Bach
Svend McEwan-Brown
They say that you discover who your true friends are when you find yourself in direst need. East Neuk Festival, our success story on the Fife coast, which should have been happening this week, faced the deepest crisis in its 16-year history this spring when, due to the pandemic, 2020’s festival was cancelled. Three years of preparation went up in smoke, and we found the organisation exposed to all manner of risks and challenges. Overnight, 40 per cent of the projected income disappeared while we were still left with many of the costs and commitments. Boy, did we discover who our friends were! Read more ...
David Nice
The latest wave of musicians to make their voices heard comes from the freelancers who haven't been able to claim anything so far for their loss of income and of the ability to work together. As a group of top players putting out their plea observes, "readers may be surprised to learn that even those of us who appear regularly in various top orchestras - often including those who hold titled positions in such groups - are nonetheless paid on a concert by concert basis in the same way as freelancers". They need our support, while the government hangs fire on those who've slipped through the Read more ...
graham.rickson
Chopin: Études Sonya Bach (piano) (Rubicon)Chopin’s solo piano études helped push the genre into uncharted territory. He would have practiced examples by Czerny and Clementi in his youth, but his own Op. 10 and Op. 25 sets make far more extreme demands on any pianist. I’m not a keyboard player, and a few minutes’ exposure to the more flamboyant numbers can leave me feeling dizzy. Performing the whole collection in sequence is a tall order, and I’d suggest that listening to them is best done in small doses. Sonya Bach attacks the more extrovert études with a near-reckless abandon. She’s Read more ...
Richard Bratby
After a devastating drought, even a light shower can feel like something of a miracle. Under normal circumstances, a 60 minute lunchtime piano recital from the Wigmore Hall would represent wholly unremarkable business as usual for BBC Radio 3. As it was – coming (as the presenter Andrew McGregor reminded us) eleven weeks after the Wigmore had last heard live music – this felt like an event of profound significance. Perhaps that’s no bad thing. Perhaps we haven’t always listened to artists as life-affirming as Stephen Hough, and music as great as his opening programme of Bach and Schumann, as Read more ...
graham.rickson
Mike Block: Step into the Void (Bright Shiny Things)The packaging and art design are deceptive; two-thirds of this release is actually a classy set of Bach’s Cello Suites (“... attempting to comprehend all of the Cello Suites as a single entity is truly like stepping into the void.”) . Cellist Mike Block has form in this repertoire. He’s the creator of the Block Strap, “the first product designed so that you can stand/move/dance while playing the cello,” using his invention to help make video recordings of individual Bach movements in the bathrooms of famous concert halls. Block Read more ...
David Nice
One person playing one instrument from home to the edification and delight of thousands: it's been a constant in these confining days, and well meant even if the sound isn't always up to it, a necessary substitute for live communication on both sides. But this is something else: an education, a detailed sharing of love and consolation which makes me wonder why other musicians haven't taken up the challenge (maybe some have, but I haven't heard about it). The fact is that few can match Jeremy Denk's ease of playing as he talks, his infinite knowledge of the richest sets of piano music in the Read more ...
David Nice
Bach, being The Greatest, can take any amount of adaptation. I'm especially addicted, for instance, to CDs on which the Japanese percussionist Kuniko plays cello suites and violin sonatas on the marimba. So it was going to be fascinating to hear a truncated St John Passion for Good Friday arranged, in this needs-must time, for percussion and harpsichord/organ, with a tenor taking all the lines bar the chorales, livestreamed by ensembles which would have participated in this year's Bachfest in Leipzig plus a vocal quintet in the same church, the Thomaskirche for which Bach wrote his great Read more ...
graham.rickson
Bach: St Matthew Passion The Choir of King’s College Cambridge, Academy of Ancient Music/Sir Stephen Cleobury (King’s College Cambridge)Bach Collegium Japan/Masaaki Suzuki (BIS)Both Masaaki Suzuki and the late lamented Sir Stephen Cleobury have recorded Bach's St Matthew Passion before. I struggled to choose between these two new versions, so thought it best to include both. Overall timings for both sets are, amazingly, just a few seconds apart, though BIS manage to squeeze Suzuki’s version onto just two discs. His account was taped under studio conditions in Japan last April, and Read more ...
graham.rickson
Bach: The Well-Tempered Clavier George Lepauw (piano) (Orchid Classics)How a pianist tackles the opening C major Prelude of Bach’s Well-Tempered Clavier can often set the tone for what follows. You’d expect Glenn Gould’s quirky traversal to encompass extremes of tempo and articulation on the basis of how eccentrically he tackles it, and a recently issued live performance of Book 1 from Keith Jarrett is bright, elegant and smiley from the outset. George Lepauw’s performance of the prelude is very striking: he begins slowly and hesitantly, as if he’s dipping his toes in and testing the Read more ...
David Nice
Eyes watering, heart thumping, hands clenched: no, not The Thing, but a spontaneous reaction to the opening of Bach's St John Passion in the urgent hands of Masaaki Suzuki. How his Bach Collegium oboes seared with their semitonal clashes while bass lines throbbed with pain, before the chorus added a different, supernatural turn of the screw. Immediate indeed, but this Passion was never too fast, only continuous in its drama so that even the chorales, with every word illuminated as Bach so expressively set it, hit home like a Greek chorus reacting to the immediate situation rather than as the Read more ...
David Nice
"All true spiritual art has always been RADICAL art": thus spake the oracular Georges Lentz, composer of the pitch-black odyssey for electric guitar that took everyone by surprise last night. In that vein, why not add that all the greatest performers always push the boundaries, and that 28-year-old Sean Shibe, though included by the sponsors of this concert among "emerging talent", is already in their select company. This amazing Wigmore concert took us from a first half of fragrant miniatures by David Fennessy and minimal magic from Sofia Gubaidulina elided into radical Bach to the " Read more ...
David Nice
Not even the unengaged or terminally weary could have dozed through this. Pianists have often commented how the Wigmore Steinway is too big for the hall, and most adjust accordingly. Not 27-year-old Italian Beatrice Rana, but not in the bad way of interpreters who simply bash (there was a young Ukrainian here recently who did just that). If she needs to convey sonority at full pitch, she won't compromise; and her soft playing is equally compelling. The certainty of means to ends is unwavering, the calm upright posture at the keyboard somehow at odds with the massiveness she can convey.Her Read more ...