Classical music
jonathan.wikeley
Was it Chopin’s birthday or wasn’t it? To be honest, no one at last night’s Royal Festival Hall concert probably gave a damn, so wrapped up were they in Maurizio Pollini’s playing. And what playing it was too. The man just sits down and gets on with it – there’s none of that airy-fairy flamboyance and arm waving that certain younger pianists seem unable to perform without. This was an unapologetically old-school concert. Pollini shuffled on in his tails (who wears those any more?), plonked himself at the piano, and had finished the first of Chopin’s 24 Preludes before most of the audience had Read more ...
David Nice
A fervent believer, James MacMillan has no time for what he's called the "instant spiritual highs" of composer-gurus like Glass, Gorecki or John Tavener. His own attempts to grapple with the depth and breadth of his convictions have given us several ambitious works which smack, to me at any rate, of forced rhetoric - the Third Symphony and the childbirth cantata Quickening - but others, too, like the Calvary procession of The World's Ransoming and his violent operatic masterpiece The Sacrifice, which hit home with poleaxing force. That his St John Passion, premiered nearly two years ago by Read more ...
igor.toronyilalic
It has always been a cornerstone of my personal philosophy that beauty and insight can be found in the very lowest of common denominators. That Big Brother, Friends, Love It magazine or Paris Hilton provide revelations about life that are of as much consequence, of as much wonder, as any offered up by the classic pantheon. That that which the people respond to must and usually does have plenty of merit lurking within it. And so I have always held out hope that Philip Glass, the most popular of living classical composers, is actually quite good, somehow, somewhere. But, actually, he really isn Read more ...
Ismene Brown
This is the fifth time on theartsdesk that a review has been headed as above - so you must be thinking it had better be justified or bribery will be suspected. But it's not just the phosphorescent fascination that flickers around the charismatic young LPO principal conductor Vladimir Jurowski that draws the crowds, it is his inquiring programming. Last night it was another of those games that one couldn’t resist, if a game, in the end, of two halves.An all-Shostakovich evening, a young, vibrant prodigy on show, with his first symphony sandwiched by two satirical operatic confections - that Read more ...
David Nice
Beware of Zimermania - or, for that matter, of idolising any pianist as the Greatest Living Interpreter of Chopin. Our birthday boy, 200 years old last night (and not on 1 March), as a crucial baptismal register now seems to prove, is too big for any one artist to dominate. He looks to his French heritage for sensuality, to the Polish maternal line for Slavic weight and thoughtfulness. If a sometimes impatient Krystian Zimerman inclined more to the former in yesterday's big celebration, that's not to deny he was a worthy choice of golden-toned celebrant. It was just a pity that it all had to Read more ...
David Nice
Asrael, angel of death, rarely glides up to the concert platform; I've only heard Josef Suk's painful and protracted symphony of the same name once before in the Festival Hall, championed by Rattle. In the past, all Suk's great Czech compatriots, including Ančerl, Kubelik and Neumann, paid their respects. Now Vladimir Jurowski joins the distinguished line for a work he clearly loves. It was no fault of his rainbow-hued interpretation if, in a week where I've sat dry-eyed through the film of A Single Man, another artistic take on bereavement left me intrigued but detached at the end of a Read more ...
David Nice
Nothing stays the same for long in the hypersensitive symphonies of Bohuslav Martinů. A pastoral idyll accelerates to fairground mania before dropping off the merry-go-round, rapture fades in a single bar and victory may be snatched out of the jaws of brutal conflict at the very last second. The Czech exile's rich, compressed works of the 1940s, when he was living in New York and pining for the European scene he loved so dearly, are winning new admirers. A packed Barbican audience for the third in his ideal interpreter Jiři Bĕlohlávek's symphonic cycle with the BBC Symphony Orchestra Read more ...
graham.rickson
This month's classical music releases include mighty new recordings of Bach, Brahms, Rachmaninov and Prokofiev by major orchestras. Other recordings shine new light on Nielsen and Dallapiccola and make a case for the genius of Bernard Herrmann. From the quirkier end of the spectrum there is choral music from the Baltic, Stravinsky's compositions for piano and violin, a trio of new and older recordings from Joanna MacGregor and Amy Dickson's playing Taverner and Glass on soprano saxophone. As ever, click on the links to buy these recordings on Amazon.Rachmaninov: Symphony No 2, Vocalise, Read more ...
igor.toronyilalic
You'll have mazurkas coming out your ears by the end of next month. But what mazurkas they'll be! Fever pitch is approaching as the big pianistic guns line up to celebrate Chopin's 200th birthday anniversary on 1 March. The venerated pianists Krystian Zimerman and Maurizio Pollini and esteemed young pretender Yevgeny Sudbin are all to come at the South Bank. Last night at the Barbican, we had the opening salvo from the poet of the piano, Murray Perahia. And as usual with him, this was as much a song as a piano recital, the boyish Perahia ringing out those evergreen melodies like a musical Read more ...
igor.toronyilalic
Is there a greater singleton's soundtrack than Bach's restless, tormented Three Partitas for Solo Violin? The works represent the extraordinary pinnacle of the violin repertoire and also the summit of Bach at his most chromatically and psychologically screwy. Snuggling up to these intensely fragile works, as so many Valentines couples were preparing to do last night at Wigmore Hall, is about as fun as curling up to a slice of Von Trier's cinematic clitoridectomy. And the intensity, fragility and bitterness was never so clear as in Julia Fischer's nimble hands. Her sound was shockingly, Read more ...
igor.toronyilalic
Clown trousers, comedy tie, half a head of candy floss hair and a circus-performer's grin received us last night from the podium. Was that Krusty the Clown conducting Mahler's Resurrection Symphony? No, it was Eliahu Inbal, one of the funniest-looking men in a pretty funny-looking profession. During one of those big preganant caesuras in the Allegro maestoso, I was half-expecting balloons to shoot out of his baggy trousers or, at the end, the singers' flowers to be ta-dahed from his even baggier sleeves. He even came on stage with two batons. Why? Who knows. Perhaps I missed a juggled encore Read more ...
Peter Culshaw
Should we be silent in classical concerts? Alex Ross, the classical critic of the New Yorker and writer of the superb panorama of 20th Century music The Rest Is Noise: Listening to the Twentieth Century, an “unlikely mass-market proposition” which has been a bestseller on both sides of the Atlantic will be giving this year’s Royal Philharmonic Society Lecture. His talk is entitled Inventing and Reinventing the Classical Concert and will be given on 8 March at the Wigmore Hall. In the lecture Alex Ross will address concert culture - what has changed since the 18th century and what can we take Read more ...