Shostakovich
graham.rickson
Bach, Bartók, Boulez Michael Barenboim (violin) (Accentus)Michael Barenboim’s disc consists solely of pieces by composers whose names begin with B, but it’s effectively an A-Z of solo violin technique, as well as a demonstration of his winning versatility. Bach’s C major Sonata’s narrative is plotted with unerring skill, the hypnotic slow opening slowly growing in intensity before Barenboim lets off steam with an immaculate fugue. Similarly, the Largo prepares us for a bubbly, unbuttoned finale, Barenboim’s dynamic control masterly. It's not a huge jump from here to Bartók’s epic Sonata for Read more ...
David Nice
It could have been your standard Russian touring programme: Tchaikovsky ballet music as hors d'oeuvre, Rachmaninov piano concerto, Shostakovich symphony. But the symphony was hardly the usual (Sixth rather than Fifth or Tenth). And any chance should be taken to hear London-born Freddy Kempf, a phenomenal artist incapable of playing a routine phrase, on his relatively rare visits to his native city.Kempf is a pianist in a million. At first you may wonder if the bucking and circling around the keyboard is absolutely necessary. But it produces the sound: the deep staccatos which highlight only Read more ...
Robert Beale
The opening of a new concert hall offers two options for opinionizing: the venue itself – or the performances in it? Review the acoustics – or the music? It has to be a mixture of the two, in the end. Chetham’s School of Music, in Manchester, has just celebrated (and seen opened by HRH Prince Edward) its £8.7m Stoller Hall – a state-of-the-art, 482-seat performance venue in the heart of Manchester, right next to Victoria Station.It’s been constructed, "box in box" style for perfect sound insulation, inside the main new Chetham’s building erected in 2012. The missing ingredient on that Read more ...
graham.rickson
Beethoven: Piano Sonatas Op.110 and Op.111, with music by András Szöllösy and Gyula Csapó Gábor Csalog (piano) (BMC)Two Beethoven sonatas coupled with shorter pieces by a pair of contemporary Hungarian composers makes for an engaging mixture. Gabór Csalog’s disc feels very much like a single live performance, though the individual items were taped at separate recitals. Beethoven’s momumental late sonatas draw on many influences, from naïve folksong to baroque counterpoint. András Szöllösy’s Paesaggio con morti also fuses multiple elements, a sober chorale theme restated between music of Read more ...
Gavin Dixon
The BBC Symphony Orchestra has continued its long-standing support of British contemporary music with this première of a new commission, Michael Zev Gordon’s Violin Concerto for violinist Carolin Widmann. Gordon’s music deals in abstracts – new and old, familiar and unfamiliar, simple and complex – but with an unusual directness and clarity of expression. The concerto is not a virtuoso showpiece, but rather an exploration of the lyrical and expressive qualities of Widmann’s playing. It proved an ideal match, with Widmann here making the best possible case for the new work.Widmann’s tone, Read more ...
Gavin Dixon
Yuri Temirkanov chose a shamelessly populist programme for the London leg of the St Petersburg Philharmonic tour. But Khachaturian, Prokofiev and Shostakovich are core repertoire for this orchestra, and ideal for showing off its many strengths. In an impressive coup, they also managed to engage the services of legendary pianist Martha Argerich for the Prokofiev concerto, and the result was a compelling afternoon of Soviet-era classics.On the basis of this showing, the St Petersburg Philharmonic is a world-class orchestra. Their tone is bold and strident, with the focus firmly on the upper Read more ...
graham.rickson
Miloslav Kabeláč: Complete Symphonies Prague Radio Symphony Orchestra/Marko Ivanović (Supraphon)Finding an imposing cycle of eight symphonies by a 20th century composer you’ve never heard of is an event. There’s precious little of Miloslav Kabeláč’s music presently available on disc, making this release a must-hear. His was a singularly unlucky life: born in 1908, he rose to prominence as a composer in the late 1930s, gaining a senior post at Prague Radio. Having a Jewish wife, Kabeláč resigned from the role soon after the German occupation, his music officially deemed unperformable as a Read more ...
Robert Beale
Colin Matthews’s arrangements for orchestra of the 24 Debussy Préludes (originally commissioned by the Hallé) have been widely admired. The BBC Philharmonic’s concert, conducted by Nicholas Collon, at the Bridgewater Hall on Friday night began with three of Ravel’s five piano Miroirs, two of them orchestrated by Matthews (one a world premiere) and one by the late Steven Stucky.The Matthews approach to Debussy has been compared in places to Ravel’s own orchestral technique (though a direct claim that he transcribed Debussy as Ravel might have done seems over-egging the pudding somewhat). His Read more ...
Marina Vaizey
This is a documentary about a minority in a minority, a riff on young, gifted and black. And how better to attract both practitioners and audiences to classical music than by encouraging diversity? The totally startling statistic was that in the UK, only five per cent of classical musicians are black or from ethnic minorities.The programme focussed on the Kanneh-Mason family, the parents Stuart and Kadiatu and their seven children (two boys, five girls), from the 20-year-old pianist Isata, now the holder of the Elton John scholarship at the Royal Academy of Music, on down. Their Nottingham Read more ...
Gavin Dixon
The Borodin Quartet has been playing for over 70 years, and in the early days collaborated closely with Dmitri Shostakovich. None of the players from then are in the line-up now, of course, but the group has worked hard to maintain its distinctive identity and performance traditions, even as the players change. And they have a good claim to continuity: Valentin Berlinsky, the legendary cellist who was with the quartet almost from the start, was still playing with them up until 2007.Shostakovich and Beethoven are the Quartet’s specialities, and this concert was part of a cycle of the two Read more ...
graham.rickson
Shostakovich: Violin Concerto No.1, Glazunov: Violin Concerto Nicola Benedetti (violin), Bournemouth Symphony Orchestra/Kirill Karabits (Decca)So many decent recordings of Shostakovich’s Violin Concerto No.1 have appeared in recent years, and here’s another. James Ehnes was given superb support from Kirill Karabits and the Bournemouth Symphony Orchestra, and the same team accompany Nicola Benedetti on this disc. Lower strings are superb in the Nocturne’s shadier corners, Benedetti’s tone suitably parched. The scherzo’s rhythms are brilliantly sprung, but it’s the haunting, deeply-felt " Read more ...
David Nice
Even that most unpredictable of fantasists Nikolay Gogol might have been surprised to find his Nose, wandering far from the face of Collegiate Assessor Kovalyov, sung by a high tenor in an unlikely operatic adaptation of his wackiest story. Give the singing role, as Barrie Kosky does, to another character, and show the giant-sized Nose
– here a boy dancer
– without any token apparel of his supposed high rank before which lowly official Kovalov absurdly grovels, and you miss the point of a vintage scene in Shostakovich's The Nose. Fortunately Kosky has plenty of ingenious riffs Read more ...