CD Reviews - January 2023

The first volume of pianist Orion Weiss’ series focussed on piano works leading up to the First World War, and with the second volume, Arc II we are into times of war and grief, with works by Ravel, Brahms and Shostakovich. Ravel’s (1875-1937) Le Tombeau de Couperin was composed between 1914 and 1917, and each movement of the suite is dedicated to friends who died in the war. The idea of the ‘tombeau’ is a 17th century term for a memorial piece, and Ravel is also paying homage to Couperin in its imitation of a baroque suite. The opening Prélude has a watery flow, yet Weiss’s articulation is always crystal clear, and this is a feature of his playing throughout, never allowing the impressionistic soundscapes to obscure the detail. The angular, meandering Fugue becomes more insistent as it progresses, and the Forlane has a swaying, almost jazzy energy. The quirky energy of the Rigaudon’s opening is contrasted well with its darker central section, and the Menuet moves from a gentle feeling of longing to a huge climax, and then a delicate ending. The rapid repeated notes of the Toccata never feel hammered, and Weiss has incredible lightness here, despite the waves of building turbulence. Brahms’ (1833-1897) Variations on a Theme by R. Schumann, Op. 9 take us back to 1854, and again a memorial to a friend, although he was still alive at this point, but following his attempted suicide, he had entered the sanatorium where he would subsequently die. The piece is in fact dedicated to Robert’s wife Clara, and as well as the theme (from Robert’s Bunte Blätter, Op. 99), he quotes from other compositions by both Robert and Clara, and it is a deep expression of grief for the loss of the relationships he had developed with the couple. Across the 16 variations, there is a wide range of styles and emotions, but there is an ever present longing and lyricism, to which Weiss is constantly alert. Yet he also brings out Brahms’ jerky rhythms, Mendelssohnian fairy lightness and weightier complex textures. The final variation’s tolling bass line with hints of the melodic motifs on top has a particular disintegrating poignance which Weiss captures perfectly. Shostakovich’s (1906-1975) Piano Sonata No. 2, Op. 61 moves us forward to 1943, and it is dedicated to his friend and teacher, Leonid Nikolayev, who died in the mass evacuation from Leningrad. Its opening movement starts deceptively easygoing, with a simple melodic line emerging from dancing rapids, but it quickly develops into a kind of nightmarish world, with an eerily distant march and then a steady build in ferocity. Weiss brings out the sense of unease in the moments of seeming calm, as well giving full power to the violent climaxes. The strange, jazzy half waltz of the middle movement is full of questioning sadness and an ominous throb on the first two beats of the bar, and Weiss leaves the final pianissimo line hanging in the air. The finale, with its long angular theme is pure Shostakovich, with its Bachian invention and increasing complexity, with repeated notes and spiky dotted rhythms. After such exhausting tension, Weiss finishes with two of Brahms’ Chorale Preludes for organ, in Busoni’s piano arrangements. ‘Herzlich tut mich verlangen’ has a warm, even-toned sadness in its longing, and ‘O Welt, ich muß dich lassen’ sums up the overwhelming sense of grief here, with its moments of more assertive certainty swept away by faltering sadness and a pianissimo conclusion of resignation. This is a powerfully emotive programme, performed with such sensitivity and passion, and I look forward to the final volume that promises times of joy.

Various. 2022. Arc II. Orion Weiss. Compact Disc. First Hand Records FHR128.

 

The Mariani Klavierquartett return with the second release in their cycle pairing Brahms’ Piano Quartets with those of Friedrich Gernsheim (1839-1916). Gernsheim’s music suffered from a ban in Nazi Germany, and never really recovered, and it still deserves greater exposure than it receives, so this cycle is to be welcomed. In the first pairing, Gernsheim’s quartet stood alongside his friend’s admirably. Here, perhaps Gernsheim suffers a little next to Brahms’ mammoth A major Piano Quartet, Op. 26, weighing in at nearly 50 minutes. The opening movement is full of passion and is of epic proportions, yet the Marianis ensure there is a lightness of touch where needed, and Gerhard Vielhaber on piano never overly dominates the texture, which is also testament to the excellently balanced recording here. The piano is freed a little in the romance of the slow movement, with comments from the strings pulsing around it. Again, the Marianis achieve admirable lightness in the Scherzo, despite Brahms’ weighty approach, and they give the Finale energetic drive, with its stomping second beat rhythms, yet pull back expertly for the lighter moments, and the slowing train is beautifully judged before the final race to the end. Gernsheim’s Piano Quartet, Op. 47 is much lighter in mood, and the Marianis bring out the hints of ballroom swing in the opening movement. There is plenty of invention throughout, and galloping energy in the second movement is contrasted with warm lyricism. The slow movement is warm and lilting. Here Gernsheim ruminates on his melodic material to the point of slightly rambling, but the ending is sublimely touching nevertheless. The finale’s jaunty theme is treated to lots of fugal treatment and running accompaniments in its variations, with the piano in particular getting to show off with racing, cascading scale passages, and hefty chords are combined with more wild scales for the exuberant finish. Another illuminating release, and I look forward to the final volume. 

Various. 2022. Brahms & Gernsheim Piano Quartets. Mariani Klavierquartett. Compact Disc. Audax Records ADX11202.

In the sixth volume of his survey, pianist Barry Douglas tackles the second set of Impromptus, D935 and the Piano Sonata in A minor, D845 by Schubert (1797-1828). The Sonata was the last of three in the same key, and the most substantial of these. Douglas takes a weighty approach here, giving the opening movement the heft of a Chopin Polonaise, emphasising the drama. His tempi throughout tend towards the slow side, and this holds up some of the second movement’s variations, yet there is a spring in his step for the third movement scherzo, and the finale has suitable wildness in places. For the Impromptus, the first has smoothly flowing hand crossing and bell-like tone at the top, but the second is taken at a very slow tempo indeed, which means that the central bubbling triplets lose their urgency, particularly for the plunge into the minor key for its second half, and the return of the opening is in danger of grinding to a halt. The Rosamunde-esque dance of the third has poise and delicacy, but again could benefit from a little more flowing tempo, although the tempo does pick up as the variations’ complexity increases, and by the end there is a delightful flow in the rapid motion of Schubert’s decorative writing. The fourth has incredibly virtuosic running scales, and Douglas takes this at a suitably furious lick, making me wish there had been more of this fire elsewhere. After the exuberance of this comes Liszt’s gloriously rich transcription of Schubert’s Ave Maria to finish, and Douglas gives this great warmth and expression, as well as effortless virtuosity. Overall, a mixed contribution to his otherwise exemplary Schubert survey so far. 

Schubert, F. 2022. Schubert: Works for Solo Piano, Volume 6. Barry Douglas. Compact Disc. Chandos CHAN 20253.

Brighton Early Music Festival at Christmas

 

Tickets here.

CD Reviews - December 2022

Johannes Pramsohler (violin) and Ensemble Diderot are back with an intriguing collection of so-called ‘Travel Concertos’, centred around the assertion that some of these virtuoso works may have been designed to be taken ‘on tour’ as opportunities to show off their instrumental and compositional talents. They begin with a blistering performance of an earlier version of Bach’s Brandenburg Concerto No. 5, BWV 1050a. There is lively pace in the two outer movements, with sliding chromatic harmonies in the first's harpsichord cadenza, and spiky articulation over joyful double speed harpsichord playing from Philippe Grisvard on harspichord. In between, there is real delicacy and stylish ornamentation from both flute (Alexis Kossenko) and violin. There are also three violin concertos, two from Johann Georg Pisendel (1688-1755) and one from Johann Jakob Kress (1685-1728), allowing Pramsohler to shine as ever here. The Kress is unusual as the solo violin is tuned a semitone higher, giving a brightness to the sound, ringing out from about the other instruments. The Pisendel concertos are full of invention, with triplets adding an edge against the four square rhythm of the opening movement of the Concerto da camera in B flat Major, which also has its beautiful arioso solo line emerge out of the texture and then intertwine with the second violin in the central movement. In the Concerto da camera in F major, Pisendel gives the bright opening a slight side swerve into the minor, and the ornamented solo line increases in virtuosity as the movement progresses. Pramsohler is particularly dazzling in the dancing final movement. There is also a wonderful Concerto by Johann David Heinichen (1683-1729), with solo lines for violin, flute, oboe, theorbo and cello. The ensemble strings are muted, allowing the various solo lines to burst out of the unusual timbre, with dramatic string crossing for the violin and some rattling, deep twanging from the theory's lower registers. Finally, there is a Concerto by Carlo Paolo Durant (1712-1769), for harpsichord, lute, cello and strings, with some great rippling textures from the solo instruments, concluding with delicate bounce from the soloists contrasting with the more bombastic textures of the ensemble in the finale. All in all, some delightful and striking works on offer here, four out of the six being premiere recordings, and all performed with such virtuosic expertise and sensitivity, making this a joy to listen to again and again.

Various. 2022. Travel Concertos. Ensemble Diderot, Johannes Pramsohler. Compact Disc. Audax Records. ADX 11204.

Organist Tom Wilkinson has recorded the six Trio Sonatas, BWV 525-530 by J S Bach on the organ of the Reid Concert Hall at the University of Edinburgh. These Sonatas are unusual in that Bach took the format of the trio sonata, with its three individual lines, and transplanted that onto the organ. Of course, it is not unusual for there to be three ‘voices’ in organ music - the right hand, the left hand and the feet on the pedals - but the degree to which Bach made these three voices independent and used them almost as separate instruments is very different, even from the rest of his own organ compositions. The organ used here has a beautifully soft sound, and Wilkinson selects carefully the stops used for each movement (these are all listed in the notes for organ specialists) to give variety of timbre. So for example, there is a bright, bell-like sound in the right hand for the Allegro of Sonata No. 1, which dances along, contrasting with the lyrical darkness of the Adagio which precedes it. The Adagio of Sonata No. 3 has a gentle, reedy quality, contrasting with the walking bass and intertwining top lines, then rapid articulation of the outer movements. That bright, ringing right hand features again in the Allegro of Sonata No. 5, and there’s a moody, tremulous sound to Sonata No. 6’s Lente. Overall, this is a very pleasing disc, and for a non-organ fan, Wilkinson’s effortless and even articulation of the complex three-part lines really brings out Bach’s daring use of the Trio Sonata form.

Bach, J. S. 2022. Trio Sonatas, BWV 525-530. Tom Wilkinson. Compact Disc. First Hand Records. FHR138.

The Tippett Quartet have added to the 150th celebrations of Vaughan Williams’ (1872-1958) birth with a strong recording of his two String Quartets, alongside Gustav Holst’s (1874-1934) Phantasy on British Folk Songs, Op. 36. Vaughan Williams’ String Quartet No. 1 was composed in 1909, after his time studying with Ravel in Paris, but he didn’t publish the work until after the First World War, in 1922. The influence of Ravel can certainly be heard in the opening movement, in its slithering chromatic lines and shifting harmonies. The second movement has more elements of folk-like melody, but that sense of fluid tonality is still present. The unsettling 5 beat metre of the Romance is striking, undermining the seemingly calm melodic lines and more straightforward harmonies. Following its subdued ending, the Finale bounces along with energetic propulsion, although there are glassy textures, contemplative reminiscence and an angular fugue before the final showy race to the finish, with rushing scales down through all four instruments. The String Quartet No. 2 was composed during the Second World War, in 1942-43, and was dedicated to violist Jean Stewart, and the viola features heavily throughout. Lydia Lowndes-Northcott on viola here sets the tone for an expressive reading of the work. The viola sets off in the opening movement, which is full of nervous energy, before the bleakly stark (coldly, and with no vibrato, as written, from the Tippett players here) opening to the Romance. The first warmth comes from the viola, and the violins’ pentatonic meanderings are reminiscent of The Lark Ascending, whilst the richly surging chords recall the Fantasia on a Theme of Thomas Tallis. The viola is again to the fore in the nervy, darkly shimmering Scherzo, as well as starting off the contrasting mood of the finale, full of meandering serenity and calm. Holst’s Phantasy was written in 1916, and performed the following year, but he withdrew the work, and it was only following his death that his daughter Imogen published a version for string orchestra. The version for string quartet used on this recording was edited by Roderick Swanston.   It begins with another viola solo, with ethereal violins joining in pentatonic mode, before the first violin leads off with a sprightlier version over meandering accompaniment. The viola then takes over again with a jauntily swinging melody over a drone. Gradually the complexity of the textures builds, with weighty octaves and spread chords, before the intensity falls away at the end. The Tippett Quartet’s performances here are exemplary, but it is the String Quartet No. 1 that sets this recording alight with energy and variety of expression.

Various. 2022. Ralph Vaughan Williams String Quartets 1& 2, Gustav Holst Phantasy Quartet Op. 36 (ed. Swanston). Tippett Quartet. Compact Disc. SOMM Recordings SOMMCD 0656.

Finally, two discs from Convivium, with Christmas in mind. The Silver Swan is a disc of songs by two lesser known contemporaneous English composers, Eric Thiman (1900-1975) and Michael Head (1900-1976), Emily Gray (mezzo-soprano) and Nicole Johnson (piano) do a great service in bringing their songs to our attention. Both composers taught at the Royal Academy of Music, as well as having extensive careers as examiners and adjudicators at festivals. There are a few Christmas works from both composers, including Head's more well-known Little Road to Bethlehem, and an effectively simple setting of In the Bleak Midwinter from Thiman. Amongst the other songs on offer here, highlights from Head include the nostalgic Sweet Chance, and the passionate Nocturne, Johnson particularly impressive with its challenging piano part. From Thiman, The Silver Swan setting is strong, as are Sleeping and Song of Farewell, both full of lyrical expression and subtlety of setting. Gray’s command of the range required here is impressive, and her pure light tone can be contrasted with power at the extremes of the register when required. 

Moving into unashamed Christmas territory, the Celestia Singers and Celestia Brass, conducted by David Ogden, with Rebecca Taylor on piano, have recorded Christmas Tidings, an album of choral pieces by Brian Knowles (b.1946). Knowles spent many years as touring musical director for Roger Whittaker, but many of the works stem from his time as teacher and composer in residence at The Royal School, Haslemere. Some of the 'swingier' numbers are less to my taste, but would be effective in a school setting, and they are performed with gusto by the singers and brass players. The more contemplative works here work better for me, such as the gentle setting of I Sing Of A Maiden, and Twelfth Night. Soprano Lucy Hughers also deserves mention for her touching solo in The Promise. The jollier numbers move more into John Rutter territory – so it depends whether you are a fan of that Christmas style or not. The performances here cannot be faulted, and the recorded sound is clear and warm throughout.

Various. 2022. The Silver Swan: Songs by Eric Thiman & Michael Head. Emily Gray, Nicole Johnson. Compact Disc. Convivium Records. CR075.

Knowles, B. 2022. Christmas Tidings. Celestia Singers, Celestia Brass, Rebecca Taylor, David Ogden. Compact Disc. Convivium Records. CR077.

 

Albéric Magnard steals the show in all-French recital at Wigmore Hall

Orsino Ensemble
© Matthew Johnson

Jean-Efflam Bavouzet (piano)

Orsino Ensemble:

   Adam Walker (flute)

   Nicholas Daniel (oboe)

   Matthew Hunt (clarinet)

   Amy Harman (bassoon)

7.30pm, Tuesday 15 November, 2022

Wigmore Hall, London

★★★★★

Claude Debussy (1863-1918): Syrinx

                                                 Première rhapsodie

Pierre Sancan (1916-2008): Sonatine for flute and piano

Francis Poulenc (1899-1963): Trio for oboe, bassoon and piano

Albéric Magnard (1865-1914): Quintet for piano and winds, Op. 8

Jean-Efflam Bavouzet

Debussy:

'A beautifully ethereal rendition of Debussy's Syrinx ... performed off stage with warm-toned delicacy by Adam Walker'.

'Bavouzet delivered a warmth of tone, matched by depth and richness from Hunt'.

Sancan:

'Bavouzet clearly enjoyed Walker's prowess in the cadenza, as well as visibly getting into the rhythmic energy for the gallop that followed'.

Poulenc:

'Harman and Daniel gloriously blended .... Bavouzet was a lively presence, alert to the wind players' every moves, and clearly enjoying himself throughout'.

Magnard:

'Walker's playfulness was matched by raucous humour from Hunt, but Bavouzet and Daniel had the most fun here, with Bavouzet's rocking cross-rhythms fighting against Daniel's twisting, eastern-infused melodic line to Bavouzet's obvious delight'.

'Five exceptional musicians, clearly enjoying every minute of their music-making as much as the audience'.

Read my full review on Bachtrack here.

Jean Efflam-Bavouzwet and the Orsino Ensemble
© Ian Farrell

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.

CD Reviews - November 2022

Pianist Clare Hammond’s new disc (realised 4 November) of Études by Hélène de Montgeroult (1764-1836) is a complete revelation. Eight years younger than Mozart, Montgeroult, from a noble background, led a dramatic life involving a secret diplomatic mission, kidnap and imprisonment. Despite this, she was made professor of piano at Paris Conservatoire de Musique, and published nine sonatas, three fantasies, and her ‘Cours complet’ containing 114 études and over 900 exercises, as well as various other pieces. The style is so ahead of her time, in terms of what we might expect, that it is hard not to think that her work was not heard by the likes of Beethoven, Schubert, Mendelssohn, Brahms and Chopin. It is often the case that we fall into the trap of listening to unknown music composed by women and constantly liken it to that of male composers, as if to say they must have been the prime influence. Here it is so clearly the other way around, as many of the characteristics of her compositions, in terms of adventurous harmonies, complexity of texture, tempo changes and singing melodies, are foretastes of what we hear in the Romantic composers that followed her. The études were composed from around 1788 to 1812, by which time Schumann and Chopin were just 2 and Mendelssohn 3 years old. Yet if you didn’t know otherwise, the singing melodies over perpetual motion accompaniment of Études nos. 26 and 41, or the dancing energy or percussive textures of nos. 35 & 65, or the virtuosic trilling and insistent rhythmic energy of nos. 100 & 103, could be mistaken for Mendelssohn, Schubert or Chopin respectively. There are Beethovenian bagatalles, Field-like nocturnes, poignancy foreshadowing late Schubert, and even Brahmsian impromptus. Yet there is a clear individuality too in her expressive use of melody and her dense, rapid-moving textures. Did all of these composers know her work? There are possible connections to Mendelssohn via one of his teachers, and Clara Schumann’s father used the Cours complet in his teaching. But beyond that, we can’t be sure. We can only conclude from the quality and creative invention of her compositions that, had she not been a woman, her work would surely be better known today. Hammond has absorbed her soundworld and performs these gems with nuance, warmth and virtuosic fluidity throughout. Given that there are 29 études from the 114 here, there is surely scope for a follow-up, which would be greatly welcomed.

Montgeroult, H. de. 2022. Études. Clare Hammond. Hybrid Super Audio Compact Disc. BIS Records BIS-2603. 

American pianist Sarah Cahill returns with the second volume of her survey of keyboard music composed by women, The Future is Female. As with the first volume, the choice is eclectic, ranging from the late 17^thcentury to the present day, and the loose theme this time is The Dance. She opens with the delightful Suite No. 1 from Élisabeth Jacquet de la Guerre’s (1665-1729) Pièces de clavecin. If we put to oneside any concerns about this being performed on a modern piano, Cahill’s approach is light and delicate, with rippling ornaments and the five short movements bounce along with a gentle lilt. The middle Sarabande is quiet and contemplative, whilst the final Gigue, whilst not overly extravagant, is pacier, within an overall introspective soundworld. Clara Schumann (1819-1896) is next, and her Variations of a theme of Robert Schumann, Op. 20. Written as a present for her husband’s 43^rd birthday, it was one of her last compositions for the piano. The theme itself is rather mournful, almost funereal – and it was her husband’s last birthday before entering the asylum where he would end his days. However, she creates romantic passion in the variations that follow, increasing the intensity and rhythmic energy and moving the melody around in the texture. Yet she returns several times to the chorale-like plainness of the theme, and the six variation is particularly poignant and questioning. Cahill captures the atmosphere of this deeply personal composition with understated affection. We leap forward to 1957 for Germaine Tailleferre’s (1892-1983) Partita, with its wandering melodic lines and jazzy harmonies, and a playfully balletic dance to end. We move through the latter half of the twentieth century with a mournfully nostalgic Rhapsody from Zenobia Powell Perry (1908-2004) and two evocative movements from Madeleine Dring’s (1923-1977) Colour Suite, full of cabaret-style swing and dance rhythms. Elena Kats-Chernin’s (b.1957) Peggy’s Rag is delightfully nostalgic, and Betsy Jolas’ (b.1926) Tango Si deconstructs elements of the dance, with stop-start hints of tango rhythms. The St Petersburg Waltz by Meredith Monk (b.1942) swirls around repeated chords with Eastern European inflections and distant cries from the top of the keyboard. Mexican composer Gabriela Ortiz’s (b.1964) Preludio y Estudio No. 3 has a mysterious, free prelude with high outbursts contrasting with a drone-like bass, and the virtuosic Estudio is full of insistent driving rhythms, splashing chords and metallic use of the very top of the instrument. The disc ends with a dramatically expressive piece, ‘She Dances Naked Under Palm Trees’, by Theresa Wong (b.1976), with haunting use of the pedal to create ringing notes, thundering textures, glissandi and a deeply unsettling 13-beat metre. As with the first disc, with such a fascinating and well-chosen selection of diverse works, it is easy to forget the pianist here, and once again Cahill demonstrates an impressive command of such a wide variety of styles, so as well as being a great testament to the women composers here, high praise is deserved for these performances too.

Various. 2022. The Future is Female, Vol. 2, The Dance. Sarah Cahill. Compact Disc. First Hand Records FHR132.

Ruth Gipps (1921-1999) was an English composer, oboist, pianist and conductor, studying the oboe at the Royal College of Music with Léon Goossens, and composition with Gordon Jacob and Vaughan Williams. Her music eschewed serialism or atonalism and as such, perhaps fell out of fashion somewhat – and of course she sadly suffered at the hands of a misogynistic and male-dominated world of composition in the early to mid-twentieth century. Thankfully, her music is experiencing something of a revival, and Chandos’ second volume of her orchestral music further demonstrates the inventiveness of her orchestration and her understanding of orchestral colour. Her youthful Oboe Concerto, Op. 20, expertly performed here by Juliana Koch, along with the BBC Philharmonic conducted by Rumon Gamba, is full of lively writing for the oboe, along with lyricism in the slow movement, folksy dancing melodies in its finale. But its strengths also lie in the delicacy of the scoring, with just muted strings in the central Andante, and mysterious string textures in the opening movement. There are two short orchestral works here too, firstly an Overture to a never completed opera, Chanticleer, Op. 28, with atmospheric wind writing and surging strings, as well as rasping brass evoking the cockerel of the title. There is also a dark elegy on war, Death on the Pale Horse, Op. 25 (written in 1943), drawing inspiration from Blake’s painting of the same name. Here, gently pulsing timpani build to the climactic moments, and the opening horn solo, repeated at various points, adds to the sense of doom. The rest of the disc is given over to Gipps’ Symphony No. 3, Op. 57. Written in 1965, the style was surely running against the fashions of the time, which might explain its relative obscurity, but the wealth of expression and orchestral colour on offer here is immediately attractive. The shifting tonalities of the opening movement, with rich string writing, builds to exhilharating, surging climaxes, and the Theme and Variations second movement is warm and lush, with highly imaginative use of percussion. Again, unusual orchestral colour is on display in the Scherzo, with an ostinato (repeated figure) for harp and glockenspiel, against skittish string writing. The finale is jaunty, with some striking moments for the brass – she certainly knows how to make the most of all parts of orchestral textures, and Gamba and the BBC Philharmonic exploit this to the full. I missed Volume 1, and will certainly now be seeking it out.

Gipps, R. 2022. Ruth Gipps Orchestral Works, Vol. 2. Juliana Koch, BBC Philharmonic, Rumon Gamba. Compact Disc. Chandos CHAN 20161.

 

 

 

Brighton Early Music Festival 2022

 

My highlights from this year's Brighton Early Music Festival: 

Exceptional music making from such a talented pool of #BREMFLive musicians @brightonemf @flutesandfretsduo @tufnelltrio @horizon.voices #BREMFMedievalEnsemble @liturinamusic #earlymusic #bremf https://t.co/3CYKPCX43C

— Nick Boston 🏳️‍🌈 (@nickb86uk) October 22, 2022

 

Flutes & Frets

Tufnell Trio

 

BREMF Medieval Ensemble

Liturina

Horizon Voices

 

Spiritato & The Marian Consort

 

Exhilarating, energetic, life-affirming playing and singing from @spiritato & @marianconsort in 'Inspiring Bach' @brightonemf #BREMF #earlymusic @ St Martin's Church, Brighton https://t.co/DRUbGWgoUF

— Nick Boston 🏳️‍🌈 (@nickb86uk) October 22, 2022

 

Ensemble Molière, Angela Hicks & Kieran White

Glorious #rameau & stately #lully in 'Les Lullistes contre les Ramoneurs', beautifully played by @ensemblemoliere with enchanting and virtuosic singing from @AngelaHicksSop & @KWhiteTenor - a fine conclusion to @BREMF #BREMF #earlymusic pic.twitter.com/2nLyD0yhdL

— Nick Boston 🏳️‍🌈 (@nickb86uk) October 23, 2022

Strong cast lifts conventional Bohème revival at the Royal Opera House

Juan Diego Flórez (Rodolfo)
& Ailyn Pérez (Mimì)
© ROH/Marc Brenner

Kevin John Edusei (Conductor)

Richard Jones (Director)

Danielle Urbas (Revival Director)

Stewart Laing (Designer)

Mimi Jordan Sherin (Lighting Designer)

Sarah Fahie (Movement Director)

Orchestra of the Royal Opera House

Vasko Vassilev (Principal Guest Concert Master)

Royal Opera Chorus

William Spaulding (Chorus Director)

Andrey Zhilikhovsky (Marcello)

Juan Diego Flórez (Rodolfo)

Michael Mofidian (Colline)

Ross Ramgobin (Schaunard)

Jeremy White (Benoît)

Ailyn Pérez (Mimì)

Andrew Macnair (Parpignol)

Danielle de Niese (Musetta)

Wyn Pencarreg (Alcindoro)

John Morrissey (Customs Officer)

Thomas Barnard (Sergeant)

La bohème, Act 2
© ROH/Marc Brenner

Co-production with Teatro Real, Madrid & Lyric Opera of Chicago

Friday 14 October 2022

Royal Opera House, London

★★★

Giacomo Puccini (1858-1924): La bohème

(libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henry Murger)

Andrey Zhilikhovsky (Marcello) & Ailyn Pérez (Mimì)
© ROH/Marc Brenner

'A Chaplinesque Flórez lingering effortlessly (borderline indulgently – but if you’ve got it…) on his glorious top notes, and Pérez highly convincing with tender warmth and innocence building to rich passionately rich tones.'

'Danielle de Niese (Musetta) created much needed movement and colour here, with some precarious table-top attention grabbing. Her Musetta was light and playful.'

Juan Diego Flórez (Rodolfo) & Ailyn Pérez (Mimì)
© ROH/Marc Brenner

'Flórez and Pérez’s passionate ‘shall we, shan’t we?’ dilemma was evident and convincing, and Andrey Zhilikovsky’s Marcello developed into a more well-rounded character here, with a clear bond between him and Rodolfo, as well as jealous frustration with Musetta.'

'Flórez captured well Rodolfo’s slightly clueless final dawning of reality, and Pérez was equally moving – ... the final result packed the requisite punch.'

'On balance, a strong cast, and a visually stimulating Act 2, with fine playing throughout, once dynamically under control, from the orchestra. But for a more believable and convincing ensemble, despite its bleaker setting, Team Glyndebourne wins out for me.'

Read my full review on Bachtrack here.