Other Links
Editorial Board
- Editor - Bill Kenny
- Founder - Len Mullenger
Google Site Search
SEEN
AND HEARD CONCERT REVIEW
Aldeburgh
Festival 2008 (6) :
Rihm, Byrd, Xenakis, Rohan
de Saram (cello) Exaudi, James Week (director), Aldeburgh Church,
Suffolk, England. 20.6.2008 (AO)
Rohan Playing X 5 © Denis
Brown
Danger, too, infuses the Byrd motets, Ad dominum cum tribularer,
and Quomodo cantabimus. They may be more “conventional”
baroque ensemble work, but Byrd’s sympathies were with the
Catholic minority in late Tudor Britain. In this sense, “I cry
out to God in time of trouble” may be an oblique statement of
principle not so far removed from Horace’s declaration of faith.
The dense tracery seems solidly impenetrable but individual voices
these are, nonetheless. “I spake peace”, goes one text, “but they
shouted together for war”. Polypohony is exquisitely beautiful,
but Exaudi catches the inner tension beneath the loveliness.
Indeed, James Weeks, Exaudi’s Director describes the lesser known
O salustris hostia, as “an extraordinary work in which a
three part canon is set among three free parts in a bizarrely
dissonant texture……..a harmonically subversive exercise”.
Xenakis, a political radical, dedicated Nuits to “unknown
political prisoners……the thousands of forgotten whose very names
are lost”. Hence the fragmentation of sound. He uses broken
syllables from Sumerian and ancient Persian texts. Phonemes
express the idea of half-heard “voices”, and of ruthless
suppression. Polyphony creates tumult more powerfully than
straightforward word setting. In its own way, Nuits is as
concisely aphoristic as a Kurtàg miniature, for the voices here
symbolise vast forces, thousand of people silenced over many
centuries. Exaudi employs a range of techniques like growls,
whistles, the chattering of teeth to expand in sound the idea of
fragmented words, each fragments building up a powerful wall of
sound. Some of the wailing vowel sounds are held so long it’s as
if Exaudi members were practising circular breathing. This makes
the sudden, last syllable sound even more distressing, as it cuts
off, strangled, in mid air.
Striking as Exaudi’s performances always are, nothing could
compare with Xenakis’ Kottos, for solo cello. Rohan de
Saram is probably its finest exponent ever. I’ve heard him play
this several times, but this was truly stunning. In his quiet,
unassuming way he said a few words before starting to explain that
Kottos was the son of Gaia, the primordial earth goddess. The
full story is gruesome, pitting father against son in extreme
rivalry. The music therefore expresses titanic struggle. As de
Saram says “it’s like Quranos is pushing Kottos back into the
womb”. De Saram does amazing things : long, protracted growls of
sound scraping at the lowest possible range of the instrument,
manically fast microtonal flourishes executed with great
precision. Towards the end, de Saram plays conflicting rhythms
with such energy that the music seems to levitate on its own
dynamism. Look again at the photograph above, where five images
of de Saram are superimposed on one another. Kottos is
polyphony for a single instrument, and comes alive with a genius
like de Saram.
See also
http://www.musicweb-international.com/classRev/2006/Nov06/Saram_Ozorio.htm
Anne Ozorio
Back
to Top
Cumulative Index Page