BETSY JOLAS (b.1926): Histoires vraies for Piano, Trumpet and Orchestra, SALLY BEAMISH (b.1956): Trumpet Concerto, OLGA NEUWIRTH (b.1936): …miramodo multiplo… for Trumpet and Orchestra.
Catalogue Number: 10V046
Format: SACD hybrid
Description: Beamish's concerto was inspired by Italo Calvino's 'Invisible Cities', with its exploration of the limitless possibilities of what cities are or could be. The composer presents three modern cityscapes, all rather alienating; an imposing metropolis, empty and devoid of human interaction, followed by the bustle and activity as it comes to life; a jazz-inflected late night of desolation and exhaustion, and a violent dystopian landscape full of percussive discord (using 'found' metallic objects as percussion instruments) - all in a highly effective, largely tonal idiom, powerfully evocative in its imagery. Neuwirth's title suggests a multiplicity of ways of looking at the world, which reminds us that this is the composer who made a highly effective opera out of David Lynch's nightmarish, time- and identity-fluid film 'Lost Highway' (04I103). And this work sounds in many ways like the trumpet concerto that the composer drawn to Lynch's subject matter and capable of that unlikely genre-crossing feat. Neuwirth's music tends toward the confrontational, though this piece is less about a confrontation between soloist and orchestra than the two combining forces to confront the listener with a kaleidoscopic vision made up of sometimes decidedly uncomfortable atmospheres, memories, or impressions. References to other music are to be found throughout; Handel in the fourth movement; 'Send in the Clowns' in the second, as well as her own works (including Lost Highway), and the distinctive playing style of Miles Davis. Jolas' 'concertante suite' was written for Muraro and Hardenberger, whose repertoires had seldom coincided and who wished for a piece they could perform together. It consists of diverse sections - presumably the 'stories' of the title - in which the orchestra sets the stage and then the soloists enter the scene and play their roles. 'Setting the stage' is more literally a part of the piece in the sections that draw attention to tapping and clatterings - and at the start, the tuning of the orchestra and the conductor's call to attention - suggesting that this is a piece ' about' the experience of being two leading soloists in the contemporary music world and their working conditions! Håkan Hardenberger (trunpet), Roger Muraro (piano), Malmö Symphony Orchestra, National Youth Orchestra of Scotland (Beamish); Martyn Brabbins.