sat 26/04/2025

Classical Features

First Person: St John's College choral conductor Christopher Gray on recording 'Lament & Liberation'

Christopher Gray

When I arrived at St John’s College, Cambridge, in April 2023, it was a daunting prospect to be taking over the reins of a choir with such a distinguished recording heritage: there have been more than 100 albums since the 1950s on some of the UK’s top labels. 

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First Person: cellist Matthew Barley on composing and recording his 'Light Stories'

Matthew Barley

For many thousands of years, humans have turned to art to tell stories about themselves and others because it feels good. It feels good because we sense that it helps us to understand ourselves, and the sharing of these uniquely human stories brings us closer together, and then this bonding, amongst many benefits, increases the safety of our community – humans were quick to realise that we are stronger together.

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First Person: Alec Frank-Gemmill on reasons for another recording of the Mozart horn concertos

Alec Frank-Gemmill

One former teacher of mine said of their recording of the Mozart horn concertos “I’m not really sure why I bothered”. Said recording is excellent, so they were probably just being excessively modest. Nevertheless, every new version of these pieces does beg the question, why do we need another one? 

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'His ideal worlds embraced me with their light and love': violinist Irène Duval on the music of Fauré

Irène Duval

"I always enjoy seeing sunlight play on the rocks, the water, the trees and plains. What variety of effects, what brilliance and what softness... I wish my music could show as much diversity." Gabriel Fauré, who wrote those words and is indisputably one of the greatest of French composers, died 100 years ago, on 4 November 1924. His avowed aim was to elevate his listeners “as far as possible above what is.”

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First Person: Bob Riley on Manchester Camerata's championship of a Centre of Excellence for Music and Dementia

Bob Riley

In May, it was announced that Greater Manchester was to become the UK’s first Centre of Excellence for Music and Dementia, hosted by Manchester Camerata.

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First Person: conductor Robert Hollingworth on a four-choir rarity by Benevoli

Robert Hollingworth

I’m sitting in a café in Kraców, Poland, rehearsals finished for the resurrection of a mass setting written nearly 400 years ago in Rome.

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theartsdesk in Bradford - Leeds International Piano Competition 2024 finalists shine in St George's Hall

David Nice

How do you make a two-part final featuring five piano concertos work as a couple of totally satisfying programmes? First, give a wide list of concerto options, ask each pianist for two choices, settle on what will make the best contrasts – and then engage the brilliant Domingo Hindoyan and the Royal Liverpool Philharmonic Orchestra of which he has been chief conductor since 2021 as partners

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First Person: soprano Elizabeth Atherton on the decimation of the classical music sector in Wales

Elizabeth Atherton

Is it an opera company’s role to avert climate change? Should a circus troupe have to prioritize promoting the Welsh language? Is the purpose of a dance ensemble to bring about social justice? Should these issues be the main focus for our arts organisations? Surely not, and yet…  

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First Person: Alexandra Dariescu on highlighting women at the Leeds International Piano Competition

Alexandra Dariescu

This year, I am delighted to be supporting the Alexandra Dariescu Award at the Leeds International Piano Competition for an outstanding performance of a work by a female composer. This marks a significant milestone in the 60-year history of The Leeds, as it is the first year a piano concerto by a female composer has been added to the repertoire of the Concerto Final round with the Royal Liverpool Philharmonic Orchestra.

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theartsdesk in Switzerland: Lucerne and Gstaad offer curious audiences fresh perspectives on much-loved works

Gavin Dixon

The summer festival circuit in Central Europe can be a bit of a merry-go-round. Notices in festival towns promise world-class orchestras and soloists, but they are usually the same performers, making festival appearances as part of broader touring schedules.

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