Difficult and sexy music from dark times; Webern, Berg, Bartok & Martinu at the Royal Festival Hall 27 April 2013

As part of the year long The Rest Is Noise festival, the London Philharmonic presented an evening of music written in the 1930s. This was music to reflect the experimentalism of the time and also the descending dark. Introducing the concert the conductor, Vladimir Jurowski, suggested it was one of the most difficult programs of the year for the orchestra, but sounded excited about the challenge. He advised not analysing but letting the music create its physical response in us. It did that, this was an amazing program matched with fantastic playing.
The first piece was Webern’s Variations for Orchestra, Op. 30. This a later work but is still tied strictly to the 12 note serial technique. Not being a music scholar I have no choice but to let the music hit me without analysis. Music seems to spark from different areas of the orchestra, piling on note series demanding concentrated playing. The only recent thing it reminded me of was Keith Fullerton Whitman’s analog synth workout at Cafe Oto. Here though, was a an seventy year old piece that surprises with changes of tempo and a sound really does generate a physical response.
Next were extracts from Berg’s opera Lulu. The first symphonic part had elements of the romantic but overshadowed by a foreboding, possibly for the destruction and oppression to come in Europe. This was exciting enough but for the second part soprano Barbara Hannigan entered the stage looking all Jessica Rabbit in short fur coat and shorter dress. By now the music was a soundtrack to testosterone, like the lust filled wolf in Warner Brothers cartoons, eyes popping, tongue hanging out and heart pounding. Lulu sings of her value to men in her life and its meaning to her. The later song is Lulu’s lover at her death, declaring her eternal love. I’ve not seen the complete opera but I’ll be there when its done again, especially if Barbara Hannigan is singing.
I wondered how the second half would match this excitement. If anything it was even better. It began with Bartok’s Music for strings, percussion and celeste. Managing to combine rhythm with symphonic grace this music this was edge of the seat music, maintaining the physicality Jurowski hoped for.
Lastly was Martinu’s Double Concerto for two string orchestras, piano and timpani. This was big, loud music but still able to maintain subtleties from the piano. The larger strings either side of the stage complemented the demanding percussion. At the finish the applause was deservedly resounding. Each element of the orchestra being given its turn by Jurowski. A fantastic evening’s music, give me more.

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