Maurice OHANA
Livre des prodiges; Anneau de Tamarit; Synaxis
Orchestre Philharmonique du
Luxembourg/ArturoTamayo with Anssi Kartunen (cello) & other soloists
timpani 1C1056 [66.10]
Amazon
USA
This is the latest in timpani's Ohana series to which we should
be indebted. Maurice Ohana (1914-1992) was under-rated in his lifetime
and amends are now under way. This is as good as any with which to start,
a grouping together of Two rituals and a song of the soul, as the
Ohana authority, Harry Halbreich, heads his essay. Halbreich considers The
Book of Prodigies (1979) for a huge orchestra, winds predominating as
is common for this composer, to be Ohana's orchestral high-point. It takes
its cue from classical mythology, with Winged Bulls, the Hydra and Alecto
(a Fury who guards the gates of Hell). There is an obvious indebtedness to
the Stravinsky of both the Rite of Spring and the Symphonies of Wind Instruments,
and references to Afro-Cuban music - a heady mixture.
Ohana's Synaxis (1966) for large orchestra, dedicated to the Percussions
de Strasbourg, features two pianos and four percussionists a zither tuned
in thirds of a tone and flutes and brass played likewise. A bold, harsh work
with dissonant harmony and the friction of seconds heightened by the microtones,
and explosions of energy. The Ring of Tamarit (1976/77) is Ohana's
second cello concerto, his preferred string instrument. A one-movement, intimate
concertante work for a normal orchestra of about 50, more lyrical than the
others here.
The performances are authoritative and the recording vivid, with the leading
contemporary-music cellist Anssi Kartunen
[photo] well forward,
but not at the expense of orchestral detail. Fully documented - Halbreich's
essays for this series must be collected as a book in due course - and fully
illustrated with session photos. Recommended
unreservedly.
Reviewer
Peter Grahame Woolf
