Bach
theartsdesk
Peter has just come back from Lagos, so the first part of the show is a brief tour d’horizon of the dynamic Nigerian pop scene, featuring Asa, Tiwa Savage, 2Face, Flavour and D’Banj, the “Koko-Master”, who has just had his first UK Top 10 hit with “Oliver Twist”. Also discussed is the musical marriage and messy divorce between Don Jazzy and D’banj, who has signed to Kanye West's label world-wide, as well as the fact that Ye is rumoured to be an Illuminati. Is Nigerian pop about to go global? Quite possibly.Joe has been in Paris listening to the first play of the revolutionary new Mala album: Read more ...
graham.rickson
Bach: Brandenburg Concertos, Sinfonias Orchestra of the Antipodes/Antony Walker, Anna MacDonald, Erin Helyard (ABC Classics)Exactly why this set, recorded in Sydney in 2003, has waited so long for a commercial release is a bit of a puzzle. These are fabulous performances in every sense. The playing is so vibrant, so alive that resistance is futile. Bach’s six Brandenburg Concertos are as ubiquitous as Baroque music gets, but their familiarity shouldn’t hide their musical qualities. I loved Riccardo Chailly’s historically informed modern instrument versions, but these recordings Read more ...
alexandra.coghlan
It’s one thing for UK Border Control to turn Heathrow’s Arrivals into a giant theme-park queue, but it’s quite another when they start messing with our music. Paperwork issues yesterday saw one Japanese and two Korean members of the Amsterdam Baroque Orchestra denied entry to the UK, leaving Ton Koopman and his band too under-staffed to attempt their planned Brandenburg Concerto. Fortunately, soprano soloist Dorothee Mields stepped up with Bach’s Cantata BWV 199, giving us a rather more vocal, but no less Bach-centric evening of music to open this year’s Spitalfields Festival.One of the Read more ...
graham.rickson
Massenet: Werther Rolando Villazón, Sophie Koch, Orchestra of the Royal Opera House/Antonio Pappano (DG)Massenet’s Goethe adaptation needs a lot of love to make it convince as a drama. Fortunately this live Covent Garden performance, taped last May, has Antonio Pappano at the helm. There’s no one better at glossing over the piece’s longueurs. You need someone who can make you forget Werther’s clunkiness, its occasional risible moments. I can never maintain a straight face in Act 3 when Charlotte learns of Werther’s fateful message: “ I am leaving on a lengthy journey. Will you lend me Read more ...
igor.toronyilalic
Musicians can go one of two ways after a period of prolonged professional absence. The hiatus can either set them free (Horowitz) or screw them up (Pogorelich). In the case of Maxim Vengerov, we already knew that the latter hadn't happened. A successful early reappearance with the St Petersburg Philharmonic at the Royal Festival Hall a few weeks back - where he stepped in for an AWOL Martha Argerich - proved that. But the real test was always going to be his recital comeback at the Wigmore Hall last night. How has the Russian violinist evolved since we last heard him in London in 2007?A lot Read more ...
Jasper Rees
Fancy buying a new recording of Bach’s Cantatas? It’ll cost only slightly more than a regular CD. The only snag is it hasn’t been recorded yet, which is where you come in.Over the last few years Sir John Eliot Gardiner has been steadily releasing a complete set of Bach’s church cantatas recorded in 2000 with the Monteverdi Choir and English Baroque Soloists in the conditions in which they would have been originally performed. The 27 double-disc release has been described by David Attenborough, who is known for listening to calming music in the jungle, as “the most extraordinary, ambitious and Read more ...
graham.rickson
Bach: Keyboard Concertos Nick van Bloss, English Chamber Orchestra/David Parry (Nimbus)Nick Van Bloss’s Goldberg Variations receive deserved acclaim when they appeared last year; the pianist’s fascinating backstory eclipsed by brilliant playing and interpretation. As with the Goldbergs, there’s a lot of competition in this repertoire. Van Bloss’s big-boned playing style is attractive and charismatic, and he delights in the opportunities offered by a modern concert grand. Bass lines are discreetly doubled, and the sustain pedal is used sparingly but effectively. He’s not as swift as Read more ...
graham.rickson
Bach: Keyboard Concertos Alexandre Tharaud/Les Violons du Roy/Labadie (Virgin)Another disc of Bach keyboard concertos on a major label, following Ramin Bahrami’s brilliant, zingy set with Chailly on Decca. Alexandre Tharaud is teamed here with Les Violons du Roy, a Québécois chamber orchestra who use modern stringed instruments played with copies of period bows. Theirs is a distinctive sound, more astringent and incisive than that made by Chailly’s Gewandhaus players. So much so that Tharaud’s use of a piano instead of harpsichord could feel anachronistic. But he and director Bernard Read more ...
graham.rickson
Bach: Complete Keyboard Works Ivo Janssen (Void Classics)This 20-disc box set has been entertaining me for several months. Dutch pianist Ivo Janssen set up his own record label to distribute his 1997 Goldberg Variations, recorded on the hoof over two days in Haarlem. Its success prompted him to tackle Bach’s complete keyboard output. And there’s a sense of fly-by-night impetuosity about some of these performances, all taped in the same venue with the same producer, the cycle finally finished in 2009.There are so many reference recordings of this repertoire. Janssen seems comparatively Read more ...
graham.rickson
Bach: Five Keyboard Concertos Ramin Bahrami, Gewandhausorchester, Riccardo Chailly (Decca)We’re spoilt for choice in these concertos; Perahia, Schiff and Hewitt have given us excellent versions, and another new one by Alexandre Tharaud has just been released by Virgin Classics. I prefer Bach’s solo keyboard music played on piano, but I’m willing to concede that period instruments can suit the keyboard concertos better, given the delicious contrast in timbre between harpsichord and bowed strings. These readings, played by the Iranian-born pianist Ramin Bahrami, are good enough to make me never Read more ...
David Nice
How can even a generously proportioned documentary do justice to one of the musical world’s greatest life forces? John Bridcut knows what to do: make sure all your interviewees have a close personal association with your chosen giant in one of his many spheres of influence, then get cellist-disciples from Rostropovich’s Class 19 in the Moscow Conservatoire – here Moray Welsh, Natalia Gutman, Karine Georgian and Elizabeth Wilson - to watch and listen to their mentor talking and playing. The result is a towering model of its kind.Even without that special dimension of on-the-spot reaction to Read more ...
fisun.guner
A 50th birthday is a landmark occasion. One has plenty to look back on, whilst still having much to look forward to. Plus there’s all that life experience to draw on. What’s not to feel positive about? In the case of a gallery that’s built up a remarkable reputation as an innovative space for contemporary art outside London, sheer staying power is surely to be cheered and celebrated – "hear hear" for the next 50 years, and so forth.But it’s also worth asking whether middle age hasn’t precipitated some kind of quiet crisis for Bristol's Arnolfini gallery. It’s not fair, of course, to judge on Read more ...