Tuesday, November 26, 2013

Kaija Saariaho - Chamber Works for Strings, Vol. 1

Saariaho: Chamber Works for Strings, Vol. 1
META4
Ondine

Finnish composer Kaija Saariaho is a master of soundscapes. Her orchestral works weave tapestries of sound that are both earthy and other-wordly. And as this new collection shows, her nuanced approach to music is equally effective with the limited forces of chamber groups.

Although the string quartet META4 are the featured artists, they only perform together on one track -- Nymphéa. The rest of the selections are for a single string instrument with varying types of accompaniment: Tocar, and Calices for violin and piano; Vent nocturne for viola and electronics; Spins and Spells for cello solo, and Nocturne for violin solo.

Nymphéa is composed for string quartet plus electronics. And Saariaho applies said electronics with a very light touch. She uses them to enhance the sound of the acoustic instruments, almost like super-saturating the colors of a photograph. The electronics heighten the emotional intensity of the string quartet in this pensive work.

My personal favorite is Spins and Spells for solo cello. There's an off-kilter quality to the music that keeps it moving forward in fits and starts. The work feels perpetually off-balance and tumbling forward right up to the end.

If you're already a fan of Saariaho's music, this disc is a must. If not, this can provide a good and somewhat intimate introduction to this visionary composer's style.

Wednesday, November 20, 2013

The Strange Case of the Schubert Symphonies

If there's one thing most people know about Franz Schubert, it's that his most popular symphony is unfinished. If there's a second thing folks remember about Franz Schubert, it's that he only wrote nine symphonies. But if you look carefully at the list, you'll notice two oddities.

Symphony No. 1 in D major, D 82
Symphony No. 2 in B-flat major, D 125
Symphony No. 3 in D major, D 200
Symphony No. 4 in C minor, "Tragic" D 417
Symphony No. 5 in B-flat major, D 485
Symphony No. 6 in C major "Little C Major" D 589
Symphony No. 8 in B minor "Unfinished" D 759
Symphony No. 9 in C major "Great C Major" D 944

What's odd?
1) There's a symphony missing.
2) It's not the unfinished symphony.

Unfinished, but included
The official "Unfinished" symphony (No. 8) incompletion wasn't because of Schubert's death. He wrote the first and second movement in 1822 (six years before his death), and just never got around to writing the last two movements. (most symphonies from this era had four movements). The first two movements were of such quality, though, that they were performed and have become part of the standard repertoire.

Unfinished and missing
The missing symphony is No. 7 is even more of a fragment than the 8th. composed in 1821, this E major symphony exists in sketch form, with a melody line and bass and counterpoint underneath. Unlike the 8th, all four movements of the 7th were written, and the first part of the first movement is fully orchestrated (the next step in the composition process).

The other other unfinished symphony
And there's another symphony missing from the list. In the final weeks of his life, Schubert composed a 10th symphony in a piano reduction score. That is, the music is written to be played on the piano, with notes indicating instruments for later orchestration. Like the 7th, it appears to be complete in sketch form.

With a significant amount of these compositions complete, it isn't surprising that musicians have been tempted to fill in the blanks.

Symphony No. 7's three co-composers
Schubert's 7th symphony was first completed in 1881 by John Francis Barnett, an English composer and teacher. Famed conductor Felix Weingartner did his own version in 1934, and featured it in performance. The final version (to date) is by composer and scholar Brian Newbould, who extensively studied Schubert in order to make his completion as authentic as possible.

Symphony No. 10's two-and-a-half co-composers
The score for Symphony No. 10 was only identified as such in the 1970's, and Brian Newbould offered a scholarly completion of it. Conductor Pierre Bartholomeé revised Newbould's version with controversial results. And finally, composer Luciano Berio used the source material  as the basis for his work "Rendering."

Questions remain
So how many symphonies did Schubert really write? In terms of completed works, seven. In terms of what's commonly performed, eight. And in terms of what might have been, ten.

But are these completions valid? It's difficult to say Schubert may have revised the surviving material after working with it for a while. While we can say a combination of instruments for a certain passage is likely, based on Schubert's other works, it's possible he may have chosen differently.

Personally, I think the sketches are complete enough that most of the resulting music is Schubert's. And I'm glad for the opportunity to hear these works, even in an adulterated form. They deepen my understanding and appreciation of this short-lived musical genius.

Tuesday, November 19, 2013

Wendy Warner: Haydn & Myslivecek - An appealing program

Haydn; Myslivecek: Cello Concertos
Wendy Warner, cello
Camerata Chicago; Drostan Hall, conductor
Cedille

An appealing program played by a masterful virtuoso. That's my impression of this new release from Cedille. As with many recordings, this Chicago-based label uses local talent -- but what talent it is!

Drostan Hall and the Camerata Chicago perform with precision and sensitivity admirably suited to Haydn. And Wendy Warner, though from Chicago, is an internationally-recognized cellist who brings a fresh interpretation to some well-known works.

The two cello concertos of Franz Joseph Haydn have long been repertoire staples, and just about every major cellist has recorded them. Warner's performances are expressive without being overly dramatic. The clear, singing tone of her Guarneri cello is beautiful -- and beautifully recorded. And Warner's interpretation, accompanied by a small ensemble, makes these works sound warmly intimate.

Sandwiched between the Haydn concertos on the album is Josef Myslivecek's only concerto for cello. A contemporary of Haydn (and friend of Mozart), Myslivecek's wrote in a similar style that nicely complements the Haydn concerti. And the Myslivecek concerto does not suffer for the comparison. Myslivecek wrote in a leaner, more straight-forward manner, bringing the aesthetics of the classical style to the forefront of his music.