The BIS odyssey of recording the orchestral works of Kalevi Aho,
one of the world’s leading composers continues. By my reckoning
this release is the twelfth in the BIS series and it features Aho’s
latest offering: his Fifteenth Symphony.
The history of classical music is littered with colourful stories
of disastrous premieres. In March 2011 I was in the Bridgewater Hall,
Manchester for the world premiere of this symphony. Performed by the
BBC Philharmonic under Juanjo Mena, any fears that the first performance
might join that list of luckless premieres proved unfounded and Aho
was called to the stage in response to the enthusiastic audience response.
A joint commission with the BBC Philharmonic and the Lahti Symphony
Orchestra the Fifteenth Symphony is a substantial work lasting
just over half an hour. Aho has described the score as “the
apotheosis of the dance” in deference to the influence
of Beethoven's Seventh Symphony. He has given descriptive
titles to the symphony’s four movements: Nebbia (Mist/Haze);
Musica bizzarra (Bizarre music); Interludio
(Interlude) and Musica strana (Strange music).
This immediately approachable symphony holds the attention and contains
much impressive and fascinating writing. It’s predominantly
uplifting in character and just bubbles along with remarkable reserves
of energy. My enduring impression is of the highly rhythmic and colourfully
exhilarating writing. This is often imbued with an exotic Middle Eastern
character and punctuated with liberal use of percussion much of which
is for hand-drums. The start of Nebbia suggests a winter
scene of walking through fog at night, maybe, in a city in the early
hours. Although the fog begins to lift there remains an increasing
atmosphere of menace before the music decays away. There is an exotic
flavour to the Musica bizzarra with wide dynamics that swiftly
shift in mood. The writing is especially percussive complete with
prominent use of bongos, congas, darbuka and djembe. Evoking a chilly
winter picture the Interludio confers an uneasy calm interrupted
by brisk, fierce figures on the strings. Markedly percussive, Musica
strana (Strange music) inhabits a fascinating sound-world
once again with striking use of wide dynamics. Here Aho’s writing
establishes a raucous temperament that exudes vitality.
Composed in 2008, Minea was a commission by the Minnesota
Orchestra who premièred it the next year under Osmo Vänskä.
This virtuosic score lasting nineteen minutes was written with the
intention that each member of the orchestra has something significant
to play. Aho writes “formally, Minea is distantly reminiscent
of Indian rāgas” however other influences of Oriental music
are evident such as Arabian music. The composer seems intent on expanding
the traditional world of classical music with writing that clearly
focuses on unusual rhythms. Typical of Aho’s compositions is
the use of wide dynamics together with marked contrasts of orchestral
weight and character. This Impressive, compelling and accessible score
deserves to be widely known.
When composing his Concerto for Double Bass and Orchestra
in 2005 Aho stated that he was careful not to allow the orchestra
to drown out the sound of the solo instrument. He employs lighter
textures during the solo passages. To ensure familiarity with the
potential of the double bass Aho borrowed an instrument from Eero
Munter who commissioned the score. Munter gave the first performance
in 2005 at Lahti. Playing continuously the concerto is cast in five
movements, two of which are cadenzas. The dark-hued opening
Moderato, Passionato is inhabited by mysterious
scurrying figures. The “intensely songful ” description
given to the movement by Aho doesn’t really work for me. The
second movement Cadenza I has the double-bass played exclusively
with pizzicato - often of a feather-light quality. A real
highlight is movement three which is characterised by its Presto
outer sections energetically performed with the freshness of spring.
By contrast the Tranquillo section creates an atmosphere
of unerring calm. Altering from its conventional register the double-bass
is played with harmonics throughout. Also a cadenza for the
double bass movement four, entitled Misterioso, includes
two percussionists that really dominate the writing with their penetrating
sounds. It’s remarkable how Aho successfully creates an unearthly
atmosphere where time almost stands still. The Finale marked
Andante - Allegro ritmico contains music of an ominous, rather
threatening quality. Gradually increasing in weight, an impressive
climax ensues before gradually fading into the sound of the soloist
tapping and knocking the wood of the double-bass. Owing to the low,
dark sound characteristics of the double bass the instrument seldom
stands out like a solo instrument in a traditional concerto. It feels
more like part of the orchestra. I fear the solo double bass would
be almost inaudible in a concert hall. Nevertheless this is a most
impressive score and one that I will play again soon.
I have only praise for the Lahti Symphony Orchestra displaying an
unfailing instinct for Aho’s turbulent sound-world of absorbing
textures and enticing rhythms. Each conductor seems impeccably prepared
and maintains a firm grip, securing alert and involving performances.
Eero Munter playing a Guadagnini (Turin 1770) and clearly relishes
the artistic and technical demands asked of his instrument.
In the BIS booklet Aho has written the essay himself. He provides
a real insight into the three works. The disc reviewed is a Hybrid
SACD that I played on my standard player. The engineers have provided
excellent sound quality that is full and sharply focused. For anyone
wanting to hear the fascinating and accessible music of Kalevi Aho
for the first time this outstanding release would make an ideal embarkation
point.
Michael Cookson
Previous review: Dan
Morgan
