Nicky Sweeney (leader)
7.30pm, Saturday 21 January, 2023
★★★★
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
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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.
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| 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.
