Ollie and George: powerhouse pair! George Benjamin's Dream of the Song , given its UK premiere by Oliver Knussen and the BBCSO at the Barbican London. Listen here on BBC Radio 3. Benjamin's Dream of the Song starts at 1h:11. One of the perils of modern writing is the rush to instant judgement as quickly as possible even if such comment is so shallow as to be utterly meaningless. No point in rush if you have nothing to say! That might well be George Benjamin's motto. Benjamin works with the meticulous pace of a medieval illuminator working with gold and precious powders. A moment's sloppiness might ruin the whole document, and years of hard work. And so I've tried to live with Benjamin's Dream of the Song to give it some of the care Benjamin put into it. I don't know if I'll succeed, but it's better than to try than gloss over it. Thank goodness for the BBC's Listen again policy.
Dream of the Song is based on texts by three poets. Two of them lived in Granada, the jewel of Islamic civilzation, where education, art and philosophy were honoured. Samuel Hanagid (993-1056) and Solomon ibn Gabirol (d. approx 1050) were Talmudic scholars but also fluent in Arabic, for this was a time when Granada was a haven of tolerance in a Europe plagued with prejudice. Benjamin sets their poems with one by Federico García Lorca, the radical modernist who was assassinated by fascist forces in Granada in 1936. Songs silenced across the centuries: chances are that the "Dream" Benjamin is referring to is no reverie.
Instead, Benjamin writes patterns of sound which serve the purpose of rhymes. Brief images float into the foreground in typical Benjamin style "A girl in a garden" elides smoothly, to suddenly switch to terse staccato "tending her shrubs". a transition built on pizzicato - suggesting the passage of time, perhaps, or splashing water, a concept fundamental to Andalusian metaphysical thought. The women's voices herald a change of direction - bright, sharp and urgent. Then a brief pause, the silence almost imperceptibly interrupted by quiet tapping. The male voice returns, singing strangely abstract semi harmony "Written", Davies sings but in what /the word is unintelligible but the sound is magically clean and pure, shining all the brighter against a backdrop of a murmuring horn. "The stars....." Davies sings, and the sound seems to break off. But perhaps that is the point ; the music, the "Dream of Song" does not die with its makers.
Benjamin's Dream of the Song is a milestone. It represents a return to the meticulous craftsmanship of his work before Into the Little Hill and Written on Skin, though the operas are distinctively Benjaminesque. Although it's written for small orchestra, it's ambitious compared with some of his earlier output, utterly assured and confident.
Also on the programme, the UK premiere of Dreamscape (2012) by Gunther Schuller , who mentored Knussen in his youth. Nontheless, Schuller's late work reminds me a lot more of Knussen than of Schuller. It's quirky, humorous in an episodic way and worlds away from Benjamin's Dream of the Song. Very good performances, too, of Debussy Nocturnes and Stravinsky Symphony in Three Movements.
Original Content: Ollie and George Benjamin's Dream of the Song