Classical music
David Nice
There were two reasons why I didn’t return to the Albert Hall late on Friday night to hear Andras Schiff play Bach’s Goldberg Variations. The first was that one epic, Mahler’s Sixth in the stunning performance by Andris Nelsons and the Boston Symphony Orchestra, needed properly digesting. The other was that at Easter I’d heard Jeremy Denk play the Goldbergs in Weimar, and I wanted that approach to resonate, too – dynamic, continuous, revelatory, in a very different way from how I know Schiff approaches Bach.Denk’s recitals are mandatory listening now, and the lunchtime recital yesterday at Read more ...
Christopher Lambton
When Bach set out in 1713 to write his Orgelbüchlein, or “little organ book”, he listed the titles of the 164 chorales that he wished to include in what was to be a compendium of organ preludes for use throughout the church year. In the event, he completed only 46, leaving 118 so-called “ghost” chorales, each with a given text and (in most cases) a melody – often an old Lutheran hymn tune.The story could have ended there, with the 46 chorales of the Orgelbüchlein comfortably in the organist’s repertoire and a faint question mark over what Bach might have done with the others. Enter the Read more ...
Gavin Dixon
Andris Nelsons and the Boston Symphony Orchestra have made the Shostakovich Tenth their calling card. Their recent recording of the work on Deutsche Grammophon has received universal acclaim, and now they're making their first European tour together, performing the symphony in London, Salzburg, Lucerne and Paris. It’s a great choice, a work that plays to all their strengths, conductor and orchestra alike. But this varied programme also demonstrated other facets of this versatile and increasingly distinctive partnership.How refreshing to hear Haydn performed by a symphony orchestra, bold and Read more ...
David Nice
So here he was in town with his top American team, the already great conductor whose premature departure from Birmingham has left the players in mourning, unable to choose a successor yet, and whose insistence that it was too early to take up the coveted post of the Berlin Phil’s Principal Conductor blocked what should have been an obvious choice. During their first season together, Andris Nelsons and the Boston Symphony Orchestra have already plunged into a series of Shostakovich recordings with a Tenth Symphony of shattering perfection, leading to high hopes that their Mahler Six last night Read more ...
David Kettle
Two percussionists, two pianists, Adams, Reich and Bartók: Colin Currie and friends’ bracing morning recital at the Edinburgh International Festival made quite a pleasing change from the more traditional string quartets and vocal recitals elsewhere in the Queen’s Hall chamber programme. And it attracted quite a different audience, too – including many clearly there for the broader Edinburgh festival, unsure of what exactly they’d let themselves in for.Thankfully, they could hardly have asked for anything more lively, incisive and dramatic. And it started, ironically, with a performance of Read more ...
Christopher Lambton
It's fitting that for its 50th anniversary the Edinburgh Festival Chorus should perform Berlioz’s gigantic Grande Messe des Morts. There is nothing in the large-scale orchestral repertoire in which the chorus plays so huge and significant a role – it sings throughout and the only soloist that Berlioz admits is a solitary tenor whose appearance in the "Sanctus" is almost apologetic.You don’t have to be a very acute observer of the Festival Chorus to realise that a 50th birthday, for a choir as much as for a person, is a mixed celebration. Some members of the chorus have sung in it since its Read more ...
alexandra.coghlan
It’s been glorious to hear so much Bach at this year’s Proms – most of it after dark, and still more of it for the most intimate of forces. On paper, the Academy of Ancient Music and BBC Singers’ Late Night concert of Bach choral works didn’t quite have the mystique of Ibragimova’s Solo Sonatas and Partitas, Schiff’s Goldbergs or Ma’s Cello Suites. In practice, though, it was clever piece of programming that came into its own in its Friday night slot, sending people home to the weekend on the very highest of musical highs.It’s hard to look past the line-up of soloists, which reads more like a Read more ...
graham.rickson
Prokofiev: Symphonies 4 (Op.47) & 5, Dreams Bournemouth Symphony Orchestra/Kiril Karabits (Onyx)Prokofiev was adept at recycling good ideas. His Symphony No. 3 is linked thematically to the opera The Fiery Angel, and the less abrasive No 4 shares some ideas with the ballet The Prodigal Son. The piece was radically revised in 1947 and became Prokofiev's Op 112, though I've always preferred the more compact earlier version. Composed in 1929, it's full of delectable ideas, the lyricism anticipating the scores written after his return to Russia in the mid-1930s. Like the beautiful woodwind Read more ...
Hanna Weibye
When the Royal Opera House told Kenneth MacMillan that Mahler was unsuitable for ballet, he went – where else? – to Germany. Though the success of MacMillan's Lied von der Erde for Stuttgart Ballet led to its happy adoption into Royal Ballet repertoire, making ballet to Mahler still seems to draw German companies more than others – whether because the orchestras, audiences, or state subsidies are better, who knows?But the company visiting the Edinburgh International Festival last night was not that familiar Mahler-exponent, Hamburg Ballet, whose director John Neumeier has tackled eight of the Read more ...
David Nice
Praise be to Carl Nielsen. Praise always, of course, to one of the greatest symphonists, and happy 150th birthday (again), but gratitude on this occasion is due to a programme mostly lining up Nielsen works rare and familiar, for getting me to the Albert Hall to witness a surely unsurpassable performance of the Brahms Violin Concerto. The sound quality, the near-perfect intonation with which Nikolay Znaider wields his Kreisler Guarneri “Del Gesù” is only the half of it; hearing such close work with an orchestra and conductor equally alert to every small detail without ever losing sight of Read more ...
David Nice
Drawing an audience of five and a half thousand in to listen intently is harder than pushing out into the vasts of the Albert Hall. Yet it’s what seems to work best in this unpredictable space, and last night masterful veterans Elisabeth Leonskaja and Charles Dutoit knew exactly what to do. The results were romantic introspection in Mozart - an unfashionable but valid alternative to authentic sprightliness - and a Shostakovich Fifteenth Symphony that was more skull than skin, but a compellingly decorated skull for all that.The quietly commanding tone of the evening, in marked contrast to the Read more ...
David Kettle
It was the first major casualty of the 2015 Edinburgh International Festival. Global superstar pianist Lang Lang was stuck overseas, forbidden from flying by his doctor because of an ear infection, and therefore unable to perform Bartók’s Second Piano Concerto with the Philharmonia Orchestra as planned (it had been an enticing prospect). But fear not, Lang Lang lovers – word is that he’ll be recovered in time for his solo recital of Bach, Chopin and Tchaikovsky on Friday 21 August.It was sad to see a few noticeable gaps among the Usher Hall’s seating, especially when there was an equally Read more ...