Innovative programming at the heart of ECHO’s Rising Stars tour

It is a rare treat to hear five different ensembles or artists one after another in a single concert, but the ECHO’s Rising Stars concert featuring some of Europe’s most talented and innovative young artists and programmers did just that. And even if the result did become the audience equivalent of classical music’s survival of the fittest, the Maat Saxophone Quartet’s rendition of You’ll Never Walk Alone to close, their ode to local Borussia Dortmund football team, had the valiant Dortmund Konzerthaus audience busily googling English lyrics so they could sing along. The marathon – punctuated by two very welcome intervals – was definitely worth the effort.

Trio Concept

Trio Concept, a piano trio hailing from Turin opened the afternoon with a fine reading Mendelssohn’s Piano Trio no.1 in D minor. Taking a moment to settle into the Konzerthaus’ generous acoustics, they soon found clarity in Mendelssohn’s remarkably rich textures and a delicious pianissimo halfway through the exposition settled any nerves.

Following their tempestuous Molto allegro, a sea of calm flooded the hall, pulling at the heartstrings. All was beautifully phrased, especially cello pizzicatos. Again, a daring pianissimo conclusion found an attractive inner calm. Their delightful Scherzo – an audience favourite – led to a boisterous and searching finale that left none in doubt as to their remarkable ensemble skills, and simple joy in making music.

Álfheiǒur Erla Guǒmundsdóttir

Quite radical adjustments to Icelandic mezzo soprano Álfheiǒur Erla Guǒmundsdóttir’s programme with the news of her pianist Kunal Lahiry’s ill-health were inevitable, but a shame. The chance to hear any of George Crumb’s three offerings should always be grasped. With the Trio Concept pianist Lorenzo Nguyen bravely stepping in with just two days notice, Purcell replaced Crumb. Guǒmundsdóttir’s very robust and romantic interpretation of Purcell’s Music for a While convinced; her rich lower register opening a door to an unexpected wealth of emotion.

In response, Errollyn Wallen’s surprisingly accessible North, full of folk-rock harmonies more familiar to British indie rock band Florence and The Machine, tread a much safer path.

Alfheiour Erla Guomundsdottir | ECHO Rising Stars — © Viktor Árnason

As part of the ECHO award, each artist receives a bursary to commission a new piece. Working with fellow Icelander, Maria Huld Markan Sigfúsdóttir, her Songs of Mercy set the tone with just a single prepared piano note. While piano effects were juxtaposed against vocal exploits, each had a distinct story to tell. All brought to life by an abundance of consonants and leaping intervals, illuminating Guǒmundsdóttir’s immense versatility as an artist.

Guomundsdottir mezzo programme | ECHO Rising Stars — Guǒmundsdóttir’s updated programme

Valerie Fritz

Valerie Fritz’sprogramme opened in semi-darkness. Tremors from afar and a vivid exploration of electronic-inspired sounds in Salvatore Sciarrino’s Ai limiti della notte provided a vivid backdrop for her engaging and animated reading of the Prelude and Courante from J. S. Bach’s Cello Suite no.2 – quite literally the sun appearing from behind a frosty cloud. But whilst taking time to explore Bach’s complex harmonic vocabulary, uneven vibrato left the ends of phrases a little dead.

The opening gasp of Jennifer Walshe’s The Sheer Task of Being Alive quickly transported us to another galaxy. Her verbal diary of an astronaut’s time in space, with English text accompanied by various outlandish and sometimes violent sound effects, is a hugely engaging piece of theatre, yet poses fundamental questions: How should we define classical music? Is it merely the soundtrack to man’s thoughts? And do you need a lifetime of practice and years at a conservatoire to perform such repertoire?

Concluding with Britten’s Introduction from his Cello Suite no.3 changed the mood again. Her repeated pedal pizzicatos depicted Britten’s protagonist amidst rack and ruin foreshadowed his escape to freedom in George Crumb’s Toccata from his Sonata for Solo Cello, full of jazzy swing rhythms. Full marks for innovative programming.

Áron Horváth

Horvath Aron | ECHO Rising Stars — © Müpa Posztos Janos

Presenter Marlis Schaum’s very interesting interview with third ECHO star, cimbalom player Áron Horváth answered many questions. The most illuminating: As a child, he initially wanted to be a drummer, but a wise teacher convinced him otherwise; and the instrument sitting proudly on stage was on loan from the Berliner Philharmonie; traditionally used in folk music, Horváth shared how is using the cimbalom to explore other genres, including hip-hop; and yes, finding a composer for his new commission did prove a challenge.

Horváth’s commission, Charlotte Bray’s modal-infused dystopia In an Eternal Dusk, summoned aravaged, celestial mire punctuated by cheeky little interjections. Meanwhile in Kurtág’s Hommage à Berényi Ferenc 70, shimmering embers (produced by a metallic vibrator) making magical and sustained tones, glowed brightly. Perfect music for a potential sideline business, streaming audio tracks to insomniacs.

Emma Nagy’s lengthy Averted Visions, did perhaps test the patience of some audience members keen to head for food, however, Horváth’s final frenzy made for unique and completely unforgettable programming.

ECHO Rising Stars — The Berliner Philharmonie cimbalom
© Clare Varney

ECHO Rising Stars cimbalom — The Berliner Philharmonie cimbalom
© Clare Varney

Maat Saxophone Quartet

The Maat Saxophone Quartet, comprising four Portuguese saxophonists currently living in Amsterdam, are most worthy winners of this accolade. Moving and swaying as one, they toyed with traditional sonic preconceptions by positioning Daniel Ferreira’s soprano sax stage left, where traditionally, the cello sits. But it works, and their arrangement of Henriëtte Bosman’s String Quartet brought delicious intensity, contrasting with almost organ-like fluidity.

Maat Sax Quartet programme | ECHO Rising Stars

Extremes of dynamics coupled with a seemingly endless sound palate afforded this hugely versatile quartet much warmth from the enthusiastic German audience. Low trills, pedal notes – sending us out into the cold North Sea, miles away from human life, and descending glissandi akin to a meowing cat, played with the Konzerthaus’ acoustics.

Aleksandra Vrebalov’s Four Faces, Four Wings, their lengthy commission, was a challenge. Vibrating sound waves and microtonal glissandi to open, told the story of an angel’s cry for help as she tries to save the world. But as Catrina Gomes’ alto sax ascended Gershwin’s famous Rhapsody in Blue melody, a whole symphony of welcome sounds exploded. Throbbing bass notes, delicate staccatos, ravishing lyricism and synchronized syncopations left the audience smiling as their deliberate and effective use of silences teased and toyed. A fitting and hugely accomplished finale to this marathon concert.