City of Birmingham Symphony Orchestra / Mirga Gražinytė-Tyla
Symphony Hall, Birmingham
Thursday 30 January 2020
Chin SPIRA – Concerto for Orchestra (2019) [CBSO Centenary Commission: UK Premiere]
Beethoven Symphony no.2 in D major Op.36 (1802); Symphony no.4 in B flat major Op.60 (1806)
Taylor-West Turning Points (2019) [CBSO Centenary Commission: World Premiere]
Written by Richard Whitehouse
This evening’s concert from the City of Birmingham Symphony Orchestra laid an early marker for the 250th anniversary of Beethoven’s birth this December and, also, continued the notable series of commissions that themselves are centred around the orchestra’s centenary in September.
The new work was SPIRA – a Concerto for Orchestra by Seoul-born and Paris-based Unsuk Chin (above). Her more recent music may have tempered the incisive modernism of those works that established her reputation, though Chin has thus far avoided the race towards the mainstream evident in numerous of her contemporaries, and the present piece secured a engaging balance between the intricate complexity of its textures and an ingeniously defined formal trajectory such as ensured its long-term continuity was readily perceptible – even on an initial hearing.
Inspired by the mathematical theory of the ‘spiral curve’ or growth spiral’ with the potential for biological, indeed musical growth this entails, SPIRA emerges as a sequence of formally expanding and expressively intensifying curves which involve the various orchestral sections (individually and collectively) on the way to an apotheosis of visceral immediacy; the music then withdrawing into those ethereal realms whence it came. Mirga Gražinytė-Tyla directed an assured and engaging performance of this likely highlight among Centenary Commissions.
It certainly made a telling foil to the Beethoven which followed. With authentic trumpets and what sounded like leather-capped timpani sticks to the fore, the first movement of the Second Symphony was nothing if not dynamic, for all MG-T rather breezed through the quixotics of its imposing introduction then drove the ensuing Allegro such that string articulation faltered. Exciting if a shade glib, whereas the ingratiation of the Larghetto was ideally judged and the glancing humour of the Scherzo more appealing for not being rushed. Nor was there any lack of character in the finale, at its most perceptive during a trenchant development then a coda whose teasing hesitancy made its eventual arrival the more potent. Interesting, too, whether MG-T’s omitting of exposition repeats in the outer movements becomes an interpretive trait.
Likewise, those of the Fourth Symphony – the probing nature of whose introduction seemed rather matter of fact, though impetus during the main Allegro was rarely at the expense of its Haydnesque humour. Once again the Adagio proved most impressive in its sustained poise, the many dynamic nuances unobtrusively observed (not least towards its still-startling close), while the capricious interplay of the scherzo was nothing if not invigorating; a tailing-off of phrases going each time into the trio being an especial pleasure. Perhaps because lacking its exposition repeat, the closing movement emerged as a little short-winded, but MG-T had the measure of its capering humour – Beethoven playing fast and loose with the classical finale, on the way to a conclusion in which formal cohesion and expressive nonchalance are as one.
The concert ended with the first of 20 commissions by composers under 30 for the CBSO’s centenary. Turning Points found Liam Taylor-West (above) making resourceful use of sizable forces in music whose bracing if never brazen display ought to make for an effective curtain-raiser.
For more on Unsuk Chin you can visit her page on the Boosey & Hawkes website., while further information on the music of Liam Taylor-West can be found here Meanwhile Arcana’s Beethoven odyssey begins soon! Head here for more details.