Classical music
graham.rickson
Imants Kalniņš: Complete Symphonies and Concertos Liepāja Symphony Orchestra/Atvars Lakstīgala and Māris Sirmais (Skani)If the eye-catching box design doesn’t attract your attention, the first track on CD 1 will, an extract from the veteran Latvian composer Imants Kalniņš’s 1973 score to the popular Latvian film Blow, Wind. Based on a folk song and lushly orchestrated, it could pass for a slice of Vertigo-era Bernard Herrmann, at least until the electric guitar solo starts. It makes for a perfect appetiser. Skani haven’t arranged Kalniņš’s seven symphonies in chronological order, so to Read more ...
Peter Quantrill
Minds in Flux is the largest of this season’s Proms commissions, and last night it afforded a rare chance for UK audiences to hear work of George Lewis outside the often insular new-music and avant-garde improvisation circuits. As a trombonist-provocateur, Lewis (pictured below) was thumbing a nose at German new-music festivals the best part of half a century ago with a fellow African-American experimental composer, the saxophonist Anthony Braxton, doubtless to the satisfaction of everyone concerned. His blurring of boundaries – between composition and improvisation, jazz and classical, Read more ...
David Nice
Now that you've found her, never let her go. I hope that’s the mantra among players of the Chineke! Orchestra and their Artistic and Executive Director Chi-chi Nwanoku – leading the double basses last night – after this Prom with Panamanian-American conductor Kalena Bovell. With her dancing spirit and focused stick technique regularly at the helm, this team could develop the real musical character that has eluded them under less dynamic and personable figures.An entire programme of works by Black American and British-based composers only fitfully hit the mark in a generous first half – you Read more ...
Joseph Phibbs
The music Britten composed in his twenties occupies a special place in his output. Even among his detractors there are some who begrudgingly concede that this early period is somehow different: fresher, more extroverted and daring, perhaps less driven by serving a purpose (or “being useful”, in the composer’s words).As a Britten fan since my teens, I’ve always been captivated by the expressive depth, technical brilliance, and sheer beauty of practically all his music. His handling of the orchestra has, in particular, had a big influence on how I’ve approached my own works in this medium over Read more ...
Gavin Dixon
Simon Rattle and the LSO marked the 50th anniversary of Stravinsky’s death with a concert of three “symphonies”. In fact, the programme had little to say about Stravinsky’s relationship with symphonic form: his early E flat Symphony was omitted, and the Symphonies of Wind Instruments, the opening work, is not a symphony in any accepted sense. The programme was rather an opportunity to hear some of Stravinsky’s more obscure orchestral works. Given that obscurity, it was good to see a full house at the Albert Hall. What was the draw – Rattle? If so, his premature departure in 2023 is going to Read more ...
Miranda Heggie
A gem in Edinburgh International Festival’s classical music programming has always been the Queen’s Hall series. Hosting some of the finest chamber musicians on the international stage, that venue has seen countless incredible, more intimate performances over the years. While the doors of the Queen’s Hall remain closed for International Festival activity this year (there are still other concerts happening there), EIF’s chamber music programme is currently taking place just down the road, in a purpose-built outdoor venue housed in Edinburgh’s Old College Quad. And, despite the obvious concerns Read more ...
Bernard Hughes
For many years, first as a punter then latterly as a reviewer, I have sat in the section of the Royal Albert Hall stalls near stage right, under the BBC Radio broadcast box, knowing that that is where they sit the composers being premiered at the Proms. This means, among other things, that you have to be discreet in voicing opinions about new pieces, and to avoid staring too pointedly.This week I will find the boot on the other foot as I make an appearance at the Proms as a composer, my new piece Birdchant featuring in the BBC Singers’ concert on 19 August. It is, needless to say, a lifetime Read more ...
Miranda Heggie
The Edinburgh International Festival has returned this year, with a programme of socially distanced events held almost completely outdoors. Yup, that’s right. Outdoors. In Scotland. (Top tip: if you’re going to one of the 8pm concerts, wear a winter coat. It gets somewhat chilly when the sun goes down.) The purpose-built structures which house EIF’s classical music programme are actually pretty robust, and the venue for the larger-scale classical concerts – the grounds of Edinburgh Academy Junior School – is just within walking distance of the city centre, but far enough from busy roads that Read more ...
Bernard Hughes
I was looking forward to this Prom by the Manchester Collective, an exciting young group founded in 2016, which has quickly established a reputation for innovative presentation of contemporary repertoire. And while I found the playing excellent, demonstrating the commitment and intensity of the performers, I had some reservations about the programme, particularly some questions of proportion. It felt a bit out of balance.There was a nice mixture of in-your-face music – the equivalent of getting stared down by an Indian fast bowler – and a more genial second half. String ensembles often try to Read more ...
Bernard Hughes
There is much to love about the latest Voces8 Live from London online festival. It goes beyond having a purely choral line-up, embracing instrumental music for the first time, while maintaining its focus on vocal performances of the highest standard.In addition, the production values remain unimpeachable and the group has shown that there is a market across the world – they boast of selling tickets in 75 countries – for streamed concerts if the quality is good enough. But perhaps most admirable is the generosity of Voces8 in sharing their spotlight. The festival offers valuable performance Read more ...
alexandra.coghlan
What does it mean to be Classical? It’s the question award-winning Icelandic pianist Víkingur Ólafsson has consistently asked in a career that has collided music from Bach to Debussy, presenting them as part of a single conversation and continuum. Here, in a striking BBC Proms debut, he continued to probe and challenge, with a little help from the Philharmonia Orchestra and Paavo Järvi.A late substitute for the Philharmonia’s new music director Santtu-Matias Rouvali (a casualty of pandemic travel logistics), Järvi was able to present the programme unchanged, preserving the careful logic that Read more ...
graham.rickson
Louise Farrenc; Symphonies 1&3 Insula Orchestra/Laurence Equilbey (Erato)Louise Farrenc’s music is good as you’d expect from a precocious talent who’d studied piano with Hummel and composition with Reicha. Born in 1804, Farrenc’s misfortune was to be a female composer in 19th century Paris, a city with a highly progressive musical culture but antediluvian sexual politics. She was a renowned pianist and teacher, becoming a Professor of Piano at the Paris Conservatoire in 1842 and having to fight to receive the same salary as her male colleagues. Farrenc’s three symphonies are Read more ...