A profoundly moving Shostakovich cycle marks the Brodsky Quartet's 50th birthday in style

Brodsky Quartet
© Sarah Creswell

Brodsky Quartet

Elizabeth Wilson

Marina Frolova-Walker

Saturday 29 & Sunday 30 October 2022

Kings Place, London

★★★★★

Dmitri Shostakovich (1906-1975): 
String Quartet no. 1 in C major, Op.49
String Quartet No. 2 in A major, Op.68

String Quartet No. 3 in F major, Op.73
String Quartet No. 4 in D major, Op.83
String Quartet No. 5 in B flat major, Op.92
String Quartet No. 6 in G major, Op.101
String Quartet No. 7 in F sharp minor, Op.108
String Quartet No. 8 in C minor, Op.110
String Quartet No. 9 in E flat major, Op.117
String Quartet No. 10 in A flat major, Op.118
String Quartet No. 11 in F minor, Op.122
String Quartet No. 12 in D flat major, Op.133
String Quartet No. 13 in B flat minor, Op.138
String Quartet No. 14 in F sharp major, Op.142
String Quartet No. 15 in E flat minor, Op.144

No. 1:

'Strident expression from Osostowicz in the opening movement and sad nostalgia from Cassidy in the slow movement'.

'There was stark pizzicato and searing anguish from Osostowicz in no. 12’s second movement, and Cassidy’s painful ascent to the top the fingerboard at the end of no. 13 was almost unbearably lonely'.

No. 14:

'Thomas brought rich intensity to the almost Bachian extended solo passages, as well as glorious warmth to the ‘Italian’ duet with the first violin, and the Lady Macbeth “Seryozha, my darling” quote in the final movement'.

'Cellist and writer Wilson studied in Moscow with Rostoprovich in the sixties, and was full of first-hand knowledge of not only Shostakovich and the works but many of the key people around him'.

'Frolova-Walker’s talk on the second day added wry humour, but also drew harsh parallels with the current situation in Russia and Ukraine'.

'As many questions as answers about this profoundly disturbing yet moving cycle, as well as even greater admiration for the artistry and achievement of a fine quartet of players in their prime'.

Read my full review on Bachtrack here.

Roderick Williams & Paul Cibis capture the passion of youth with energetic immediacy at Kings Place

Roderick Williams
(© Benjamin Ealovega)

Roderick Williams (baritone)

Paul Cibis (piano)

7.30pm, Thursday 5 May, 2022

Kings Place, London

★★★★

Franz Schubert (1797-1828): Die schöne Müllerin, Op. 25: Das Wandern

George Butterworth (1885-1916): Six Songs from A Shropshire Lad

Rebecca Clarke (1886-1979): 8 o’clock

                                                Aufblick

Robert Schumann (1810-1856): Album für die Jugend, Op. 68 No. 21

                                                   Liederkreis, Op. 24, Nos. 1-3

Rebecca Clarke: Stimme im Dunkeln

Robert Schumann: Album für die Jugend, Op. 68 Nos. 8 & 16

                               Liederkreis, Op. 24, Nos. 4-5

Franz Schubert: Die schöne Müllerin, Op. 25: Wohin? & Halt

 

Interval

 

Franz Schubert: Die schöne Müllerin, Op. 25: Am Feierabend, Der Neugierige & Ungeduld

Ralph Vaughan Williams (1872-1958): Songs of Travel: The Vagabond

Charles Wilfred Orr (1893-1976): A Shropshire Lad: Along the field

Frédéric Chopin (1810-1849): Prelude, Op. 28 No. 10

Ralph Vaughan Williams: Songs of Travel: Roadside Fire, Whither must I wander? & Bright is the Ring of Words

Charles Wilfred Orr: A Shropshire Lad: When I watch the living meet

Frederic Chopin: Prelude, Op. 28 No. 23

Charles Wilfred Orr: A Shropshire Lad: The Lent Lily

Franz Schubert: Die schöne Müllerin, Op. 25: Die liebe Farbe, Die böse Farbe, Der Müller und der Bach

 

Encore: 

Ralph Vaughan Williams: The House of Life, No. 2: Silent Noon 

'Most striking was Williams’ immediacy of communication, often singing as if speaking conversationally'.

'Williams’ control at the higher end of his register was also impressive, with particular lightness on the opening note of Loveliest of trees'.

'Williams’ Schubert had energy and impatience, with a bright twinkle for Das Wandern, and expertly voiced different characters in Der Neugierige'.

'Williams’ ability to shift the emotions as quickly as they turn in these songs is what made this recital so captivating throughout'.

'Cibis also deserves credit for the range of his playing, both in the varied accompaniments and in his solo pieces'.

Read my full review on Bachtrack here.

Light at the end of the tunnel from Elena Urioste and Aurora principals at Kings Place

Elena Urioste
© Nick Rutter

Elena Urioste (violin)

Aurora Orchestra - Principal Players

inc.

Sally Pryce (harp)

Ruth Gibson (viola)

Tom Service (presenter)

Streamed live online 7pm, Friday 26 February 2021

Kings Place, London

★★★★

Thea Musgrave (b.1928): Light at the End of the Tunnel

Maurice Ravel (1875-1937): Introduction and Allegro

Anna Meredith (b.1978): Music for Ravens

Ralph Vaughan Williams (1872-1958) (arr. Iain Farrignton (b.1977)): The Lark Ascending

Felix Mendelssohn (1809-1847): Octet in E flat major, Op. 20

Sally Pryce
© Nick Rutter

Musgrave:

'Strikingly moving, and Aurora violist Ruth Gibson commanded the empty stage, a resonant cry of anguish contrasting with the glassy harmonics in this fleeting miniature'.

Ravel: 

'Harpist Sally Pryce was impressive in the extensive solo passages, the close microphones allowing her to contrast dramatic sweeps with extreme delicacy and pianissimo detail'.

Meredith:

'The Aurora players’ intensity and command of the complexity was impressive'.

Vaughan Williams:

'Urioste’s solo was sweet, effortless and relaxed, with breathy tone at the start of the solo passage in the lower registers, gradually warming up as the lark rises higher and higher, with a naturalistic rhythmic flexibility'.

Members of the Aurora Orchestra
© Nick Rutter

Mendelssohn:

'Their performance was full of exhilarating life and energy ... The finale was a masterclass in joyous performance, with constant communication and clear delight'.

Read my full review on Backtrack here.

'The waiting is long...': The Sixteen provide welcome Music for Reflection in difficult times

The Sixteen

Harry Christophers (conductor)

Antonia Christophers (narrator)

Live from London, VOCES8

7pm, Saturday 19 September 2020

(reviewed from online stream)

Kings Place, London

★★★★

Felice Anerio (c.1560-1614): Litaniae Beatissimae Virginis Mariae

Argo Pärt (b.1935): The Deer’s Cry

T S Eliot (1888-1965): Here let us stand, from Murder in the Cathedral

Josquin des Prez (c.1450/1455-152): O Virgo prudentissima

Arvo Pärt (b.1935): Da pacem Domine

T S Eliot (1888-1965): Does the bird sing in the south?, from Murder in the Cathedral

John Sheppard (c.1515-1558): Libera nos I

Josquin des Prez (c.1450/1455-1521): Pater noster, Ave Maria

Argo Pärt (b.1935): Morning Star

T S Eliot (1888-1965): We praise thee, O God, from Murder in the Cathedral

Tomás Luis de Victoria (c.1548-1611): Litaniae Beatae Mariae

Encore: 

William Byrd (1543-1623): Mass for Four Voices, Agnus Dei 

Pärt:

'Christophers judged the pace of Pärt’s pieces well ... and the rich lower voices provided firm grounding throughout'.

Shepard:

'The emotional highpoint, with its low bass cantus firmus underpinning the glorious soaring and falling sopranos'.

Byrd:

'Beautifully performed here by a solo quartet, this was a perfect, intimate and reflective conclusion'.

Read my full review on Bachtrack here.