Andrew Glynne, Composer

Joep Beving is composer and pianist from the Netherlands and this very interesting piece first appeared in 2017. There are a number of versions of it, principally for solo piano and, as described here, for eight cellos.  The former version certainly holds its own and is definitely worth listening to – particularly the one in which the composer plays the piece himself.  However, I find the extra power of the version for octet, played by Cello Octet Amsterdam, particularly captivating.

As the title suggests, the piece is centred around the note D; in fact, almost every note in the piece is either a single D or a chord which contains a D.  You might think this would make the piece somewhat tedious and needlessly repetitive but it is a testament to the composer’s skill that this is far from the case.  Indeed, I think the piece has real depth and power.

It is a short piece – the version for octet running to just under five and a half minutes – but it packs a real punch.  In essence it consists of a series of repeated motifs alternating between a single D played in a number of different combinations and some short progressions of chords featuring the note D in two related keys.  This sounds simple, and in some ways it is, but this is in no sense a fault as the effect is hypnotic and engaging throughout.

The piece begins with a series of sustained Ds over which a repeating D appears, accelerating, in a higher register.  This is joined by a new motif  consisting of four different sets of three rising notes with near identical rhythms; it is played pizzicato (with the fingers).  This is repeated before giving way to the first progression of chords, being a vibrating motif of three chords in a rising and falling pattern.  This whole series is then repeated except that the chordal progression is extended, rising further with increasing force before falling back.  We then come to the final repeat.  Here the composer cleverly varies the series by dropping it down to a lower register over which a high, piercing D sounds.  The chordal progression is also extended again, rising further with increased ferocity and power before again falling back.  Without losing any intensity the piece then reverts to the original three chord progression and ends with a flourish – sliding down to a lower D. 

This is a real gem and the music is played superbly by Cello Octet Amsterdam, an ensemble who pioneer new music – good for them !   The recording – in a church – is also first class.