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Tuesday 29 November 2016

Mozart & Moravec:
Themes and variations

6 December 2016: Stratford ArtsHouse

  • Joseph Haydn – Sinfonia Concertante in B-flat major, Hob.I:105
  • Paul Moravec – Nocturne [world premiere]
  • Wolfgang Amadeus Mozart – Symphony no41 ‘Jupiter’ in C major, K551

Today’s concert features three outstanding, immensely prolific composers – all at the height of their powers. Joseph Haydn, during the first of his two visits to London: and therefore at the outset of writing his twelve glorious, final symphonies. Wolfgang Amadeus Mozart – albeit in financial straits; and possibly on the verge of depression – three years before his death and his final great outpourings; but rapidly completing his three last stupendous symphonies in successive summer months.

And Paul Moravec? Even after winning the Pulitzer Prize, in 2004, for his spine-tingling Tempest Fantasy – just one of many awards; just one of many astounding works – here is an extremely productive musician, who, it appears, never rests on his laurels, but continues to produce characteristic, emotive music for a wide range of forces: all of which he treats with equal reverence, skill, and love. Fortunately for us, one of his most recent compositions is Nocturne – written to celebrate the orchestra’s 21st Anniversary season as a companion piece to the Sinfonia Concertante which opens the programme.

Using the same soloists as Haydn – with the addition of cor anglais to the oboe part (and with only strings for the main orchestra) – this is a highly imaginative, lyrical piece: engrossing from first note to last. It also exhibits some of the wit that the earlier composer is renowned for – especially in its “Playful, quick” third movement.

But why is Haydn’s Sinfonia Concertante itself not more well-known? Anthony van Hoboken, who catalogued the composer’s works (hence the ‘Hob.’ number attached to each), obviously believed this delightful creation slotted naturally into the ‘Symphonies’ category (Hob.I) – assigning it the number 105 – although, chronologically, it comes between the 96th and 97th. As it contains much of the drama and inventiveness of those works – albeit in a slightly more compact form – I am convinced we, too, should treat it with reverence.

As to the final work, “reverence” – as well as astonishment – is more than due. It simply does not matter whether you consider Mozart’s Jupiter the greatest symphony ever written – or merely(!) the greatest symphony of one of the greatest composers who ever lived – it will always stand as an imposing, sunlit monument to the man and the genre.


“What harmony is this? My good friends, hark!”
An introduction to the music of Paul Moravec…

Marvellous sweet music!
A few weeks ago, I interviewed composer Paul Moravec, by email. My principal aim, as OOTS’ Writer-in-Residence, was to learn more about Nocturne – which will be premièred at the next ArtsHouse concert on 6 December 2016 – and gather enough material from our discussion to produce a programme note. However, until very recently, I hadn’t really known much about his music – or the man. So, in preparation, I spent many, many hours listening to all of the available recordings I could unearth of his music; and reading liner notes, previous appraisals, and previous dialogues.

Tuesday 1 November 2016

Bach to the Future:
Themes and variations

8 November 2016: Stratford ArtsHouse
9 November 2016: Town Hall, Birmingham

  • Johann Sebastian Bach, arranged Steve Martland – Toccata and Fugue in D minor, BWV 565
  • Johann Sebastian Bach – Brandenburg Concerto no2 in F major, BWV 1047
  • Douglas J Cuomo – Objects In Mirror [world premiere]
  • Johann Sebastian Bach – Brandenburg Concerto no3 in G major, BWV 1048
  • Igor Stravinsky – Concerto in E-flat for chamber orchestra ‘Dumbarton Oaks’

If Ben Jonson was correct – and the last 400 years should be proof enough – then Shakespeare “was not of an age, but for all time!” And, I believe, musically, the same can (and should) be said of Bach. It seems almost inconceivable, now – considering his enduring popularity and influence – that his compositions were not widely appreciated until Mendelssohn revived the St Matthew Passion in 1829 (100 years after its first performance). Although his ascendance since, of course, has been stratospheric – literally, in the case of the three pieces sent into space with the Voyager probes: one of which is the opening movement of this concert’s second Brandenburg Concerto.

Musicians from all genres therefore continue to utilize Bach’s creations as the basis of – and inspiration for – their own: amongst my personal favourites, Jacques Loussier’s jazzy interpretation of the Goldberg Variations, and Shostakovich’s sublime 24 Preludes and Fugues. And, of course, this concert is itself a perfect demonstration of the great composer’s musical longevity, as well as his abiding relevance.

The opening, thrilling arrangement sets the tone perfectly: a famous keyboard work transformed into fresh fireworks for string orchestra; followed by four sumptuous examples of the concerto grosso – which all demonstrate, in contrasting ways, what pinnacles can be achieved with a few strings, an occasional harpsichord, and dazzlingly different arrays of solo instruments.

Although we may initially think of Corelli, Handel or Vivaldi as the main proponents of this antiphonal form – in which a small group of soloists (the concertino) are ‘accompanied’ by (or alternate with) a larger orchestra (the ripieno): one built upon a continuo of harpsichord and bass instruments – Bach, for me, is its ultimate master: richly expanding its original strings-only remit. His six Brandenburg Concertos are multivariate perfection: demonstrating just how sublime and diverse such concertante works can be – both in style and in orchestral colouring.

It is no wonder, therefore, that this classical form also continues to galvanize: often prompting composers to produce compact masterpieces of their own – a quick glance across the Pond revealing Barber’s stunning Capricorn Concerto, and the striking Stravinsky which ends today’s programme. In using the same forces as the second Brandenburg Concerto – and to such scintillating effect: revelling in the still-coruscating alloys of instrumental juxtaposition, 300 years on – Douglas J Cuomo can certainly also claim his position as their worthy successor.


The leaves bow themselves to the ground…

Next week’s Bach to the Future concerts – at Stratford ArtsHouse and Town Hall, Birmingham – feature the first of four pieces commissioned to celebrate the orchestra’s 21st Anniversary Season: Objects In Mirror, by Douglas J Cuomo – best known (I am told) for the title theme to Sex and the City. Each of the selected composers was invited to write a concertante piece for OOTS principals using the same instrumentation as an existing composition – in this case, Bach’s second Brandenburg Concerto – which will be performed immediately before this new work – thus enabling both audience members and players to compare and contrast the differences and similarities of composers across the ages.

Despite his busy schedule – he has a première of a choral piece in Florida at the same time as this one… – I managed to catch up with Doug, by email, to discuss his new – and (evident from just reading through the score) utterly captivating – work.

Wednesday 5 October 2016

PREVIEW: Mozart and Friends with Lucía Caruso


As well as a thrilling set of variations, Folía, for piano, Portuguese guitar, and orchestra – written with her husband, guitarist Pedro H da Silva (above) – Argentine-born pianist and composer Lucía Caruso will be performing Mozart’s intriguing Piano Concerto no.13 in C major (K415) three times with the orchestra this month:

The inestimable Frances Wilson – otherwise known as ‘The Cross-Eyed Pianist’ – caught up with Lucía ahead of these concerts; and the resulting in-depth and thoughtful interview can be read on her website, as part of her addictive Meet the Artist… series.

Thank you, therefore, to Frances for her hard work; and to Lucía for her beautifully detailed responses.

Tuesday 4 October 2016

Mozart and Friends with Lucía Caruso:
Themes and variations

11 October 2016: Stratford ArtsHouse
12 October 2016: Town Hall, Birmingham

  • Antonio Salieri – Sinfonia in D major ‘Il giorno onomastico’
  • Wolfgang Amadeus Mozart – Piano Concerto no13 in C major, K415
  • Lucía Caruso and Pedro H da Silva (orchestrated by Pedro H da Silva) – Folía
  • Joseph Haydn – Symphony no92 ‘Oxford’ in G major, Hob I:92

Ignore everything you may have gleaned about Antonio Salieri – especially from that film! With only five-and-a-half years difference in age, it is no surprise that he and ‘Amadeus’ were rivals for many of the leading musical jobs on offer at the time. However, it is extremely unlikely that homicide was the end result! Indeed, in later life, these two great musicians were, if not friends, peers who worked together, and had a great deal of respect for each other. Likewise, Mozart and Haydn – who, when the former died, called the younger man “irreplaceable” – their friendship probably being established the year after today’s concerto was completed: when Mozart was in his late twenties; Haydn, his early fifties. Effectively, then – apart from the tremendous bonus which follows the interval (although it not only travels through this period, but echoes Salieri’s undoubted masterpiece: twenty-six incredibly virtuosic, ingenious orchestral variations on the very same theme, from 1815) – today’s concert captures the world of three pre-eminent composers who not only knew and influenced each other, but also dominated the musical scene of their age: with Mozart at its Viennese core.

If the opening symphony and the subsequent concerto are not regularly performed (relative to the fame of their creators; and the 13th is certainly not one of the most famous of Mozart’s 23 piano concertos), then the opposite is true of Haydn’s 92nd symphony – although, as Michael Kennedy once said, this was “composed in 1788 with no thought of Oxford”! However, it is a pocket-sized treasure: beautifully expressing that Austrian zeitgeist; as well as encapsulating and building on the composer’s previous orchestral triumphs… – immediately before he entered the glorious Indian summer of his twelve London symphonies.

What all four works here have in common then are not just bonds of friendship (an OOTS trademark), but excitement, contrasted with lyricism of the highest, most penetrating order – the Salieri thrilling in its exploration of orchestral technique and timbre (as well as its riveting beginning, luxurious middle, and gravity-defying end); Mozart’s concerto mesmerizing in its almost unceasing, meandering and vaulting virtuosity; Lucía and Pedro’s Folía electrifying with both mastery of musical evolution and execution; and finally, Haydn, yet again stretching the bounds of symphonic form: with invention, intelligence and the most exhilarating finale!


Tuesday 20 September 2016

Laura van der Heijden and ‘Mercurial’ Haydn:
Themes and variations

27 September 2016: Stratford ArtsHouse
28 September 2016: Town Hall, Birmingham

  • Joseph Haydn – Symphony No.43 in E-flat major, Hob.I:43
  • Joseph Haydn – Concerto No.2 in D Major for cello and orchestra, Hob.VIIB:2
  • Wolfgang Amadeus Mozart – Symphony No.29 in A major, K201

My dictionary tells me that the word ‘mercurial’ can mean “active, sprightly, often changing” – and I think this adjective can be applied to all three of this concert’s works: but in slightly different ways. They are also linked by their orchestration – the addition of oboes and horns to the Orchestra of the Swan’s core strings reinforcing our happy band’s quintessential translucent, intimate chamber feel – yet producing extended and contrasting variations in both texture and effect.

All written within a period of a dozen years, it would be easy to lump these pieces in with the contemporary Sturm und Drang movement. However, although Haydn’s 43rd Symphony (the earliest of them) can feel at times both ‘stormy’ and ‘driven’ (especially in the final Allegro), its frequent changes of mood are anything but extreme. If anything, it is a thoughtful piece – admittedly full of contrasts and feelings of unrest – but overwhelmingly lyrical.

The concerto (the latest of the three) builds on this lyricism. Although technically challenging – the ‘mercurial’ finger-work is as visual a delight as it is an aural one – this work exploits the timbre of the cello to the full (as well as its range and volume): making it sing. I thus believe it to be one of the greatest works ever composed for the instrument. That it demonstrated (and extended) its expansive capabilities so early on in its history, is, to me, a manifestation of Haydn’s continual willingness to learn, to experiment, to stretch… – indeed, a manifestation of his genius.

The Mozart symphony that ends the concert is, though, the sprightliest of the three: a youthful high note on which to end a quite stunning programme! It is simply joy unconfined; and more proof that the late 18th Century not only gave us Romanticism (‘stormy’ or otherwise); but set the high standards that later composers would have to work hard to surpass.


Monday 19 September 2016

It’s all in the playing…


This year’s Orchestra of the Swan Associate Artist is cellist Laura van der Heijden – the winner of BBC Young Musician 2012 – who many of you will have seen and heard deliver an astonishing rendition of Elgar’s Cello Concerto during July’s Last Night of the Shakespeare Proms. As I wrote then…

Laura’s interpretation of this masterpiece is definitely all her own. (As [David] said, so perspicaciously, in his pre-concert talk: she has made it so by first, wisely, returning to the source material – interrogating and understanding Elgar’s clear, precise, multifarious directions….)
     Additionally, she seems to have realized that, just because a work is known for its emotion, not all of that needs to be of the negative variety. Undoubtedly, there are many passages of profound, sublime sadness. However, there is also a great deal of joy to be found – and to be expressed. And this Laura did with incredibly fresh, youthful vigour….
     Such passion, as Laura so beautifully demonstrated, is contained in the notes themselves (such is the wizardry of Elgar’s writing and orchestration). And, although I would never argue that any musician should not bring their own experiences and feeling with them when playing any work, I do believe that they should not then impose them on it (especially not to the music’s detriment). Performer and creator need to find a balance where both voices speak equally – and it is this quality so evident in Laura’s playing that is so utterly impressive (if not so utterly stupefying…).
     Her thoughtful rendition showed such a keen understanding not only of this requisite harmony, but… of the composer’s expressed intentions – as well as how to convey them through the prisms of her own heart, mind and body.

Saturday 2 July 2016

But at length the season of summer does come…


The linden, in the fervors of July,
Hums with a louder concert. When the wind
Sweeps the broad forest in its summer prime,
As when some master-hand exulting sweeps
The keys of some great organ, ye give forth
The music of the woodland depths, a hymn
Of gladness and of thanks.
– William Cullen Bryant: Among the Trees

This month, despite the weather’s best attempts to immerse us in what feels like a premature autumn, music lovers in the UK are in for a treat – a bright, warming ray of sunshine – brought to us, from the United States, in the form of the young rising star, Thomas Nickell: a pianist who has already gathered great praise around the world.

This is his first – hopefully of very many – visits to these shores; and it is rendered even more special by the fact that he will be giving not only the UK première of his own Piano Sonata No.3, but also the first London performance of “Britain’s greatest living composerDavid MatthewsPiano Concerto, Op.111. Both of these will play pivotal rôles in two momentous Orchestra of the Swan concerts (on 10 July 2016 and 16 July 2016) – although his actual début will be with the Cheltenham Symphony Orchestra (on 9 July 2016) – all conducted by OOTS’ Artistic Director David Curtis.

Friday 13 May 2016

PREVIEW: Prestigious Double Concerto Series with Tamsin Waley-Cohen – Forum Theatre, Malvern (Wednesday, 25 May 2016, at 19:45)


Selected by Birmingham’s Town Hall Symphony Hall as the British nomination for the prestigious European Concert Hall Organisation’s Rising Stars programme in the 2016/17 season, Tamsin has been described by The Times as a violinist “who held us rapt in daring and undaunted performances” and by The Guardian as a performer of “fearless intensity”.

Certainly not just once in a lifetime – but, nonetheless, remarkably infrequently – an artist crosses your path who completely redefines your definition of the possible. Such occurrences, therefore, rise easily to the surface of your mind, unbidden; and, in my case, can be counted on the fingers of one hand:

  • Maurizio Pollini playing Schoenberg’s Five Piano Pieces as an encore at the Edinburgh Festival…. These pieces suddenly emerged, butterfly-like, from their atonal cocoon, as the most beautiful ever written. (I was on the front row, trying not to cry. Having just learned to play them – yet not in any way like this… – it felt like the most personal of messages.)
  • My much-missed friend, Michael Rippon, shredding every sinew in his body (and mine) – stretching his Rembrandt-like features, and remarkably sonorous voice, to the limits (and possibly beyond) – projecting (the also much-missed) Maxwell Davies’ Eight Songs for a Mad King with such savage, yet empathetic intensity, accompanied by the composer’s own group, The Fires of London. I had not known that music could be made to do this: to transcend the bounds of theatre and emotional evisceration. Never before or since has such a work hurt so much… – and yet delighted me with its commitment and originality.
  • Marin Alsop unleashing the full powers of the Bournemouth Symphony Orchestra in Elgar’s Second Symphony. I was sat behind the brass and percussion. The balance was therefore so very wrong. But, finally, finally, I knew that this was how this greatest of symphonies must be performed. (That I got a hug from Alsop, subsequently, for weeping from first bar to last, only reinforces the memory, of course. But she is the only conductor I know – apart from David – who personally thanks every single member of the orchestra, afterwards: wandering the stage with a smile and that sincere personal touch.)
  • Finally, of course, I have to mention David again… – but with the Cheltenham Symphony Orchestra – digging hard and deep into the very heart of Shostakovich’s Fifth Symphony…

Thursday 5 May 2016

PREVIEW: A Scandinavian Serenade – Birmingham Town Hall (Wednesday, 11 May 2016, at 14:30)

Adapted from a review of the same programme at Stratford ArtsHouse (2 December 2015).


Billed as “a serenade with a Scandinavian flavour and a Shakespearean twist”, this is a concert which, on the surface, seems devoted to the warm sun of encroaching summer… – and yet isn’t afraid to probe what hides in the resultant shadows; or even stay outside when the clouds roll over and threaten to burst.

All of the Grieg pieces – the famous, ecstatic, opening Holberg Suite; the Watchman’s Song, from Macbeth; and his Two Elegiac Melodies – are sensationally full of life (replete with its ups and downs). Here is a composer who wrote a lot more wonderful (and sometimes darker) stuff than just his famed piano concerto; and it seems that the more intimate the setting, the greater his power. In other words: music perfectly suited to David and his merry band of minstrels (above, in rehearsal). Playing Grieg plays to their innate strengths… – so expect an inspiring, luminous, resonant clarity that only comes from such chamber-compactness: each line, each texture, audible; each dynamic, each measure, “tight and yare”.

Thursday 21 April 2016

The gods make this a happy day…


Entering Holy Trinity Church to the strains of Vaughan Williams’ Tallis Fantasia has to be the most wonderful start to the day (reminding me, coincidentally, of walking through the chapel of St John’s College, Cambridge, many, many years ago, surrounded on all sides by a hidden rehearsal of the latter’s awe-inspiring Spem in Alium…) – haunting moments, both: which saturate the soul in blessedness. That this was soon followed by Tamsin’s plangent rendering of the opening of the former’s The Lark Ascending – reverberating gently around these hallowed walls, before climbing heavenwards – heaped perfection upon glorious perfection. It is a privilege to witness such wonderments being practised so perfectly… – being the Orchestra of the Swan’s Writer in Residence has so many rewards.

Monday 18 April 2016

The Immortal Shakespeare was born in this house…

Dobrinka Tabakova – photo by Sussie Ahlburg

Interview with Dobrinka Tabakova, Orchestra of the Swan’s award-winning Resident Composer (including Immortal Shakespeare – première: 21 April 2016)
– by Stephen, OOTS Writer in Residence

I first came across Dobrinka Tabakova’s music just over eleven years ago: when Orchestra of the Swan (OOTS) gave the second performance of Bell tower in the clouds in Pittville Pump Room, Cheltenham. Back then, Dobrinka was still a music student; and, unbeknown to me, was actually sat in front of me and my young son. He commented, at the interval, on some of the technical aspects of the piece (harmonics in the cellos representing the bells, I think): and she was gracious enough to turn round and thank him. Even then, it was obvious from the orchestration – which was quite inspirational and innovative – as well as the emotion her music provoked – that here was a composer to watch; here was a composer who would go places.

It was therefore a great honour, just before Easter, to talk with her, over the telephone, about her music; and particularly the works she has written for OOTS.

Friday 15 April 2016

Your intervention is most helpful…!


Many musical works – for instance, Tchaikovsky’s Violin Concerto – begin delicately: easing you in gently to the fireworks that will later appear (and how…). Some – like Mozart’s 25th Symphony – punch at full, syncopated pelt from the opening notes. Thus, this blog will do, too: launching on Angel of the North-sized wings and a very forthright orison!

So, no introductions – except to say “Welcome!” – and that I hope you will stay with us: as David, Artistic Director of Orchestra of the Swan, and I, Stephen, its freshly-anointed Writer in Residence, try our very best to develop a conversation around some of the background, backstage goings-on, that may not readily be apparent from the concerts (or even their associated pre-concert talks).