Classical music
graham.rickson
Elgar: Enigma Variations, Vaughan Williams: The Wasps, Fantasia on Greensleeves Kansas City Symphony/Michael Stern (Reference Recordings)Listen to the tiny second Entracte from Vaughan Williams’s Wasps suite and you’re amazed at how such a beguiling, intoxicating piece could have remained so little known, and at how French the music sounds. Unsurprisingly, it was written after Vaughan Williams had briefly studied with Ravel. The lightness and delicacy are extraordinary, and Vaughan Williams’s typically modal chord progressions sound more Gallic than usual. Delicious stuff, following a Read more ...
Christopher Monks
“Without music, life would be a mistake”: Nietzsche. Sadly for many – indeed tragically, Nietzsche would say – music education in the UK has become so inconsistent that now, music barely features in some children’s lives at all. For years, county music services have been tied in to long contracts with services and teachers, some of whom have consistently delivered outstanding musical education, while others are tired and disconnected from the needs of the pupils they are teaching. It is detrimental enough not to have a musical education, but potentially even more damaging to a child to Read more ...
alexandra.coghlan
He might not be a household name, but Martin Engstroem is classical music’s man behind the curtain, a quiet but significant force in the industry for some 40 years. Although his career has seen Engstroem by turns as major artist agent and head of A&R for Deutsche Grammophon, it is as founder and general director of the Verbier Festival – this year celebrating its 20th anniversary – that he has achieved perhaps his greatest successes.What started as a boutique affair with only 17 concerts has now grown to its biggest programme yet, encompassing some 62 ticketed events as well as many more Read more ...
graham.rickson
Bach: Double and Triple Concertos Rachel Podger (violin), Brecon Baroque (Channel Classics)This is the most effervescent, zingy Bach Double Concerto I’ve heard. Close your eyes, don a pair of headphones, and listen to Rachel Podger and Bojan Čičić sparring with effortless, conversational fluency. As with all good period performances, there’s the sense of muddy varnish being stripped away. It’s always a joy when a performance of a familiar work finds new things to say. Buy this disc for the Double Concerto’s slow movement. The solo playing is predictably wondrous. Like me, you’ll be Read more ...
David Nice
It only takes a few great Lieder by Schumann and Liszt to show the kinds of songs Wagner didn’t, or couldn’t, write. Very well, so the rarities in this programme were whimsies he composed in his youth, but even the Wesendonck Lieder, sole voice-and-piano masterpieces of his maturity, don’t show much concern for the little details of humanity. Fortunately Janice Watson rose to great form to show us what, quite apart from the two "studies" for Tristan und Isolde, their opulent generalities are all about. And her pianist in a thousand, Joseph Middleton, treated Wagner’s phrase endings with as Read more ...
alexandra.coghlan
Back in the 19th century it was violinist Ole Bull who put Norway on the musical map, likened by Schumann to Paganini and celebrated across Europe for his supreme virtuosity. More recently pianist Leif Ove Andsnes has emerged as the nation’s classical champion, a rare performer whose taste is equal to his technique. But with not one but two young Norwegian soloists making their BBC Proms debut this summer, the newest generation of classical musicians has the potential to take Norway still further into the heart of the classical establishment. One performer making determined inroads is Tine Read more ...
edward.seckerson
Benjamin Wallfisch was born into an extraordinarily musical family. His father Raphael Wallfisch is a cellist of international repute and his grandmother Anita Lasker-Wallfisch would not be alive today had her cello not served as a refuge for her soul while she was an inmate at Auschwitz. Benjamin did not play the cello but instead graduated from piano to baton in pursuit and fulfillment of his musical passions.He also fell in love with the cinema and while watching ET take his leave of Elliot in the closing sequence of Steven Spielberg’s classic movie he realised how much of the emotion of Read more ...
John Harle
On Christmas Day last year, we lost Richard Rodney Bennett, a composer and performer who bridged the worlds of classical, jazz and film music with a suave nonchalance that came from inner confidence and a belief in hard work. He and I met for lunch in the summer of 2012 at The Fountain Restaurant in Fortnum & Mason. We were to discuss what music we'd like to record to finish Round Midnight, an album we'd started many years ago, and for me to interview him for the launch of Sospiro, a new record label.We had to walk from St James's Square up to Piccadilly – he was ailing so it was hard Read more ...
graham.rickson
Britten and Shostakovich: Violin Concertos James Ehnes (violin), Bournemouth Symphony Orchestra/Kirill Karabits (Onyx)No apologies for reviewing yet another Britten disc. This one couples the Violin Concerto with Shostakovich’s Concerto no.1; a pairing which makes such emotional and musical sense that you’re surprised it’s not been done more often. Everything hits the mark here. The incisive, virtuosic orchestral backing from Kirill Karabits' Bournemouth Symphony Orchestra is a perfect foil for James Ehnes’ jaw-dropping solo playing. The Britten has never opened with such cool poise; a Read more ...
David Nice
How often should a music-lover go to hear Britten’s most layered masterpiece? From personal experience, I’d say not more than once every five years, if you want to keep a sense of occasion fresh. So how often should an orchestra play it? Sir Simon Rattle and his Berlin Philharmonic decided they could manage three nights in a row towards the end of their 2013-14 season. At the first of the performances, it already felt like a lot might have been kept in check. This, alas, was for the most part the kind of workaday performance Shostakovich, who rated the work alongside Mahler’s Das Lied Read more ...
graham.rickson
Britten: Still falls the Rain, The Heart of the matter, Canticle V etc Nicholas Phan (tenor), Myra Huang (piano), Jennifer Montone (horn) Sivan Magen (harp) (Avie)Another well-planned Britten anthology in the composer’s centenary year, made more interesting by its choice of performers – none British, apart from an unexpected, eloquent spoken cameo from Alan Cumming in The Heart of the Matter. Heard here in Peter Pears’ abbreviated version, the song sequence has at its centre Britten’s Canticle III, surrounded by additional Edith Sitwell settings and readings and framed by a haunting prologue Read more ...
alexandra.coghlan
What rare luxury. A three-concert series from the London Symphony Orchestra and their Principal Guest Conductor Michael Tilson Thomas is lure enough, but add three collaborations with Yo-Yo Ma as soloist and you have to rope off a special area in the Barbican for the returns queue. Rarer still – it would be worth every moment of the wait.The concert-triptych has been a meditation on musical friendships and relationships, with long-time colleagues Ma and Tilson Thomas paying homage to the complex network of emotions and influences that existed between Britten, Copland and Shostakovich, three Read more ...