Zoë Beyers (violin), English Symphony Orchestra / Kenneth Woods
Blake (arr. Schuller) Charleston Rag (1915)
Schulhoff Suite for Chamber Orchestra, Op. 37 (1921)
Morton (arr. Schuller) Black Bottom Stomp (1926)
Krenek (arr. Bauer) Fantasie on ‘Jonny spielt auf’ (1927/8)
Milhaud Le boeuf sur le toit, Op. 58b (1920/1)
Wyastone Concert Hall, Monmouth
Recorded 9-10 November, broadcast Thursday 31 December 2020 (online)
Written by Richard Whitehouse
The English Symphony Orchestra certainly saw in the New Year with style in this attractive and enterprising programme centred on the prevalence but also the range of jazz idioms either side of the Atlantic throughout the 1920s. Its stylistic roots were acknowledged in the panache of Charleston Rag by the long-lived Eubie Blake, then the irresistible verve of Black Bottom Stomp by the lived-dangerously Jelly Roll Morton – both heard in distinctive arrangements by Gunther Schuller, whose own jazz innovations warrant revival as his centenary approaches.
Between these pieces, Erwin Schulhoff’s Suite for Chamber Orchestra was a reminder of this composer’s usage of jazz as part of a lifelong and tragically curtailed stylistic odyssey. While the faster numbers recall the wit of Poulenc’s early chamber music and irony of Stravinsky’s suites for theatre orchestra, the Valse Boston – its moody violin solos hauntingly rendered by David Juritz – and Tango admit of an introspection and pathos to the fore in those works from Schulhoff’s last years. Qualities which are here side-lined by the uproarious final Jazz.
It is almost 94 years since Ernst Krenek’s Jonny spielt auf took the German-speaking world by storm, and though its highly Viennese take on jazz lacks the satirical edge as achieved by Weill, the present Fantasie devised by Emil Bauer gives a fine overview of this opera in all its attendant strengths and weaknesses. Abetted by diaphanous orchestration (with its oddly hymnic role for harmonium), the slower sections conjure no mean expressive fervour, while the closing pages exude an affirmation which never feels brittle or forced in its demeanour.
Darius Milhaud had also fastened on to the exuberance of jazz, here with Brazilian overtones, in his ballet Le boeuf sur le toit – as heard in the rarely revived ‘cinéma-fantaisie’ version for violin and orchestra. Perhaps the often equivocal nature of the solo part has mitigated against wider acceptance, but Zoë Beyers took its technical demands confidently in her stride while remaining aware of its ‘first among equals’ status – notwithstanding the strategically placed cadenza (by no less than Arthur Honegger) that brings the soloist unashamedly centre-stage. Credit, too, to the members of the ESO (suitably attired throughout) for having rendered this music’s teasing rhythmic inflections with unfailing poise, and to Kenneth Woods for teasing the maximum finesse from out of Milhaud’s entertaining while not a little provocative score.
It was, indeed, a fine showing all round and would have been ideal before that ‘end of year’ party which circumstances have regrettably made impossible. This event was still a highly positive means of seeing out the old year and welcoming in a much to be anticipated 2021.
You can watch the concert on the English Symphony Orchestra website from 7.30pm on Thursday 31 December 2020 here
For more information on the English Symphony Orchestra you can visit their website here
Pingback: The Roaring 20s – Decade of Melody and Mayhem | English Symphony Orchestra
Pingback: The Art of Storytelling – The Ugly Duckling | English Symphony Orchestra