Mercifully the streets were clear of snow but it was right chilly in Manchester on Saturday night. The concert opened with Boulez's 'Rituel - In memoriam Bruno Maderna' which immdiately introduced us to the reality of listening intently - what are those sounds and where are they coming from? There were at least four percissionists seated near the front with small tables and an equally small collection of percussion instruments, plus fourteen other musicians on the balconies [left and right]. A good selection of gongs at the back. I found the piece fascinating and when one reflects that it is in fact to show respect for a fellow musician, quite sombre and powerful.
The contrast with what followed could scarcely have been greater. After Mark Wigglesworth's entrance, Chamayou pretty much bounded onto the stage, shirt collar open, no score. He really owned this performance; swaying in the jazzy and military band passages, yet he at no point did he overplay the emotion in the second movement. The BBC Philharmonic and Wigglesworth brought out the joy and vibrancy of the piece. Perfect.
We heard a Kenneth Hesketh orchestration of the 'Sites Auriculaires' which was fairly interesting but no more, and the orchestral version of 'Pavane Pour Une Infante Defunte'. I enjoyed it, but as Chamayou was already in the building...?! The concert finished with Suite No. 2 from Daphnis et Chloe' - just the one movement - which was so brilliant you really missed the other movements. [But you need a choir, so...] I counted nine cellos and a similar number of double basses, the stage was full to bursting, and the power in the climaxes was gripping, the lyrical moments gorgeous. The faces of the players also revealed their delight inplaying this, many were beaming and breathless ath the end. A great concert, though I felt a tiny bit short-changed. The same combination return in February for Ravel's other piano concerto and more Boulez; I shall be there.
The contrast with what followed could scarcely have been greater. After Mark Wigglesworth's entrance, Chamayou pretty much bounded onto the stage, shirt collar open, no score. He really owned this performance; swaying in the jazzy and military band passages, yet he at no point did he overplay the emotion in the second movement. The BBC Philharmonic and Wigglesworth brought out the joy and vibrancy of the piece. Perfect.
We heard a Kenneth Hesketh orchestration of the 'Sites Auriculaires' which was fairly interesting but no more, and the orchestral version of 'Pavane Pour Une Infante Defunte'. I enjoyed it, but as Chamayou was already in the building...?! The concert finished with Suite No. 2 from Daphnis et Chloe' - just the one movement - which was so brilliant you really missed the other movements. [But you need a choir, so...] I counted nine cellos and a similar number of double basses, the stage was full to bursting, and the power in the climaxes was gripping, the lyrical moments gorgeous. The faces of the players also revealed their delight inplaying this, many were beaming and breathless ath the end. A great concert, though I felt a tiny bit short-changed. The same combination return in February for Ravel's other piano concerto and more Boulez; I shall be there.
I came to Boulez after many years listening to jazz [modern], including improvisation. So for me Boulez being 'challenging' has never been the issue, it's all down to whether or not I find the experience of listening to him enjoyable, which I generally do. One of our group on Saturday is a pianist/teacher and she immediately latched on to the 'seven note theme' which was mentioned in the programme notes but failed to 'hear'! Thanks for the Webern suggestion, I will follow up later. Interesting also that Birtwistle may be the only Brit conducted or recorded by Boulez. I'm also curious about which composers he seemed to take no interest in - no Shostakovich as far as I can see, and although plenty of Mahler and Wagner, no Bruckner.
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