Latin America meets Classical:Themes and variations

5 June 2018: Holy Trinity Church, Stratford-upon-Avon

• Aaron Copland – Three Latin American Sketches
• Lucía Caruso – ‘Light and Wind’ piano concerto (world premiere)
• Pedro H. da Silva – ‘Snow’, for Portuguese guitar and orchestra (world premiere)
• Lucía Caruso and Pedro H. da Silva (orchestrated by Pedro H. da Silva) – ‘Folía’, for Portuguese guitar, piano, and orchestra
• Aaron Copland – Appalachian Spring

In 1959 the Festival of Two Worlds in Spoleto, Italy, asked me to write a short work for orchestra. The ‘Paisaje Mexicano’ and ‘Danza de Jalisco’ were completed in time for performance in July of that year…. Both pieces were first performed in the United States under [my] baton at a private invitation concert given by the Pan American Union in 1965…. [However, I] decided not to release the two movements for general performance before adding a third section. This was accomplished in 1971 with the completion of ‘Estribillo’, based on Venezuelan popular materials…. In 1968, a two-piano arrangement of the ‘Danza de Jalisco’ was published, with some revisions of the original orchestral version. These changes were later incorporated in the completed three-movement work, and the whole given the title ‘Three Latin American Sketches’.

Thus Aaron Copland introduced the first performance of his last composition for orchestra, by Andre Kostelanetz and the New York Philharmonic, on 7 June 1972. Lighter in nature than much of his earlier output – although he counselled that the Sketches are “not so light as to be pop-concert material” – they contain no hint of such finality.

As with many new works (even one with such a long gestation period), the handwritten, spiral-bound score used by Kostelanetz for the premiere (held online in the NY Phil archives) is brimming with last-minute amends and annotations; as well as details of what should appear in Boosey & Hawkes’ final printed version. Fascinating to follow for the purpose of penning a programme note; but – although it is apparent Kostelanetz knew Copland’s composition thoroughly – I would not have wished to conduct from it!

Leonard Bernstein’s marks on his score of Appalachian Spring are a little less dense. They reinforce, though, the almost incomprehensible amount of work that conductors must complete before they first stand in front of the orchestra: their understanding of what is now open before them on the podium exhaustive, but lacking one key ingredient: the similarly in-depth input and feedback which the other performers bring – and not just in rehearsal. One of the joys of live music is that no performance is ever fixed: a figurative hummingbird flapping its wings in the opening bars can bring happy innovation several pages later – and perhaps colour all that follows. So when you applaud Bruce, tonight: please do so with a little more awareness, perhaps; and even greater admiration!

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.

PREVIEW: Prestigious Double Concerto Series with Tamsin Waley-Cohen – Forum Theatre, Malvern (Wednesday, 25 May 2016, at 19:45)

Selected by Birmingham’s Town Hall Symphony Hall as the British nomination for the prestigious European Concert Hall Organisation’s Rising Stars programme in the 2016/17 season, Tamsin has been described by The Times as a violinist “who held us rapt in daring and undaunted performances” and by The Guardian as a performer of “fearless intensity”.

– Orchestra of the Swan: Prestigious Double Concerto Series with Tamsin Waley-Cohen

Certainly not just once in a lifetime – but, nonetheless, remarkably infrequently – an artist crosses your path who completely redefines your definition of the possible. Such occurrences, therefore, rise easily to the surface of your mind, unbidden; and, in my case, can be counted on the fingers of one hand:

• Maurizio Pollini playing Schoenberg’s Five Piano Pieces as an encore at the Edinburgh Festival…. These pieces suddenly emerged, butterfly-like, from their atonal cocoon, as the most beautiful ever written. (I was on the front row, trying not to cry. Having just learned to play them – yet not in any way like this… – it felt like the most personal of messages.)
• My much-missed friend, Michael Rippon, shredding every sinew in his body (and mine) – stretching his Rembrandt-like features, and remarkably sonorous voice, to the limits (and possibly beyond) – projecting (the also much-missed) Maxwell Davies’ Eight Songs for a Mad King with such savage, yet empathetic intensity, accompanied by the composer’s own group, The Fires of London. I had not known that music could be made to do this: to transcend the bounds of theatre and emotional evisceration. Never before or since has such a work hurt so much… – and yet delighted me with its commitment and originality.
• Marin Alsop unleashing the full powers of the Bournemouth Symphony Orchestra in Elgar’s Second Symphony. I was sat behind the brass and percussion. The balance was therefore so very wrong. But, finally, finally, I knew that this was how this greatest of symphonies must be performed. (That I got a hug from Alsop, subsequently, for weeping from first bar to last, only reinforces the memory, of course. But she is the only conductor I know – apart from David – who personally thanks every single member of the orchestra, afterwards: wandering the stage with a smile and that sincere personal touch.)
• Finally, of course, I have to mention David again… – but with the Cheltenham Symphony Orchestra – digging hard and deep into the very heart of Shostakovich’s Fifth Symphony…

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 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.