Classical music
Jessica Duchen
This recital of love songs by Robert Schumann and Johannes Brahms, devised by the pianist Helmut Deutsch and sung by the megastar duo of soprano Diana Damrau and tenor Jonas Kaufmann, looked on paper like the Lieder event of the year. In practice, it left a good deal to unpick.Deutsch had pulled together 40 songs – yes, 40 – by the two composers, exploring aspects of love from myriad angles. Each half was arranged in three groups of songs (six by Schumann, seven by Brahms, etc), the idea being to build a narrative of sorts from number to number. The first half was the darker (Damrau Read more ...
Sebastian Scotney
The history of Estonia has been described as “a story set to song”. The Estonian activist Heinz Valk called singing “our nation’s most glorious form of self-expression.” There are, of course, other nations where singing is seen as an expression of national identity, but probably none more so than the Baltic country.The fully professional Estonian Philharmonic Chamber Choir, founded in 1981, is one of the great choirs of the world. In Kings Place Hall One, directed by their genial founder Tõnu Kaljuste, they could use the wonderfully lively acoustic to allow their unique European-yet-Slavonic Read more ...
Mason Bates
What do Beethoven and Pink Floyd have in common?Narrative – ingeniously animated by music.From the Ninth Symphony to The Wall, narrative music has brought a new dimension to the forms and genres it has touched.Musical storytelling is on my mind this month as the London Philharmonic Orchestra performs Liquid Interface, my first large-scale exploration of musical narrative in the form of a “water symphony”. Premiered at the Kennedy Center for the Performing Arts in 2007, the work features watery orchestral textures and electronic sounds that range from field recordings of glaciers calving, to Read more ...
Bernard Hughes
This concert started with a heartfelt and moving speech from the Festival Hall podium by Vasily Petrenko, half-Ukrainian, brought up in St Petersburg. “What could I have done? What could we all have done? I have no answers.” The only answer he provided was music-making of driven intensity, ferocity alternating with anguished lyricism in Shostakovich's First Cello Concerto, testimony from a composer well acquainted with Russian oppression.The soloist in the concerto was the youngish Spanish cellist Pablo Ferrández (pictured below), whose slightly brittle sound in the opening movement gave way Read more ...
Richard Bratby
JS Bach’s Passions as music theatre? Well, why not? Whatever the aura of untouchability around these works, they were always conceived as part of a bigger picture: a communal sacred ritual in which the divide between performer and audience wasn’t so much blurred as nonexistent.Anything that gets us closer to that experience surely serves Bach’s ends; at any rate, something needs to be done to break these works out of the curious sterility of so many modern concert performances or the frosty purity of the recording studio. In that light, English Touring Opera’s decision to tour the St John Read more ...
Robert Beale
Continuing the joint BBC Philharmonic/Hallé celebration of Vaughan Williams, Sir Andrew Davis took on the job of presenting three substantial works on Saturday.Toward the Unknown Region has given its title to the entire series, not a bad choice of phrase for the career of a composer whose intellectual curiosity and visionary capacity never left him: the phrase is that of the poet Walt Whitman, and the piece itself is a setting of a five-stanza poem for chorus, orchestra and organ.It's early Vaughan Williams, written when he was working on the music of The English Hymnal, and in many ways it Read more ...
Boyd Tonkin
The four years of Angela Hewitt’s globe-trotting “Bach Odyssey” confirmed time and again that she brings a nonpareil artistry and authority to the most demanding, and rewarding, of all keyboard repertoires. Yet the Canadian pianist, as we already knew, carries plenty of other arrows in her musical quiver. At the Wigmore Hall on Saturday, her mixed programme blended some choice Bach – four selections from the Well-Tempered Clavier’s second book – with a brace of Mozart sonatas, along with works by Ravel and Chabrier. Her recordings of the latter pair’s solo piano pieces emphatically prove her Read more ...
David Nice
After the turbulence of masterpieces over the previous three evenings – Janáček, Britten, and the greats featured in this duo’s Fidelio Café fundraiser for Ukraine – it was balm to feel the air and leisure of the first three miniatures in this beautifully-planned programme.Extra magic came from the physical distancing: more often Kolesnikov and Tsoy sit alongside one another at a single keyboard, but at opposite ends of two more or less interlocking grands, eye co-ordination on the visual front and the space you could hear in the acoustics of beautiful St Luke’s paid off. The partners are Read more ...
Ian Julier
Returning to his Bournemouth Symphony Orchestra for the first time since the crisis began in his home country, Kirill Karabits’ arrival on stage was greeted by the entire Lighthouse audience rising to their feet with loud applause and cheers of support.Given how much the world has changed he’d considered changing the programme to include some Ukranian music, but quickly came to the conclusion that there was little point. During his past thirteen years with the orchestra his series “Voices from the East” has regularly featured so many works from his homeland that he felt both the BSO and local Read more ...
graham.rickson
Leroy Anderson: Complete Orchestral Works BBC Concert Orchestra/Leonard Slatkin (Naxos)There’s a lot more to Leroy Anderson than the ubiquitous Sleigh Ride. Though his teachers at Harvard included Enescu and Walter Piston, the polyglot Anderson had intended to pursue a career in languages until the Boston Pops Orchestra’s conductor Arthur Fiedler heard his “Harvard Sketches” in 1936 and commissioned him to write some short pieces. Harvard Sketches is one of many surprises contained in this five-disc set, a brief section depicting a library reading room full of Ivesian effects, the five- Read more ...
David Nice
One of the world’s top five orchestras – sorry, but I locate them all in continental Europe – played on the second night of its London visit to a half-empty Barbican Hall. Half-full, rather, attentive and ecstatic. As for the much-criticised venue, which I’ve always been able to live with, playing as fine as this shows that you don’t need a state-of-the-art auditorium to make the most beautiful sounds.Under the masterly hands of Semyon Bychkov, there were depths and perspectives in defiance of the acoustics. They were there right at the start in the noblest possible performance of the Read more ...
Boyd Tonkin
“The past is never dead,” William Faulkner famously wrote. “It’s not even past.” Funny to think that I approached 2022 bored in advance with all the glib celebrations of post-WWI international modernist breakthroughs that the centenary of Ulysses and co. heralded. Yet here we are, the year only a couple of months old, standing eagerly for a national anthem in a packed concert hall. It comes in the middle of a programme that delivers not just a fervent, but a nearly ecstatic, celebration of European cultural identities in all their Romantic passion and singularity. The anthem, of course, Read more ...