,
  • Beethoven – Violin Concerto,
  • Shostakovich – Symphony No 5

A welcome innovation from the RPO at its Cadogan Hall home. As a prelude to the main concert a short chamber concert was served up. In this case, an intriguing pairing of one of Berio’s Sequenzas, here for trombone, alongside Prokofiev’s infrequently programmed (at least in my experience) Quintet. The main concert was a triptych of favoured warhorses which can usually tempt me in.

The Berio piece is the usual exploration of musical technique that these sequenzas demand. There is a healthy dose of humorous novelty at work here in the techniques employed and some of the directions in the score, best of all, the fact that the soloist, has to dress up as a clown (I’ll let you look up Berio’s reasons for this!). The Principal Trombone of the RPO, Matthew Gee, didn’t disappoint, either in his rather elegant outfit (shoes and bald bloke wig being the main concessions) or in playing. The piece is fascinating but smartly doesn’t outstay its welcome.

The Prokofiev Quintet is scored for oboe, clarinet, violin, violin and double bass which gives plenty of opportunity for the quirky invention that our Sergei seemed to revel in. The six movements have plenty of dynamic colour and the derivation of the piece, originally a commission for a chamber ballet, is very clear, I was reminded once again that I need to pay more attention to Prokofiev’s chamber music. So I will.

As for the main orchestral pieces, well the Debussy washed over me as it always does so I am afraid I am no real judge of Mr Brabbin’s interpretation nor the RPO’s performance. The Beethoven however took me back to familiar ground and this was a stirring performance by all concerned. Jan Mracek was making his debut with this orchestra having established a growing reputation in his native Czech. His playing is certainly idiomatic of his homeland which made for an interesting contrast with Mr Brabbin’s very deliberate reading. It livened up for finale though I confess I have heard more uplifting endings.

The Shostakovich was the meat course for me though and here Mr Brabbin’s careful phrasing and cool incision paid dividends. This was a performance that really drew out the Mahlerian parallels especially in movements 2 and 3. No irony in the ending here. This was definitively the response to “just criticism” that Shostakovich claimed it was (probably to save his own skin) and could easily be digested by those partial to a bit of C19 romanticism. The pounding Russian rhythms and banal folksy melodies were in evidence but this was more Autumnal middle Europe than Siberian winter. Stalin would have been made up with this first movement. I am not sure this is how I want my DSCH 5 to always sound but it was satisfying to hear this approach given a full airing.