Classical music
Gavin Dixon
Thomas Søndergård stood in for this concert at a day’s notice – Valery Gergiev is apparently recovering from a knee operation and unable to travel. He left behind a curious programme, centred around Prokofiev’s quirky but dour Sixth Symphony. It’s a difficult work to schedule, but Gergiev added two sweeteners, Tchaikovsky’s Romeo and Juliet and First Piano Concerto. Søndergård clearly has the measure of all three works, and all came off well, making this concert, his first appearance with the London Symphony, an impressive debut.Dynamism and focus are the key qualities of Søndergård’s Read more ...
Sebastian Scotney
Send in the paradoxes. Richard Rodney Bennett (1936-2012) had been so obsessed as a young man by music of the avant-garde, he would hitch-hike to Darmstadt to be in the same room as his (then) idols Berio, Maderna, and Boulez. He and Cornelius Cardew premiered important works by Boulez in the UK. And yet this was the same man who would later write, sing and play a cabaret song, “Early to Bed”, based on an endearing habit of Blossom Dearie.This was a composition student thrilled to receive his first film commission – to score a film glorifying the robustness of British insurance – and who Read more ...
alexandra.coghlan
For the first decade of its life, King’s Festival of Nine Lessons and Carols remained a local phenomenon, a “gift to the City of Cambridge”. But that all changed in 1928 with the first BBC Broadcast of the service. It wasn’t the first service to be broadcast from King’s Chapel, that honour goes to an Evensong in 1926, but it was the service that caught the imagination of a nation like none other before it.Yet the service arrived in the BBC schedules without fanfare. A quick glance through the Radio Times for December 1928 finds only a small notice of the programme at the bottom of a page, Read more ...
graham.rickson
Elgar Remastered (Somm)Elgar’s compositional career took a bit of a nosedive in his final decades but his sharpness as a practical musician never left him, as is witnessed by the superb series of acoustic and early electrical recordings he conducted in the 1920s and early '30s. There’s a magnificent Warner box collecting the discs he made for HMV, which should be in every home. Elgar’s swift tempi and reluctance to linger are frequently thrilling, dispelling any suggestion that this is crusty music for tweed-clad buffers. This Somm set is also mandatory listening: sound engineer Lani Spahr Read more ...
David Nice
Has there ever been a more pertinent time to revive the poetic mythologies of Brecht and Weill? The writer said that the good-life-for-dollars city of Mahagonny was not exclusively an American state of mind and should be set in any country where it's performed. But the inverted morality tale of The Seven Deadly Sins explicitly references seven American cities. And with lines like (in the Auden/Kallman translation) "If you show your offence at injustice, Mr Big will show he's offended", it's very much of the moment. Add a performer of colossal magnetism like Storm Large, the slickest Weillian Read more ...
David Nice
Has any living pianist had a richer or more charmed life than Idil Biret? As a child prodigy she studied in Paris with Nadia Boulanger and Alfred Cortot, and both there and in Germany with Wilhelm Kempff. At the age of four she was reproducing Bach Preludes and Fugues on the family piano in Ankara simply from hearing them on the radio. When she was seven the Turkish Parliament passed "Idil's Law", enabling not her but also other gifted children to study abroad.From the testimonies of her great mentors, it's clear she was always a happy child (pictured below with Turkish President İsmet İnönü Read more ...
graham.rickson
Beethoven: Piano Sonatas Op. 90, Op. 101 and Op. 106 Steven Osborne (Hyperion)These three Beethoven sonatas are often thrown together as a trilogy; each work seems to lead into the next, the technical demands and scale increasing as they progress. Steven Osborne’s disc places the Hammerklavier first. And it’s phenomenally good; a big-boned, entertaining performance of a vast, unwieldy work, Osborne capturing the grandeur along with the passages of whimsical introspection. There’s a racy scherzo and a beautifully sustained slow movement. And what a finale: Beethoven’s peculiar slow Read more ...
Richard Bratby
Is there anything on a concert programme more guaranteed to make the heart lift – or to prove that a conductor has their musical priorities straight – than a Haydn symphony? If you're tired of Haydn, you're tired of life: there’s no music more joyous, more inventive or more resistant to vanity. Mirga Gražinytė-Tyla chose his Symphony No 6 of 1761, called Le Matin for its opening sunrise and the freshness of its ideas, and it was a delight.The six wind players stood up to play, and the CBSO strings were slimmed down a little, but not a lot. There was no serious attempt here to fake a period Read more ...
Peter Quantrill
Lest we forget. On Flanders’ Fields. For the Fallen. No one does stiff-upper-lip, buttoned-up remembrance quite like the English. Since its composition only a little over half a century ago, the War Requiem has become our national anthem for the departed. When Britten’s hastily greasepainted collage of Wilfrid Owen and the best bits of Mozart and Verdi (not to mention Berlioz) is retired every so often, something more muted is generally preferred for chilly November evenings: Fauré, or at a stretch Duruflé, Requiems as sympathetic to sing as they are to listen to, with melodies as sweet as a Read more ...
David Nice
What's a world-renowned mezzo-soprano in her middle years to do? Slimline of voice, tall and handsome in person with piercing and slightly intimidating blue eyes, Stockholm-born Anne Sofie von Otter isn't likely to sing what is known in the operatic world as "all those old bag parts", though she's a good enough actress to have carried off a few.Yet this is one of the widest-ranging and most recorded voices of the past 25 years (over 100 CDs to date). From Mozart's Idamante and Sesto in ground-breaking 1990 concert performances to a grande dame in meltdown as part of Thomas Adès's superb Read more ...
graham.rickson
Jonathan Dove: For an Unknown Soldier, An Airmail Letter from Mozart Nicky Spence (tenor), Melvyn Tan (piano), London Mozart Players/Nicholas Cleobury (Signum)Jonathan Dove originally wanted to use soldiers’ letters and diaries in his "cantata of remembrance" For an Unknown Soldier, changing his mind on realising how hard such texts are to sing well. Instead, the work sets poems by First World War poets, many of which do read like letters home. Dove’s fluent choral writing serves the texts brilliantly, the music sardonic, angry and bittersweet by turns. Mechanical clunks and hisses Read more ...
Robert Beale
Two things to note in Thursday’s Hallé performance at the Bridgewater Hall: the debut in the Manchester main series of their highly talented new assistant conductor, Jonathon Heyward, and another stride along the road towards the Hallé/Elder complete edition of the Vaughan Williams symphonies. Oh, and there was a very fine piece of virtuoso violin playing from James Ehnes, whose performance of Bruch's Second Violin Concerto would probably have been the headliner in any other circumstances … and the revelation of an unusual piece by Janáček.So, to begin at the beginning. Heyward is a young Read more ...