SEEN AND HEARD INTERNATIONAL

 

John Cage: First Construction (in Metal) (1939)

Cornelius Cardew: Bun No.1 (1964/1965) (London Première)

Howard Skempton: Lento (1990)

Morton Feldman: Piano and Orchestra (London Première) (1975)

 

So there we were, the faithful, in a sparsely filled Albert Hall, at 10 at night, waiting to hear some fairly contemporary music. However, for once the late hour seemed just right for this intriguing show. John Cage: First Construction (in Metal) for percussion sextet, including piano, got things off to a raucous start. It might not be widely known that Cage was a very funny man – as was Feldman – and there’s a good deal of humour in this piece. It’s a real tour de force of percussion writing and it received a splendidly unbridled performance for the members of the BBC Scottish Orchestra.

 

Cornelius Cardew is probably best remembered these days for his political activities and the, continuing, discussion as to whether or not he was murdered by a hit–and–run driver outside Leyton tube station in 1981. Much of his musical achievement liesunknown and only occasionally receives an airing. Tonight’s offering Bun No.1 showed a side to Cardew which I’d neither seen nor heard before. A large scale serial work, for orchestra, without percussion, it was written during Cardew’s period of study with Goffredo Petrasi and gained him the diploma di perfezionamento in composizione. It’s certainly an odd piece. Very abstract, broad in view and with a cavalier attitude to form, structure or what–have–you but with a firm view: this work is a fascinating experience but I am sure that it will never become one of Cardew’s most celebrated pieces, like The Great Learning, Treatise or the magnificent Boolavogue, simply because it is very difficult to perform. We are grateful for such a sympathetic account as the one directed by Volkov tonight. And why Bun? In an article in Contact no.26 (Spring 1983), John Tilbury explained, “[Cardew} gave me two off–the–cuff reasons when I asked him: a bun is what you give to an elephant at the zoo, and that was how he felt when he gave the work to an orchestra to play; and the piece is like a bun – filling but not substantial!” Whether in jest or not, these answers feel right. Hopefully, Tilbury’s recent biography of the composer, Cornelius Cardew – A life unfinished (Copula 2008) will help to raise awareness and interest in the composer’s life and work.

 

Howard Skempton took private lessons from Cardew and with him and Michael Parsons, founded the Scratch Orchestra. Lento was commissioned by the BBC and brought Skempton to a larger public. It’s a kind of chorale, slow but never solemn, and, as always with this composer, it’s just right. Skempton never wastes a note – not for nothing is Webern one of his heroes – and he spins a magical spell of the most delectable kind, suspending time and reaching out for the stars. Volkov and his orchestra played the music and let it weave its magic. Excellent.

 

If you’d ever met Morton Feldman, you’d wonder how this loud, brash guy with a broad Brooklyn accent, and a person who surely should have been a stand–up comedian, could create such beautiful and restrained works such as Rothko Chapel and tonight’s closing work, Piano and Orchestra. With the kind of extreme dynamic demanded by Feldman his music is almost impossible to give as he obviously heard it in his mind’s ear, but again, Volkov achieved the miraculous with his orchestra in trying to get those quiet dynamics. So good was this that when Feldman raised his voice – a rare occurence in many of these late works – he made sure that we listened. With the excellent John Tilbury – who better? – as the soloist this was a very special performance.

 

We might have got home in the wee small hours, but staying up past our bedtime was well worthwhile. I cannot heap sufficient praise on all concerned – composers and performers. Bravo and thank you.

 

Bob Briggs

 

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