Bach to the Future:Themes and variations

8 November 2016: Stratford ArtsHouse
9 November 2016: Town Hall, Birmingham

• Johann Sebastian Bach, arranged Steve Martland – Toccata and Fugue in D minor, BWV 565
• Johann Sebastian Bach – Brandenburg Concerto no2 in F major, BWV 1047
• Douglas J Cuomo – Objects In Mirror [world premiere]
• Johann Sebastian Bach – Brandenburg Concerto no3 in G major, BWV 1048
• Igor Stravinsky – Concerto in E-flat for chamber orchestra ‘Dumbarton Oaks’

If Ben Jonson was correct – and the last 400 years should be proof enough – then Shakespeare “was not of an age, but for all time!” And, I believe, musically, the same can (and should) be said of Bach. It seems almost inconceivable, now – considering his enduring popularity and influence – that his compositions were not widely appreciated until Mendelssohn revived the St Matthew Passion in 1829 (100 years after its first performance). Although his ascendance since, of course, has been stratospheric – literally, in the case of the three pieces sent into space with the Voyager probes: one of which is the opening movement of this concert’s second Brandenburg Concerto.

Musicians from all genres therefore continue to utilize Bach’s creations as the basis of – and inspiration for – their own: amongst my personal favourites, Jacques Loussier’s jazzy interpretation of the Goldberg Variations, and Shostakovich’s sublime 24 Preludes and Fugues. And, of course, this concert is itself a perfect demonstration of the great composer’s musical longevity, as well as his abiding relevance.

The opening, thrilling arrangement sets the tone perfectly: a famous keyboard work transformed into fresh fireworks for string orchestra; followed by four sumptuous examples of the concerto grosso – which all demonstrate, in contrasting ways, what pinnacles can be achieved with a few strings, an occasional harpsichord, and dazzlingly different arrays of solo instruments.

Although we may initially think of Corelli, Handel or Vivaldi as the main proponents of this antiphonal form – in which a small group of soloists (the concertino) are ‘accompanied’ by (or alternate with) a larger orchestra (the ripieno): one built upon a continuo of harpsichord and bass instruments – Bach, for me, is its ultimate master: richly expanding its original strings-only remit. His six Brandenburg Concertos are multivariate perfection: demonstrating just how sublime and diverse such concertante works can be – both in style and in orchestral colouring.

It is no wonder, therefore, that this classical form also continues to galvanize: often prompting composers to produce compact masterpieces of their own – a quick glance across the Pond revealing Barber’s stunning Capricorn Concerto, and the striking Stravinsky which ends today’s programme. In using the same forces as the second Brandenburg Concerto – and to such scintillating effect: revelling in the still-coruscating alloys of instrumental juxtaposition, 300 years on – Douglas J Cuomo can certainly also claim his position as their worthy successor.

PREVIEW: A Scandinavian Serenade – Birmingham Town Hall (Wednesday, 11 May 2016, at 14:30)

Adapted from a review of the same programme at Stratford ArtsHouse (2 December 2015).

Billed as “a serenade with a Scandinavian flavour and a Shakespearean twist”, this is a concert which, on the surface, seems devoted to the warm sun of encroaching summer… – and yet isn’t afraid to probe what hides in the resultant shadows; or even stay outside when the clouds roll over and threaten to burst.

All of the Grieg pieces – the famous, ecstatic, opening Holberg Suite; the Watchman’s Song, from Macbeth; and his Two Elegiac Melodies – are sensationally full of life (replete with its ups and downs). Here is a composer who wrote a lot more wonderful (and sometimes darker) stuff than just his famed piano concerto; and it seems that the more intimate the setting, the greater his power. In other words: music perfectly suited to David and his merry band of minstrels (above, in rehearsal). Playing Grieg plays to their innate strengths… – so expect an inspiring, luminous, resonant clarity that only comes from such chamber-compactness: each line, each texture, audible; each dynamic, each measure, “tight and yare”.

The gods make this a happy day…

Entering Holy Trinity Church to the strains of Vaughan Williams’ Tallis Fantasia has to be the most wonderful start to the day (reminding me, coincidentally, of walking through the chapel of St John’s College, Cambridge, many, many years ago, surrounded on all sides by a hidden rehearsal of the latter’s awe-inspiring Spem in Alium…) – haunting moments, both: which saturate the soul in blessedness. That this was soon followed by Tamsin’s plangent rendering of the opening of the former’s The Lark Ascending – reverberating gently around these hallowed walls, before climbing heavenwards – heaped perfection upon glorious perfection. It is a privilege to witness such wonderments being practised so perfectly… – being the Orchestra of the Swan’s Writer in Residence has so many rewards.

The Immortal Shakespeare was born in this house…

Dobrinka Tabakova – photo by Sussie Ahlburg

Interview with Dobrinka Tabakova, Orchestra of the Swan’s award-winning Resident Composer (including Immortal Shakespeare – première: 21 April 2016)
– by Stephen, OOTS Writer in Residence

I first came across Dobrinka Tabakova’s music just over eleven years ago: when Orchestra of the Swan (OOTS) gave the second performance of Bell tower in the clouds in Pittville Pump Room, Cheltenham. Back then, Dobrinka was still a music student; and, unbeknown to me, was actually sat in front of me and my young son. He commented, at the interval, on some of the technical aspects of the piece (harmonics in the cellos representing the bells, I think): and she was gracious enough to turn round and thank him. Even then, it was obvious from the orchestration – which was quite inspirational and innovative – as well as the emotion her music provoked – that here was a composer to watch; here was a composer who would go places.

It was therefore a great honour, just before Easter, to talk with her, over the telephone, about her music; and particularly the works she has written for OOTS.