Classical music
Jessica Duchen
We may not be in the EU any more, but geographically and culturally we can celebrate being part of Europe as much as we jolly well like. For Europe Day, the European Parliament Liaison Office, the Camōes Institute, the Embassy of Portugal and the Delegation of the EU in the UK staged a special lunchtime concert at St John’s Smith Square, given by the Northern Chords Festival Orchestra conducted by Jonathan Bloxham. The ensemble is from Bloxham’s eponymous festival in the north east, sporting 12 different European nationalities and a larger number beyond that continent. In its ranks you Read more ...
Bernard Hughes
This Philharmonia concert from the Royal Festival Hall comprised three masterworks of English music, following a (welcome) trend that has emerged in COVID-era streamed concerts in digging out a couple of smaller-scale, less often programmed pieces to put alongside a sure-fire hit. So we had Britten’s last, tormented vocal work Phaedra and Tippett’s wonderful Fantasia Concertante on a Theme of Corelli before finishing with the banker: Elgar’s Enigma Variations.The conductor was Sir John Eliot Gardiner (pictured below) who, in a mid-concert interview, revealed this was his first appearance Read more ...
graham.rickson
Beethoven: Piano Sonatas 30-32 Boris Giltburg (Naxos)It's worth noting that Beethoven's final piano sonatas weren't his last works; there was still a lot of music in him. Performing them as weighty, epic closing statements can smother the sonatas’ inventiveness, so it’s good to hear Boris Giltburg emphasising Beethoven’s charm and invention (he wrote about his filming of all 32 sonatas last week on theartsdesk). He doesn’t undersell the gravitas, but lightness and energy are what draw us in. Reach the understated close of No. 32’s “Arietta” and there’s a feeling of frustration that we’ Read more ...
David Nice
“You have to be careful you’re not judging the piece,” cautioned a pearl-necklaced Nicholas Daniel, great oboist and winner of the 1980 BBC Young Musician (of the Year, as it then was). Yet while the work, Japanese composer and marimba virtuoso Keiko Abe’s Prism Concerto for the instrument she's done so much to pioneer, was infinitely the most fascinating of the evening’s three, so too was the performance by 17-year-old Fang Zhang. Sometimes flash can win over more interior qualities, but this unpredictable tour de force had everything.What a long time it took, though, to get to the musical Read more ...
Boris Giltburg
About a year ago, in a distant pre-pandemic world, I remember walking down Edgware Road one cold London evening. I was heading towards Jaques Samuel Pianos, my favourite haunt in London, to meet filmmaker Stewart French from Fly On The Wall. There, we began setting up mics and lights, (im)patiently waiting for everyone to leave, so that we could start filming the first of Beethoven’s 32 piano sonatas, well into the early hours of the night. That was the launching point of a project I took upon myself – to learn and film all 32 sonatas throughout 2020, Beethoven’s 250 anniversary year.To Read more ...
Tunde Jegede
In this era when there is so much talk and discussion around crossing musical boundaries, diversity in music and inter-disciplinary work it seems strange that there is still so little knowledge of how, why and when it works. Ironically, much of this type of work and collaborative process is much older than we often think and give credit to.As a composer I have always been interested in this type of work because it speaks to my experience both socially and culturally. Having studied instruments and traditions in both the UK and West Africa, I was acutely aware from an early age of differences Read more ...
Bernard Hughes
Wigmore Hall does not dish up a great deal of contemporary music, preferring a menu of mainstream chamber music. But this programme by the Nash Ensemble offered a different kind of mainstream: within the world of contemporary music this was a middle-of-the-road offering. A roster of composers including Harrison Birtwistle, Simon Holt and Mark-Antony Turnage, all at one time enfants terribles, now more les vieux terribles, made for a somewhat monochrome concert that was a bit indigestible, even for a modern music fan like me.And is it ok, in 2021, to have a programme like this, comprising Read more ...
Boyd Tonkin
Some lockdown-era recital programmes have doled out miserly short measures, as performers gallop through a brief, rushed hour (or less) of music as if afraid to tax the online patience of their disembodied audience. If this final concert in Leeds Lieder’s spring weekend of song had a fault, it lay on the opposite side: an abundant generosity that saw Dame Sarah Connolly and pianist, and festival director, Joseph Middleton pack a full-length bill (introduced by presenter Tom McKinney) with intensely flavoured major works almost to the limits of digestion – and then add some extras to the menu Read more ...
alexandra.coghlan
What comes to mind when you think of Brian Elias? The violence and humming, background threat of The Judas Tree, his score for Kenneth MacMillan’s brutal final ballet? The outpouring of Electra Mourns, cor anglais a schizophrenic double for the mezzo’s monologue? Or perhaps his breakthrough 1984 Proms commission L’Eylah, a Middle Eastern love-song gradually revealed at its core?Elias’s output isn’t enormous, but there’s a real breadth within it. Thanks to a series of fine recordings on NMC, it’s easy to lose an afternoon in the British composer’s taut, carefully crafted music. But Read more ...
Bernard Hughes
I Fagiolini do not just do choral concerts. Indeed, director Robert Hollingworth claimed in the pre-concert chat, he finds choral concerts boring. Instead what he and his group provide are experiences that go beyond straight recitals, bringing together elements of poetry, theatricality and unlikely juxtaposition, making old music sound new and allowing new music space to breathe alongside established classics.At Christmas I reviewed their contribution to an earlier Voces8 online festival, in which they combined Charpentier, Howells and Dylan Thomas. Also around the same time they released a Read more ...
graham.rickson
Joseph Lauber: Symphonies 1 and 2 Sinfonie Orchester Biel Solothurn/Kaspar Zehnder (Schweizer Fonogramm)Two CDs from boutique Swiss label Schweizer Fonogramm have recently caught my ear. One presents a pair of symphonies by the long-lived Joseph Lauber (1864-1952), remembered, if at all, as Frank Martin’s composition teacher. Lauber wrote six symphonies, the scores of nos. 1 and 2 rescued from a Lausanne university library by Kaspar Zehnder and recorded last summer in Berne. As long as you’re not expecting Mahler or Bruckner, you’ll be delighted. Both symphonies are exactly as you’d Read more ...
Miranda Heggie
For their concert debut at St Martin-in-the-Fields, The Gesualdo Six brought a programme of English motets for the final instalment in the venue's trio of Easter concerts. Having come together for a one-off project in 2014, singing Carlo Gesualdo’s Tenebrae Responsories for Maundy Thursday, this young, all-male ensemble found their vocal chemistry worked so well they carried on making music together. Though Gesualdo was absent from this performance, the works performed were all from around his time, opening with Orlando Gibbons’s "Come oh Holy Ghost".The group have a remarkable blend, Read more ...