contemporary classical
Gavin Dixon
At Wigmore Hall the JACK Quartet presented the complete Elliott Carter string quartets in a single day – an astonishing feat given the scale and complexity of the music. One of Carter’s many achievements here is the self-sufficiency of each of his five quartets, the subtle issues of concept and form that each poses always comprehensively addressed. But the five quartets also work as a cycle, for the similar approaches the composer takes. The JACK Quartet crafted two satisfying programmes from the five works, presenting the Fifth and First in a lunchtime recital, and then in the evening Read more ...
Richard Bratby
This was a fascinating, unexpected prospect; instantly appealing to anyone who’s ever wondered about the string quartet’s niche in the 21st-century musical ecosystem. Two practically new song cycles for soprano and quartet – Kate Whitley’s Charlotte Mew Songs (2017, but extended earlier this year) and Kate Soper’s Nadja (2015) - framed the Third Quartet (1938) by Elizabeth Maconchy. The performers, the Albion Quartet, have already won something of a reputation for doing things differently. A relatively new ensemble, formed in 2016, they’re led by Tamsin Waley-Cohen, one of an growing number Read more ...
Bernard Hughes
What’s the one thing everyone knows about Robin Hood? That he steals from the rich and gives to the poor. So it was quite a brave decision to re-cast Robin as a rapacious Tory shires MP, doing his best to stop the poor becoming rich. At least, I think that was what happened: in much of the story is opaque, even having read the synopsis carefully. But this new new opera by composer Dani Howard has some striking passages, both of excellent singing and beautiful scoring.The Opera Story is a young company in only its third season, but already onto its third new piece. It doesn’t lack ambition: Read more ...
graham.rickson
Brahms: Symphony No 4, Dvořák: Symphony No 9 Bamberg Symphony Orchestra/Jakub Hrůša (Tudor)Brahms became a close friend and mentor to Dvořák, the two men first meeting in 1877 after Brahms had helped the younger composer win a scholarship. Dvořák was described as “a talented individual”, who was pleased to take on Brahms's advice in replacing “the many bad notes“ in his D minor string quartet with better ones. Brahms soon came to value his friend as an equal, admiring his melodic invention, while his own “high degree of skill” was envied by Dvořák. Coupling Brahms's 4th with Dvořák’s Read more ...
Robert Beale
The BBC Philharmonic and its chief guest conductor John Storgårds introduced their Manchester audience to two new things – possibly three – in this concert. One was a world premiere, and you can’t get much newer than that. The other big item was a symphony that’s already nearly 40 years old, yet having only its third performance in Britain.The first piece was Schumann’s Overture, Scherzo and Finale, which is hardly new, but still rarely heard. It dates from soon after the "Spring" Symphony, though the finale was re-written some time later, and is in reality a symphony without a slow movement Read more ...
David Nice
Julia Wolfe, Caroline Shaw, Anna Þorvaldsdóttir: three names on quite a list I reeled off earlier this week when someone asked me why the compositions of Rebecca Saunders, in the news for winning the €250,000 Ernst von Siemens Music Prize, make me lose the will to live, and whom I’d choose instead. Saunders gets a look-in at the very end of this Kings Place year of music by women, Venus Unwrapped, so I'll just have to try again. Meanwhile the first three, communicators all - as Saunders is not, for me - kicked off Bang on a Can's affably presented gallimaufry celebrating 27 years of Read more ...
graham.rickson
Mia Brentano’s Hidden Sea – 20 Songs for 2 Pianos Benyamin Nuss & Max Nyberg (pianos) (Mons Records)Hiddensee is a car-free German island in the Baltic Sea. It's mentioned as one possible inspiration for the pieces on this beguiling disc; this music exists in its own prelapsarian world. There are allusions to Gershwin and, allegedly, Barbra Streisand, though the popular influences are treated in sophisticated ways. These pieces also sound incredibly difficult to play, Brentano suggesting that these songs without words need classically trained pianists to do them justice. “Early Read more ...
graham.rickson
Record shops may be thin on the ground, but CDs are still very much with us. No sensible soul would ever rate listening to a recording over experiencing music live. But if, like me, time, money and geography limit one’s opportunities to nip out to concerts, a well-produced CD can plug the gap very nicely. I’m still a fan of the physical product over the download: removing shrink wrap and flicking through sleeve notes are one of life's minor pleasures, and several releases in this list score highly in terms of aesthetics as well as music making. Here are my 10 favourite recordings from the Read more ...
Gavin Dixon
Krzysztof Penderecki is the elder statesman of Polish music, and celebrations for his 85th birthday in Warsaw were suitably grand. Penderecki has been setting the agenda for contemporary music, in Poland and beyond, since the 1950s. His early work pioneered explorations of sound and texture that became mainstays of European Modernism. His style later changed, but a strong religious conviction links each era, and that too proved influential, as the new music of the former communist bloc gradually embraced a spiritual dimension.More recently, Penderecki has focussed his attentions on large- Read more ...
Bernard Hughes
Joseph Phibbs is not the first composer to make an opera out of Strindberg’s Miss Julie, and it is not difficult to see the operatic appeal of this taut, passionate three-handed drama. But there are also hazards: my recollections of the play, reinforced by this operatic interpretation, were that for all the emotional huffing and puffing, not much actually happens, and the final, shocking denouement comes somewhat out of the blue.Juliana, premiered this summer at the Cheltenham Festival, updates the action from 19th century feudal Sweden to the present day. The off-stage presence of the Count Read more ...
David Kettle
There’s always been something of a buzz in the air at East Lothian’s Lammermuir Festival. It’s the feeling that it’s somehow a special privilege to discover its performances – whether they’re from international names or emerging artists, challenging, provocative and illuminating by turns – across the region’s exquisite and little-known churchs, halls, theatres and other venues. Plus, of course, its timing: there’s no avoiding the fact that the Lammermuir Festival feels like a comforting come-down after the unbridled frenzy of its elder, far more gargantuan Edinburgh neighbour that takes over Read more ...
David Kettle
There were two immediate casualties at Pierre-Laurent Aimard’s high-energy account of Messiaen’s monumental Des canyons aux étoiles… with the Scottish Chamber Orchestra at the Edinburgh International Festival.First was one of the strings in the Usher Hall’s Steinway grand, which finally gave way during the piece’s eighth movement. Well, it had been given really quite a pounding by Aimard, and went on to emit a prepared piano-like buzzing rattle until the end of the piece. Second – less crucially – was the handle of the percussion section’s wind machine, cranked so furiously to conjure Read more ...