John Aylward: Celestial Forms and Stories Klangforum Wien & Finnegan Downie Dear

• John Aylward (b. 1946):
• 1 Aylward: Daedalus (Version for Flute, Clarinet, Violin & Cello) 09:40
• 2 Aylward: Mercury 08:43
• 3 Aylward: Ephemera 08:55
• 4 Aylward: Narcissus 11:32
• 5 Aylward: Ananke 15:11
• Total Runtime 54:01

Info for John Aylward: Celestial Forms and Stories

Inspired by Ovid's Metamorphoses and Calvino's deconstructive analysis of the classic Roman recasting of Greek myths, John Aylward's Celestial Forms and Stories establishes musical analogs to Ovid's way of depicting the world. Featuring musicians from Klangforum Wien in chamber formations, Celestial Forms and Stories encapsulates the transformative nature of myth, constantly being reimagined and reinterpreted over generations and retellings.

John Aylward’s Celestial Forms and Stories is a musical expression of a literary analysis of a classic Roman retelling of Greek myths. If that sounds like it will put the listener at several steps of remove from the original source of inspiration, it should. Aylward’s intention is not to merely portray the luminous complexity of ancient Greek characters such as Narcissus and Mercury, but to participate in an evolving reanimation of these stories. His inspiration is drawn not from the myths themselves, but from Italo Calvino’s analysis of Ovid’s venerated retelling in Metamorphoses. Calvino identifies Ovid’s predilection for explaining phenomena in terms of “elementary properties.” How might a composer explore these “elementary properties” and the narrative techniques used to develop them in a suite of works based on Greek literary characters? And to what extent are myths truly living organisms, kept alive by the renewed investment that new generations make in the analysis of the originals and their subsequent mutations? These are the questions at the core of Aylward’s work, heard here in a dynamic and colorful performance by Klangforum Wien.

The album opens with two pieces for a quartet of flute, clarinet, violin, and cello, Daedalus and Mercury. The quartet setting is an ideal platform for the exposition and development of distinct characters, a narrative technique Calvino highlights in Ovid’s writing. Aylward presents many of these characters within the piece’s first moments — fricative, anxious material in the flute and elastic glissandi in the violin are framed by architectural sustained pitches. Later in the piece, each of these ideas is mined more deeply in extended passages.

Mercury opens with an appropriately shifting, unstable texture. Fragile harmonics in the bowed strings ornament rich floating lines in the winds. Aylward revels in the unpredictable in this work, using evocative shadings to shift quickly between contrasting characters.

Ephemera is the earliest work in the set, and served as the template for the rest of the series. The clarinet delivers initial emphatic bursts over a charged cello tremolo — as the texture develops, those short fragments grow into ecstatic longer lines. The insistence of the opening gesture permeates the two instruments, as the evolving dialogue becomes more animated and intense.

The final two works are both for mixed septet, with the instrumentations being nearly identical — flute, oboe, clarinet, violin, viola, and cello, with percussion in Narcissus and piano in Ananke. A natural opposition forms in this instrumentation between strings and winds with percussion/piano occupying an intermediary role, punctuating material from both groups. Imitation drives the texture forward in Narcissus, as material is elaborated on, interrupted, and enclosed by other voices within the ensemble.

There is an obsessive quality to the examination of ideas in Ananke. Aylward seems particularly engaged with syntax in this work, as Donatoni might turn a gesture around to look at from all rhythmic and agogic angles, but with Aylward’s characteristically polychromatic coloristic palette. Stravinsky-esque short chords enhance an off-balance sense of anticipation, while a poignant middle section features oscillating figures in the low registers under occasional disembodied calls in the winds, like a distant foghorn. Aylward breaks the muted mood with a dramatic solo piano passage, highlighting bright chords played across several registers. Ananke ends with a repeated ten-note figure in the viola, a record skipping moment that closes the work and the album with a question mark.

That question mark underscores Aylward’s embrace of the living myth. Each new generation is the recipient of this treasure chest of ideas and stories, spurring creativity and inspiration. Aylward’s ability to step back and see his own relationship to this material in the context of a larger trajectory of reexamination is borne out in his work — simultaneously hyper-engaged with detailed specificity of sound while also manifesting abstract principles of narrative strategy into his approach to development. Celestial Forms and Stories is the byproduct of Aylward’s multi-layered relationship to timeless myths — Ovid’s retelling, Calvino’s deconstruction, and his own hunger to see beyond superficial musical expression to the palimpsest of a multi-generational legacy. – Dan Lippel

Klangforum Wien
Finnegan Downie Dear, conductor

Klangforum Wien
A collective of risk-takers, explorers, and revolutionaries.

24 musicians from ten countries constantly explore new horizons of artistic creativity together with the most important composers of our time. Imaginative, virtuosic, and perceptive – Klangforum Wien draws from an unmistakable sound and creates spaces for experiences that challenge audiences.

The ensemble initiates extraordinary dimensions: sensual experiences with an intensity that one cannot escape. Klangforum Wien’s repertoire speaks, acts, and inspires.

Founded by Beat Furrer in 1985, Klangforum Wien is a contemporary music ensemble comprised of the world’s finest soloists.

With more than 80 performances annually worldwide, the 24-member ensemble can be seen throughout Europe, North America, South America, and Asia. At the beginning of the 2018/2019 concert season, Bas Wiegers became Klangforum Wien’s Principal Guest Conductor. The position’s predecessor, Sylvain Cambreling, will remain with the ensemble as Principal Guest Conductor emeritus. Klangforum Wien has its own annual concert series at the Wiener Konzerthaus. Every year, the ensemble commissions composers and gives numerous world and territorial premieres. Honorary members of Klangforum Wien are Friedrich Cerha, Sylvain Cambreling, and Beat Furrer.

Finnegan Downie Dear
Winner of the Mahler Competition 2020, Finnegan is increasingly recognised for his extraordinary musicianship, his command of complex scores, and his intense and mature performances.

Following a week conducting the Bamberger Symphoniker in a variety of repertoire, Finnegan won the Mahler Competition 2020, leading a final concert which included the world premiere of Miroslav Srnka’s move 04 ‘Memory Full’ and Mahler Symphony No. 4, with soloist Barbara Hannigan. He recently made concert debuts conducting the Gothenburg Symphony Orchestra, Luxembourg Philharmonic, Swedish Radio Symphony Orchestra, Ensemble Resonanz, Klangforum Wien, RTÉ National Symphony Orchestra, RTÉ Concert Orchestra, State Philharmonic of Kosice and the BBC Concert Orchestra. Future symphonic engagements include concerts with the London Philharmonic Orchestra, Hallé, Deutsches Symphonie-Orchester Berlin, Hamburger Symphoniker, Camerata Salzburg, Tonkünstler Orchestra, Sinfonieorchester Basel, Tampere Philharmonic, Bamberger Symphoniker, RTÉ National Symphony Orchestra and the Sydney, Melbourne, Korea and Baltimore Symphony Orchestras.

As much at home in the opera house as in the concert hall, his recent operatic engagements include his debut at the Royal Opera House, Covent Garden, conducting Alice’s Adventures Under Ground (Gerald Barry). Last summer, he conducted critically acclaimed performances of Don Giovanni at Nevill Holt Opera. This season, he conducts Le nozze di Figaro at the Royal Swedish Opera and further ahead makes debuts at the Deutsche Staatsoper Berlin, Theater an der Wien as well as returning for new productions at the Royal Opera House, Covent Garden and the Royal Swedish Opera.

As Music Director of the award-winning company Shadwell Opera, he collaborates with the UK’s finest young singers and instrumentalists, bringing stagings of seminal twentieth-century and contemporary works to new audiences. His performances with Shadwell Opera have received consistent acclaim in the national and international press – among them works by Benjamin, Maxwell Davies, Turnage. Schoenberg and Stravinsky. In the 19/20 season, Shadwell Opera’s most ambitious project to date saw it tour with its orchestra and ensemble to the Mariinsky Theatre, St. Petersburg, for the Russian premiere of Oliver Knussen Where the Wild Things Are.

Booklet for John Aylward: Celestial Forms and Stories