CD Reviews - April 2021

Arnold Schoenberg (1874-1951) originally composed Verklärte Nacht (‘Transfigured Night’) for string sextet, but he later orchestrated the work, and it has become one of his most performed works.  Unlike his later music, it is tonal, although highly chromatic, with a late Romantic stamp, and a strong Wagnerian flavour. The poem by Dehmel which inspired the work is about a woman who walks with her lover in a moonlit forest, and confesses she is pregnant by another man.  Her lover ultimately forgives her, and the intensity of their love and the beauty of the moonlight brings them together.  On this latest recording, Edward Gardner and the BBC Symphony Orchestra have cleverly explored some lesser-known works from the same period, notably Oskar Fried’s (1871-1941) setting of Verklärte Nacht, Op. 9, for mezzo-soprano, tenor and orchestra (with Christine Rice and Stuart Skelton the soloists here). Fried’s setting is lush and atmospheric, with warm narrative duets contrasting with more emotionally charged solos from both characters. Rice and Skelton are beautifully matched, and Skelton shimmers at the top of his range on ‘Glanz’ (glow). It is perhaps a little more obvious than Schoenberg’s intense instrumental interpretation, which here receives a wonderfully mysterious and atmospheric reading, contrasting the full weight of strings at the climactic moment, with an incredibly light touch for the lilting night music and glassy solos. The disc begins with another surprise – Fieber (Fever) by Franz Lehár (1870-1948), for tenor and orchestra. This is a highly episodic piece – perhaps understandable when expressing the delirium of an injured soldier in hospital, flitting between calling for the nurse, thinking of his girlfriend, remembering battle and even an image of his mother, before finally succumbing to death. Skelton is bold and emphatic, yet also captures the sense of confusion and anguish here. We get fragments of romantic waltzes, and even a snippet of the Radetzky March, all lusciously orchestrated. Skelton returns in the four Lieder des Abschieds, Op. 14 (Songs of Farewell) by Erich Korngold (1897-1957). Full of yearning, with texts including ‘Sterbelied’ (Upon Dying), a German translation of a Christina Rossetti poem, the songs employ frequent yearning vocal leaps, and Skelton’s placing is impeccably tender. The second song is more urgent and dramatic, whilst the third and fourth have more of a gentle rocking feel. Korngold’s orchestration is rich and sumptuous, and here as throughout, Gardner and the BBCSO are on top form.  

Various, 2021. Verklärte Nacht: Schoenberg, Fried, Lehar, Korngold. Christine Rice, Stuart Skelton, BBC Symphony Orchestra, Edward Gardner. Hybrid Super Audio Compact Disc. Chandos. CHSA 5243.

Greek-born pianist Alexandra Papastefanou studied in Moscow, Budapest and the US, and has had lesson from Alfred Brendel. She has performed all of Bach’s keyboard works, and to date, her recordings have also focussed on Bach, as well as her own compositions. Now she turns to Robert Schumann (1810-1856), and in a two disc set, she covers all the works for piano written in 1839. The following year, 1940, is known as his ‘Year of Song’, in which he wrote over 160 vocal works, including 135 solo songs. It was also the year he finally married Clara, after the extended and embittered battles with her father. Whilst not as prolific a year, 1839 did generate a considerable number of works for the piano, and in many ways, they reflect the turbulent time of that year before he was finally able to marry the love of his life. Papastefanou has coined the term ‘Year of Piano’ for her survey of this output. Papastefanou plays with clarity and avoids overindulgence in the more romantic, expressive passages. So the Humoreske, Op. 20 is suitably boisterous and playful to begin with, yet the stuttering rhythms of the second section have a subtle unease, followed by darker, expressive then tender and lilting third and fourth sections. Schumann said when writing this ‘I have been sitting at the piano, composing and writing, laughing and crying all at once’, and there are certainly a lot of moods to capture here. The same might be said of the 4 Nachstücke, Op. 23, with a slightly pacy, agitated funeral procession, and swirling, darkly turbulent night revelry. Papastefanou takes some freedom with the tempi in the Arabeske, Op. 18, yet could perhaps take a little more time in the expressive recitative-like moments, but the rippling repeating rhythms have a real flow. The Faschingsschwank aus Wien, Op. 26 (Carnival Jest from Vienna), is fascinating, with its embedded reference to the Marseillaise, at that time banned in Vienna, and lively dances, rippling textures and central sad Romanze. Again, Schumann’s moods change from moment to moment, yet Papastefanou makes sense of these transitions, making coherent sense of the contrasts. The 3 Romanzen, Op. 28 are darker than one might expect from the title, and a sense of anxiety pervades. The middle Romanze has moments of calm, but the third is jumpy and mercurial. There are a number of shorter pieces filling out this two disc collection, some part of larger collections published later, but here for the year of their composition. They merit their inclusion, however, and the dark smouldering Praeludium from Bunte Blätter, Op. 99 and the delicately dancing Phantasiestück from Albumblätter, Op. 124 are given sensitive readings here. A fascinating collection of lesser-performed works here, and Papastefanou performs throughout with virtuosic command and sensitivity to the constantly changing moods. 

Schumann, R. 2021. Schumann 1839: Year of Piano. Alexandra Papastefanou. Compact Discs (2). First Hand Records. FHR 112.

(Edited versions of these reviews first appeared in Scene, April 2021)

'Dreaming and Singing' from fine Music Makers in a watery themed Prom - Prom 53

Sir Andrew Davis
© BBC/Chris Chrisodoulou

Stacey Tappan (soprano)
Dame Sarah Connolly (mezzo-soprano)
Anthony Gregory (tenor)

BBC Symphony Chorus
BBC Symphony Orchestra
Sir Andrew Davis (conductor)

Thursday 29 August 2019, 7pm

BBC Prom 53

Royal Albert Hall, London

★★★★

Ralph Vaughan Williams (1872-1958): Fantasia on a Theme by Thomas Tallis

Hugh Wood (b.1932): Scenes from Comus

Sir Edward Elgar (1857-1934): The Music Makers, Op. 69

Dame Sarah Connolly & the BBCSO
© BBC/Chris Chrisodoulou

Vaughan Williams:
A 'richly warm and affectionate reading of this well-loved piece'.

Wood:
'Davis was positively swinging with the offbeats and frequent beat changes'.

Elgar:'
The BBC Symphony Chorus 'delivered the text with excellent precision, and flawless tuning throughout.

Connolly 'gave an impassioned and commanding performance here. ... her final lines ... brought a tear to many an eye'.

Read my full review on Bachtrack here.

CD Reviews - July 2019

Edward Elgar's The Music Makers has received a frankly stunning reading from the BBC Symphony Orchestra and Chorus under Sir Andrew Davis, with Dame Sarah Connolly (mezzo-soprano).  From the orchestra's opening introduction, with its Enigma theme quotation, to the sequence of dramatic choruses delivered with excellent precision and clear diction, the combined BBC forces here are exemplary, and Davis manages the rapid tour through extremes of dynamics with rhythmic energy and drive.  Setting the Ode by Arthur O'Shaughnessy in its entirety, Elgar draws on a great deal of self quotation, including The Dream of Gerontius, the Sea Pictures, both his Symphonies and the Violin Concerto, as well as the Enigma Variations. Yet it is a work of remarkable coherency and feeling, and Connolly's heartfelt passion, backed by the full sound of the chorus, whips us along with the emotionally charged (if rather self-indulgent) text.  This is an excellent recording, with full dynamic range, rich orchestral textures and fine singing from soloist and chorus. The Spirit of England is setting of three poems by Laurence Binyon, written between 1915 & 1917. Composed for soprano or tenor soloist, chorus and orchestra, it is often performed with two soloists, and this is in fact the first recording with a tenor (Andrew Staples) taking all three sections.  This is Elgar in more ostensibly patriotic mode, and Staples' suitably declamatory delivery is supported by the incisive chorus in the opening 'The Fourth of August' (the date of declaration of war on Germany).  There are tender moments, but this is full-on Elgar, yet Davis never allows the weighty orchestration to totally overpower proceedings.  'To Women' has more stillness in its dark colours, and here Staples is allowed to show a greater dynamic range, in some particularly tender moments.  The final setting, 'For the Fallen', contains considerable variety in Elgar's detailed setting of the text, with dark irony in its almost jaunty march rhythms.  Once again, the chorus excels in its precision and diction throughout, and great tenderness when Staples joins them for the repetitions of 'We will remember them'.  Overall as a work, The Spirit of England has perhaps not travelled through the years as well as The Music Makers, but this is an excellent recording from all concerned. 

Elgar, E. 2018. The Music Makers, The Spirit of England. Dame Sarah Connolly, Andrew Staples, BBC Symphony Orchestra and Chorus, Sir Andrew Davis. Super Audio Hybrid Compact Disc. Chandos CHSA 5215.

Ibrahim Aziz is a viola da gamba player from Malaysia, now living in London. He has recorded a fascinating programme, Risonanze, exploring what he sees as the particular resonances of the instrument, a member of the viol family and a fretted cousin of the cello, although with perhaps a darker tone and less power of projection.  He starts with a transcription of the Cello Suite No. 2 by J S Bach, and immediately we hear the difference - perhaps a less consistently warm tone, but a definite ringing, enhanced by a highly resonant recording. Aziz makes his instrument sing, particularly in the final dancing Gigue.  He follows this with 'Suite Estiu', by the Spanish composer, Carlos Martínez Gil (b.1959).  Estiu, an anagram of suite, also means summer in Catalan, and the five movements here correspond to the five senses, and the composer's recollections of the sensations of summers spent in northern Spain.  We begin in the sound world of Bach, but slowly, use of pizzicato, more jagged rhythms, or slightly unexpected harmonies in the rocking 'Roces' (meaning 'brushing lightly) take us in a subtly different direction, ultimately feeling like meditations on the earlier soundworld.  Next, Three unaccompanied pieces by composer and virtuoso gamba player, Carl Friedrich Abel (1723-1787).  The first is a beautifully rippling study, 'Arpeggio', and Aziz maintains a beautifully steady flow throughout its shifting harmonies.  A somewhat gentle 'Allegro' is followed by softly singing 'Adagio', and here again Aziz brings out a beautifully resonant tone.  Rebecca Rowe (b.1970), herself a viola gamba player, wrote 'Journeying' for Aziz in 2018.  Rowe uses resonant, spread chords, and there's a moody, almost eastern flavour to the brief snatches of melodic line, and Aziz performs this with assurance. The remainder of the disc is given over to the Sonata No. 5 by Johann Schenck (1660-1712).  We're back in Bach territory, although as a gamba player, Schenck’s set of seven movements, a suite in all but name, perhaps better captures the idiomatic resonance of the instrument that Aziz refers to. Aziz definitely achieves his aim of demonstrating the resonant qualities of his instrument, as well as his own considerable talent.

Various. 2019. Risonanze - Music for viola da gamba. Ibrahim Aziz. Compact Disc. First Hand Records. FHR83.

Flauguissimo Duo, Yu-Wei Hu (flute) and Johan Löfving (guitar) are alumni of Brighton Early Music Festival's BREMF Live! scheme, so will be familiar to some, and they specialise in historically-informed performance of 18th and 19th century music.  Music for the two instruments flourished in the salon culture of the time, and their debut recording takes inspiration from the fashion of taking tunes popular in the opera houses into domestic settings.  So the centrepiece of this disc entitled 'A Salon Opera' is their own arrangement of the Dance of the Blessed Spirits from Gluck's (1714-1787) opera, Orfeo ed Euridice.  Hu is allowed to shine in the opera's beautifully lyrical flute solo, and her breath control in its long sustained lines is impressive.  However, the Cantabile from virtuoso violinist-composer Paganini (1782-1840) is their delightful opener, allowing the duo to establish their delicate, sophisticated soundworld.  The recording is close, which suits the intimacy of the instruments and the repertoire.  Marginally less successful for me are the arrangements of three Schubert songs. Whilst it is certainly authentic to include such arrangements in a recreation of a domestic music-making gathering, it is hard not to miss the nuance of Schubert's expert setting of text. The arrangements here can't be faulted, and Hu's lyrical line is matched nicely by Löfving's deft accompaniment, with a suitably emphatic central section in Frühlingstraum from Winterreise, but it is hard to capture the full emotional contrast of love and loss inherent in Müller's text.  An die Nachtigall and Heidenröslein fair better, with their lighter melodies subtly ornamented by the flute.  Francesca Molino's (1768/75-1847) Notturno is a delight, with a particularly operatic Rondo, in which Hu enjoys the operatic coloratura to the full.  Fernando Sor's (1778-1839) Introduction and Variations on a Theme of Mozart, Op. 9 for guitar takes it's theme from Mozart's The Magic Flute, and after a dramatic introduction, the theme is presented in increasingly virtuosic variations, and here Löfving plays with great delicacy and bright tone.  After the Gluck, a dramatic Tarantelle for guitar by Johann Mertz (1806-1856) provides some welcome edge and rhythmic energy in an otherwise mostly lyrical programme, performed here with humour and bite.  They conclude with the Grande Serenade by Mauro Giuliani (1781-1829), with a graceful opening theme and variations movement, allowing both instruments to shine in turn.  Following a dainty minuet and slightly livelier trio, then a jaunty march, is an operatic 'Brillante' finale. Overall, a pleasing collection, performed with style.

Various. 2019. A Salon Opera. Flauguissimo Duo. Compact Disc. Resonus Classics. RES10233.

(Edited versions of these reviews first appeared in GScene, July 2019)

Three Bartók concertos for the price of one: Capuçon, Eötvös and the BBCSO in Monte-Carlo

Renaud Capuçon, Péter Eötvös & BBCSO,
© Alain Hanel 

Renaud Capon (violin)
BBC Symphony Orchestra
Péter Eötvös (conductor)

Sunday 31 March, 2019

Salle des Princes, Grimaldi Forum, Monte-Carlo

Festival Printemps des Arts de Monte-Carlo

★★★★

Bartók, Béla (1881-1945): Concerto for Violin No. 1, Sz 36 (BB 48a)
                                          Concerto for Orchestra, Sz 116 (BB 123)
                                          Concerto for Violin No. 2 Sz 112 (BB 117)

Renaud Capuçon, Péter Eötvös & BBCSO, 
© Alain Hanel

'Capuçon was highly convincing, confidently supported by Eötvös and the BBCSO'.

'The BBCSO players were on strong form throughout, with a rich string sound in particular'.

'Eötvös also paced the frequent tempi changes here with great care'.

'Capuçon’s performance was captivatingly mobile and physical'.

Read my full review on Bachtrack here.

CD Reviews - December 2018

Edward Gardner and the BBC Symphony Orchestra are joined by James Ehnes for a taut performance of William Walton’s (1902-1983) Viola Concerto.  The Concerto was written for the pioneering viola player, Lionel Tertis in 1928/29, but Tertis rejected the work as too modern, so it was taken up for the first performance by Paul Hindemith.  Tertis later realised his mistake, and performed the work frequently, helping it become established as a major work in the instrument’s repertoire. Walton combines bluesy harmonies and jazzy rhythms in the opening movement with beautiful lyrical lines for the soloist, relished here by Ehnes, as well as typically spicy writing for woodwind and brass.  The central Scherzo has busy, quirky rhythms in a kind of off-kilter, swirling dance, and the finale launches with a humorous, bouncy melody from the bassoon, soon picked up by the soloist.  Towards the end of the movement, the solo viola is accompanied by a repeated bass clarinet pattern, and Ehnes is particularly sweet-toned here.  Gardner and the BBCSO are tight throughout, and Gardner manages particularly well the balance of Walton’s often weighty orchestration against the mellow solo instrument.  The Concerto is joined here by two much later works, firstly a late transcription by Walton (assisted by Malcolm Arnold) of his own String Quartet No. 2, as a Sonata for String Orchestra.  Walton revised some material, particularly in the first movement, and he frequently sets material for a solo quartet against full string orchestra, in the manner of a concerto grosso.  The first movement contains a rather Elgarian fugue, and the Presto which follows is fraught and somewhat impatient in mood, and Gardner brings out the detail whilst achieving an appropriately pushed tempo. The violas and cellos are particularly dark and brooding in the slow movement, and the finale has excitingly driven rhythmic energy throughout.  The disc the concludes with Walton’s Partita for Orchestra, a more overtly celebratory work, with its wallop of an opening for full orchestra, with a lot going on and some truly virtuosic demands placed on the orchestral players.  The central Pastorale Siciliana is more subdued, with a lilting, meandering duet for viola and oboe, followed by lots of solo writing for various instruments, and the playful Giga Burlesca is great fun. Gardner and the BBCSO are on top form, and the three pieces here, whilst all very much ‘Waltonian’ in their orchestral writing, show off well the often-underestimated range of mood in his work, from darkly brooding, through liltingly lyrical, to full-on extrovert fun.  

Walton, W. 2018. Violin Concerto, Partita for Orchestra, Sonata for String Orchestra. James Ehnes, BBC Symphony Orchestra, Edward Gardner. Hybrid Super Audio Compact Disc. Chandos CHSA 5210.

The London based amateur chamber choir Lumen, directed by Benjamin Thiele-Long, has released a fascinating disc of new unaccompanied choral works.  The recording is the result of a great project to create a platform for new composers of sacred and spiritual choral pieces.  Thiele-Long and the choir selected the composers via a successful kickstarter campaign, and as a result, they have recorded brand new pieces by twelve different composers.  The range of styles is impressive, yet all the works would be accessible for most good amateur choirs, so it provides a great opportunity for choirs who are looking for something new.  You can read more about the project and some of the composers on my blog, but the works on offer here range from the simple but effective harmonies of Sam Olivier’s ‘There is no dusk to be’, to the more challenging, surging chromatic lines and jazzy harmonies of Simon Whiteley’s ‘The Way of Life’.  Eastbourne-based composer Clive Whitburn’s ‘Who is my neighbour?’ puts biblical texts from Luke and Matthew up against data on migrant deaths, contrasting the pulsing, chanting statistics with a keening soprano line, somehow adding to the moral challenge through the simplicity of its melody.  And Joanna Gill’s ‘Safe in the arms of He’ is equally moving, in its touchingly intimate setting of a text written by parents on the death of their son from cancer.  The thirteen-strong choir show incredible versatility in tackling such a broad range of styles and moods, and despite some occasional tuning issues in a few of the more stretching pieces, they give committed and convincing performances throughout.  Inevitably with a range of new compositions such as this, one will be drawn to some more than others, but this is an impressive display of new choral composition talent, and I hope that other choirs will pick up many of the pieces. Do check out my blog for more on the pieces, with links to videos about the composers and their works.

(Read more about the background to the Lumen de Lumine project here.  And read more about other music by Clive Whitburn here).

Various. 2018. Lumen de Lumine. Lumen Chamber Choir, Benjamin Thiele-Long. Compact Disc. Convivium Records CR046.

(Edited versions of these reviews first appeared in GScene, December 2018)

CD Reviews - August 2018

I’ve seen Huw Wiggin (saxophone) perform solo and with the Ferio Saxophone Quartet in the Brighton Festival, and have always found him to be a highly engaging and entertaining performer, constantly expanding perceptions of what the saxophone can do.  The sax is often pigeonholed in jazz territory, but with his debut solo album, Wiggin aims to show that the instrument has much wider expressive possibilities, and he focuses on classical repertoire, much of which was composed before the saxophone was even invented in the mid 19^thcentury. Consequently, most of the works are performed in arrangement, some by pianist John Lenehan, who accompanies Wiggin here.  One can only assume that some of the other arrangements are by Wiggin, but they are uncredited, so may be from existing arrangements for other instruments. However, Wiggin makes a strong case for the diverse range of works on offer here, presented broadly speaking in chronological order, from Alessandro Marcello’s (1673-1747) Oboe Concerto right through to Japanese composer Takashi Yoshimatsu’s (b.1953) ‘Sing, Bird’ from 1991. Marcello’s Concerto, possibly known better in Bach’s keyboard arrangement, works surprisingly well here, and Wiggin is able to show off with some intricate ornamentation – not particularly authentic, perhaps, but effective nonetheless.  Two arrangements of Schubert songs, ‘Du bist die Ruh’ and ‘Die Forelle’, follow.  The former works well, with its straightforward, touching melody given a simple, unaffected touch by Wiggin.  The latter I was less convinced by, the slightly four-square nature of the well-known tune sitting less comfortably with the instrument.  Lenehan’s arrangement of the Air from Grieg’s (1843-1907) Holberg Suite works very well, however, and Wiggin spins the expressive line beautifully here.  Camille Saint-Saëns’ The Swan from Carnival of the Animals never fails to delight, and the saxophone replaces the cello well, adding extra warmth to the beautiful, familiar melody.  For two arrangements of short piano works by Debussy (1862-1918), an Arabesque and the popular ‘The Girl with the Flaxen Hair’, Wiggin is joined by Oliver Wass on the harp. The cascading harp arpeggios combine with the simple melody given to the sax in the Arabesque, and The Girl with the Flaxen Hair is given a similar treatment, with Wiggin producing a long, liquid line over the harp’s subtle accompaniment.  The 7 Canciones populares españolas (7 popular Spanish songs) by Manuel de Falla (1876-1946) are beautifully atmospheric, and combine lively dance rhythms with eastern infused lyrical melodies, such as in the dark-toned Nana.  The piano writing here is not without challenges too, particularly in the final driving Polo, and Lenehan provides incisive support for Wiggin’s passionate, lyrical lines. They move to France for Paule Maurice’s (1910-1967) Tableaux de Provence.  This and Yoshimatsu’s piece are the only pieces here actually composed for the saxophone, although the Tableaux were originally conceived for sax and orchestra.  Like the de Falla, they combine atmospheric picture-painting with livelier dance-like rhythms, and again, give Wiggin the opportunity to show off the expressive range of the instrument, and Wiggin and Lenehan both relish the set’s joyful conclusion, ‘Lou cabridan’.  Two arrangements by Lenehan of well-know works by Astor Piazzolla (1921-1992) follow, the complex Fugata followed by the darkly mournful Oblivion, and Wiggin’s sensuous performance here makes this track the standout moment for me. Rimsky-Korsakov’s The Flight of the Bumble-Bee is an ever-popular and fun showpiece, and Wiggin has the opportunity to show off his impressive technical virtuosity here.  Closing the disc, Yoshimatsu’s ‘Sing, Bird’ exploits the saxophone’s ability to bend notes and ‘fly’ up and down its registers in a bird-like fashion, with the piano part providing a rippling support.  Wiggin’s delicate articulation, particularly in the piece’s quiet conclusion, is mesmerising.  This is an impressive collection, definitely achieving Wiggin’s aim of showing the saxophone has a lot more to offer outside its traditional jazz/pop pigeonhole.

Various. 2018. Reflections. Huw Wiggin, John Lenehan, Oliver Wass. Compact Disc. Orchid Classics ORC100084.

Edward Gardner and the BBC Symphony Orchestra have followed up their well-received recording of Elgar’s (1857-1934) Symphony No. 1 with his Symphony No. 2, Op. 63, premiered in 1911 just three years after the great success of the first Symphony.  For this recording, as with the first, Gardner has paired the symphony with one of Elgar’s great works for string orchestra, this time the Serenade for Strings, Op. 20.  After the instant success of his first Symphony, the response to Elgar’s second was more of a slow burn.  Ostensibly dedicated to the late King Edward VII, it is in fact more personally inspired, Elgar saying ‘I have written out my soul’ in the work, along with the Violin Concerto and The Music Makers.  The mammoth opening movement is dominated by a passionate but stately theme, known as the ‘Spirit of Delight’ (a reference to Shelley).  Gardner and the BBCSO give this weight without ever getting bogged down, and the contrast between this and the more complex, reflective passages are all the more striking here.  The funereal second movement also has passion, but again Gardner keeps this under control, bringing out the poignancy of Elgar’s personal lament.  The short Rondo has fitful pace here, and Gardner and the BBCSO players present the finale’s complex fugal passage with taut precision.  As with all his Elgar recordings to date, Gardner never overindulges, but this is never dry or without passion either.  The Symphony is paired here with a warm reading of the youthfully charming Serenade for Strings.  Its three short movements combine lyricism and expression with gently rocking rhythms, and Gardner and the BBCSO strings give us a particularly tender slow movement here.  Another fine Elgar recording from Gardner, highly recommended.

Elgar, E. 2018. Symphony No. 2, Serenade for Strings. BBC Symphony Orchestra, Edward Gardner. Hybrid Super Audio Compact Disc. Chandos CHSA 5197.

(Edited versions of these reviews first appeared in GScene, August 2018)

CD Reviews - February 2018

Identifying expressions of sexuality in music is dangerous territory, the ‘gayness’ or otherwise of Tchaikovsky’s music being the most notable example, with analysis often revealing frankly homophobic stereotyping.  However, regardless of the fact that Polish composer Karol Szymanowski’s (1882-1937) was gay, it is hard to deny the sensuality and eroticism in his music, particularly in the first Violin Concerto.  There is a rich, sumptuousness in the orchestration, and the seductively wandering solo violin lines are intriguingly captivating.  Written for violinist Paweł Kochański, who also wrote the closing cadenza, the solo part dominates throughout, and the single movement work flows without break.  And this month, two recordings of the work are out.

Tasmin Little is joined by the BBC Symphony Orchestra, conducted by Edward Gardner, and her reading of the first Violin Concerto is taught and precise, as well as allowing the fuller, overtly romantic moments to blossom with full intensity.  Gardner again extracts precision from the BBCSO, as well as giving freer rein in the more ecstatic outbursts.  Little couples the first Violin Concerto with Szymanowski’s Violin Concerto No. 2, from about 16 years later, and also the Violin Concerto by a Polish contemporary of Szymanowski, Mieczysław Karłowicz (1876-1909).  Szymanowski’s second Concerto is less overtly sensual, with perhaps more edge and bite, and the central cadenza which links the two movements, again written by Kochański, has much more of a sense of contemplation and reflection, despite its virtuosic challenges, and Little manages this combination with great subtlety of expression.  The Concerto’s final swirling cadenza has great energy from Little, ably supported by Gardner and the BBCSO.  Karłowicz’s Concerto that completes Little’s disc is a much lighter affair, with some delicate woodwind writing in the orchestral textures.  Following clearly in the Tchaikovsky/Bruch concerto mold, this perhaps lacks a distinctive enough voice, but is an enjoyable vehicle for the soloist nevertheless, and Little enjoys the lyrical melodies and expressive flourishes here.

American violinist Anne Akiko Meyers places the Szymanowski at the centre of her disc, preceded by a work she commissioned from Finish composer Einojuhani Rautavaara (1928-2016), which turned out to be his penultimate composition. Fantasia, from which Meyers took the title for her disc, is a single movement work, with a slow, lyrical solo line supported by warm orchestral textures, also relatively slow moving in terms of pulse and harmonic direction.  Meyers’ tone is warm and sweet, and she is supported in the music’s wandering ebb and flow by the rich tones of the Philharmonia Orchestra, conducted by Kristjan Järvi.  This beautiful, lyrical music is ultimately a relatively fleeting reflection at just under 14 minutes, but a highly engaging one nonetheless.  Meyers’ Szymanowski is full-bodied and incisive, and the Philharmonia and Järvi match with a strong dynamic range and rich string sound in particular.  Meyers closes her disc with a lively rendition of Maurice Ravel’s (1875-1937) Tzigane, full of delicate touches and fine articulation, and if the opening cadenza could be grittier, she has great fun with the orchestral dance, and her race to the finish is exhilarating.

Both Szymanowski interpretations are strong, with little to separate them – Little just edges ahead in terms of expressiveness for me.  Little’s Szymanowski No. 2 is also highly engaging, whilst Meyers’ warmly personal Rautavaara is a great attraction.  On value for money, I would say Meyers disc at just over 48 minutes is a little sparse in comparison to Little’s 73 minutes.  Otherwise, both are welcome additions to the catalogue.

Various. 2017. Szymanowski, Karłowicz: Violin Concertos. Tasmin Little, BBC Symphony Orchestra, Edward Gardner. Hybrid Super Audio Compact Disc. Chandos CHSA 5185.

Various. 2017. Fantasia. Anne Akiko Meyers, Philharmonia Orchestra, Kristjan Järvi. Avie AV23850.

Composer Cheryl Frances-Hoad's (b.1980) continues to demonstrate great originality and variety in her compositions, and her new disc is a great showcase for her writing.  The opening work, Katharsis for Cello and Ensemble, was commissioned by and is performed here by cellist David Cohen, with the Rambert Orchestra, conducted by Paul Hoskins.  Frances-Hoad trained as a cellist at the Yehudi Menuhin School, so clearly has great understanding in writing for the instrument, but what strikes me most here is the writing for woodwind, particularly in the Minuet and Trio, with wind instruments delicately dancing around the solo cello harmonics.  Throughout, whilst there is plenty for the cello to display, much of the interest is in the interplay between soloist and the chamber ensemble.  The Forgiveness Machine, performed by the Phoenix Piano Trio is inspired by Beethoven’s Archduke Trio, and has an ethereal, almost stationary feel, with momentary outbursts subsiding into richly textured harmonies and delicate, long melodic lines, building to a full-blooded climax, before once again falling away to nothingness.  Quark Dances was written for a slightly larger ensemble, again performed here by the Rambert Orchestra and Paul Hoskins, and originally formed part of a ballet inspired by a visit to the Large Hadron Collider at CERN.  Again, Frances-Hoad’s imaginative orchestration is striking, with quirky moto perpetuo writing for the harpsichord in the Scherzando, and slightly seasick string slides underpinning a calling horn and wind flourishes in the central Andante.  Her seven solo piano pieces, Homages, have clear inspiration in specific works by seven different composers, yet she takes these initial inspirations in unexpected directions.  For example, the opening Contemplation, drawing on Grieg’s Op. 7 Sonata, has a cool, jazzy feel, and the dreamy Lullaby moves from Schubert to a much darker, slightly ominous soundworld.   The Ravel-inspired Un Canard hors de l’eau is perhaps closer in terms of harmonic language to the source, but the ethereal Mendelssohnian Song without Words once again has a darkness of mood.  Whilst the harmonic language of Stolen Rhythm is a along way from Haydn, his wit and lively spirit is discernible, and Balkan rhythms abound in Bar(tik)tok.  Pianist Ivana Gavrić negotiates the demands of such diverse styles and moods with ease and convincing commitment.  A Refusal to Mourn for Oboe and String Orchestra closes the disc, with oboist Nicholas Daniel joining the Rambert Orchestra and Hoskins. Written to commemorate the 250^th anniversary of the death of Bach, there are roots here in Lutheran chorales, but once again, Frances-Hoad takes her points of inspiration to imaginatively evocative new places.  She exploits the plaintive tones of the oboe in the opening Recitative, then makes great use of the instrument’s quirkier side in the bouncing Fugato, before long lyrical lines return for the oboe in the closing Chorale, and Daniel’s breath control in the final extended solo line is highly impressive.  Frances-Hoad is a composer with impressive creative inspiration, as well as technical command of writing for varied musical forces – highly recommended.

Frances-Hoad, C. 2017. Stolen Rhythm. Nicholas Daniel, David Cohen, Ivan Gavrić, Phoenix Piano Trio, Rambert Orchestra, Paul Hoskins. Champs Hill Records CHRCD119.

(Edited versions of these reviews first appeared in GScene, February 2018)

Fuel to the Proms fire on the First Night - Prom 1

© BBC/Chris Christodoulou

BBC Prom 1

Igor Levit (piano)

Edward Gardner (conductor)

BBC Proms Youth Choir

BBC Symphony Chorus

BBC Symphony Orchestra

Friday 14 July 2017

Royal Albert Hall, London

★★★★

Tom Coult: St John's Dance

Beethoven: Piano Concerto No. 3 in C minor, Op. 37

John Adams: Harmonium

© BBC/Chris Christodoulou

'Mass hysteria, Schiller’s Ode to Joy and Wild Nights – a heady mix for this year’s opening night of the BBC Proms'.

Coult: 'The overlaying structure ... is deftly constructed, and Coult’s writing has great energy and drive, making this a successful concert opener'.

Beethoven: 'Levit made the long lyrical lines of the Largo sing'.

Adams: 'A highly impressive performance of this modern choral classic, testament to the input of the array of chorus directors involved, as well as to Gardner and the BBCSO’s command of the work's massive orchestral demands'.

Read my full review on Backtrack here.

CD Reviews - June 2017

Last year, I had the great fortune to perform Elgar’s Dream of Gerontius in the Brighton Festival with Brighton Festival Chorus.  It was evident then that conductor Edward Gardner has expert command of Edward Elgar’s (1857-1934) music, so I was very much looking forward to his new recording of Elgar’s Symphony No. 1.  An added bonus is Elgar’s often overlooked Introduction and Allegro for string quartet and string orchestra, a piece I remember fondly from youth orchestra days (a very long time ago!), and on this disc, the BBC Symphony Orchestra are joined by the Doric String Quartet.  Like many others before him, Elgar waited a long time before composing his first symphony, perhaps feeling the weight of expectation, and the great symphonists that had gone before. Yet when it finally came, in his 50^th year, it proved to be a huge success, described by Hans Richter as 'the greatest symphony of modern times', and it was performed nearly one hundred times in the first year alone. The orchestration is rich and lavish, yet Elgar uses great contrasts in texture too. The opening noble theme sets us off perhaps expecting Elgar in Pomp and Circumstance mode, but the restless Allegro shocks the listener out of any nostalgic pomp very quickly. Gardner takes a balanced approach here, not allowing the noble opening to get bogged down, and giving the Allegro the right degree of turbulent energy, eliciting some particularly bright brass playing from the BBCSO players.  The second movement is also turbulent, and here again Gardner injects drive and energy. The beautiful Adagio that follows without a break, and masterfully transforms the theme from the previous movement, prompted a standing ovation at the first performance, and here it is given a particularly touching reading.  The final movement has incredibly full string textures, with the string sections subdivided several times, and the triumphant return of the opening noble theme with a blaze of trumpets gives a rousing finish.  Gardner keeps his powder dry, and holds the tension, so that when we finally arrive at the triumphant conclusion it has the powerful impact that Elgar surely intended.  In the Introduction and Allegro, Elgar plays with the contrast between the intimate forces of the string quartet and the larger, richer sounds of the full strings.  Gardner points out the detail in Elgar’s writing, with incisive playing from the Doric String Quartet, and precise ensemble from the full strings, particularly in the Allegro’s angular fugal writing.  This is a taut reading of the work, emphasising detail over emotional impact, perhaps, but highly engaging nonetheless, leaving me wanting more Elgar from Gardner very soon.

Elgar, E. 2017. Symphony No. 1, Introduction and Allegro. Doric String Quartet, BBC Symphony Orchestra, Edward Gardner. Hybrid Super Audio Compact Disc. Chandos CHSA 5181.

Last year I reviewed a couple of discs of Alex McCartney playing lute music.  Now he has released a recording performing on the lute’s very big brother, the wonderful theorbo.  Often used as part of an accompanying ‘basso continuo’ section, it’s great to hear it placed centre-stage as a solo instrument.  Giovanni Girolamo Kapsberger (c.1580-1651) was a virtuoso lute and theorbo performer, as well as composer, and McCartney has recorded here a selection of pieces from his 3^rd and 4^th books of works for the latter instrument.  They consist of predominantly Toccatas and Preludes, the former (which translates as ‘Touched’) giving the title to McCartney’s CD.  The Preludes are brief, barely a minute each, and the Toccatas are also slight.  But they nevertheless contain some fascinating and downright quirky harmonies and unexpected clashes.  With the rich, deep tones of the theorbo, and some rippling and cascading runs, deftly articulated here by McCartney, this is a delightful programme.  There are one or two more substantial movements, such as a Gagliarda, with wonderful falling chains of clashing suspensions, and a pleasing Passacaglia, but two of the shorter movements stuck out for me – the bell-like ‘Capona’, and the Spanish inflections of ‘Canarios’, for which McCartney managed a tastefully subtle dying repeat at the end.  Another enjoyable disc – notably recorded and produced by McCartney himself on his on micro record label, Veterum Musica – and a great chance to hear the theorbo up close.

Various. 2016. Toccata: Touched. Alex McCartney. Compact Disc. Veterum Musica. VM015.

Violinist Tasmin Little and pianist Piers Lane have been performing together for many years, and they follow on from highly successful recordings of Schubert, Strauss and two discs of British violin sonatas with their new disc.  They combine several works by Polish composer Karol Szymanowski (1882-1937) with César Franck’s (1822-1890) highly dramatic and romantic Sonata, with Gabriel Fauré’s (1845-1924) Romance thrown in for good measure.  Franck’s Sonata has a deceptively delicate opening, and Lane and Little are particularly sensitive to this intimate start. The turbulent Allegro that comes next is given great passion, followed by the emotionally operatic third movement, with touchingly sweet tones from Little especially.  In the spring-like canon that opens the finale, Little matches Lane’s delicate touch, and they follow this movement’s trajectory into the light, with a bright, summery flourish to finish.  We move into late summer/autumn with Fauré’s nostalgic Romance, which allows Little the freedom to demonstrate her singing tone in its delicate lyricism.  Szymanowski’s Sonata has comparable passion to Franck’s, and it follows a similar cyclical structure.  It is full of youthful exuberance, yet he can do intimate simplicity too, as demonstrated in the gentle, almost prayerful piano opening to the second movement, contrasted with a playful central section with jaunty pizzicato from the violin, and the finale has an infectious driving energy.  Szymanowski’s Romance is also passionate, although the temperature drops for an intimate central section with wandering harmonies, before the passion returns for its conclusion.  The Notturno e Tarantella that ends the disc comes from just 11 years after the Sonata, yet we’re into new territory here, with the mysterious, glassy rumblings and dramatic outbursts of the Notturno followed by a highly virtuosic, wild and swirling Tarantella to finish, with Little adopting a suitably harsher sound to add bite to their expert reading.  Another strong set of performances to add to Little & Lane’s already substantial portfolio of recordings together.

Various. 2017. Franck, Szymanowski, Fauré: Works for Violin and Piano. Tasmin Little, Piers Lane. Compact Disc. Chandos CHAN 10940.

(Edited versions of these reviews first appeared in GScene, June 2017)