(Click here to go directly to the Festival web-site)
22 November
This is a review of an evening at Saffron Hall (Saffron Walden, Essex) with Britten Sinfonia, Eddie Gomez, Sebastiaan de Krom, and conductor Kristjan Järvi, on Saturday 21 November 2015 at 7.30 p.m.
Part I :
1. Igor Stravinsky ~ Tango
2. Improvisation by Steven Osborne (on material from Keith Jarrett)
3. Frank Zappa ~ Igor’s Boogie
4. Stravinsky ~ Ragtime for 11 instruments
5. Zappa ~ The Perfect Stranger
Before playing (1) Tango, and then an improvisation, pianist Steven Osborne told us that the latter was not going to be a reflection on the Stravinsky (as the programme said), but a reaction to having heard Keith Jarrett in a solo concert the night before, at the EFG London Jazz Festival (@LondonJazzFest) at The Royal Festival Hall (@southbankcentre) – something so beautiful from Jarrett that it had been with him ever since, and which he wished to share with us.
To Stravinsky’s Tango (1940), in its original form for solo piano, Osborne brought a slight holding-back on the off-beat in the second, companion bar of those with which it opens. Initially, he was quite measured, and, when it came the first time, let the chromatic writing speak for itself. However, this was as preparation for it to repeat, where he now let rip for a few bars, and then brought a charmingly smiling humour to the succeeding passages, of greater restraint : on its third appearance, even a feel of the strident, and then just enjoying the riffy rumble in the bass. The work does not end with bravado, and Osborne brought it to us unforced and placid.
Whether or not the first section of his (2) improvisation also derived from Jarrett (to begin with, one was a little reminded of Staircase, with its bassy, deliberative ascents), Osborne brought in elements of contrary motion. As, with time, he rose up the keyboard, his playing increased in note-richness, and spikiness of attack, to very high and piercing notes, which then unleashed a wild torrent of discords : with movement up and down the keys, they subsided.
A sustained note linked to what clearly possessed the serenity and beauty of Jarrett’s recent solo recordings, and with his simplicity and understatement : the theme rippled for a while, before a moto perpetuo developed under notes of longer value, and there was a very strong feeling that there was something quite incredible about how vibrant the chordal progressions were. With a subtle diminuendo, the piece died away, to end very quietly.
The (3) first Zappa piece was very short, foregrounded woodwind, brass and marimba, and, after coming to resemble a march, had a fanfare-like close. (Starting at this point, Kristjan Järvi was conducting Britten Sinfonia (@BrittenSinfonia) (and those who joined in with it later).)
Stravinsky’s (4) Ragtime (1918) has none of the concision or – for want of a better word – ‘moderation’ of his Tango, more than two decades later. Right at the start, beats on the bass-drum are part of the fabric, although they are used, as off-beats and in combination with harmonies that sound off (almost in a ‘sick’ sort of way), to create an unsettling effect. Alongside all of which, we soon hear the crazily energetic sound of the cimbalom, which creates a sort of unease (if not disquiet) of its own, as does the later use of the snare-drum.
The connotations of the title ‘Ragtime’ may have led us to expect something of a more easy-going nature, but the piece itself, in its origins in the ambiguous world of The Soldier’s Tale (1917), is loaded with questions, epitomized by the use of trombone, which, played with a mute, sounded sneering and sour, or by the ironic sound of the cymbals, or even a prominent slide-effect by Jacqueline Shave (on violin). The mood appears to require the instrumentalists to play a little sharp, but, in structural terms, the work is relatively straightforward to follow (unlike much of what followed¹), and so we hear a phrase passed from Joy Farrall (clarinet) to Jacqueline Shave, sounding as an echo. In this first longer piece, one could appreciate the precision of the ensemble, but also the way in which the named individuals, amongst others, were bringing a swing and a sway to their part.
Frank Zappa’s (5) The Perfect Stranger (1984) is written for a great diversity of forces, including two grand pianos (the pianists double on celestes), and three percussionists on either side of the stage and at the rear, each with an array that incorporates snare-drums, marimbas, and tubular-bells. String-players were ranged across the front (with principal cellist Caroline Dearnley on one end, stage left (and next to Clare Finnimore, principal violist), and her fellow cellist on the other, with Shave (as leader) in the middle (flanked by two other violinists). Behind them, and centrally in the ensemble, a harp.
A motif on tubular-bells opened the work (and later we could keep seeing the two or three percussionists, primed by their sets² to give us a chord or a pair of chords). When we heard twin marimbas with what sounded like a xylophone, the effect was, for a moment, almost Boulezian³, but his is not the sound-world that Zappa inhabits, because (early on) he had Shave playing Zigeuner style, and had written passages with an extreme, highly slurred form of legato, as well as a jerky type of staccato.
Some moments in the work jumped out, such as a lovely short passage for Sarah Burnett on bassoon, and when the harp (Sally Pryce) came in and out of prominence. Likewise, we suddenly heard from the three blocks of percussion on snare-drum, or doubled marimbas with tubular-bells. All in all, though, the work had a quirky moodiness of its own, revolving its material ruminatively, but with occasional bright – and seemingly uncynical – overlays of brass (or of overshadowing with it), and we seemed a long way from where the evening had begun.
* * * * *
Part II :
6. Claus Ogerman ~ Excerpts from the Second Movement of Symbiosis (1974)
7. Darius Milhaud ~ La création du monde
8. Simon Bainbridge ~ Counterpoints
At this point in the evening, Eddie Gomez first came on stage, looking assured and relaxed along with Sebastiaan de Krom : with Steven Osborne, they were to form a neat trio, stage right, on piano, bass, and Pearl drum-kit, respectively. (Gomez’ bass had a pick-up so that he could monitor himself.)
The piece by (6) Ogerman began with a piano statement, passed to the woodwind and strings, and which, as it continued to be played, started to sound to have oriental overtones. Eddie Gomez waited, holding his bass, and with one leg casually resting on the calf of the other at one point. Steven Osborne then made a shorter utterance, with which the Britten Sinfonia players joined in, and which reminded of Aaron Copland. On Osborne’s third utterance, Sebastiaan de Krom joined in, using brushes, and Gomez started quietly strumming, although, since this was a work that might have had an improvised element, he seemed to be closely reading his score.
As the movement proceeded, Gomez was playing very far down the finger-board, in a way that sounded somewhat agitated at times, and plucking very close to the bridge. After a repeated note, with quiet strings, the sound of Gomez on bass became more agitated, but with piano-textures underneath it. Towards the end, he employed a lot of tremolo, and the impression made by the Sinfonia strings was quite luscious : it concluded with piano, bass, and strings.
Having first looked at the evening’s programme, and somehow confused reading the title of Milhaud’s La création du monde (his Opus 81a) with expecting to hear his Le bœuf sur le toit, Op. 58, one was more than prepared, in one’s head, for the insistence of its rondo-like form (from more than three years earlier****, and before he had heard jazz for himself in the States).
In the introduction of (7) La création du monde, he uses saxophone, and a Spanish style to his trumpets, to create a stately air, but it was not to be long before a jazzy bass, snare-drum and trombone launched first Paul Archibald (trumpet), and then Joy Farrall, with a ‘kick’ and a swing on clarinet. All of which, with Milhaud, very soon gets out of hand, with a riot of woodwind and brass – or seems to, because he suddenly drops down, eventually to the more subtle forces of string-quartet and flute. At this point, Bradley Grant gave thoughtful emphasis to some idiomatic writing for alto-sax, with some smooth slides and sinuous passages, before horn and other instruments joined in, and became more prominent.
There is gusto in the quartet of string-players, to whom Milhaud resorts again (and it seems that he heard performances in New York City where a string-quartet adopted such a percussive role), adding in timpani, and building up to a swirling, Gershwinesque tutti. Again, he brings us down from there, to oboe (Emma Feilding), before developing into further lively writing for Farrall, and a pulsing sort of shuffle.
However, these are passages into which he has built what might be punctuations, but which sometimes feel like interruptions : with a tin-pan-alley section, what begin as clearly signalled developments grow into a sort of primaeval, if short-lived, cacophony, in which alto-sax (Bradley Grant) and bassoon (Sarah Burnett) have key roles. They continue to do so, as, initially with a slow rallentando, Milhaud closes the work : he evokes material from the beginning, but patterns it differently, for a brief last riff, before a quiet close.
For reasons that were not entirely clear, unless indicating that he had very much enjoyed conducting Britten Sinfonia (@BrittenSinfonia), Järvi half-turned to the audience with a cheeky grin at the end of the Milhaud (which was not to be the last that we saw of such playful expressions).
At times, Simon Bainbridge’s (8) Counterpoints (2015) was musically quite bewildering, but it often came to resemble a one-movement Chamber Symphony (or Kammerkonzert). As has already been remarked**, in commenting on Zappa’s The Perfect Stranger, there was much going on to see happening, or about to happen, but here it would probably have been better heard, and not watched – as, for example, when a small gong was raised out of and lowered back into water ? One wanted to be able to be aware of such sounds in the whole (and maybe then peep out, to see what they were), not have one’s attention drawn visually to the mechanics of the sound-production : sometimes, less is more, because one may see eight double-basses on stage, but not hear the sound of eight instruments.
The work had a very quiet start, with strings and a ‘squeaky’ bass-effect from Gomez. More so than before in the concert, Kristjan Järvi was bringing piano or cymbals, say, in and out with very definite cues or strokes. As well as familiar pairings, such as of marimba and vibraphone, composer Simon Bainbridge used a variety of instruments, and so we had Gomez with the rarely heard bass-flute (Sarah O'Flynn), and we could sense, at times, that there was an underpinning beat to the whole concerto.
In one moment with Järvi, there was a strange face-off with Gomez as to whether he would play when directed. Then, as there were further games, and an encouraging gesture and grin from Järvi, it all seemed to have been in good spirits. A special feature of this part of the work was an extended section for oboe and soft bass. The concerto ended with downwards cascades of notes, finishing with Gomez.
End-notes
¹ Where one feels forced to give more of ‘an impression’, in more general terms, rather than describe the work and how it unfolded : completely unlike a fractal, where any part might give one the whole.
² It became especially true of the second half of the concert that being able to see so clearly what was happening was a distraction from listening (and so the opposite effect from hearing Colin Currie and The Colin Currie Group at this venue in an all-Reich concert)). The composition by Simon Bainbridge, which closed the evening, would actually have benefited from having closed eyes, had it not been realized too late.
³ This observation seems less unlikely, given that Jo Kirkbride’s programme-notes informed us that Pierre Boulez had commissioned the work, as one of three by Zappa that he recorded with The Ensemble Intercontemporain.
⁴ Apparently, according to Wikipedia® (@Wikipedia), Le bœuf sur le toit was originally to have been the score of one of Charlie Chaplin’s silent films (Cinéma-fantaisie for violin and piano).
If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
