Notes and Editorial Reviews
A unique voice in modern music and one well worth hearing.
Thomas Larcher (pn); Kim Kashkashian (va);
class="ARIAL12">Dennis Russell Davies, cond;
Diotima Str Qrt
ECM B0014314-02 (66:02)
Robert Carl’s review of a previous Thomas Larcher ECM disc in
30:4 pinpointed the influences of Bartók and Ligeti on the young composer. Pianist Leif Ove Andsnes included Larcher’s piece
tour (which I caught at London’s Queen Elizabeth Hall), an event that provided a tantalizing glimpse of this composer.
Written in 2006 and revised the following year,
(Malign Cells) for piano and orchestra is likened by booklet annotator Friedericke Gösweiner to “a dark steel construction divided into numerous smaller entities (cells) placed next to and above each other like a honeycomb.” The work also shares its title with a 2003 film by Barbara Albert that uses sudden shifts and changes of scene, something that is reflected in Larcher’s score. The music is rich in near-allusions (are the muted horns around 10 minutes into the third movement a shadow of the end of
, for example?). Larcher virtuosically uses aleatoric passages as well as recognizable tonal constructs. The piano, prepared at first (with all the Cageian references this brings with it; there are Cageian overtones to
, also) then later unaltered, while foregrounded, is perhaps less the traditional soloist and more a concertante player. Till Fellner is a major young artist and his playing is remarkably assured and always intelligent.
Kim Kaskashian is one of the world’s leading viola players. Although the instrumentation of
(2002, revised 2004) is stated as “for viola and chamber orchestra,” there is a prominent piano part, played here by Larcher himself. The work has two movements, both of which start in a calm space and are subjected to developments based on static harmonies. Kashkashian is superb in delivery of the solo part, confident and expressive. The recording, present and expert, is massively involving here. The piano’s function in this piece is as percussion instrument. Kashkashian is just as impressive in the virtuoso, manic passages as in the lyrical. The work is composed with a sure hand, and the weight of rehearsal shows (the work was premiered by the current forces). The tremendously high-lying passages for all concerned at the center point of the second movement leave an indelible impression. They are rendered here at white heat, while the long, lonely, and intensely lovely solo viola lines of the work’s conclusion enable Kashkashian to deliver impeccable, seemingly never-ending legato phrases. Impressive.
The Third Quartet of 2006/07, itself titled “Madhares,” has five movements, each with a title: “Madhares”; “Honey from Anopolis”; “Sleepless 1”; “Sleepless 2—Madhares”; “A song from ?” The “Madhares” of the title refers to the White Mountains of Crete, the pasture lands behind Anopolis, a space that Larcher heard of when he visited the island but never actually visited. Originally composed for the Artemis Quartet, the writing again includes alterations to traditional methods of sound production to suit Larcher’s ends. Here, the players use coins on the strings for sliding tremolos. Parts of the opening movement verge on silence. All credit to the Diotima Quartet for its sterling control of the instruments to convey this rarefied, Webernian sound world to perfection. The purity of the “Honey from Anopolis” movement (referred to in the booklet as “Schubertian,” and with good reason) is remarkable, its spell broken by the rapid octaves of “Sleepless 1.” The recording conveys all the resonant depth of the Diotima Quartet’s sound as well as its ability to create the most ethereal (and lyrical) atmospheres (try the fourth movement for examples of both). The evocation of a viol sound world toward the end of “Sleepless 2” is both highly imaginative and, somehow, highly touching. It is this touch that provides the window into the final movement. Here, in “A song from ?,” Larcher takes a reference to a Nepalese song played on all “white” notes.
An important disc, one that alerts us to the stature of Thomas Larcher’s music. Production values and recording standards are impeccable.
FANFARE: Colin Clarke
Thomas Larcher made quite an impression in London a few years ago when he came to perform his new piano concerto with the London Sinfonietta.
Böse Zellen - translated here as ‘Malign Cells’ although I seem to remember the Sinfonietta opting for ‘Free Radicals’ - did the rounds of the European new music scene in much the same way as Wolfgang Rihm’s
Jagden und Formen had a few years previously. They are very different works, but both are of such quality, substance and originality that both London premieres seemed like Zeitgeist-defining events.
For this recording Larcher has handed over performing duties to his young compatriot Till Fellner. Both are gifted pianists, and Fellner’s reading is as competent as the composer’s. It is an interesting choice for Fellner, given that not so long ago he was known primarily as a protégé of Alfred Brendel. His mentor wouldn’t touch this sort of repertoire with a barge-pole, so perhaps Fellner is taking the opportunity to move out of Brendel’s shadow.
The use of objects on the strings of the piano struck me as a particularly visual aspect of the work in live performance, but the unique timbres that result are so distinctive that little is lost in the transfer to audio recording. The most striking effect is the use of a large metal sphere, which is rolled across the strings as the key is depressed. This dampens the fundamental but allows the harmonics to sound, and as they do so from both sides of the ball, simultaneous ascending and descending glissandos sound as if it is slowly rolled across the string.
Interestingly, the use of prepared piano does not have the effect of evoking John Cage. Some of the music is fast and rhythmic, and when played on muted strings distantly recalls the
Sonatas and Interludes, but beyond that, this is clearly music from a different culture and time. Larcher’s aesthetic is difficult to categorise; he has obviously distanced himself from avant-garde modernism - if such a thing still exists - yet his engagement with more traditional notions of voice leading, orchestral hierarchy and genre do little to link his music with either post-modernism or reactionary Romanticism. He is not the only Austrian composer to feel the weight of history on his shoulders, but it doesn’t come across as Anxiety of Influence so much as creative engagement with the vocabulary of earlier music. And while the music is not Romantic in the sense of heart-on-sleeve expression, it conforms to 19
th century notions of aesthetics, in the sense that every note and every effect obviously means something. This is particularly evident in the use of prepared piano, and is the primary distinction between this music and that of John Cage.
But without speculating too far about what the music means, its surface textures never fail to be of interest. Larcher doesn’t go in for complex of dense textures, and most of the concerto involves quiet prepared piano effects discreetly supported by a subdued orchestra. Repeated notes are an important part of his musical vocabulary, as are slow string lines doubled at multiple octaves. The ‘malign cells’ of the title translate to an episodic structure, with short passages fading in and out of focus and interacting in various subtle ways. All in all, it is a fascinating piece, and in a fine performance that does it full justice.
The other two works on the disc contribute to a clearer picture of Larcher’s art.
Still is a viola concerto, although it is interesting that it is not described as such by the composer. In fact,
Böse Zellen is nowhere described as a piano concerto, and the string quartet that closes the programme is only so described in parentheses, where it also has a number; perhaps Larcher’s relationship with tradition is more complex than it first seems.
Still is another work based on clear, unambiguous textures and linear, bordering on melodic solo and orchestral parts. There are a number of allusions to folk music, which are all the more puzzling for their brevity, although they seem to fit quite naturally into the contexts Larcher concocts for them. The folk music allusions align this work, and the string quartet that follows, with the ECM brand identity. In fact, the sound of Kim Kashkashian performing central and southern European folk tunes on the viola in an otherwise classical context recalls both ECM’s disc of Berio’s
Voci and their more recent
Naherot. Larcher also adds a piano into the mix, and there are lots of atmospheric string tremolo textures. You could be forgiven for mistaking much of this for film music, but film music of the highest quality.
Madhares, the string quartet that closes the programme has been privileged with the status of title track for the album, which is curious considering that
Böse Zellen is better known, more substantial, and given first place on the track listing. The quartet is named after a mountain range in Crete, and while it isn’t programmatic as such, there is a real feeling here of Mediterranean sun-drenched atmosphere. There are also some more folk tunes to bring the picture into sharper relief, but in general this is a work of atmospheric abstraction. It is another work that fits easily with the ECM corporate identity, and I was particularly reminded in the quieter passages of the ECM recording of Knaifel’s
In Air Clear and Unseen.
Excellent performances throughout, and a particular mention should go to the young Quatuor Diotima, whom I think to be new to the ECM label, but who are more than capable of maintaining its high standards. And the high standards of packaging and documentation associated with the ECM brand are much in evidence too.
Thomas Larcher is a unique voice in modern music, and one that is well worth hearing. While it is difficult to link him with a compositional school, his aesthetics fit very comfortably with the ECM ethos. That could make for a great partnership further down the line. Long may it continue.
-- Gavin Dixon, MusicWeb International
Works on This Recording
Madhares by Thomas Larcher
Period: 20th Century
Böse Zellen by Thomas Larcher
Till Fellner (Piano)
Dennis Russell Davies
Munich Chamber Orchestra
Period: 20th Century
Still by Thomas Larcher
Kim Kashkashian (Viola)
Dennis Russell Davies
Munich Chamber Orchestra
Period: 20th Century
Böse Zellen for piano and orchestra (2006, rev. 2007) Dedicated to Dennis Russell Davies: I.
Böse Zellen for piano and orchestra (2006, rev. 2007) Dedicated to Dennis Russell Davies: II.
Böse Zellen for piano and orchestra (2006, rev. 2007) Dedicated to Dennis Russell Davies: III.
Böse Zellen for piano and orchestra (2006, rev. 2007) Dedicated to Dennis Russell Davies: IV.
Still for viola and chamber orchestra (2002, rev. 2004) Dedicated to Monika Groser: 1. Fließend
Still for viola and chamber orchestra (2002, rev. 2004) Dedicated to Monika Groser: 2. Fließend
Madhares (String Quartet No. 3) (2006/7) Dedicated to Klaus Eisenberger: I. Madhares
Madhares (String Quartet No. 3) (2006/7) Dedicated to Klaus Eisenberger: II. Honey from Anopolis
Madhares (String Quartet No. 3) (2006/7) Dedicated to Klaus Eisenberger: III. Sleepless 1
Madhares (String Quartet No. 3) (2006/7) Dedicated to Klaus Eisenberger: IV. Sleepless 2 - Madhares
Madhares (String Quartet No. 3) (2006/7) Dedicated to Klaus Eisenberger: V. A Song from ?
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