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Tudor 1660 SACD
Symphony 3 etc.
Lyrita New Recording
Sarah Beth Briggs
HK GRUBER (b.
Zeitstimmung (1996) [38:35]
Rough Music (1983) [26:06]
Perpetuum Mobile/Charivari (1981 rev. 1984/1999)
Martin Grubinger (percussion)
Tonkünstler Orchestra/Kristian Järvi
rec. Vienna, February 2005, October 2004.
BIS SACD1681 [78:06]
couldn’t invent someone like HK Gruber. Nothing, I suspect,
pleases him more than discomforting the pretentious. He shakes
up complacency. I love the motto “Life is too important to
be taken seriously”. It could certainly be Gruber’s, too,
because under the mayhem, there’s purpose. He revives a Viennese
and German tradition that used anarchic satire to make serious
comments on society. Needless to say, the Nazis clamped down
on such subversion! His work also harks back to the radical
cabaret world that Erik Satie loved so well.
true Gruber tradition, I start at the end. Perpetuum Mobile/Charivari began
as music for a film about Austrian history. Naturally, the
music was built around Johann Strauss II’s Perpetuum Mobile,
the epitome of Viennese frou frou insouciance. The
film dealt with the Austrian inability to face its recent
history, so this choice of theme was more appropriate than
ever. It’s music that runs seamlessly without beginning or
end, and especially without stopping to consider anything
else that might not fit. It’s the sort of tune that invades
your mind so you can’t get it out of your head however hard
you try. Gruber takes Strauss’s ostinato and develops it
with trombone, crashing cymbals, edgy trumpets and huge bass
drums. The waltz continues, but takes on a sinister tone,
being played alongside a military march, both slightly akilter.
It’s wonderful heady music that doesn’t just refer to Austria,
but updates the original in the light of modern music. Strauss
thought his original was a musical joke: Gruber mischievously
plays along too, but with a wry irony.
chose the title Charivari for his update. Charivari was
a satirical magazine in Second Republic France. It also refers
to a village custom whereby people drive misfits out of their
village: the unthinking mass versus the individual. It doesn’t
matter who’s “right” or wrong, it’s plain, mindless bullying.
It’s relevant to those who stood up against the Nazis in
Austria and were driven out for their sins. But, as Gruber
notes, such things happen in all communities. While he was
writing Charivari, then, Gruber further developed
the ideas into his percussion concerto, Rough Music This
grows directly out of the ritual of the Charivari, where
domestic objects such as pans and trays were banged in a
strident percussion offensive outside the homes of those
whom the villagers wanted to drive out. The cruelty was further
enhanced by putting the village cats in small cages, so they’d
wail in terror, as they didn’t know what the mass hysteria
two of the three movements in the piece are given titles,
of regional variants of the custom, Toberac in the
Basque country, Shivaree in the US deep South. Although
they have titles, they are variants of the whole, just as
the parts of a symphony might be given descriptives like “andante”.
As Gruber dryly notes “ the twentieth century has discovered
more effective – and more barbaric – forms of achieving a
comparable objective”. In these first two movements the soloist
doesn’t appear as the lone hero, as in so many other concertos.
On the contrary, he is the means by which the various percussion
parts exist, even if they are working against each other.
In contrast, the orchestra’s lyricism represents another
world beyond the cacophony, the vibraphone providing a contrast
to the percussion. The final part, also called Charivari,
is, however, quite different. Gone is the manic chromaticism
and violence. Instead, Gruber’s written a lyrical, soothing
but still lively piece in which what’s left of the percussion
plays a bell-like melody. The section is recognisably based
on a waltz, but a waltz by Erik Satie, “Monsieur le Pauvre”,
the ultimate outsider.
appreciate Zeitstimmung on this recording, it helps
to know Frankenstein!!, one of Gruber’s seminal works,
or at least understand its importance in Gruber’s world of
imagination. Texts in both works are by H.C. Artmann. Artmann’s
poetry inhabits a vivid complex world of characters and events,
constantly evolving as if they had lives of their own. Here
we have Kaspar the sinister weirdo, back up to his tricks.
Once you become familiar with them, names and scenes take
on extra colouring beyond the particular work being performed.
It’s an intricate but endlessly rewarding imaginative world – alas,
now silenced by Artmann’s death. Gruber performed Frankenstein!! at
the 2006 Proms, and a recording has just been released, which
will be reviewed in due course.
world, though, is meant to be unsettling, not predictable.
He piles up words and images to create deliberately equivocal
effects. For example, “a piano playing moor from a courtyard
of the casbah of Moscow”. Then there are textual repeats,
like leitmotivs in Wagner, repeating and varying: “as he
open’d the latch of the ark”….and several songs later, “he
undid the door latch and enter’d the room of his life” (it’s
much better and more striking in German). That’s why Gruber
calls himself a chansonnier not a “singer”. The sound and
shape of the words is music in itself: his job is to tell
the story as atmosphere. So he exaggerates his “rrrr”s like
a raconteur in a cabaret, or, dare I say, an itinerant story-teller
in places without printed books. His fruity Viennese tones
convey an irrepressible gemütlichkeit, but it should be obvious
by now that, with Gruber, that sort of thing is double-edged.
He picks up and plays with the music inherent in the poetry,
curling his lips around vowels, snarling out growls - see,
Artmann’s verse is affecting me, too.
too, it is more tightly constructed than would immediately
meet the ear. Gruber, for all his love of mayhem, is a seriously
able craftsman. The cycle is unified by musical references,
just as the text is, and is based on a single twelve note
series. The clarity of the orchestration heightens the “sparkling,
spectral sonority” - as the booklet puts it so well - of
this panoramic yet claustrophobic masterpiece. No one can,
or will, perform this music quite like this again, so grab
this recording for the authentic Gruber experience.
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