Classical music
David Nice
Expect no cliches about toreador pianism. Red-earth flamboyance is not Javier Perianes' style, and the seven dances he offered in his programme - eight including an encore - by fellow Spaniard Manuel de Falla were not the most consistently engaging part of the recital. The lucidity he brought to Chopin and Debussy proved of the essence, though, and something absolutely fresh and new.Perianes is serious but modest and likeable in demeanour, coming straight on to the stage to probe the interior worlds of Chopin's C minor and F sharp minor Nocturnes, Op. 48. Composed in what one can only Read more ...
Boyd Tonkin
Great conductors, like efficient auto engines, apply a lot of torque – they can use a little energy to achieve great surges of movement. Now aged 91, the American-born Swedish maestro Herbert Blomstedt sometimes hardly seems to raise his baton-free hands. His feet, meanwhile, remain more or less immobile. Yet, like some highly-geared sports car, last night the Philharmonia zoomed, boomed or swerved at the merest distant kiss of his fingertips.Quietly but completely in command for the second of his Royal Festival Hall Concerts with the orchestra, Blomstedt shares with his fellow- Read more ...
Robert Beale
John Wilson conducted Vaughan Williams’ Fifth Symphony with the BBC Philharmonic in Manchester just over a year ago with great success, in a programme of music from the 1940s. This time it was the very different, troubled Fourth, and the context was British composition.Two contrasting masterpieces from the 1930s made up the bulk of it: Walton’s Violin Concerto (premiered in 1939) and the symphony (first heard in 1935). They make a remarkable contrast. Wilson began with Arnold Bax’s November Woods – suitable enough, as VW dedicated his symphony to Bax – but it’s the product of another world, Read more ...
graham.rickson
Mozart: The String Quintets Klenke Quartet (with Harald Schoneweg, viola) (Accentus Music)The viola was Mozart's instrument of choice when playing chamber music, his fondness for the instrument's warm timbre prompting him to add a second viola to the quartet line-up when composing his six string quintets. Listen to this set through good headphones and it's as if you’ve turned up the bass a notch or two. The augmented Klenke Quartet make a superbly sonorous, rich sound, one so fulsome that you could mistake their sound in the denser passages for that of a small chamber orchestra. They Read more ...
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 ...
graham.rickson
Brahms: The Cello Sonatas The Fischer Duo: Norman Fischer (cello), Jeanne Kierman (piano), with Abigail Fischer (mezzo-soprano) (Centaur Records)Comparing Brahms’s pair of cello sonatas is like looking at the two piano concertos. There’s the youthful, three-movement grumpy one. Then a long gap before a major key work in four parts, with a last movement frothy and exuberant. Veteran cellist Norman Fischer describes listening to both works as giving “a full Brahmsian yin-yang experience”. As with the piano concertos, I’m more yin than yang, and the earlier work’s craggy magnificence is Read more ...
Bernard Hughes
The vocal octet Voces8, approaching its 15th anniversary, is a purring musical machine: vocally top-notch, precisely and exhaustively rehearsed, imaginative in repertoire and equally at home in Monteverdi and Duke Ellington. And if the classical items grabbed me more than the kitsch swing numbers they ended with, there is no denying the whole concert was put together with panache and musical excellence.Voces8 perform more than 100 shows a year together and their sheer familiarity with each other shines through. They are very tight – even their bowing is perfectly synchronised. The spoken Read more ...
alexandra.coghlan
If Gilbert and Sullivan did the Bible it would sound a lot like Hubert Parry’s Judith. Premiered in 1888 and last heard in London a year later, the oratorio – whose principal claim to fame is as the original home of tearjerker hymn tune Repton, better known as “Dear Lord and Father of Mankind – has been lovingly restored to life by conductor William Vann and the English Song Festival, who will record it with Chandos later this year.Fire and lashings of Old Testament brimstone all come tied up in a hearty musical bow. The setting may be Judah but the bucolic clarinets and horns are pure Albion Read more ...
Peter Quantrill
We live in a secular age, or so we’re told. Yet we seem to need rituals, the age-old practice and province of religion, as much as ever. It is the achievement of Peter Sellars and Sir Simon Rattle to present one without the other in their concert stagings – "ritualisations" – of the Bach Passions they have taken around Europe and to the US since the St Matthew was first shown this way in Berlin in 2011. Last night saw the premiere of the St John in London, much awaited, long-rehearsed and at times striking home with irresistible force."It’s not theatre. It’s a prayer," says Sellars. In truth Read more ...
graham.rickson
Beethoven: Piano Concertos 1-5 Mitsuko Uchida (piano), Berlin Philharmonic Orchestra/Sir Simon Rattle (Berliner Philharmoniker Recordings)You can pick up a superb set of Beethoven piano concertos for under a tenner with little effort. This box set is a tad pricier, but worth the outlay, a reminder of a time when new classical releases commanded wider attention than they do now. Mitsuko Uchida’s live performances were taped in 2010. She's outstanding, nailing the distinct character of each concerto within seconds, and treated to high-class backing by Rattle’s Berliners. Rattle’s Berlin Read more ...
Samir Savant
This is my third year as festival director of the London Handel Festival, an annual celebration of the life and work of composer George Frideric Handel, which takes place every spring in venues across the capital. Our core charitable and artistic objectives for the Festival are to explore the full repertoire of Handel, to bring the composer’s music to broader audiences and to continue his tradition of nurturing young talent. I have always known Handel’s music, having sung it since I was a boy, but it is only in recent years that I have come to discover the complex and loveable character 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 ...