In functional terms, repurposing a local newspaper’s print zone into a small concert hall might seem an anomaly; the one-time heavy presses’ pounding would seem entirely foreign to the sounds of music. Yet Swiss composer Martin Schlumpf’s unique weave of classical music and/or jazz themes into highly complex rhythmic formulae was nicely suited to a place that once printed the headlines. And for the second of the three concerts Schlumpf is staging here this season, three stellar musicians performed: Robert Pickup, first clarinet in Zurich’s fine opera house orchestra; cellist Thomas Grossenbacher, first chair in the renowned Tonhalle Orchestra; and Yoshiko Iwai, an internationally renowned piano soloist and chamber music performer.
The programme began with the short B minor Intermezzo, Op. 117 no. 2 by Johannes Brahms, whom Schlumpf has cited as a “polyphonic composer”. Primarily a melancholy work that dates from 1892, the intermezzo was most likely written as a lament for a child in poor health. Iwai’s performance of the work was sensitive, her work marked by a fluidity that was almost soporific in effect. That sense of intimacy, tenderness and immediacy made a promising beginning to an evening of many moods.
Schlumpf’s 30-minute From the Book of Proportions that followed marked an abrupt change of pace. The composer had introduced himself as a “numbers man”, explaining that he carefully measured formal proportions and rhythms in relation to tempi, and observed mathematical formulae to do so. His dynamic work quickly gained momentum and virtuoso profile, the demands on the musicians being legion from the start. The cello's almost demonic pace was matched by the colourful syncopation of the clarinet and the broad and unexpected range of Yoshiko Iwai’s piano. What’s more, to ensure the coherence of the “tempi polyphony”, the musicians used a click track earpiece to pace their instruments’ individual rhythms. As clarinettist, Pickup took responsibility for implementing that technology in four sequences that marked the work’s most divergent tempi, one couldn’t help hope that each musician had been given the right earpiece.