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, meet Joanna Lee!Themes and variations

14 February 2017: Stratford ArtsHouse
22 February 2017: Town Hall, Birmingham

• Wolfgang Amadeus Mozart – Overture, ‘Bastien und Bastienne’, K50/46b
• Wolfgang Amadeus Mozart – Sinfonia Concertante for Four Winds in E-flat major, K297b
• Joanna Lee – Blue Blaze – Dance Suite [world premiere]
• Joseph Haydn – Symphony no59 ‘Feuer’ in A major, Hob.I:59

I wonder how many potential tunes there are in the world – already written; or, as Elgar supposed, “in the air… all around us”? Given a set number of notes, there are obviously only, statistically, a finite number of sequences that can be developed. So, isn’t it truly amazing that, when performed – even if ‘recycled’ by other composers: either coincidentally, or in tribute – such melodies are not only recognizable (they strike a chord, if you will), but they also have the power to immediately lead you back to a single source?

For example: catching the opening theme of this concert, played out of context, many people in the audience would, I am sure, instantly call to mind Beethoven’s Eroica – although then wonder who had run off with those two monumental introductory thunderbolts (and why it was played in the wrong key and by the wrong instruments). Or maybe Wagner’s Das Rheingold…? (Although, there, as you might expect, its appearance is more lushly orchestrated.) This ‘fanfare’ – based on a major triad: thus readily playable on a natural (valveless) horn – also appears at the beginning of Brahms’ Second Symphony; and, according to George Grove (he of the musical dictionary), in his violin concerto, too – not to mention the Scherzo of Schubert’s ‘Great’ C major symphony; as well as Beethoven’s very own Hammerklavier sonata.

But hear it: and I’m pretty sure that it will be the latter’s Third Symphony that comes to mind; even though he was born two years after the overture – to singspiel, or comic opera, Bastien und Bastienne – was composed… by twelve-year-old Mozart: which is why all thoughts of Beethoven will quickly fade away. Even at this age, ‘Amadeus’ was displaying signature greatness.

By the way, the opera probably wasn’t performed publicly for another twenty-two years. But it is unlikely that Beethoven was present; or, if he was, that he would intentionally borrow something so pleasantly pastoral to signify ‘the heroic’.

Conceivably, the most amazing upshot, I think, is that this short tune serves both – indeed all – of its purposes extremely well. Because in none of the instances listed does it sound anything other than each composer’s own: perfectly pitched, perfectly scored. Maybe because, to paraphrase two other truly great musicians: “T’ain’t What You Write (It’s the Way That You Write It)”.

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.