Thursday 26 January 2023

Dazzling Tippett from Steven Osborne and the London Philharmonic

Edward Gardner (conductor)

7.30pm, Wednesday 25 January 2023











Samuel Coleridge-Taylor (1875-1912): Solemn Prelude, Op. 40

Michael Tippett (1905-1998): Piano Concerto

Keith Jarrett (b.1945)/Steven Osborne (b.1971): Vienna Concert, opening (improvisation)

Edward Elgar (1857-1934): Symphony No. 1 in A flat major, Op. 55


Coleridge-Taylor:
'The LPO and Edward Gardner gave a lusciously rich performance, the orchestra's impressive string sound in particular setting out their stall well for the Elgar later in the evening'.

Tippett:
'Steven Osborne was on dazzling form technically, but also expertly managed the complicated interplay with the orchestra'.

'Gardner kept a tight rein on proceedings too, controlling the dynamics of the richly textured, often spikily polyphonic orchestration'. 

Elgar:
'Gardner took the scurrying second movement at a pace, and the LPO responded with energy and precision'.

'Gardner allowed the detail to emerge, holding onto the building tension, giving the final return of the noble theme added power, bringing a fine performance to a triumphant conclusion'. 

Read my full review on Bachtrack here.

Sunday 22 January 2023

Energetic Glass at the heart of adventurous programming from MacGregor and the Brighton Philharmonic Orchestra


Joanna MacGregor (piano/director)
Sian Edwards (conductor)
Kathy Hinde (visual projections)
Matthew Fairclough (sound design)

Nicky Sweeney (leader)

7.30pm, Saturday 21 January, 2023

Rolf Wallin (b.1957): Twine

John Luther Adams (b.1953): songbird songs

Philip Glass (b.1937): Glassworks

John Luther Adams: Drums of Winter

Jonny Greenwood (b.1971): Suite from 'There Will Be Blood'

Einojuhani Rautavaara (1928-2016): Cantus Arcticus: Concerto for Birds and Orchestra, Op. 61









Joanna MacGregor
Credit: Pal Hanson
It was great to see the Brighton Philharmonic Orchestra filling the Brighton Dome on a Saturday night, a welcome compliment to their traditional Sunday afternoon slot. Philip Glass’s (b.1937) seminal work Glassworks clearly attracted a broader demographic of audience, and Joanna MacGregor’s clever programming of this ensemble piece alongside some exciting solo percussion pieces, as well as works for the fuller orchestra, amply demonstrated that there is appetite for more adventurous orchestral concerts going beyond the standard repertoire. Taking up the position of Music Director just prior to the pandemic, it is good to see her plans for the orchestra taking shape this season. (More on their full season here). 

Their concert began with a work by Norwegian composer Rolf Wallin (b.1957), Twine, for marimba and xylophone. Performed with enthusiastic showmanship by two members of Ensemble Bash (who contributed three quarters of tonight's percussion section), the piece contrasts the softer, warmer tones of the marimba with the harsher, metallic timbre of the xylophone. Starting from pulsing on repeated notes, the instruments gradually expand out to explore the extremes of their ranges, and flashing glissandi add fireworks to the climax.

Two works by American composer John Luther Adams (b.1953) also showcased percussion, but the first piece, songbird songs also saw the percussionists joined by the BPO’s flautists, Christine Messiter and Christine Hankin, here on piccolos and ocarinas. Across four short vignettes, Adams ranges from delicate morning birdsong evocation through to the mournful calls of doves (with Messiter and Hankin roaming the stage with their intermittent ocarina calls), and culminating in wild, joyful explosions of noise from marimba, bass drum, timpani and temple blocks. The second work by Adams, which launched the concert’s second half, was Drums of Winter, for all four percussionists. A movement form this cycle, Earth and the Great Weather, this is a visceral piece, exploiting the power of four drummers, sometimes with complex cross rhythms, but with tremendous energy when combined in unison rhythms, providing a great curtain raiser for the second half.

Sian Edwards
Glassworks was the highlight of the evening’s programme, however. Written and recorded by Glass’ own ensemble in 1981, it brought minimalism to a wider audience, and was an instant success, remaining hugely popular to this day. It is scored for two flutes, four saxophones, two horns, violas, cellos and piano/keyboard. The trick here is to avoid the rapid yet constantly shifting repeated figures sounding like a feat of hard work and concentration - which of course it is. This was mostly achieved here, with conductor Sian Edwards giving clear direction and keeping the tempo tight and on track. Only occasionally did ensemble stray slightly with the sudden changes of figuration. From Joanna MacGragor’s hypnotic Opening on the piano through to the surging insistence of Floe, the players here kept the drive and energy going, and the mournful soprano saxophones of Façades were particularly hypnotic. The amplification did highlight the odd moment of imprecise tuning in the strings, and a tentative entry from the horns, but otherwise, this was a strong performance of a challenging work.

Jonny Greenwood (b.1971), known to many as the lead guitarist from Radiohead, composed the soundtrack from the 2007 epic film, There Will Be Blood, starring Daniel Day Lewis. The film explores the destructive power of capitalism through the story of a silver miner who becomes a ruthless oilman, destroying those around him in his pursuit of wealth. Greenwood produced a six movement suite from the score for string orchestra, with imaginative use of the swooping glissandi, glassy scrapings and a lively pizzicato movement, as well as some more conventionally atmospheric string writing. The BPO players performed with precision and enthusiasm, particularly excelling in the pizzicato movement, and Sian Edwards shaped the dynamics with clear direction throughout.

The evening ended with the full orchestra performing Einojuhani Rautavaara’s (1928-2016) wonderfully evocative Cantus Articus: Concerto for Birds and Orchestra, Op. 61. Finnish composer Rautavaara studied at the Sibelius Academy, before Sibelius himself recommended him for a scholarship at the Juliard School in New York, where he was taught by Aaron Copland amongst others. In this work, he combines his own field recordings of Lapland birdsong with his richly romantic orchestral scoring. The melancholic calls of the shore lark accompany the middle movement, with lively spring birds in the opening and soaring whooper swans in the final movement. Rautavaara's atmospheric writing was expertly sculpted by Edwards in conjunction with the recorded birdsong, and the BPO players were sensitively responsive throughout.

The evening’s performances were accompanied throughout by beautiful visual projections by Kathy Hinde, using a variety of effective film drawing on nature and bird life. Rushing water accompanied the more frenzied passages of the Glass, and stunning footage of starling murmurations and dancing cranes complemented the Rautavaara, and various birdlife and mountain landscapes provided a backdrop for the Adams. The films provided an overall cohesion to the varied programme, and avoided the risk of distracting from the impact of the music itself.

Hats off to Joanna MacGregor, Sian Edwards and the BPO for highly stimulating performances, and long may their adventurous and imaginative programming continue to provide a welcome breath of fresh air to the Brighton classical music scene.

Friday 13 January 2023

It's Simply Showtime! - New release from tenor Ian Farrell

Never one to let the grass grow under his feet, Brighton-based tenor Ian Farrell is back with another album, this time focussing on the world of musical theatre. It's Simply Showtime features ten tracks, some well-known and a few lesser-known gems, with a common strand of hope and the search for self-belief running through the collection. 

It was back in 2020 just before things went crazy that Ian released Ten for Ten, celebrating 10 years of being sober. A global pandemic didn't stop him, with il Significato di te showcasing classical repertoire following in 2021. This new album is his most accomplished to date, demonstrating the strength and range of his voice in the musical theatre repertoire, showing strong technical command in some tricky songs here. But it also feels the most intimate album to date - despite some big numbers, Ian's approach is definitely to draw us into the world of the songs, rather than bombard us with glitzy showtime alone, despite the album's title. So for example, Somewhere (from West Side Story) is not belted out as it often is, and this is a more contemplative reading, building gradually to the final climax, with stronger understanding of the song's shape. Ian also talked to me about the broader meaning of the song, and that it can be interpreted as being about anybody who is struggling to find their place in the world, particularly relevant for all of us in the LGBTQ+ world today. This is echoed in the dark longing of She's a Woman from Kiss of the Spider Woman, the longing quest for love in Ian's voice in Where is Love (from Oliver), and more searching for a place in life in the deceptively perky Corner of the Sky (from Pippin), with a spectacular closing high note from Ian. 

 


Bring Him Home from Les Misérables opens the disc, and Ian's reading of this classic has incredible tenderness, with some beautifully floated high registers, especially on the final extended note. Again, this can often be delivered as a straightforward belter, but it is all the more effective when controlled like this. Again, it is with touching tenderness that he takes us on the journey of the classic Send in the Clowns, full of introspection and reflection on disappointments of the past.

Ian draws on Billy Porter's wonderful rendition of On The Steet Where You Live (from My Fair Lady) for insipiration, yet he gives the familiar lines his own individuality and control, as well as a glorious melismatic climax. Tomorrow (from Annie) is generally not one of my favourite songs, often too saccharine and rather trite, but here Ian gives it a slow, introspective 'lounge' feel, which works very well, giving the song more nuance.
 

But the two numbers that stand out for me are Let me Fall, from Cirque du Soleil's show, Quidam, subsequently covered by Josh Groban, and the track that ends the album, You Will Be Found, from the musical Dear Evan Hansen. The former is all about taking risks and being allowed to fall, and taking chances - clearly carrying a double-meaning for Cirque du Soleil's highwire acts, but also life in general, and something that clearly has echoes for Ian. And it is in this song I hear his fullest expression, with power at the top of his range, and defiant strength throughout. That same depth of emotion is expressed in You Will Be Found, with its message of hope, again following on from that sense of searching expressed in Somewhere

 

It should also be mentioned that Ian is accompanied throughout by Joss Peach, with some great piano and instrumental arrangements perfectly echoing Ian's intimate approach.

 

The album is available to download for free from his website (although financial contributions are welcome), on Spotify, and CDs are available on request. Ian's plans for 2023 include getting out there and performing live, hopefully appearing soon in Brighton and London - so watch this space for dates, and check out his social media links for more info.


@iandavidfarrell
(Instagram/TikTok/ twitter/YouTube)