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 & Moravec:Themes and variations

6 December 2016: Stratford ArtsHouse

• Joseph Haydn – Sinfonia Concertante in B-flat major, Hob.I:105
• Paul Moravec – Nocturne [world premiere]
• Wolfgang Amadeus Mozart – Symphony no41 ‘Jupiter’ in C major, K551

Today’s concert features three outstanding, immensely prolific composers – all at the height of their powers. Joseph Haydn, during the first of his two visits to London: and therefore at the outset of writing his twelve glorious, final symphonies. Wolfgang Amadeus Mozart – albeit in financial straits; and possibly on the verge of depression – three years before his death and his final great outpourings; but rapidly completing his three last stupendous symphonies in successive summer months.

And Paul Moravec? Even after winning the Pulitzer Prize, in 2004, for his spine-tingling Tempest Fantasy – just one of many awards; just one of many astounding works – here is an extremely productive musician, who, it appears, never rests on his laurels, but continues to produce characteristic, emotive music for a wide range of forces: all of which he treats with equal reverence, skill, and love. Fortunately for us, one of his most recent compositions is Nocturne – written to celebrate the orchestra’s 21st Anniversary season as a companion piece to the Sinfonia Concertante which opens the programme.

Using the same soloists as Haydn – with the addition of cor anglais to the oboe part (and with only strings for the main orchestra) – this is a highly imaginative, lyrical piece: engrossing from first note to last. It also exhibits some of the wit that the earlier composer is renowned for – especially in its “Playful, quick” third movement.

But why is Haydn’s Sinfonia Concertante itself not more well-known? Anthony van Hoboken, who catalogued the composer’s works (hence the ‘Hob.’ number attached to each), obviously believed this delightful creation slotted naturally into the ‘Symphonies’ category (Hob.I) – assigning it the number 105 – although, chronologically, it comes between the 96th and 97th. As it contains much of the drama and inventiveness of those works – albeit in a slightly more compact form – I am convinced we, too, should treat it with reverence.

As to the final work, “reverence” – as well as astonishment – is more than due. It simply does not matter whether you consider Mozart’s Jupiter the greatest symphony ever written – or merely(!) the greatest symphony of one of the greatest composers who ever lived – it will always stand as an imposing, sunlit monument to the man and the genre.

“What harmony is this? My good friends, hark!”An introduction to the music of Paul Moravec…

Marvellous sweet music!

A few weeks ago, I interviewed composer Paul Moravec, by email. My principal aim, as OOTS’ Writer-in-Residence, was to learn more about Nocturne – which will be premièred at the next ArtsHouse concert on 6 December 2016 – and gather enough material from our discussion to produce a programme note. However, until very recently, I hadn’t really known much about his music – or the man. So, in preparation, I spent many, many hours listening to all of the available recordings I could unearth of his music; and reading liner notes, previous appraisals, and previous dialogues.