fri 18/07/2025

Classical Reviews

Tetzlaff, Gewandhausorchester Leipzig, Chailly, Barbican

David Nice

In practice as well as in prospect, the second in Riccardo Chailly’s Strauss/Mozart trilogy was a concert of two very different halves.

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Pires, Gewandhausorchester Leipzig, Chailly, Barbican

David Nice

Riccardo Chailly’s Strauss odyssey with his Leipzig orchestra peaked in Saxony last year, the 150th anniversary of the composer’s birth. I was lucky to catch a razor-sharp Till Eulenspiegel and a saturated Death and Transfiguration in Dresden’s Semperoper close to the birthday. 14 months on, and the Barbican has nothing like the same necessary air to offer around a mini-residency of richly-scored symphonic poems.

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SCO, Ticciati, Usher Hall, Edinburgh

Christopher Lambton

The justification for playing Brahms with a chamber orchestra is well rehearsed. In fact, I have on my desk a Telarc boxed set of the four symphonies “in the style of the original Meiningen performances”, recorded by the Scottish Chamber Orchestra under the visionary Sir Charles Mackerras in 1997. Then, as now, the idea was to lighten the texture and give greater prominence to the woodwind.

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Cordelia Williams, Kings Place

Peter Quantrill

The music of Olivier Messiaen lends itself ideally to the kind of multimedia project created by Cordelia Williams. His titles tell stories of terror and redemption, Man, men, God and angels. His chords burst with colour, not only the green and gold of Christmas or the red and purple of Crucifixion but the pulsing of a slow journey, stripes of redemption, layers of wakefulness.

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Bronfman, LSO, Gergiev, Barbican

Bernard Hughes

Stravinsky and Bartók both escaped Europe at the start of the second world war to live in the USA. For Stravinsky it was the start of 30 years of mostly happy exile, while Bartók was to survive for only five years. Works from their time in America featured in Valery Gergiev’s penultimate concert as principal conductor of the LSO last night.

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BBC Symphony Orchestra, Volkov, Barbican

Peter Quantrill

This Barbican concert began with a Mendelssohn overture and ended with a Haydn symphony. But on stage were the BBC Symphony Orchestra and Ilan Volkov. What did you expect in between, a Mozart piano concerto? Not likely. Instead they gave the first performance of No.48 (night studio) by Richard Ayres.

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Classical CDs Weekly: Gesualdo, Wim Henderickx, Fleisher-Jacobson Duo

graham Rickson


Erkki-Sven Tüür, Brett Dean: Gesualdo Tallinn Chamber Orchestra, Estonian Philharmonic Chamber Choir/Tõnu Kaljuste (ECM)  

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Tuba concerto unveiled in Liverpool

Glyn Môn Hughes

How many tuba concertos are there? How many pieces are there where the guys from the heavy battalion can really shine as soloists? Well, possibly, here is one: this was the world première of Robin Holloway’s Europa and the Bull, billed as a concertante for tuba and orchestra. It is a joint commission between the Royal Liverpool Philharmonic and the San Francisco Symphony. But Liverpool won the toss to perform it for the first time in Philharmonia Hall.

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Johnston, RLPO, Petrenko, Philharmonic Hall, Liverpool

Glyn Môn Hughes

If you’re going to employ tens of extra musicians for Strauss’s gigantic Alpine Symphony, it’s probably just as well that a few other "biggies" are programmed in the same concert. So it was at the Philharmonic Hall, where the Strauss shared the programme with a new orchestration of Tchaikovsky’s The Seasons as well as a selection of Canteloube’s haunting Songs of the Auvergne.

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Belcea String Quartet, Wigmore Hall

Sebastian Scotney

To keep a string quartet on the road for 20 years requires patience, devotion and staying power. Therefore the Wigmore Hall's participation in the celebrations of the 20th anniversary of the Belcea Quartet, which is being marked in several European concert halls, is fitting testimony to the achievements of these players. Last night's concert was the first of their London series.

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