Earlier this year, we lost a giant of the new music scene, composer and conductor Peter Eötvös. This week, I was saddened to hear of the passing of another giant of the contemporary music world, Wolfgang Rihm.
My exposure to both of these composers has been fundamental to my practice in new music. I had the opportunity to conduct two works by Eötvös: Natascha-Trio in 2018 with Forest Collective and Three Comedy Madrigals in 2015 with the Australian National Academy of Music (ANAM). What struck me about these works is that they are full of fun, at times to the point of silliness (especially in the latter piece), and dramatic contrasts of musical ideas. This is an aspect of Rihm’s music as well. Rihm, however, seems to have at the heart of his music a lyrical beauty that reminds me of Richard Strauss. Strauss is quite a good reference point for Rihm, as his music walks a fine line between lyrical romance, aggressive modernism, and camp, schticky moments of fun.
Wolfgang Rihm and Peter Eötvös.
Two Other Movements (2004)
Wolfgang Rihm
“I do believe in the directness of art. There is nothing to ‘explain’. However: one can perceive. One can experience. It is never the same – in no way so in the case of music which is always different anyway. There is no limit to the freedom of hearing (unless, of course, your neighbour chooses to cough too much). Sometimes there emerges something absolutely amazing out of a couple of harmless intervals of thirds. Everything is in a state of flux, motion engenders motion. Contrasts spring up all of a sudden, they lead to conflicts, struggle, decisions, solutions, new conflicts, episodes, replies, questions – we are right in the middle of a symphonic text. The music appears to be born out of itself. The listener perceives it through his art: through hearing it.”
Rihm is well known for having written such a large quantity of music that writing a personal reflection and trying to name just one piece is incredibly tricky. He also works magic across his own archive of work, with pieces conversing back and forth with other works, commenting on previous ideas and developing old ones decades later. Often, one work inspires the next. This approach has been very influential on me. The idea that music and sound are the focus of the composer, rather than necessarily the specific work that is in front of you, is one that influences my developing output.
Two Other Movements is my choice of piece to honour Rihm. A lyrical work that wanders into different musical rooms, it’s a gorgeous place to start if you haven’t listened to his music before.
Angels in America (2002-2004)
Peter Eövös
“Hallucination and reality merge perfectly in Angels in America. It is precisely this characteristic of Kushner´s play which has inspired me most to work on this piece. In my opera version, I do not focus so much on the political aspect of the piece, but instead emphasise the passionate relationships, the dramatic suspense created by the strong writing, as well as the shapeless condition of the hallucinations.”
Funny that I have chosen a work from the same period—Angels in America, I think, is one of the key operatic highlights of the early 21st century.
I believe both composers reached their zenith in opera, and Eötvös’ output in this genre is filled with wondrous and diverse works. As a starting point, this piece is excellent. A biting commentary on contemporary culture, it covers everything from the divine, the day-to-day, mystery, homophobia, and passionate beauty. It’s truly a perfect story for the modern opera.