Varèse Huber Nieder @ Teatro Dal Verme, MITO, Milan, Sept. 18, 2024

Contemporary classical music has witnessed a significant increase in the use of percussion since the early 20th century. This trend, influenced by various cultural encounters and avant-garde composers, has reshaped the sonic landscape of classical compositions. A recent concert by the Percussion Orchestra Cologne at Milan's Teatro Dal Verme on September 18, 2024, showcased this evolution, presenting works spanning nearly a century of musical innovation. 

The integration of diverse percussion instruments in classical music can be traced back to cultural exchanges such as the 1889 Paris Universal Exposition. Here, Claude Debussy's encounter with the Javanese Gamelan profoundly influenced his compositional approach, introducing new timbres and rhythmic complexities to Western classical music. 

Concurrently, traditional instruments like the piano saw a radical reimagining of their role. Edgard Varèse's "Ionisation" (1929-1931) exemplifies this shift, employing the piano in a percussive manner with cluster notes played directly with the forearm. This groundbreaking work for 13 percussionists incorporates a vast array of instruments from various cultures, including sirens, gongs, and log drums, expanding the timbral palette available to composers. 

The Percussion Orchestra Cologne's rendition of "Ionisation" offered a contemporary interpretation of Varèse's seminal work. While slightly more "swinging" than traditional performances—perhaps a nod to Milan's reputation as the "City of Aperitif"—the execution maintained a commendable balance between elasticity and structural integrity. 

This "smart" version, while sacrificing some of the original's dramatic impact, showcased the musicians' remarkable skill in navigating the piece's complex layers. True to Varèse's concept of sounds detaching from one another like parts of an ionized atom, the performance demonstrated that "Ionisation" remains a pivotal work in the percussion repertoire, its influence evident in many subsequent compositions. 

The concert also featured two more recent works, illustrating both the enduring influence of mid-20th century innovations and attempts at further experimentation: "Herbstfestival" (1989) by Nicolaus Anton Huber played by Schlagquartett Köln for four percussionists initially evoked the explorative spirit of groups like the Art Ensemble of Chicago. However, it soon transitioned into a prolonged unison section that, while technically impressive, raised questions about its musical necessity. 

"Erdenmarsch" (2022) by Fabio Nieder, a student of Witold Lutosławski, that presented a 30-minute work for 13 percussionists. The piece incorporated a wide range of instruments and unconventional sound sources, including live-streamed radio content via iPhone. While dynamically engaging, the work's harmonic palette felt limited. Notable elements included a centrally placed large drum and theatrical interactions between musicians, though these at times seemed superfluous. 

The concert underscored the enduring impact of early 20th-century innovations in percussion music. While the performances of more recent works demonstrated technical proficiency, they also highlighted challenges in pushing the boundaries established by earlier masters. The virtuosity of the Percussion Orchestra Cologne was evident throughout, elevating even the less cohesive compositions. 

This evening of percussion-focused contemporary classical music, spanning over 80 years of compositional history, offered a compelling, if sometimes uneven, journey through the genre's evolution. It reaffirmed the pioneering spirit of early modernist composers while raising questions about the direction of contemporary classical music in the 21st century.