On Thursday 1 June 2017, British viola player Lawrence Power makes his second appearance with the Philharmonia Orchestra this season. Digital Producer Marina Vidor explains why his performances with the Orchestra are a little bit different.
We meet violist Lawrence Power for a coffee well in advance of filming with him. He’s relaxed and keen to talk about the solo viola pieces he has programmed ahead of the two concerti he is performing with the Philharmonia this season: Julian Anderson’s Prayer ahead of the Walton Viola Concerto (12 February 2017) and Esa-Pekka Salonen’s Pentatonic Étude ahead of the Bartók Viola Concerto (1 June 2017). He is committed to breaking out of current classical music programming trends and trying new approaches – in this case solo pieces that introduce a concerto.
"I have always been fascinated by the cycle we find ourselves in with programming. The whole ‘overture-concerto-symphony’ is very much a sort of fashion we’re in at the moment. Maybe we’re slightly coming out of it now – certainly with the Philharmonia, who are doing some really innovative things. You look at some of the early 20th century programmes, late 19th century programmes, of [Joseph] Joachim, for example… It’s just wonderful what they put together, seemingly incongruous things."
We agree to make a music video featuring Esa-Pekka Salonen’s Pentatonic Étude, written for Power, as a preview for audiences coming to our June concert. Get a sneak peek here – we release a full video performance of the piece on Friday 19 May on our YouTube Channel.
Several months later we film Lawrence performing the Pentatonic Étude in his agent’s gallery space in Wandsworth, southwest London. MaestroArts has a beautiful art gallery with a good acoustic and we are blessed with a sunny winter morning. The gallery’s walls feature botanically inspired prints by the artist Jan Hendrix. The crew is excited because we’re making the first recording of this brilliant solo piece composed by Salonen in 2008, full of dazzling technique and folk-inspired warmth. Power’s Antonio Brenzi viola, made in Bologna circa 1590, fills the room with sound.
Because the viola has fewer solo works written for it than, say, the violin or cello, Power is committed to increasing the size and scope of its repertoire. In this way he continues the rich tradition within Britain of great violists inspiring composers. Lionel Tertis (1876-1975) and William Primrose (1904-1982) were two of the greatest violists who have ever lived and throughout their careers encouraged composers to write for their instrument, resulting in a number of important new pieces for the viola including compositions by Arnold Bax, Frank Bridge, Benjamin Britten, Gustav Holst, Benjamin Dale, York Bowen, Ralph Vaughan Williams and William Walton. Béla Bartók started his Viola Concerto for Primrose, but left it unfinished at his death in 1945; it was finished by violist Tibor Serly, who had been Bartók’s apprentice. Lawrence Power has premiered works written for him by Mark-Anthony Turnage, Julian Anderson, Huw Watkins, Alexander Goehr, Olga Neuwirth and of course, Esa-Pekka Salonen.
"The opportunity to work with composers is an honour, really. It’s the greatest thing. To start from scratch and to present something without any influence, without any history… It keeps you so fresh as a musician, just to be aware of all of those processes at their very infancy. When you go back to classical repertoire and having worked with composers a lot, I take back so much freedom. You’re not paralysed by history, by style, or by what people will think of the way you play Beethoven or Bach."
Salonen’s Penatonic Étude was written to lead straight into the Bartók Viola Concerto and makes reference to the concerto’s opening pentatonic (five-note) scale. Tickets for Lawrence Power performing with the Philharmonia on 1 June are still available. Gustavo Gimeno conducts, with Mahler Symphony No. 1 in the second half. Click here to book: https://www.philharmonia.co.uk/concerts/1622
Watch the full interview with Lawrence Power here: