Chief conductor John Storgårds’ first programme of 2024 in the Bridgewater Hall was notable for the visit of Christian Tetzlaff as violin soloist, but perhaps a little puzzling in the choice of Thomas Adès’ Violin Concerto as the vehicle for his talents.The concerto, sub-titled “Concentric Paths”, is a fascinating piece of orchestral composition but not the most obvious opportunity for a star soloist to engage his audience. And Bridgewater Hall attenders can hear Adès conducted by Adès in the Hallé’s series, too, now that he’s in post as artist-in-residence with them for two seasons.Maybe we Read more ...

 Leif Ove Andsnes: The Warner Classics Edition 1990-2010 (Warner Classics)It’s good to review a compendious box set celebrating a musician who’s very much still around. The 36 discs in this set certainly aren’t what you’d call historical recordings, though the 20-year period during which they were first released feels an age away. Norwegian pianist Leif Ove Andsnes signed his first contract with Virgin Classics (remember them?) aged just 20, and, in his words, “the possibilities seemed endless… people craved CDs and the record companies needed to make recordings of all the repertory, Read more ...

 Louise Farrenc: Symphonies 1-3 Insula Orchestra/Laurence Equilbey (Erato)Louise Farrenc (1804-1875) is not perhaps the best-known name among pre-20th century women composers garnering increased attention recent years – but she might be the best. She managed to achieve success in her own lifetime, even in the field of the symphony – the form most guarded by the high-art (male) gatekeepers – before pretty much disappearing from music history. This release of Farrenc’s three symphonies (plus two overtures) by the Insula Orchestra, playing on period instruments, makes a very persuasive Read more ...

Do we really need instrumental Shostakovich with lighting, movement, costumes and video projection? I might have said no before having seen what the Norwegian Chamber Orchestra could do with former leader Terje Tønnesen, performing the Chamber Symphony by heart in dramatic style. It seemed likely that memorizing even more music under new Artistic Director Pekka Kuusisto, and performing it in an insanely demanding dramatic framework, with no word spoken, could work.It does, beyond anyone's wildest imaginings. This collaboration is with a visionary Danish team: director Mikkel Harder Munck- Read more ...

 Shostakovich: Symphonies 8, 9 and 10 Berliner Philharmoniker/Kirill Petrenko (Berlin Phil Media)Potential purchasers worrying that the Berlin sound might be a little too well-upholstered for Shostakovich needn’t worry; one striking aspect of the performances captured in this set is their rawness and bite. Herbert von Karajan made two superb recordings of Symphony No. 10 with the Berlin Philharmonic in the 1960s and 1980s, and Kirill Petrenko’s new one is similarly involving. That he’s got an orchestra capable of playing the second and fourth movements up to tempo is a plus: I’ve rarely Read more ...

In search of relatively rare fabulous beasts like César Franck’s Piano Quintet – given a fantastical performance last night – you often have to take in the ubiquitous Shostakovich specimen, the modest work of a master using simple means to his own creative ends that doesn’t bear too much repeated listening over a short space of time.That won’t have been the case for most of the audience last night, who would have been rightly satisfied by the fire and poetry in the partnership of the Belcea Quartet – with a rare visitor as second violinist, the compelling Paweł Zalejski of the equally fine Read more ...

It’s not often that the most bittersweet moment in a rich concert comes in the encore. Elisabeth Leonskaja had already played the generous extra in question, the Dumka movement of Dvořák’s A major Piano Quintet, with the Staatskapelle Quartet only a fortnight earlier. Here, fine-tuned with the Jerusalems, that moment when the joyfully flowing episode turns dark and the piano seems to call from a dark wood proved sheer magic.There wasn’t a moment in this concert where anyone in the audience could (or should) have lost concentration, The Jerusalems’ art is flexible, almost improvisatory in feel Read more ...

 Dvořák: Symphonies 1-9, Legends, Slavonic Dances Bournemouth Symphony Orchestra/José Serebrier (Warner Classics)The advantage of having all the Dvořák symphonies in one handy box is that you can explore the works that rarely get an airing; apart from playing through the scherzo of Symphony No. 4 in a youth orchestra many years ago, I’ve never heard a note of Nos. 1-6 performed live. More’s the pity. There’s some fabulous music in the early symphonies and it’s interesting to hear pre-echoes of Dvořák’s late style. The luminous string writing in No. 4 looks ahead to the radiant G major Read more ...

 Mozart: The Piano Sonatas (Robert Levin, playing Mozart’s fortepiano) (ECM New Series)There is no doubt about the brilliant uniqueness of pianist, conductor, musicologist and one-time Nadia Boulanger pupil Robert Levin, an influential Harvard Professor for more than two decades until his retirement in 2014. Turn the clock back 30 years, and Levin’s presentational style was much more disputative back then than it is these days: in a memorable contribution to Derek Bailey’s 1992 Channel 4 series on improvisation “On the Edge” he railed against Mozart performances that were “ Read more ...

Essay-writing can be a great art, at least when executed by Hubert Butler of Kilkenny, on a par - whether you know his writing or not, and you should – with Bacon, Swift and Orwell. The same goes for speechifying. That level I witnessed, at the start of my three days at the Kilkenny Arts Festival, from Masha Gessen delivering the Hubert Butler Annual Lecture, and at the end from Professor Roy Foster, Fiona Shaw and the winner of this year’s Huber Butler Essay Prize, Kevin Sullivan.Disclosure first: it was my partner who set up the Prize as part of HEART London, a potential home for European Read more ...

 Gail Kubik: Symphony Concertante, Gerald McBoing Boing Boston Modern Orchestra Project/Gil Rose (BMOP Sound)Gail Kubik (1914-1984) should really be remembered for writing the score to William Wyler’s 1955 noir The Desperate Hours, but Paramount decided that Kubik’s score was too modern and scrapped most of it. An intriguing, under-appreciated 20th century American composer and teacher, Kubik’s influences are brazenly displayed in the pieces collected here. His 1959 Divertimento No. 1 is heavily indebted to Stravinsky’s Dumbarton Oaks, even down to the prominent use of a Bach quote. Read more ...

 Karel Ančerl: Live Recordings (Supraphon)Karel Ančerl’s nascent conducting career was interrupted by World War II, Ančerl and his family being sent to the Theresienstadt camp in 1942. Two years later, he and his family were sent to Auschwitz. Ančerl’s wife and son were murdered; he survived, returning home and gaining a conducting post with Radio Prague. There’s an inspiring quote in this set’s booklet, Ančerl recalling that, “despite having witnessed the abysmal depths of that which a human is capable of doing to a fellow human, I did not lose faith in people – I returned with full Read more ...