Grafenegg Academy 2022

Håkan and I sing from the same hymn sheet of the 20th century masters, steeped in the finest music from the classical era and beyond, and above all forward in time to the present day. As such, the visionary influence of Igor Stravinsky shines like a beacon on the entire body of works presented, and we honour greats such as Bela Bartók and Edgar Varèse. 

This concert shares the brilliance and beauty of two of the 20th century’s finest creative minds at full power - those of Igor Stravinsky and Bela Bartók. For Håkan and myself, these composers preside over much of the music that we perform, their principals, their inspiration, and their direct influence on so much, maybe even the entirety of the works that we have premiered ourselves over our careers. Channelling these two geniuses, and refracting their influences within her own uniquely dramatic style, is Helen Grime, whose Percussion Concerto from 2019 is presented here. This work was written for myself, premiered in 2019 with the London Philharmonic and immediately entered the vanguard of my concerto literature. I have worked on it several times with Håkan conducting, and at the time of writing this article he is preparing the world premiere of her new Trumpet Concerto, in turn written for him. Helen is vital to our ongoing expansion of the repertoire, and it is an honour to represent her here at the Grafenegg Academy.

This «Percussion Concerto» clearly shows the contemporary context and legacy of the sound world of Stravinsky, especially from his writing for wind and brass (Helen’s first instrument is the oboe). The echos of the chorales and fanfares of the «Symphonies of Wind Instruments» permeate her concerto, along with her own trademark depth of sonority, those achingly powerful and unrelenting bass lines, which underpin large parts of her sweeping sonic language.

One of the most majestic and enthralling works of Bartók, the «Music for Strings, Percussion and Celesta» offers another mastery of instrumental texture and form, comprising the instrumental groups that compliment those of Stravinsky’s «Symphonies». The work’s opening fugue heralds a perfection of proportion, which takes us through rhythmic splendour, chilling night music and a much celebrated final catharsis. 

The music of Edgar Varèse is of enormous importance to Håkan and myself. This composer’s electrifying Frano-American style is deeply suited to our tastes - the French sensibilities combined with the metropolitan grandeur of the New World. Naturally the writing for brass is supreme in Intégrales (count those trombones - tenor, bass and yes, contrabass!) whilst the fanfares from the piccolo trumpet and very low horn are still lauded today by composers of all genres. This work still shocks, it sucks you in with its atavistic power, noise, and indeed, tenderness when those moments are allowed to come through. 

I recently obtained the score for a superb and very under-performed «Hommage à Edgar Varèse» - the «Ceremonial» by the wonderfully unclassifiable André Jolivet. A perfect «festival» piece, something to celebrate and relish, this piece draws deeply on Varèse’s writing style for percussion and forms a deeply felt and ambitious tribute to a composer that was obviously of enormous influence. Håkan and I are huge Jolivet fans, ambassadors for his music, and part of this testimony was the forming of our own duo over the work «Heptade» by that composer. 

Composers that we cherish and endeavour to champion such as Takemitsu and Jolivet provide a bridge to the contemporary voices of Magnus Lindberg and especially Helen Grime who we are delighted to represent as the Grafenegg Academy Composer-in-focus. Her music has everything that we cherish and aspire to share with the musicians attending this summer - the sense of line, proportion of colour, depth of expression and the necessity of playing every single note with your ears and your heart wide open. 

We have now played this work for many years and also made a recording of it, a central piece of our duo album entitled «The Scene of the Crime». Jolivet is family - and Varèse a father figure. 

Håkan enjoyed close ties to the legendary Japanese composer Toru Takemitsu who wrote and dedicated his serene «Paths» to him. It felt very natural to include some of his music here, and it combines perfectly with the music of Magnus Lindberg, who is another outstanding member of the present day new music community. Both of these composers have an immediately recognisable style, and their languages are those that we wish to explore and promote within the Academy. 

Mark Simpson’s brand new «Geysir» completes this opening concert, with its instrumentation drawing on a work from a former time - Mozart’s «Gran Partita». Simpson is a virtuoso clarinetist as well as composer extraordinaire, and this work combines his dual exploits with both flair and poetic distinction.