Franck Ollu, cond;
Members of the Bavarian RSO
BR 900640 (61:41)
Jagden und Formen was a huge hit on the European contemporary music scene in the early 2000s. In a genre dominated by short, aphoristic works that sit uncomfortably together in concert programs, Rihm’s score is a substantial hour of music, with an innovative structure that fully justifies its scale. It is written for chamber orchestra, but with single strings, ideal for new music groups like Ensemble Modern, Ensemble Intercontemporain, and the London Sinfonietta, all of whom performed the work after it appeared in 2001, and to great acclaim. A recording was made for Deutsche Grammophon in 2002 by Ensemble Modern conducted by Dominique My (4715582, reissued in 2014 as 479345), and it too was highly praised.
The title means “Hunts and Forms,” and relates to Rihm’s highly intuitive approach to composing the work. In a 1996 interview published in the liner of the present release, Rihm explains his ambition: “There is a moment when the chase after (a) form suddenly shifts into (its) form. But that moment cannot be captured; at best, it can only be conjured up.” In other words, the music is in a state of contingency, with its material resisting the formalizing tendencies of repetition and even of traditional development. Themes and ideas continually recur, but transformed and merged. The results play on the mind: you often feel you have heard the same music earlier in the piece, but you’re not sure, and if it is the same, the transformation is beguiling. Rihm employs repeated-note textures, and often dry, woodwind-forward sounds. The sonic palette owes much to American Minimalism (especially late Reich), but the harmonies and rhythmic complexity come from European post-war Modernism.
That dichotomy, between hunts and forms, transcends the structure of the work itself and also applies to the music’s genesis and revision history. The 2001 score was based on three shorter works written in the 1990s. Rihm’s “hunt” for a larger form meant expanding the transformations with those works into the 50 minutes of so of the 2001 score. And even then, he made clear that the score remained provisional, that it was in the nature of the music never to have a completed, definitive edition. Accordingly, he then returned to the score again, and the version recorded here is from 2008. The good news is that Rihm never reduces the quantity or sophistication of his material; each version maintains everything from before, enriched with “comments, admissions, expansions, overwritings, insertions, and so on.”
This new recording is 10 minutes longer than its predecessor. The interpolated sections include many smaller ensembles, and the score now has a greater focus on the alto range, with the duet of English horn and viola a prominent element. The “overwriting” involves more lines of counterpoint in the ensemble textures. This is all very rhythmic music, and the increased rhythmic sophistication has the result of distancing the music from its earlier associations with Minimalism. The music is no longer driving and insistent in the same way.
But revisions aside, that impression may come from differences in performance between the two recordings. Ensemble Modern achieved a very high standard in their original account. The atmosphere is electric, and Dominique My is able to maintain a sense of febrile unpredictability across the work’s huge span. DG create a detailed and immediate sound picture, with biting percussion and rich bass (especially from the electric bass guitar). This new recording, made in Munich by members of the Bavarian RSO in June 2021, doesn’t match its predecessor in atmosphere or sonic detail. It is still good, and the woodwind playing in particular is fully up to the strenuous demands of the score. The audio, from Bavarian Radio, is good too, especially for those woodwind ensembles. But the sound lacks the presence of its predecessor, and the bass is less substantial. Conductor Franck Ollu successfully navigates the complexities. The greatest challenge is to maintain the overall continuity, while also creating different moods and textures in each of the sections (the disc has 16 tracking points for these, the DG account has 15). He manages that well, and also gauges the balance between the sections astutely.
The album is valuable for recording Rihm’s most recent thoughts on this score. It is a satisfying “Jagd” to go over the two versions and identify the changes—an extension of the listening experience within the work. But this new account does not supersede its predecessor, in large part because the DG account was so fine. The recording is released on Bavarian Radio’s Musica Viva imprint to celebrate the composer’s 70th birthday. Herzliche Glückwünsche, then, to Wolfgang Rihm!
This review appears in Fanfare magazine issue 45:6.