What a good idea it was for BIS Records http://bis.se to couple together works for bassoon by
two distinguished Finnish composers, Sebastian Fagerlund and Kalevi Aho.
This new SACD release neatly bookends solo pieces for
bassoon with bassoon concerti by each composer performed with bassoonist, Bram
van Sambeek http://bramvansambeek.com with
the Lahti Symphony Orchestra www.sinfonialahti.fi
conducted by Okko Kamu www.patrickgarvey.com/artists/okko-kamu.html
and Dima Slobodeniouk www.dimaslobodeniouk.com
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| BIS - 2206 SACD |
Recipient of Finland's most renowned music prize, the Teosto
Prize, Sebastian Fagerlund (b. 1972)
www.editionpeters.com/modern.php?composer=FAGERLUN&modern=1 is
currently composer-in-residence at the Amsterdam Concertgebouw. Mana, concerto for bassoon and orchestra
(2013/14) was commissioned jointly by the Gothenburg and Lahti Symphony
Orchestras and the Borletti-Buitoni Trust for the soloist here, Bram van
Sambeek. In Finnish Mana suggests invocation whereas in Swedish it alludes to
death and exorcism. Percussion and brass open with some fine textures to which
the soloist immediately adds rising and falling, earthy phrases. The orchestra
soon expands to provide an atmospheric accompaniment over which the bassoon
plays some remarkable textures. Soon there is an orchestral passage where some
terrific textures are woven by the Lahti players. They slowly increase the
tempo and drama before the bassoon returns in a section of more delicate little
phrases pointed up by percussion. The music builds passages of tremendous power
before falling away to a slow section where the soloist rises and falls over a
gentle orchestral accompaniment creating some lovely sounds and great
atmosphere.
I particularly love the way Fagerlund floats different
instruments of the orchestra through the orchestral texture. Bram van Sambeek provides
a wonderful tone and some fine textures and sonorities, rising through some
tremendous passages before arriving at the cadenza where this soloist brings
more fine sonorities combined with some brilliant virtuosic techniques. When
the orchestra returns, a rhythmic tempo emerges around which the soloist weaves
a ritualistic line. The music is shot through with fine orchestration and, as
the pace quickens, timpani keep the rhythmic beat, building through some
frantic moments until suddenly quietening and slowing for the bassoon to weave
the melody around the orchestra to a quiet coda.
This is a highly original concerto of considerable
invention. Both soloist and the Lahti Symphony Orchestra conducted by Okko Kamu
provide a tremendous performance.
Fagerlund’s Woodlands
for bassoon solo (2012) was a preparation for his concerto Mana. Written for
Bram van Sambeek, the composer states that the work sprang from an abstract
idea of a mystical realm. The soloist suddenly rises up with a theme that is
repeated through a variety of textures and ideas, van Sambeek providing
terrific control and flexibility as he works through so many different
textures, sonorities and techniques. There are many fine little details as well
as some quite magical quieter moments perfectly caught here. There is a passage
of rapid virtuosic flexibility and technique with a quite remarkable variety of
sounds that Fagerlund asks his soloist to provide, making for a terrific
development of a theme that never flags for one second.
One of Finland’s most distinguished composers, Kalevi Aho www.fennicagehrman.fi/?id=33 was
appointed the Lahti Symphony Orchestra’s composer-in-residence in 1992 and its
honorary composer in 2011. Solo V for
bassoon (1999) was written for Harri Ahmas, solo bassoonist of the Lahti
Symphony Orchestra, and premiered in Munich in November 1999. Bram van Sambeek
opens this challenging work with some deep, ripe notes before developing
through some wonderfully characterised phrases that seem to bring out the sound
of human feelings and emotion. This soloist reveals some terrific tones as
bassoon notes are ‘spat’ out staccato fashion, weaving through quickly changing
ideas with passages of rapid, fluent playing. Throughout all the variety of
ideas and techniques runs a continuing melody revealed in its many guises, creating
individual sounds and motifs before a sudden end.
Aho’s Concerto for
bassoon and orchestra was written for the bassoonist, Bence Bogányi who premieres the work with the
Helsinki Philharmonic Orchestra. The composer speaks of wishing to expand the
solo instrument’s sonic and expressive possibilities. In four movements the Andante opens with a wonderful blend of
sonorities from the orchestral brass and solo bassoon, beautifully done. They
develop through a lovely melody with subtle varied phrases. Aho blends soloist
and orchestra so well in passages of deep sonorous notes as well as those
higher in the soloist’s range. The orchestra alone increases the tension to
which the soloist adds a more animated line, gaining in rhythmic pulse before a
more flowing orchestral section develops the drama further. Later the orchestra
falls to allow the soloist to bring a passage much like an accompanied cadenza.
The orchestra alone rises up passionately again through surging strings to
which the bassoon brings an equal passion, almost crying out with emotion.
Eventually the music finds a more settled flow as soloist and orchestra weave
some exquisite moments to lead to a quiet coda.
A solo violin over the orchestra brings a lively, sparkling
theme for the Vivace before the
soloist enters with upward rising phrases, soon developed dramatically in the
orchestra. The soloist provides some terrific phrases of intense feeling and
agility. Later there is a dance like passage where the soloist brings a dialogue
with various woodwind instruments rising to a climax to end.
The soloist duets with another bassoon bringing lovely
sonorities to the Passacaglia (Adagio) e Cadenza. Strings
subtly and gently edge in, timpani rumble as the basses join and the music
gains in intensity, the soloist now revealing a melancholy melody that winds
its way forward with bell chimes. Aho develops some quite lovely orchestral
harmonies, finding an inexorable forward movement, gaining in power all the time.
The music falls to a less passionate passage where the soloist weaves gentler
phrases over a beautifully transparent orchestra before leading into a cadenza proper
where the soloist develops the theme through some beautifully conceived
moments, at times with the bassoonist humming an accompaniment whilst playing
before increasing in tempo and drama and running into the final movement.
The orchestra alone rises up majestically in the Presto with woodwind soaring and brass appearing
before the bassoon joins to take the frenetic theme forward. The music swirls
through some terrific orchestral passages, wonderfully played by both soloist
and orchestra. At times the soloist moves right across the bassoon’s range but
later brings a quieter, gentler rather plaintive moment for soloist and
orchestra where a celeste is heard. The orchestra suddenly increases in tempo joined
by the bassoon to rush forward in a terrific lead up to the sudden coda.
This is a tremendous concerto of great depth and imagination
that deserves to be taken up by solo bassoonists. Again Bram van Sambeek brings
a wonderful performance as do the Lahti Symphony Orchestra conducted by Dima
Slobodeniouk.
All in all this is a very welcome release of works that
every admirer of these fine composers will want to hear, especially with bassoon
playing of such a high order.
They receive tip top recordings and there are excellent
booklet notes from Kimmo Korhonen and Kalevi Aho
See also:
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