Classical Reviews
Belcea Quartet, Wigmore HallSaturday, 02 November 2013
Pure, unorthodox genius: the terms apply both to the three works on the Belcea Quartet’s programme – Haydn at his most compressed, Britten unbuttoned and sunny, Shostakovich hitting the tragic heights – and, if the term “genius” can be applied to re-creative artists, to the players themselves. Read more... |
Moser, London Philharmonic Orchestra, Michail Jurowski, Royal Festival HallThursday, 31 October 2013
Imagine how discombobulated the audience must have felt at the 1962 premiere of Shostakovich’s most outlandish monster symphony, the Fourth, 26 years after its withdrawal at the rehearsal stage. Those of us hearing its natural successor, Schnittke’s First Symphony, for the first time live last night didn’t have to (imagine, that is). Read more... |
Frank Zappa's 200 Motels, Royal Festival HallWednesday, 30 October 2013
One of the joys of the Southbank Centre’s year-long The Rest Is Noise series has been the opportunity to hear some unusual period pieces among the more standard repertoire. In the case of 200 Motels it is a concert premiere for a genre-bending work which was pulled from its 1971 Albert Hall slot due to complaints about its obscene content. Read more... |
Kadouch, Vincent, BBC Singers, BBCSO, Minkowski, BarbicanSunday, 27 October 2013
Back at the Barbican for a new season after a Far Eastern tour, the BBC Symphony Orchestra returned to pull off a characteristic stunt, a generous four-work programme featuring at least one piece surely no-one in the audience woud have heard live before. This time, the first quarter belonged exclusively to the unaccompanied BBC Singers in one of the most demanding sets of the choral repertoire. Read more... |
The Swingle Singers, São Paulo Symphony Orchestra, Alsop, Royal Festival HallSaturday, 26 October 2013
Anyone who saw or attended this year’s Last Night of the Proms will know that Marin Alsop is a born communicator with a wry sense of humour. Another of those youthful crowds The Rest is Noise festival keeps attracting gave her a hero’s welcome last night, and she responded with easy compering. Read more... |
Classical CDs Weekly, Bach, Bartók, Piano PhantomsSaturday, 26 October 2013
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Tharaud, London Philharmonic Orchestra and Chorus, Nézet-Séguin, Royal Festival HallThursday, 24 October 2013
If ever there were a week for London to celebrate Poulenc in the lamentably under-commemorated 50th anniversary year of his death, this is it. Two major choral works and two fun concertos at last join the party. But if Figure Humaine and the Concerto for Two Pianos look like being well positioned in the BBC Symphony Orchestra’s Barbican programme on Saturday, Yannick Nézet-Séguin’s chosen two were the victims of his own success in Prokofiev interpretation. Read more... |
The Chaos Orchestra presents 'The Rite', The VortexThursday, 24 October 2013
Still only a year out of college, the diversely gifted trumpeter, composer and bandleader Laura Jurd has risen rapidly to prominence, enterprisingly bypassing the ritual of hanging around to be noticed by creating her own scene and ensembles. One of these, the Chaos Collective, this week curated a small festival in which another, the Chaos Orchestra, last night performed a range of new work. Read more... |
Brahms Cycle 1: Kavakos, Dindo, Leipzig Gewandhaus Orchestra, Chailly, BarbicanWednesday, 23 October 2013
For the Leipzig Gewandhaus Orchestra’s second residency at the Barbican Centre Riccardo Chailly pulled focus on an entirely new sounding Brahms. Gone were all those bad performance practices, bad habits, from the early 20th century, gone was the lingering romanticism, the willful soupiness, and in with a vengeance came a classical rigour, a lean and hungry vitality. Read more... |
Kraggerud, Stuttgart Radio Symphony Orchestra, Denève, Leeds Town HallSunday, 20 October 2013
I’d not previously identified much comedic potential in Mahler’s gargantuan Sixth Symphony, a piece which would feature prominently in many people’s lists of most depressing works. Which presumably explains why this astonishing concert wasn’t a sell-out, and why the prevailing gloom prompted a fair few audience members to make an intrusive dash for the exit before the double basses sounded their final pizzicato. Read more... |
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