Classical music
graham.rickson
Josquin: Missa Gaudeamus, Missa L’ami Baudichon The Tallis Scholars/Peter Phillips (Gimell)That music composed in the 14th and 15th centuries can be enjoyed and performed today is mind-boggling. As is looking at one of Josquin des Préz’s manuscripts, close enough to conventional modern notation for even a hick like me to get an inkling of what the music might sound like. This latest Tallis Scholars release features two contrasting Masses, the mature Missa Gaudemas’s intensity set against the earlier, breezier Missa L’ami Baudichon. Peter Phillips has his three tenors sing the plainchant Read more ...
Jessica Duchen
The Italian pianist Federico Colli, 30, best known so far as winner of the 2012 Leeds International Piano Competition, last night arrived for his Wigmore Hall debut sporting an emerald-green cravat, but the sonic colours he magicked out of the piano quickly put its gleam in the shade. He is an artist developing at an impressive rate, and one of whom I think we’ll be hearing a great deal more in years ahead.Colli had nevertheless picked a somewhat unforgiving programme – a first half entirely of Scarlatti and a second of chewingly unremitting D minor – and if at times the result was more Read more ...
Joe Turnbull
Classical music struggles to shrug off the perception of being something of a rarefied world. Or “hermetically sealed” as Charles Hazlewood, founder of the British Paraorchestra describes it. “Classical music has to break out from its ivory tower," says Hazlewood. That tower is exponentially harder to scale for disabled musicians looking to fight their way up, with all the extra logistical and attitudinal barriers they must contend with.“There’s data on disability in housing, employment, in almost every government department,” says Siggy Patchitt, Head of Bristol Music Trust's National Centre Read more ...
Bernard Hughes
The latest instalment of the Americana ’18 series at St John’s Smith Square last Friday saw the Dmitri Ensemble and conductor Graham Ross present a survey of American minimalist music for string ensemble. In a brilliantly conceived programme, the ensemble found fresh energy and propulsion in these classic works, but also a subtlety and humanity in a style that can be mechanistic.The ensemble of young players, sitting on the floor in the middle of St John’s rather than elevated on the stage, was 13-strong, placing it between a genuine chamber group and a "proper" string orchestra. It allowed Read more ...
graham.rickson
Abbandonata: Handel Italian Cantatas Carolyn Sampson (soprano), The King’s Consort/Robert King (Vivat)The young Handel’s desire to be an opera composer prompted him to spend the years 1706-1710 in Italy. He was already a superb academician and master of counterpoint, but a colleague recorded that Handel felt that his melodic gifts needed honing. Where better to go than Italy? There, he composed much church music, a couple of successful operas and scores of chamber cantatas. These were mostly written in Rome – a city in which opera had been banned by papal decree as penitence for an Read more ...
Robert Beale
Sir Mark Elder’s first concert in the Hallé Thursday series for 2018-19 was on clearly mapped Hallé territory – Richard Strauss and Elgar. They have a reputation, and a tradition, of playing these composers’ music very well. They’ve already recorded Elgar's Second Symphony and, judging by the microphones around the platform, they’re doing the same right now with Strauss’s Don Quixote.The soloists were their own principals, cellist Nicholas Trygstad (pictured below) and viola player Timothy Pooley. Though it won’t be discernible in any purely audio document of the occasion, they and their Read more ...
David Nice
Presenting the last Mozart symphonies as a three-act opera for orchestra, as Richard Tognetti and his febrile fellow Australians did on Monday, was always going to be a supreme challenge. It worked, as Boyd Tonkin reported here. Since then, the Barbican's grandiosely-named "International Associate Ensemble" has opened up the repertoire, synchronising with film (on Tuesday) and ending its mini-residency with the kind of vibrant rattlebag for which it's rightly celebrated. How it all added up remains to gel in the mind, but the bonuses were splendid: world-class Australian soprano Nicole Car Read more ...
David Nice
Here it comes - get a grip. The tears have started flowing in the trio "Quid sum miser" and 12 minutes later, as the tenor embarks on his "Ingemisco" solo, you have to stop the shakes turning into noisy sobbing. The composer then lets you off the hook for a bit, but only transcendent beauty in singing and playing can achieve quite this effect in Verdi's Requiem. No one conducts it with more sense of nuance, more space and silence at the right points, than Antonio Pappano, last night giving the perfect base for an outstanding solo quartet, his own Royal Opera Orchestra on top form and the Read more ...
Boyd Tonkin
Think Glastonbury, not Salzburg. It struck me at Milton Court last night that the Australian Chamber Orchestra’s ebullient, rock’n’roll Mozart would go down a storm at the sort of music festival renowned for canvas more than canapes. As listeners now expect from the ensemble that director-leader Richard Tognetti has steered since 1990, the ACO shook the Barbican’s junior venue with an electrifying account of the three great symphonies – numbers 39, 40 and 41 – with which Mozart said his revolutionary farewell to the form in 1788. But if the ACO – all of them (sparing cellos) on their Read more ...
Gavin Dixon
Kings Place takes a broad and "curated" approach to season programming, and events often have to fit into very nebulous and abstract themes. This concert by the London Sinfonietta was part of a strand called "Time Unwrapped" and sought to explore the role of time in music. In the event, this potentially infinite subject became an opportunity to showcase various diverse strands of the Sinfonietta’s programming, under a broad rubric about absolute and perceived notions of time. The former was acknowledged by having each of the three sections begun exactly on the hour – of seven, eight and nine Read more ...
The Triumph of Time and Truth, Higginbottom, Kings Place review – time well spent, despite the words
Boyd Tonkin
You can always depend on Handel to turn verbal dross into musical gold. The chasm between lumbering doggerel and soaring sound can seldom have yawned wider, though, that in several numbers from the third, English version of The Triumph of Time and Truth. “Melancholy is a folly, Wave all sorrow until tomorrow,” poor Mhairi Lawson had to sing, like some game trouper in a village panto scripted by the vicar after one too many cream sherries. Then, as her carpe diem aria swings into “Life consists in the present hour”, Handel at his finest blazes through with a bravura flame, tended by an Read more ...
graham.rickson
Bernstein: The Complete Naxos Recordings Marin Alsop (conductor) (Naxos)One of the best reasons for investing in this superb Bernstein box set lasts less than two minutes and isn't even by Lennie. Turn to Disc 7 and John Corigliano’s contribution to A Bernstein Birthday Bouquet, eight 70th birthday variations on On The Town’s “New York, New York” from composers with personal connections to Bernstein. Corigliano mixes Copland with Sinatra, to brilliantly witty effect. You hope that the dedicatee was amused. Luciano Berio's opener is a treat, and there's plenty of fun to be had in Read more ...