"Last Words" - the Israel Contemporary Players perform works of Dror Binder, Martijn Padding, Louis Andriessen and John Adams. Conductor: Christian Karlsen. Soloist: Hillel Zori

Maestro Christian Karlsen (Karl Gabor)

 

Prof. Hillel Zori (Courtesy Keshet Eilon)

"Last Words", Concert No.2 of the Israel Contemporary Players' 35th season, took place in the Zucker Hall of Heichal Hatarbut, Tel Aviv, on December 6th. 2025. Guest conductor was Christian Karlsen (Sweden). The soloist was Israeli 'cellist Hillel Zori.

 

The program opened with the world premiere of  "Long Exposure" by Israeli composer Dror Binder (b.1993). Binder is currently based in Vienna. Commissioned by the Israel Contemporary Players, "Long Exposure", scored for 12 instrumentalists, opened with short utterances of breathy, whistling (and other) sounds, moving into longer sections of changing timbres and fuller settings. Unconventional use of the piano and percussion instruments (also the sound of crinkling paper) elicited a myriad of associations in the listener's mind, the performance also providing visual interest in the process of music-making. The eclectic range of music  to which Binder was exposed as a child, and over recent years, filters through into the compositions he writes, bringing about his distinctive, personal musical style. The composer was present at the event.

 

Composed by Dutch composer Martijn Padding (b.1956), "Last Words" (2010) is actually a 'cello concerto in three movements. From the initial notes of the first movement (Preambulum), Padding introduces us to a different, changing relationship between orchestra and soloist. In this movement of high energy, of many colourful, spirited ideas and timbres, including some whimsical gestures, 'cellist Hillel Zori joins the conviviality with easeful, clean, dazzling playing. The second movement (Aria) is a mood piece (perhaps night music with insect sounds or bird calls?), its sparse scoring made up of small, delicate motifs, with the 'cello playing pizzicato. Dancelike and of good humour, the third movement (Foforlalana) takes us back to the brisk character of the Preambulum, as Zori engages in fast runs through all 'cello registers against vivid playing of the ensemble and frictious sounds from the keyboard. Fine, attentive performance on the part of all, with plenty of interest in the percussion section, kept the audience at the edge of its seats.

 

Then to a work by Louis Andriessen (1939-1921). Producing a staggering output, Andriessen was considered the most influential Dutch composer of his generation. He was one of the founders of the Hague School, an avant-garde minimalist movement active in the second half of the 20th century. (Padding was a pupil of Andriessen.)  A commissioned work (1994), "Zilver" calls for a mixed instrumental septet of flute, clarinet, violin, cello, vibraphone, marimba and piano. The title refers to the two silver instruments – flute and vibraphone.  Andriessen saw the work as a chorale variation, as Bach had written for the organ. The ensemble divides into two groups, with the winds and strings playing the sustained melody in chorale-like four-part harmony; the vibraphone, marimba and piano form the second group. From the initial small bursts of sound, as flute and vibraphone descend an altered major scale together, Andriessen's design remains clear throughout, as the subtle variations in timing draw the listener into the process. The music proceeds to a faster, motoric pace, with both groups suddenly engaging in larger intervals. Winding down from the dancelike climax, the quartet bows out, as the work concludes with a single musical strand. A demanding piece, splendidly handled by conductor and players.

 

For me, the opportunity of hearing a work by John Adams (b.1947), a composer in a class on his own in the world of American music, is one not to be missed. The concert concluded with "Son of Chamber Symphony". This work, commissioned by Stanford University, Carnegie Hall and the San Francisco Ballet, had its first performance in 2007. (Choreographed by Mark Morris, the dance version, titled "Joyride", was premiered in 2008.)  "Son of Chamber Symphony" shares the similarly nimble character of its predecessor, the Chamber Symphony (1992). Indeed, it is as difficult as the original chamber symphony, if not more so. The rhythmic restiveness inherent in "Son of Chamber Symphony" is partly due to its choreographic intent. Including some jazzy elements, a pizzazzy pulse launches the first movement, as it offers a rich, imaginative mix of timbres. Mostly calmer in mood, and offering an opportunity to hear woodwind- and other players in some beautiful solos, the second movement floats a long, meandering melody over gentle chords. Back in hectic Adams mode, the last movement presents a busy scene, the bass instruments playing alternating major and minor thirds, with the upper voices threading polyphonic utterances through the pulsing fabric. 

 

Christian Karlsen (b.1985) is one of Scandinavia's most outstanding and innovative conductors. Having quickly established himself as one of Europe's foremost conductors of contemporary music, he is equally at home in  traditional repertoire and is renowned for his interpretations of Mozart and Haydn. Maestro Karlsen is no new face to the Israel Contemporary Players and their audience. At the Tel Aviv concert, Karlsen and the ICP's fine musicians joined in what was seamless teamwork,  performing the program's four works with dedication and true excellence.