Classical music
Simon Halsey
I was greatly privileged to know Sir Michael Tippett and to chorus-master his recording of A Child of Our Time. In my childhood, the two giants of English composition were “Tippett and Britten” - in that order. Since their deaths, Britten has flourished internationally and Tippett has slipped back a bit in the public consciousness. I hope the new Tippett biography by Oliver Soden will help rectify this.As a teenager, I loved Tippett’s early works. My favourite LP was a Marriner/ASMF Argo disc of his string music. And I was knocked sideways by my first encounter with the opera King Priam Read more ...
Robert Beale
Manchester Camerata’s series of in-concert recordings featuring Mozart piano concertos with Jean-Efflam Bavouzet is well under way now, and this programme, like others before it, included a couple of his opera overtures too. Why so? "Because all Mozart piano concertos are also mini-operas," to quote Camerata music director Gábor Takács-Nagy, who likes talking to his audiences about what he and his fellow-musicians are up to.Fair point – at least, it’s almost a truism that Mozart often introduces his themes as if they were full-fledged characters unveiling their personalities, that his Read more ...
graham.rickson
Eleanor Alberga: String Quartets 1, 2 & 3 Ensemble Arcadiana (Navona Records)Eleanor Alberga’s String Quartet No 2 popped up on my iPod’s shuffle setting whilst driving few months ago, provoking me to pull over and spend the next 13 minutes, enthralled, in a Morrison's car park until the work finished. CD criticism isn't a glamorous gig, though the musical rewards more than compensate. This concise quartet is a marvel; the opening motif the germ for what follows, Alberga’s tightly wrought single movement containing hints of scherzo and slow movement before an incendiary, affirmative Read more ...
Robert Beale
The Hallé Orchestra has a good track record when it comes to bringing in young talents with exciting prospects, and its 2019-20 season begins with the newly appointed Finnish chief conductor designate of the Oslo Philharmonic, Klaus Mäkelä, on the rostrum, and the young Icelander Víkungur Ólafsson as solo pianist. The bespectacled, besuited pair look almost as if they might have stepped off the set of The League of Gentlemen, but their music making was top-class and, in their shared Beethoven concerto in particular, impressive indeed.It opened with Beethoven’s Overture to The Creatures of Read more ...
Miranda Heggie
Celebrating the friendship between the two great 20th-century composers, the Britten-Shostakovich Festival Orchestra launched this year. Founded by British conductor Jan Latham-Koenig and British Ambassador to the Russian Federation Sir Laurie Bristow, it’s a way to leave a lasting legacy for the 2019 Year of Music between Britain and Russia. 87 of the finest young musicians from both countries were selected by audition, and after a week’s residency at the Sirius Park of Science and Art in Sochi, where they received coaching from a wide range of musicians drawn from major orchestras and opera Read more ...
Jessica Duchen
While the Proms were ringing out the old season, the Wigmore Hall ushered in the big celebration of 2020: the 250th anniversary of Ludwig van Beethoven’s birth. The venue’s year-long festival (actually longer – the actual birthday is December ‘20) kicked off with a Beethoven weekend with more than just Beethoven in it. What stood out was how astoundingly good Beethoven sounds compared to almost anybody else. I went to the first three concerts of the first day.To begin, the cellist Steven Isserlis and the fortepianist Robert Levin did give pure Beethoven such a run in the park that we could Read more ...
David Nice
Any festival would be proud and honoured to end with the great Elisabeth Leonskaja playing the last three Beethoven piano sonatas. Here the Everest was swiftly scaled as the tenth concert of a packed Wigmore Hall weekend. How I wish I could have heard more than the final two on Sunday evening, all-Beethoven unlike some of the predecessors reviewed above by Jessica Duchen, but they served up the perfect contrasts: breathtaking sheen in the lighter earlier Beethoven from young players alongside the best in their middle years followed by poleaxing profundity. There can be no pianist alive who Read more ...
Gavin Dixon
Simon Rattle has a knack for unearthing large-scale orchestral works that pack a punch. Olivier Messiaen’s Éclairs sur l’Au-Delà … (Illuminations of the Beyond …) was completed in 1991, a year before the composer’s death, and is both a reflection on mortality and a summation of his life’s work. Quotations from the Book of Revelation head many of the movements, and Messiaen envisions the heavenly world through expansive string movements, with muted violins intoning long, plaintive melodies. Huge percussion and brass sections provide weight and colour, though the mood remains serene.Best of all Read more ...
Gavin Dixon
The BBC put social and ethnic diversity at the heart of this Last Night programme. The concert opened with a new work, by Daniel Kidane, called Woke, and the first half was dominated by the music of black and female composers. In the second half, mezzo Jamie Barton waved a rainbow flag during her "Rule, Britannia!" The Proms is clearly in the vanguard for inclusivity among classical music organisations, although the fact that Kidane stood out as one of the only non-white members of the huge audience suggests there is still a long way to go.Woke is a dynamic concert opener, energised by Read more ...
graham.rickson
Haydn, arr. Stegmann: Symphonies 44, 75 and 92 Ivan Ilić (Chandos)The easiest way for amateur music lovers to get to know orchestral pieces used to be through piano transcriptions and chamber arrangements. Liszt’s versions of Beethoven symphonies are the genre’s high-water mark, and I’d point the curious in the direction of Yury Martynov's glorious cycle on Alpha Classics. Here, Ivan Ilić gives us three mature Haydn symphonies in arrangements by one Carl David Stegmannn, a tenor, harpsichordist and composer active in Hamburg and Bonn, who arranged 25 Haydn symphonies for the publisher Read more ...
Boyd Tonkin
For a few seconds last night, the Royal Albert Hall turned into London’s biggest – and cheesiest – disco. At the end of the Ball movement in the Aurora Orchestra’s dramatised version of the Symphonie Fantastique, Berlioz’s tipsily lurching waltz climaxed in a lightshow that sent a galaxy of glitterball stars swirling through the auditorium. You can’t exactly stage a symphony – even one as theatrical as this – as you can an opera. Still, conductor Nicholas Collon and directors Jane Mitchell and James Bonas – abetted by designers Kate Wicks and Will Reynolds – did their utmost to make the work’ Read more ...
Sebastian Scotney
Blame it on the box set. The four Bach Orchestral Suites fit neatly together as a recording project. They used to fill out the four sides of a double LP back in the early stages of the baroque revival. Completists and collectors could rejoice then, and with many more versions to choose from, they still can now. But are these pieces, which were never intended to be played one after the other, varied enough to make a satisfying and convincing concert? Not really.The first problem is a nagging propensity to hang around in D major. Two of the four suites – so half of the set in the versions Read more ...