Posted tagged ‘Martin Butler’

‘The Art of Chamber Music’ (Judith Weir Weekend, 19 Jan)

January 21, 2008

Judith Weir (c) Chris ChristodolouThe Schubert Ensemble (so named because their basic line-up is that of the ‘Trout’ Quintet) played music by Judith Weir and others, as part of the BBC’s Judith Weir Weekend, ‘Telling the Tale’.

Yet again – another concert, another nice old church… 

LSO St Luke’s’ is a small but magnificent 18th-century church by Nicholas Hawksmoor, marooned in a run-down area of East London and left roofless and derelict until rescued by the London Symphony Orchestra as their rehearsal space.  Very nice.

The trouble with Judith Weir is that, next to hers, everyone else’s music tends to sound woolly and self-indulgent.  Not so Martin Butler (a recently discovered enthusiasm of mine!), whose American Rounds came across as neat, colourful, energetic and fun.  Based on different genres of American folk music, its four movements were delightful, in Martin Butler’s charming laid-back idiom – mostly sort of pan-diatonic (imagine, for example, playing everything on the white notes of the piano but not necessarily in conventional chords), the second movement in particular full of tight irregular rhythms that at times reminded me of Martinů.  His trick of ending each movement with a throwaway quiet finish on a solo instrument was very engaging.  The piece will resound in my memory.

Then Judith Weir’s Music for 247 Strings (she has such a gift for titles! – 243 in the grand piano, four on the violin) – a bit of a ‘one-trick’ piece – quirky stops and starts, rhythmic unisons with occasional outbursts of temperament – but great fun.  A little folk arrangement, Arise, You Slumbering Sleepers, was followed by her Piano Quartet of 2000, broad, deep and hypnotic.

After the interval, David KnottsOn Such A Night As This Is! (an awkward title, unexplained in the programme notes) took a fun approach to bees, cattle and earwigs, tailored to the personalities of the players in the Schubert Ensemble.  As my bro commented, it did sound a bit like a Judith Weir imitation;  but it was a bit too pleased with itself and didn’t quite know when to stop – neither of which criticisms could ever be levelled at Judith’s own works.

What was I saying about Judith Weir’s flair for titles?  How could one not love a piece called What Sound Will Chase Elephants Away? for two double basses?  I say no more.

Then an early work with yet another brilliant title (more…)

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The Brodsky Quartet and friends — ‘Close To You II’

November 28, 2007

brodskyweb.jpg‘Sex And The String Quartet’ is not a widely discussed topic.  However, one of the delights of experiencing chamber music live – as opposed to on record or on the radio – is the interaction between the players:  the vibes, the sparks, the knowing grins, the micro-dramas, the body language.

For example, the Wihan Quartet (see my previous post) consists of four men:  their work ethic seems to be ‘Come on, chaps – let’s roll up our sleeves and go for it’ (with immense musicality and sensitivity, of course).  Conversely, when I heard the Chilingirian Quartet play Dvořák all those years ago, the viola player was the lovely, pale (and pregnant) Louise Williams, and it was touching to observe the tremendously gallant way in which the other three (male) members of the quartet nurtured and cared for her (musically, I mean).

In the Brodsky Quartet, the female member is the cellist, Jacqueline Thomas.  Uniquely, the quartet plays standing up, except for the cellist (yes, I know – ‘you can’t get that under your chin’), so she sits, literally, on a pedestal, with the others standing around her.  The image that came to my mind was of an ice princess surrounded by adoring acolytes (not wishing to be sexist or ‘look-ist’, but Ms Thomas is a strikingly tall and elegant ash blonde – though with a nice twinkle).

To composer Martin Butler, however, the image that came to mind was slightly different:

‘I imagined the four standing players to be acting as sentries, standing guard, keeping watch over the seated cellist and patrolling their space – hence the title. Then a friend pointed me in the direction of the opening scene of Hamlet – with its sentries, its sinister and slightly surreal atmosphere, its ghost, its uncertainty and apprehensiveness – and the flavour of the piece was fixed.’

The resulting work, Sentinels (for the Brodsky Quartet plus an extra viola – tonight John Metcalfe) was arresting and powerful, more challenging than other works by Prof. Butler that I have heard.  Strong, clear, colourful, totally ‘thought through’ – very rewarding.  (if you’re reading this, Martin, I’m sorry not to have met you;  I’ve been listening to the Tin Pan Ballet CD continuously in the car for a month!  Brilliant.)

When you add extra players to a quartet, the number of possible interactions – musical and interpersonal – must multiply geometrically (xkcd must have something to say about this).  With the six players required for Schoenberg’s Verklärte Nacht, you are more or less listening to a string orchestra.  I have never managed to warm to this late-Romantic-early-Schoenberg ultra-emotional piece, although I can see and hear its virtues (maybe, for me, it’s just because it isn’t by Richard Strauss).  The Brodskys and friends gave a glorious performance – rich, passionate, sonorous, nuanced – but it didn’t do it for me (nor for my companion).

Then, in the second half, Schubert’s String Quintet – that favourite of Desert Island Discs (and me, of course).  (more…)