Classical music
alexandra.coghlan
After a Messiah last Christmas by one of London’s finest professional chamber choirs that was straight off the factory production line – mindlessly and maddeningly correct, just, I suspect, as it had been the five other times they performed it that week – I vowed to do things a little differently this Easter. Bach’s Passions certainly need skill and musicianship, but what they need above all is sincerity and heart. With that theory in mind, I went looking for a performance by a good amateur ensemble; when I found one by the Anton Bruckner Choir that also numbered Jacques Imbrailo and Ed Lyon Read more ...
Peter Quantrill
Opening It’s All About Piano!, a short but packed festival shared between Kings Place and the Institut français in Kensington, Mikhail Rudy made a rare appearance in the UK. The premise was unusual if hardly revolutionary, a meeting of music and film in which it was not obvious which was the accompanying medium. Was Rudy the silent-film pianist, or were the movies illustrative of latent narratives in Janáček and Musorgsky? Neither. And therein lay the recital’s success.It was back in 2012 that the Cité de la Musique in Paris commissioned from the Quay Brothers a film adaptation of Kafka’ Read more ...
graham.rickson
Dvořák: Symphony no 9, American Suite Bamberger Symphoniker/Robin Ticciati (Tudor)A quick check at one online CD retailer brings up 22 pages of New World Symphonies, and a full iTunes perusal involves a lot of downward scrolling. Do we need another one? If it's good, yes, and Robin Ticciati's new version of Dvořák 9 has lots going for it. He's got a brilliant ear for detail which rarely derails the music's forward momentum. The often inaudible viola line accompanying the cellos' lament is present at the start, and the Bamberg winds ooze character. Dvořak's moody introduction broods, Read more ...
David Nice
Over the past two Saturdays, Vladimir Jurowski and a London Philharmonic on top form have given us a mini-festival of great scores for Diaghilev’s Ballets Russes. The hallucinogenic vision of ancient Greece in Ravel’s Daphnis et Chloé last week was succeeded yesterday evening by the fresh-as-poster-paint colours of Stravinsky’s Petrushka and excerpts from Prokofiev’s Chout (The Buffoon), a longer score in the Petrushka mould which has suffered disproportionate neglect (though not from the LPO – both Alexander Lazarev and Jurowski have conducted the complete ballet). Both works, especially in Read more ...
Gavin Dixon
Pierre Boulez sits in the back of a car as it drives across Westminster Bridge. He is talking about the audience appeal of his music, and he is characteristically direct. If the performance is good, and the situation is right, he insists, then audiences will come. That was back in 1968. The interview was featured in one of the documentaries that began today’s event, and it proved prescient. Boulez at 90, the day-long festival of music by the BBC Symphony Orchestra's former chief conductor, was well planned (by the BBCSO) and well performed. And the audiences came: every event was well Read more ...
graham.rickson
Ruperto Chapí: String Quartets 1 and 2 Cuarteto Latinoamericano (Sono Luminus)Think string quartet and you tend to think Beethoven, Haydn, Mozart. Maybe Bartók and Shostakovich. But generally something respectable, well-behaved and Northern European. Not Spanish, unless it's the one by Ravel. So you need to make the acquaintance of Ruperto Chapí. He came to prominence in the late 19th century as a zarzuela composer. Born near Alicante in 1851, he trained in Rome and Paris, returning to Spain in 1880. In the years immediately before his death in 1909 he composed four string quartets, a Read more ...
Sebastian Scotney
Who knew that the wisdom of crowds could be quite so fickle or so fallible? This superb recital by the American violinist Leila Josefowicz and pianist John Novacek was played in front of a Wigmore Hall only about a quarter-full. Josefowicz, returning to the Wigmore after five years, wasn't ruffled in the slightest. After all, a bigger date awaits her in just one week's time: next Thursday she is to give the world premiere of a new work by John Adams with the New York Philharmonic, for which Avery Fisher Hall is already close to sell-out.The duo carried off this London recital with huge Read more ...
David Nice
I’ve just spent five weeks in the company of a very austere and sometimes frightening masterpiece, Sibelius’s Fourth Symphony, hearing a great many recordings of it for Building a Library, the abiding gem of Radio 3’s CD Review in which the critic takes the listener through the piece and chooses a front runner. Now that I’ve reached the finishing post, having scripted the three-quarters-of-an-hour slot with all the snippets from the best and worst of the various recordings - the middle-grounders rather lose out - people are inclined to ask, “ain’t you sick of it?”. Far from it. The Read more ...
geoff brown
Through symphony, opera and orchestral fireworks, Julian Anderson’s music can usually be guaranteed to bring his audiences plenty of meaty listening. But the British composer’s golden aura faded somewhat during the London Philharmonic’s world premiere last night of In lieblicher Bläue, a quasi-concerto (“poem” is Anderson’s preferred term) for violin and orchestra. Some of its troubles might lie in the composer's source of inspiration, a crazy-quilt German Romantic text, hovering between poetry and prose, written in the early part of Friedrich Hölderlin’s long mental decline.The text has Read more ...
Glyn Môn Hughes
When the curtain came down on Liverpool’s year in the limelight as European Capital of Culture, back in 2008, there may have been some who thought that the party was over. Things in the city’s arts world were never going to the same, however, and much has changed since 2008, mostly for the better. But there is one institution which, though it’s been through some major changes in its lifetime, is a constant on the Liverpool scene.The Royal Liverpool Philharmonic is celebrating its 175th birthday. Philharmonic Hall has been refurbished and building work continues to provide a new performance Read more ...
graham.rickson
Brahms: Serenades Gewandhausorchester/Riccardo Chailly (Decca)This delectable supplement to Chailly's Leipzig Brahms symphony cycle is predictably good. Brahms's early D minor piano concerto sounds like an attempt to compose on an explicitly symphonic scale, a study in snarling, haughty grandeur, but the two serenades are breezy, transparent and extrovert. All musical elements which play a crucial part in mature Brahms, and ones which Chailly so successfully highlights in the symphonies. Haydn and early Beethoven are audible influences, but these pieces already sound entirely individual Read more ...
Peter Quantrill
Morton Feldman and Robert Schumann don’t often appear in the same sentence, but in his brief platform introduction Alexander Melnikov perceptively located common ground: they are two of the greatest writers on music, both for their polemical intent and their vivid imagery. It can be hard to avoid analogy and metaphor when discussing Feldman’s music, but why bother trying? The composer himself wrote of Triadic Memories (1981) that “Chords are heard without any discernible pattern. In this regularity there is a suggestion that what we hear is functional and directional, but we soon realize Read more ...