Knussen Chamber Orchestra / Ryan Wigglesworth (above)
Knussen …upon one note – Fantasia after Purcell (1995) (from 2:15 on the broadcast link below)
Birtwistle Fantasia upon all the notes (2011) (9:29)
Freya Waley-Cohen Naiad (2019, world premiere) (20:14)
Knussen Study for ‘Metamorphosis’ (1972, rev, 2018) (30:54)
Abrahamsen Herbstlied (1992, rev. 2009) (38:58)
Alastair Putt Halazuni (2012) (47:36)
Knussen Songs without Voices (1991-2) (tbc)
Cadogan Hall, Monday 9 September 2019
Reviewed by Ben Hogwood
You can listen to this Prom on BBC Sounds here
The BBC Proms’ 800-year odyssey of music over eight weeks at the Cadogan Hall reached the present day in the company of the UK’s newest orchestra.
The Knussen Chamber Orchestra took its bow at the Aldeburgh Festival this year. Created specifically in memory and celebration of Oliver Knussen (above), it is an ensemble for commission and festival appearances, unrestricted in the repertoire it will perform – in that way very much reflecting the approach of its dedicatee. Comprising orchestral principals and budding young talent, it also reflects Knussen’s ability to communicate with musicians regardless of their standing.
Knussen is still greatly missed, a towering figure in British music in the latter part of the 20th century and the 21st until now. Tales have emerged not just of his mentoring of young composers and influence on the established writers, but of a sparkling personality and wit, a dinner companion par excellence. As a conductor he made several richly inventive programmes for the Proms with the BBC Symphony Orchestra and the Birmingham Contemporary Music Ensemble, and as a composer his small but perfectly formed catalogue is required listening for any budding contemporary composer of today. Like the composers he adored, particularly Stravinsky and Webern, his is a musical language that speaks directly through an economy of means.
That much was immediately evident in the three and a half minutes of …upon one note – Fantasia after Purcell, which used the colours of clarinet, violin, cello and piano to lasting effect. Knussen moved the omnipresent middle ‘C’ – the ‘one note’ – around the parts effortlessly, enjoying the harmonic diversions possible around it and alternating solemnity with mischief. The piece proved both a homage to Purcell and a brief spark of invention, and was ideally weighted by the soloists.
Birtwistle’s Fantasia upon all the notes has potential for mischief in its title but is in effect a typically serious piece. Written for an ensemble of seven players this was led with authority by harpist Céline Saout, who effectively drove the piece through its initial jagged outlines. The colours available to Birtwistle were exploited through music of stern countenance, its few tender asides to be cherished as the exception rather than the rule. Only at the end, with little points of pitch from solo instruments, did the mood lighten.
In a charming conversation with BBC Radio 3 host Petroc Trelawny, Freya Waley-Cohen revealed Knussen’s qualities as a tutor and a ‘wonderful person’. Naiad (20:14 on the broadcast) was a fitting tribute, fulfilling Cohen’s description of reflections from the scales of fish and dew on a spider’s web with music that cast a rarefied light, such as the sun does this time of year. The attractive melodic cells rippled with a slight chill, piercing moments of clarity from the woodwind contrasted by fuzzier asides from the strings. Although Cohen’s description of a slow piece and a fast piece rubbing up together was more difficult to follow, that did not mar in the slightest an enjoyable and meaningful piece, whose last few bars had a lilting four-note melody that hung on the air, leaving an enchanted atmosphere in its wake.
Bassoonist Jonathan Davies then stepped forward for Knussen’s highly virtuosic Study for Metamorphosis (30:54), based on Kafka. There were some extraordinary sounds here, the composer exploiting the cartoon-like persona the bassoon can elicit but also reminding us of the instrument’s versatility, its ability to paint pictures both happy and sad. Davies was superb and clearly enjoyed the experience.
Hans Abrahamsen’s Herbstlied followed (from 38:58), an extended arrangement and combination of a Danish song and two J.S. Bach subjects from The Art of Fugue. This instrumental version was unexpectedly moving, its picture painting of leaves ‘falling as from far…’ most apt for the time of year and given a vivid account by the five players. The cor anglais of Tom Blomfield added a unique sourness to the tone, and the downward motion of the melodies indicated sorrow, but there was still a sweeter melancholy here that stayed with the listener long afterwards.
We moved into Alastair Putt’s wind quintet Halazuni (47:36) without a break. This was a less affecting piece, more calculated in its depiction of a spiral (its title is the Persian word for spiral) The colours of the instruments – flute, oboe, clarinet, horn and bassoon – were frequently attractive, and while the music did on occasion feel predetermined, there was a clear end goal.
The best was saved until last in the form of Knussen’s Songs Without Voices (not yet linked to the broadcast on BBC Sounds). A group of four pieces for an ensemble of eight players, the Songs use vivid colour combinations which bring the composer’s imagery to life. The melodies, though short, are incredibly meaningful.
The first three Songs are wordless settings of texts by Walt Whitman, starting with Winter’s Foil, which was alive with bird calls and blustery winds. As elsewhere Wigglesworth secured playing of great poise and personality, led with characteristic authority by violinist Clio Gould. Prairie Sunset showed off the colours of the ensemble both separately and in combination, before the delicate outlines of First Dandelion were revealed. ‘simple and fresh and fair’.
Finally we heard Elegiac Arabesques, Knussen’s tribute to Polish-English composer Andrezj Panufnik. This wove an incredibly poignant thread, suitable in its own way as a memorial to the composer-conductor commemorated with such grace and feeling here.
The music in this concert can be heard on Spotify below:
A playlist featuring works both composed and conducted by Oliver Knussen can be heard below. It includes …upon one note from this concert, though not the Songs Without Voices – which are in fact available on the Erato label: