Classical music
theartsdesk
The BBC Proms are steeped in traditions, many admirable, some arcane, the odd one ever so slightly maddening. In the short life of The Arts Desk - we turned three on Sunday, the day after the 2012 Proms season came to a close - another tradition has come into being. Every year we publish a gallery of portraits of conductors at work. These astonishing photographs are all by Chris Christodoulou, who has been capturing the Proms in pictures for 31 years.These, it should be stated, are the images which are very much not released for use by the press after each Prom. And you can see why. They find Read more ...
simon.broughton
During an orchestral rehearsal, it’s tense in a TV scanner at the best of times. A scanner is one of the huge vans parked outside the Royal Albert Hall with a wall of screens showing the shots from the cameras within. There’s a large huddle of BBC radio and television vans for the whole season. But there was another outside broadcast encampment on Saturday for the Last Night of the Proms, which was being broadcast in 3D for the first time. This is where all of us in the truck – members of the production team, technical experts, BBC executives - were wearing dark glasses to see the 3D image Read more ...
Jasper Rees
The BBC Symphony Chorus did a mass Mobot. A posse of medal-winning rowers and sailors led the encore of Rule, Britannia. The Maltese tenor Joseph Calleja entered in Team GB trackies. It has been, we can probably agree, a summer unlike others we have known. Every year the Last Night of the Proms celebrates Britishness as if we’ve won a stack of golds and wowed the world, when mostly – these no longer being the 1890s - we haven’t. But for obvious reasons last night’s Last Night had the chance to put clear blue water between itself and the regular warm bath for jingoists. In the new dispensation Read more ...
edward.seckerson
The Vienna Philharmonic Orchestra can play Haydn’s last symphony - No 104 “London” - in its sleep but that is not, I hasten to add, the impression one wants to take away from any performance of it and especially not in the city that inspired it. The music tells us that Haydn had a rather better time in our capital than Bernard Haitink would have us believe but this rather dogged account on the penultimate night of the Prom season seemed to suppress the work’s genial good humour and pre-empt most of its surprises with a one-size-fits-all approach. Haydn was many things - dull was not one of Read more ...
graham.rickson
Gershwin: Music for Piano and Orchestra Freddy Kempf, Bergen Philharmonic/Andrew Litton (BIS)Programme your CD player to play this disc in reverse order, so that Gershwin’s cheeky, pithy Variations on "I Got Rhythm" opens proceedings. You sense Gershwin’s harmonic and rhythmic confidence soaring; this little piece never puts a foot wrong. Freddy Kempf’s performance is brimful of zip and zing, and so dazzling that your first instinct is to listen to it again. Kempf is even better in the similarly neglected Second Rhapsody, a 1931 work which the composer regarded as one of his greatest Read more ...
Ismene Brown
You’ve never seen so many people at a Prom, thousands of them packed into every space of the Albert Hall inside, while outside a 100-metre line of hopefuls queued in vain to stand in a pit where a small cat couldn’t have been added. But then this was a luxury Prom: with the Vienna Philharmonic and two musicians of golden integrity and sensitivity, lifetime members of the high table, the pianist Murray Perahia and the conductor Bernard Haitink playing two works born in Vienna.Size matters in the Albert Hall - they played spacious Beethoven and epic Bruckner - but it takes musicians of special Read more ...
William Berger
Classical albums are seldom biographical, but Insomnia turned out to be a much more personal journey than I first realised. In the summer of 2010, I was a prize winner in the Ernst Haefliger Competition in Bern, Switzerland. Part of the award was a debut recital in the Lucerne International Festival the following year. The festival theme for 2011 was “Nacht”. That’s it; one tiny word that encompasses so much. How was an unknown artist, like myself, going to attract an audience to my song recital when they’d be more tempted by the likes of Véronique Gens singing “Nuit d’etoiles” and other Read more ...
geoff brown
If you’re going to bash a tam-tam for six, the Albert Hall is the perfect place to do it. The reverberation lasts for ages; and everyone in the audience can see you bashing. That must explain in part why Messiaen’s hieratic, gong-crazy Et expecto resurrectionem mortuorum has notched up 10 Prom performances in 45 years. Sunday’s was the first, though, to be performed by the historic and wonderful Leipzig Gewandhaus Orchestra, an outfit previously associated more with Bach and Mendelssohn than Messiaen’s idiosyncratic altar cloths in sound.But times have changed since Riccardo Chailly arrived Read more ...
igor.toronyilalic
I'd love to see the stats on the last time a Prom was this packed for an afternoon organ recital. Were it not for the fact that organist Cameron Carpenter was sporting spandex trousers encrusted in silver glitter, a wife beater and Mohawk, you could have been mistaken for thinking we were back in the organ glory days of the early 19th century. Even the programme harked backward, offering as it did big, bloated Romantic transcriptions, arrangements and improvisations (pretty much everything in fact except the urtext).Scratch that. We did get two pieces of unadulterated Bach, the Toccata Read more ...
alexandra.coghlan
“Well that was bloody fantastic,” a broad Aussie accent declared from somewhere behind me at the end of Ravel’s String Quartet in F major. And that’s the thing with the Australian Chamber Orchestra – it’s just that simple. Their concert programmes reliably include all manner of arrangements (the quartet, for example, was a classic Tognetti reworking for string orchestra) and unexpected collisions of repertoire, but strip all the tricks away and get them stuck into a serious bit of music-making and the result is thrilling and entirely unaffected.A carefully curated programme took us from Read more ...
geoff brown
Champagne on ice in the private boxes; scarcely any spare seats. This isn’t the normal situation for a concert climaxing in Witold Lutosławski’s Third Symphony, a modernist work whose usual audience is more than two men and a dog but still doesn’t pull in the crowds. What pulled in last night’s Proms crowd, of course, was Sir Simon Rattle and the Berlin Philharmonic, an orchestra so lustrous that people would pay decent money just to hear them tune up.Indeed, they tuned up beautifully, though still lovelier sounds emerged shortly after as they sank themselves into the work that probably Read more ...
graham.rickson
Hans Gál: Symphony No 4, Schumann: Symphony No 2 Orchestra of the Swan/Kenneth Woods (Avie)Hans Gál’s four symphonies are being slowly rehabilitated, thanks in part to Avie’s ongoing series. An Austrian Jew who eventually settled in Edinburgh and achieved fame as an academic, Gál’s early renown came through composition. His final symphony was completed in 1974 but - intensely personal, elegiac, nostalgic music, and completely out of step with the times - it could have been written 80 years previously. Gál saw himself as part of the Austro-German tradition, and his last symphony achieves Read more ...