Recording: Belgium National Orchestra
Einojuhani Rautavaara (which I can almost guarantee you will be spelled wrong somewhere in this post) is a composer I've been meaning to listen to more of since playing Cantus Arcticus. I really loved the harmonic language of the piece and the thick layers of sound that he used. So I figure his symphonies might be a good place to start.
Immediately I'm struck by how unmistakable his sound is. I haven't listened to much but his sound is distinctive, kind of like Arvo Part's music and it makes me wonder if he has a structured approach to his harmony like Part does (forgive me not looking up the umlaut). So I'm listening to the 2003 version and from what little I could find I should listen to the earlier versions which are radically different. It makes me wonder if the piece sounds less mature in the first version.
Much of the first movement seems built around three broad ideas: a planing chordal section, a section that alternates between two chords, and a dotted rhythmic section. As the first movement, which is longer than the other two movements combined, progresses, these three ideas combine with each other, especially the chordal planing and the dotted patterns. The planing dominates the first part of the movement, with breaks between planing styles serving to create contrasts. The tonal language seems to stretch and split at spots, creating a bitonal sounding tension between sections of the orchestra. The first alternating chord section features a violin solo which gives a sense of being lost, as opposed to the sound of seeking that the opening planing section caused.
After the violin solo ends, the dotted pattern enters in to the picture. From here on out, much of the movement is a build in complexity of texture and harmony until the coda. After the melody of the third section is established, the harmonic texture of the first is slowly added on to the dotted theme, creating a planed harmony on top of the melody. It is briefly broke up by a return of the opening, but this time there are violent interjections by the brass and timpani, which culminates in a glorious climax fully combining all the elements with the exception of the alternating chords, which form the coda. This time the alternating chords sound more peaceful than disorienting, although there is a dark undertone to it, reinforced by the ending of the movement.
The beginning of the second movement features some stunning solo work, and the movement features some very sensitive horn writing. This movement features much of the planing present in the first movement but with a more ephemeral feel throughout the movement. I am surprised at how forward moving all this planing sounds, because I would think that style of harmonic movement would drag down after a while, but somehow it continues to lead the listener forward in Rautavaara's hands. There are some curious combinations of wind colors towards the end of this movement.
So wow, I was totally not expecting the third movement. After two movements of this lush, tense writing, I was greeted with an at times playful, at times grotesque, scherzo. It sounds like a parody of folk music or circus music at times. It is also times like this that I wish I would take more time for research so I don't sound completely ignorant if it IS based on folk melodies. At times there are these violent developments of the theme that remind a bit of Ives, but the end reminds me of Rite of Spring, but with the richer harmonies of Rautavaara. The ending of the symphony also comes abruptly, as it ended with ten seconds left to go on the track and I just stared at it waiting for a stinger.
Short summary since this already went long: Lush harmonies, masterful orchestrating, and just bizarre finale movement in the context of the rest of the work. I'd recommend it for sure!
Tomorrow: Etienne Mehul Symphony #1