Oliver Knussen: Violin Concerto op. 30 (2002)

Beginning of the solo part l. movement
Beginning of the solo part l. movement

Oliver Knussen
born 12 June 1952 in Glasgow
died 8 July 2018 in Snape, England

World premiere:
5.4.2002, Heinz Hall, Pittsburgh, PA, USA: Pinchas Zukerman/Pittsburgh Symphony Orchestra/Oliver Knussen

CD recommendation:
Leila Josefowicz, 2003


Anyone who has seen Oliver Knussen conduct live, in a performance of his violin concerto with the American violinist Leila Josefowicz in Zurich, will never forget this concert experience. At least that's what happened to me.

With the CD recording of Knussen's Violin Concerto at the Proms in London, I want to revisit this musical experience. There are also encouraging signs that Knussen's Violin Concerto has been programmed more often recently.

From the very beginning of his artistic career, Oliver Knussen was active and creative both as a composer and as a conductor. As a conductor, he particularly championed the contemporary work of his fellow 20th century composers. As a composer, he leaves behind a rather small but precisely crafted body of work after his sudden cardiac death in 2018, with chamber music, 3 symphonies and with the successful opera based on the children's book "Wo die wilden Kerle wohnen". His Violin Concerto was first performed only in 2002, but I still rather count Oliver Knussen among the composers of the 20th century in the succession of Berg and Britten, which does not say anything against the topicality and quality of this work. His violin concerto is also dedicated to Pinchas Zukerman, one of the great violinists of the 20th century. Knussen's music is freitonal, sparklingly orchestrated, fascinating to hear, at moments magical and brilliantly imagined. His works tend to be small-scale.  Oliver Knussen himself said, "I'd rather be enchanted for a few minutes than hypnotised for an hour." His violin concerto, then, lasts a scant 16 minutes. Moreover, the three movements, recitative, aria and gigue, are played without intermission, as if they were a staged performance in a theatre.

Listen here.

I    Recitative -

II   Aria -III Gigue

I. Recitative -

It all begins with a chime and a very high E from the violin: Fantastic and magical is the order of the day. Then the violin begins its narrative with a wild recitative. Excitement in the orchestra, the violin continues, the orchestra calms down. Harp, vibraphones and flute sounds prepare a podium on which the violin can continue its narrative. The orchestra follows the violin's speech, supports it in what it has to tell. From time to time, timpani and interjections from the low winds interrupt the violin's dramatic report, and percussion also interferes. But the violin continues to tell its story, the orchestra reacts more and more sympathetically, the violin's performance calms down...

II. Aria  -

Then a harp sound, calmed, the violin rises from a low register to sing. The dramatic speech becomes a liberated aria, the violin sings a long, free-breathing melody.... until the woodwinds interrupt and the violin's singing becomes more agitated, especially because the orchestra interferes in an oppressive manner. Only slowly does calm return, the violin is able to finish its aria, until only the harp accompanies enchantingly and the violin again reaches its very high E of the beginning, end of the narration...?

III. Gigue

But no, it really gets going. After a dramatic recitative and aria, the violin now plunges into a magical, sparkling and fantastic dance. The horn opens, the violin joins in with energetic double stops. Sound magic. Then the orchestral violins, accompanied by harps, begin a wild gigue. The solo violin joins in, driving the dance forward. The flutes join in wildly. The orchestra increases, wild pizzicati of the violin, constant increase. The Gigue is a high-spirited circus number, apparently inspired by a film about a vaudeville fiddler-clown, Barry Millington reported in the Evening Standard. A short catch of breath, an up and down, then it goes on swaying for a moment, the whole orchestra and the fiddle driving each other into ecstasy. Towards the end, however, the brass join in, build up longer brass sounds from below, call the violin to rest, it tires, and finds its way back to its very high E, a final sound of the orchestra, end of ecstasy and enchantment.


www.unbekannte-violinkonzerte.jimdofree.com

Kontakt

 

tonibernet@gmx.ch