During our time away from the thrill of live performance, and us all having to get our fixes online, The London Symphony Orchestra are streaming some of their concerts on their YouTube channel. The latest of these was a concert given in 2017 at The Barbican Centre in London under the baton of Simon Rattle. Only two pieces were on the programme, burt they were both substantial and demanding orchestral works, and although from different eras (albeit the same century...just) and different countries, playing them back to back like this was very interesting as there were similarities, and one was able to see how the gradual progression of contemporary compositional styles and techniques has been taken from those who, in their day, were considered renegade themselves. Both pieces are harmonic and lyrical, and yet are both 'guilty' of non-conformism and boundary pushing Both are also happy to use fragments of existing folk melodies or styles, such as a marching band or a Laendler as with Mahler, or jazz and blues riffs with Turnage.
The concert started with Mark Anthony Turnage's "Remembering: In Memoriam Evan Scofield". In this recording the work was receiving its world premiere. Turnage was born in England in 1960, and was, between 2005 and 2010, Composer In Residence for The London Symphony Orchestra, and so has a long-standing relationship with both the orchestra and condutor Simon Rattle. The 30-minute piece is in 4 movements and is written, as the title states, in memorium to his friend and jazz guitarist Evan Scofield. Scored unusually, the work is without any violins, meaning that the other orchestral parts, especially the brass are highlighted more; and it also allows the violas and cellos to step up to the mark, as they are required to take on the roles traditionally associated with the violins. It also means that the overall texture and timbre of the ensemble is deeper. Add to this scoring a piano, a harp, a celesta and a selection of bells, then the texture alters once again, and does certainly have a most unique sound. Turnage's influences are many, but as in all of his works, there is no lack of his love of and deference to jazz music. The piece is dynamically interesting; short bursts of thematic ideas seesaw with constant mood and volume changes to create an overall edgy piece of music. The first movement is loud, brash, evocative, jazzy and jagged. The second movement is mournful, rueful, crying, wailing, pleading. The third moveemnt is a scherzo, a fanfare, a dance, a celebration of life; whilst the final movement is the acceptance of death. It is plaintive and peaceful.
The second piece in the concert was Gustav Mahler's Symphony no 6 in A minor. (1904). I have to admit here and now that his 6th is most definitely not my favourite of his symphonies, but it is one of the more accessible to a first time listener I think (as well as his 4th). Here Rattle shows just exactly why he is one of the world's leading current conductors, lifting the notes from the page and bringing them to startling life here. I don't think I have ever heard this piece played better. Every melody or fragment of melody is given consideration and the balance between sections is perfect, as well as keeping the music constantly flowing, even the more dramatic and morose parts. It's a very long symphony, averaging around 80 minutes playing time, and so both players and conductor need to keep the work fresh and alive throughout, and Rattle has truly impressed me here. The symphony is often given the moniker 'Tragische' (tragic), but here it was anything but; bright and ebullient when it should have been, full of the vigours and joys of life, with the Austrian countryside, people, daily life, and their music, being displayed in vivid colours throughout.
Reviewer - Chris Benchley
on - 17/5/20
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