This is a review of a concert by Britten Sinfonia at Saffron Hall on 22 March 2015
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25 March (updated 5 May)
This is Part I (finally complete !) of a review of a concert given by Britten Sinfonia (@BrittenSinfonia) at Saffron Hall, Saffron Walden (@SaffronHallSW), on Sunday 22 March 2015 at 7.30 p.m. – Part II is here
The programme was directed by Thomas Gould (@ThomasGouldVLN) in Locatelli and Bach (arr. Sitkovetsky), and conducted by Carlos del Cueto in works by Tom Coult (@tomcoult) and Hans Abrahamsen
Concerto Grosso in C Minor, Op. 1, No. 11 (published 1721) – Pietro Locatelli (1695–1764)
1. Largo
2. Allemanda, Allegro
3. Sarabanda, Largo
4. Giga, Allegro
Locatelli’s all-string Concerto Grosso features tutti that scale down to writing for the traditional forces of a string quartet – in which one was to find a link with Dmitry Sitkovetsky’s arrangement (from 1985) of Bach, Britten Sinfonia’s (@BrittenSinfonia’s) glowing performance of which occupied the second half of the concert at Saffron Hall (@SaffronHallSW). (In addition to Thomas Gould (associate leader, @ThomasGouldVLN), the quartet comprised Miranda Dale (violin), Clare Finnimore (viola) and Caroline Dearnley (cello).)
As first violin in that quartet, Gould was charming, and yet feeling, and the playing overall was nuanced, with a steady pulse from Finnimore and Dearnley, and good intonation. When we came back to full-string sections, the effect of the ensemble was being made aware of what Locatelli is doing, here, with our sense of time passing.
And, with a suspension led by Gould, he even lulls us into the tempo of the second movement (and, maybe, catches those not following the programme unawares ?), in the warmth of his scoring, and of the Sinfonia’s playing. There are calls, and responses, between the divided strings, and they felt quite natural, the articulation giving the music room to breathe. Gould, as leader, had strophic contributions to make, which were compelling and intelligent, along with lovely resonant ones from the double-basses (Stephen Williams and Roger Linley), in this Rondo-type Allegro.
A hesitancy about the Sarabanda allowed Gould to lead the players into giving us the depths of the music with great insight, as Locatelli once more brought down the scale to smaller groupings. This time, he gave us a trio (without viola), then expanded the texture, before reducing to a quartet, and back to a trio. His transitions, and how they were performed, felt – despite being so Protean – utterly assured.
In that second trio, Dearnley’s cello-tones provided yearning under-currents to Gould’s violin, whilst it lasted, for Locatelli's additive impulse was to bring Finnimore in, and then more and more strings. Very expressive writing for, and playing from, Gould resembled a cadenza, before the gesture of a cadence (no pun intended), and bows raised, brought the movement to a conclusion.
The closing Allegro was full of joy : it had a lively beat from the basses and four cellos (whose Caroline Dearnley could be seen, smiling at a felicity in Locatelli’s part for her). There was tremendous momentum in this Giga, and it was brought to us with such wit, grace and charm – not to take us away from the tenderness of the preceding Largo, but to validate and reinforce it.
In essence, a piece of music as worthy, in its compactness and concision, of our attention as those of Vivaldi, yet they far more often receive it.
My Curves are not Mad (2015) – Tom Coult (1988–)
The exhibition of Henri Matisse’s cut-outs at Tate Modern (@tate) was massive in its influence and attraction, so no wonder that it reached out to composer Tom Coult (who quotes Matisse’s publication Jazz in the title)…
His work opens teasingly, with string-effects (however they may be notated) that felt like snatching, and something that was not quite howling, and to which were added notes given pizzicato. As it wound up, there was the realization that the textures started to stand out against the full string-sound, and that there were antiphonal elements, with writing for double groups of strings [as also utilized by Sitkovetsky, in arranging Bach, and by Locatelli (please see above)], as well as a low throb, or hum, from the double-basses.
In what followed, where we had violins and violas, alone and separated, we became quite clear why there was a conductor, for, rhythmically, this was a vivid music of juxtaposition, giving rise to an extreme sensation of floating. Already, by now, reminiscent of Ligeti, the use of string-tapping put one somewhat in mind of his Clocks and Clouds, but in a whole other place, which was fragmentary, as well as free and pure. We were led to a very still experience of what was, maybe, movement, melting, growth…
Then Coult brought us back to the feel from earlier on, and to the throb, and the hum : this time, the treatment of the thematic material was in longer, lower note-divisions, with upper adornments and accompaniments. An initial impression of concord gave gradually way to one of dissolution, almost perhaps disintegration ? At this point, very earnestly and sincerely, the theme appeared to be picked out, alongside the low strings of the basses, and with nascency in the use of harmonics.
Fleetingly, in what had gone before, Coult seemed to allude to Copland (in the last setting in Appalachian Spring, ‘Simple Gifts’), but now, bringing out the simple harmony of it, the quotation seemed patent, heralding a huge suspension, with the feel of some sort of call of the wild. Coult left the harmonies unresolved, and, returning to prior motifs, gestures and fragments, evoked hunting-calls, before reducing to, and ending on, one instrument, one string.
The work was received with enthusiasm, as was Coult to the stage, who, in turn, acclaimed conductor and players, before taking bows himself.
This had been an accomplished piece of writing, co-commissioned with donations to the Sinfonia’s campaign Musically Gifted, and it fitted well with its early-eighteenth century antecedent in Locatelli – as much the skill and style of these musicians to make this seem right, though not to take away from Coult’s approach to composition. In his programme-note, he had credited his appreciation of that of Matisse himself, erecting invisible, objective structures, and modestly left us to make what we would, uninfluenced, of his art and sound, though we were in no doubt how well the Sinfonia responded to the opportunity to play his piece (now for the third time in performance).
As one looked afterwards at his write-up in the programme, and (via Twitter (@twitter) at his web-site (at www.tomcoult.com), it was evident that this is already an experienced British composer, one in whom to be much interested.
Double Concerto for violin, piano and strings (2011) – Hans Abrahamsen (1925–)
1. Sehr langsam und ausdrucksvoll [Very slow and [if distributive, very] expressive]
2. Schnell und unruhig [Quick and restless]
3. Langsam und melancholisch [Slow and melancholic]
4. Lebhaft und zitternd [Lively and trembling]
Befitting the marking [sehr ?] ausdrucksvoll, the strings built in intensity, then we heard Alasdair Beatson on piano : we might already have noticed the beater that he had on the top of the instrument, resting, waiting to be deployed, and then – when we had already seen and heard it – we were aware of him reaching, deep under the lid, for a low note to set resonating… The movement proper then began, with patterns that alternated between him and, on solo violin, Thomas Gould. We then moved, following piano-leaps in octaves, to extremely high and very quiet touches from Gould, echoed in the top keys of the piano, and that was where the movement ended.
At the start of the faster, second one, Beatson had to reach under again, this time to modify notes played with one hand with the other. Next, came chords on the piano, with violin cadenzas – the chords were redolent of Messiaen’s sound-world, and, before a caesura, the composer dwelt on rhythms and patterns. Afterwards, a jazzy riff from Gould gave way to muted piano sounds, and then manual ‘twanging’ of its strings. As the movement grew louder, with a bell-like fervour, the double-basses brought out dragging effects, before we reduced to Caroline Dearnley on cello, and the close.
The marking Langsam und melancholisch was hardly untrue, with the movement beginning with the soloists – Beatson playing a repeated note, to which, at an interval, Gould added. All of this was setting up an entry from the ensemble, complete with plangent, open piano-chords, and a telling contribution from Gould, before descending gestures that evoked Arvo Pärt (in Fratres). Next, a string-group meditated alone quietly, and, when the piano came in, with further descending gestures, the violin part supported it.
When strings came back up to full, with Gould to the fore, he handed over to Beatson, bringing us measured bell-tones, then muted piano-notes, alongside the orchestra. As the strings took time, the piano gave occasional inputs, and, once we had reduced in intensity to bring Gould momentarily to prominence, we closed, first with him, then with Dearnley and Beatson, and, finally, the string-principals.
The last movement seemed to want to establish a squeaky role for the violin, in the mould of being zitternd, with writing for Beatson, by now, notable by its absence. Throughout, the fact – when we know the ‘big’ double-concerto works – of having two soloists had focused one on the contrastingly narrow compass of the piece : although the stated markings imply that the transient moods are where we are to dwell on, it tended to draw attention to technique, especially the virtuoso elements in the violin-writing.
Later, Gould’s role was giving us what resembled, by look and sound, violinistic gestures, whereas that of Beatson was to allude to peals of bells. The piece concluded unshowily, almost as an antithesis to how many concertos have ended… and felt as if might have been written for these soloists / players, this conductor, this occasion…
A caveat : Yet, by contrast with the end of Part II of the concert, our being held off from responding – by hands and bows kept raised – somehow made one’s responses abate, and feel that one’s insight had diminished, or was perhaps less secure. Yes, however well played it had been on the concert stage, the concerto had been what it was, and the hesitation seemed to over-plead for it :
No shorter than the newer work that preceded it, and with a place established in the repertoire, nonetheless this double concerto now felt a little more like a sweetmeat (although, just before the interval, not inappropriately ?). Maybe the programme-note had always suggested that the composer has a depth of feeling, but did the extended gesture of delay overemphasize it (or even make it feel gimmicky ?).
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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