When I booked a bunch of tickets for The Rest Is Noise festival, this was the one I was most looking forward to. I had heard part of the symphony when it was broadcast as part of a BBC Proms series so was a little familiar with its non standard format.
When Messiaen was given the commission for this piece he was told make it as long as you like and have an orchestra as big as you like. The orchestra is big, a full percussion line up at the back with xylophone and vibraphone given prominence at the front. Messiaen was interested in Indonesian Gamelan and there is a slight recreation of this using these instruments in the symphony. Also used is an odnes martenote, an early electronic instrument with sound similar to a more gentle theramin. Full brass and woodwind instruments suggest this is a band to blow the roof off. When the music starts we are on a ride. The rhythm drives us along telling us that love is ecstatic and exciting. At points the music is clearly describing the physical act of love making. Messiaen is intimate in this description. Where Led Zeppelin might’ve given the rock boys a laugh with their imitation of sex in song, Messiaen is not holding back telling us how special love making is.
The symphony maintains a rhythmic flow only letting up for short but beautiful interludes. It is a long piece of music but I was hooked from start to finish. It seemed fitting that a young orchestra should be playing a relatively young piece of music, as if the energy required to sustain the pace is only available to a young person.
At the finish the audience sustained clapping for several minutes. If I have a gripe it was with the audience, or lack of it. My ticket cost me what some spend on a couple of trips to an overpriced coffee shop, yet there were far to many spaces in the festival hall. This music is fantastic and should be heard more. Londoners really should make use of the chance to here a young orchestra playing amazing music.
A medley of traditional gamelan music
I may have been a bit harsh, this is Led Zeppelin and its pretty bloody good.
The opening of the Turangalila Symphony
This was concert part of a weekend at the Southbank called the Art of Fear. Both pieces were written and premiered during World War 2, under different forms of oppression. Shostakovich was in Russia and aware of any infringement of producing unsuitable music for the regime. Messiaen had been captured by the German Army in 1940. He was moved to Stalag VIII-A near the Poland-German border and piece was first played before an audience inside the camp in 1941.
Shostakovich was thought to be the communist regime’s puppet composer, but more recently its thought he wrote to keep Stalin happy but used ciphers in music to display his contempt. The first movement starts with a serene cello, almost solo for much of the section. There was dissonance at times with the violin and piano contrasting the cello. It started quiet but built to a sound that felt child-like and stomping, it was only reading the programme notes later that I found that Shostakovich was mimicking a goose stepping march.
At times the piece has a dream like quality with an avant-garde improvisational feel. I can’t imagine it being a piece the soviet regime would have welcomed as appropriate for the worker’s revolution.
The Messiaen Quartet for the End of Time begins with an evocation of birdsong, each instrument playing a different tune or bird. A clarinet was added to complete the quartet. Quartet is a slight misnomer as there are long sections where only three or fewer instruments are playing. Each musician showed incredible skill during this piece. Long slow notes followed by flurries often accompanied by a piano setting a different pace to the lead instrument. The slow sections were almost bleak. Imagine being a prisoner of war hearing this. A clarinet or cello giving shape to powerlessness and any desperation you might feel. Each over long note extending the distance you feel from loved ones.
I kept waiting for the hope I’d heard and read about. Maybe it was there in the last violin section. As the last few notes of a beautifully complex piece played out to silence, maybe that was the new horizon.
It was a slow walk back over the bridge to the Embankment and my train. Maybe I just needed time to soak up the sounds and life of London.
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.
Last time I was at the Royal Festival Hall it was to see Brian Wilson perform the Smile album. A collection of music that aspired to be a great American composition. Here was a different collection coming from various angles to describe a land, surely too varied to be set out in a tune. It was fun to have the conductor, Marin Alsop, talk about about each piece and play extracts before each full performance, although this wasn’t done for the Gershwin, the piece I was most familiar with.
It could be said the Ives piece is all over the place. The variety in pace and mood might sound to some like the composition of a strange man. This piece was Three Places in New England. The more I learn about Ives I find he was strange but as a very average American pop-rock group claimed, people are. My point is that Ives was normal but strange, an insurance man who wrote music to describe a country so varied maybe it could only be done by someone choosing to be a working stiff. This music works beautifully as a sound description of a country I have read about, seen films, art and spent only three weeks visiting. I will go back to this music. It’s complex, slightly mad, vibrant and wonderful.
Copland appears to want to present a specific side of America. This was Copland’s Piano Concerto. The music is an anthem for the wide open spaces and long journeys. I am in thrall to Joni Mitchell’s Amelia, it tells me about an America of vast blue skies, vapour trails and deserts. Copland does this with the music, no need for words just a music that can fill the spaces it describes.
Maybe its the familiarity of Gershwin’s Rhapsody in Blue that left the conductor without the need to talk about the piece. Instead it was straight into that opening of the clarinet signaling the start of a tale. Where Copland is about space Gershwin is about the city. It feels like a night out of romance, music and dance. An evening of promise. There is so much music that evokes the city, from seeing a huge 4×4 , hip hop blaring from open windows, to London punks describing the westway. This is a different aspect of the city and again the music goes beyond simple description and visuals.
If Joplin to you, has only meant ragtime, join the club. The piece presented tonight was the Treemonisha suite and showed a composer comfortable with using those influences in orchestration. It was an interesting piece and I really enjoyed being able to hear, above the sound of the orchestra, the banjo picking out a melody.
The last piece was not mentioned in the programme. The composer, James Price Johnson, is far less well known than the others but his Victory Stride is a surprising and interesting piece of Americana. One to seek out, but then they all are.
Links to some of the music mentioned
Gershwin’s Rhapsody in Blue
Joni Mitchell – Amelia
Charles Ives’ Three Places in New England – First Movement
Charles Ives’ Three Places in New England – Second Movement
Charles Ives Three Places in New England Third Movement
A couple of years ago I read Alex Ross’s The Rest is Noise. Now the Southbank Centre have a year long festival based on the book. Everything 20th century and given some historical context. In nearly forty years of listening to music this would only be the second concert of classical music I’d attended but like a lot of live music I listen to now, I knew almost nothing about what I was to hear.
The first section was three songs by Webern, there would be three more rhymes later in the evening. They were written twenty years apart and the technically minded might hear differences in composition. What I heard was Sarah Gabriel’s beautiful and stunning voice. Where previously I have heard an abrasive language and little rhyme, here I just wanted her to keep singing. I’ve realised the words maybe important but I don’t want to be distracted reading, with singing like this I only need to listen.
There followed a series of pieces starting with Schoenberg’s Five Pieces for Orchestra. My little knowledge of this style suggested it would be atonal and jarring. Maybe in 1909 it was but despite the supposed dissonance in many of the pieces what I hear are dissonant notes complementing each other. The music flows and drives beautifully. The idea of dissonance is a red herring, every note connects, it felt like connecting was a theme of the evening.
The shorter Six Pieces for Orchestra of Webern’s I found contemplative. Although more percussive, these instruments were used more to create mood and expression rather than rhythm. The last pieces before the break created a dilemma for me. Despite my desire to hear things I not heard before I found myself wanting to hear Webern’s Five Pieces for Orchestra every day.
After the interval was Webern’s Symphony, Op. 21; this was stunning. Each note felt individual, not a typical musical flow yet every sound interconnected. Berg was represented by his Four Pieces for clarinet and piano, Op. 5. This was the highlight of the evening. A flurry of clarinet notes creating space. Each piece urging onto musical sounds that felt like daylight.
Three Small Pieces for cello and piano were exactly as described. The last is labelled Extremely Quiet. If you were there and saw the bloke in a black shirt clapping only gently it was due to fear of disturbing the incredible atmosphere of the music.
The final piece, Webern’s Concerto for nine instruments felt like a culmination and summation of all that had gone before. This is music that continues to surprise and enchant with its art and beauty. The philosophy and techniques of the 2nd Viennese School was not simply a new way of composing, it created stunning art and gripping music.