Composer: Esa-Pekka Salonen (b. 1958)
Works: LA Variations (1996/7), Five Images after Sappho (1999), Giro (1981, rev. 1997), Mania (2000/1), Gambit (1998)
Performers: Dawn Upshaw (soprano), Anssi Karttunen (cello), Los Angeles Philharmonic Orchestra, London Sinfonietta
Recording: Royce Hall, Los Angeles, January 2000; Air Studios, London, June 2000; Henry Wood Hall, London, December 2000
Label: SONY SK 89158
Duration: 75:13
Esa-Pekka Salonen’s recent release provides a compelling showcase of his evolution as a composer, balancing his distinguished conducting career with the equally significant realm of composition. This collection spans a range of works, predominantly from the late 1990s and early 2000s, which not only reflects Salonen’s burgeoning orchestral mastery but also reinforces his position as a significant figure in contemporary classical music.
LA Variations, completed in 1997, stands as Salonen’s most ambitious orchestral work to date. The piece is a tour de force of orchestral color and texture, demonstrating an effortless command of large forces. Salonen employs a rich palette that evokes a sense of movement and fluidity, with ideas emerging and dissolving in a manner reminiscent of Debussy’s orchestral works yet firmly rooted in the language of modernity. The opening motif, a vibrant and dynamic figure, rapidly evolves through a series of transformations, showcasing both thematic development and intricate orchestration. Each section of the orchestra is treated with equal importance, allowing for a layered and immersive listening experience. This work can be compared to Stravinsky’s Concerto in D, where rhythmic vitality and instrumental dialogue are paramount, yet Salonen’s innovations push the boundaries of texture and harmonic exploration further.
In direct contrast, Five Images after Sappho presents a delicate and lyrical side of Salonen’s artistry. Scored for soprano and a small ensemble, this song cycle is a poignant meditation on fragments of Sapphic poetry, exquisitely rendered through a Ravel-like transparency. Dawn Upshaw’s interpretation of the score is particularly noteworthy; her voice is both ethereal and grounded, capturing the emotional nuances of the text with grace. For instance, in the piece’s climactic moment, where the words evoke the bittersweet nature of love, Upshaw’s soaring line is beautifully balanced against the delicate instrumental tapestry, creating a moment of profound intimacy. The instrumentation allows for a subtle interplay between voice and ensemble, reinforcing the evocative nature of Sappho’s imagery.
Giro, initially composed in 1981 and later revised in 1997, highlights the evolution of Salonen’s style. The work, characterized by its acute dissonance and rhythmic complexity, retains a certain rawness that distinguishes it from his later works. The harsher sound world of Giro can be seen as a reflection of the early ’80s avant-garde movement, reminiscent of composers like Helmut Lachenmann. Despite its challenging nature, repeated listenings reveal a structural sophistication that rewards patient exploration.
With Mania, Salonen continues to explore the extremes of instrumental technique, resulting in a work characterized by frenetic energy and virtuosic demands. The cello, expertly played by Anssi Karttunen, is given long lyrical passages that provide a counterbalance to the orchestral turbulence, creating a dialogue between introspection and exuberance. The work’s rhythmic vitality and textural complexity are reminiscent of Ligeti’s Lontano, yet Salonen’s voice remains distinct, reflecting a more integrated approach to melody and harmony.
Finally, Gambit, written as a birthday tribute to Magnus Lindberg, offers a lighter, more celebratory tone. Its succinct form and bright orchestration serve as a jubilant conclusion to the album. While it may lack the depth of the other compositions, its effervescent character and deft orchestration make it a fitting and joyous ending.
The engineering of this recording is commendable, capturing the dynamic range and clarity of the orchestral textures. The balance between the soloists and the ensemble is meticulously achieved, allowing for a vivid and immersive auditory experience. The acoustic of Royce Hall provides a warm resonance that enhances the tonal colors of Salonen’s orchestration.
In conclusion, this collection of works not only affirms Esa-Pekka Salonen’s stature as a composer of considerable merit but also provides a broader context for understanding his artistic trajectory. From the orchestral brilliance of LA Variations to the intimate beauty of Five Images after Sappho, Salonen’s oeuvre reflects a deep engagement with both historical and contemporary influences. This recording serves as a valuable resource for those wishing to explore the nuances of his compositional voice and the vibrant landscape of contemporary classical music. Highly recommended for both seasoned listeners and newcomers alike.
