United Kingdom Habibi, Beethoven, Berlioz: Javier Perianes (piano), Orchestre Symphonique de Montréal / Rafael Payare (conductor). Barbican Corridor, London, 19.11.2024. (CC)
Iman Habibi – Jeder Baum spricht (2020)
Beethoven – Piano Concerto No.1 in C, Op.15 (1795, revised 1800)
Berlioz – Symphonie fantastique (1830)
Launching their 2024 European tour in London, the Orchestre Symphonique de Montréal underneath their dynamic principal conductor Rafael Payare supplied wealthy fare. It was intriguing to listen to them within the Barbican Corridor, although, versus Montréal’s Maison Symphonique: whereas their house base fits them completely, inheritor brightness of sound appeared emphasised by the Barbican’s acoustic, and at instances it felt as if the corridor was struggling to comprise their sound.
That mentioned, there was lots to get pleasure from, not least in Jeder Baum spricht (Each tree can converse) by Iman Habibi. I first got here throughout Habibi’s music by way of the Azrieli Prizes and his piece Shāhīn-nāmeh (see my evaluate right here of the London live performance in 2022; the piece can also be out there commercially as a part of the 3CD set on the Canadian Analekta label in a set entitled New Jewish Music, issued to rejoice a decade of the Azrieli Prizes: Montréal’s Orchestre Métropolitain is performed by Nicolas Ellis).
The phrase ‘Jeder Baum spricht’ is present in Beethoven’s sketchbooks and is itself a measure of that composer’s alignment with Nature (as expressed most overtly in his Sixth Symphony, the so-called ‘Pastoral’). A chat on the WRTI Radio station and out there free of charge by way of streaming means that the music of the Yellow Hammerbird may need been the inspiration for the opening of Beethoven’s Fifth Symphony. Habibi suggests Beethoven would have heard this music (quick notes adopted by lengthy) within the parks in Vienna. Habibi requested himself what would Beethoven’s response have been in a time of local weather disaster; Habini’s piece appears to be like on the Fifth and Sixth Symphonies ‘by that lens’.
The concept of music and Nature collectively inevitably brings in ideas of progress and, naturally, organicism. Right here, the music ‘grows’ from the bass up, and repeatedly tries to realize a objective however is regularly interrupted, as if makes an attempt to assist local weather change are thwarted. Musically, the piece additionally displays Habibi’s life and heritage: he studied Western classical music in secret earlier than his household moved to the West when he was 17. So, there’s a motif (most prominently on clarinet) that may be a Rückblick to Habibi’s Iranian heritage. Some moments are lush and nearly filmic, others extra Modernistic, and Habini balances all of it skilfully.
Speaking of balancing all the pieces skilfully, the efficiency was impeccable, strings nearly impossibly collectively. Habibi’s language appears infinitely versatile, and the virtuoso nature of the rating fits this orchestra to a tee.
Jeder Baum spricht has loved notable success: since its premiere in 2019 with the Philadelphia Orchestra underneath John Adams, there have been performances in Winnipeg, Boston, Saskatoon, New York (with the New York Philharmonic), Washington and plenty of, many others.
Beethoven’s First Piano Concerto is acquainted territory, The soloist right here, Javier Perianes, has simply the correct qualities: the nimblest of fingers, plus a eager and quixotic musical temperament. Payare solely took away the again desk of the strings, leaving fairly a big orchestra onstage, however textural delineation was such that there was little feeling of the overblown: strings had been certainly wealthy, however not over-burdened. Clear and crisp summed up the method of each pianist and orchestra, and the efficiency was versatile and fluid sufficient to keep up expressivity with out undue rubato. The sluggish motion was a dream, the proper tempo, the music given area to breathe whereas nonetheless sustaining mobility. Little particulars counted a lot, not final Perianes’s preternaturally even trills. Once more, the finale felt on the good tempo, lithe, off-beats sprung, acciaccaturas on the piano fabulously snappy.
One encore, and what a belter: Grieg’s ‘Notturno’ from the fifth ebook of Grieg’s Lyric Items (Op.54/4), considered one of that composer’s best choices, and fantastically executed by Perianes.
Berlioz’s Symphonie fantasique is one other repertoire favorite. It emerged as newly minted right here. The whole lot was rigorously positioned by Payare: together with in bodily phrases, with the necessary cornet à pistons participant spatially faraway from his trumpeter colleagues (nearer to the 2 harps) for the obbligato within the second motion.
Conducting flawlessly from reminiscence, Payare clearly not solely is aware of this rating from inside, but in addition cherishes it. Woodwind had been beautifully collectively and in tune on the opening; strings scampered infectiously later; low string accents eager. Rubato was good: the orchestra and conductor have such a exceptional degree of mutual belief. Berlioz’s modernist scoring got here to the foreground; though on up to date devices, there have been second, nearly stunning, that one would have anticipated to have such an impression solely from a interval instrument ensemble (strive Marc Minkowski’s DG recording of this piece with Les Musiciens du Louvre, as an example). Tiny particulars once more impressed: the horn’s flawless oscillation between two notes a tone aside in opposition to gossamer strings within the first motion is however one instance amongst many.
This was five-movement tableaux, every phase a tapestry in vivid color. The ball was in brilliant gentle, however above all else was suave, the cornet completely balanced. Teasing rubato captivated, and once more there was a definite avoidance of over-egging the rubato pudding. Atmospherics had been all within the ’Scène aux champs’ (and the way poignant the shut when the oboe’s echo of the cor anglais’s plaintive music was changed by rumbling percussion). One other instance of that phenomenal accuracy: the flute and violin doubling, so good the composite sound was as one, a brand new and particular person orchestral color, an adorning of the road with sonic silver. There was drama, too, a French ‘Sturm und Drang’?
No shock, maybe, that the ’Marche au supplice’ was a masterclass in orchestral virtuosity. This was the rawest vitality of the evening, much more Fashionable in really feel than any level within the Habibi; and a particular shout-out to the OSM bassoon part, so necessary (and flawless) on this motion.
And so, to the exceptional Witches’ Sabbath, the place Berlioz’s creativeness finds entire new universes. The woodwind ‘glissandos’ had been exceptional, as had been the Satan’s trills of the E-flat clarinet solo (phenomenally executed by Ryan Toher). This was a wild interpretation in all the correct methods, underpinned by the clear imaginative and prescient and rhythmic sense of the conductor.
The OSM actually demonstrates what may be achieved musically when self-discipline and technical excellence change into the handmaids of the music. As they did within the encore: the ‘Hungarian March’ from Berlioz’s La damnation de Faust (the ‘Rákòcky March’).
A beautiful night – and what a approach for the OSM to launch their tour. The standing ovation was hard-earned.
Colin Clarke
