Peter MAXWELL DAVIES (b. 1934)
Linguae Ignis (2002) [10:23]
Vesalii Icones (1969) [39:57]
Fantasia on a Ground and Two Pavans (1968) [10:22]
Vittorio Ceccanti (cello: Ignis, Icones) Contempoartensemble/Mauro Ceccanti
rec. 22-23 May 2004, Studio di Registrazione di Valter Neri, Montevarchi,
Italy. DDD
NAXOS 8.572712 [60:41]
This is a collection of two classic and one recent composition by Peter Maxwell
Davies, who is - hard to believe - nearly 75. It contains sensitively-played
music for mixed ensemble in recognition of Mediaeval and Renaissance music,
in which such a combination was so natural. Indeed, the Pavans from towards
the start of the composer's career are based on Purcell. Similarly, Vesalii
Icones is a series of movements reflecting a depiction of the human anatomy
by the sixteenth century Belgian physician Andreas van Wesel.
Even the newer work, Linguae Ignis ('Tongues of Fire') from 2002 is
based on two Pentecostal plainchants, Dum complerentur and Veni
Creator Spiritus. Here it's played by its dedicatee cellist, Vittorio
Ceccanti. He is the ideal soloist. He is able to remain detached - aloof,
almost - when members of the ensemble, the brass in particular, seem to do
everything they can to squash, at least to press down on, the delicacy of
the cello's melody. Without this juxtaposition Ceccanti’s sinuous lines would
actually make less sense, The work is potentially tentative and fragmentary.
Yet it benefits from being held together in this performance by the richness
and confidence of Ceccanti's cello unabashed yet unmannered cello style: clean,
pungent and open.
Vesalii Icones is just as dramatic, just as taut. Perhaps even more
so. It's a work that really benefits from also experiencing the contortions
and gyrations of the dancer who is usually involved in live performances.
It’s the visual and kinetic equivalent of the strangled utterances of the
Mad King George, in Maxwell Davies' piece of the same year. Although played
without a break, the sanctus bells lend structure, and distinguish between
the 14 sections, none of which lasts longer than five minutes.
Again, the playing of the Contempoartensemble is direct and directed - at
the essence of that almost tangible energy which characterises Vesalii
Icones. It's as cautious as it's caustic - for it is searing …There is
little that's calming or re-assuring as the sections referring to the Agony
of Christ make their tortuous way to the tragic conclusion. Such concentration
is necessary … already half-way through Vesalii Icones Maxwell Davies'
trade-mark 'honky tonk' and ragtime piano make their appearance. If the work,
actually serious, isn't to descend into 'genre' music, then playing which
is neither humourless nor too grandiose is vital.
Contempoartensemble is splendid in this respect. Their players distil the
musicality, the melody, texture and particularly the pacing of Maxwell Davies'
spare scores in such a way that you feel you have really understood its essence.
The sleeve-note describes the music as 'sardonic and provocative'. In a way
that's just what it is not … in these players' hands. They have a far more
thorough and engaging grasp of the juxtaposition of the 'old and new'. They
produce music that stands in its own right. What a refreshing approach. We're
used to ensembles - especially Maxwell Davies' own Fires of London - who bring
the weight, experience and idiom of the composer's apparently quirky blend
of syncopation and sensitivity to their performances. Where Contempoartensemble
scores on this new release is precisely by lacking - or seeming to lack; summa
ars…? - what we may well always have assumed were those required traditions.
The result is a freshness, a perception and a depth that force us to listen
to this music anew.
This transparency is just as evident in the Fantasia on a Ground. Contempoartensemble
lacks none of the necessary 'swing' and panache to convey Maxwell Davies'
enthusiasm for 1930s dance music. They have all the robustness needed to prevent
any hint of 'camp'. At the same time, it's a very respectful - not to say
respectable, even - performance. This has the welcome effect of drawing our
attention back to the nuance and subtlety in the music instead of leading
us astray with pastiche elements. The acoustic is immediate and close
without being over intense. The liner-notes are to the point and clear. Amazingly,
this is now the only recording of any of these works in the current
catalogue; another reason for snapping it up without hesitation.
Mark Sealey
Highly idiomatic, pleasing, convincing and fresh performances of works central
to Maxwell Davies’ output