Category Archives: On record

On record – Lindberg: Aura, Marea & Related Rocks (Finnish Radio Symphony Orchestra / Hannu Lintu) (Ondine)

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Lindberg
Aura (1993-4)
Related Rocks (1997)
Marea (Tide) (1989-90)

Emil Holmström, Joonas Ahonen (pianos/keyboards), Jani Niinimäki, Jerry Piipponen (percussion) (all in Related Rocks), Finnish Radio Symphony Orchestra / Hannu Lintu

Ondine ODE1384-2 [66’59”]

Producer Laura Heikinheimo; Engineers Anna-Kaisa Kemppi, Antti Pohjola, Enno Mäemets October 2019 and bDecember 2020 at Music Centre, Helsinki

Recorded October 2019 and December 2020 (Marea) at Music Centre, Helsinki

Written by Richard Whitehouse

What’s the story?

Ondine continues its extensive coverage of Magnus Lindberg with this retrospective volume of works mainly written in the 1990s; at a time when the Finnish composer was moving away from his overtly avant-garde stance to an accommodation with the contemporary mainstream.

What’s the music like?

It was when Lindberg was writing Aura that Lutosławski died, hence the memorial dedication of a piece which represents a conscious summation of what the younger composer had striven for to that time. Its almost 40-minute duration and its division into four movements led some commentators to attribute a symphonic conception; something that the predicating of gestural over motivic continuity effectively refutes. That said, the initial section does have a feeling of exposition in its respective dynamism and stasis; ultimately arriving at a seismic unison chord from which its successor unfolds along the lines of ‘slow movement’ with an initial emphasis on the rhetorical interplay of brass and strings, followed by an evocative episode with tuned percussion and woodwind to the fore. Another unison leads to the third section, its animated motion nominally akin to a scherzo though with only a halting momentum on the way to the final section; a finale inasmuch as it takes the piece through to a threnodic conclusion, albeit with only a tangential bringing of the overall structure formally and expressively full circle.

Although the trajectory of Lindberg’s output thereafter was toward greater harmonic clarity and tonal directness, there have been numerous ‘curve balls’ – not least Related Rocks with its electronic gloss on the favourite modernist line-up of two pianos and two percussionists. Nor is there anything remotely proscriptive about one of this composer’s most effervescent and playful works (not least via a doubtless coincidental allusion at one point to the theme-tune of the 1970s snooker programme Pot Black), as retains its appeal a quarter-century on.

Finally, to Marea – central piece in an informal trilogy of works for chamber orchestra that exemplify Lindberg’s music towards the end of his first decade of creative maturity. At just 12 minutes, it might also be considered a template for those curtain-raisers often found in the composer’s recent output; though the level of incident and intricacy of texture, underpinned by an upward-striving trajectory, evinces a simplification too often replaced by superficiality once the composer arrived at an idiom lending itself gratefully to international commissions.

Does it all work?

Mainly, given Lindberg was seeking to extend his musical language onto a wider expressive canvas without veering towards the diluted idiom often informing his idiom thenceforth. No doubt that, whatever its formal issues, Aura stands among of the crucial orchestral works of its period and Hannu Lintu’s take is a worthy successor to the pioneering account from Oliver Knussen (DG). Marea summons a feisty response by the Finnish Radio Symphony Orchestra, while those keyboardists and percussionists render Related Rocks with scintillating virtuosity.

Is it recommended?

Indeed. Those who dislike the rebarbative feel of Lindberg’s early music or are unpersuaded by his latter-day output ought to find something worth engaging with in these pieces. Neither the high-impact sound nor booklet notes by Kimmo Korhonen leaves anything to be desired.

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You can discover more about this release at the Ondine website. You can read more about Lindberg here. The Finnish Radio Symphony Orchestra are here, and their conductor Hannu Lintu’s website can be accessed by clicking here.

On record – Vasks: Oboe Concerto, Message & Lauda (Albrecht Mayer, Latvian National Symphony Orchestra / Andris Poga) (Ondine)

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Vasks
Oboe Concerto (2018)
Message (Vēstijums) (1982)
Lauda (1985)

Albrecht Mayer (oboe), Latvian National Symphony Orchestra / Andris Poga

Ondine ODE1355-2 [68’37”]

Producer / Engineer Normunds Šnē

Recorded 16-17 and 20-21 July 2020 at Great Guild Hall, Riga

Written by Richard Whitehouse

What’s the story?

Ondine continues its coverage of Pēteris Vasks (b1946) with this release featuring his recent Oboe Concerto, alongside pieces from the 1980s, in what is a viable overview of the music of his maturity and reminder of his status as the leading Latvian composer of his generation.

What’s the music like?

Premiered in October 2018 with the performers on this recording, the Oboe Concerto is the seventh concertante work Vasks has written (his third for woodwind) and, at over 33 minutes, is on a sizable scale. Of its three movements, Morning pastorale has a preludial function in the way that the soloist emerges gently and wistfully against a discreet orchestral backdrop. This gradually builds to a climax, at whose apex the Scherzando begins with its lively interplay between soloist and orchestra – at length subsiding into a secondary ‘trio’ theme of piquant elegance. There follows an animated development, culminating (just before mid-point) in a plaintive cadenza then return to the opening music, prior to a coda of some fervency which   is held over at the start of Evening pastorale. The soloist duly comes to the fore for a calm soliloquy, building towards a forceful climax before a return to the mood of the opening and a whimsical leave-taking. A limited range of expression might leave this work seeming over-long but, with Albrecht Mayer pacing it superbly, the larger design more than sustains itself.

Of the two earlier pieces, Message – scored for two pianos, strings and percussion – reflects the impact of minimalist traits in its relatively static harmonies and rhythmic repetition, while Lutosławski (then completing his influential Third Symphony) and Górecki (then in his most overtly minimalist phase) can be detected in passages of textural freedom that afford contrast with those of expressive directness. Vasks himself comes through during the climactic stages, the music’s restrained fervour heightened on the way to a culmination of scintillating impact.

Although only his second major work for full orchestra, Lauda is typical for the way Vasks builds its cumulative structure through a dovetailing of instrumental groupings over a steady rhythmic undertow such that an inexorable momentum comes gradually, even unexpectedly to the fore. The journey is a stealthy and eventful one that draws both modal and plainchant elements into its emotional orbit; with the brass assuming dominance as the title is evoked in a resounding climax which leaves woodwind then strings musing plaintively in its wake.

Does it all work?

Yes, in the main. Whatever the stylistic variety across his output of several decades, Vasks remains a relatively self-effacing composer who never seeks to gain listeners’ attention by overly demonstrative means. His is rather an incremental and slow-burning approach which yields its musical rewards often in retrospect, as is true of the Oboe Concerto and – albeit to   a lesser degree – of those other works here. It helps that the playing of the Latvian National Symphony Orchestra, under the assured direction of Andris Poga, is so attuned to his music.

Is it recommended?

Yes, and not only to those who have already acquired previous releases from this source. The sound is up to Ondine’s usual standards in its clarity and realism, along with detailed booklet notes from Orests Silabriedis. Hopefully Vasks’s recent Sixth Quartet will be recorded soon.

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You can discover more about this release at the Ondine website. You can read more about Vasks here, and click here to read more on soloist Albrecht Mayer. The Latvian National Symphony Orchestra are here, while conductor Andris Poga’s website can be accessed by clicking here.

On Record – Group Listening: Clarinet & Piano: Selected Works, Vol. 2 (PRAH Recordings)

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reviewed by Ben Hogwood

What’s the story?

The first Group Listening album was such a success that clarinettist Stephen Black and pianist Paul Jones have returned for a second instalment. The project celebrates their favourite music – a wide range of electronica, Krautrock and dance-infused classics – by rearranging it for clarinet and piano, with a few electronic twists on the side.

In the course of their work the pair can bring new life to tracks we all thought we knew.

What’s the music like?

Rather special. Both performers play with a great deal of expression, really bringing the music to life and highlighting parts we hadn’t reckoned with before. They are clever with their arrangements, too, giving the melodic lead to the piano on occasion. Robbie Basho’s Blue Crystal Fire is one such example, where Black explores the throaty lower end of the clarinet register while Jones’ piano spins out the tune.

Much of the music is bright and positive, and the first track – a spacious arrangement of Beverly Glenn-Copeland’s Sunset Village – sets the mood perfectly. The appearance of the theme to the 1970s kids tv show Camberwick Green is a humourous shock, joyfully played by both performers, before we hear a radical reworking of Laraaji’s All Of A Sudden. This is where a few risks can go a long way, in this case with the help of a one-touch keyboard rhythm effect.

The Group Listening cover of Malcolm Neon’s Y Cwsg is playful, while Hollywood Dream Trip – originally by Syrinx – is expansive. The original work Five Hundred Miles is unexpectedly poignant, eavesdropping on phone conversations and messages while the instruments work softly voiced conversations of their own. The steady ticking of Seeland has a similar, meditative effect.

Does it all work?

It does – like looking at familiar pictures from unexpected angles and discovering more about them. What really comes across is the love these two musicians have for the music they have arranged and played.

Is it recommended?

Yes. This set of selected works is a blend of cover and remix, throwing new light on music that is revealed to have more dimensions with every listen. A subtly joyous experience.

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On Record – Gilmore Trail: Impermanence (Chasmata Records)

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gilmore-trail

reviewed by Ben Hogwood

What’s the story?

Sheffield quartet Gilmore Trail return after five years away, with a deeply felt new album. It is their third long player, and since the second they have amicably replaced drummer Sam Ainger with Bob Brown

The band is named after a route in Alaska from which you can reliably see the Northern Lights, and their music has always reflected something of the mystery and awe generated from encounters with natural phenomena.

Impermanence is a collection of seven instrumentals looking to recapture that wonder, from a framework of change and uncertainty – completed as it was before the pandemic. Its intimate moments mark the passing of close family members, but further afield the music continues to look to nature for inspiration.

What’s the music like?

Virtuosic, deeply felt and atmospheric. These lovingly crafted instrumentals often begin with a deceptively simple melodic or harmonic cell. From this they spread their tendrils outwards, increasing in volume and intensity all, so that by the climactic point the listener has the effect of diving head first into waves of euphoric, distorted sound. The single Ruins, reflecting on a legacy in near collapse, has that effect, serious in tone but powerful in execution, Brown’s drumming ideally paced.

The more ambitious tracks fall just shy of ten minutes but feel shorter, having grown organically without repeating themselves. Their intensity builds in a compelling and inevitable way, and the moments of release – often two-thirds of the way through – are genuinely thrilling. Yet the shorter tracks should not be overlooked, especially the higher guitars of Convalescence.

The natural portraits are engrossing. Distant Reflection is initially sombre but takes on a wonder at its surroundings. This is helped by the singing bowls of Sally Blyth, a sound practitioner who finds just the right tone at the start, Brown’s drums sensitively picking up the pace afterwards. Even when the music peaks, with drum rolls and a wall of guitar sound, the tolling of the bowls can still be heard. Echoes Of Solitude considers the plight of the lonely whale through the saxophone of Martin Archer, whose phrases are thoughtfully managed – definitely a case of less is more.

Does it all work?

It does. The seven tracks have a similar profile in terms of the build of their intensity, but they paint very different portraits. Repeated listening is recommended, since it reveals more of the detail the band work into their music, all the while keeping it unified and pressing forward.

Is it recommended?

It is. If you – like me – had not encountered the music of Gilmore Trail before, rich rewards await. Fans of Explosions In The Sky or Mogwai should not hesitate – making a new acquaintance like this is a no-brainer.

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Let’s Dance – Various Artists: Africa Gets Physical Vol. 4 – Thandi Draai (Get Physical)

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Thandi Draai

reviewed by Ben Hogwood

What’s the story?

The Africa Gets Physical series has been a ray of light in house circles since it started. For its fourth volume Berlin label Get Physical hand the reins to Thandi Draai, who has been making waves in South African tech house over the last couple of years. Draai’s guide looks across the continent for inspiration, highlighting a range of talent in house circles.

What’s the music like?

Excellent. House may be the main musical discipline but there is a lot of variety here, and it is well chosen and ideally sequenced by Draai.

Of the 17 numbers there are some powerful stand-out tracks. Afro Brothers’ Amathuba, featuring Pixie and Lucky Keys, is a slightly trancey number with a really strong vocal. BlaQRhythm’s In The Jungle goes heavy on the percussion, while the next one strong offbeat presence. Dawgpound uses a clever, refracted vocal on Egypt to give the impression of a distorted monastery set to house beats. Eltonnick & G-Wash10’s Osiros, featuring T_Phoenix, is just superb, its driving beat and penetrating vocal complementing each other perfectly. Meanwhile Khensy & Cuebur’s Hulelewani is powerfully wrought, with a richly harmonised vocal. On the deeper side sits Sikkelela, with rich harmonies from Un_nown & Zikhona.

Throughout the collection modern tech beats sit comfortably with original percussion – which gives the music plenty of drive – and some really excellent, authentic vocals.

Does it all work?

It does – Thandi Draai’s selection is full of top quality house, and the impression is that there is still plenty more where this came from.

Is it recommended?

Definitely – the most inspiring volume of Africa Gets Physical to date, for which the label should be applauded. We need more exposure to house music from the Southern Hemisphere, especially if it’s as good as this!

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