Laura van der Heijden plays Tchaikovsky:Themes and variations

11 April 2017: Stratford ArtsHouse
12 April 2017: Town Hall, Birmingham

• Wolfgang Amadeus Mozart – Eine kleine Nachtmusik, K525
• Pyotr Ilyich Tchaikovsky (edited by W Fitzenhagen) – Variations on a Rococo Theme, op33
• Wolfgang Amadeus Mozart – Symphony no40 in G minor, K550

Why are variations on a theme such a popular art-form – for composers, at least? Elgar famously used them, in his Enigma Variations, to paint portraits of his closest friends. Bach wrote the incomparable Goldberg Variations to assuage insomnia. And some – including Czerny, Brahms and Britten – composed a collection to pay tribute to those that have inspired or tutored them (respectively: Beethoven, Schumann and Bridge – but not exclusively).

The variation is one of the oldest musical forms: even being found within the keyboard works of William Byrd (c1540-1623). Its development is also intimately linked with that of the concerto: from the earliest concerti grossi, through Handel and JC Bach, to Franck’s Variations symphoniques for piano and orchestra – and, of course, this concert’s Rococo Variations.

Its possibilities are inexhaustible. If you require proof: one of the most popular themes used for ‘alteration’ is that of Paganini’s Caprice no24 in A minor for violin. Not only does this prototype itself include eleven variations; but many, many musicians – including Brahms, Lutosławski, and, most notably, Rachmaninoff – have created wonderfully transformative sequences of their own.

Julian Lloyd Webber, our conductor today, has also recorded an album, simply entitled Variations, based on this theme: written for him by his brother, Andrew. I therefore wondered if he might have an answer. Why…?

Because, for a composer, it’s a big challenge: to be able to write a set of variations on one particular theme; and come up with very different ideas. Some of the ideas are so good… – you hear these Paganini variations: the way different composers approach them – it’s fascinating. For instance, Rachmaninoff turning the tune around and making an absolutely beautiful melody – that’s very, very clever! I do think Andrew was quite brave to choose that tune: because so many other famous pieces had come out of it. But he’s never shirked a challenge!

And so I think it works both ways: for the composer to demonstrate his technique, and what he can actually do with imagination and a simple theme; and also for the audience, who get to follow the changes through a theme that they hear many times during a piece of music.

Tchaikovsky, of course, opted to write his own theme. He may claim it as ‘Rococo’; but, in reality, it has more to do with his role model – the man he called his “musical Christ” – Mozart: whose inspirational works also begin and end today’s proceedings.

Weaver of moonbeams…

Ahead of his two concerts – in Stratford-upon-Avon and Birmingham, conducting Orchestra of the Swan with this year’s Associate Artist, cellist Laura van der Heijden – I went to meet Julian Lloyd Webber: now Principal of Birmingham Conservatoire, and steering it through some exciting times as it prepares to move into its purpose-designed new home.

Entering his office in the old building – sadly nearing the end of its productive life, in the centre of the city – one cannot fail to be reminded, though, of his previous career as one of his (and my) generation’s greatest, and most successful, solo cellists: with posters of some of his most memorable achievements scattered throughout the room. Indeed, above his desk – in pride of place, perhaps – he points out a large framed copy of the cover of the CD I am nervously clutching between my fingers: a recording which confirmed his status of hero for me, and for many others. But more of that later: because, as he welcomes me in, and shakes my hand, there could not be a more genial and gracious interviewee. (As I am rapidly learning – as my first year of being OOTS’ Writer-in-Residence comes to a close – the majority of classical musicians are incredibly generous people: open, willing to chat, to treat you as an equal, to spend time with you… – they just happen to be incredibly talented, too – although no mention of this will ever pass their lips.)

Laura van der Heijden and ‘Mercurial’ Haydn:Themes and variations

27 September 2016: Stratford ArtsHouse
28 September 2016: Town Hall, Birmingham

• Joseph Haydn – Symphony No.43 in E-flat major, Hob.I:43
• Joseph Haydn – Concerto No.2 in D Major for cello and orchestra, Hob.VIIB:2
• Wolfgang Amadeus Mozart – Symphony No.29 in A major, K201

My dictionary tells me that the word ‘mercurial’ can mean “active, sprightly, often changing” – and I think this adjective can be applied to all three of this concert’s works: but in slightly different ways. They are also linked by their orchestration – the addition of oboes and horns to the Orchestra of the Swan’s core strings reinforcing our happy band’s quintessential translucent, intimate chamber feel – yet producing extended and contrasting variations in both texture and effect.

All written within a period of a dozen years, it would be easy to lump these pieces in with the contemporary Sturm und Drang movement. However, although Haydn’s 43rd Symphony (the earliest of them) can feel at times both ‘stormy’ and ‘driven’ (especially in the final Allegro), its frequent changes of mood are anything but extreme. If anything, it is a thoughtful piece – admittedly full of contrasts and feelings of unrest – but overwhelmingly lyrical.

The concerto (the latest of the three) builds on this lyricism. Although technically challenging – the ‘mercurial’ finger-work is as visual a delight as it is an aural one – this work 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 Haydn’s continual willingness to learn, to experiment, to stretch… – indeed, a manifestation of his genius.

The Mozart symphony that ends the concert is, though, the sprightliest of the three: a youthful high note on which to end a quite stunning programme! It is simply joy unconfined; and more proof that the late 18th Century not only gave us Romanticism (‘stormy’ or otherwise); but set the high standards that later composers would have to work hard to surpass.

It’s all in the playing…

This year’s Orchestra of the Swan Associate Artist is cellist Laura van der Heijden – the winner of BBC Young Musician 2012 – who many of you will have seen and heard deliver an astonishing rendition of Elgar’s Cello Concerto during July’s Last Night of the Shakespeare Proms. As I wrote then…

Laura’s interpretation of this masterpiece is definitely all her own. (As [David] said, so perspicaciously, in his pre-concert talk: she has made it so by first, wisely, returning to the source material – interrogating and understanding Elgar’s clear, precise, multifarious directions….)

     Additionally, she seems to have realized that, just because a work is known for its emotion, not all of that needs to be of the negative variety. Undoubtedly, there are many passages of profound, sublime sadness. However, there is also a great deal of joy to be found – and to be expressed. And this Laura did with incredibly fresh, youthful vigour….

     Such passion, as Laura so beautifully demonstrated, is contained in the notes themselves (such is the wizardry of Elgar’s writing and orchestration). And, although I would never argue that any musician should not bring their own experiences and feeling with them when playing any work, I do believe that they should not then impose them on it (especially not to the music’s detriment). Performer and creator need to find a balance where both voices speak equally – and it is this quality so evident in Laura’s playing that is so utterly impressive (if not so utterly stupefying…).

     Her thoughtful rendition showed such a keen understanding not only of this requisite harmony, but… of the composer’s expressed intentions – as well as how to convey them through the prisms of her own heart, mind and body.