As every school boy will tell
you, Heraclitus once stated (amongst other things) that you cannot step in to
the same river twice. Everything is in a state of flux. It is this philosophic
thought from the Pre-Socratic Philosopher that inspires much of the music on
this CD. It is epitomised by the baroque form of the rondeau, which ‘is
suggestive of the ever-changing stream…’
François Couperin is not a
composer whom I know much about. Many years ago I did learn that there was a Couperin
dynasty which included family posts at the church of Saint-Gervais in Paris. In
1693 ‘our’ Couperin aspired to be organist of the Chappelle Royalle by
appointment of the King, Louis XIV. He wrote a wide variety of music, both
sacred and secular. Included in this catalogue are four major folios of
harpsichord music with 27 suites or, as he called them ‘ordres’. There is also
the important treatise L'art de toucher le claveçin (1716). Any interpretation of Couperin’s
music involves rigorous understanding of his use of ‘ornament.’ This is an area
‘beyond my ken’: all I can say is that I was delighted, inspired and impressed
by Assi Karttunen’s playing of these pieces.
This music is imaginative, often exciting and always well-wrought.
It is unnecessary to give a
potted biography of Graham Lynch. His excellent webpage
will give the listener all they need to know. Nevertheless, one fact is worth
keeping in mind. Lynch has a
wide-ranging musical style which includes seriously produced, contemporary
‘art’ music on the one hand and a love of the ‘tango’ on the other. In our
post-modern age we can easily accommodate this stylistic disparity.
Graham Lynch is represented on
this disc by three important cycles of keyboard music and three miniatures. Each
of these works maintains a trajectory ranging from the baroque to the present
day. An Iberian flavour colours some of this music in a more or less subtle
manner. All good composers (and Lynch is
certainly a fine composer) develop their own voice and musical personality. However,
a few markers can be laid down to assist the new listener evaluate his
music. I think (and have said before)
that some of these indicators include Debussy, Messiaen and possibly Kaikhosru
Shapurji Sorabji. The composer once told
me that the Japanese composer Toru Takemitusu and the Latin American Astor
Piazzolla made an important contribution to his music. This is clear in Admiring Yoro Waterfall and Ay!
respectively.
The first of three large-scale
works is the eponymous Beyond the River
God. The composer has explained ‘out
of all the harpsichord music that I’ve written…[this] comes closest to having a
dialogue with the French clavecinists of the 18th century, especially
François Couperin.’ What this means is
that Lynch has provided a five-movement structure that is ‘built on the
rondeau/couplet idea.’ The first, third and final piece exploit the rondeau
which presents a theme three times and is interspersed with episodes of
contrasting material. The other two movements are ‘couplets’ which act as
episodes in the overall form. The
composer cleverly recycles material as the work progresses.
It would have been helpful if it
had not been assumed that the reader/listener understood the nature of rondeau,
episode and couplet and its relationship to French literature and music.
A brief note on the iconography
of the ‘river god ‘is helpful. The
musical imagery of this nature divinity is created by ‘the repetitious form of
the rondeau, in which the music gains momentum as it is gathered into itself
…and flows toward its conclusion in a manner –like a river – that is always the
same and yet always different.’ The British will think of Father Thames as
epitomising the divinity.
The second cycle is Petenera which appeared on the
composer’s earlier CD of piano music.
Although the present liner notes
do not elaborate on the work’s allusion, the word ‘Petenera’ is a flamenco
‘palo’ or indigenous musical form. An additional connotation is that it is also
a legend of a cantadora or singer called ‘La Petenera’. She was a femme-fatale who used her charms to
seduce men and drive them to damnation…
Lynch’s music has been built around a sequence of poems by Federico Garcia Lorca. I have not read these poems but
understand that they are ‘dark, erotic, strange and make frequent references to
the guitar.’ Petenera has four
contrasting movements: Bell, The Six Strings, Dance, and De Profundis. I noted
in my review of the piano version of this piece that it is infused with a
Spanish mood rather than being an Albeniz-like exposition of Andalusian
folk-music. It works as well for harpsichord as it did on piano.
The third cycle is Present-Past-Future-Present which the
liner notes rather obviously suggest represent the passing of time! All music
deals with this concept. The opening
movement is meant to portray the wanderings of the Japanese haiku poet Basho, ‘in inner
contemplation’ but is interrupted by irruptions from the external world. The ‘Past’
section is reflective. And ‘Future’ ‘rushes forward with joy towards a vision
of the full moon over the islands of Matsushima...’ The final section returns
to the ‘walking motif.’ I enjoyed this ‘suite’, but am not sure that the poetic
programme adds much value.
The reflective Admiring Yoro Waterfall is yet other
piece that fits the philosophical theme of this CD. Legend notes the healing
qualities of water which tells of a lad giving some to his ailing father. It
tasted like saki and inevitably the elderly man revived. This is a complex work that does not necessarily have ‘watery’
harpsichord figurations applied to it. I notice some definite ‘oriental’
colouring in this score that points up the location of the waterfall in Japan.
I was unable to find mention in
the liner notes of the two short pieces by Lynch. The attractive piece ‘Ay!’
has clear Iberian influence which reflects the composer’s particular interest
in the Tango. The final number is ‘Secret Prelude’ which derives
from a three-volume set of graded pieces called Sound Sketches. I guess that this ‘easy’ piece is equally at home
on the piano or harpsichord.
Assi Karttunen was born in
Helsinki and has specialised in baroque music as well as being involved with
experimental and contemporary music groups. She has performed as a soloist in
many European countries and has played in baroque ensembles and the Finnish
Baroque Orchestra. Other professional
commitments include lecturing and teaching harpsichord at the Sibelius Academy
as well as musical research. Her doctoral thesis concerned the ‘aesthetic and
philosophical background of the eighteenth century French cantata’. CD releases
include Arioso which explored early
Italian repertory, Memento mori Froberger
and a disc of music by Jean-Philippe Rameau. Assi Karttunen has an excellent website.
I found that the liner notes were
a little hard going. The ‘philosophical’ nature of the music seems to have rubbed
of on this ponderous and rarefied text. I would have liked a little more detail
on the Couperin works. It would also have been good to have the dates of each
piece given. Assi Karttunen plays a
German-style two manual harpsichord by Henk van Schevikhoven built in 1997 on
this recording.
The concept of playing François Couperin
and Graham Lynch back to back has been highly successful. The Baroque works are
full of charm and interest whilst the modern pieces are approachable,
well-crafted and musically satisfying. The performance of both Couperin and
Lynch is ideal.
Track Listings:-
François COUPERIN
(1668-1733) Cinquième prélude (from L’art de toucher le claveçin) (1716)
Graham LYNCH (b.1957)
Beyond the River God (2013)
François COUPERIN
Les idées heureuse (from Ordre 2me de claveçin) (1713)
Graham LYNCH Admiring
Yoro Waterfall (2001)
François COUPERIN
Les gondolas de Delos (from Ordre 23me de claveçin) (1730)
Graham LYNCH Petenera
(2005); Ay! (2006)
François COUPERIN L’exquise,
Les Pavots, (from Ordre 27me de claveçin) (1730)
Graham LYNCH Present-Past-Future-Present
(2013) [10:09]; Secret Prelude (c.2012)
Assi Karttunen (harpsichord)
DIVINE ART dda25120
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