Jurowski proves Honegger more than a one-hit wonder

Honegger: Symphony No. 4, Pastorale d’Ete, Une Cantate de Noel 
London Philharmonic Orchestra and Choir 
New London Children’s Choir 
Vladimir Jurowski, conductor 
Christopher Maltman, baritone 

Swiss composer Arthur Honegger is basically known for two things: being a member of “Les Six,” and writing Pacific 2-3-1. This release goes a long way towards changing that shallow impression for the better. Arthur Honegger was a consummate craftsman, writing music that was impressionistic, lyrical, full of rich harmonies, and sounded like no one else.

The album opens with Honegger’s tone poem Pastorale d’ete. Composed on holiday in the Swiss alps, this short work is a wonderful sonic postcard from and makes a great opener for the program.

Symphony No. 4, written just after the end of the Second World War, is an exuberant work. Honegger incorporates two Swiss folk songs into the composition, which provide some of the thematic material Honegger rigorously develops. Although this is a light-hearted work, it’s by no means a light one. While pleasant-sounding on the surface, the structure and depth of the composition reward careful and repeated listening.

Une Cantate de Noel was Honegger’s final completed composition, written while he was terminally ill. Although it features several familiar Christmas carols artfully woven together, this is no treacly songs-of-the-season medley. The opening is somber and restless, reflecting Honegger’s emotional state. As the music progresses, that mood changes, as if the composer is turning from the woes of this world, to the serenity of the next. Une Cantate is a transformative work, moving from darkness to light, returning spiritual depth to well-known (if not shop-warm) carols.

The London Philharmonic Orchestra and Choir do an excellent job, turning in remarkably clean and tight live performances. Conductor Vladimir Jurowski exhibits sure command of this material, and clearly has a deep affinity for Honegger’s music.

If you’re not familiar with Honegger, or – worse yet – only know his one hit, this disc can be a revelation.

Review: Cello concertos that show what might have been

Martinu, Hindemith, Honegger
Cello Concertos
Johannes Moser, cello
Deutsche Radio Philharmonie
Christoph Poppen, conductor
Hanssler Classic, 93.276

What if classical music had taken a different turn in the mid-Twentieth century. Cellist Johannes Moser gives us a hint with his latest release of concertos. He presents three works by composers who all wrote in a somewhat tonal style.

Paul Hindemith wrote music that he believed to be the logical extension of the works of the great masters. His 1940 cello concerto is a brawny, intense work, meticulously constructed to work out its musical arguments. And yet there's nothing stiff or academic about the piece. The concerto present its musical arguments in a forthright and natural manner.

Swiss composer Arthur Honegger was more concerned about melody. From the sweeping lyricism of the opening movements to the crashing chords of the finale, the cello sings its song accompanied by the orchestra. This 1930 work occasionally betrays a hint of jazz, but it never degenerates to cliche.

Boheslav Martinu's music sounds like no one else's. His chords shimmer, his harmonies slide about, always consonant, yet never quite settling on a particular key. The music is often propelled forward with engaging folk-based rhythms that help keep things slightly off-balance. Martinu's first cello concerto, finished in 1930 isn't a landmark composition, but it provides a solid introduction to the composer's style. 

Johannes Moser moves effortlessly through all three works, adapting his playing to the composer's styles. Regardless of the technical challenges, his playing never sounds forced, and at times his cello seems to positively sing. The Deutsche Radio Philharmonie led by Christoph Poppen gives these works a spirited reading, nicely complementing Moser's playing.

This is a new addition to the WTJU library, so listen for it on air.

Recommended to anyone interested in unusual repertoire. And if you *hate* 20th Century music, you really should get a copy of this disc!