Classical music
Jenny Gilbert
The following is adapted from a programme note for a show which was to have premiered last Thursday – the very day Sadler's Wells went dark. Nico Muhly – Drawn Lines was part of an occasional series featuring composers who are making an impact on dance. All the music cited is accessible on the usual platforms.Nico Muhly hates labels. Looking very much younger than his 38 years, he has had to suffer being “classical music’s poster boy” for nigh on two decades, not to mention hearing his music described as “indie-classical”. As he has pointed out through gritted teeth to many an unwary Read more ...
Elena Urioste
In my second year as a violin student at the Curtis Institute, my right arm started going numb from my elbow to my fingertips on a fairly regular basis. It was rather like how your limbs feel right before they fall asleep: not full-on pins and needles, but a dull, hot emptiness, like there was no blood to keep that piece of me alive and vibrant. I was overworked, sleep-deprived, and using my body as a landfill for garbage like Entemann’s donuts, Red Bull, and DeKuyper Sour Apple Pucker. The arm numbness was exacerbated by sitting, so I had to be excused from orchestra regularly, incurring the Read more ...
graham.rickson
Grieg: To the Spring – Violin Sonatas 1-3 Elena Urioste (violin), Tom Poster (piano) (Orchid Classics)Grieg is a one-work composer, mostly: there's one symphony, one piano concerto and single piano sonata. There are three violin sonatas, though, pieces which he thought numbered among his best and which charted his musical development. In Grieg's words, “the first is naïve, rich in ideas, the second national and the third with a wider horizon.” No. 1 dates from 1865. Elena Urioste and Tom Poster clearly love this youthful work, and there's an attractive, unforced quality to their playing Read more ...
David Nice
Maybe it's not so surprising that the musicians one has long thought of as true Menschen of the profession - that applies to both sexes, of course, and maybe it's just more about the artists in question being natural communicators - have been among the first to rally in the current crisis.Today it's time to highlight two pianists: Igor Levit, at home in Berlin (which was one of the first cities to feel the effect of lockdown; Levit pictured below by Peter Meisel), quickly launched an evening series live via Twitter, 18:00 UK time, 19:00 CET. The sound is terrible, the playing magnificent Read more ...
David Nice
The great Chilean pianist Claudio Arrau noted of 1920s Berlin that "itimes of trouble, people seek a better life in culture". But what if that culture can no longer be accessed live? Earlier this week theartsdesk brought you reports of two sensational Sunday concerts at each of London's biggest arts centres: a recreation of Beethoven's massive 1808 programme from Esa-Pekka Salonen and the Philharmonia at the Royal Festival Hall, and a stunning trio of powerful British masterpieces from violinist Vilde Frang, the London Symphony Orchestra and Antonio Pappano at the Barbican. Then everything Read more ...
Boyd Tonkin
Like it or not, we live – as Beethoven did – in interesting times. In place of the revolutions, wars and occupations that convulsed the cities he knew, we now confront a silent, invisible foe that breeds an equal terror. Hence the empty seats in the Royal Festival Hall on Sunday: a small proportion of the whole, but still noticeable. They greeted this unique concert, compèred by a top-flight celebrity, which gathered several of the best-loved works in the repertoire into one bumper package over a long Sunday afternoon.Directed by Gerard McBurney, narrated by Stephen Fry, and anchored by the Read more ...
David Nice
Three deep-veined masterpieces by two of the 20th century's greatest composers who just happened to be British, all fading at the end to nothing: beyond interpretations of such stunning focus as those offered by violinist Vilde Frang, conductor Antonio Pappano and the London Symphony Orchestra, these works could ask for nothing more than intense silence from the third point of what Britten called the magic triangle with composer and performers - the audience. With hardly anyone these days daring to cough in a concert, and only those present who felt healthy, brave or foolhardy enough to turn Read more ...
Gavin Dixon
Only a modest audience turned up for this BBC Symphony Orchestra concert, though it was unclear if this was caused by the threat of airborne disease or the inclusion of Schoenberg on the programme. The result was a paradoxical intimacy, with the huge orchestra expressing complex but private emotions from a group of fin de siècle Viennese composers. That intimacy was also a result of the music’s history, with the three of the four works originally for chamber groups, but here up-scaled to maximise impact.Schoenberg’s Verklärte Nacht (originally for string sextet but played here in the composer Read more ...
graham.rickson
Ives: Symphonies 3&4 San Francisco Symphony Orchestra/Michael Tilson Thomas (SFS Media)Charles Ives’s Symphony No. 3, subtitled ‘The Camp Meeting’, was completed in 1911 but waited until 1946 for its premiere, long after Ives had given up composing. It won him a Pulitzer Prize, and there's a tantalising, unconfirmed rumour that Mahler was planning to conduct it with the New York Philharmonic. Which isn't so surprising on reflection, both composers masters at mingling the vernacular with the symphonic. It's a fascinating transitional work, pitched between Symphony No. 2’s raucous cap Read more ...
Sebastian Scotney
Six weeks ago, the Ernst von Siemens Music Foundation announced that it the winner of its prestigious and extremely valuable main annual prize for 2020 "to a composer, performer, or scholar who has made outstanding contributions to the world of music" will be the viola player Tabea Zimmermann. She commented to an interviewer that what mattered to her most was neither well-paid concert appearances nor playing in large halls, but rather to be involved in things that are interesting for what she called their "Inhalt". The German language is blessed with words that have a whole field of Read more ...
David Nice
Eyes watering, heart thumping, hands clenched: no, not The Thing, but a spontaneous reaction to the opening of Bach's St John Passion in the urgent hands of Masaaki Suzuki. How his Bach Collegium oboes seared with their semitonal clashes while bass lines throbbed with pain, before the chorus added a different, supernatural turn of the screw. Immediate indeed, but this Passion was never too fast, only continuous in its drama so that even the chorales, with every word illuminated as Bach so expressively set it, hit home like a Greek chorus reacting to the immediate situation rather than as the Read more ...
Richard Bratby
No orchestra wants its conductor to cancel in the week of a concert. Mirga Gražinytė-Tyla’s illness was announced only on Monday, but even in ideal conditions, if you needed to find a last minute replacement maestro for a programme of Bartók and Bruckner, you could hardly do better than Omer Meir Wellber: a conductor with whom the City of Birmingham Symphony Orchestra has built a relationship that predates his recent appointment to the BBC Philharmonic in Manchester. And while it was unquestionably disappointing to be deprived of Gražinytė-Tyla’s first adventure into Bruckner (on these Read more ...