Luciano Berio
Spotlight – Listen – See in Concert – Review
For me, much of the value of performing contemporary music is the experience of working with the composer,” says Semyon Bychkov. “When you perform the music of the past, you rely on your own insight and knowledge, and what other performers have done over generations. With the music of the present you have a chance to find out the original intent – and sometimes there are a lot of surprises waiting for you! Often a phrase can be played one way or in the opposite way, and the composer is equally happy, as long as the intended spirit of the music is respected. This not only frees you from dogma, it builds courage in an interpreter, as you gain confidence that your instincts about the music of the past will be equally true.’
One composer Bychkov worked intensively with was Luciano Berio (1925-2003). ‘When he spoke about music, the originality of thought was on the highest level, yet it was expressed in terms that musical laymen could understand and be fascinated by. This is a rare gift, and a sign, for me, of genuine humanity.
I remember recording the Sinfonia. My goodness, how much time I spent with Luciano arguing about every comma, every detail of articulation. He quotes extensively from other composers, but often inaccurately. We spent hours proof-reading it. In the end it was thoroughly gratifying and he was very happy. I’d done part of his job for him! But it gave me an opportunity to see how his mind worked.’
‘We can all talk about the duty we have to perform contemporary music. But for me as an interpreter, there has to be something in it to learn from the experience.’
The Frenchman Henri Dutilleux (1916-2013) is among the composers from whom Bychkov learned the most. ‘Every note is precious, and he has not written many. It is very mysterious music, as mysterious as the person himself, the beautiful product of an independent mind. Forty years ago, just as ever, it took someone very strong to write music that went against the trend, to survive and not be broken.’
‘Magnus Lindberg (b.1958, Finland) is a prime example of the way new music is now developing. He established himself in the avant-garde with the works of extraordinary power, tremendous orchestration, great muscularity. Suddenly, in the last few years, a new Lindberg has emerged, and it’s wonderful to see. It is a Lindberg who will allow himself to be lyrical. It is a Lindberg who will finish his Clarinet Concerto in unashamed C major. What does this say to me? That he doesn’t feel he has to prove anything, that he writes the music he wants to write. And if somebody like Lindberg will do that, it means it’s OK for others!’
‘Another contemporary composer who has come on to my radar is Detlev Glanert (b.1960, Germany). He’s one of the very few prolific opera composers of modern times, but he also writes a great deal of instrumental music, employing sophisticated compositional techniques that the listener is not necessarily aware of – which is the best way. His music has tremendous personality, its own distinctive ‘face’. He will soon be our composer in residence in Cologne, which should be the beginning of a long collaboration. He has already started writing for us. His music makes the interpreter believe that here is something of real value for performers and audience – and if I don’t feel that connection, I don’t want to perform a piece. Whether it is new or old is beside the point.’
Listen to Semyon Bychkov conduct WDR Sinfonieorchester Köln in a performance of York Höller Sphären and Der ewige Tag: