Classical music
Peter Quantrill
This is how new and modern music should be done. In the London Philharmonic, we had an orchestra well-prepared to meet technical challenges and resolved to making sense from them. Vladimir Jurowski is a conductor who places faith in composers and audiences, who can welcome listeners and guide them through the evening as a congenial master of ceremonies rather than dessicated college lecturer.In both words and performance, Jurowski made a case for the Symphonies of Wind Instruments as Stravinsky’s first radical orchestral work (setting aside the trio of ballets for Diaghilev). The verse- Read more ...
David Nice
No living composer writes more compellingly for choir or for strings than James MacMillan (a surprisingly accepted "Sir" is now an optional addition to the name). This beautifully planned programme's first half gave us the former, a cappella choral music at its most masterly in the setting of the Miserere premiered by The Sixteen in 2009, before Vaughan Williams's Fantasia on a Theme of Thomas Tallis lay down the gauntlet for the latter. Both were matched - though it would be hard to surpass them - in the world premiere of a masterpiece combining the two forces, MacMillan's Stabat Mater.Post- Read more ...
Gavin Dixon
The Philharmonia’s Sunday concert wasn’t quite the event they’d planned. Christoph von Dohnányi scored a hit last season with Schubert's Ninth Symphony, so his reading of the Eighth seemed an ideal way to begin. But Dohnányi withdrew early on, leaving the work in the less inspiring hands of Josep Pons.The second half was devoted to Mahler’s Das Lied von der Erde, with the star pairing of Robert Dean Smith and Matthias Goerne. But Goerne too pulled out, and at very short notice. Fortunately, Catherine Wyn-Rogers proved a worthy stand-in, and Pons found his stride, making the second half more Read more ...
Peter Quantrill
The Lobgesang "lies very near my heart," wrote Mendelssohn. And the composer was so self-critical that the published order of his symphonies bears no resemblance to their composition: this "Hymn of Praise", known as the Second, was the penultimate before his symphonic masterpiece, the "Scottish". It is more often performed in recording studios, to satisfy recording companies’ hunger for complete cycles, than in concert, at least outside the composer’s native Germany.So a reappraisal is in order. Who better to lead it, in concerts and a forthcoming recording with the London Symphony Orchestra Read more ...
graham.rickson
Jay C. Batzner: as if to each other… R. Andrew Lee (piano) (Irritable Hedgehog)Like the Charlemagne Palestine disc reviewed a few weeks ago, this release won’t be to all tastes. But give as if to each other… sufficient time and it will get under your skin. Jay C. Batzner’s 24 minute work for solo and piano and electronics was prompted by the RPM Challenge, a yearly ‘creative challenge’ originally sponsored by the magazine The Wire, where musicians are invited to create an album (“10 songs or 35 minutes”) in the shortest month of the year – recordings to be submitted by noon on March 1st. The Read more ...
Helen Wallace
Call it re-analogification, de-digitisation or perhaps just plain reverse-engineering, Icebreaker’s set at Milton Court was all about reclaiming the electronic for hoary-handed instrumentalists. Their skills are well-honed: from Anna Meredith to Steve Martland to Kraftwerk, with an inspired side-order of Scott Walker, they conjured propulsive rhythmic lines and saturated layers of harmony from inauspicious sources – pan-pipes, soprano sax, a single cello, bass drum. Of course, there were electric guitars, keyboards and a stage groaning with amplifiers, but it was a damn sight more interesting Read more ...
David Nice
It's harder for young professional musicians to be judged in standard repertoire – the very greatest music, in short – than to make their mark tackling the unknown in a wacky venue. High levels of energy and technical skill married to interpretations with something to say are what it takes, and what we got from the London Firebird Orchestra last night.They were blessed in their choice from three "inner circle" conductors, Jonathan Bloxham, newly appointed Mirga Gražinytė-Tyla's assistant at the City of Birmingham Orchestra, with concerts of his own to come there. Blessed, too, that as a Read more ...
Peter Quantrill
With a trio of easy-on-the-ear 20th-century works, Thomas Søndergård marked his debut with the London Philharmonic Orchestra. A pleasingly full crowd took the opportunity to hear the work of a conductor rarely glimpsed in these parts outside the BBC Proms. His appearances there in charge of the BBC National Orchestra of Wales have given the impression of a contented, highly competent musician, at ease both with the players before him and the scores on the music stand.Whatever that summary leaves out was also missing on this occasion. However new, unfamiliar or classic the repertoire, a Read more ...
Richard Bratby
Bruckner’s Third Symphony doesn’t so much begin as become audible. A steady heartbeat in the bass, oscillating violas lit from within by clarinets, and in the middle, slowly pulling clear of the texture, the proud, sombre trumpet motif to which Wagner himself agreed to attach his name. Not the least of Alpesh Chauhan’s achievements in this performance with the City of Birmingham Symphony Orchestra was that he established all of this with his very first gesture – not just the subtle, unmistakably Brucknerian layering of the music’s textures but that whole vast, mysterious sense of the music Read more ...
graham.rickson
Brahms: Double Concerto, Piano Trio No. 1 (1854 version) Joshua Bell (violin and director), Steven Isserlis (cello), Jeremy Denk (piano), Academy of St Martin in the Fields (Sony)Brahms’s Double Concerto can be unfairly maligned as a dull, downbeat coda to a long compositional career, but it’s much better than that. Written partly as a peace offering to the violinist Joseph Joachim, this is a piece which takes time to work its magic. It gets a warmly affirmative reading from Joshua Bell and Steven Isserlis. They’ve been playing together for years, so it’s little surprise that this performance Read more ...
David Nice
His transformational Brahms series with the Scottish Chamber Orchestra may have been truncated by slipped disc troubles - he was much missed at Glyndebourne too - but Robin Ticciati is back with renewed energy and purpose. To judge from the brilliant but focused party they seemed to be having with Mozart's "Jupiter" Symphony last night, the players are as overjoyed as he is.There was much to celebrate just in the evening alone: the last symphony came as the cathartic third act of an opera for orchestra which had led us from the majestic 39th into the woods of the radical 40th and out into the Read more ...
David Nice
For a BBC Radio 3 lunchtime's hour of music, cellist Steven Isserlis's latest collaboration with that most individual of pianists Olli Mustonen went astonishingly deep. The surprises were equal in its two halves - the first a through-conceived programme of shortish late Schumann pieces plus a Schumann homage composed by Mustonen the composer for Isserlis and poetically embedded in the sequence; the second an interpretation of Prokofiev's late Sonata for Cello and Piano which scotched with high, focused drama the usual claims that this is a light and simple work.Mustonen has a penchant for Read more ...