tue 07/01/2025

Classical Reviews

Hardenberger, BBCPO, Storgårds, Bridgewater Hall, Manchester

philip Radcliffe

I’ve seen some double acts in my time, such as the Oistrakhs and the Torteliers, but none quite like that of Storgårds and Hardenberger. Best friends, they took it in turns to conduct the BBC Philharmonic and to take over the soloist's spot. First one mounted the rostrum, while the other gave us a UK premiere as soloist. Then they switched roles, producing a second UK premiere.

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Classical CDs Weekly: John Cage, Schubert, Stravinsky

graham Rickson

 

John Cage 100 Various artists (Wergo)

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Rachlin, BBC Scottish Symphony Orchestra, Runnicles, Glasgow City Halls

David Nice

Viennese night in Glasgow’s Candleriggs was hardly going to be a simple matter of waltzes and polkas. True, its curtain-raiser was a Blue Danube with red blood in its veins rather than the anodyne river water of this year’s New Year concert from Austria’s capital; one would expect no less from Donald Runnicles after the refined but anaemic Franz Welser-Möst.

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Spassov, LSO, Järvi, Barbican Hall

alexandra Coghlan

The tabloids are getting shriller every day in their warnings about the army of Bulgarians and Romanians about to descend on British shores, so it’s probably lucky that none of their journalists was present last night at the Barbican to witness an Eastern European musical coup of deadly efficiency.

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Zimerman, Philharmonia, Salonen, Royal Festival Hall

Geoff Brown

The centenary bandwagon always passes some composers by: how many organisations in Britain will be celebrating George Lloyd or Tikhon Khrennikov? Other figures almost get steamrollered flat with attention; Britten, I’d say, is this year’s likely candidate. But who could throw any stones at the birthday cake and bunting created by the Philharmonia Orchestra for that mercurial Polish wizard Witold Lutoslawski?

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Orchestra of the Age of Enlightenment, Rattle, Royal Festival Hall

Edward Seckerson

Period instruments demand absolute honesty from their players. Their sound is their personality - candid, quirky, eccentrically beautiful - but their soul is revealed in the spirit of the playing, where beauty is not skin deep and the expressiveness of phrasing in the strings is created in the bow arm and from a truthfulness of intonation that does not hide behind vibrato.

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St Matthew Passion, Academy of Ancient Music, Choir of King's College Cambridge, Kings Place

alexandra Coghlan

Kings Place’s Bach Unwrapped season invites audiences to come at the composer from new and unexpected angles. Bach gets arranged, adapted and re-orchestrated, and his legacy is showcased in works from three centuries. Occasionally however he also gets played straight – and it doesn’t get much straighter or more authentic than the Academy of Ancient Music and the Choir of King’s College Cambridge performing the St Matthew Passion.

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LSO, St Lawrence String Quartet, Adams, Barbican

alexandra Coghlan

And so John Adams’s residency with the London Symphony Orchestra reaches its finale – a brisk allegro of a concert with a cheeky coda in the form of the composer’s latest orchestral work, Absolute Jest.

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The Dream of Gerontius, LPO, Elder, Royal Festival Hall

alexandra Coghlan

We’re still in the foothills of the Southbank Centre’s year-long The Rest is Noise festival, but already the harmonic ground is becoming unsteady underfoot. Last weekend saw the gemütlichkeit of Johann Strauss give way to the brutality of Richard Strauss, exposed us to the moistly chromatic flesh of Salome that lies behind the seven veils, and showed just a hint of Schoenbergian ankle.

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BBC National Orchestra of Wales, Atherton, St David's Hall, Cardiff

stephen Walsh

The Britten centenary will, among much else, inspire performances of his comparatively under-regarded instrumental works - pieces like the cello suites and the string quartets, already sampled in brilliant performances at last week’s Wye Valley Chamber Music Festival.

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