The impetus for this compilation of fifteen works written
especially for Menuhin at the behest of his violinist protegée
Edna Michell came around 1990 when she put the question to him on a
nocturnal drive between Prague and Vienna, "Why
dont we approach composers around the world to write pieces inspired
by the theme of universal compassion - an antidote to the chaotic times
we live in?" Menuhin, after all, had written I
look to music to bind and heal; I think the musician can be a trusted
object offering his fellow men solace but also a reminder of human excellence;
I believe as strongly as ever that our finite world turns on finite
individual efforts to embody an ideal. One wonders how he would
have confronted the awful events of 11 September, but, as a man of overwhelmingly
deep humanity and spirituality, he no doubt would have found words of
solace and compassion. It was Einstein who, having heard the youth Menuhin
play in Berlin, said Now I know that God exists.
The project took shape, Michell requiring of her composers to provide
as much variety as possible in the scoring but with the violin as the
pivotal instrument, amounting to fifteen styles with a noble theme behind
them. He conducted the pieces in London a month before his death in
March 1999, and had hoped to record them, believing that all should
be performed together in one programme because "they create a very
special ambience". Michell believes the fifteen styles have a common
denominator, they communicate directly with the listener through a spacious,
meditative, transparent quality, with a sense of timelessness.
There is a fair mix of works here and some well-established,
respected composers among them. While the pre-eminence of Henze, Kurtag
and Foss predictably produce worthy contributions, Glass equally predictably
can do no more than produce yet another exercise in C major. Of the
less famous its the women, Chen Yis Romance of Hsiao and Chin,
Shulamit Rans Yearning and Betty Oliveros Achòt Ketana
which make the best impressions. The pedigree of all composers,
known or unknown, has resulted in good music of a high standard which
deserves careful listening. Unsurprisingly the performances are dominated
by the violin playing of Michell with or without her colleagues (and
these too are of the highest calibre with the likes of Hoelscher and
Mintz among them). Regrettably excerpts from Allen Ginsburgs evocative
poem Wales Visitation are not helped by Glasss far less inspired
music which actually intrudes rather than accompanies.
Christopher Fifield
Czech Philharmonic Chamber Orchestra