Other Links
Editorial Board
- UK Editors
- Roger Jones and John Quinn
Editors for The Americas - Bruce Hodges and Jonathan Spencer Jones
European Editors - Bettina Mara and Jens F Laurson
Consulting Editor - Bill Kenny
Assistant Webmaster -Stan Metzger
Founder - Len Mullenger
Google Site Search
SEEN AND HEARD UK CONCERT REVIEW
Rautavaara - Pelimannit ('The Fiddlers'), op.1
Grieg - From Holberg's Time: Suite in the Olden Style, op.40
Vivaldi - Violin Concerto in D major, 'Il Grosso Mogul,' RV 208
Albert Schnelzer - Emperor Akbar (British première, orchestral
version)
Last September, I reported enthusiastically from the
Arensky Chamber Orchestra's launch at the Institute of Directors. I am
delighted to say that the performances at this concert proved of an equally
high standard. A crack team of young soloists combined under the leadership
of Clio Gould to provide an object lesson in stylish, dynamic string
playing.
To stand out amongst a host of chamber ensembles, the ACO has resolved to do
things differently, not for the mere sake of it, but to attempt to present
works in interesting new ways, both through programming and presentation.
Interesting connections abounded: Scandinavian string music from Einojuhani
Rautavaara, Edvard Grieg, and Swedish composer, Albert Schnelzer - the
string orchestral version of the latter's Emperor Akbar also
fitting nicely with one of Vivaldi's two Mogul excursions, the D major
concerto, RV 208.
As we entered the Cadogan Hall, members of the orchestra greeted us from a
balcony above the stage with their own arrangement of folk material
collected by fiddler Samuel Rinda-Nickola (1763-1818), thus preparing us for
Rautavaara's The Fiddlers, which also makes use of Rinda-Nickola's
material. A student work, indeed his op.1, The Fiddlers (or 'Pelimannit')
is full of exuberance; at least it was in this typically energetic
performance. The informative programme notes informed us that Rautavaara
originally wrote a piano piece, which he subsequently arranged for string
orchestra. From the idiomatic rendition here, one would never have guessed,
though the composer perhaps sounds closer to the likes of Honegger than to
his later voice (no complaints here). Depth and richness of tone combined
with sharp characterisation of individual movements, relishing but never
unduly exaggerating the composer's 'wrong-note' harmonies, to provide a
memorable account. Another programming idea: perhaps this could be a
potential companion piece to
Bernd Alois Zimmermann's riotous Rheinische Kirmestänze ?
Grieg's Holberg Suite followed: another work originally composed
for piano and subsequently arranged for string orchestra. It is an
unfashionable work; indeed, one might say much the same of Grieg as a
composer: a pity, since its evocation of the Baroque suite is charming and
never resorts to pastiche. Lightly nostalgic, the ACO's account paid homage
to an imagined eighteenth century, whilst making abundantly clear that this
was a nineteenth-century work. Grieg's harmonies delighted, not least on
account of well-judged harmonic rhythm under Gould's wise direction. The
string tone itself was expressively rich, though never overwhelmingly so:
light and rich are not necessarily antonyms. The Air ('Andante
religioso') was sung especially beautifully, never descending into the
realms of the maudlin. Gould's solos proved beguiling, but so did those from
other section principals, amongst whom Steffan Rees's finely shaded cello
line deserves especial mention.
Gould was the soloist for Vivaldi's Il grosso mogul concerto. I
cannot claim to be a paid-up Vivaldian - Dallapiccola's line, popularised by
Stravinsky, about writing the same concerto a few hundred times dies hard -
but this was a fine reading that never outstayed its welcome. Once again
striking was the richness, though not a 'Romantic' richness, of tone
displayed by the orchestra as a whole, a fine backdrop for Vivaldi's - and
Gould's - flights of violinistic fantasy. The slow movement, for solo and
continuo, showed that there is variety within Vivaldi's box of tricks, even
if I could not help thinking - heretically? -that Bach's arrangement remains
superior to the original. But what a joy it was to hear such warmth from the
orchestra: utterly distant from current attention-seeking 'authenticity'. I
was put in mind of the English Chamber Orchestra in its heyday.
Finally came the British première of the orchestral version of Albert
Schnelzer's Emperor Akbar, the quartet version of which was written
for the Brodsky Quartet. Where the inspiration for Vivaldi's title remains
obscure, Schnelzer pays explicit homage to Salman Rushdie's portrait of the
Mogul Emperor in The Enchantress of Florence. Indeed, we heard
readings from Rushdie prior to both the Vivaldi and Schnelzer pieces.
Schnelzer, according to his biography, 'has openly declared that
communication is a key element in his music.' I am not sure that there is
anything particularly unusual about that, though the implication would seem
to be that (relatively) straightforward is better. The dance-inspired
rhythms and melodies were once again expertly despatched by the orchestra,
though I could not help wishing that something a little more intellectually
engaging were on offer. Ferneyhough perhaps: I suspect these players would
cope…
The next ACO concert will feature Schoenberg's Verklärte Nacht,
both in its original sextet version, and in the version for string
orchestra, alongside an exhibition of new works from the Royal College of
Art. Perhaps my belief in the original's superiority will be challenged; we
shall see… For further details on the Arensky Chamber Orchestra,
please visit the orchestra's website (click
here).
Mark Berry