Péter EÖTVÖS (b. 1944)
Violin Concerto No 3 ‘Alhambra’ (2018) [23:19]
Isabelle Faust (violin)
Orchestre de Paris/Pablo Heras-Casado
Igor STRAVINSKY (1882-1971)
Le Sacre du Printemps
(1913) [64:22]
Orchestre de Paris/Pablo Heras-Casado
rec. September 2019, Grande Salle Pierre Boulez, Philharmonie de Paris.
Reviewed as 24/48 download with pdf booklet from
eclassical.com
HARMONIA MUNDI HMM902655 [87:41]
This disc’s main attraction is the new concerto by Péter Eötvös, the
“Alhambra”, dedicated to Isabelle Faust and Pablo Heras-Casado. The
composer writes that the piece stands at “the intersection of Spanish and
Arabic culture” and is intended to evoke “a walk in the mysterious building
of Alhambra”. The latter is reflected not only in the distinctly exotic
musical language, but also in the lack of overall form in the piece, which
on first listen sounded structurally almost like Pictures at an Exhibition,
strung together attacca into a one-movement concerto. Each ‘picture’, or
perhaps rather ‘courtyard’ or ‘room’, is adorned with textural colour from
a varied orchestral palette; particularly noticeable is the mandolin
infusing the harmony with an Arabic edge. However, the star of the show is
undoubtedly Isabelle Faust, whose tone can switch between eerie austerity
and majestic warmth at the flick of a switch; her liberal but precise use
of tonal effects such as ponticello and glissandi, in each and every case
elevating the music beyond the score, shows an affinity between composer
and dedicatee. It is often challenging for newcomers to music lacking
traditional tonality to make sense of such a piece; my suggestion would be
to try and look past this fact and allow the timbres to evoke a scene in
the mind – what an open ear can garner even in the absence of clear melody
and harmony may well surprise you.
Though pagan Russia may lie almost a continent away from Moorish Andalusia,
the influence of Stravinsky on Eötvös can be heard throughout the concerto,
so it is appropriate that it is paired here with the Rite of Spring –
indeed, the first appearance of the orchestra in Alhambra sounds
remarkably similar to the opening of the Sacrificial Dance. Heras-Casado
elicits clarity and transparency from the score; compared to the excellent
CBSO under Simon Rattle (Stravinsky Ballets Warner 9677112, budget price -
review, now download only) the opening is less atmospheric, the Augurs of
Spring possessing less manic energy, but the sense of forward motion and
continuity constantly reminds the listener of the balletic roots of what is
now very much seen as a concert piece. The Spring Rounds could perhaps have
benefited from more heft in the sound, the subsequent rituals from more
menace. The Sacrificial Dance certainly boasts a startling immediacy, with
the rasping brass and dissonant chords, but does not quite have the
demonic, possessed edge which Valery Gergiev and the Kirov Orchestra
present (Philips 4680352), that elevates this music to the next level – a literal dance to the
death really should not be treated politely. However, whereas so many
conductors fail to link the scenes together, this performance comes
together as a coherent whole.
As the premiere recording of a new work, then, this is well worth a listen,
especially performed by an outstanding violinist wholly at one with the
music. The Rite is faced with heavy competition, and preferred recordings
are often highly individual – each and every performance sheds new light on
a score that never fails to fascinate, and this is no different. The two
pieces come together as a coherent and enlightening programme.
Colin C.F. Chow
