Die Deutsche Kammerphilharmonia under Paavo Järvi with Maria Dueñas in Schubert and Bruch

When you have been to a lot of concerts - when you reach a certain age! - real surprises are quite rare. Even new works fall into expected groups when you have heard a lot of them. In over fifty years of concert-going, I cannot remember a performance of Schubert’s Symphony No. 1, let alone a concert with Schubert’s Symphony No. 2 on the same programme.  Surprise? Will it come from a program advertising Schubert and Bruch? Well, yes, if it also includes the Deutsche Kammerphilharmonia Bremen with Paavo Järvi with Maria Dueñas as soloist.

Let’s start with the Schubert symphonies. Number one had his first performance some seventy years after it was written in 1813. During his lifetime, Franz Schubert heard little of his music performed before a paying audience. This is immediately one in the eye for anyone who justifies taste via popularity. Here we have perhaps the greatest European composer of all time who managed to have just a handful of his works performed in public during his lifetime. A populist would have to declare him and his work worthless. Things were obviously different at the start of the nineteenth century. But is public exposure any easier now? At the start of the nineteenth century, Schubert could at least invite his friends to a recital. Salons were all the rage. In the twenty-first century, how many unhittable videos are posted on the Internet? And are they all bad? Conversely, it what gets the hits automatically good?

The first symphony was the work of a sixteen-year-old. And yet it sounds mature, in spite of orchestral writing that on occasions advertises immaturity and lack of experience. But what is in the work is the unusual mixture of dance and celebration with dark self-doubt that would come to characterise the composer’s later works. The work runs to half an hour and feels like a deliberately serious statement by a young man who knew he had talent, but still could not see a definitive way to express it. Would things change?

After the break, we also had a performance of Schubert's Symphony No. 2. This is surprising music, along with the First Symphony, but there is greater maturity in the writing. The sound world seems to be that Mendelssohn, rather than Haydn, Mozart or Beethoven. But Schubert wrote his first two symphonies in 1813 and 1814 to 1815 a decade before Mendelssohn wrote anything of note. I remain wedded to the idea that no one is ever born before their time. A public, however, can become fixed in a culture that prevents it from appreciating the novel, however, and that tendency can render some creative geniuses to appear to be ahead of the time. So it probably was with Schubert. Unknown and unheard, he was already writing revolutionary music a decade at least before it became institutionalized by Mendelssohn. This time, these early symphonies by Schubert formed the real surprise of this concert.

Bruch’s First Violin Concerto is never a surprise. Unless, that is, it is played by someone like Maria Dueñas. No matter what reputation precedes, perfect artistry transforms even the most familiar music into something unique and even surprising.

María Dueñas pulled everything out of this music. Too often a piece like Bruch’s concerto is played for its populist kudos, with all the edges shaved to smooth, presented to pacify an expectant crowd rather than energise them. Maria Dueñas gave it everything, often attacking phases with a confidence that I personally have not heard before. Isn’t it amazing when something so familiar can be transformed by performance into a complete surprise. Brava!

In total, the ADDA audience demanded and received three encores, two from María Dueñas, and one from the orchestra. The orchestral offering at the end was the Andante Festivo of Sibelius. Like the Valse Triste, this piece ostensibly offers a celebration in a minor key promoting reflection. It is a beautiful piece, amplified by its understatement. Maria Dueñas gave two encores, one solo, and one with the orchestral strings. The first was an arrangement of Fauré’s Après Un Rêve, which was, after the Bruch concerto, sweet on sweet. Then, solo, she gave a performance of Applemania by Igudesman which, on the face of it, is a show-off piece designed for competitions. In the hands of María Dueñas, it was music, simply beautiful music.

The Gonzalo Soriano International Piano Competition in Alicante announces its winners

 

For the second time, Caroline and I have completed an edition of the Concurso Internacional de Piano de la Ciudad de Alicante Gonzalo Soriano con el Conservatorio Jose Tomas.  One hundred and eleven candidates from over thirty countries came to compete in four age categories and the final prizes were awarded last Saturday night.

Over four days, we directed candidates to play before the judges. We heard a particular Liszt Transcendental Study and Chopin Etudes many times. We heard the First Sonata of Prokofiev once and the Sixth twice. Someone – just one entrant – played a Shostakovich Prelude and Fugue, though those by Bach appeared regularly, but were never repeated. We heard music by Rautavaara, Carl Vine, Malipiero, Christian Helsing and a lot of Beethoven. The Rachmaninov was wall-to-wall. The Medtner stood out. Nobody played anything English, but of course there was a lot of Albeniz.

But the music aside - which it never should be - the most impressive aspect of the week was its performers. More than a hundred young people, some of them not so young, since the D category admitted participants up to 32 years old, played their best (some I am sure would not agree) in order to get a foot on at least one rung of a career ladder of unknown height. It’s a horrible business, but it is undeniably a business. People compete. People have to compete. Celebrity is currency and celebrity exists in a market where talent might not count, but probably does, and therefore recognition, and even work comes to no one unless that individual competes. To win seems like a confirmation of talent. To lose feels like its denial. But overall, luck place an important part, though luck is never quoted in the results.

Luck? When celebrity comes as a result of a video presence on the internet then luck might count. But when it comes to playing a piano, the only possible route to success goes via hours, days, months, and years of practice. And the most enduring memory of organizing a piano competition is to realize that the vast majority of these hundred plus competitors from six years old to thirty spend most of their lives practicing, the major challenge in a pianist’s life being always what the individual called "me" can achieve.

Shunta Marimoto, who won the senior category, seems to be someone who communicates with the world via the keyboard of a piano. Almost uncontrollably nervous before a performance, he seems to enter a different universe the moment his fingers touch the keys. Then there is magic. Always, it seems. A hundred or more of the people go through the same routine and the result is different. This, possibly, may be talent, or the manifestation of it. All the best arguments seem to be circular.

Ellisiv Tundberg, after a stunning performance of a sonata movement by Carl Vine in the semis, played Rautavaara and Franck in the final. Her playing of Cesar Franck’s Prelude, Choral and Fugue was the first time I have ever understood the music. Often it is played almost as a challenge, but in her hands its lyricism could shine through, but never as sentiment. Quite superb.

During the week, it was in category B that the biggest surprise came at the level, almost, of revelation. Luca Newman from the UK is a diminutive teenager. When he plays the piano, his age or stature do not matter. He has talent, application, dedication, and real artistry. What a privilege it is to be close to these young performers.

It is, however, hard work. I am just a paper and people pusher. I am just an organizer. But without this structure, the talent show would not find a stage, and would therefore not be on show. Thanks to Istvan Szekely for having thought it all up. Thanks also to Markus Schirmer, Tania Kozlova, Elena Levit, Luca Torrigiani, Uros Tadic, Gaia Caporiccio and Denise Lutgens for judging through the week. And nothing could happen without the wonderful staff from Conservatorio Jose Tomas. Being involved is, however, an exhausting privilege. I wish good luck to all who took part.

Detail at https://www.arsaltacultural.com/

ADDA Simfonica in Bernstein and Mahler with Josep Vicent and Josu de Solaun

Some concerts are different from the norm. Some turn out to be different, some look different from the start. Last Friday in ADDA, Aliante, our concert fell into both categories.

The start looked conventional enough with an overture. But this was Bernstein, and upbeat Bernstein to boot. As the evening progressed, this celebratory, overtly smiling music became a focus for the theme of ‘false hilarity’ that underpinned the rest of the program. Though the Candide Overture is upbeat, and it is an audience please, its origins are on Broadway, a place that, for the stage, peddles the same kind of illusory happiness that creates sparkling plastic dreams on film in Hollywood. It was a perfect start, played perfectly, and received with much enthusiasm.

But then the mood changed. On the backdrop, we saw a painting by Edward Hopper, whose canvases at first sight seem to be technicolour stills from the black-and-white of Hollywood’s golden era. But a closer look reveals that usually no one is talking to anyone else. No one is even noticing where they are. Their environment is stripped of many of the accoutrements of modern life, indicating a colourless life, lived in a rainbow. The people seem self-absorbed, but neither happy nor reflective. They are, it seems, anxious. Alongside a passage capturing the spirit of Auden’s poem, which talked of going for a drink with a chance encounter, and then feeling a sense of false hilarity, the image was the perfect introduction to the world of what followed, which was Bernstein Symphony No. 2, The Age of Anxiety.

This is an enigmatic work. It claims to be a symphony, but equally it could be a piano concerto. Josu Solaun was the soloist. His playing was the perfect balance of detachment and energy that the work demands. There are many periods of silence, interspersed with percussive passages. In the hands of a pianist not thoroughly in sympathy with the work’s overall character, this part can easily become across as disjointed and incoherent. In the right hands, it is a portrayal of an individual’s experience of the modern age of anxiety, false hilarity mixed with anxious self-absorption, reflection not softened by religious belief. This is a tough world that, even when it invites you in, leaves you isolated.

Bernstein’s Age of Anxiety is not a work that will bring the house down. But in ADDA, Alicante last Friday, it did. It is certainly a work that will be remembered by an audience privileged to hear it. But it won’t send them home humming an earworm. But of course Candide will. The contrast is at least part of the point.

If the first half was something of a surprise, then the second half exceeded. We heard three movements from different Mahler symphonies under the general title of The Echo of Being. The music came from the third movement of the Symphony No. 4, the Totenfeier from Symphony No. 2 and the fourth movement from Symphony No. 9. The idea was that these would accompany The Echo of Being, a three-sectioned film made by Lucas van Woerkum based on the life of the composer. Each section concentrated on one member of a three- person family, a mother, a dying daughter, and a father.

Musically, and surprisingly, this hung together. The slow movement start is tender, but underpinned by alienation and, when the outburst comes, bitterness, which then transforms into regret. The violence and anger of the Totenfeier here becomes the suffering of illness with all the resentment this brings. Then, the valedictory fourth movement of the Symphony No. 9 seems to approach the unknown of death, but from the standpoint of thinking you know who you are. There is a familiarity about the unknown experience, perhaps a false heaven arrived at before death claims life. The illusion becomes complete, and the survivor survives, alone.

By the end of the concert, the ADDA audience was in suitably reflective mood. As the dying tones of the fourth movement of Mahler nine drifted towards silence, so did the audience. At the end, Josep Vicent left the audience to enjoy this beautiful sensation of shared quiet. It was prolonged and memorable. And so was the joy of those minutes. There was nothing false or hilarious about this profound experience.

I forgot to mention Josu de Solaun’s encore. The Debussy Prelude was certainly lighter than what had gone before, but it was no less disturbing. What was utterly impressive was the fact that the Solaun could play pianissimo in front of an audience of over a thousand, where everyone could hear everything perfectly and no one missed a note.

The Theory of the Leisure Class by Thorstein Veblen

I was unaware of Veblen’s ideas until a recent edition of In Our Time on BBC Radio 4 devoted an hour of discussion to his life and work. So stimulating did I find the discussion that I immediately found a copy of The Theory of the Leisure Class and read it. 

Thorstein Veblen’s ideas crystallised in the last quarter of the nineteenth century when the infamous “robber barons” of emergent American capitalism were at the height of their power and ownership. Not only did they form a social class, but these multi-millionaires also created social norms that many desired to emulate. A measure of success in the popular mind became how closely an individual might aspire to emulate their lives of great riches and, at least when viewed from the outside, great leisure. Conspicuous consumption, following their example, became an economic goal and a measure of success. Veblen related this tendency of upper social classes to remnants of “barbarianism”, stemming from “tribal” societies. Everything was related to ownership resulting from conquest and warfare, in which the defeated were enslaved so that the victors could benefit from the fruits of their labour. On page two, Veblen identifies broad occupations and activities in contemporary society that derive from this ancient tendency. “These non-industrial upper-class occupations may be roughly comprised under government, warfare, religious observances and sports.” The label “non-industrial” differentiated these people from the vast majority of the population, who laboured cooperatively for the common good by producing things that increased human capabilities and well-being.

There thus develops in Veblen’s work a theory of economic production and distribution that is derived from psychological traits and has sociological implications. He extends his ideas about non-cooperative barbarism and “predatory” tendencies to illustrate how making oneself useless can become a sign of ultimate power and success. Though the social class that is guilty of this flagrant over-consumption of goods and services is demonstrated as being anti-social, as far as the interests of the industrial classes are concerned, Veblen never alludes to any possible conflict that might arise. This is what differentiates his ideas from those of Marx.

The psychological and behavioural aspects are explored, alongside and their consequences for economic and social class differences. He develops a theory of “manners” that allow members of the upper classes to identify themselves to one another. “There are few things that so touch us with instinctive revulsion as a breach of decorum; and so far have we progressed in the direction of imputing intrinsic utility to the ceremonial observances of etiquette that few of us, if any, can dissociate an offence against etiquette from a sense of the substantial unworthiness of the offender. A breach of faith may be condoned, but a breach of decorum can not. “Manners maketh the man”.” Again, he is not doing any of this in order to poke fun or satirise individuals. He does, however, make it clear that the existence of the upper classes does work against the interests of the industrial classes, who are labouring to make everyone’s life better.

The industrial classes, though privately desiring to emulate their social betters, however, at least try to maintain their own values. “The popular reprobation of waste goes to say that in order to be at peace with himself the common man must be able to see in any and all human effort and human enjoyment an enhancement of life and well-being on the whole … Relative or competitive advantage of one individual or comparison with another does not satisfy the economic conscience and the form of competitive expenditure has not the approval of his conscience.” 

Conspicuous consumption amongst the ownership classes drives them to value political ideas, laws and social practices that allow them to maintain their lifestyle. This inevitably results in political and social conservatism. “This conservatism of the wealthy class is so obvious a feature that it has even become recognised as a mark of respectability.” Privately, the industrial classes still aspire to the conspicuous consumption and leisure of the wealthy and so have a tendency to espouse their conservatism in the hope that one day they might achieve similar status.

All forms of religious establishment, military rank, political and even sporting success are manifestations of this over-consumption to the detriment of the industrial class, throwbacks to the barbarism and predatory nature of a society based on conflict. But here I find a weakness in Veblen’s argument. He does not see capitalist consumerism’s pursuit of individualism as necessarily fostering the creation of the leisure class. Furthermore, he assumes that pre-industrial, pre-scientific, societies are all based upon predation, but offers scant evidence to illustrate this.  

As a fan of “classical” music, I was intrigued by a passage that defined the term. ““Classic” always carries this connotation of wasteful and archaic, whether it is used to denote the dead languages or the obsolete or obsolescent forms of thought and diction in the living language, or to denote other items of scholarly activity or apparatus to which it is applied with aptness.” Capitalism cannot sell “classical” music. Calling it thus, even when the label only applies to about sixty years in the thousand-year history of European-style music is thus clearly a way of marginalising it.

Veblen’s ideas are now in sharp focus because of environmental degradation. The role of “consumption as status” needs to be uppermost in everyone’s mind. The less consumption, the less pressure is placed on the environment. The consequence of lower consumption would probably be the collapse of capitalism and it is this aspect, this consequence of his theories that is sadly rather lacking from Veblen’s work.

The Stavanger Symphony Orchestra with Andris Poga and Behzod Abduraimov in Matre, Prokofiev and Tchaikovsky

Orchestras on tour often take some of their home repertoire with them. In the case of the Stavanger Symphony Orchestra under the direction of Andris Poga in Alicante last night, this took the form on the published program of a contemporary interpretation of some famous nineteenth century pieces. The Norwegian composer Ørjan Matre has reworked some of Edvard Grieg’s Lyric Pieces for orchestra. I hesitate to say simply “orchestrated”, because the contemporary composer’s contribution is specific and significantly more than transcription. It’s tantamount to reinterpretation.

Alicante’s ADDA audience heard four of the pieces, beginning with the Arietta from book one. Almost as if to remind the audience of the piece’s origin, the composer starts with solo piano, and the orchestra almost apologizes for its presence as the piece proceeds. The textures and combinations employed are designed to communicate the context of the inspiration. The titles of the pieces, Arietta, Spring dance, Solitary traveller, and Butterfly give clues as to what Grieg might have been thinking and Matre creates beautiful illustrations by his wholly original and refreshingly light use of orchestral sound.

After the interval, the Stavanger Symphony Orchestra gave a performance of Tchaikovsky’s Fifth Symphony. Now this a work the Alicante audience knows well, so it was with interest and anticipation that it was received. We were not disappointed. This was a strong, forceful reading of the score. The triumphalism of the finale certainly asserted itself, but this happened perhaps at the cost of a detail or two in the preceding narrative that became lost in the force of the orchestral sound. Such matters are a conductor’s choice and clearly Andris Poga wanted to stress the growth to confidence above the experience of insecurities that led up to the endpoint.

Set between the reinterpreted Grieg and Tchaikovsky’s triumphal finale was a real gem. It’s not often that a pianist takes on the Second Piano Concerto of Prokofiev, but here Behzod Abduraimov did just that. And what a perfectly splendid job he made of it.

The start was slower than expected, with Prokofiev’s opening theme, meandering even when faster, almost breaking apart. But then the slower tempo allowed the music’s vast array of colours to shine through. By the time, Behzod Abduraimov had reached the massive first movement credenza, the complexity on the ear had become strangely simplified, and the pyrotechnics of the piano part seemed almost inevitable, merely a given in the overall argument. The essential shape of the music was thus preserved, and the audience was treated to truly communicative playing, and not mere virtuosity.

There are times when this music from 1913 sounds almost industrial. I am sure this was Prokofiev’s intention. The work, after all, was revised ten years later, so it is hard in the concert hall to imagine what the composer might have changed. Suffice to say that the joins do not show.

Behzod Abduraimov was magnificent. His playing was strong where it needed to be, occasionally explosive and often lyrical at the same time. His faultless solo part was accompanied by wonderful orchestral playing that really brought out every nuance of detail in the score. This is abstract music, but there are many passages that seem to refer to popular forms, albeit seen in a distorting mirror. And if you think even the opening theme might be simple, just try singing it to yourself. Good luck. It’s a perfect example of Prokofiev’s lyrical genius, where he concocted a singularly beautiful tune that sticks in the memory, but an idea that remains elusive and almost impossible to reproduce.

But at the end of the evening the orchestra returned home. As an encore, we had two of Grieg’s Lyric Pieces in orchestral versions. The Wedding Day At Troldhaugen for string orchestra was particularly successful.

St John Passion in ADDA Alicante with Ruben Jais and Coro Labarocco de Milano

It is at least forty years since I heard a concert performance of a Bach Passion. It is probably a decade since I heard a complete performance. I am not a believer in Christian myth. I cannot participate in a performance of such a work as the composer anticipated that its intended audience might. For me, it’s a story, some of which might actually have happened. That makes a performance of the work very similar to anything else based on the text of a story, such as an opera, oratorio or song. So my appreciation of the work is solely from the perspective of someone interested in music.

But Bach’s Passions were not works assembled as a singular artwork. The purpose was clear: to tell a story, but also to provoke religious sentiment. This second objective is not possible for me, but then I do know enough about the events to realise what the intention might have been.

The music is necessarily episodic. Three different forms predominate. These are, of course, choral sections, where the singers are largely cast in the role of the voices of the people. Then there are the dramatis personae who have solo roles, some of which are expanded into arias, which, frankly, are present purely for the musical, not dramatic effect. And then, listed last but certainly not least, there is the role of the evangelist, the storyteller. The part, usually sung by a tenor voice, without vibrato or affectation, so that every word can be heard, is crucial. Without it, there would be no story. And, in this performance, in Alicante’s ADDA auditorium, the amazing performance of Bernard Berchtold in the role brought the evening literally to life.

There was a slight flaw in the staging, however. The solo arias were delivered by members of the chorus. Though they did have a featured platform from which to project, this was set at the back of the orchestra, immediately in front of the rest of the chorus. I understand the logistical difficulties of bringing the solo voice to the front of the stage, but equally placing it behind the orchestra perhaps diminishes the voice’s presence in the hall. It was clearly audible, but for me these sections, which should stand out, did not. In the second part, we heard the two violins accompanying an aria at the front of the stage, whilst the voice was almost at the back.

Structurally, the music now seems more modern than I remember. JS Bach’s practice of pitting solo voices against selected instrumental sonorities seems to be very contemporary. There were the violins, of course, but a particularly successful passage has a bassoon predominant and oboes, flutes and cors anglais play significant roles.

But I have to reserve the real praise for Bernard Berchtold’s performance as the evangelist. The voice was perfectly suited to the role. The delivery was interpretive and conveyed both meaning and nuance. The crystal clarity of the sound was always interesting to listen to, and the voice did not tire, as many often do, in this long and exacting role. I am sure that Bernard Berchtold has sung this role before, and I am equally sure that he will be offered many more opportunities to do so.

Coro Labarocca di Milano gave a controlled but committed performance throughout. Johannes Held’s Jesus was convincing and the ADDA orchestra offered their usual perfection. Ruben Jais was also perfection, in a quiet way.

The Desconstruction of Mahler: ADDA under Josep Vicent with Patrick Messina in Adams, Brahms and Berio

This was a very special concert. It will live in the memory for as long as breath continues. It was nothing less than a triumph of artistic direction on behalf of Josep Vicent. All three featured works were, in their own way, quite recent, given the often-backward-looking character of concert programmes.

The evening began with a short, modern masterpiece. The program notes suggested that in our era, true myth (an oxymoron if ever there was one) is found not in characters of ancient Greek epics, but in the celebrities that populate our minds during waking hours. John Adams’s opera, Nixon in China, characteristically set recent events to music on a stage. Part of the opera’s point is that those figures involved in making history also have lives to live. John Adams cast Chairman Mao and his wife as dancers and the music to accompany this is The Chairman Dances, a Foxtrot for Orchestra.

It begins with a minimalist-sounding incessant rhythm, but in a moment of true magic, transforms itself into an almost sentimental dance, as if the celebrities forget themselves for a short time, and suddenly become human. Order does reassert itself as responsibilities and public faces re-emerge. The orchestral sound of this piece is vivid and multi-layered, but it does remind us continually that the clock rules rhythm, and perhaps our lives. It certainly rules the dance.

Second on the ADDA programme was Brahms’s Clarinet Sonata Opus 120. But this version was orchestral, the arrangement provided by Luciano Berio in 1986. Berio did not change Brahms’s original concept, but filled it out, so it occupied bigger space, even suggesting the concerto form. He was faithful to Brahms’s intention and this intimate, highly personal and lyrical work is now capable of filling a concert hall, though gently and in its original character. Patrick Messina as soloist gave a perfect (there is no other word) performance, totally controlled, completely in sympathy with the music. It was a performance with a humility that brought out the intentional understatement of the work. As an encore, we were treated to a more classical use of the clarinet with string accompaniment, again an arrangement.

The second half was given to a single work, a performance of Luciano Berrio’s Sinfonia for orchestra and amplified voices. The voices in question were London Voices, who seemed wholly at home with the highly multidimensional and unusual format of the piece.

Berio’s concept seems to grow spontaneously out of the experience of a twentieth century city. Charles Ives had at the start of the century chose impressionistic experience to portray the complexity of modern life. In his Sinfonia, Luciano Berio offered similar experience, but one on speed by comparison with that of Ives. An apparent jumble of sights, sounds, intellectual stimuli, musical references, passing comments and literary memories appear and combine to create a vivid, surreal collage, which deliberately does not hang together. It doesn’t because modern life is itself multidimensional, confused, confusing, stimulating, threatening and tender all at the same time. If I have one minor criticism, it is that the spoken text of the voices was not sufficiently prominent. Whether this matters is a matter of opinion. When visual art, for instance, features a raft of text, surely its effect is lost when viewers have to both read it and translate it. It may be the same with the words that Berio featured in this work. The word Majaskowsky did, however, hang in clean air. The text, by the way, is as collage-like as the music. It’s not a narrative, and is influenced by, amongst others, James Joyce and Samuel Beckett. Absurdity rules. This was thoroughly memorable music, and it was stunningly performed by the singers and musicians alike. 

In this performance, Josep Vicent chose to play this work in its original four movements. Berio did add a fifth, but I think the logic might have been to create space for the encores, which in their way added to the collage-like experience. Berio quotes extensively from Mahler in his Sinfonia. As an encore, this led to a performance of the Adagietto from the fifth symphony. After the apparent anarchy of the Berio, the long lines made a peaceful and beautiful contrast. Then, when we all thought the pastiche could not get richer, London Voices, with the accompaniment of a brushed drum, gave a fugue in a cappella jazz style with an upbeat rhythm. Let’s not try to explain. Let’s just listen.