On Record: Håkan Hardenberger – Dean: Dramatis Personae; Francesconi: Hard Pace (BIS)

Dean Dramatis Personae (2013), Francesconi Hard Pace (2007)

Håkan Hardenberger (trumpet), Gothenburg Symphony Orchestra / John Storgårds

BIS (BIS 2067SACD)

What’s it all about?

Håkan Hardenberger returns with a further two concertos to add to the sizable number he has commissioned over these past three decades, as written by two leading composers from the middle generation whose musical aesthetics complement each other in almost every respect.

What’s the music like?

Well established as a violist before turning successfully to composition, Brett Dean (b1961) has several concertos among his output. As its title attests, Dramatis Personae evinces overtly dramatic connotations – not least those of Hamlet, an opera on which Shakespeare play Dean began writing immediately after the present work. Not that this concerto is about existential angst; rather it favours a distinctly sardonic take on the heroic concept – its initial movement, Fall of a Superhero, building from an anticipatory crescendo to an animated if increasingly fatigued interplay as subsides into enervated calm. Soliloquy proceeds as reflective dialogue whose elegiac quality takes on a renewed impetus in The Accidental Revolutionary, whose Chaplinesque humour reaches its apogee in the knockabout recessional which acts as coda.

A composer whose formative years were focussed on electronics, jazz and production, Luca Francesconi (b1956) has amassed a comparably diverse output where instrumental virtuosity is everywhere apparent. Not least in Hard Pace, a trumpet concerto that takes its cue from one of the instrument’s great practitioners. Although he never wrote or commissioned a concerto, Miles Davis delved extensively into those possibilities of varied accompaniment and sound diffusion everywhere audible in the Francesconi. This falls into two parts, the first building from eventful stasis to hectic activity before it suddenly ceases. The second part consists of three increasingly shorter sections – a taciturn Adagio whose emotional intensity spills over into the semi-cadenza of Miles, before the brief Finale brings matters to a decisive close.

Does it all work?

Yes. Neither of these concertos takes the all-round possibilities of the trumpet forward to the same degree as Peter Eötvös’s Jet Stream or Olga Neuwirth’s …miramondo multiplo… (both of which have been recorded by Hardenberger), but there can be no doubt as to their success in terms of demonstrating the instrument’s essential demeanour. That this is Hardenberger’s fourth disc of works for trumpet and orchestra on this label, moreover, wholly confirms his dedication to expanding what was once a genre proscribed both temporally and expressively.

The time has long gone when trumpeters searching for concertos outside of the Baroque or Classical eras had little more than that by Alexander Arutunian to draw on, for which sea-change Hardenberger can take no mean credit. His stentorian playing in both these pieces is further enhanced by an excellent contribution from the Gothenburg Symphony Orchestra, conducted by John Storgårds with sure understanding of that expressive ebb-and-flow between soloist and orchestra. Both the SACD sound and booklet notes are well up to BIS’s customary standards.

Is it recommended?

Indeed. A welcome and impressive addition to a discography which, formerly on Philips and latterly on BIS, has no equals when it comes to defining a repertoire for the trumpet such as younger practitioners can take forward in the knowledge its potential is far from exhausted.

Richard Whitehouse

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On record: Music For My Love (Toccata)

music-for-my-love

Brahms (arr. Söderlind) Von ewiger Liebe
Casulana (arr. C. Matthews) Il vostro dipartir
Dean Angels’ Wings (Music for Yodit)
Elcock Song for Yodit, Op. 23
Ford Sleep
Holloway Music for Yodit
Kerem A Farewell for Yodit
Lord (arr. Mann) Zarabanda Solitaria
Pickard …forbidding mourning…
Ruders Lullaby for Yodit
Söderlind 15 Variations on a Norwegian Folktune

Kodály Philharmonic Orchestra / Paul Mann

Summary

The Music For My Love project has its basis in the life, cut short by cancer, of Yodit Tekle – the Eritrean-born partner of Martin Anderson, whose desire to commemorate her in music led to his contacting those composers he knew personally, resulting in over 100 pieces for string orchestra which he intends to record for his Toccata Classics label. This first volume takes in eight pieces and three arrangements, ranging from around two minutes to a full quarter-hour.

What’s the music like?

Appreciably more varied in expression than might be expected given the context.

Among the original pieces, Robin Holloway has written a pensive elegy whose dance-like central section offers but minimal contrast, whereas Poul Ruders contributes a wistful and affecting lullaby. Mikhel Kerem’s miniature amply sustains its rapt atmosphere, while Andrew Ford takes an earlier vocal setting for his gentle round-lay. Steve Elcock conveys a consolatory mood via the subtlest of means, then Brett Dean draws on an earlier piano piece in music of ethereally diffused harmony. John Pickard draws more obliquely upon an earlier cello piece for what is the most animated of these works in its textural contrasts, while Ragnar Söderlind takes the Norwegian folksong Oh, the cooling wind as the basis for 15 variations whose cumulative impact feels a little diffused in context – for all that its emotional consistency is undeniable.

Among the arrangements, the late Jon Lord’s evocative sarabande for string quartet responds effortlessly to Paul Mann’s skilful adaptation. Framing the sequence overall, Söderlind makes of Brahms’s song a threnody of Grieg-like plaintiveness, whereas Colin Matthews draws out the assertive eloquence inherent in a madrigal by the still little-known Maddalena Casulana.

Does it all work?

Indeed, given that it would have been all too easy to assemble a programme unrelieved in its emotional range. Thanks to judicious sequencing of the pieces at hand, this disc amply fulfils its commemorative function while also making for an hour’s absorbing listen in its own right.

Is it recommended?

Absolutely, not least as the Debrecen-based Kodály Philharmonic Orchestra responds with commitment to Paul Mann’s direction. The sound endows the string textures with plenty of space and definition, while booklet annotations are as comprehensive as ever from Toccata.

Richard Whitehouse

Further instalments in this worthwhile project are much anticipated: in the meantime, read more about its continuation via the Toccata Classics website