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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.