Birmingham Contemporary Music Group Tickets

This very interesting and varied program of new and relatively new music began with “Phantasy, op.2” (1938) for oboe, violin, viola, and cello, penned by the iconic British master, Benjamin Britten. A fine choice for a program-opener, this work is active, and very expressive, featuring energized figures that provided an excellent vehicle for the wonderful oboist, Melinda Maxwell. This dramatic work is in one movement— concise and eloquent. Elliott Carter’s “Epigrams for piano trio, op.2” (2012) is the composer’s final work. He passed away at the age of 103, ending a long, storied life, having created some of the finest, most ingenious work in the American classical repertoire. In a lecture at Chicago’s Symphony Center a few years ago, I listened to Mr. Carter—in town for the premiere of his newest work—speak about how as a young boy he would make clocks— timepieces of all sorts and sizes—and place them on the shelves of his room. That stuck in my mind, because his works remind me of this endless variety of “live time.” This particular work is somewhat of a microcosm of this concept, made of twelve distinct musical epigrams- each embracing a life of its own yet connected by the composer’s singular ethos. The fine performance was a most deserved tribute to this composer. Next was the world premiere of Marc Neikrug’s “Tiger’s Nest” (2013) —composed as a commission for this program, and written for piano trio. I have to preface my remarks here by saying that one should probably not judge a work upon first hearing— especially a contemporary one, and —most especially, without knowledge of the composer’s earlier work. That said, I will say that this work was a most difficult one for me to like. Relentlessly dissonant and without apparent form, I felt like I was being dragged through an endless field of cactus. Dramatic, terse, and severe, it seemed to meander much like an angry child’s temper tantrum occurring in the seat behind you on a crowded airplane. The Washington Post gave this piece a very fine review! In direct contrast, the next work was Hans Werner Henze’s “Adagio adagio” (1993) for piano trio —a sweeping modern gesture of Brahmsian longing—compact and quite lovely. The kind of work you wished you could spend more time with. This concert was part of the Oliver Knussen week-long residency at the LOC, during which he presided over many musical events, acting as teacher, programmer, composer, lecturer and researcher. His is a most modest presence, and one which strives to learn, create, and enlighten, rather than “grandstand,” as he put it in the pre-concert lecture. His one work on this evening’s menu was “Cantata (Triptych,part 3) ” for oboe, violin, viola, and cello. With its shifting meters and colors, this successful work evoked many moods, from the agitated to the sublime, downplaying the complexity of its counterpoint and rhythmic nuances to the overall atmosphere of this cohesive and strong work. Enormously successful as both a composer and conductor, Mr. Knussen has been a tireless champion of contemporary music. The final offering of the evening was Frank Bridge’s “Trio for Violin, Cello, and Piano” (1928-29). Mr. Bridge was an accomplished and successful English composer and violist, known for being the teacher of Benjamin Britten. His “Trio” has a very interesting, evocative beginning-replete with sweeping, melodic lines spiked by sharp piano chording. The writing for piano is very interesting throughout, and the piece served as a solid finish for an excellent and intriguing night of music at the Library of Congress. Special mention should be made of the wonderful artists who brought these works to life: Alexandra Wood, violin; Christopher Yates, viola; Ulrich Heinen, cello, Melinda Maxwell, oboe; Huw Watkins, piano.

The Birmingham Contemporary Music Group is comprised of excellent musicians, and they did a yeoman job on the mixed bag of compositions they performed. That said, most of the pieces were quite forgettable. Oliver Knussen was the director, and his own works were the best part of the evening, though they are not ones I would enjoy hearing often. As I try to be open to new music, this concert was an opportunity to hear some works and composers new to me. None of them provided pieces that would work well in the standard repertoire, and I shall not feel cheated if I never hear any of the pieces again.

I had been trying to get tickets to a concert in the Library of Congress for quite a while. I finally got tickets for this concert. Now I know why tickets were available. "Contemporary" music can be challenging to listen to. It is often atonal and discordant. I guess if you study music that can be interesting, but it wasn't very enjoyable to listen to as a casual music lover. We left at the intermission. I was also disappointed that we were not able to see the beautiful main floors of the Library of Congress. There was a fundraising event going on up there, and the basement where the concert hall is located is pretty dingy.