Classical music
David Nice
Just to contemplate the shifting talent pool of this chamber co-operative can be giddying. Last night 10 great ensemble players, from top violin soloist Alexander Sitkovetsky to three London orchestral principals who must have jumped at the chance to be part of the Razumovsky experience, had their work cut out. Schoenberg and Schubert ask each musician to run the full gamut of Viennese angst and joy. The result was an unrepeatable experience in the spiritual as well as the literal sense.Both Schubert's Octet and Schoenberg's early string sextet Verklärte Nacht (Transfigured Night) can feel a Read more ...
David Nice
They're still bringing Beethoven and Shostakovich to London, enriching the mix a little with the cross-referencing of Alfred Schnittke, but the personnel of the Borodin Quartet have changed again. Patriarch cellist Valentin Berlinsky, there at the start over 60 years ago, passed on his bow to Vladimir Balshin before he died. Balshin is a worthy successor, especially since Berlinsky's tone had become translucent to the point of dematerialising and his successor's is rich indeed, but is "Borodin Quartet" now more a brand name than a vital entity?Well, continuity Read more ...
Peter Culshaw
An ongoing series celebrating musicians' birthdays. 7 January 1907: This week, by cosmic or other coincidence, has the birthdays of four composers who wrote some of the most interesting 20th-century music for the piano. Francis Poulenc here plays his Piano Concerto for Two Pianos with Jacques Fevrier.The piece was been dismissed by Klemperer, among others, as little more than a mere divertissement - the tunes, including a section inspired by Balinese gamelan, waft in and out "like the models on a Paris Fashion show" as one critic put it, never to be seen again. It was played to great effect Read more ...
igor.toronyilalic
Since before Christmas theartsdesk has been reviewing the past decade and previewing the year to come in the arts. As an extra we offer this special edition of The Seckerson Tapes, in which Edward Seckerson and Igor Toronyi-Lalic discuss the year in music, which, in the concert hall, saw the triumph of the new romantics in conductors Riccardo Chailly and Yannick Nezet-Seguin and, operatically, saw the arrival of three penetrating new productions of operatic classics: the English National Opera's Peter Grimes, Covent Garden's Tristan und Isolde and Glyndebourne's Rusalka.Listen here.
theartsdesk
theartsdesk received a New Year's gift last night when we were given a significant accolade from BBC Radio 5 Live. In Web 2009 with Helen and Olly, the station's podcasters and self-styled "internet obsessives" Helen Zaltzman and Olly Mann recognised theartsdesk as one of the five "essential sites of 2009" in a series of awards to the "cream of weblebrity". The shortlist included such big names as Google Streetview and Spotify, the winner.Our category consisted of sites which "this year seemed to become entirely essential" and the presenters (pictured right) praised theartsdesk's " Read more ...
David Nice
It seemed as if the usually sober Wigmore Hall was trying to shower us with as many pianistic notes as possible before the midnight bell rings in the New Year. More could hardly have been accommodated In two recitals on Monday and Wednesday evenings, when modest British virtuoso Daniel Grimwood was followed by 2007 Tchaikovsky Competition winner Miroslav Kultyshev in tackling a gaggle of densely-packed baggy monsters. It wasn't just the name of Felix Blumenfeld which was unfamiliar; I suspect musical trainspotters had a field day collecting two major but long-retired opuses by Tchaikovsky and Read more ...
David Nice
Even for a narratorless animation of Prokofiev's Peter and the Wolf like Suzie Templeton's obsessively detailed gem of a film, you probably only need 14 words before you can get on with the business of screening and playing. Peter: strings; bird: flute; duck: oboe; cat: clarinet; grandfather: bassoon; wolf: horns; hunters: timps. The savvy middle-class children gathered with their parents in the Royal Festival Hall yesterday afternoon had only two for actor/presenter Burn Gorman's manic clot on a bike, wheeling in to set up the background. The longer he shillyshallyed affecting to remember a Read more ...
theartsdesk
No great new movements or radically transformational figures emerged to dominate classical music in the Noughties (not even him up there). Just one small nagging question bedevilled us: will the art form survive? Well, it has. What appeared to be a late 20th-century decline in audience interest in the classical tradition was in fact a consumer weariness with the choices on offer. And who could blame them? At the start of this decade, the London orchestral scene, in the hands of aging, mediocre conductors, was as appealing as a boil-in-the-bag fish dinner; administratively and Read more ...
theartsdesk
The morning after the day before has dawned. If you're not inclined to join the shopping queues, theartsdesk is happy to suggest alternatives. Our writers recommend all sorts of cultural things you could get up to in the next week.See Wicked. This smart, feisty show is not just for teenage girls (though heaven knows they’ll thank you for taking them) but will tweak at the imagination and tickle the funny bone of anyone who’s ever contemplated the back-story of The Wizard of Oz. Stephen Schwartz’s zingy score is one of the best to have come out of Broadway in the last decade and you really Read more ...
theartsdesk
As we all have only one shopping day left, theartsdesk hopes to make Christmas Eve a little easier by offering a few enlightened recommendations. From our writers on new and classical music, opera and ballet, film and comedy, here is a list of CDs and DVDs that we hope will enhance your 11th-hour shopping experience. Happy Christmas from all at theartsdesk. DVDsIn the Loop, dir. Armando Iannucci (Optimum)by Jasper ReesThe cinematic spin-off of The Thick of It seems destined to take its place as an enduring moreish classic alongside This Is Spinal Tap. It’s as if the film knows it itself Read more ...
edward.seckerson
The term “accompanist” is no longer acceptable, no longer “politically correct” in musical circles, not least Lieder. It’s hard to imagine now that the relationship between a singer and his or her pianist was ever regarded as anything other than an equal partnership. But 26 years ago, when Julius Drake first stepped out on to the Wigmore Hall platform to play Poulenc with “friends”, the rarefied world of chamber music and song was a very different place. Even Gerald Moore, the most venerated of Lieder pianists, called his autobiography Am I Too Loud? – a title more than a little suggestive of Read more ...
graham.rickson
Joanna MacGregor walks on stage purposefully, clutching a manuscript of paving-slab dimensions, promptly sits down and starts to play, smiling. The opening measures of Messiaen’s Regard du Père steal in gently, and for the next 120 minutes we are transfixed. Until this evening, listening to Olivier Messiaen’s Vingt regards sur l’enfant-Jésus on disc has always been an unappealing prospect - something I’ve done more in duty than pleasure. Hearing it live for the first time is a revelation.Composed during the liberation of Paris in 1944 for Yvonne Loriod (soon to be the composer’s wife), the Read more ...