Antes' distribution beyond Germany has been patchy
... and that is me being flattering. You are unlikely to
see this disc in your local HMV, Tower or Borders. I’ll be pleased
to be proved wrong. The comparative inaccessibility of these discs
is a pity because alongside Rääts' most recent symphony
the Magdeburg orchestra confer on us a vividly characterised and
thoughtful Concerto for Orchestra. Listen for example to
the eerie chamber-style streams of the Bartók at the start
of the Elegia (tr. 3). In the Introduzione Ehwald
demonstrates taut control and creates a palpable sense of inimical
fate. The brass faultlessly colour the great address to the populace
at the start of the Finale and the Presto rushes like a scalded
cat ... as the saying goes; quite breathtaking. This is a good
performance with estimable results. It tells us encouraging things
about German provincial orchestras.
Rääts, one of Estonia's leading
composers, has already had several Antes discs dedicated
to his music. This one continues the thread. His Eighth, in addition
to the standard orchestral specification, uses plenty of ‘ironmongery’:
marimba and xylophone included. Holger Schmitt-Hallenberg points
out that Rääts leans towards minimalism (closer to Philip
Glass than Steve Reich). The composer leavens the mix with quick
development and imaginative orchestration. The first movement
of three is thunderously hammered and bass-predominant. The short
middle movement has sharply rhythmic repetitive activity but there
is some liquidly smiling woodwind and marimba work to brighten
the landscape. Some of this nods towards Shostakovich. The finale
synthesises the character of the other two movements with pounding
energy meeting yielding melodies of memorable substance. Rääts
here is as provocative as ever but in the warp and weft of his
writing never loses contact with the wider audience.
Rob Barnett
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Magdeburgisches Philharmonie/Christian
Ehwald