Classical Music reviews, news & interviews
Coote, LSO, Tilson Thomas, Barbican review - the triumph of life
Tuesday, 14 May 2024Programme notes for Mahler’s monumental symphonies will often blithely chat about the works’ epic struggle between life and death, creation and destruction, joy and dread. In a comfy hall with a slick orchestra and a polished maestro, all of that can feel abstract and remote. Not last night at the Barbican.
Britten Sinfonia, The Marian Consort, Milton Court review - a journey around turbulent spirit Gesualdo
Sunday, 12 May 2024Gesualdo was, in the words of New Yorker critic Alex Ross – “irrefutably badass”, a double murderer, sado-masochist and black magic enthusiast who also found time to write music that was – according to some – centuries ahead of its time. He was the El Greco of sound, a rebel against perfectly balanced Renaissance proportions, who went on to influence cultural figures ranging from Stravinsky to Werner Herzog.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Footnote: a brief history of classical music in Britain
London has more world-famous symphony orchestras than any other city in the world, the Philharmonia, Royal Philharmonic, London Philharmonic and London Symphony Orchestra vying with the BBC Symphony Orchestra and Royal Opera House Orchestra, crack "period", chamber and contemporary orchestras. The bursting schedules of concerts at the Wigmore Hall, the Barbican Centre and South Bank Centre, and the strength of music in Birmingham, Manchester, Leeds and Cardiff, among other cities, show a depth and internationalism reflecting the development of the British classical tradition as European, but with specific slants of its own.
brittenWhile Renaissance monarchs Henry VIII and Elizabeth I took a lively interest in musical entertainment, this did not prevent outstanding English composers such as Thomas Tallis and William Byrd developing the use of massed choral voices to stirring effect. Arguably the vocal tradition became British music's glory, boosted by the arrival of Handel as a London resident in 1710. For the next 35 years he generated booms in opera, choral and instrumental playing, and London attracted a wealth of major European composers, Mozart, Chopin and Mahler among them.
The Victorian era saw a proliferation of classical music organisations, beginning with the Philharmonic Society, 1813, and the Royal Academy of Music, 1822, both keenly promoting Beethoven's music. The Royal Albert Hall and the Queen's Hall were key new concert halls, and Manchester, Liverpool and Edinburgh established major orchestras. Edward Elgar was chief of a raft of English late-Victorian composers; a boom-time which saw the Proms launched in 1895 by Sir Henry Wood, and a rapid increase in conservatoires and orchestras. The "pastoral" English classical style arose, typified by Vaughan Williams, and the new BBC took over the Proms in 1931, founding its own broadcasting orchestra and classical radio station (now Radio 3).
England at last produced a world giant in Benjamin Britten (pictured above), whose protean range spearheaded the postwar establishment of national arts institutions, resulting notably in English National Opera, the Royal Opera and the Aldeburgh Festival. The Arts Desk writers provide a uniquely rich coverage of classical concerts, with overnight reviews and indepth interviews with major performers and composers, from Britain and abroad. Writers include Igor Toronyi-Lalic, David Nice, Edward Seckerson, Alexandra Coghlan, Graham Rickson, Stephen Walsh and Ismene Brown
inside classical music
latest in today
A visually dazzling, fiercely acted psychological drama with a manic comic edge, Hoard channels an 18-year-old South Londoner’s quest to...
It’s hard to imagine that The Arches – a string of stylish glass-fronted units in prime city centre location, housing boutique bars,...
Claire Denis’ 1988 debut is a sensual madeleine to her Cameroonian childhood, with its taste of termites on butter, sound of birdsong and insect...
Programme notes for Mahler’s monumental symphonies will often...
If there’s a feeling of déjà vu, it isn’t detectable. Conchúr White played St Pancras Old Church in April 2016 with County Armagh’s Silences, the...
Director Cesar Diaz’s debut feature film was...
Rhod Gilbert is disarmingly honest about his thought process when he received his diagnosis of head and neck cancer in 2022. Following quickly...
By midway, things are cooking. “Can U Dig It?”, a post-modern list-song from another age (Ok,...
It’s been a long while since Beth Gibbons released an album. Portishead’s Third was out in 2008. She has lived through so many...