Poul RUDERS (b.1949)
Four Dances in one Movement (1983) [19:22]
Nightshade (1987) [8:46]
Abysm (2000) [22:39]
Birmingham Contemporary Music Group/Oliver Knussen
rec. 11-12 October 2008 and 14 March 2009, CBSO Centre, Birmingham DDD
DA CAPO 8.226028 [50:47]
Four Dances in One Movement has a distinctive chamber music feel, with
spacious scoring and well considered use of instrumental colours. The quiet
opening features a duo between the soft-toned clarinet and ethereal violin,
creating a wonderfully captivating and gentle mood. This gives way to a mournful
section, which is entitled ‘Rocking’ and has a mournful feel.
The music then breaks into the bright ‘Ecstatic’ dance, with sparkling
high-pitched sounds and some well chosen percussion, before the final, and
longest, dance. ‘Extravagant’ once again changes the mood for
the finale. The ending is particularly appealing, and surprisingly subdued.
As the title suggests, these dances have rhythm at their centre, and even
the quieter sections radiate a sense of rhythmic energy which underpins the
whole work. There are some beautiful moments in this piece, and the climactic
points have a great sense of excitement about them. Extremely enjoyable, and
it seemed much shorter than its 19 and a half minute duration.
Nightshade has a wonderfully dark opening which immediately gives a sense
of ominous power. The title refers to the plant, Deadly Nightshade. This piece
has a sense of concentration about it, with much intensity throughout. The
ten instruments provide a much fuller orchestral sound than one would ordinarily
expect.
Abysm is a three movement large ensemble work whose opening shares the
dark tone of the previous work. Resonant, low piano notes set a sombre mood.
The title is derived from a Shakespearean line which makes reference to divination
and the occult. There is a dark, underlying strength that continues throughout
the first movement of the work. The second movement is a busy interlude for
piano and Japanese woodblocks, which describes birds pecking at a burning
road. This is a reference to a novel by Farid ud-Din Attar called The Conference
of Birds. The final movement is based on Blake, and has a sense of ‘menaced
innocence’ with simple, slow-moving melodic lines over dark harmonies
with a textural build-up of unusual sounds, such as microtones, harmonics
and multiphonics.
The playing is technically excellent on this disc, and one would expect nothing
less from BCMG and Knussen. The moods are well captured and Ruders’
music is captivating throughout.
Carla Rees
Ruders’ music is captivating throughout.