Queen Elizabeth Hall
Mémoriale; …explosante-fixe…Michael Cox (flute)
Royal Academy of Music Manson Ensemble
Pierre Boulez’s centenary celebrations are far from over. Here, the opening concert of the London Sinfonietta’s 2025-26 season presented the complex relationship between the 1985 Mémoriale, written in memory of flautist Laurence Beauregard, and …explosante-fixe…, initially a Stravinsky memorial, which both furnished material for Mémoriale and, in its final form, of 1993, written once technology permitted, in turn drew on the earlier (and later) work.
First came the shorter Mémoriale (following an introduction to the composer in the Queen Elizabeth Hall foyer by Jonathan Cross and Gillian Moore). Knowing …explosante-fixe… better – also having heard it more recently, at this year’s Salzburg Festival – I immediately began to notice and reflect on the differences and points in common, perhaps most obviously that Mémoriale is very much a piece for solo flute and small ensemble, whereas the later work seems increasingly to derive its larger ensemble, not only electronics, from a flute at its physical and conceptual centre. It sounded akin to a flute concerto in miniature, Michael Cox here and later the expert soloist, euphonious, virtuosic, and much more. Boulezian proliferation was experienced as vividly as anyone might imagine, perhaps more so, surrounding, ornamenting, and in turn shaping an unmistakeable, almost Classical line at its centre, albeit very much haunted and inspired, like so much of Boulez’s music, by Debussy.
There followed an enlightening discussion between Moore and, first Andrew Gerzso, with whom Boulez worked on the realisation of …explosante-fixe…, among other works, followed by George Benjamin, who would conduct the work this evening, armed with players of the London Sinfonietta and their side-by-side Royal Academy Manson Ensemble colleagues to illustrate with musical examples. Gerzso clearly explained Boulez’s dissatisfaction with earlier attempts to integrate acoustic and electronic music, needing ‘score-following’ technology such as he first heard in Philippe Manoury’s Jupiter, so as to avoid the players’ enslavement to the tape. Boulez’s longterm interest in music as commentary upon itself, multiphonics, the airiness of ‘Aeolian’ sounds, the importance of Paul Klee, and much more were rendered vividly comprehensible. Benjamin in turn attended to the work’s musical content and form, Boulez’s melismatic writing but one of many telling links between the two commentaries (as, one might say, in his composition too).
For …explosante-fixe…, Cox was joined
by co-soloists Karen Jones and Sofia Patterson Guttierez. Whether it was the
particularity of performance, that particularity integral to Boulez’s use of
electronics, the contextualisation afforded by prior discussion, or something
else, much sounded strangely, if hardly surprisingly, post-Stravinskian, flute
lines included. The Rite of Spring can rarely have seemed so present, so
haunting. Benjamin imparted an urgency to the opening perhaps greater than I
have previously heard, instigating a frenetic, delirious outpouring of sound. He
soon relaxed, though, in a notably fluid reading, enabling éclat to transform
itself into sensuality, both of course hallmarks of Boulez’s music. In composer,
conductor, and players’ bending of time, rubato and performance seemed reborn
before our ears. I was struck anew by the nerviness of some of the string
writing and its proliferating consequences, but equally later by exquisite,
frankly erotic longing. All manner of other detail emerged as if for the first
time: perhaps, in some cases, it was. Electronics assumed their rightful role
as another section, here almost in place of percussion though that need not be
so, of the organism we know as the orchestra. In its three-movement form, the ‘modern
classicism’ (Arnold Whittall) of this phase in Boulez’s career courted
comparison with Mozart: a sinfonia concertante reimagined. The clarity Benjamin
brought to the score would surely have impressed the composer himself. It was
difficult also not to feel that melancholic, even elegiac quality to the close,
as all returned to E-flat (Es/S for Stravinsky), might have moved him as it did
us.