Guy Johnston plays Haydn:Themes and variations

23 February 2017: Forum Theatre, Malvern Theatres

• Wolfgang Amadeus Mozart – Sinfonia Concertante for Four Winds in E-flat major, K297b
• Joseph Haydn – Concerto No.2 in D Major for cello and orchestra, Hob.VIIB:2
• Joseph Haydn – Symphony no59 ‘Feuer’ in A major, Hob.I:59

My dictionary tells me that the simple word ‘fire’ embraces many more meanings than I had rashly assumed: from “the heat and light of burning” through “ardour” and “passion” to “spirited vigour or animation” – and I think those properties can be found in all three of tonight’s works: warming the chill February air equally; but in diverse ways. The compositions are also linked by their instrumentation: the addition of oboes and horns to OOTS’ core strings reinforcing their quintessential translucent, intimate chamber feel – yet producing extended and contrasting variations in both texture and effect.

All written within a period of fifteen years, it would be easy to lump the three pieces in with the contemporary Sturm und Drang movement, as well. However, Mozart’s Sinfonia Concertante, which begins the concert, is lit mainly by the qualities of ardour and passion – especially in its first two movements. Its finale, though, is full of quasi-Haydnesque wit; as well as a great deal of spirited vigour and animation.

The concerto builds on this fervour. Although technically challenging – the fiery, almost explosive, finger-work is as visual a delight as it is an aural one… – Haydn’s writing exploits the timbre of the cello to the full (as well as its range and volume): making it sing. I thus believe it to be one of the greatest works ever composed for the instrument. That it demonstrated (and extended) its expansive capabilities so early on in its history, is, to me, a manifestation of the great composer’s continual willingness to acquire skill and knowledge, to experiment, to stretch… – indeed, a manifestation of his genius.

It differs from his 59th Symphony in many ways – time and experience encouraging complexity, perhaps… – and yet this earlier work still demonstrates Haydn’s lifelong propensity to push at boundaries; as well as his ability to quickly move not only from the ‘stormy’ to the ‘driven’, but the sublime to the, er, humorous (and back again)! In some ways – especially with its opening Presto – it does encapsulate the artistic trend which pivoted around it. And yet, in its finale, the composer – in stamping his mark on the work – almost produces its antithesis: realizing one last definition of its slightly circuitous sobriquet – “refraction of light in a gemstone”. It truly sparkles!

Commissions accomplished…!

As part of OOTS’ 21st Anniversary season, four composers, who have all worked with the orchestra before, were invited to write “companion pieces” to classical ‘concertante’ works – which they would then be premièred alongside – an idea conjured up by orchestra trustee Tim Richards. As David points out, “this gives our principals the opportunity to shine, as well as thanking them for their commitment”; adding that pairing music in this way “gives the orchestra, soloists, audience and composer both context and inspiration”.

Last year’s commissions – Douglas J Cuomo’s Objects in Mirror and Paul Moravec’s Nocturne – were both instant hits. (In fact, I described the Cuomo as “a cracking work: the perfect foil to the Bach that inspired it”; and reported that Moravec’s “left me with a mammoth lump in my throat, and several large somethings in both eyes”.) I am therefore certain that this year’s will follow in their winning footsteps.

Julian Philips’ composition (to be premièred in June) is for viola and double-bass. David commented that “Julian is an old friend of OOTS, and I expect something slightly more ‘traditional’. Because he knows us so well, I’m sure he will want to capitalize on our distinctive string sound.”

¶

Asked about Joanna Lee – whose Blue Blaze – Dance Suite will be performed this month – David explained that “Joanna is relatively young: and OOTS believes in championing emerging talent.” He went on to say: “I have always been struck by her inventiveness and highly individual voice: so her work is likely to be quite challenging for audience and players – fully exploiting the characteristics of the solo instruments – but also very witty and light-hearted!”

Mozart, meet Joanna Lee!Themes and variations

14 February 2017: Stratford ArtsHouse
22 February 2017: Town Hall, Birmingham

• Wolfgang Amadeus Mozart – Overture, ‘Bastien und Bastienne’, K50/46b
• Wolfgang Amadeus Mozart – Sinfonia Concertante for Four Winds in E-flat major, K297b
• Joanna Lee – Blue Blaze – Dance Suite [world premiere]
• Joseph Haydn – Symphony no59 ‘Feuer’ in A major, Hob.I:59

I wonder how many potential tunes there are in the world – already written; or, as Elgar supposed, “in the air… all around us”? Given a set number of notes, there are obviously only, statistically, a finite number of sequences that can be developed. So, isn’t it truly amazing that, when performed – even if ‘recycled’ by other composers: either coincidentally, or in tribute – such melodies are not only recognizable (they strike a chord, if you will), but they also have the power to immediately lead you back to a single source?

For example: catching the opening theme of this concert, played out of context, many people in the audience would, I am sure, instantly call to mind Beethoven’s Eroica – although then wonder who had run off with those two monumental introductory thunderbolts (and why it was played in the wrong key and by the wrong instruments). Or maybe Wagner’s Das Rheingold…? (Although, there, as you might expect, its appearance is more lushly orchestrated.) This ‘fanfare’ – based on a major triad: thus readily playable on a natural (valveless) horn – also appears at the beginning of Brahms’ Second Symphony; and, according to George Grove (he of the musical dictionary), in his violin concerto, too – not to mention the Scherzo of Schubert’s ‘Great’ C major symphony; as well as Beethoven’s very own Hammerklavier sonata.

But hear it: and I’m pretty sure that it will be the latter’s Third Symphony that comes to mind; even though he was born two years after the overture – to singspiel, or comic opera, Bastien und Bastienne – was composed… by twelve-year-old Mozart: which is why all thoughts of Beethoven will quickly fade away. Even at this age, ‘Amadeus’ was displaying signature greatness.

By the way, the opera probably wasn’t performed publicly for another twenty-two years. But it is unlikely that Beethoven was present; or, if he was, that he would intentionally borrow something so pleasantly pastoral to signify ‘the heroic’.

Conceivably, the most amazing upshot, I think, is that this short tune serves both – indeed all – of its purposes extremely well. Because in none of the instances listed does it sound anything other than each composer’s own: perfectly pitched, perfectly scored. Maybe because, to paraphrase two other truly great musicians: “T’ain’t What You Write (It’s the Way That You Write It)”.