30 CHANNEL CLASSICS - GRAMOPHONE EDITOR'S CHOICES

30 CHANNEL CLASSICS - GRAMOPHONE EDITOR'S CHOICES

Harriet Krijgh, Amsterdam Sinfonietta, Candida Thompson VIVALDI

                                                                       VIVALDI

Amsterdam Sinfonietta / Candida Thompson THE ARGENTINIAN ALBUM

I can’t imagine a more diverse palette of sounds, styles and colours than the three composers on this recording. They are unmistakably Argentinian yet tantalisingly different. Between them they represent the vibrant fusion of cultures that exist in Argentina today. In order to give full justice to their music, we researched their personal tastes, sources and sound worlds, looking for the influences that shaped them. Although one immediately feels that Ginastera’s unique masterpiece Concerto per corde is written in a language close to the European masterworks of the twentieth century such as Bartók’s Divertimento, or Berg’s Lyric Suite, it’s a very particular and original work. Ginastera changes between such imaginative quasi improvised solo sections and very precisely structured passages. While playing his Concerto one has a tremendous feeling of freedom within structure. (Candida Thompson)

MICHEL VAN DER AA Violin Concerto - Hysteresis

Michel van der Aa’s new Violin Concerto for Janine Jansen received its first performance on 6 November in Amsterdam, with the Royal Concertgebouw Orchestra conducted by Vladimir Jurowski. Van der Aa has described the partnership of Jansen and the RCO as his “dream team”. It combines an orchestra with whom he now has a long-standing and intimate relationship, and a soloist with a magnetic stage presence and a heart-on-sleeve style of playing, ideally suited to Van der Aa’s direct and physically expressive music. As “house composer” for the RCO since 2011, he was able to work unusually closely with the players, checking details throughout the period of composition. He has also been free to write the works he chooses. In this case, it was Jansen’s personality that served as inspiration, and the composer claims that “If Janine had played the flute, I would have written a flute concerto.” 

The piece has its roots in the classical concerto – unusually for him, Van der Aa hasn’t even included any electronics – but he couldn’t resist giving it a distinctly theatrical quality. “As an opera director, I love the theatrical possibilities of having someone who is the embodiment of the work.” The theatre begins in Jansen’s presence and personality, but extends across the whole stage. The lead violinist and cellist are drawn in as secondary soloists, and with Jansen often form a trio of their own. 

Their energy spreads outwards to three percussionists, harp, the string groups and finally the whole orchestra. Those lines of transmission are articulated visually as well as aurally – the three percussionists are spaced among the orchestra not only because of the way that distribution sounds, but also because of how it looks. Visual considerations extend to the stage lighting and even to the type of dress the soloist wears. “Yes, I am a control freak,” admits Van der Aa, “But in addition to the music all these aspects are of great importance to the total experience.”
The concerto is composed in the traditional three movements. Van der Aa describes the first as abstract, the second as more direct and melodic, and the third as very fast, performed at breakneck speed and close to the edge of possibility. Like Van der Aa’s other recent pieces – the opera Sunken Garden and the clarinet concerto Hysteresis – it also includes allusions to popular styles; in this case to jazz and bluegrass. With no electronics or video, the alter ego role familiar from many other Van der Aa pieces is taken up by the orchestra, which mirrors and balances the soloist, rather than playing a traditional accompanying role. (Tim Rutherford-Johnson)

Sol Gabetta / Amsterdam Sinfonietta VASKS Presence

Cellist Sol Gabetta has long wanted Pēteris Vasks to compose a concerto for her and on 25 October 2012, Gabetta, in collaboration with the Amsterdam Sinfonietta and its Artistic Director Candida Thompson, presented the new work at last. Klātbūtne (‘Presence’), for cello and string orchestra, was premiered at the music centre De Bijloke in Gent.

Latvian composer Vasks stands out among his contemporaries as an especially versatile composer, writing in different timbres and tunings to create hugely varied sound worlds. This can be heard in his eight works for string orchestra and three concertos for violin and strings. Klātbūtne is the first of Vasks’ works for the combination of solo cello and strings, and the three movement work was commissioned by the Amsterdam Sinfonietta, the Amsterdam Cello Biennale, Eduard van Beinum Foundation and the International Istanbul Music Festival.

Gabetta and the Amsterdam Sinfonietta gave the German premiere of Klātbūtne on 26 October at the Forum am Schlosspark, Ludwigsburg, and two further performances took place on 27 October at the Tonhalle Düsseldorf and on 29 October at the Muziekgebouw, Amsterdam.

Patricia Kopatchinskaja / Anja Lechner / Amsterdam Sinfonietta / Candida Thompson TIGRAN MANSURIAN Quasi Parlando

“Quasi Parlando” is an important addition to ECM’s documentation of the work of Tigran Mansurian, an often breathtaking account of highly original contemporary chamber orchestra music. Issued in the wake of his 75th birthday, the album opens with the Armenian composer’s fiercely-concentrated Double Concerto, and proceeds to new music performed by its dedicatees: the lyrical Romance, dedicated to Moldavian violinist Patricia Kopatchinskaja, and the intensely expressive Quasi Parlando, dedicated to German cellist Anja Lechner. Both are world premiere recordings, as is the Concerto No 2, subtitled Four Serious Songs, which concludes the programme. Throughout, the soloists deliver committed performances, as does the Amsterdam Sinfonietta under the direction of Candida Thompson. 

In the liner notes, Wolfgang Sandner describes title piece Quasi Parlando, composed in 2012, as one of the works which best exemplify Mansurian’s aesthetics of reduction: “Every note is exactly where it belongs. Compositional feeling seems at one with the innate potential of the sounds. Yet we are amazed to hear how the cello’s rhetorical figures congeal into an effective and expressive art that transcends the conceptualisations of speech.” The Romance, composed a year earlier, initially retains the four-bar periods of a simple but moving folk song until the strings enter a dialogue with the solo violin, whereupon a transformation takes place... 

In terms of textural density, Mansurian’s music has seen some changes in the thirty years that separate the composing of the Double Concerto and the Four Serious Songs, but his aesthetic stance has been consistent, both works sharing an immediacy of expression and rigorous creative will. At the same time, the composer encourages a degree of creative freedom from his music’s interpreters: “What is important is what the music needs, not what I need”, he said in a talk given at the Muziekgebouw Amsterdam, immediately before the recording of these pieces in October 2012. 

Patricia Kopatchinskaja has described the violin part of Four Serious Songs as “pure spirit and magic... Tigran’s music is some of the strongest of our time.”

Sol Gabetta PRAYER

On her new album "Prayer" Sol Gabetta takes the listener with her on a meditative musical journey. Accompanied by the Amsterdam Sinfonietta and the Orchestre National de Lyon, she has recorded a selection of Classical music inspired by Jewish melodies. It was Ernest Bloch's (1880-1959) piece "Prayer" that first gave Sol Gabetta the idea for this album: "I often played 'Prayer' as an encore in concert, and could feel that many people in the audience were greatly moved by it. This is music that is both sensual and reflective." In addition to the three-part cycle "From Jewish Life", of which "Prayer" is the first movement, Gabetta's CD recital includes Bloch's "Meditation hebräique", "Nigun", and the famous "Schelomo" for cello and orchestra. The programme is delightfully rounded off by four songs Gabetta has chosen from Dmitri Shostakovich's cycle "From Jewish Folk Poetry" and a Catalan folk song full of yearning by the famous cellist Pablo Casals.
Sol Gabetta recorded "Prayer" together with the Amsterdam Sinfonietta. In Bloch's "Schelomo" she is accompanied by the Orchestre National de Lyon under Leonard Slatkin; it was with this conductor that she originally played the work, which dates from 1916. Gabetta says: "This is a sweeping, large-scale cello concerto in which the cello takes the role of King Solomon".
The Jewish pieces by Bloch with their religious undertones contrast with folk songs from the pen of Shostakovich, which he published in 1948 under the title "From Jewish Folk Poetry". From the total of 11 songs, Sol Gabetta chose four for her recital which were then specially arranged for cello and string orchestra by Mikhail Bronner. The original poems that Shostakovich set to music tell of the hardships of Jewish life in tsarist Russian. The Catalan folk song "Song of the Birds" is a tale of human longing. The Spanish cellist Pablo Casals arranged it for his instrument, and from 1939 onwards he used it to open many of the concerts he gave in exile. Gabetta has recorded the piece together with the cello ensemble of the Amsterdam Sinfonietta.