Composer: Luc Van Hove
Works: Carnaval op het Strand Op.17; Symphony No.1 Op.25; Stacked Time Op.26; Triptiek Op.29; Piano Concerto Op.32; Symphony No.2 Op.34
Performers: Levente Kende (piano), Henk Swinnen (oboe), Tim Vets (electric guitar), Flemish Radio Symphony Orchestra, Etienne Siebens
Recording: Philips Building, Leuven, January, February and July 2000
Label: Megadisc MDC 7823/4
Luc Van Hove, a composer whose prolific output since the 1980s has established him as a significant figure in contemporary Belgian music, presents a compelling collection of orchestral works in this two-disc set. Each piece reveals his evolving style, a blend of lyrical expressiveness and rhythmic vitality, often reflecting emotional responses to the turbulent socio-political landscape of Belgium. This compilation spans works from 1985 to 1997, showcasing the breadth of his compositional voice and his engagement with various musical forms, from the evocative Carnaval op het Strand to the introspective Symphony No.2.
The opening work, Carnaval op het Strand Op.17, is a fascinating homage to the painter James Ensor, capturing the dichotomy of serene seascapes and vibrant carnival masks through its fluid orchestration. The performance by the Flemish Radio Symphony under Etienne Siebens is both nuanced and dynamic, adeptly navigating the work’s contrasting textures. The “sea music” permeates the piece, creating a continuous undercurrent upon which episodic bursts of color emerge. This is particularly evident in the work’s climactic moments, where the orchestra’s collective energy peaks before an abrupt, jarring silence—a masterstroke of Van Hove’s compositional technique that echoes the visual chaos of Ensor’s art.
Symphony No.1 Op.25 marks a stylistic shift, characterized by a more aggressive rhythmic drive and a palpable sense of unrest. Here, the interpretation choices made by Siebens and the orchestra highlight the work’s more turbulent nature. The Mahlerian homage in the central section, while brief, offers a lyrical respite that contrasts starkly with the surrounding intensity. The performance captures the symphony’s essence, particularly in the third movement, where the fleeting attempt at a grand theme feels poignantly thwarted—a deliberate reflection of the composer’s inner turmoil during the period of its composition.
The intriguing Stacked Time Op.26, featuring electric guitar alongside the orchestra, exemplifies Van Hove’s commitment to bridging genres. Tim Vets’s performance on guitar is particularly compelling, merging pop sensibilities with classical orchestration. The work’s rhythmic complexity and ironic undertones are effectively articulated, particularly in the central movement, Träumerei, where the guitar’s intimate dialogue with the orchestra creates a striking contrast to the preceding energetic sections.
Triptiek Op.29 presents a lyrical counterpoint to the preceding works, with Henk Swinnen’s oboe leading a beautifully shaped narrative. The long melodic lines in this piece are exquisitely delivered, especially in the central movement, which serves as the emotional core of the work. This performance encapsulates the reflective quality of Van Hove’s writing, allowing the listener to experience a more meditative atmosphere.
The Piano Concerto Op.32 continues to challenge traditional forms, with its unique structure that juxtaposes a brief, dance-like opening against a more elaborate narrative second movement. Levente Kende’s playing is sensitive and virtuosic, particularly in the expansive second movement, which unfolds with a ballad-like lyricism reminiscent of Frank Martin’s works. The orchestral forces employed here lend a dramatic depth, making this one of Van Hove’s standout compositions.
In the more subdued Symphony No.2 Op.34, the emotional gravity is palpable, as the two-part structure allows for a profound exploration of grief and introspection. The elegiac quality of the work is beautifully captured in performance, with a rich melodic language that distinguishes it from its predecessor. The engineering of this recording is commendable, maintaining clarity even in the dense orchestral textures, although some may find the sound levels slightly overwhelming at times.
Through this comprehensive survey of Luc Van Hove’s orchestral output, it becomes evident that his music is both a reflection of its time and a personal journey through complex emotional landscapes. The performances are committed and finely tuned, effectively conveying the intricacies of Van Hove’s compositions. This double-CD set stands as a significant contribution to the canon of contemporary orchestral music, deserving of attention for its innovative approach and emotional resonance.
