www.divine-art.co.uk/metierhome.htm http://theclassicalreviewer.blogspot.co.uk/2013/02/works-by-edwin-roxburgh-and-michael.html
On this new BIS disc
Piet Van Bockstal www.defilharmonie.be/profiel/piet-van-bockstal plays a Rigoutat Symphony oboe www.rigoutat.com/pro/oboe that itself has been described as having
unbelievable beauty and volume of sound and flexibility that is ‘simply out of
this world’.
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| SACD BIS 1876 |
Aho’s early compositions were influenced by Shostakovich and
Neo-Classicism. After a period where his music moved towards modernism, his
later works aim at a more coherent free-tonal style. Aho’s compositions include
operas, vocal music, fifteen symphonies, three chamber symphonies, other
orchestral works, numerous concertos including two for piano, a cello concerto
and a violin concerto and a large amount of chamber music.
Of the many concertos
that Aho has written, the Concerto for Oboe and Orchestra (2007) is one of the
most attractive and innovative. It is coupled on this new release with Aho’s
Solo IX for Oboe (2010) and his Sonata for Oboe and Piano (1984-85). Piet Van
Bockstal is joined in the concerto by Martyn Brabbins www.intermusica.co.uk/brabbins and the Lahti Symphony Orchestra www.sinfonialahti.fi and, in the Sonata for Oboe and Piano, by Yutaka Oya (piano).
The Concerto for Oboe
and Orchestra opens with a plaintive melody for oboe and harp. Somewhat
Arabic in flavour, the music has strange microtonal dissonances and the
accompaniment remains austere with just pizzicato strings. Marked lamento, the movement slowly becomes
faster as the fuller orchestra joins, weaving around the oboe melody. There is a
beautiful tapestry of sounds with Aho’s trademark drum taps, as the music
progresses, with the woodwind providing much of the accompaniment. Aho avoids normal oboes in order to allow the
soloist to stand out, using an oboe d’amour (lower than an ordinary oboe) and a
heckelphone (a baritone oboe). Aho cleverly lets the quarter tone intervals
merge with a lower or higher orchestral harmony that makes the music sound
absolutely right. The movement ends quietly with some spectacularly lovely
sounds from the oboe.
The presto second
movement opens with Arabic darabuka and African djembe (types of goblet drums).
The oboe soon enters in this rhythmic movement where the darabuka and djembe continue
a regular off beat 10/16 rhythm still showing Arabic influences. There is a
terrific, tumultuous central section full of forward momentum and a difficult
exotic oboe part leading straight to the third movement.
Two trombones open the short Interludium: Adagio. Woodwind soon enter, then harp, before the two
trombones return, very much with feel of a chorale. The oboe is silent
throughout. The Cadenza is for solo
oboe, though the movement opens with a plaintive melody for oboe against low
strings quietly in the background. Soon the oboe is left alone to tackle a
fiendishly difficult cadenza full of flourishes, quarter tones, short rapid
staccato notes and dissonant quarter tone harmonies. Piet Van Bockstal proves
to be a tremendous virtuoso.
The cadenza runs straight into the gloriously rich
orchestral opening of the andante
cantabile. As the oboe enters there is a melancholy, even tragic feel. After
an interlude for oboe against strings, which is somewhat pensive, there is an
orchestral climax. Staccato oboe notes, with whip, lead to a florid section for
oboe, full of complex passages.
Aho wrote his Solo IX
for Oboe to accompany the other works on this disc. After an oboe upward
flourish there is a series of repeated upward scales ending with astringent quarter
tone chords. Soon the oboe introduces a slow melody but the astringent chords
interrupt. There follows a more rapid passage with some brilliant playing from Piet
Van Bockstal before another melody appears, interrupted this time by short
sharp notes. This leads to a rapid upwardly rising motif before a melody that again
is interrupted by short stabbing phrases. This contrast between the two
continues until, towards the end, the oboe plays a quiet little tune
interspersed with odd harmonic phrases. This is a tremendous performance from
Van Bockstal.
The four movement Sonata
for Oboe and Piano is an earlier work. A long note from the oboe is held against
repeated notes on the piano before the repeated notes continue as the oboe
weaves around with unusual harmonic phrases. Strange oboe sounds are heard against
loud, lower keyboard chords before the piano opens out to sporadically
accompany the oboe in a more melodic section. There is a solo passage before crashing chords on the piano. A
lighter section appears with the oboe dancing along over a rhythmic piano
accompaniment. This soon stops as the oboe rises ever higher against piano
chords. The lighter section re-appears before rapid oboe phrases over the piano
lead to the second movement.
Sudden piano notes open the second movement before the oboe
enters against these sudden chords in a hesitating melody. Soon the piano leads
the oboe into a lovely melody though there are still quarter tone harmonies.
The piano chords reappear but the melody returns. The melody becomes more
syncopated on the piano as the oboe plays an increasingly anxious melody.
Things quieten part way through and the melodic atmosphere returns in a lilting
melody. The oboe harmonies grow more dissonant but still the melody continues.
Towards the end, the music slows to rippling piano phrases and a single note on the oboe that drops
down right at the end.
A two note motif opens the third movement with the oboe
joining the motif quietly and tentatively. Soon the oboe plays longer phrases
leading the piano to do the same. The music quickens to give a lively,
insistent, theme. This leads to loud astringent chords for both players as the
music gets ever more energetic. There are terrific dissonant calls on the oboe
but the music quietens towards the end, concluding quietly on the piano.
The oboe opens the beautiful final movement with a slow
melody against broadly spaced piano phrases in a lovely section. The music
slowly develops with some lovely phrases for the oboe whilst the piano picks
out a sensitive accompaniment. The work ends with a long quiet note held by the
oboe in a quite magical moment.
Piet Van Bockstal gives some remarkable performances of
these demanding works. The oboe concerto in particular is a lovely piece which
grows in stature with each hearing. Pianist Yutaka Oya provides a sensitive
and, at times, virtuoso contribution in the sonata and Martyn Brabbins and the
wonderful Lahti Symphony Orchestra give an equally fine performance in the
concerto.
The recordings made in the Sibelius Hall, Lahti, Finland
(Concerto) and Potton Hall, Saxmundham, Suffolk, England (Sonata and Solo IX)
are first class.
See also:
http://theclassicalreviewer.blogspot.co.uk/2012/05/trombone-concerto-from-finlands-kalevi.html http://theclassicalreviewer.blogspot.co.uk/2012/04/why-does-finland-continue-to-produce-so.html
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