Jonny Greenwood's Hallé Orchestra Collaboration: A Compelling Yet Awkward Fusion
In a striking visual contrast, Radiohead guitarist and acclaimed composer Jonny Greenwood stood out in baggy white trousers amid a sea of musicians dressed in traditional concert black at Bridgewater Hall in Manchester. This collaboration between Greenwood and the Hallé Orchestra, a classical institution with over 150 years of history, was marked by some awkward choreography, including lengthy resets between pieces and a celebrity guest who barely acknowledged applause before departing. Despite these quirks, the musical performance proved to be deeply compelling and artistically rich.
Steve Reich's Pulse and Greenwood's Water
The evening began with Steve Reich's Pulse, where Greenwood took a position behind the Hallé musicians, playing electric bass with a nonchalant stance. His playing was subtly expressive, using a featherweight plectrum to provide the work's vital chugging, occasionally deviating from repeated notes for stylish releases. Under the direction of conductor Hugh Tieppo-Bunt, the Hallé's wind and string players navigated Reich's Copland-esque melodic lines, resulting in a cool and understated performance that set a sophisticated tone for the night.
Greenwood's own 2014 concert work, Water, was more immediately gripping. It emerged from gently scintillating piano and violins, layered with thick splodges of bass and the glittering drone of three tanpuras, one of which was played by Greenwood himself. A euphoric and luminous major chord on the organ broke through the texture at one point, before solo lines gradually soured the diatonicism, creating a haunting contrast. The strings transformed into a synthetic organ, their tone deliciously intense, with chords that blurred disturbingly at the edges, showcasing Greenwood's innovative compositional style.
World Premiere of the Violin Concerto
The centerpiece of the evening was the world premiere of Greenwood's Violin Concerto, featuring soloist Daniel Pioro. It began with a vicious glissando from Pioro, instantly echoed by the Hallé's strings, initiating a lengthy imitation game. While there were beautiful moments, such as a dim recollection of Vaughan Williams' The Lark Ascending amid nightmarish pitch bends, the piece felt oddly formless despite Pioro's virtuosity, the Hallé's honeyed tone, and Tieppo-Bunt's precise conducting gestures.
Lutosławski's Musique Funèbre and Hallé's Strings
The programme opened with Witold Lutosławski's Musique Funèbre, whose desolate counterpoint, oozy chromatic creep, and occasional searing unisons served as a clear forebear for Greenwood's sound world. This piece showcased the Hallé's string section as a world-class act in their own right, highlighting their ability to handle complex and emotionally charged repertoire with finesse and depth.
Overall, this collaboration between Jonny Greenwood and the Hallé Orchestra was a musically compelling event that blended contemporary and classical elements, even if logistical hiccups added an awkward layer to the experience. The performances of Reich and Lutosławski were particularly gripping, underscoring the orchestra's versatility and Greenwood's unique artistic vision.
