BEETHOVEN The Consecration of the House, overture, Op. 124
While still writing his final piano sonata, struggling with the ending of Missa Solemnis that had grown to monumental proportions, and embarking on the ninth symphony, in 1822 Beethoven had energy enough to compose a truly ‘worldly’ work as well, the Consecration of the House overture, destined for the ceremonial opening of the Josephstädter Theater. Exceptionally, this composition was completed to deadline; it took its title from the opening play of the theatre. It is glorious, celebratory and grandiose music, totally devoid of bombastic trivialities. Far from heart-wrenching drama, here Beethoven’s humanist voice dominates, one inherited from The Magic Flute. Given its bright mood and brilliant management of double counterpoint, many are reminded of Händel, whereas others are disposed to seeing freemasonry musical symbols in the magnificent score, which bears witness to the impressive orchestral imagination of Beethoven in his late period.
ISTVÁN LÁNG String Quartet No. 4 – arrangement for string orchestra – world première
IstvánLáng returned to string quartet composition after a gap of 40 years: his first three quartets date from 1961, 1966 and 1978; the new work is dated between September 2018 and February 2019. It is now fashionable for ambitious string orchestras to include one or other piece from the classical quartet repertoire on their programmes. According to the composer’s guidelines, even in the orchestral version the third movement may only be played in string quartet format. The rich diversity of forms of movement and characters brought out in six movements is united by the constant presence of semi-tonal dissonances. The opening movement builds on the interchange of lively and tranquil moments. A pizzicato mini monologue unfolds over the extended chords of the second movement. The compounded rhythm of the playful third movement requires a soloist performance. The chordal note-scrolling of the fourth movement consistently highlights the different positions of the meter. In the fifth movement, it is as though the monologue of the second movement is being further developed as a distracted concitato, and the last movement references the beginning with the contrast of slow chords and volatile Presto.
LÁSZLÓ SÁRY Tranquillity
A significant group of works by LászlóSáry demands listener behaviour that differs radically from the norm. Their aim is not the titillation of the senses, nor delight, and not even the spiritual joy acquired from some sort of intellectual process. It is as though the composer encourages listeners thus: “Forget how music should be heard, relax and entrust yourself to the sound as a non-coercive soul-guide. Don’t come looking for an event, don’t expect catharsis, just wait for inner silence in which the work can resound within you.” This characterization neatly suits Tranquillity written in 1996 for 11 instruments. The work immortalizing the spirit of Japanese gardens is one of the kind of preludes of inner silence commonly found in the oeuvre of Barnabás Dukay. The meditation comprising quivering signals is also accompanied by the beauty of instrumental timbres.
ANDRIESSEN The Nine Symphonies of Beethoven
The subtitle of the Louis Andriessen work hints at its approach (“for orchestra and ice-cream vendor’s bell”). The 1970s piece by the Dutch composer is the musical equivalent of The Complete Works of William Shakespeare (abridged). Andriessen’s hilarious montage not only manages to compress the essence of the ninth symphony into nine minutes, but its free associations also stray into Für Elise, the Moonlight Sonata, Rossini’s Barber of Seville overture, not to mention elements of boogie-woogie, lounge and pop music. Those hankering for theoretical profundity, listening to this textbook case of postmodern disrespect, can analyse how the transformation of the original context of the Beethoven citations creates the fundamental spice of the work. But there again, it is also enough to just sit back and have a really good time. It’ll bring the house down.
