Classical music
Jasper Rees
I Found My Horn is both an autobiography of sorts and a biography of sorts. It tells the story of those phases of my life, as a schoolboy and then again aged 40, when I happened to have a French horn in my hands. But it is also an account of the instrument's long and extremely colourful history. In the 20th century that history is inextricably connected to the name of Dennis Brain, probably the greatest soloist the instrument has ever known.Although he died in a car crash more than 50 years ago, since publication many people have written to me to say that Read more ...
Peter Culshaw
I have a certain resistance to the Second Viennese School (a pretentious title in itself) of Schoenberg and his pupils Webern and Berg. Not that I'm averse to a spot of avant-gardening. I have sat through the squeakiest of squeaky-gate music with the best of them. But, apart from anything else, there's something chilling with their bullying rhetoric about purification and decadence.Here’s Schoenberg at the beginning of the First World War laying into Bizet, Stravinsky and Ravel: “Now comes the reckoning! Now we will throw these mediocre kitschmongers into slavery, and teach them to venerate Read more ...
Ismene Brown
It’s a let-down when a new production of an opera that spends two acts feeling dazzlingly invigorating and clever collapses in a careless mess in the third. My guess is that a key scene for the concept of English National Opera’s Turandot is when Ping, Pang and Pong - three very grand court officials - turn out to be Chinese cooks sneaking smokes up the fire escape at the Emperor Palace restaurant. It's a sharp idea, generating a sensationally visual production, but that fire escape's got to lead somewhere, and in the end it's nowhere.The production is a debutants’ ball, with first-time ENO Read more ...
igor.toronyilalic
There is no more extraordinary musical journey than that of Britain's leading living composer, Sir Peter Maxwell Davies (b.1934). In the 1960s, he was Britain's Stravinsky, at the heart and head of the modernist musical rebellion, provoking audience walkouts, outraging the musical powers that be and occasionally even hitting the news headlines. Today, as a Knight of the realm and a Master of the Queen’s Music, he finds himself in the very bosom of the British establishment.In his 75th anniversary year, on the eve of a celebration of his career at the South Bank, where a complete cycle of his Read more ...
mark.pappenheim
Following last week's new music CDs round-up, The Arts Desk introduces our monthly pick of the latest classical music CDs, ranging from vocal showpieces and rare opera to viola transcriptions and string quartets.Disc of the Month
Vivaldi: Farnace, Le Concert des Nations/Jordi Savall (3 CDs; Naïve)
For anyone who still thinks of Antonio Vivaldi simply as the composer of The Four Seasons, it may come as a shock to learn not only that the manuscripts of over 450 of his other works are currently preserved in the archives of the National University Library in Turin but that since the year 2000 the Read more ...
Adam Sweeting
The term "Awards Ceremony" can strike terror into the stoutest of hearts, but hats off to the masterminds of the 2009 Classic FM Gramophone awards. Their shindig at the Dorchester was enjoyable, educational, and even intermittently hilarious (and for the right reasons).Mathieu Herzog, viola player with France's Quatuor Ebène who carried off the lusted-after Recording Of The Year award for their disc of Debussy, Ravel and Fauré, even ran Antoine "Eurotrash" de Caunes close as the Frenchman the Brits love to love. Having tried, and failed, to phone his French amis back home to share the moment Read more ...
igor.toronyilalic
You’re playing, say, a Brahms sonata. You’ve got jam on your face. Your trousers fall down. Your accompanist starts to play the piano with his head. What you’re meant to do in this situation, I remember my violin teacher drilling into me, is to drive on blindly. Judging last night’s concert by this basic lesson on musicianship, Esa-Pekka Salonen and the Philharmonia Orchestra, who drove on through a complete blackout during the penultimate tableau of The Firebird, triumphed.
Ok, so the darkness lasted only two seconds. And it’s lucky it hit when it did. A few bars later - in the shifting Read more ...
edward.seckerson
Theresienstadt was the Nazis’ most successful PR exercise. Described as a “Jewish settlement” for the preservation and propagation of the Arts, this Czech outpost turned concentration camp housed virtually the whole of the Jewish cultural elite. Inmates called it an anthill, a “Garden of Eden in the middle of Hell”. But the Nazis insisted that cultural freedom was encouraged, even cultivated, here. This was no concentration camp, rather a transit camp. Even the International Red Cross was taken in. Actually it was death’s waiting room. And while they waited, they wrote, they played, they sang Read more ...
Adam Sweeting
Having brought John Dowland to the masses with his album Songs from the Labyrinth, Sting takes another shot at presenting classical music to a wider audience which has developed the infuriating habit of not taking any notice of it. In this live performance, Sting portrays the passionate and tragically short-lived Robert Schumann by reading from his letters, while his wife Trudie Styler enacts the role of Robert’s spouse Clara Schumann (formerly Wieck).In between, selections from the Schumanns' music are played by an ensemble comprising cellist Natalie Clein, pianists Iain Burnside and Natasha Read more ...
igor.toronyilalic
There’s nothing like a bit of communal booing to sharpen your critical faculties. And Christof Loy’s new production of Tristan und Isolde at the Royal Opera House last night received wave after wave after wave of it. An ocean of boos almost as deep and profound as the Wagner that had just washed over us moments before. One boo surge from above, one boo surge from below, rivulets of bass-boos and piccolo-boos from the flanks, all lapping at the half-grinning, half-freaked out German production team on stage. Fence-sitting was not possible in this maelstrom. Loy’s approach, however imperfect, Read more ...
jonathan.wikeley
The great and the good came to Imogen Cooper’s 60th birthday concert. In fact, so thick with friends and fellow pianists was the Wigmore Hall, that at the end there seemed to be as many people going backstage to congratulate her as were leaving through the front doors. In that quietly embarrassing, I-hope-no-one-saw way, after some light-hearted Schumann, I thought for a moment she flashed a smile at me and – charmed – smiled back, but it turned out that I was sitting behind Brendel. It was that sort of audience.Perhaps it wasn’t such a difficult mistake to make. This was a genteel tea- Read more ...
edward.seckerson
The Bruckner half of the programme appeared to have come early as Bernard Haitink and the Chicago Symphony sternly, doggedly, processed through the introduction of Haydn’s Symphony No.101 ‘Clock’. It was a portent of things to come. The prognosis was not good. A case of terminal seriousness would eventually render the performance irreversibly moribund.Haydn thrives – no, depends – upon a light touch. Furthermore his wit is built upon an element of surprise. Neither was forthcoming as Haitink’s Chicagoans launched somewhat poker-faced into the main presto of the first movement. A steady tempo Read more ...