Thomas Ades and the LPO at the Royal Festival Hall review ****

Lutoslawski2

London Philharmonic Orchestra, Thomas Ades, Kirill Gerstein (piano)

Royal Festival Hall, 26th September 2018

  • Igor Stravinsky – Symphony in Three Movements
  • Thomas Ades – In Seven Days (Concerto for piano and orchestra)
  • Witold Lutoslawski – Symphony No 3

Thomas Ades is a talented chap. As composer, conductor and performer he follows in the footsteps of some of the greats., and I for one think there is a lot more to come. Some of the most memorable classical music evenings I have enjoyed in the past few years have been graced by his presence.

So although his own piano concerto, and the Lutoslawski (there he is above), were pieces I knew only by reputation, this, the opening concert of the LPO 18/19 season, looked a good bet. And it certainly came up trumps. Mr Ades has a way with Stravinsky as you might expect, his own music was greatly enhanced by Kirill Gernstein as the soloist (of sorts), who showed his affinity with TA’s music in one of his mazurkas as encore, but it was actually the Lutoslawski symphony that turned out to be the highlight of the evening.

Stravinsky’s Symphony in Three Movements marked another step in the ongoing Changing Faces retrospective of his music at the Sot Bank. It is trademark IS, sparkling brass, bubbling woodwind and pulsating strings, smoothed off spikiness if you will. Though for me the fact that the three movements were composed independently over time shows through, so it isn’t right at the top of his orchestral oeuvre. The Allegro overture first movement definitely has its moments, harking back to the early revolutionary ballet scores with prominent piano here played by John Alley. The second movement, marked Andante, is comprised of material originally intended for a film versions of the St Bernadette Soubirous, Our Lady of Lourdes, (she of the multiple visions and Catholic granny’s favourite) and has an innocent charm, with a couple of interruptions, and vocal harp line. The finale, con moto, is a lot more aggressive, reflecting its completion at the end of the war in 1945, with that motoric quality that inhabits IS’s music, at least until the final austere serial phase.

In Seven Days doesn’t muck about, taking as its inspiration the Creation. The religious one or maybe the real one. Hard to tell. It was originally performed alongside a video composition from TA’s then husband Tal Rosner. It certainly has a vivid, cinematic approach to go with the programme, think Ligeti in terms of mood if not structure. But it didn’t need any visual assistance. Tiny particles of sound combine, break-up, recombine, ever expanding as we move through the seven movements, out of Chaos through to Contemplation. It was originally scored for a smaller orchestra. Here TA had the freedom to really crank up the engine especially in percussion and brass. Eat your heart out Haydn and all the others who have also had a go at the greatest story ever told. God as scientist not mystic.

It is one of those fractal compositions, music made out of algorithms or rules, built on repetition, where the very small mimics the very large. Maths as music, or maybe the other way round. So it is in a state of constant flux but the thing with Ades is that he cleaves close enough to conventional tonality, and, the secret sauce (for me I now realise) that is rhythm, not to disappear out of sight into the impenetrable. I can’t say it all fell into place on this first hearing, but it “made sense” which is all I need to revisit. The more modern and contemporary classical music I encounter the clearer it is becoming to me what is needed to rule it in or out. I do seem to have a penchant for ever changing repetition in music with rhythm and harmony, not melody, as the hooks (as it were). Ades kicks off with extremes of pitch in the opening perpetuum mobile, (I know now these could be my favourite two words in Latin), led by strings. This breaks with a chorale and the piano kicks in leading the orchestra to further rising and falling repetitions, with some very snazzy percussion, to mark the second day. The third day is another variation starting in the bass and rising up before the glittering harmonies of day four. Days five and six are a linked fugue, sort of Bachian, with the piano appearing in the second. A calmer interlude and then back to the beginning.

Witold Lutoslawki’s third symphony is probably his most well known composition. WL’s first symphony came out in 1948 but he was, like any worthwhile composer behind the Iron Curtain, derided by the authorities for “formalism”, which as far as I can make out was anything that wasn’t rum-pum-pom patriotic. WL didn’t return to the symphony until 1965 by which time the world had changed politically and musically. He was a big fan of John Cage’s experiments in chance in music which he embraced as “aleatory counterpoint” in his work, including the second, and this, the third symphony. Never fear folks, it doesn’t mean some knotty, joyless, meandering. Just some passages where some of the orchestral players have a bit of fun as far as I could tell in this performance. (Actually what I have learnt about Cage, which isn’t much I fear, says to me he was a pretty jolly sort).

The original commission from the Boston Symphony Orchestra came in 1972 but WL couldn’t find the format he wanted.  In 1981 he alighted on the toccata which sits at the centre of the piece. Another two years and the rest of the work was signed off and delivered. A short prologue precedes the first of the two main movements, the toccata which is divided into three parts, each getting progressively “faster” by stretching out the basic rhythms, and punctuated by slower “intermezzi”. Apparently the Beethovian opening, and oft returning, four note motto is comprised of E naturals. Good to know. Then comes a shorter, slower “movement”, a swirling theme with string offsets. The symphony ends with a rapid coda and tutti. It is played through and comes across as a building of momentum culminating in huge crescendoes which subside and then build again. There is certainly a cosmic dimension which echoes the Ades piece, and like In Seven Days it always stays the right side of the tonality gulf and features some breathtaking instrumentation.

I could imagine that the symphony, even with this structure marked out, could get fuzzy. Not in Mr Ades’s hands though. It is a big leap to compare this performance to his ongoing, and outstanding, Beethoven cycle with the Britten Sinfonia at the Barbican, but, because he doesn’t hang about tempo wise, and because he prizes textural clarity over pompous showiness, in both cases, the layers of music are revealed not muddled.

So a big evening marshalled by a big man. There was much to bind the music together in terms of ambition, structure and feel. It normally takes Vladimir Jurowski, and the right repertoire, to bring the very best out of the LPO. He wasn’t missed here.

 

 

Patricia Kopatchinskaja and the LPO at the Royal Festival Hall review ****

patricia_kopatchinskaja_4_28c29_marco_borggreve

London Philharmonic Orchestra, London Philharmonic Choir, Thierry Fischer, Neville Creed, Patricia Kopatchinskaja (violin), William Davies (treble)

Royal Festival Hall, 24th March 2018

Igor Stravinsky

  • Symphony of Psalms
  • Violin Concerto in D
  • Credo, Ave Maria, Pater Noster

Leonard Bernstein

  • Chichester Psalms

I have banged on before about the virtues of Moldovan-Austrian-Swiss, (forget national borders people), violinist Patricia Kopatchinskaja before, slam-dunking Berg or crossing musical boundaries with cellist pal Sol Gabetta (Kopatchinskaja and Gabetta at the Wigmore Hall review ****). She was at it again, this time with the Stravinsky Violin Concerto, alongside the London Philharmonic Orchestra under the baton of Thierry Fischer a relatively late replacement for Andres Orozco-Estrada.

This was another in the South Bank’s Stravinsky exploration kicking off with Igor’s Symphony of Psalms. Three parts, with Latin settings of psalms 39 (verses 13 and 14), 40 (verses 2,3 and 4) and 150, played without a break, and constructed as a Prelude, a Double Fugue and Symphonic Allegro. Inventive enough for you? Well just to keep you on your toes IS boots out the clarinets, violins and violas from the accompaniment to his four part choir, (kids preferred by IS for the upper two parts but I reckon women, as here, is better). He adds in not one, but two, pianos and a harp to augment his already hefty woodwind, brass (a tuba, lovely), percussion and the big strings.

The first part then is like some mutant Russian/Byzantine/Baroque/Neo-Classical jazzy chorale with ostinatos broken by thick E minor chords. That is the joy of his counterpoint. Then the fugue in C minor kicks off in the woodwind, all heavenly-mysterio, then the chorus kicks in with the second fugue, then we swirl around in heaven with some Mahlerian horns bubbling away in the background until we get some rounding homophonic pronouncements at the end. The final section starts off all stark, austere and hairshirt, like the end not the start, until the propulsive allegro kicks in with a trumpet-harp motive. There is a chordal tune, a bunch of exuberant triplets echoed by the chorus and a striking running tune for horns and pianos. The slow beginning is repeated, with more warmth, and then revisited in the final Haydn-esque coda as we rise up to the stars. There are Allejujas all over the shop. This is the longest section as it incorporates the whole of Psalm 150 and it is remarkably uplifting.

The piece was written, for the Boston Symphony Orchestra, in December 1930. It could only have been written at that time, by that one man, and yet …. so much of it echoes down, and forward through, the centuries. I know how daft that sounds but it is, even by Igor’s standard’s, remarkable music. Now you would normally reckon that the London Symphony Chorus rules the big choral roost in the capital. On this showing you’d be wrong. The London Philharmonic Choir under Neville Creed were on scintillating form. Bravo.

If singing this marvellous work were not enough, (though I appreciate how much work they put in ahead of it), the choir were treated to a sit down and Ms Kopatchinskaja’s astonishing fiddling. Now she certainly has a singular, and confident, performing style. Bare feet, big gown, lots of hopping and skipping about, hair tossing, it is pretty difficult to take your eyes off her. Fortunately Pat Kop, (yep, that’s her own branding), delivers a sound to match the charismatic gypsy schtick. The first movement Toccata is a souped up slab of florid Baroque, the middle two Arias exactly that, the first an upbeat shakedown, the second balladic if you will, and the final movement, Capriccio, lands us back in the heyday of early C18 Venetian virtuosity. The LPO and Mr Fischer were more than a match for their soloist keeping up, and once or twice, spurring on our self-assured diva. IS asked for a big orchestra, though again with constrained strings, but wisely never let it loose collectively, allowing the violin to always shine.. This suited Pat Kop who just about stayed the right side of insistent.

Remember when IS sent this score out to the world in 1931 his dedicatee violinist ,Samuel Dushkin, was a little intimidated by the “unplayable” wide spread three note chords which kicks off each movement. IS told him not to panic, it was a piece of cake. Once again Igor, a piano player not a violinist remember, was right and the received wisdom of the expert was wrong. He writes one violin concerto and no composer since has escaped its influence, in terms of how to relate violin to orchestra. And yet that very concerto is suffused with history. Pat Kop though wrestled with the Baroque to ensure that none of Stravinsky’s sly humour was lost.

Big, bold stuff from a soloist and and orchestra who have mastered the work. The encore was Pat Kop’s own party piece cadenza which draws on material from the Concerto, nods to Bach and ropes in Pieter Schoeman, the LPO’s leader, to act as counterpoint. Her discography shows she isn’t going to be bounced into just churning out the classics.

The Choir then took centre stage, from the rear as it were, with performances of three choral pieces that IS wrote in France after he returned to the Orthodox faith. He was a profoundly religious chap, for all his musical revolutions, and these settings, of the Lord’s Prayer, the Creed and the prayer to the Virgin Mary. Initially set in Church Slavonic he revisited them in later years and transposed them in to Latin texts. The Credo is chanted in devotional harmony, the Pater Noster in similar meditative fashion with a syllable to each note, with the Ave Maria sing-song-y making more extensive use of melisma. IS offered no markings so the choir and its leader have plenty of expressive headroom.

I was pretty sure I wasn’t going to be persuaded by the Chichester Psalms. I wasn’t. I just don’t get on with all that flash Harry (Lenny), sub-West Side Story, Mahlerian heart-tugging. Sorry. Young treble William Davies, understandably initially nervous, stepped up in the middle movement, well done, and the crowd seemed very pleased with the piece so what do I know.

Overall then a fine evening’s entertainment and well done to Mr Fischer and Mr Creed for guiding everyone through it. And sign me up to the Pat Kop fan club.

 

 

 

 

 

 

Stravinsky from the LPO at the Royal Festival Hall review ****

homepage_carousel_stravinsky

London Philharmonic Orchestra, Vladimir Jurowski, Alexander Ghindin (piano)

Royal Festival Hall, 7th February 2018

  • Igor Stravinsky – Scherzo fantastique, Op 3
  • Igor Stravinsky – Funeral Song, Op 5
  • Nikolai Rimsky-Korsakov – Piano Concerto in C sharp minor, Op 30
  • Igor Stravinsky – The Firebird (original version)

My favourite concert of last year was Sir Simon Rattle and the LSO’s take on the three, culture changing Stravinsky ballets. Just stunning. (My favourite classical concerts of 2017).

Suffice to say that whilst Sir SR’s Petrushka and Rite of Spring were, (predictably), barnstorming it was The Firebird which really made me sit up, listen and think. Firstly because it was the original full ballet score which I do not listen to often enough. (I have recordings by Rattle/CBSO, Dutoit/Montreal SO, Abbado/LSO and Salonen/Philharmonia so its not as if I have an excuse). Secondly because he, and the LSO, were able to show how much of even the Firebird looks forward to the subsequent two ballets and the announcement to the world of Stravinsky’s own, revelatory voice, as well as back to mentor Rimsky-Korsakov’s orchestral colouration. And thirdly because it was just so good, even in the more restrained, colourful first half which was glorious.

Now the LPO are engaged on a year long survey of Stravinsky’s orchestral works (Changing Faces: Stravinsky’s Journey) with Vladimir Jurowski and other conductors, (as did Esa-Pekka Salonen and the Philharmonia in 2016), though many of the headline concerts are mixed up with all sorts of other repertoire. The intention is to show just how profound Stravinsky’s influence has been on the direction of classical music, as well as showing how varied were his own influences. To be an artist who is better than all who came before is a miracle. To be an artist who changes the entire direction of his/her art, whilst still acknowledging the past is mind-blowing. That is what the boy Igor did. Composers are still wrestling with his legacy. So you can’t have too much of Igor’s music I reckon. Especially when each time you listen something new pops up.

Still he had to start somewhere and Mr Jurowski and his band chose to kick off this evening with Scherzo fantastique, which along with Fireworks (Op4) and the Symphony in E flat major (Op 1), is the starting point of Stravinsky’s career. The influence of Rimsky-Korsakov, the other nationalist Russians in and around the Five and the folk-art primitivism which was prevalent pre-, (and even post-Revolution), can be clearly heard, of course. There is something more at work here in terms of ideas though, albeit still melodic, not rhythmic and avowedly late Romantic. After dissing all this “juvenilia” Stravinsky in the 1960s did eventually accept that it wasn’t half bad.

Funeral Song is a proper step forward though. This is getting performed all over the place since it was rediscovered in some broom cupboard in St Petersburg in 2015. Indeed this very band and conductor programmed it with their thunderous Shostakovich Eleventh at last year’s Proms (London Philharmonic Orchestra at the Royal Albert Hall review ****). It was composed in 1908 as a tribute to Rimsky-Korsakov and Stravinsky remembered it as being more advanced in terms of chromatic harmony than any of his previous works. He was right on that score (geddit). The idea is that each of the instruments file past the master’s coffin, though often in ear-catching dialogue. It is a much darker piece than the earlier works and when it gets going there is an undeniable Wagnerian bombast to it which he just about gets away with. Anyway the point is that here some of the sound-world of the Firebird is creeping out for the first time.

Before we heard the LPO take on the Firebird we were treated to N R-K’s Piano Concerto, and treat it was. Now it is pretty easy to get sniffy about all these C19 Russian sound painters. I think I might have done. All this folk tune authenticity is exciting on first hearing but I find the novelty soon wears off. Which means I haven’t really bothered with this part of the repertoire. The chances of coming across this concerto were pretty slim as I gather it is rarely performed. It is a compact piece, one movement running to just 14 minutes though with three distinct sections, fast/slow/fast with a slow opener. For me that was its attraction but I can see that, for soloist and maybe audience, there is not enough grand gesture here to take on the canonic piano concertos. Rachmaninov is your best comparator but where Sergei would have spun out these ideas to 45 minutes, N R-K keeps it tight, with essentially just one theme, based, you guessed it, on a folk tune. The tune was sanctioned by the daddy of Russian nationalistic music Mily Balakirev who apparently gave this the thumbs up, though he became more critical of N R-K’s later work, thinking it veered into the “academic” and “Germanic”. There are plenty of flashy cascades a la Lizst which soloist Alexander Ghindin revelled in and the LPO accompaniment, especially from the woodwinds, was very persuasive. Mr Ghindin encored with the Dance russe from Petrushka to give us another take, though this felt a bit heavy-handed to me, (the playing not the linking). Maybe he had a plane to catch.

This was a clever piece to set up Mr Jurowski and the LPO’s take on The Firebird. Now when they get it right, this band and its conductor can match the best I have heard. It doesn’t always work, sometimes the line gets lost a bit, but tonight it did. Here was Stravinsky’s first real masterpiece, the debt to N R-K still audible, but with all the stunning innovation, which took Diaghilev’s breath away on first hearing, highlighted. From those growling double basses in the intro, though the shimmering strings in that magic garden, the riot of woodwind colour as our Bird takes flight, off stage brass action as Ivan bombs da house and monstrous tuba and percussion as Kastchei’s rave takes off, all sections were given a chance to shine. If I had to pick out specific contributions, well, Juliette Bausor’s flute was terrific, as well as David Pyatt and the other horns, the tuba of Lee Tsarmaklis and the piccolos of Stewart McIlwham and Lindsey Ellis.

I see I have signed up to a number of LPO concerts that have a sprinkling of Stravinsky in the mix. Whether they are part of this Changing Faces season is not entirely clear to me. No matter. You can’t get enough Igor after all.

 

 

Beethoven and Shostakovich: LPO at the Royal Festival Hall review ***

barnatan-1-gallery

London Philharmonic Orchestra, Andres Orozco-Estrada, Inon Barnatan

Royal Festival Hall, 27th October 2017

  • Beethoven – Piano Concerto No 5 “Emperor”
  • Shostakovich – Symphony No 7 “Leningrad”

Off to the Festival Hall for a couple of big beasts of the repertoire (or at least the repertoire I like). Yet I have to say that, in both cases, the interpretations were a little too polite and not quite the emotional body slams they can and should be.

This was the first time I had heard the LPO under the baton of guest conductor Andres Orozco-Estrada and the first time I had heard soloist Inon Barnatan. There is no point fiddling about in the first movement of the Emperor. Beethoven cuts to the chase pretty quick with a marchy rhythm with a little melodic twist and the two note theme which gets played with in the development. It is all pomp and show and Mr Barnatan with his bright expressive playing had the measure of the beast. The adagio and dancey rondo allegro require a greater connection with the orchestra, notably woodwinds, which was satisfactorily wrought but without real fireworks for me. Still much to admire.

On to the Shostakovich. Now even by DS’s “tombstone” symphony standards this is an absolute monster. You all know the story of its genesis. Written as the Nazi forces encircled the city, with DS pitching in as a fireman, premiered in Kuibyshev in March 1942, score smuggled out for performance in London and then New York, and apparently defiant testament to the heroism of the Soviet people, this is music as history. I know that there is a case for this to be a “requiem” for those who died at the hands of their own Government as well as the invader. But to me it sounds like a straight programmatic account of the war in the East with the ominous drum roll of the first movement giving way to the ghostly dance of the scherzo, the extended despair of the slow movement and the victory march of the finale (albeit tinged with pain for all those lost to the carnage).

Now it does go on a bit. It is easy enough to build tension in the first movement with the trite rat a tat tat of the side drum building to a climactic racket and the scherzo does its stuff as all DS’s scherzos do. But keeping the whole edifice alive through the outer parts of the third movement and first half of the final movement (both clock in at 20 minutes) is tricky and needs a bit of sludge and shaken up tempi I reckon. Percussion, brass and woodwind ticked the boxes but the strings were just a bit too Mahlerian for me.

Overall then I had hoped for a little bit more. Any rendition of the 7th is going to have some, shall we say, opportunities for lapses of concentration, and maybe I needed to try harder, but I have heard better. Mind you the young fella next to me was even more underwhelmed. Having bragged to his mates/colleagues before the piece, and during the inordinately long pause/hubbub after the first movement, he promptly dropped off until the applause kicked in. Maybe not the best choice after a long day at work but hopefully he caught up on his zzzz’s.

 

London Philharmonic Orchestra at the Royal Albert Hall review ****

dmitri-shostakovich-1233767711-editorial-long-form-0

London Philharmonic Orchestra, Vladimir Jurowski, Alina Ibragimova (violin)

Prom 71, Royal Albert Hall, 6th September 2017

  • Igor Stravinsky – Funeral Song,
  • Igor Stravinsky – Song of the Volga Boatmen,
  • Sergei Prokofiev – Violin Concert No 1 in D Major
  • Benjamin Britten – Russian Funeral
  • Dmitri Shostakovich – Symphony No 11 in G Minor “the Year 1905”

What with one thing and another, but mostly my stupidity at missing the booking opening, I only made it to one RAH Prom this year and missed out on two or three that I really wanted to hear/see. Never mind BBC Radio 3 came to the rescue with their recordings. BTW I WILL PERSONALLY KICK SHIT OUT OF ANY POLITICIAN WHO HAS THE TEMERITY TO FUCK ABOUT WITH THE BBC. I can’t move quickly but I am a big lad so you don’t want to get in my way. Understood. Just joking. I think.

Moving swiftly on. The main reason for picking this Prom was the opportunity to hear the LPO with personal favourites Vladimir Jurowski (a man who seems to conduct with his shoulders and head as much as his hands and eyes, riveting from my choir perch), and the meticulous violinist Alina Ibragimova, having a crack at some hardcore C20 Russian repertoire. And specifically Shostakovich 11 which gets an outing now and then but not regularly enough to miss. Having said that I still can’t decide how much I like it.

Before the main event we had some early works from clever clogs Stravinsky. The score for Funeral Song, Op 5, was only recently rediscovered and is a memorial to teacher and mentor Rimsky-Korsakov. The latter’s influences are fairly clear, (we must thank N R-K for Stravinsky’s mastery of orchestral colours), but, for me,, the louder voice was Wagner, not a good thing to my ears. This was followed by Stravinsky’s arrangement of the Song of the Volga Boatmen, which is a rousing, if very short, ditty which served as the original Russian anthem post 1917 Revolution.

I don’t know if I will ever “get” Prokofiev. I have heard some convincing performances of his works recently, the Quintet and Martha Argerich playing the Piano Concerto No 3 (mind you I reckon Martha could leave you open mouthed in admiration playing Happy Birthday on the spoons). And the piano sonatas I remember seeing performed have been interesting. But there may be too many ideas in the music for me. My ears and brain crave repetition and structure. There is enough rhythm in Prokofiev but there is a lot of flitting about. So I may not be up to it. Still I will keep trying. This Violin Concerto created the same confusion for me. Ms Ibragimova puts line and detail into her performances and really convinces. There were passages of real interest, even when it all got a bit too lyrical, and there were such clever twists and one blinding fast passage, but once again it was just too “bitty”. Sorry. Moreover, whilst I was close enough to hear the violin clearly even with my ropey ears, I suspect the gallery punters might have been working a bit harder.

In contrast to Prokofiev Britten is dead easy for me to understand. Russian Funeral is the only piece he wrote for brass band and it is an open, Mahlerian march bookending a disquieting scherzo. The march is taken from a Russian funeral song (which appears again in the DSCH symphony), hence the title, and the whole thing reflects Britten’s anti-war stance. I loved it.

Now the main event. It is a heck of a slab. An unbroken hour, four movements, slow, faster, slow, fastish. It is based on four revolutionary songs and takes the events of the failed 1905 uprising. The programme is pretty clear, The Palace Square in winter as the revolutionaries march to petition the Tsar. The fighting starts, the Imperial Guard opens fire and the assembly is brutally quashed. We then mourn the thousand dead and finally look forward to when the proletariat will succeed in throwing off the yoke of their oppressors. Now there are some absolutely belting tunes in all of this, but it is a long, drawn out affair. This is one of the DSCH symphonies that drifts towards the cinematic which is fine except we have no pictures for the eyes so the ears get a bit of an overload. And the contrast between the icy despairing chords of the Adagios and the martial drumming of the Allegro movements is a bit overwrought. As ever with DSCH you can sometimes have too much of a good thing.

Having said that it certainly clears out the passages and conjures up an epic vision of the struggle. There isn’t very much of the sardonic or sarcastic audible here, or if there is, it is well hidden, so I can see why this went down a treat with the big boys in the Party when it was served up in 1957 as part of the 40 year celebrations. DSCH did make a few veiled comments pointing to what wad happened in 1956 in Hungary but it didn’t leap out. But then the old chap never did give much away. From the perspective of the centenary of the Revolution though it does feel a bit odd especially when you know what DSCH delvers when he nails it. Can’t fault the playing though and Mr Jurowski wisely gave as much room as was needed to the expansive phrases. No point rushing this edifice as it isn’t going to make much of a difference. And when needed he and the band turned it up to 11, indeed right at the end when the bells come in, we were treated to a 12 on the Tufnel scale.

When all is said and done, and despite the shortcomings, No 11 is still an extraordinary wall of sound and the LPO nailed it. Thanks lads and lasses.

 

 

 

Bryars and Reich, LPO at the RFH review ****

musical_quote

London Philharmonic Orchestra, Synergy Vocals, Sound Intermedia

Royal Festival Hall, 15th March 2017

Now it is a racing certainty that you will be familiar one way or another with the great minimalist composers of the second half of the C20 even if you don’t know it. The sound is ubiquitous in film, television and elsewhere. Driven by clear rhythms and patterns, with simple sonorities and slow harmonic progression, and with loads of repetition, this is a breeze for the punter (like me) born and bred in a pop/rock/soul paradigm.This is why it is justifiably quite “popular” and is bringing in a load of bearded youth into concert halls (a good thing with some minor exceptions).

From this base I have put some effort in and in the last couple of years have expanded exponentially into the minimalist world. The Minimalist series in 2015 at King Place was very helpful (big respect to Kings Place and the way they pull these series together) and I have seen a fair chunk of the major pieces performed in London since then and bought a lot of CDs to boot. So no expert but unlike many things I see I think I have a bit of a jump on most here.

But whisper this. There are times when the repetition can spill over into the plain dull. Fortunately this evening was not one of them.

Gavin Bryars “post-minimalism”, at least in the context of two of his most well known pieces played here, does ask a bit of the listener though to avoid falling into the dull trap. The “Sinking of the Titanic” takes some tape snippets and then sets a score based on what may have been played by the ship’s band as she went down. The lines are long, the harmonies shift slowly and it does go on a bit but overall the “underwater” effect and the varying of the instrumentation was enough to keep me going.

The second Bryars piece I have heard more often. This is Jesus’ Blood Never Failed Me Yet. The tape loop of the tuneful tramp singing will burrow into your brain. However here the slow but palpable building up of the orchestration on top of this makes it easier to follow for a ninny like me. It reminds me a bit of another fave of minimalism for me, Arvo Part’s Cantus in Memoriam Benjamin Britten. Remember all this is my impression, please don’t shout at me if musically this descriptions or comparisons are nonsense.

Then we had arguably Steve’s Reich’s most famous work, Music for 18 Musicians. I own a couple of recordings of this (how fancy is that) and have seen a few performances. This helps as I can now follow the joins (announced by the fella on the mettalaphone no less) so can hear each of the parts in a way I couldn’t at first. But with the rhythm provided by the percussion instruments (love it when the maracas come in – hard work for the players I guess to do that much shaking in one night), and the pianos I defy anyone listening to this not to be drawn in and get the “minimalist trance” thing kicking in.

I can’t put my finger on why but this was the best live performance I can remember of the piece or maybe familiarity is a virtue here. Or most likely the LPO musicians just had a blinder. Anyway I highly recommend anyone taken by this to delve further into this world.

For Steve Reich I recommend the Desert Music and Drumming on top of this pieces, for Philip Glass maybe Glassworks to start(there is an awful lot of Philip Glass music as I am finding out the hard way), for John Adams I think Shaker Loops and Short Ride in a Fast Machine and I would also put a shout in for Michael Nyman’s string quartets and film music. There are tons of compilations (look away now classical music cognoscenti) to get you going.  Oh and you need the grandaddy of them all In C by Terry Riley. I will deal with the “holy’ Minimalists and especially Arvo Part another day.

Anyway all up I genuinely think your life will be a lot better listening to some of this especially for you youngsters who are steeped in rhythm anyway. So get that YouTube working.