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

Listen here on Spotify:

BBC Proms 2016 – BBC Symphony Orchestra / Sakari Oramo: Beethoven’s Fifth, Dutilleux & HK Gruber

gruber-busking

Soloists Håkan Hardenberger (trumpet), Claudia Buder (accordion) and Mats Bergström (banjo) pictured during the performance of HK Gruber‘s Busking, with the BBC Symphony Orchestra conducted by Sakari Oramo (c) Chris Christodoulou

Prom 34; Royal Albert Hall, 10 August 2016

You can listen to the Prom on the BBC iPlayer

Sakari Oramo continues to inspire. His tenure with the BBC Symphony Orchestra to date has been characterised by imaginative programming and excellent performances, and putting an obvious spring in the orchestra’s musical steps.

Last year they delivered a Prom capped by Beethoven’s Seventh Symphony, an account that fizzed with enthusiasm and vigour, and these same qualities were on show for the Fifth Symphony here. Oramo’s speeds were on the aggressive side, the slow movement arguably losing a bit of expressive heart because of it, but the faster movements unquestionably thrilling in their verve and forward drive.

Because of this approach, music that could have been over familiar received a new, sparkling coat of paint, and excellent woodwind contributions, particularly from new oboist Henry Clay, elevated the standard of playing. Guest leader Malin Broman set the tone with great vigour.

The first half gave us two contemporary pieces of very different impact. Timbres, espaces, movement became a three-movement orchestral piece when Henri Dutilleux revised it in 1990, and in this performance we could revel in its beautifully shaded colours, its sudden, strident unisons, and its captivating rhythms – all reflecting the painting on which it is based, Van Gogh’s Starry Night.

1280px-Van_Gogh_-_Starry_Night_-_Google_Art_Project

These were expertly delivered by the BBC Symphony percussion, while in the second movement the glorious spectacle of twelve cellos highlighted the genius in the composer’s part writing as well as the deep lyricism of his melodies. This was the third Dutilleux performance of the week, capping a very strong trio begun with The Shadows of Time and the Cello Concerto Tout un monde lointain…

Less obviously successful was the substantial piece by HK Gruber, Busking – a work from 2007 receiving its UK premiere. Again the composer’s inspiration was a painting, in this case Picasso’s Three Musicians:

Picasso_three_musicians_moma_2006

Despite an excellent performance, in which trumpeter Håkan Hardenberger turned various shades of red and purple, all the while staying fully in command of his instruments, this was a piece that unfortunately ran out of steam quite early on.

A very promising beginning, with swaying syncopation brought on by the trumpeter with just his mouthpiece, ultimately lost its rhythmic impetus. Unfortunately the balance between the three soloists also became skewed heavily in favour of the trumpet, at the expense of brilliantly played detail from accordion (Claudia Buder) and banjo (Mats Bergström).

A doleful slow movement briefly evoked a melancholy cabaret, and did so very effectively, but here again the tones of the trumpet dominated, despite Hardenberger’s use of the mellow flugelhorn. This was not the fault of the players – and could also reflect Arcana’s position in the arena – but it was a shame to miss out on the touches of humour elsewhere. By the third movement, where some energy returned, the piece had by that time run out of substance.

That should not count against the overall success of this Prom, however, as the excellent performances of the BBC Symphony Orchestra reaped their just rewards.

Ben Hogwood

You can hear other Dutilleux performances at the BBC Proms by following the links below:

The Shadows of Time with the Philharmonia Orchestra conducted by Esa-Pekka Salonen

Tout un monde lointain… with Johannes Moser (cello) and the BBC Philharmonic Orchestra conducted by Juanjo Mena

BBC Proms 2016 – Håkan Hardenberger and HK Gruber perform Kurt Weill & Kurt Schwertsik at Cadogan Hall

Håkan Hardenberger (trumpet), HK Gruber (chansonnier, above), Helen Crayford (piano), Mats Bergström (banjo & guitar), Claudia Buder (accordion), Academy of St Martin in the Fields

Broström Sputnik (2015)

Lundgren arr. Pöntinen The Seagull (2007)

Weill Speak Low (arr. Pöntinen) (1943); Songs from The Threepenny Opera (1928); Der Song von Mandelay (1929); Song of the Rhineland (1944)

Schwertsik Adieu Satie – Gymopédie; Clownerie acrobatique (2002, arr. 2010)

HK Gruber 3 MOB Pieces (1968, rev.1977)

Brahms arr. Broström Hungarian Dance no.6 (1869 / 2016)

Cadogan Hall, Monday 8 August 2016

Listen to this concert on the BBC iPlayer

After A Satie Cabaret the BBC Proms chamber music series at Cadogan Hall continued in mischievous mood, this time bringing Kurt Weill and his associates centre stage. In doing so they managed to include another tribute to Satie, courtesy of Kurt Schwertsik, a member of the unofficial Third Viennese School with composers Friedrich Cerha and HK Gruber.

The three were responsible for the creation of MOB-art, in Gruber’s words ‘a celebration of enjoyment and invention’. The approach, enjoying tonal music but pushing boundaries and frequently encroaching on jazz and musical genres, was explored here by Gruber with good friends and long-time musical collaborators, trumpeter Håkan Hardenberger and Swedish composer Tobias Bröstrom.

As well as being a composer of some repute Gruber is an excellent conductor and vocalist into the bargain, and with Hardenberger he brought Weill’s music fair off the page, not to mention the words of his collaborators, Brecht and Ira Gershwin.

The concert began with Broström and a celebration of space travel, Sputnik. This completed one bumpy orbit of the Cadogan Hall, a lively and enjoyably syncopated curtain raiser. After this Jan Lundgren’s The Seagull was a mournful companion, beautifully observed by the muted trumpet.

hardenberger

Håkan Hardenberger (trumpet)

Neither principal performer could stay quiet for long however, and we swiftly moved to the music of Weill. This was in the form of an attractive selection that showed not just the importance of the trumpet in the composer’s work, but also his chemistry with the acerbic wit and poignant observations in the text of Bertolt Brecht. These were given out by Hardenberger himself, revealing unexpected gifts for vocalising in Song of the Insufficiency of Human Behaviour, but also HK Gruber, surely without parallel in this music. There was a glint in his eye as he characterised the selections from The Threepenny Opera, One Touch of Venus, Happy End and Where Do We Go From Here?

They were superbly accompanied by accordionist Claudia Buder and Mats Bergström on guitar and banjo, both stylish players, while pianist Helen Crayford enjoyed the colourful harmonies and spiky rhythms. The string players of the Academy of St Martin in the Fields supplied extra body and impetus, clearly enjoying themselves.

After the Weill came two movements from Schwertsik’s suite Adieu Satie. The first of these was a lovely piece of expanded pastiche in the form of a Gymnopédie, led by Buder and supplemented by the strings, before the irreverent Clownerie acrobatique took enjoyable liberties with syncopations and melodic figures.

This led us to Gruber’s flagship work, the 3 MOB Pieces, where chamber ensemble and drum kit team up neatly with humour and touching asides. Composer Broström was now required to play drums, and did so with aplomb.

Finally all the performers were united for Broström’s mischievous but rather brilliant arrangement of Brahms’s Hungarian Dance no.6, which called on Hardenberger to play at dizzying speed – and found him unexpectedly overshooting his final note. If anything this added to the enjoyment, for it was an occasion where spirit and humour were to the fore, with the distinctive colours of accordion, banjo and piano adding to the already ebullient strings.

The BBC Proms have delivered several imaginative chamber concerts this year, and this one was an excellent introduction to the music and world of HK Gruber ahead of a performance of Busking in Prom 34, where Buder, Bergström, Hardenberger and Gruber will once again join forces.

Ben Hogwood