An old friend of OOTS…

Whilst writing the programme notes for the last concert to contain a commission written for OOTS’ 21st Anniversary season – Viola and Double-Bass Take Centre Stage! – I had a brief email conversation with composer Julian Philips: who has produced an immensely beautiful work, Ballades Concertantes, for solo viola, double-bass and chamber orchestra, as a companion piece to Carl Ditters von Dittersdorf’s Sinfonia Concertante for Double-Bass and Viola.

The words which follow are all Julian’s; the musical excerpts are the first lines of each of the four Machaut Ballades that inspired him.

Ballades Concertantes developed out of an engagement with two different historical traditions – the late-fourteenth-century Ballade of Guillaume de Machaut, and the later eighteenth-century sinfonia concertante, as developed by Haydn, Mozart or Dittersdorf. Machaut, because my recent opera The Tale of Januarie – based on Chaucer’s The Merchant’s Tale – had engaged with late medieval music; and the music of Machaut – who was the great figure of his day, and very much known to Chaucer – was still in the air. The sinfonia concertante, because David and the orchestra were keen to celebrate their twenty-first anniversary by reviving a form which gives solo spots to individual orchestral players. In this case, the viola and double-bass.

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.)

The greatest and most satisfying manifestations of human expression…

On Thursday, 13 April 2017, “internationally acclaimed clarinettist, recitalist, chamber musician, recording artist and lecturer” Emma Johnson will be joining OOTS for an evening of sublime 18th century music in the Forum Theatre, Malvern. Although in the middle of a busy concert schedule, Emma was kind enough to carry out the following interview, via email.

There don’t appear to be many famous classical clarinettists in the world (indeed, at any one point in time). Is this because of the lack of mainstream repertoire – especially, say, compared to that for the piano or violin?
The solo repertoire for violin and for piano is far larger than that of any of the woodwind instruments, and that is why the clarinet is usually considered an orchestral instrument. When you are nine years old and picking an instrument to play, you don’t know these things. But once it became clear I wanted to be a musician, it was naturally assumed I would try to play in an orchestra.
     However, I gradually discovered that the solo clarinet repertoire is richer than people realize: spanning from Mozart, Weber, Brahms and Schumann, to Finzi, Poulenc, Copland and many modernists; as well as playing a pivotal role in jazz. There is, in fact, ample material for a clarinet soloist; and I have expanded the repertoire, too: by making arrangements and transcriptions, and commissioning new pieces.
     In addition, winning BBC Young Musician at the age of 17 allowed me to think differently, and to develop my clarinet playing so that it had the variety and range of a solo recitalist. Because of the opportunities the competition opened up to play solo, it enabled me to realize a vision I had of how a solo clarinettist could be.

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!”

“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.

The leaves bow themselves to the ground…

Next week’s Bach to the Future concerts – at Stratford ArtsHouse and Town Hall, Birmingham – feature the first of four pieces commissioned to celebrate the orchestra’s 21st Anniversary Season: Objects In Mirror, by Douglas J Cuomo – best known (I am told) for the title theme to Sex and the City. Each of the selected composers was invited to write a concertante piece for OOTS principals using the same instrumentation as an existing composition – in this case, Bach’s second Brandenburg Concerto – which will be performed immediately before this new work – thus enabling both audience members and players to compare and contrast the differences and similarities of composers across the ages.

Despite his busy schedule – he has a première of a choral piece in Florida at the same time as this one… – I managed to catch up with Doug, by email, to discuss his new – and (evident from just reading through the score) utterly captivating – work.

PREVIEW: Mozart and Friends with Lucía Caruso

As well as a thrilling set of variations, Folía, for piano, Portuguese guitar, and orchestra – written with her husband, guitarist Pedro H da Silva (above) – Argentine-born pianist and composer Lucía Caruso will be performing Mozart’s intriguing Piano Concerto no.13 in C major (K415) three times with the orchestra this month:

• 19:30, Tuesday, 11 October – at Stratford ArtsHouse;
• 14:30, Wednesday, 12 October – at Town Hall, Birmingham; and
• 19:30, Wednesday, 19 October – at Cheltenham Town Hall.

The inestimable Frances Wilson – otherwise known as ‘The Cross-Eyed Pianist’ – caught up with Lucía ahead of these concerts; and the resulting in-depth and thoughtful interview can be read on her website, as part of her addictive Meet the Artist… series.

Thank you, therefore, to Frances for her hard work; and to Lucía for her beautifully detailed responses.

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.

But at length the season of summer does come…

The linden, in the fervors of July,

Hums with a louder concert. When the wind

Sweeps the broad forest in its summer prime,

As when some master-hand exulting sweeps

The keys of some great organ, ye give forth

The music of the woodland depths, a hymn

Of gladness and of thanks.

– William Cullen Bryant: Among the Trees

This month, despite the weather’s best attempts to immerse us in what feels like a premature autumn, music lovers in the UK are in for a treat – a bright, warming ray of sunshine – brought to us, from the United States, in the form of the young rising star, Thomas Nickell: a pianist who has already gathered great praise around the world.

This is his first – hopefully of very many – visits to these shores; and it is rendered even more special by the fact that he will be giving not only the UK première of his own Piano Sonata No.3, but also the first London performance of “Britain’s greatest living composer” David Matthews’ Piano Concerto, Op.111. Both of these will play pivotal rôles in two momentous Orchestra of the Swan concerts (on 10 July 2016 and 16 July 2016) – although his actual début will be with the Cheltenham Symphony Orchestra (on 9 July 2016) – all conducted by OOTS’ Artistic Director David Curtis.

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.