Customer Reviews

Knussen Conducts Knussen

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I think that this would be one of the 5 CDs I would want to take along with me. For those unaware of British conductor/composer Oliver Knussen's precocious beginnings--he conducted the London Symphony in his Symphony No. 1 at age 15. Perhaps a "modern day Mozart" might be too strong, because it would imply a prolific amount of work (compositions) to show for it: but 'wunderkind' will do. Decades later, admirers of his work eagerly await the next masterpiece. His music simply 'sparkles' The listener is confronted with a density of melodic ideas (similar to polyphonic and polyrhythmic lines of Elliott Carter). While Carter's music can seem 'too much' for the ears to confront, Knussen's keen orchestration is so clear and lucid that in spite of the many lines going on, you can follow any and/or all at the same time. The disc opener "Fireworks with Flourish" is a kaleidoscopic fanfare unrivaled in contemporary music. Based on the "Feu d'Artifice" of Stravinsky, listening to them back to back one can hear hints peaking through the surface and texture of the Knussen, but he still retains his own compositional voice. My other favorite is the first of the Whitman Settings, for soprano and orchestra, "A Noiseless Patient Spider" sung exquisitely by Lucy Shelton. What can I say, Knussen's command of the orchestra is everywhere evident. He can have the full orchestra blasting different musical lines against the soprano, but she can ALWAYS be heard and understood. It is a must-have disc. If you are a listener curious what is being written in the here-and-now, but were never sure what to buy. This would be one of the best discs to purchase.

One just wishes there were more Knussen cds. All of the works on this disc are gems. The music snaps, dazzles, celebrates. But the Horn Concerto is the center piece of the disc, a 14-minute inspiration balancing the distant sonority of Barry Tuckwell's Horn against the closer, more rapid orchestral flurries. You'll come back to this work again and again. Knussen's a great conductor, but I wish he'd conduct less and compose more.

What I find absolutely flabbergasting about Knussen's music is that it's given credibility. Arguably, composers of modern vintage must have their say, and I have nothing against this. Music always moves forward; yet, for me, it must say something. I don't consider a mere conglomeration of notes, random or otherwise, a musical composition simply because it exists on paper, concert hall, in the minds of music "critics," or on CD.

What impresses me the most here is the complete absence of musical inspiration, invention or depth. What depresses me is the sheer banality of this music, the pretense.

Even the most "conservative" material--- the Horn Concerto, Op. 28, with Tuckwell at the blowhole--- fails to ensure success. It's all a vacuous, modernistic rehash. The Way to Castle Yonder sounds ludicrously derivative of Ligeti and music made popular in the 70s. It doesn't work. Music for a Puppet Court, Op. 11, culls whatever meager melody it can from the inspiration of 16th century composer, John Lloyd, and is attractive for about two minutes. The Whitman Settings (For Soprano and Orchestra) are wretchedly stark, dissonant and annoying pieces. Lucy Shelton helps matters none with her intolerable wailing, warbling and screeching.

Yet another case of "The Emperor's New Clothes." Unfortunately, Knussen's "work" is even more threadbare than most.

[Running time: 51:17]