2003 WASBE Conference

The opinions expressed
herein are those of the
authors and not
necessarily the opinions
of WASBE.

Stockholm Wind Symphony

Concert Review by Timothy Reynish

Concerts are always a highlight of WASBE Conferences. Not only do delegates hear outstanding performances, but most ensembles include newly-commissioned works in their programs. The opportunity to hear new compositions from many countries is unquestionably one of the major functions and delights of an international conference. WASBE 2003 was yet another impressive example of how active the wind band world is in commissioning new music—orchestra and choral directors take note!

The opening concert was given by one of the world's premier professional wind ensembles conducted by probably the world's best known solo trombonist, Christian Lindberg. Given the amount of wind music from Sweden in the past century, it is a little difficult to understand why the whole programme, with the exception of one world premiere, was of music played in the past two decades at WASBE Conferences. Two transcriptions were also included — we must reluctantly conclude that nothing worthwhile has been written in the past half century.

Be that as it may, the Stockholm Wind Symphony under Christian Lindberg began and ended their concert with works by Hugo Alfvén in excellent transcriptions by Anders Högstedt. Alfvén’s Festive Overture, which I find like rather insipid Wagner, opened the programme. His Suite from the Mountain King closed it. This latter work has a brilliant virtuoso clarinet number, which Högsted should immediately publish and we should all buy as an encore piece — wonderful, and brilliantly played.

In the first half, they included the Prelude and Dance by MatsLarsson Gothe, last heard in the complete version at the WASBE Conference in 1991, and still an impressive example of development of a few ideas. The second half began with a completely overpowering performance of Intégrales by Edgard Varèse, still challenging and contemporary after nearly eighty years. Their recording of this concert on BIS will be something to snap up instantly.

I must declare an interest in reviewing Christian Lindberg's Concerto for Winds and Percussion, written for and dedicated to the individual members of the Stockholm Wind Symphony. When I first suggested that he become artist in residence, it then transpired that he was beginning two new parallel careers as composer and conductor. His publisher, Edition Tarrodi, sent me scores and recordings of some impressive works, particularly a very beautiful Arabenne for Trombone and Strings. I was therefore happy to contribute personally to the commissioning fee in the name of WASBE.

The result is a virtuoso work of approximately fifteen minutes, scored for a normal wind ensemble of 3262:4 saxophones:44312:Kb:Timpani and 3 percussion. The style is eclectic. Christian describes his compositional philosophy as: “I do not write in any style whatsoever! I purely listen to what my brain and soul tell me, and what I hear I simply put down on paper. To say anything more about my work would be pretentious nonsense.” His friend Jan Sanström advised: “Whatever you do, do not try to prove anything, or be clever in any way, but just write whatever comes to your mind without judging it as good or bad. Like when a five year old makes a drawing.”

The opening allegro fanfare ushers in a heavy rock section, with shades of Zappa—Zappa I think, I am far from an expert on modern trends—very exciting and exacting for the players, especially the screaming lead trumpet. This leads into a more introspective section, with little flourishes in the woodwind and horns around a florid tune, rather reminiscent of that languorous melody in the slow movement of the Rodrigo Concierto d'Aranjuez for guitar. A long passage for marimba and vibraphone follows, and the restless energy is sustained. I was fascinated to look at the score, since I really felt that the dynamics of the second and third sections might well be lightened with advantage. There is indeed a more static passage with strange little grunts and chirrups from the woodwinds, but this is very brief and serves as a link to a return to the energy of the opening allegro. This is short lived and is broken off by a cadenza for euphonium, baritone saxophone, horns, clarinets, trumpets. Each solo is dedicated to the Stockholm players, all superb, but with Ronny a particularly impressive baritone sax player, but why do I pick out individuals because the whole ensemble is equally virtuosic? There is a final burst of energy, with an even faster coda leading to a confident fortississimo ending, and the inscription “Berlin, 1 Mars, 2003”. (How does Christian keep up his round of concerts as soloist, conductor and composer, while running two marathons in Berlin and Stockholm, and playing games with his children?) This work has the restless, hyperactive energy of the composer and was conducted in a histrionic manner that encouraged incredibly loud playing. I feel there is contrast in the scoring that was perhaps underplayed, and that a lighter approach, particularly to the second section, might well introduce more musical and dynamic contrast.

Will this Concerto for Wind Orchestra find a place in the repertoire? It will be fascinating to hear the results of the recording made in the following week for BIS (due out next year) and to see how the balance problems are managed. I found it unremittingly loud and was interested to see in the score how many passages Christian actually notated at forte or even mezzo forte and then conducted at fortissimo. I remember the composer Nigel Clarke coming up to Manchester to hear early rehearsals of little bits of Samurai and complaining because all the sections marked ff were so loud. The wind band is brilliant, its primary colours glitter and glance off each other, quite differently from the symphony orchestra or brass band. Composers, conductors and players do not have to work hard to make a loud noise, and so often we all underestimate the power of the ensemble and the pain threshold of our audience.

I do believe that it is a major work, in the Zappa tradition, brilliantly paired with the Varese, a composer who had considerable influence on Zappa. It is very exciting, particularly if we can build in more control of the dynamics and clarify the final section, which for me was just too busy in the premier performance. Get the beautifully produced score from Edition Tarrodi, and buy the CD when it comes out from BIS. If you have a virtuoso wind ensemble, try it. It will make an incredible end to your first half, and your players will love the challenge.