SEEN AND HEARD INTERNATIONAL

Murail, Mozart, Messiaen and Debussy: Olli Mustonen (piano), New York Philharmonic Orchestra, Ludovic Morlot (conductor) Avery Fisher Hall, New York 8.1.2009 (CR)


Tristan Murail is a French composer, now based at Columbia University, New York, so it was something of a surprise that this performance of Gondwana, composed in 1980, was the US premiere. A masterpiece of his early style, this work for large orchestra was composed while Murail was studying computer music at IRCAM. Murail uses spectral techniques such as the replication of computer ring modulation, where individual sounds are created through the addition of frequency values, and then broken down into their individual harmonic series and rebuilt in an orchestral context. The music is richly microtonal as a result of the naturally occurring harmonics, and Murail’s use of harmonic material in this way creates a rich palette of sounds and colours. This is a work which works on many levels, with enormous detail and a wide range of dynamics, textures and timbres. The changes are sometimes gradual and sometimes sudden, keeping the material fresh and constantly in a state of flux. The climactic moments are breathtaking and Murail’s orchestration of the more gentle moments allows space for the delicate colours to break through the texture. This was an excellent performance, which was wholly convincing; with the New York Philharmonic’s new Music Director, Alan Gilbert, set to take over for the 2009-10 season, the chances are there is more contemporary music on the horizon for this orchestra, and this evening’s performance has demonstrated that they are world class performers in this field.

Providing a stark juxtaposition, Mozart’s Piano Concerto in F major K413/387a seemed like a long way away from Murail’s modernist voice, and led me to question its inclusion in the programme – was this intended to placate the subscribers in an otherwise ‘modern’ programme? The orchestra played with clarity and poise, but there seemed to be a difference in interpretation between the soloist and the conductor. Mustonen’s exaggerated phrasing was unsettling and seemed somewhat aggressive in comparison to the phrasing of the orchestral music surrounding him, particularly at the beginning of the work.

Murail was deeply influenced by Messiaen, so it seems wholly appropriate to combine a performance of Gondwana with Messiaen’s Oiseaux Exotiques, superbly performed by pianist Olli Mustonen, who seemed completely at home in this repertoire. The bird song came to life in his hands, and one could sense the characters of the individual birds. This was a breathtaking performance, which showed the orchestra’s wind, brass and percussion sections at their very best. Messiaen’s use of exotic combinations of percussion instruments was mesmerizing, with Tam Tam and Temple Blocks adding a wonderful colour to the overall sound. There was some dazzling playing from the percussion section as a whole, and particularly from the xylophone player. This was a first class performance from every member of the ensemble, directed with total conviction by Ludovic Morlot.

Debussy, probably the grand master of French music, was represented here in a performance of La Mer, which was warm and inviting. The orchestra captured the characters of each movement well, with a particularly playful second movement where the individual sections of the orchestra matched each other well. This was a dynamic performance, with the orchestra playing to the extremes and maintaining a sense of excitement throughout the work. This was a very well judged performance by Morlot,  with beautiful phrasing and excellent pacing; indulgence and discipline were held in a careful and well organised balance throughout, to create a fantastically engaging performance.

Carla Rees


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