When a “historically informed” performance leaves a lasting imprint on the memory, it does so like a good historical novel, by bringing to bear not only a wealth of period detail but the unarguable flavour of a time that is not our own. This was a particular strength of the Chiaroscuro Quartet’s recital at Kings Place on Sunday.It began with three excerpts from The Art of Fugue, often prized as some of the most “abstract” music ever written, whatever that might mean. The measured tread of the Chiaroscuro’s account, however, built in the mind’s ear and eye a mahogany chamber and an Read more ...

Living-museum recitals on a variety of historic instruments pose logistical problems. Telling The Arts Desk about his award-nominated CD of mostly 19th-century works for horns and pianos, Alec Frank-Gemmill remarked on the near-impossibility of reproducing the experiment in the concert-hall: playing on four period horns would need several intervals, and colleague Alasdair Beatson would hardly be likely to have the four pianos in the same room. Last October came a breakthrough, for me at any rate: Roman Rabinovich playing on three pianos in the Cobbe Collection at Hatchlands, Surrey. Yesterday Read more ...

The John Adams Edition Berliner Philharmoniker, conducted by John Adams, Gustavo Dudamel, Alan Gilbert, Kirill Petrenko and Sir Simon Rattle (Berliner Philharmoniker)That the Berlin Philharmonic can release a lavish four-disc collection of music by a contemporary American composer is testament to how much the orchestra has evolved since the Karajan years. Claudio Abbado kickstarted the ensemble's rejuvenation, the process continuing under Rattle’s leadership. John Adams was the orchestra’s Composer in Residence during the 2016-2017 season, and conducts a winning reading of his vast, Read more ...

Expectations ran high for Mark Padmore and Mitsuko Uchida in Winterreise. Both singer and pianist are well known for their Schubert, and their deep and intimate relationship with his music was everywhere apparent in this performance of sensitivity and subtly shaded emotion. In a cycle so well documented, there is little room to excel, yet Padmore and Uchida did just that. A directness of expression was key to their success, as if years of accreted sophistication had been stripped from these famous songs, revealing a naked, uncompromising emotion beneath. But there was also a compelling sense Read more ...

When you've found your living ideal for Schubert's sonatas - Elisabeth Leonskaja, surely - it can be a challenge to stay open-minded and welcome another take on the profundities. Mitsuko Uchida didn't make it easy for herself or us at the start by plunging into the technical challenges of the fierce C minor Sonata, first in the miraculous final trilogy; nor did she hint more than fleetingly at the sublime to come. But come it did, in a journey to the plains of heaven intensively walked in the hypnotic G major masterpiece, D894, with Uchida's unique personality defining the route.She doesn't Read more ...

Before the age of photography, people and places were recorded in ink or paint or sound. The process of recording was not instant, could not be rushed, and produced by its nature an experience of layers. On the last leg of a brief UK tour, the Basel Chamber Orchestra brought to Cadogan Hall two landscapes and two portraits, in performances notably true to life and unified as harmoniously as a Rothko quartet by the ensemble’s own cultivated tonal palette.Timbres were applied neat and raw to Mendelssohn's Hebrides Overture, and Heinz Holliger had left the canvas unprimed: the effect was not a Read more ...

Florian Boesch is a big man. He’s tall, stocky, and with his bald head and stubble could seem more like a gangster than a Lieder singer. His voice is beautiful, but it matches his appearance – big, weighty and imposing. He has subtlety too, though it is sometimes hard-won, and his affinity with the core Romantic repertoire is always apparent, so this programme, of Schubert, Wolf and Schumann was well chosen to showcase his strengths.Schubert’s nature-inspired songs are an ideal platform for the more turbulent and dramatic side of Boesch’s temperament. His voice is strongest in the low Read more ...

Such introspective subtlety might be mistaken for reticence. But from the rare instances when the Norwegian pianist Leif Ove Andsnes lets rip - and they're never forced - you know he's wielding his palette with both skill and intuition, waiting for the big moment to make its proper mark. Flyaway passages in Chopin which in other hands bubble like pure champagne flow like pure spring water; the source is everything. And such is the concentration that the wider spaces of the Royal Festival Hall melted away and a sizeable audience was drawn, intensely silent, into the spell.The only aspects of Read more ...

What has 12 hands, 18 legs, 176 keys and two page-turners? Party night at the London Piano Festival, of course. The six-pianist, two-piano marathon on Saturday evening was a high point of this delectable four-day event – though far from the only one.Now in its second year, the London Piano Festival is the brainchild of the well-established piano duo Charles Owen and Katya Apekisheva. It’s a welcome addition to the London scene. We’re all used to piano recitals, but don’t always delve so deeply into the instrument’s galaxy of repertoire and the range of personalities among those who play it. Read more ...

They say that Wigmore Hall audiences know their Lieder singers, but last night's far from packed house dispelled that illusion; the hall has been full for much lesser artists than German soprano Anne Schwanewilms. No matter; she gave her usual masterclass, ineffably poised between tone-colour, phrasing and word-pointing. Having hit the heights in Strauss, Schumann and Wolf in previous recitals, she found a deep centre this time in serious, almost operatic Schubert. Regular song-partner Charles Spencer's space and orchestral sonorities helped conjure vast landscapes and epic human emotions in Read more ...

Morag Tinto’s documentary is a profile of composer Alma Deutscher, who hit the headlines at the end of last year when her opera based on the Cinderella story premiered in Vienna. What’s unusual about that, you might ask? Apart from being female, Alma was 11 years old when she finished writing it. Eleven. Think about it. I can’t recall much about my own talents at that age, apart from being able to tie my own shoelaces and build passable models out of Lego.Alma is the real deal; frighteningly talented but disarmingly likeable. We see her at the family home in Surrey, the footage intercut with Read more ...

Mompou: Fêtes Lointaines Steffen Schleiermacher (piano) (MDG)“I am not a composer and don't want to be regarded as one… somehow, I always have the feeling that it comes to me from outside.” There is indeed something otherworldly about Federico Mompou’s spare, understated music, and it’s interesting that several pianists who excel in this repertoire also specialise in performing works by other fringe minimalists. Steffen Schleiermacher is one, having previously recorded discs of Feldman and Cage. Not that Mompou’s output is as outré as theirs: you’d place him close to Satie and Poulenc on the Read more ...