An exciting 2022/23 season ahead from the Brighton Philharmonic Orchestra

Brighton Philharmonic Orchestra is working its way up to its centenary in 2025, and their coming 2022/23 promises to be one of their most varied programmes for some years. They also venture out of their traditional Sunday afternoon slot into Saturday evenings for some concerts, and head out to some new venues too. In a further bid to reach new audiences, they are also offering a limited number of £10 'LoveMusic' tickets for three of their concerts, available to those who have never been to a classical concert or heard the BPO before (check out the details for this here).

Joanna MacGregor CBE

There is some familiar repertoire on offer - Haydn, Beethoven, Brahms, Elgar and Mahler, amongst others. However, notable is the inclusion of a broader range of repertoire, as well as some (albeit a few) works composed by women. So in their opening concert (2.45pm, Sunday 2 October, Brighton Dome), alongside Aaron Copland's Fanfare for the Common Man, is Joan Tower's Fanfare for the Uncommon Woman, composed some 40 years after Copland's piece. This concert includes Copland's Appalachian Spring Suite, and Quiet City, featuring soloists John Ellwood (trumpet) and Clare Hoskins (cor anglais). This packed programme also includes Gershwin - the Rhapsody in Blue (with the BPO's Music Director, Joanna MacGregor the piano soloist), and his Symphonic Suite from Porgy and Bess, all under the direction of conductor Sian Edwards.

 

The BPO Chamber Ensemble also pop up at the popular Strings Attached Coffee Concerts at the Attenborough Centre at the University of Sussex, with Rebecca Clarke's Two Pieces for String Quartet, along with Fauré's Piano Quartet No. 1, and Elgar's Piano Quintet (11am, 

Sunday 19 March, ACCA). MacGregor and the ensemble also venture over to the University of Kent in Canterbury for a concert of chamber works by Shostakovich, Brahms and Frank Martin (7.30pm, Friday 18 November, Gulbenkian Arts Centre).

 

Sian Edwards

The orchestra also collaborate with visual artist Kathy Hinde for Beautiful World, incorporating birdsong and Hinde's audio-visual work into a programme celebrating winter landscapes, with music by Philip Glass, John Luther Adams, Einojuhani Rautavaara, Radiohead's Jonny Greenwood and Norwegian composer Rolf Wallin. Once again Sian Edwards takes the baton, with Joanna MacGregor on piano and keyboards (7.30pm, Saturday 21 January, Brighton Dome).

 

Barry Wordsworth

Former principal conductor, now Conductor Laureate, Barry Wordsworth returns for Transfiguration, with Haydn's Symphony No. 88 paired with Mahler's Symphony No. 4. Carolyn Sampson (soprano) is the soloist, and she will also offer a couple of Mozart concert arias to complete the programme (2.45pm, Sunday 27 November, Brighton Dome). 

 

The BPO join voices with Brighton Festival Chorus for two concerts in the season. The first sees the BPO Brass Ensemble join the chorus for a concert of music by Andrea and Giovanni Gabrieli, as well as The Farthest Shore, an oratorio by Paul Mealor (7.30pm, Saturday 19 November, All Saints Church, Hove). Then the orchestra and chorus team up for a performance of Bach's St Matthew Passion, conducted by Robert Howarth, with soloists including James Oxley as the Evangelist (2.45pm, Sunday 19 February, Brighton Dome).

 

Ailish Tynan

For Christmas, the BPO Brass Quintet are joined by actor Roger Allam for performances of Charles Dickens' A Christmas Carol (3pm & 6.30pm, Saturday 10 December, St Luke's Church, Brighton). And they celebrate the New Year with their traditional Viennese Gala. Conductor Stephen Bell is joined by Ailish Tynan (soprano) for classics from the Strauss family and the world of operetta, as well as seasonal music by Rimsky-Korsakov, Korngold and film composer Christine Hals (2.45pm, Saturday 31 December, Brighton Dome). 

 

They end this packed season with Towards the Light, with two Beethoven concertos (the Triple Concerto, Op. 56 and the Piano Concerto No. 5, Op. 73 'Emperor') preceded by Barber's Adagio for Strings. Joanna MacGregor conducts from the piano, and is joined by Ruth Rogers (violin) and Peter Adams (cello) in the Triple Concerto (2.45pm, Sunday 26 March, Brighton Dome). 

 

Visit the BPO website here for details of all the concerts, the full season brochure and links to book tickets.

A chilling operatic tale from Frances-Hoad as centrepiece of Sampson & Middleton's impressive contribution to the Oxford Lieder Festival

Carolyn Sampson & Joseph Middleton
(screenshot from online stream)

Carolyn Sampson (soprano)
Joseph Middleton (piano)

7.30pm, Tuesday 13 October, 2020

(reviewed from online stream 31 October 2020)

Holywell Music Room, Oxford

Oxford Lieder Festival

★★★★★

Late to the party, I finally caught up today on Carolyn Sampson and Joseph Middleton’s contribution to this year’s Oxford Lieder Festival online, and I am so glad I did - at the last minute, as the concerts are still available until tomorrow evening, so if you’re quick you can still catch this and the rest of the festival’s concerts.

The theme of the festival was Connections Across Time, and the centrepiece of tonight’s programme was the world premiere of the festival’s Associate Conductor, Cheryl Frances-Hoad’s song cycle, written especially for Carolyn and Joseph, with a text by Sophie Rashbrook, Six Songs of Melmoth.

Frances-Hoad’s happenstance inspiration for the cycle began when she picked up a copy of Sarah Perry’s The Essex Serpent at a lending library at Bedford station, which led her to read Perry’s other novels, including Melmoth. This book in turn took inspiration from a much earlier work, Charles Maturin’s sprawling gothic tale, Melmoth the Wanderer, from 1820. The original involves Melmoth making a Faustian pact, taking 150 extra years of life in exchange for ensuring that he can convince someone else to agree to take his place, otherwise facing eternity burning in hell. So Melmoth roams through history, searching for someone to pass his curse onto. In Perry’s version, Melmoth is a woman, who seduces her victims as she crosses the centuries. Sophie Rashbrook took both versions as the starting point for her text, and across the six songs of the cycle, she takes the gender fluid Melmoth through time, and ultimately right into the present, the very singer in the concert hall presenting the final temptation to the audience to consent to join her.

Carolyn Sampson & Joseph Middleton
(screenshot from online stream)

Frances-Hoad’s works for voice are always highly evocative, dramatic and in effect, miniature operas, and this is no exception. A gift for Sampson here, with its variety of characters, moods, and an overall narrative arc, complete with dramatic twist at the end, and she certainly relished the opportunity to demonstrate her phenomenal virtuosity as well as her ability to communicate such a complex and dark tale. Right from the piano’s curtain-opening flourish up the keyboard at the beginning of The Painting, Middleton also showed impressive command of the considerable challenges Frances-Hoad’s score presented, providing insistent pace in Shipwreck Gossip, with beautifully fluid, watery accompaniment to the long lyrical vocal lines in Elinora’s Letter, more dramatic flourishes in City of Song-Ghosts, and dark tolling in the final song, Melmoth’s Serenade. Sampson meanwhile took us through the dramatic journey with incredible intensity, and the blaze in her eyes whenever Melmoth is present was positively chilling. The eery tone of the calling voice promising deliverance, contrasting with effortless, long lyrical lines and challenging leaps right through the whole range, passed off with crystal clarity, in Elinora’s Letter. The moment of transition in Deliverance, when the singer’s voice shifts from trembling fear to crazy, wild-eyed consent was truly scary, and Sampson’s final chilling delivery direct into camera, ‘to the audience’, willing us to consent, was definitely disturbing, and hard to resist. A wonderfully striking and operatic cycle, and a highly affecting performance here - a recording must surely follow before too long.

They began their programme with a selection of five Schubert songs, and communication across the spiritual realm featured significantly here, from the heart rending lay dark Schwestergruss to the prayerful Litanei auf des Fest Allerseelen, and finally heavenly peace in Elysium. Again, Sampson shifts from mood to mood, with a desperate, ghostly breeze running through Schwestergruss, contrasting with sheer delight in her bright voice in Die Sterne, attaining bliss at its conclusion. Gott in Frühlinge had a light freshness, whereas her long, lyrical lines in Litanei and the final extended ewig in Elysium showed off Sampson’s impressive breath control. Middleton matched the moods, with warm yet solemn tone in Litanei, and rippling accompaniment building to the triumphant conclusion of Elysium.

Carolyn Sampson
(screenshot from online stream)

They followed the Frances-Hoad premiere with a selection of three songs by Satie, preceded by a beautifully liquid and limpid performance by Middleton of the Gymnopédie No. 1, also bringing out its sad, darker undercurrent. Sampson’s dreamy, fluid lines and bright eyes in Les Anges contrasted with a beautifully playful Mad Hatter in Le Chapelier. They finished this group with the sultry waltz, Je te veux, perhaps with shades of Melmoth the seductress here?
Poldowski was in fact the pseudonym of Belgian-born composer Irène Régine Wieniawska, daughter of violinist and composer Henryk Wieniawski, and she lived most of her life in London. She particularly loved the poetry of Paul Verlaine, and the five songs presented here were all settings of his verse. In Cythère, Middleton’s dancing accompaniment underpinned a playfully flighty delivery by Sampson of the brief romantic encounter, and En Sourdine was all dreamy calmness apart from a muted, brief ecstatic outburst. Sampson’s Colombine was mischievous and balletically light, whereas L’heure Exquise had a beautifully romantic, liquid simplicity. Middleton had great fun conjouring up the strumming textures in Mandoline, disappearing away ‘in the shivering breeze’ with a light flourish. 

They completed their programme with Walton’s Three Façade Settings, less well-known than the ‘entertainment’ piece with spoken voice, Façade. Daphne has a folk-like melody, and is mainly straightforwardly narrative, with hints of a rippling river in the piano part, and a brief solo voice moment at the climax as Daphne transforms into a tree. Through gilded trellises plays with lilting Spanish rhythms, with a stop-start pattern hinting at brief sultry glimpses through the trellises, whilst Old Sir Faulk (which appears in Façade) closes the group with its foxtrot rhythm and jazzy humour. Sampson and Middleton delivered the set with style and a light touch, bringing their hugely varied and challenging programme to an end. 

Carolyn Sampson
(screenshot from online stream)

Franz Schubert (1797-1828):
Schwestergruss
Die Sterne
Gott im Frühlinge
Litanei auf des Fest Allerseelen
Elysium

Cheryl Frances-Hoad (b.1980)
Six Songs of Melmoth
1.The painting (Narrator) 1816
2. Shipwreck gossip (Old Biddy Brannington) 1816
3. Elinora’s letter (some salt-water damage to the text) 1516
4. City of Song-Ghosts (Narrator reprise)
5. Deliverance
6. Melmoth’s Serenade

Erik Satie (1866-1925)
Gymnopédie No. 1
Les anges
Le chapelier
Je te veux

Poldowski (1879-1932)
Cythère
En Sourdine
Colombine
L’heure exquise
Mandoline

William Walton (1902-1983)
Three Façade Settings
1. Daphne
2. Through Gilded Trellises
3. Old Sir Faulk

BBC Prom 25: The Tallis Scholars - Tavener

© BBC/Chris Christodoulos

BBC Proms, Prom 25

Monday 4 August 2014, 9.15pm

The Royal Albert Hall

Carolyn Sampson (soprano)

Heath Quartet

The Tallis Scholars

Peter Phillips (conductor)

Sir John Tavener (1944-2013):

Ikon of Light (first performance at the Proms)

Requiem Fragments (BBC commission, world première)

It would have been Sir John Tavener's 70th birthday this year, and presumably the BBC's commission of Requiem Fragments was originally intended to mark that anniversary at this year's Proms.  In fact it was one of the last works he composed before his death in November last year, and was dedicated to The Tallis Scholars, who performed it on Monday, conducted by Peter Phillips, along with Ikon of Light, which they recorded 30 years ago.  Their landmark recording of the work was also re-released earlier this year (read my review here), and that release also included The Tallis Scholars singing Tavener's The Lamb (more of this later), conducted by Tavener himself.

The Tallis Scholars line-up has gone through considerable changes in recent times, with many newer voices joining the group.  I wonder whether all these new voices have had chance to 'bed down' just yet, as the ensemble in Ikon of Light was at times surprisingly less secure than the smooth, blended sound we are accustomed to hearing from them.  Despite the fact that tuning was impeccable, they also took a note from the strings between several sections of the work - unnecessary as the tuning was bang on, but perhaps another indication that the ensemble were not 100% confident in this opening work.  

Ikon of Light is a striking work, with many of the key elements that would become Tavener's hallmarks throughout his career.  The first of these is evident in the opening section, Fos I, where he contrasts short sections for string trio (performed here by members of the Heath Quartet) with sudden, loud chords from the choir, on the single word, Fos ('light').  In their original recording, The Tallis Scholars gave these bright, illuminating chords real shine and edge, but on Monday night, some felt a little tentative, particularly from the top soprano voices, which characterised the performance overall, unfortunately.  However, there was some impressive singing here too, particularly from the two low basses in the Mystic Prayer to the Holy Spirit, as the subterranean bass drones frequently ground the increasingly complex invention in this long central section.  Tavener also shows his fascination with palindrome in this work, both small and large scale, as seen in the overall symmetrical structure of the work.  When the Fos chords return towards the end of the work (Fos II), the voices seemed more secure and confident, although still without the power and bite of the original recording.

However, for their performance of Requiem Fragments, The Tallis Scholars, separated into two choirs, seemed suddenly much more secure and at home.  Tavener was inspired here by Josquin's complex 24-voice Qui habitat, with its intricate canon structure.  Requiem Fragments is not as complex, but there is still considerable use of canon, particularly in the settings of the Hindu words Manikarnika (a Hindu shrine and place of cremation) and Mahapralaya (the total reabsorption of everything into the one Divine Being, at the end of the Universe).  In contrast, the earlier fragments, setting short parts of the Requiem text, are much simpler, although there is use of strict canon here between the two choirs, so that although the harmonies are very simple, almost Romantic in their lushness, Tavener still creates dissonance and effective layering of sound.  This richness is also matched in the writing for the string quartet, and the Heath Quartet produced a remarkably full tone to avoid being swamped by the singers.  The sections for string quartet also use canon, and they are joined by two trombones at key points, particularly effective in the climactic settings of Atma ('Supreme reality and supreme self') and Sanctus.  After this, Manikarnika begins with a lone soprano voice (exquisitely sung by Carolyn Sampson, who by now had crept into the organ loft way above the singers on stage), gradually joined by the choir in canon.  Tavener’s ability to produce something sublime out of seemingly simple beginnings is what marks out certain of his works as masterpieces, and this is definitely one of those works.  When the opening Requiem aeternam setting returns, closure is hinted at, but the final unresolved chord left hanging in the air felt like a fitting tribute to the enigmatic composer no longer with us.

Following the original scheduled programme, as part of the nationwide LIGHTS OUT event, the lights were dimmed and prommers lit small electric candles, whilst actor Samuel West joined the stage to recite Wilfred Owen’s Anthem for Doomed Youth.  The Tallis Scholars, joined by Carolyn Sampson, then gave a heartfelt rendition of Tavener’s The Lamb, followed by Sam West reciting the attributed words of the British Foreign Secretary, Sir Edward Grey, on the eve of Britain’s entry into the First World War, ‘The lamps are going out all over Europe…’  A moving and effective end to a reflective and atmospheric evening.