Bartók
David Nice
What do visiting German performers add to the Edinburgh International Festival's Auld (Scotland-France) Alliance thread? Simple: when they communicate as superbly as soprano Diana Damrau and Jonathan Nott's Bambergers, the music-making works at the highest level. The fact that Damrau enlisted French harpist Xavier de Maistre for one of the most singular song recitals I've ever heard, and that the symphony concert set Messiaenic pianist Pierre-Laurent Aimard at its centre, simply gave us more for our money in a cavalcade of light to illuminate the grey tail-end of the festival.Damrau has Read more ...
David Nice
Nine out of 10 attempts to feed an audience's visual responses to abstract music are doomed to failure; a great communicator will always conjure stronger pictures in the listener's mind. And there's no doubt that young violinist Alina Ibragimova communicates at the highest level. But here she simply held her own to work in shadowplay with both the mysterious spaces of London's most atmospheric venue and the even more intangible visions of twins Timothy and Stephan Quay. Their film around Bartók's Solo Violin Sonata, though defying intellectual analysis and easy correspondence with the musical Read more ...
Ismene Brown
The world tour that the Proms offer this year touches down in no more fascinating musical country than Hungary, with three of its great composers, Liszt, Bartók and Kodály brought into the Albert Hall last night by the ever-stimulating Vladimir Jurowski with his hot gypsy band, the London Philharmonic Orchestra.This acoustic is not a happy place for the syncopations and sharp rhythms of Hungarians, who are never afraid of a silence or a missed heartbeat, never rush to end a note when they can increase the suspense by holding it. As a result, Kodaly’s Dances of Galánta had a rougher ride than Read more ...
David Nice
It was partly as penance for having missed the previous evening's Czech festival that I arena-prommed for last night's Moravian finale, to be happily strafed by the nine extra trumpets of Janáček's Sinfonietta. I hadn't quite expected to be so on the edge of my first-half seat in wonder at the little miracles of Sibelius's Op 66 Scènes historiques, genius personality more apparent in the first two chords than in all but the last minute or so of Havergal Brian's two-hour Gothic Symphony (but let's not go there again). In between, Sir Mark Elder's conducting didn't always keep his Mancunians on Read more ...
alexandra.coghlan
It was with Mahler’s Opus 1 – folkloric cantata Das klagende lied – that Vladimir Jurowski so memorably launched his role as the LPO’s principal conductor, and it was to this work that he returned last night. Four years on and he asked his audience to consider it within a rather different narrative; in lieu of an arc of Germanic development, moving from Wagner’s Parsifal Prelude to Berg’s Three Pieces for Orchestra, Jurowski instead framed it with Hungarian works from Bartók and Ligeti. While the dialogue between these three exploratory pieces may have been more oblique, Jurowski’s highly Read more ...
David Nice
"You have to start somewhere," remarked Debussy drily at the 1910 premiere of young Stravinsky's Firebird ballet. Even so, that was far more of a somewhere than the ultra-nationalistic Hungarian tone poem Kossuth, first major orchestral flourish of Béla Bartók, the Russian's senior by one year. In choosing it to launch Infernal Dance, the Philharmonia's 2011 celebration not of Stravinsky (as the title weirdly implies) but Bartók, principal conductor Esa-Pekka Salonen showed how far his main Magyar travelled to works like the hyper-percussive First Piano Concerto and the ballet-pantomime The Read more ...
David Nice
Heartfelt birthday salutations to the great pianist first known as plain Stephen Bishop. For a recital in the early 1980s, when he first added the paternal Croatian "Kovacevich", introducing me to late Brahms piano music - Op 117, never more evanescent or troubling since - and the Beethoven Tempest Sonata, an incentive to tackle that work as best I could. For many unbudgeable CDs on the shelves, including the great duo partnership with one-time other half Martha Argerich and late Schubert sonatas. And for having the characteristic modesty, last night, to give a protégée the central spot in a Read more ...
graham.rickson
This month’s selection includes a rare recording of a Danish masterpiece and a glorious late-Romantic Austrian symphony. There’s a thrilling set of Bartók piano concertos and music composed by Dvořák’s son-in-law. Going back further in time, we’ve two Mozart releases, one blowing the cobwebs from an operatic masterpiece, the other a period instrument version of a very dark symphony. There’s a vintage live recording of Verdi’s Requiem and a stunning box set of Bach’s keyboard music played on piano by a Canadian pianist who’s not Glenn Gould. Two scintillating live recordings from Read more ...
David Nice
For those of us who can't hear Vladimir Jurowski's intriguing LPO programme on Saturday night live - Gergiev calls over at the Barbican, in a typically frustrating London clash - all is not lost. We'll be able to hear it from 4 October streamed via the London Philharmonic website or the LPO iPhone application. Six more concerts can be heard this way throughout the season.As they say, there's no substitute for live concerts. But if you can't get to the event, this is a remarkable second best. And since we've been spoilt by being able to listen to every Prom as and when we wanted for a week on Read more ...
stephen.walsh
In general, I’m no particular fan of composers talking in public about their own music. My family suggests that this is because I’m hoping to get the job of talking about it myself. But the real reason is that, on the whole, composers don’t tell the truth about their work – and indeed why should they? Creative work is a mysterious and impenetrable process, and it’s a very modern, right-to-know sort of assumption that those who do it should also be able to explain it. Probably nobody is. But people naturally suppose that when the horse opens its mouth, the oracle will speak. I would say, on Read more ...
David Nice
Poland's most imaginative composer after Chopin, and his natural heir in the realm of sensual reverie, certainly knew how to yoke a full orchestra to his dreams and fantasies. Yet the work by Szymanowski I've most longed to hear in concert is the three-movement Mythes for violin and piano. A recording of it by Kaja Danczowska and the great Krystian Zimerman quickly acquired cult status in the 1980s. So it seemed like a heaven-sent gift to hear it live in the hands of an even more rounded violinist, young Norwegian Henning Kraggerud, and another maverick Polish pianist, Piotr Anderszewski. Read more ...
theartsdesk
English National Opera's new production of Bartók's Duke Bluebeard's Castle is photographed here by Johan Persson. Directed by Daniel Kramer, designed by Giles Cadle and lit by Peter Mumford, it updates Charles Perrault's 1697 fairytale to a horrific modern reality. Clive Bayley and Michaela Martens sing Duke Bluebeard and Judith. See Ismene Brown's review.Click on an image to open full view of the portfolio.Josef Fritzl's houseBluebeard photographs feature Clive Bayley as Bluebeard, Michaela Martens as Judith, and actorsGustave Doré's 1862 engraving for Charles Perrault's Les Contes de Read more ...