Friday, December 12, 2025
Herkulessaal, Munich
Because of checking if Bavarian Radio (as a media partner) was broadcasting one or other of the Bamberg Symphony’s concerts with Herbert Blomstedt (Beethoven and Sibelius), whether this very evening or tomorrow – neither, it turns out – I became aware of this Bavarian Radio Symphony Orchestra programme, one with the greatest appeal, which on paper offered compensation for a lack of anything from Bamberg. In reality, it did.
Oliver Knussen’s ten-minute Choral (its 1975 revision premiered by the American SO and Michael Tilson Thomas in Carnegie Hall). Solemn and sonorous, becoming denser and louder, with flutes animated above dark colours (like nocturnal fireflies), Choral is atmospheric and painterly, the large wind ensemble, with percussion, immaculately composed, was given an equally scrupulous performance. The score advises that the “four saxophones may be omitted and replaced by four extra horns.” As I didn’t hear any saxes, I guess this is what happened.
The intriguingly sub-titled, poem-related Piano Concerto by Clara Iannotta (born 1983, Rome), packed with incident as it is, whether natural or electronically manipulated, certainly feeds the ears, although whether one piece heard once – her output entirely singular to this writer – can illuminate a composer’s DNA is debateable. On its own terms ‘The purple fuchsia bled upon the ground’ made for busy listening without suggesting Iannotta’s individuality, despite what was no doubt a brilliantly executed performance, not least by Pierre-Laurent Aimard, a great champion of the new, the piano as much an obbligato as a soloist, the wired-up instruments integrated into the orchestra as belonging rather than being interlopers, a vivid sonic journey the result.
Deep Time (2017) completes an intended triptych of works by Harrison Birtwistle (the others being The Triumph of Time and Earth Dances, masterpieces). Premiered by Staatskapelle Berlin and Daniel Barenboim, Deep Time reached the UK on July 16 2017 at the BBC Proms, and was revived in London in May 2022 by the LPO and Edward Gardner. It’s a compelling piece that grows in stature, and characteristic of this composer – of rhythmic panache and powerful passionate progression, admirably served by the BRSO and George Benjamin (who also conducted his own Concerto for Orchestra, music that exudes much pulling power as well as subtle changes of dynamics and colour, and which needs, it seems, a few listens to appreciate its complex intentions, which I also felt at its debut appearance), whereas Deep Time reminded of Norman Lebrecht’s words at Birtwistle’s passing: “Like Samuel Beckett, he mystified those who could not penetrate his works and delighted those who could. Contrary to some slick media portraits of a solitary artist, he was highly sociable and tremendous fun with those he liked and trusted.” Deep Time is thrillingly communicated, structurally airtight, and full of alluring ideas, if remaining enigmatic as to the closing flourish of bells. (My three interviews with him were instructive and positive.)
George Benjamin is a fine conductor, absolutely at-one with the pieces here, and the Bavarian Radio SO is a first-class ensemble. Given the performances seemed to reflect a generous rehearsal schedule, and Bavarian Radio is an elite broadcaster sound-wise, this was quite a concert. I’ll be looking for Bamberg reviews.
***
Oliver Knussen
“Choral” for winds, percussion and double basses (German premiere)
Clara Iannotta
Piano Concerto “The purple fuchsia bled upon the ground”
George Benjamin
“Concerto for orchestra”
Harrison Birtwistle
“Deep Time”
***
“Oliver Knussen loved to explore utopian worlds. In his short piece for winds Choral, shifting “choirs” create a variety of spatial effects. The physicality of sound also shapes Clara Iannotta’s The purple fuchsia bled upon the ground. The title is borrowed from an Irish poem, whose vivid language inspired the Italian composer to create an experimental instrumentation that includes electric guitar, MIDI piano, and accordion. The Concerto for Orchestra by George Benjamin, who is also the conductor of this musica viva concert, was written in memory of Knussen: it is a turbulent work that seeks to evoke Knussen’s energy, humour, and spirit. The concert concludes with Harrison Birtwistle’s Deep Time: a breathtakingly colourful piece, alternating between the melancholy character of the English horn and cataclysmically pulsating moments.” (BR)
***
Pierre-Laurent Aimard piano
Symphonieorchester des Bayerischen Rundfunks
Sir George Benjamin
Bamberg/Blomstedt update: Dec.12 concert recorded by Bavarian Radio: broadcast on Jan.20 @ 8p.m.
https://www.br-klassik.de/programm/radio/ausstrahlung-3951226.html