Classical music
alexandra.coghlan
Meditative experiences are hard to come by in the Royal Albert Hall. The twitching, scratching, fidgeting ticks of over 5000 people conspire to break your focus, to draw attention from the musical middle-distance back to the here and now. Last night’s two Proms – whether through programming, performance or just a happy chance of circumstances – both glanced into this distant space, briefly achieving that sense of communion peculiar to Proms audiences. As a birthday tribute to composer-mystic Arvo Pärt, it was fitting indeed.As he has already proved at ENO, Ed Gardner is a master of Read more ...
alexandra.coghlan
On paper it was a perfect Monday night programme – Scriabin’s extravagant sprawl of a First Symphony and Stravinsky’s The Firebird in its roomy original ballet score. A pairing of youthful 20th-century Russians conducted by the 21st-century Russian. Barely recovered from Sunday’s sensuous binge of Mussorgsky, Shostakovich and Prokofiev, Gergiev and the LSO promised some welcome hair of the dog. Yet by the time the inevitable Proms standing ovation shifted to its feet something was still lacking; mellow we certainly were. Intoxicated? Not even close.There’s something disarmingly Read more ...
Adam Sweeting
Nobody can remember seeing a film about a piano tuner before. Happily, Pianomania isn’t merely unique; it’s a riveting documentary into the bargain. It takes as its subject the micro-detailed and nit-pickingly demanding routine of Stefan Knüpfer, Master Tuner for that Rolls-Royce of the piano industry, Steinway & Sons. Among Knüpfer’s celebrated clients are such titans of the keyboard as Lang Lang, Alfred Brendel, Till Fellner and Julius Drake, all of whom appear in the film’s 93-minute span. The main driver of the narrative is the ongoing account of how Knüpfer helps Pierre-Laurent Read more ...
David Nice
How did they do it? This was another Prom which looked almost too much on paper but worked hair-raisingly well in practice. It was a Vladimir Jurowski special: whizzing, clamorous demons versus introspective reveries, church bells bringing one witches' sabbath to an end, alarm bells kicking off another. And from the first rapid crescendo of the Musorgsky-Rimsky Korsakov Night on a Bare Mountain to the truly great Julia Fischer's much slower build of a cadenza in Shostakovich's First Violin Concerto and on to the final wind-up of Prokofiev's hellish Third Symphony, the performers held nearly Read more ...
David Nice
This was the Prom I’d earmarked as the most unmissable event out of this year’s 76. Starry attraction was the century-overdue UK premiere of maverick-mystic Dane Rued Langgaard’s Music of the Spheres, born for this of all venues. But the meshing of microscopic Ligeti with big stalwarts of the core repertoire, the marriage of legendary Danish choral singers with the country’s best orchestra and the presence of two live wires, violinist Henning Kraggerud and conductor Thomas Dausgaard, promised other fresh perspectives. Did they deliver? Truly, madly, deeply.This was the Prom I’d earmarked as Read more ...
David Nice
Swimming in the soup of the lesser late Romantics can be hard work. You get to admire the pretty variegated fish as you flounder, waiting to be buoyed up by a bigger idea. Then one comes along and nudges away so insistently that you nearly drown. Both extremes had to be borne in the first half of last night's Prom, with Ingo Metzmacher steering a supple course between the lazy devil of a Schreker operatic interlude and the placid blue sea of Korngold's Violin Concerto. The one interesting question that kept me afloat in viscous waters was: could he turn master oarsman and steer the superior, Read more ...
alexandra.coghlan
Every year there are a couple of Proms that have a haphazard look about them, as if a fire had suddenly broken out in the BBC archives, and the programming committee grabbed whatever came to hand – a piano quartet, a couple of choral odes and a concerto for mandolin – and made for freedom. Though there had evidently once been a clear architecture to Sunday’s concert by the BBC Symphony Chorus and friends, in practice things were somewhat confused; endless personnel shiftings and a stuffed-to-bursting programme blunted the impact of music which demanded altogether simpler treatment.Bookending Read more ...
stephen.walsh
Ever since I can remember, the composer Mieczyslaw Weinberg has played a walk-on part in histories of Soviet music. If you find him in an index at all (probably under Vainberg or Vajnberg, and usually with the first name given him by a box-ticking Soviet border guard in 1939: Moisey, or even Moshe), you’ll usually end up reading one of those melancholy and unhelpful lists: “Shostakovich’s followers include...”Grove’s Dictionary concedes a short and somewhat misleading entry: “His works are often based on a programme, largely autobiographical in nature.” Boris Schwarz, in the standard, Read more ...
stephen.walsh
The Three Choirs Festival is with us again, for the 283rd year – almost as many, it seems, as The Mousetrap: this year we are in Gloucester. Nowadays, though, this great festival is no longer imprisoned, Barchester-like, in the cathedral close, but ranges all over Gloucester city and Gloucestershire, with concerts also in Tewkesbury, Cheltenham, Highnam and Painswick; and its repertoire is likewise much broader than of yore, with plenty of new music, young artists, children’s concerts, and even, quaintly, a pipe and tabor workshop, to go with the familiar Elgar, Finzi, Vaughan Williams and Read more ...
Ismene Brown
In the second part of this historic career overview interview with the unique British impresarios, Victor and Lilian Hochhauser talk about their razor-edged relations with Soviet apparatchiks and the pressures they came under to prevent artist defections. Victor (who is a very engaging raconteur) reveals the lengths the Russians tried to go to stop Pierre Boulez conducting Berg in the USSR - liver-busting ceremonial vodka sessions, and a solution of Lewis Carrollian ludicrousness. "I hated them," he says, "but we needed each other."Following on from last week's revelations about their Read more ...
igor.toronyilalic
It seemed odd on paper. Two Mahler symphonies? In one night? I don't think I'd ever seen that. Last night's Prom showed why not. While Valery Gergiev's second half Mahler Five saw the stage transfigured into a writhing sea of bodies and the air filled with an epic sound, his first half starter, Mahler Four, fell flat on its face. One was a performance; the other was a rehearsal to a performance. It's no wonder really. The World Orchestra for Peace, the king of scratch bands, made up of concert masters and principals from the leading orchestras of the world, last met in September 2009. Read more ...
igor.toronyilalic
The Tenebrae service of Maundy Thursday sees Satan's removal men take over holy duties. Crosses are veiled, lights are extinguished, songs of wailing erupt. Stravinsky's Threni (receiving its Proms debut last night) is a setting of these wails - the Lamentations of the Prophet Jeremiah - and is carved out of a dark, unforgiving orchestra and a suffocating choral weave. For the atheist, if not for those of a religious bent who might prefer the succour of François Couperin or Thomas Tallis's settings, there can be no better depiction of the asphyxiation of despair. Last night's rendition Read more ...