Classical Reviews

Classical CDs Weekly: Hindemith, Colin Matthews, Walton, The Vocal Constructivists

graham Rickson Saturday, 15 November 2014

Leonskaja, SCO, Kamu, Usher Hall, Edinburgh

David Nice Friday, 14 November 2014

Most pianists never truly master one of Brahms’s two piano concertos, those colossal symphonies for soloist and orchestra, let alone both. To present the two in one concert, then, seems foolhardy – and apparently was when András Schiff went for the marathon at the Edinburgh Festival during the Brian McMaster era. No-one expected anything but true majesty, though, when Elisabeth Leonskaja asked to do the same.

Comment

Currie, Aurora Orchestra, Collon, QEH

Bernard Hughes Wednesday, 12 November 2014

It has always been obligatory when talking about Steve Martland to describe him as an iconoclast. Before his sudden death in May 2013 at the age of 58, he forged a reputation for himself as a self-styled outsider to the musical establishment, speaking scathingly about the Proms, and eschewing established orchestras and ensembles in favour of writing for his eponymous band.

Comment

Monteverdi Vespers, The Sixteen, Christophers, Winchester Cathedral

David Nice Friday, 07 November 2014

It has to be the ultimate cornucopia of choral and early-instrumental invention. So long as the musicians immerse themselves in the beauty of a strange adventure, it doesn’t matter where you hear Monteverdi’s Vespers of 1610: however selective the acoustic, you’ll always get something out of one rare combination of sounds or another.

Rachmaninov Vespers, Maryinsky Chorus, Llandaff Cathedral

stephen Walsh Friday, 07 November 2014

Anyone whose affection for Rachmaninov is bounded by the Second Piano Concerto or the Paganini Rhapsody might be surprised to learn that his own favourite work of his was his setting for unaccompanied choir of the Vespers, or All-Night Vigil, of the Russian Orthodox Church. Admittedly he uses the Latin “Dies irae” in the Rhapsody, and the “Blagosloven yesi” from the Vigil does battle with it in his Symphonic Dances. But these are no more than Lisztian self-dramatising pieties.

Soumm, LPO, Vänskä, Royal Festival Hall

Matthew Wright Thursday, 06 November 2014

Even the cold breeze along the Thames played its part in conjuring the chilly, epic Finnish landscapes of Jean Sibelius last night, though Finnish maestro Osmo Vänskä and the perfectly weighted phrasing of the London Philharmonic Orchestra can take primary credit.

Thomas Adès, See the Music, Hear the Dance, Sadler's Wells

Hanna Weibye Saturday, 01 November 2014

The challenge was already in the title for me: as both a dance critic and a strongly visual person, in the normal order of things I see the dance first and hear the music second.

Uchida, LSO, Haitink, Barbican Hall

David Nice Friday, 31 October 2014

You know what to expect from a standard programme of masterpieces like this, led by two great performers in careful control of their repertoire, and those expectations are never going to be disappointed. You’re not going to hear the kind of new-sound Brahms side by side with the more recent end of the German musical tradition – Zimmermann, say, or Henze; that’s the provenance of a fresh thinker like Vladimir Jurowski.

The Fall of the House of Usher, Sound Affairs, Malvern

stephen Walsh Thursday, 30 October 2014

At least three composers have set about turning The Fall of the House of Usher into operas, including most famously Debussy, whose abortive attempt, completed by Robert Orledge, was brilliantly staged by Welsh National Opera in June. But there is a good argument that Poe’s story – short on incident and character, long on visual image and atmosphere – lends itself better to film than to the stage.

Arcadi Volodos, Royal Festival Hall

Jessica Duchen Wednesday, 29 October 2014

Arcadi Volodos is a relatively rare visitor to London these days. Although the Russian pianist, 42, rose early to fame, his development has perhaps taken him in a direction that startles those who were initially seduced by the astounding virtuoso transcriptions – many of them his own – in which he initially established his reputation.