Energetic Glass at the heart of adventurous programming from MacGregor and the Brighton Philharmonic Orchestra

Joanna MacGregor (piano/director)

Sian Edwards (conductor)

Kathy Hinde (visual projections)

Matthew Fairclough (sound design)

Brighton Philharmonic Orchestra

Nicky Sweeney (leader)

7.30pm, Saturday 21 January, 2023

Brighton Dome

★★★★

Rolf Wallin (b.1957): Twine

John Luther Adams (b.1953): songbird songs

Philip Glass (b.1937): Glassworks

John Luther Adams: Drums of Winter

Jonny Greenwood (b.1971): Suite from 'There Will Be Blood'

Einojuhani Rautavaara (1928-2016): Cantus Arcticus: Concerto for Birds and Orchestra, Op. 61

Joanna MacGregor
Credit: Pal Hanson

It was great to see the Brighton Philharmonic Orchestra filling the Brighton Dome on a Saturday night, a welcome compliment to their traditional Sunday afternoon slot. Philip Glass’s (b.1937) seminal work Glassworks clearly attracted a broader demographic of audience, and Joanna MacGregor’s clever programming of this ensemble piece alongside some exciting solo percussion pieces, as well as works for the fuller orchestra, amply demonstrated that there is appetite for more adventurous orchestral concerts going beyond the standard repertoire. Taking up the position of Music Director just prior to the pandemic, it is good to see her plans for the orchestra taking shape this season. (More on their full season here). 

Their concert began with a work by Norwegian composer Rolf Wallin (b.1957), Twine, for marimba and xylophone. Performed with enthusiastic showmanship by two members of Ensemble Bash (who contributed three quarters of tonight's percussion section), the piece contrasts the softer, warmer tones of the marimba with the harsher, metallic timbre of the xylophone. Starting from pulsing on repeated notes, the instruments gradually expand out to explore the extremes of their ranges, and flashing glissandi add fireworks to the climax.

Two works by American composer John Luther Adams (b.1953) also showcased percussion, but the first piece, songbird songs also saw the percussionists joined by the BPO’s flautists, Christine Messiter and Christine Hankin, here on piccolos and ocarinas. Across four short vignettes, Adams ranges from delicate morning birdsong evocation through to the mournful calls of doves (with Messiter and Hankin roaming the stage with their intermittent ocarina calls), and culminating in wild, joyful explosions of noise from marimba, bass drum, timpani and temple blocks. The second work by Adams, which launched the concert’s second half, was Drums of Winter, for all four percussionists. A movement form this cycle, Earth and the Great Weather, this is a visceral piece, exploiting the power of four drummers, sometimes with complex cross rhythms, but with tremendous energy when combined in unison rhythms, providing a great curtain raiser for the second half.

Sian Edwards

Glassworks was the highlight of the evening’s programme, however. Written and recorded by Glass’ own ensemble in 1981, it brought minimalism to a wider audience, and was an instant success, remaining hugely popular to this day. It is scored for two flutes, four saxophones, two horns, violas, cellos and piano/keyboard. The trick here is to avoid the rapid yet constantly shifting repeated figures sounding like a feat of hard work and concentration - which of course it is. This was mostly achieved here, with conductor Sian Edwards giving clear direction and keeping the tempo tight and on track. Only occasionally did ensemble stray slightly with the sudden changes of figuration. From Joanna MacGragor’s hypnotic Opening on the piano through to the surging insistence of Floe, the players here kept the drive and energy going, and the mournful soprano saxophones of Façades were particularly hypnotic. The amplification did highlight the odd moment of imprecise tuning in the strings, and a tentative entry from the horns, but otherwise, this was a strong performance of a challenging work.

Jonny Greenwood (b.1971), known to many as the lead guitarist from Radiohead, composed the soundtrack from the 2007 epic film, There Will Be Blood, starring Daniel Day Lewis. The film explores the destructive power of capitalism through the story of a silver miner who becomes a ruthless oilman, destroying those around him in his pursuit of wealth. Greenwood produced a six movement suite from the score for string orchestra, with imaginative use of the swooping glissandi, glassy scrapings and a lively pizzicato movement, as well as some more conventionally atmospheric string writing. The BPO players performed with precision and enthusiasm, particularly excelling in the pizzicato movement, and Sian Edwards shaped the dynamics with clear direction throughout.

The evening ended with the full orchestra performing Einojuhani Rautavaara’s (1928-2016) wonderfully evocative Cantus Articus: Concerto for Birds and Orchestra, Op. 61. Finnish composer Rautavaara studied at the Sibelius Academy, before Sibelius himself recommended him for a scholarship at the Juliard School in New York, where he was taught by Aaron Copland amongst others. In this work, he combines his own field recordings of Lapland birdsong with his richly romantic orchestral scoring. The melancholic calls of the shore lark accompany the middle movement, with lively spring birds in the opening and soaring whooper swans in the final movement. Rautavaara's atmospheric writing was expertly sculpted by Edwards in conjunction with the recorded birdsong, and the BPO players were sensitively responsive throughout.

The evening’s performances were accompanied throughout by beautiful visual projections by Kathy Hinde, using a variety of effective film drawing on nature and bird life. Rushing water accompanied the more frenzied passages of the Glass, and stunning footage of starling murmurations and dancing cranes complemented the Rautavaara, and various birdlife and mountain landscapes provided a backdrop for the Adams. The films provided an overall cohesion to the varied programme, and avoided the risk of distracting from the impact of the music itself.

Hats off to Joanna MacGregor, Sian Edwards and the BPO for highly stimulating performances, and long may their adventurous and imaginative programming continue to provide a welcome breath of fresh air to the Brighton classical music scene.

CD Reviews - February 2018

Identifying expressions of sexuality in music is dangerous territory, the ‘gayness’ or otherwise of Tchaikovsky’s music being the most notable example, with analysis often revealing frankly homophobic stereotyping.  However, regardless of the fact that Polish composer Karol Szymanowski’s (1882-1937) was gay, it is hard to deny the sensuality and eroticism in his music, particularly in the first Violin Concerto.  There is a rich, sumptuousness in the orchestration, and the seductively wandering solo violin lines are intriguingly captivating.  Written for violinist Paweł Kochański, who also wrote the closing cadenza, the solo part dominates throughout, and the single movement work flows without break.  And this month, two recordings of the work are out.

Tasmin Little is joined by the BBC Symphony Orchestra, conducted by Edward Gardner, and her reading of the first Violin Concerto is taught and precise, as well as allowing the fuller, overtly romantic moments to blossom with full intensity.  Gardner again extracts precision from the BBCSO, as well as giving freer rein in the more ecstatic outbursts.  Little couples the first Violin Concerto with Szymanowski’s Violin Concerto No. 2, from about 16 years later, and also the Violin Concerto by a Polish contemporary of Szymanowski, Mieczysław Karłowicz (1876-1909).  Szymanowski’s second Concerto is less overtly sensual, with perhaps more edge and bite, and the central cadenza which links the two movements, again written by Kochański, has much more of a sense of contemplation and reflection, despite its virtuosic challenges, and Little manages this combination with great subtlety of expression.  The Concerto’s final swirling cadenza has great energy from Little, ably supported by Gardner and the BBCSO.  Karłowicz’s Concerto that completes Little’s disc is a much lighter affair, with some delicate woodwind writing in the orchestral textures.  Following clearly in the Tchaikovsky/Bruch concerto mold, this perhaps lacks a distinctive enough voice, but is an enjoyable vehicle for the soloist nevertheless, and Little enjoys the lyrical melodies and expressive flourishes here.

American violinist Anne Akiko Meyers places the Szymanowski at the centre of her disc, preceded by a work she commissioned from Finish composer Einojuhani Rautavaara (1928-2016), which turned out to be his penultimate composition. Fantasia, from which Meyers took the title for her disc, is a single movement work, with a slow, lyrical solo line supported by warm orchestral textures, also relatively slow moving in terms of pulse and harmonic direction.  Meyers’ tone is warm and sweet, and she is supported in the music’s wandering ebb and flow by the rich tones of the Philharmonia Orchestra, conducted by Kristjan Järvi.  This beautiful, lyrical music is ultimately a relatively fleeting reflection at just under 14 minutes, but a highly engaging one nonetheless.  Meyers’ Szymanowski is full-bodied and incisive, and the Philharmonia and Järvi match with a strong dynamic range and rich string sound in particular.  Meyers closes her disc with a lively rendition of Maurice Ravel’s (1875-1937) Tzigane, full of delicate touches and fine articulation, and if the opening cadenza could be grittier, she has great fun with the orchestral dance, and her race to the finish is exhilarating.

Both Szymanowski interpretations are strong, with little to separate them – Little just edges ahead in terms of expressiveness for me.  Little’s Szymanowski No. 2 is also highly engaging, whilst Meyers’ warmly personal Rautavaara is a great attraction.  On value for money, I would say Meyers disc at just over 48 minutes is a little sparse in comparison to Little’s 73 minutes.  Otherwise, both are welcome additions to the catalogue.

Various. 2017. Szymanowski, Karłowicz: Violin Concertos. Tasmin Little, BBC Symphony Orchestra, Edward Gardner. Hybrid Super Audio Compact Disc. Chandos CHSA 5185.

Various. 2017. Fantasia. Anne Akiko Meyers, Philharmonia Orchestra, Kristjan Järvi. Avie AV23850.

Composer Cheryl Frances-Hoad's (b.1980) continues to demonstrate great originality and variety in her compositions, and her new disc is a great showcase for her writing.  The opening work, Katharsis for Cello and Ensemble, was commissioned by and is performed here by cellist David Cohen, with the Rambert Orchestra, conducted by Paul Hoskins.  Frances-Hoad trained as a cellist at the Yehudi Menuhin School, so clearly has great understanding in writing for the instrument, but what strikes me most here is the writing for woodwind, particularly in the Minuet and Trio, with wind instruments delicately dancing around the solo cello harmonics.  Throughout, whilst there is plenty for the cello to display, much of the interest is in the interplay between soloist and the chamber ensemble.  The Forgiveness Machine, performed by the Phoenix Piano Trio is inspired by Beethoven’s Archduke Trio, and has an ethereal, almost stationary feel, with momentary outbursts subsiding into richly textured harmonies and delicate, long melodic lines, building to a full-blooded climax, before once again falling away to nothingness.  Quark Dances was written for a slightly larger ensemble, again performed here by the Rambert Orchestra and Paul Hoskins, and originally formed part of a ballet inspired by a visit to the Large Hadron Collider at CERN.  Again, Frances-Hoad’s imaginative orchestration is striking, with quirky moto perpetuo writing for the harpsichord in the Scherzando, and slightly seasick string slides underpinning a calling horn and wind flourishes in the central Andante.  Her seven solo piano pieces, Homages, have clear inspiration in specific works by seven different composers, yet she takes these initial inspirations in unexpected directions.  For example, the opening Contemplation, drawing on Grieg’s Op. 7 Sonata, has a cool, jazzy feel, and the dreamy Lullaby moves from Schubert to a much darker, slightly ominous soundworld.   The Ravel-inspired Un Canard hors de l’eau is perhaps closer in terms of harmonic language to the source, but the ethereal Mendelssohnian Song without Words once again has a darkness of mood.  Whilst the harmonic language of Stolen Rhythm is a along way from Haydn, his wit and lively spirit is discernible, and Balkan rhythms abound in Bar(tik)tok.  Pianist Ivana Gavrić negotiates the demands of such diverse styles and moods with ease and convincing commitment.  A Refusal to Mourn for Oboe and String Orchestra closes the disc, with oboist Nicholas Daniel joining the Rambert Orchestra and Hoskins. Written to commemorate the 250^th anniversary of the death of Bach, there are roots here in Lutheran chorales, but once again, Frances-Hoad takes her points of inspiration to imaginatively evocative new places.  She exploits the plaintive tones of the oboe in the opening Recitative, then makes great use of the instrument’s quirkier side in the bouncing Fugato, before long lyrical lines return for the oboe in the closing Chorale, and Daniel’s breath control in the final extended solo line is highly impressive.  Frances-Hoad is a composer with impressive creative inspiration, as well as technical command of writing for varied musical forces – highly recommended.

Frances-Hoad, C. 2017. Stolen Rhythm. Nicholas Daniel, David Cohen, Ivan Gavrić, Phoenix Piano Trio, Rambert Orchestra, Paul Hoskins. Champs Hill Records CHRCD119.

(Edited versions of these reviews first appeared in GScene, February 2018)