Takemitsu: Spectral Canticle (CD Review)

 by Karl Nehring

Takemitsu: Spectral Canticle (for violin, guitar, and orchestra); To the Edge of Dream (for guitar and orchestra); Vers l’arc-en-ciel, Palma (for oboe d’amore, guitar, and orchestra); Twill by Twilight (for orchestra). Jacob Kellermann, guitar; Vivian Hagner, violin; Juliana Koch, oboe d’amore; BBC Philharmonic conducted by Christian Karlsen. BIS-2655 SACD

 

Although music lovers here in the West who are at least somewhat familiar with Japanese composer Toru Takemitsu (1930-1996) possibly imagine him as some kind of esoteric, aloof, withdrawn figure who lived a hermetic life of contemplation and occasionally produced a serious work of music, the liner notes paint a much different picture: “Takemitsu himself built a strong Japanese profile of remarkable versatility, with many scores for films and theatrical productions appearing alongside the more ‘serious’ concert compositions that won him success in the West. An engagingly unpretentious personality, he had a fastidious professionalism that he brought to bear on everything he undertook, even the writing of thrillers and participation in TV cookery competitions. At the same time, the kind of music represented on this disc ensured that he was among the most prominent of that generation of progressive composers – including Henze, Berio, Kurtág and Kagel – much sought after , especially during the 1980s and 1990s, when modernism was at its strongest, and before minimalism achieved its highest profile in mainstream concert programmes.” (How I would have loved to see Takemitsu  throw down with Bobby Flay…) 

 

Although these are four distinct works, they have much in common. All are substantial works that date from the later stages of Takemitsu’s career; in fact, the opening work, Spectral Canticle (at the beginning of the score he instructs the performers, “calm, mysteriously”), which he completed in 1995. is one of his last works. As you might expect from a composition for orchestra that feature a prominent role for an acoustic guitar – and no, this is not a double concerto (the violin and guitar play prominent roles, but are integrated into the music rather than being featured as soloists) – the music truly does sound calm and mysterious. Note that the next two selections also feature the guitar; again, however, To the Edge of Dream is not a guitar concerto, nor is Vers l’arc-en-ciel, Palma a double concerto for oboe d’amore and guitar. These three works that include the guitar all have that sense of calm and mystery (more the latter than the former overall), and the latter two works share the distinction of being inspired by works of art: To the Edge of Dream by the paintings of the Belgian surrealist Paul Delvaux (1897-1994) and Vers l’arc-en-ciel, Palma borrows it title from  a work by Joan Miró (1893-1983), whom Takemitsu had met in 1970. 

Takemitsu dedicated the final composition on the program, Twill by Twilight, to the American composer Morton Feldman (1926-1987). For orchestra only, it shares with its discmates another characteristic that often seems  to manifest itself in Takemitsu’s music for orchestra, that being a sensation of waves, the music rising and falling. This sensation is not the steady pulse of minimalism; rather, it is as though the composer’s music is inspired by water – water in nature, water that s flowing, rippling, lapping up on the shore, swirling into eddies here and there, reflecting light, sometimes silent, occasionally roaring, reflecting and refracting, revealing and concealing. To listen to his music is to enter a musical world different from that of Mozart and Beethoven. It is more like that of Debussy, but certainly not the same as the French master. This well-engineered disc (I auditioned the two-channel stereo CD layer; there are also SACD stereo and 5.0 surround layers for those so equipped) is well worth an audition by those looking to expand their musical horizons. There is great beauty to be found here.    

Transatlantic (CD review)

Stravinsky: Concerto in E-flat “Dumbarton Oaks”; Craig Urquahart: Lamentation for Flute and String Orchestra; Dorman: Nofim (Sights); Takemitsu: Toward the Sea II; Stravinsky: “No Word from Tom” from The Rake’s Progress; Copland: Appalachian Spring Suite (Original version for 13 instruments). Stathis Karapanos, flute; Chen Reiss, soprano; Noah Bendix-Blgley, violin; Marie-Pierre Langlamet, harp; Garrett Keast, Berlin Academy of American Music. ONYX 4223.

By Karl W. Nehring

This generously filled (82:07) release offers a fascinating and musical program presented by a fascinating musical ensemble. The Berlin Orchestra of American Music came into being as American conductor Garrett Keast, now living in Berlin, got together with bassist and friend Rosie Salucci, a fellow American Berliner, to see about organizing some chamber orchestra  performances of works by American composers. Even though this occurred during the summer and fall of 2020 during the ongoing pandemic, the musicians enjoyed the experience and the idea of forming the orchestra and making this recording came together. Although the musicians represent many countries spanning five continents, more than half the orchestra either came from the United States or had studied there. One thing led to another, and this recording was finally made during January and February of 2021.

The eclectic program is a mix of the familiar and unfamiliar. From Stravinsky, (who the liner notes remind us became an American citizen in 1945), we get a perky and delightful performance of the “Dumbarton Oaks Concerto,” a rhythmically complex, at times harmonically tart, but overall whimsically delightful Stravinksian take on Bach’s Brandenburgs. We also get a selection from his opera The Rake’s Progress (the libretto is included in the liner notes), music with which most listeners are most likely far less familiar, but which should appeal to those who enjoy the sound of a lively soprano voice. From American composer Craig Urquhart (b.1953) comes another unfamiliar piece, his soulfully expressive Lamentation for Flute and String Orchestra, a truly moving composition of great beauty. Much different in mood are the Nofim (Sights) of Israeli-American composer Avner Dorman (b.1975), which are more lively, with three of the four Nofim also featuring the soprano voice of Chen Reiss. From the only non-American composer on the program, Japan’s Tóru Takemitsu (1930-1996), we get Toward the Sea II, a peaceful work that features the alto flute and harp in music that is meant to capture the rhythm of the sea. As with so much of the late Japanese master’s output, this music has a natural grace about it that is uniquely appealing.

The program concludes with Copland’s Appalachian Spring Suite, which music lovers have grown accustomed to hearing as performed by full symphony orchestras. Here, however, we have the music in its original arrangement for 13 instruments, which is something that those who enjoy the piece really ought to hear. The intimacy of the smaller forces produces a feeling of poignancy in the quieter passages and joy in the exuberant passages that is simply more direct and personal than is communicated by a large orchestra. I am not saying that this is the only way to listen to the piece, or even necessarily the best way; however, I think it is a vitally important way to experience Appalachian Spring for those who enjoy the music, and this recording from Onyx is a fine way to do so – with the added bonus of hearing some other excellent music as well. The liner notes, although brief, are informative, and the engineering is first-class (the engineers no doubt enjoying the advantages of being able to record relatively small forces in a space familiar to them, the Teldex Studio in Berlin). With 82 minutes of interesting music so well recorded and well played, Transatlantic proves that you don’t need to have household names recording for a giant label to make a truly fine recording. Highly recommended.

KWN

To listen to an excerpt from this album, click below;

Mendelssohn: Violin Concerto in D minor (CD review)

Also, music of Panufnik, Takemitsu, and J.S. Bach. Alexander Sitkovesky, violin; Dmitry Sitkovetsky, New European Strings Chamber Orchestra. EMI 7243 5 57440-2.

I assumed from their names and from the cover picture that young Russian violinist Alexander Sitkovesky and Russian conductor and violinist Dmitry Sitkovetsky were father and son, but nothing that I could find in the booklet notes indicated their relationship. It turns out, Dmitry is Alexander’s uncle. Be that as it may, they make a smooth and agreeable team as soloist and conductor and in the Bach as co-violinists.

Unfortunately, I did not find their repertoire particularly well suited to my taste. The Mendelssohn is not the familiar Violin Concerto in E minor but the D minor Concerto the composer wrote when he was thirteen. Nobody ever performed it in Mendelssohn’s own day, and it was only in 1952 that Yehudi Menuhin exhumed and premiered it. Later, Menuhin took the young Alexander Sitkovesky under his wing, making him one of his protégés so to speak, and I’m sure it’s no coincidence why Sitkovesky chose the work for inclusion here, no doubt as a tribute to his mentor. In any case, there are reasons why most of us have not heard some pieces of music, and while one may find parts of the D-minor Concerto interesting, the jaunty final movement, for instance, which Sitkovesky plays with much enthusiasm, overall it does not strike me as among the composer’s strongest works no matter how well played. And well played it is, as are all the selections on the disc. Sitkovesky is a most-subtle and expressive performer, and it’s a pity we haven’t heard more from him.

Of greater interest is the Violin Concerto of Andrzej Panufnik (1914-1991), which displays more rhythmic vitality and more originality than the first work, albeit in an entirely different, more-modern style. Sitkovesky plays it with a feeling for its bouncy cadences and various mood swings. Again, the piece seems a tribute to Menuhin, as it was the older violinist who first performed it in 1972.

Following the Panufnik is a single-movement work called “Nostalghia” by Japanese composer Toru Takemitsu (1930-1996). He dedicated it to the memory of Russian film director Andrei Tarkovsky, and as such he marked it “calm and mournful.” Emphasize the last word. It is almost funereal and while quite lovely in most regards, it may put some folks to sleep.

Following this we find both Sitkoveskys performing Bach’s Concerto for Two Violins, also at a rather slow pace. Maybe they were in a mood to demonstrate their serious, contemplative side. Or perhaps after my having listened to a recording of it by Hillary Hahn on DG just a few weeks earlier and being mightily impressed, the Sitkoveskys’ rendition was, though exceedingly smooth and well executed, something of a disappointment.

EMI’s sound is hardly a disappointment, though. It is extremely natural, ultra-suave, warm, well balanced, and remarkably lifelike. If there had been more on the disc that I enjoyed listening to, I would probably recommend it without hesitation. As it is, I have some hesitations. And maybe the buying public did, too, as I have not been able to locate another recording by Alexander Sitkovesky since he released this album almost a decade ago. Which, as I mentioned above, is unfortunate. He’s quite talented.

To listen to a few brief excerpts from this album, click here:

JJP