What would you expect of an ensemble performance played from memory? That the odd lapse, entirely understandable over the span of a 40-minute symphony, would be more than offset, perhaps, by gains in intimacy and flexibility as the players could look around and phrase together, respond to a conductor’s nudge and turn on a sixpence.In the event, the Aurora Orchestra’s performance of Beethoven’s “Pastoral” Symphony didn’t turn out like that. It was fast, loud, not quite together and not very well in tune. The tempi weren’t problematic in themselves, close to the composer’s metronome marks and Read more ...

While Friday night’s triptych of solo Bach began and ended in a sombre, contemplative place, the arc created for the second sequence by pairing the final sonata for solo violin with the second and third partitas is altogether more dramatic. In Ibragimova’s ordering we opened with the monolithic D minor Partita, warming through the C major Sonata before ending joyfully with the E major Partita.As a complete cycle of six works it makes sense, treating the D minor, with its weighty Chaconne, as the central point of climax. In terms of performance, however, it left Ibragimova faced with the task Read more ...

I can’t be alone in often leaving a Proms violin concerto convinced that the Bach encore was the best bit. The Royal Albert Hall is a chameleon space, capable of dwarfing the largest orchestra and muting the weightiest of Wagnerian singers, but also of amplifying solo performances, lending them a clarity, an intimacy, unique to this unlikely venue. It’s a well-documented phenomenon, which makes it all the more surprising that so many of Bach’s solo works for violin are receiving their complete Proms premiere this weekend.2015 is the year of solo Bach at the Proms. Schiff’s Goldberg Variations Read more ...

 Reich: Music for 18 Musicians Ensemble Signal/Brad Lubman (Harmonia Mundi)Playing Steve Reich's music demands incredible precision and accuracy. You wonder whether the ideal Reich recording could be realised in a studio, using sequencers, samplers and loops. The intent would be missing, of course, and this fantastic new account of Music for 18 Musicians demonstrates just how much performers can bring to a score. This is the best performance of a Reich piece I've heard. It sparkles and glitters. The different instrumental strands are brilliantly delineated. Harmonia Mundi's sleeve art is Read more ...

Roger Wright may be gone from the BBC Proms, replaced for now by a committee, but his legacy lives on. His zeal to recover areas of English musical culture that may be considered the festival’s birthright resulted last night in a first Proms performance of Sancta Civitas, which Vaughan Williams late in life accounted the favourite of his choral works.Not so much unperformable as unprogrammable, Sancta Civitas (1923-5) requires forces hardly shy of Mahler’s Eighth Symphony, yet lasts barely half an hour – or a little longer than that in this solemnly monumental if well-prepared performance, Read more ...

Gergiev’s programme for this concert raised eyebrows when the Proms were announced: all five Prokofiev piano concertos, presented in chronological order, over the course of a long evening. As it turned out, he had some good reasons for his plan. The three Russian pianists he lined up – Daniil Trifonov (Concertos 1 and 3), Sergei Babayan (2 and 5), and Alexei Volodin (4) – had between them the talent to carry any programme. And the composer benefited too, with his Fourth and Fifth Concertos, both difficult works to programme, finding a natural home, and both appearing for the first time at the Read more ...

In his memoir As I Remember Arthur Bliss is reticent about his experiences on the Western Front. He describes his “purely automatic” impulse to enlist in August 1914, and later recounts the nightmares that troubled his sleep for a decade after the Armistice. He barely touches upon the injury that felled him on the first day of the Somme, the experience of being gassed late in 1918, or indeed the death in battle of his beloved younger brother Kennard – describing an unending sense of loss in a single paragraph.And yet, he writes, “I cannot make a logical sense of my life without depicting Read more ...

In 1989 Neeme Järvi, already rated one of the world’s top conductors and soon to be voted “Estonian of the Century” by his compatriots, returned with his Gothenburg Symphony Orchestra to the homeland he had left for America nearly a decade earlier. I went with them then, and to experience a free Estonia 26 years later was a bracing surprise.Under Soviet rule, there had been violence on the streets and Järvi had departed prematurely in secrecy, fearing detention. Now “the little country that could”, as a former Prime Minister has called it, is so relaxed, productive and happy that Putin’s Read more ...

A packed Albert Hall told an instructive story: programme Holst’s The Planets at the Proms and you can dare to do anything in the first half. Besides, though it will be a red letter day when we don’t have to put “women” in front of “conductors”, the Marin Alsop Last Night effect may have kindled interest in Susanna Mälkki, top of a still too-small list from the two concerts I’ve heard her give with the BBC Symphony Orchestra.Mälkki seems just as authoritative in mainstream romantic and 20th century scores as she is in thornier so-called contemporary music (she spent seven years with Ensemble Read more ...

From now until 12 September, when Wigmore darling Iestyn Davies returns to open the new season, the biggest names in instrumental music are to be heard in the biggest venue, the Albert Hall. With all eyes and ears turned by maximum publicity towards the Proms, folk may have forgotten that the Wigmore Hall concerts were ongoing until last night. The finale was unexpectedly spectacular: while Leif Ove Andsnes was offering pure spring-water Beethoven over in South Kensington, young Israeli pianist Matan Porat served a hard-hitting cocktail of a programme, beginning and ending with fireworks but Read more ...

After four years, 55 cities in 22 countries and an award-winning recording, Leif Ove Andsnes’s Beethoven journey came to an end last night in an emotionally charged evening at the Royal Albert Hall. And in a delightful light-hearted moment after all the serious music making was done, Andsnes finished the concert vigorously playing the tambourine in an orchestral encore.The highlight of the evening was, perhaps unexpectedly, the Second Piano Concerto, which ended the first half. Much revised and meddled with by Beethoven over nearly 15 years, this is the sunniest of the concertos. It was Read more ...

So to the second leg of Leif Ove Andsnes's journey through the Beethoven concertos, and a distressingly underpopulated Royal Albert Hall. Perhaps the punters were put off by the wintry weather, or perhaps by the dread names of Schoenberg and Stravinsky on the bill. Either way, it is shocking that Andsnes’s wonderful playing should have been to anything other than a full house.Far from being frightening, the Stravinsky that opened the programme – the “Dumbarton Oaks” Concerto – is completely charming and was played with appropriate fleetness and élan. It is easier to listen to than to play, Read more ...