Classical music
David Nice
Of all the Beethoven symphonies the Seventh is the one that can seem to whizz along under its own steam. At any rate, the impression Riccardo Chailly gave last night was of having fine-tuned his sleek Leipzig machine, turning on the engine and letting it fly. Only the extra stops I like to think a great conductor would usually have pulled out remained untouched.All of that was still enough for a packed and refreshingly diverse audience to stand and roar at the end, duly overwhelmed enough by the mighty engine that is the Seventh Symphony - straining at the leash 200 years on from its first Read more ...
igor.toronyilalic
There are many ways of breathing new life into Beethoven. Carlos Kleiber used to do it through imagery. He once famously asked his Viennese double basses to play like monkeys during a rehearsal of Beethoven's Seventh. Riccardo Chailly's tactic for his Barbican Beethoven cycle with the Leipzig Gewandhaus orchestra appears to have been to become, if not monkeyish, then at least a bit of a mischievous teenager. Consequently, his first concert saw him throw out the Classical niceties and fill the hall with impish dash and boyish extremes.Beethoven's Second Symphony gained in stature. With a beefy Read more ...
Ismene Brown
On Thursday the London Symphony Orchestra plays a night of epic movie music by the man who gave America’s cowboy heroes their most stirring tunes. Dimitri Tiomkin was one of Hollywood’s film-score giants, John Wayne’s choice as composer for The Alamo, Wayne’s magnum opus, and Tiomkin's was the music that urged Gary Cooper and Clint Eastwood to ride out in iconic glory in landmark adventures such as High Noon or Rawhide.He was also a composer of suspense, of the knife-edge when a young wife is framed by her husband for murder, of the fateful convergence that brings two strangers together on a Read more ...
David Nice
Tchaikovsky songs, the most obvious missing link in Olga Borodina's all-Russian programme a couple of Fridays back, formed a spare but unforgettable apex to this second recital in the Barbican's Great Performers series. That in itself, and unusual repertoire - Sviridov the other week, Tchaikovsky's rigorous protégé Taneyev last night - gave the sense of a mini-festival in two concerts. Not forgetting the fact that after Borodina, Amati viola among mezzos, came Hvorostovsky, Guarnerius cello of baritones.Which was almost as far as it went for three-quarters of this much less inflected and Read more ...
graham.rickson
Schumann: Geistervariationen András Schiff (ECM)Hungarian pianist András Schiff has been revisiting some of the core repertoire with which he first made his name. This ECM two-disc set offers a revelatory Schumann recital – this label’s typically dour cover art giving little hint of the vibrancy and colour of Schiff’s playing. Papillons and the Kinderszenen are both performed with unshowy sincerity – Schiff’s lightness of touch in the miniatures which make up Papillons is a delight, and Kinderszenen never sounds clichéd – this is the sweetest, sincerest Träumerai I’ve heard. Schiff also gives Read more ...
Jasper Rees
The business of setting musical records does not normally have much to do with actual music. The longest an oboeist can play with circular breathing, the fastest piccolo player, the highest note sung by a human etc – these are not about music-making. A record of a rather more impressive order is due to be attempted at the Royal Opera House on Sunday, 23 October. The largest number of French horns ever gathered in one place will attempt to make music together.Not just any music, mind. The arrangement they will be performing is the opening of the Ring cycle, the hauntingly atmospheric Read more ...
graham.rickson
Bach: Five Keyboard Concertos Ramin Bahrami, Gewandhausorchester, Riccardo Chailly (Decca)We’re spoilt for choice in these concertos; Perahia, Schiff and Hewitt have given us excellent versions, and another new one by Alexandre Tharaud has just been released by Virgin Classics. I prefer Bach’s solo keyboard music played on piano, but I’m willing to concede that period instruments can suit the keyboard concertos better, given the delicious contrast in timbre between harpsichord and bowed strings. These readings, played by the Iranian-born pianist Ramin Bahrami, are good enough to make me never Read more ...
philip radcliffe
The objective: Beethoven’s symphonies. All of them. In numerical order, one after the other. Not only that, but a “powerful” work written in the last century to go with each one. That is Sir Mark Elder’s self-imposed mission for his 12th season with the Hallé. He has described it as the orchestra’s “first Beethoven cycle of the 21st century”. Is that a veiled promise of others to come? Perhaps in another 50 years, which is when the Hallé last tackled the cycle.Not that Elder will conduct all the symphonies. He is directing five, but vacating the rostrum for Markus Stenz, now in his third Read more ...
alexandra.coghlan
“They should have trance nights here,” I heard a young man say to his girlfriend as we entered the domed, craggy splendour of Islington’s Union Chapel. Still a working church, this Victorian Gothic monster is an architectural Escher fantasy of arches and angles, its octagonal layout concealing as much as it reveals on first glance. Add a central stage where you might expect the altar, glowing red under the lights, to a programme of some of Monteverdi’s most erotic madrigals, and it didn’t take a degree in semiotics to realise what was going on. With sacred and secular rubbing up against one Read more ...
David Nice
How good it feels, after several decades of Shostakovich quartet series, to be able to say not just “what a tragic life” but also “what ingenious treatment of great ideas, what a range of universal human emotions”. And even, walking on air away from the second concert in the Pacifica Quartet’s Wigmore Shostakovich cycle, “how accepting, how at one with the world”.That light-serious aspect to Shostakovich’s music has usually been a bit booted aside, often by the composer himself. Knowing that Russian quartets like the legendary Borodins understood from personal experience something of what Read more ...
David Nice
Pundits have always yoked architecture and Bruckner together, touting void and mass at the expense of the dynamic experience music ought to be. Abbado and his Lucerne Festival Orchestra favoured sinuous instability in the Fifth Symphony earlier this week, making the very foundations gyre and gimble. Relatively solid ground last night was due to a more sober conductor and Bruckner symphony: a mixed blessing. The grand design, in fact, came from Leif Ove Andsnes in Rachmaninov’s Third Piano Concerto, making overall sense of a work which has always seemed swooningly resistant to it.If that meant Read more ...
igor.toronyilalic
We're living through a golden age of Bruckner conducting. A revolutionary age. Young sparks like Yannick Nézet-Séguin and Ilan Volkov are doing extraordinary things with the Austrian's music, experimenting with speeds and phrasing, reshaping him in a more extraterrestrial, more lithe and modern mould. All of which means that trying to get yourself noticed conducting Bruckner in the 2010s is a bit like trying to get yourself noticed as a footballer in 1970s Brazil. Good luck.But before we got a chance to assess whether the living legend Claudio Abbado made the grade in his Read more ...