Classy Brahms ends a fine visit from Yutaka Sado and the Tonkünstler-Orchester

Tonkünstler-Orchester Niederösterreich
© Martina Siebenhandl

Yeol Eum Son (piano)

Tonkünstler-Orchester

Yutaka Sado (conductor)

7.30pm, Thursday 13 March 2025

Cadogan Hall, London

★★★★

Jean Sibelius (1865-1957): Symphony No. 7 in C major, Op. 105

Wolfgang Amadeus Mozart (1756-1791): Concerto for Piano and Orchestra No. 21 in C major, K467

Encore:

Moritz Moszkowski (1854-1925): Huit Morceaux Caractéristiques, Op. 36 No. 6, Étincelles

Johannes Brahms (1833-1897): Symphony No. 1 in C minor, Op. 68

Encore:

Johannes Brahms: Ungarische Tänze, WoO 1, No. 5 in F sharp minor, orch. Albert Parlow (1824-1888) (in G minor)

Yutaka Sado & the Tonkünstler-Orchester Niederösterreich
© Nick Boston

'They gave a largely first-class performance, their Brahms bringing the house down'.

Sibelius:

'Sado set the scene with a steady crescendo, bright woodwinds contrasting the rich string sound that quickly enveloped them'.

Mozart:

'South Korean pianist Yeol Eum Son's Mozart was full of delicacy and elegance'.

Yeol Eum Son
© Nick Boston

Brahms:

'In a performance of effortless familiarity, Sado made sure that it never felt workaday'.

'There was no holding back here, the final brass fanfare over emphatic string chords bringing a powerful performance to an end'.

Read my full review on Bachtrack here.

20th-century English quintets at Cadogan Hall: sensitivity and orchestral scale

Mark Bebbington & RPO Principals
© Jenny Robinson

Mark Bebbington (piano)
Principals of the Royal Philharmonic Orchestra
Tamás András (violin)
Andrew Storey (violin)
Abigail Fenna (viola)
Jonathan Ayling (cello)
Benjamin Cunningham (double bass)

3.30pm, Sunday 24 March 2024
Cadogan Hall, London

★★★★
 
John Ireland (1879-1962): Phantasie Trio in A minor
 
Ralph Vaughan Williams (1872-1958): Piano Quintet in C minor
 
Edward Elgar (1857-1934): Quintet in Q minor for Piano and String Quartet, Op. 84

Ireland: 

'Jonathan Ayling’s opening lyrical cello melody was supported by gentle rippling from Bebbington, and violinist Tamás András responded with quiet delicacy'.

Vaughan Williams:

'The strings delivered warmth, with Bebbington soft-toned and sensitive throughout'.

'The free variations of the expansive finale gave all opportunities for fuller expression, and the string response to an emphatic statement from Bebbington midway was orchestral in magnitude'.

Elgar:

'The players followed András’ lead, with great swagger and bounce'.

'... with full-blooded passion from today’s players throughout'.

Read my full review on Bachtrack here. 

Bath Festival Orchestra inspires the next generation at Cadogan Hall

Bach Festival Orchestra & Peter Manning
© Nick Boston

Ben Goldscheider (horn)

Robin Tritschler (tenor)

Bath Festival Orchestra

Peter Manning (conductor)

Pupils of Bobby Moore Academy, Newham, London

Cadogan Hall, London

7.30pm, Thursday 8 June, 2023

★★★★

Bobby Moore Academy, BFO
© Nick Boston

Benjamin Britten (1913-1976): Serenade for tenor, horn and strings, song cycle, Op.31

Arcangelo Corelli (1653-1713): Concerto grosso in F major, Op.6 no.2

arr. Harry Baker: Secrecy Surrounds 

with poetry by Nuala, Tizyana, Sophia and Alicia 

arr. Harry Baker: Music inspired by Louise Farrenc’s Symphony No 2 

Michael Tippett (1905-1998): Fantasia Concertante on a Theme of Corelli 

Britten: Variations on a Theme of Frank Bridge for string orchestra, Op.10

Robin Tritschler & Ben Goldscheider
© Nick Boston

Britten Serenade:

'Goldscheider’s opening Prologue set the scene with commanding control and confident tone ... His athletic virtuosity in the demanding Hymn was matched ably by Tritschler’s nimble agility'. 

Corelli:

'The trio injected great energy in the faster sections, and there was good communication and enthusiasm from the whole team throughout'.

Bobby Moore Academy:

'Some strong, rhythmic pizzicato from strings, melodic wind playing and energetic brass, as well as lively percussion, all performed with impressive proficiency and drive. It was great to see such valuable work at the heart of the evening'.

Tippett:

'I have rarely heard a more insightful and tight reading of this work'.

Britten Variations:

'It was the Wiener Waltzer that stood out, with drunken swing, and balletic filigree from the violins on top'. 

Read my full review on Bachtrack here.

The RPO making sense of Shostakovich: a thrilling Ninth, along with dazzling Prokofiev

Kian Soltani
© Juventino Mateo

Kian Soltani (cello)
Royal Philharmonic Orchestra
Alexander Shelley (conductor)

Thursday 28 November, 2019

Cadogan Hall, London

★★★★





Alexander Glazunov (1865-1936): Concert Waltz No. 1 in D major, Op. 47
Sergei Prokofiev (1891-1953): Sinfonia Concertante in E minor (Symphony-Concerto), Op. 125
Encore:
Sergei Prokofiev (1891-1953): Music for Children, Op. 65 No. 10, March
Alexander Borodin (1833-1887): Prince Igor: Polvtsian Dances, No. 17
Dmitri Shostakovich (1906-1975): Symphony No. 9 in E flat major, Op. 70

Alexander Shelley & the RPO
© Nick Boston

'Shelley gave well-pitched introductions, supplying some contextual detail and listening tips with an easy manner'.

Glazunov:
'Shelley and the RPO took great delight in the swirling string melodies and sweet woodwind decorations, communicating a sense of fun and delight in its simplicity'.

Prokofiev:
'Kian Soltani gave an astonishingly commanding performance of this phenomenally challenging work'.

Shostakovich:
'Shelley and the RPO were on great form here, with Shelley setting quick tempi and the RPO responding with accuracy and tight ensemble'.

'The finale was suitably thrilling'.

Read my full review on Bachtrack here.

Kian Soltani & the RPO
© Nick Boston

A fitting tribute to Knussen in the Knussen Chamber Orchestra's Proms debut - Proms at ... Cadogan Hall 8

Ryan Wigglesworth
© Benjamin Ealovega

Knussen Chamber Orchestra
Ryan Wigglesworth (piano, conductor)

Monday 9 September, 1pm

Proms at ... Cadogan Hall 8
Cadogan Hall, London

★★★★





Oliver Knussen (1952-2018): ... upon one note - Fantasia after Purcell

Sir Harrison Birtwistle (b.1934): Fantasia upon all the notes

Freya Waley-Cohen (b.1989): Naiad

Knussen: Study for 'Metamorphosis'

Hans Abrahamsen (b.1983): Herbstlied

Alastair Putt (b.1983): Halazuni

Knussen: Songs without Voices


Waley-Cohen:
'A Copland-esque woodwind duet emerges, over glassy violin harmonics ... bringing this highly atmospheric piece to a quiet, contemplative conclusion'.

Knussen:
'Davies performed here with understated engagement, concluding with impressive control on the final sustained high notes'.

Putt:
'The repeating arabesque decoration is highly effective, as are the cascading, overlapping lines and the strangely keening horn and bassoon over flute flutters'.

'An impressive Proms debut from the Knussen Chamber Orchestra in a challenging range of contemporary chamber music, and a fitting tribute to Knussen himself'.

Read my full review on Bachtrack here.

The Amatis Piano Trio celebrate Clara Schumann with warmth and delicacy - Proms at ... Cadogan Hall 6

Amatis Piano Trio
© Allard Photo

Amatis Piano Trio:
Lea Hausmann (violin)
Samuel Shepherd (cello)
Mengjie Han (piano)

Monday 26 August, 1pm

Proms at ... Cadogan Hall 6
Cadogan Hall, London

★★★




Robert Schumann (1810-1856): 
Adagio and Allegro, Op. 70

Clara Schumann (1819-1896): 
Three Romances, Op. 22
Piano Trio in G minor, Op. 17

R Schumann:
'They began the Adagio with a brave pianissimo, the cello slowly warming into a sweet tone, matched by soft warmth from the piano'.

C Schumann:
Three Romances:
'Haussmann (violin) played here with a soft tone ... with well-judged dynamic phrasing throughout'.

Piano Trio:
'The close communication between the three players was evident'.

'The trio had great fun with the finale, with its folk-like playfulness'.


Read my full review on Bachtrack here.

Energy and virtuosity from VOCES8 in an impressive Proms debut - Proms at ... Cadogan Hall 1

VOCES8
© Andy Staples

VOCES8

Monday 22 July, 2019, 1pm

Proms at ... Cadogan Hall 1

Cadogan Hall, London

★★★★





Hildegard of Bingen (1098-1179): Spiritus sanctus vivicans vita
Pérotin (fl c.1200): Viderunt omnes - excerpt
Josquin des Prez (c1450/55-1521): Ave Maria ... Virgo serena
Jean Mouton (before 1459-1522): Nesciens mater virgo virum
Tomás Luis de Victoria (1548-1611): Regina caeli a 8
Jonathan Dove (b.1959): Vadam et circuit civitatem
Orlando de Lassus (1530/32-94): Missa 'Bell'Amfitrit'altera' - Gloria
Giovanni Pierluigi da Palestrina (c1525-94): Magnificat primi toni
William Byrd (c1540-1623): Sing joyfully
Alexia Sloane (b.2000): Earthward (world premiere)
Orlando Gibbons (1583-1625): O clap your hands
Encore:
Sergei Rachmaninov (1873-1943): Bogoroditse Devo, from All-Night Vigil, Op. 37


'The eight singers promised and delivered great skill and smooth blend, at the same time as their ability to characterise the music, text and individual lines when required'.

Dove:
'VOCES8 convey the rich, warm early clustered harmonies, as well as the repeated rising phrases and weaving lines, making this a highlight of their performance today'.

Sloane: 
'The precision and confidence of their performance was highly impressive'.

Gibbons:
'Full of energy and madrigalian lightness ... bringing their highly impressive Proms debut to a glorious conclusion'.

Read my full review on Bachtrack here.

Endings and beginnings: choral classics and a new commission from BBC Singers and Oramo - Proms at ... Cadogan Hall 6

© Benjamin Ealovega

BBC Singers
Sakari Oramo

Monday 20 August 2018

Proms at ... Cadogan Hall 6

Cadogan Hall, London

★★★★




Frank Bridge: Music, when soft voices die

Ralph Vaughan Williams: Rest

Gustav Holst: Nunc dimittis

Laura Mvula: Love Like a Lion

Hubert Parry: Songs of Farewell -
1. My soul, there is a country
2. I know my soul hath power to know all things
3. Never weather-beaten sail
4. There is an old belief
5. At the sound earth's imagined corners
6. Lord, let me know mine end

'Oramo conducted with big gestures, shaping the dynamics and flow of the text with confidence'.

'Mvula draws on a variety of styles, yet combining them in a skilfully coherent way'.

'More choral compositions from Mvula must surely follow'.

'The BBC Singers agility in the winding lines and frantic entries was impressive'.

Read my full review on Bachtrack here.

Blissful daydreams on a hot afternoon: lullabies and dreams from Connolly and Middleton - Proms at ... Cadogan Hall 4

© Jan Capinski

Sarah Connolly (mezzo-soprano)

Joseph Middleton (piano)

Monday 6 August, 2018

Proms at ... Cadogan Hall 4

Cadogan Hall, London

★★★★★





Charles Villiers Stanford (1852-1924): A Sheaf of Songs from Leinster, Op. 140 - 'A soft day'
Hubert Parry (1848-1918): English Lyrics, Set 4 - 'Weep you no more, sad fountains'
Ralph Vaughan Williams (1872-1958): The House of Life - 'Love-Sight'
Ivor Gurney (1890-1937): Thou didst delight my eyes
Arthur Somervell (1863-1937): A Shropshire Lad - 'Into my heart an air that kills'
Frank Bridge (1879-1941): Come to me in my dreams
Herbert Howells (1892-1983): Goddess of Night
Frank Bridge: Journey's End
Benjamin Britten (1913-1976): A Sweet Lullaby
Benjamin Britten: Somnus, the humble god
Gustav Holst (1874-1934): Twelve Humbert Wolfe Songs, Op. 48 - 'Journey's End'
Benjamin Britten: A Charm of Lullabies, Op. 41
Lisa Illean (b.1983): Sleeplessness ... Sails
Mark-Anthony Turnage (b.1960): Farewell

'Connolly and Middleton held the audience’s interest ... through a strong sense of communication and commitment to the texts'.

'Connolly, in her Proms recital debut, and Middleton delivered their programme with assurance and conviction throughout'.

'Connolly always delivered the text with intensity and passion, without ever becoming mannered in delivery'.

Middleton:
'His rippling watery accompaniment to Parry’s Weep you no more, sad fountains, and the beautifully placed delicacy of the opening to Vaughan Williams’ Love-Sight are just two small examples of the subtlety of his touch throughout'.

Read my full review on Bachtrack here. 

Ancient Rituals and New Tales: Tawadros challenges perceptions of the Oud - Proms at ... Cadogan Hall 3

© Daniel Sponiar

Joseph Tawadros (Oud)

Monday 30 July, 2018

Proms at ... Cadogan Hall 3

Cadogan Hall, London

★★★★

Joseph Tawadros (b.1983):

Taqasim Kord

Constellation

Work

Jessica Wells (b.1974):

Rhapsody for Solo Oud

Joseph Tawadros:

Permission to Evaporate

Gare de l'Est

Heal

Give or Take

Clothes

Forbidden Fruit

Encore:

Bluegrass Nikriz

Joseph Tawadros:

'He manages to gently challenge expectations of image, accent and culture'.

'The encore ... raised the energy levels with its new heights of virtuosity, lightening fingerwork and rhythmic strumming seamlessly switching between and blending bluegrass and Arabic music'.

'A perfect conclusion to a performance that was all about challenging perceptions – of culture, identity and, of course, the oud itself'. 

Jessica Wells:

'Her new piece, Rhapsody for Oud, was indeed rhapsodic, with fleeting moments of effect strung together in a loose but engaging way'.

Read my full review on Bachtrack here.

Captivating command, and a striking première by Risser from Jean Rondeau - Proms at ... Cadogan Hall 2

© Baghir

Jean Rondeau (harpsichord)

Monday 23 July, 2018

Proms at ... Cadogan Hall 2

Cadogan Hall, London

★★★★




Jean-Philippe Rameau (1683-1764): 
Pièces de clavecin, Book 1 - Prelude in A minor
Pièces de clavecin, Book 3 - Allemande, Courante, Sarabande, Gavotte aver les Doubles de la Gavotte

François Couperin (1668-1733):
Pièces de clavecin, Book 1 - Sarabande 'La lugubre', Chaconne 'La favorite'

Joseph-Nicolas-Pancrace Royer (c.1705-1755):
Pièces de clavecin, Book 1 - La sensible, La marche des Scythes

Eve Risser (b.1982)
Furakèla 
(BBC commission world première)

Rameau:
'The dark and dramatic opening Prelude was perfect for Rondeau to immediately draw the audience in and concentrate our attention on the rippling, improvisatory statements'.

Coopering:
'Rondeau captured the change in style here from the Rameau, and brought out the fugal lines in the Chaconne with great precision'. 

Royer:
'With improvisatory, cadenza-like passages and increasing virtuosic displays, the audience were fooled into premature applause, yet there was more hand-crossing and crazy rapid scales to come before a final emphatic flourish'.

Risser:
Risser and Rondeau managed here to create a fascinating collection of effects, and ... this proved to be a striking end to a highly impressive recital'.

Read my full review on Bachtrack here.