Beethoven
graham.rickson
Beethoven: Symphonies 2 and 7 Wiener Symphoniker/Philippe Jordan (WS/Sony)Philippe Jordan’s cheery face adorns this third volume of Beethoven symphonies from Vienna’s other orchestra, setting the tone fairly well. These are overwhelmingly positive, uplifting performances, superbly played to boot. Nimble speeds, hard timpani sticks and what sound like natural horns and trumpets are a concession to modern (ie. historically informed) practice, but these are at heart big-boned, well-upholstered readings which should improve anyone's mood. How much of an advance Beethoven 2 is over its 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 ...
Robert Beale
The Stoller Hall, the modest-size auditorium inside Chetham’s School of Music, is really proving itself to be the venue Manchester has long needed this season. Two concerts on successive days, each the first of a series and both making something of a statement, proved that.On Thursday Psappha opened its Manchester season there (the remaining performances are at St Michael’s Ancoats) with three guest singers and a second half that was as much music theatre as concert. "Four iconic works from the 20th century" was the subtitle, but the initial focus was on two pianos and two pianists, as Paul Read more ...
Boyd Tonkin
Did the earth move for us? You bet. Sunday’s two Proms brought fabled visitors to the Royal Albert Hall – first the Boston Symphony Orchestra, then the Berlin Philharmonic for their second concert – but our august guests dispensed with all polite formalities. A momentous day of orchestral drama began with the primeval growl and snarl of Boston’s horns and timpani at the outset of Mahler’s Third symphony. It closed, eight nerve-shredding hours later, as the Berliners stormed with jaw-dropping cyclonic force through the finale of Beethoven’s Seventh.My colleague David Nice invoked the legendary Read more ...
David Nice
Like the Proms, but over a more concentrated time-span, in a much better concert hall and with a swankier audience paying a good deal more, the Lucerne Festival offers a summer parade of the world's greatest orchestras and conductors night after night. Hardly anywhere else, though, offers a home-assembled band of top players quite like the Lucerne Festival Orchestra, even if it will never be the same without Claudio Abbado. And this year, following his extraordinary Easter Festival conducting masterclasses just after his 89th birthday, Bernard Haitink resumed his very special rapport with the Read more ...
Marina Vaizey
Hegel, Kant, David Hume, Nietzsche, Schopenhauer, Leibniz are all adduced, referred to, and paraphrased, and that’s just for starters. Add Rameau, Schubert, Beethoven, Benjamin Britten and the contemporary composer David Matthews (who is also a friend) into the mix for Professor Sir Roger Scruton’s odd and uncategorisable series of essays on music and – especially – listening to music. Underneath it all is a kind of call to arms about how to listen. Scruton is a self-declared conservative, scholar, philosopher, polemicist, prolific writer, teacher and musician – both player and composer – as Read more ...
Boyd Tonkin
When did this weird mix-tape fashion take root at the Proms? Just a couple of days after Antonio Pappano ran Haydn into Bernstein without pausing for breath, Joshua Bell and the Academy of St Martin in the Fields sought to splice the final yearning notes of Frank Bridge’s Lament to the spooky short adagio that opens Beethoven’s Fourth. Some alert applauders broke the thread, which meant that we never quite heard if the join would hold firm.Yes, smart programming draws attention to the hidden kinship that binds seemingly disparate pieces across periods and styles. Still (literally, in this Read more ...
David Nice
Unanticipated miracles happen every summer in the quiet paradise of Estonia's seaside capital. The first this year came as a total surprise. Having got off the afternoon coach from Riga last Monday and dumped bags at my villa base in Pärnu's garden zone, I headed back into town for the first event. Long on the cards were super-subtle Norwegian violinist Eldbjørg Hemsing playing Massenet and Saint-Saëns conducted by Paavo Järvi, the festival’s chief mind and heart, and young Estonian musicians from the Järvi Academy in Lepo Sumera’s bracing Musica Profana. But until I opened the programme, I Read more ...
alexandra.coghlan
There’s a particular quality to light seen from shadow. Think of the surface of the water glimpsed, hazy and haloed, as you swim upwards after a deep dive, or the smudged edges of city lights seen from a night flight. This concert by Ben Gernon and the BBC Philharmonic was an exercise in adjusted perspective. The sunny landscapes of Brahms’ Second Symphony and the smoky, slow-motion horror of 9/11 as viewed through Tansy Davies’ 9/11-inspired What Did We See? share little, but collided as they were here, each reframed the other, repositioned the listener.Premiered by English National Opera in Read more ...
David Nice
Once the Proms season is under way, you soon regret dissing the prospectus. Connections become apparent, long-term programming a merit, especially this weekend just gone, which took us from elegies and meditations on two world wars heavenwards at the halfway point - Britten's cautious but still cathartic optimism at the end of the masterly Sinfonia da Requiem - and up to the heights of Beethoven's "Choral" finale and Mahler's Eighth. It was also a fabulous demonstration of how a world can be captured as much in a five-minute piece as a 90-minute so-called “Symphony of a Thousand”.We began Read more ...
Jessica Duchen
In the right hands, the music of the various Viennese Schools can still sound almost startlingly original. Imogen Cooper’s are very much the right hands, containing a rare, refined artistry that only continues to grow with the years. In her Wigmore Hall concert on Tuesday she matched Beethoven’s mighty Diabelli Variations with the same composer’s late 11 New Bagatelles Op.119, early Schoenberg and Haydn at his bounciest in a programme that left one marvelling as much at the daring of these voices as at the vivid musicianship of the pianist – which is exactly the way things should be.Cooper Read more ...
David Nice
A magnificent riven oak with gnarly branches stands in the secluded graveyard of SS Peter and Paul's Church Peasmarsh, near Rye. Transport it in your mind to Flexham Park in a very different part of Sussex, imagine it struck by lightning and it could be one of that twisted group which Elgar encountered on a short walk from his Bedham cottage in the summer of 1918, subsequently permeating his massive and masterly Piano Quintet with the ghost story surrounding them. At any rate, having such an epic work conjured by top musicians in the Peasmarsh church made it seem as if we were close to Read more ...