Brighton16 - Towards Expressionism - Saturday 9 July

Brighton16 will be singing music by Rheinberger, Brahms, Smyth, Bruckner, Reger, Schoenberg, and Strauss' 16-part anthem, Der Abend.

7pm, Saturday 9 July, St Michael & All Angels Church, Brighton

Entrance free

 

Artistry, focus and virtuosic fireworks from Yuja Wang in recital

Yuja Wang (© Ian Farrell)

Yuja Wang (piano)

7.30pm, Wednesday 20 April 2022

Royal Festival Hall, London

★★★★★

Ludwig Van Beethoven (1770-1827): Piano Sonata No. 18 in E flat major, 'Hunt', Op. 31 No. 3

Arnold Schoenberg (1874-1951): Suite, Op. 25

György Ligeti (1923-2006): Etude No. 6, 'Autumn à Varsovie' & Etude No. 13, 'L'escalier du diable'

Alexander Scriabin (1872-1915): Piano Sonata No. 3 in F sharp minor, Op. 23

Isaac Albéniz (1860-1909): Iberia, Bk 4: 'Málaga' & Bk 3: 'Lavapiés'

Nikolai Kapustin (1937-2020): Prelude in B major, Op. 53 No. 11 & Prelude in C sharp minor, Op. 53 No. 10

Encores:

Philip Glass (b.1937): Etude No. 6

Johann Sebastian Bach (1685-1750): Orchestral Suite No. 2 in B minor, BWV1067, Badinerie (arr. unknown)

Johannes Brahms (1833-1897): Intermezzo in C sharp minor, Op. 117 No. 3

Arturo Márquez (b.1950): Danzón No. 2 (arr. unknown)

Sergei Prokofiev (1891-1953): Toccata in D minor, Op. 11

Vladimir Horowitz (1903-1989): Carmen Variations

Franz Schubert (1797-1828): Gretchen am Spinnrade, D118 (transcribed by Franz Liszt (1811-1886))

Pyotr Ilych Tchaikovsky (1840-1893): Swan Lake, Op. 20, Dance of the Little Swans (arr. Earl Wild (1915-2010))

Giovanni Scambati (1841-1914): Mélodie (transcribed from Christoph Willibald Gluck (1714-1787): Dance of the Blessed Spirits from Orphée et Eurydice)

Yuja Wang (© Ian Farrell)

'While Wang more than delivered virtuosic fireworks, she gave so much more in her wide-ranging programme, showing phenomenal artistry and focus in well over two hours of performance'.

Schoenberg:

'Her Schoenberg that followed was, however, a revelation, with opening bite and edge followed by some remarkably delicate and intricate details'.

Ligeti:

'In ... Automne à Varsovie, Wang was into her astonishingly virtuosic stride, with hands at full stretch to either end of the keyboard. Yet it was her dynamic control that also impressed here'.

Scriabin:

'Wang’s dynamic control was impressive, with barely audible pianissimos expressing heartfelt longing'.

Encores:

'Dazzlingly rapid repetition in Glass followed by a crazy arrangement of ... Bach'.

Read my full review on Bachtrack here.

CD Reviews - August 2021

When a new recording of J S Bach’s (1685-1750) Goldberg Variations comes along, it’s always interesting to hear what the performer makes of this iconic work, and it’s particularly intriguing to have two recordings come along at the same time. But when one is performed on the harpsichord (as Bach composed the work) and the other on the piano, the comparison gets even more fascinating. Of course there are some that would immediately dismiss a performance on a modern piano, but that would be a pity. There isn’t space here to go over all the arguments – would Bach have used the piano had it existed in his day? How does a pianist get around the use of two manuals (essentially two keyboards on the same instrument) which Bach sometimes uses to make different lines play the same note and cross each other? How much expression in terms of dynamics and pedalling is appropriate for a piano performance, given that these are not possible on the original instrument? Suffice to say, this masterpiece stands up to great variety of interpretation, and hearing different keyboard players’ solutions to its challenges only serves to reveal its greatness.

A word about the structure here – following an opening Aria, there are then 30 Variations. Every third variation is a canon (a round), although the interval between the canon’s starting notes increases each time, and then in between are virtuosic study-like variations, as well as character variations, such as a French Ouverture, a Giga and a Fughetta. I reviewed Greek-born pianist Alexandra Papastefanou’s all Schumann disc very favourably back in April, although she also has two previous discs of Bach in her catalogue. Harpsichord Malcolm Archer is new to me, although he has a strong career as a conductor, organist and harpsichordist, as well as composing, particularly choral works. Archer’s instrument, built in 2000 by Alan Gotto is a copy of a 1728 instrument by Christian Zell, who in turn was a pupil of Mietke, a maker that Bach would have known well (he may even have owned one himself). The sound is bright and ringing, with a lightness suited to the rapid articulation required here. Bach’s markings of tempo are sparse, so there is plenty of scope for different approaches here – for example, Archer’s Variation 25 (marked Adagio) is just under four and a half minutes long, whereas Papastefanou takes almost twice as much time over this minor sarabande. Yet both approaches work – Archer gives this a stark solemnity, whereas Papastefanou’s take is more overtly expressive. Archer’s take, however, is not actually as quick as the timing would suggest – here, as elsewhere, he omits some repeats of sections, so his complete recording comes in at nearly 15 minutes shorter than Papastefanou’s. So in fact, Papastefanou’s more virtuosic variations, such as the jangling 28^th Variation, are sprightlier. If I were to choose my ideal Goldberg recordings, it would be Mahan Esfahani on harpsichord, and Andras Schiff on piano, but there is always space to hear new takes on this, and both recordings here have much to commend. Archer brings delicacy, precision and lightness of touch, whilst Papastefanou gives us a more expressive approach, with skillfully smooth lines, and some blistering virtuosity in her faster moments.

Bach, J. S. 2021. Goldberg Variations. Alexandra Papastefanou. Compact Disc. First Hand Records FHR110.

Bach, J. S. 2021. Goldberg Variations. Malcolm Archer. Compact Disc. Convivium Records CR064.

On their second recording, ‘Stolen Music’, the Linos Piano Trio have taken some iconic early 20^th Century orchestral works and transformed them for their own chamber forces – and why not? They have arranged three of the works themselves, French gems by Debussy, Ravel and Dukas. Debussy’s Prélude à l’après-midi d’un faune is full of colour and the hazy intoxication of a sleepy afternoon, and whilst Pan’s flute is missing here, the trio make great use of silky lines from violinist Konrad Elias-Trostmann, as well as the high registers of the cello, from Vladimir Waltham. Prach Boondiskulchok on piano fleshes out Debussy’s rich harmonies remarkably with warm tone and delicate placement. Dukas’ The Sorcerer’s Apprentice is another very well-known atmospheric work, full of orchestral drama and colour. Their piano trio version here obviously can’t replicate the full scale and range of textures, but with clever use of glassy strings and

Konrad Elias-Trostmann (violin)

pizzicato, as well as frenzied piano moments, the relentless march towards disaster is effectively conjured up, with a truly wild climax. Ravel’s La Valse has a similar feeling of looming disaster, here with the seemingly formal waltz slowly spiralling out of control, even tipping over the edge into decadent chaos. In their arrangement, the Linos players burst the piano trio free of the formal salon into wild abandon – the variety of textures and effects they generate from the three instruments here is impressive, and they almost achieve the sense of impending seasickness generated by the orchestral surges at the conclusion. The other work here is Schoenberg’s Verklärte Nacht, here in a transcription by Eduard Steuermann from 1932. Steuermann studied composition with Schoenberg, and premiered his Piano Concerto. Back in April I

Prach Boondiskulchok (piano)

reviewed the BBC Symphony Orchestra and Edward Gardner’s recording of the orchestral version of this psychological drama, in which a woman walks with her lover in a moonlit forest, and confesses she is pregnant by another man. The original version was for string sextet, so the piano trio format is not so far away, with the piano part doing a lot of heavy lifting in terms of the rich harmonies. The lyrical higher registers of the cello are used to match the passionate outbursts from the violin, and the piano is a constant driving force of dramatic energy. Through their expert and sensitive arrangements of the French works, as well as their deeply expressive rendition of the Schoenberg, the Linos Piano Trio communicate deep understanding of and commitment to

Vladimir Waltham (cello)

these passionate works, bringing a freshness to these familiar works. I look forward to these players stealing more repertoire if these arrangements and performances are anything to go by.

Various. 2021. Stolen Music. Linos Piano Trio. Compact Disc. Avi Music 8553035.

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

 

 

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)

'All that is dark and oppressive will disappear': Deeply affecting performances from Jurowski and the LPO: BBC Prom 66

© Chris Christodoulou

BBC Prom 66

Mitsuko Uchida (piano)

London Philharmonic Orchestra 

Vladimir Jurowski (conductor)

Beethoven: Overture 'Fidelio', Op. 72

Schoenberg: Piano Concerto, Op. 42

Shostakovich: Symphony No. 8 in C minor, Op. 65

Royal Albert Hall, Friday 4 September 2015

'Uchida’s focus was total, communicating constantly with the orchestra and Jurowski'.

'A powerfully bleak reading of Shostakovich’s Symphony no. 8 in C minor'.

'A spellbinding performance of a deeply troubling symphony'.

'Sadly, such an expression of the consequences and aftermath of war felt disturbingly relevant and current'.

Read my full review on Bachtrack here.

Joyful Haydn, energetic Mendelssohn and intense Schoenberg from Julia Fischer and the Academy of St Martin in the Fields

© Felix Broede/Decca

Julia Fischer (violin, director)
Oliver Schnyder (piano)
The Academy of St Martin in the Fields

'A Romantic Conversation'

Haydn: Violin Concerto in G major, Hob. VIIa:4
Mendelssohn: Concerto for Violin, Piano and Strings in D minor, MWV 04
Schoenberg: Verklärte Nacht, Op. 4 for String Orchestra

Cadogan Hall, Sunday 19 April 2015.

'Fischer played the two cadenzas ... with effortless precision and impressive control'.

'Fischer’s sweet tone was paired with a beautifully sensitive touch from Schnyder'.

'The string players’ rich depth of sound built to convey the anguish and passion required'.

Read my full review here.

Shostakovich, Symphony No. 1 in F minor, Op. 10

Nijinsky as Petrushka

As graduation pieces go, this is pretty impressive!  Shostakovich finished composing his first symphony at age 19, graduating from the St Petersburg Conservatory, and it is definitely a work of youthful energy and confidence.  Yet here there are definite hallmarks of his work to come, most evident in the second scherzo movement - the racing, helter-skelter rhythms, and the use of the piano with its octave runs and glissandi.   In the first movement, I can definitely hear the 'circusization' that was a major fashion in Soviet cinema and theatre at the time, and many have commented on the connections with Stravinsky's Petrushka.  Apparently, Shostakovich was also working as a pianist in several silent cinemas at the time.  I also hear Strauss here - Till Eulenspiegel, and Don Juan.  It is definitely a playful movement, but there is also a dark edge to it too.  The rhythm of the second subject, in 3/4 time, but with barely a discernible downbeat from the melody in the flute, followed by the clarinet, and pizzicato offbeats in the strings, adds to the unsettling feeling.  The third, slow movement suddenly shows us real depth of feeling from such a young man - here we are in the world of Mahler and Wagner (he even quotes Siegfried).  He also uses heavily divided strings here, as he did in the first movement - there are 7 solo violin parts, 4 solo violas and three solo cellos for the closing dozen bars.  Again, there is a dark uneasiness here - and there is no break before the final movement, introduced by a drum roll, followed by menacing slow theme from the woodwind, underpinned by anxious, staggering starts from the strings.  Here I also heard some Schoenberg - a definite whiff of Verklärte Nacht, I thought.  So overall, lots of influences, understandable in a young, graduating student, but definitely some Shostakovich features here already.  

And the recording?  Well, I really enjoyed this - Mariss Jansons with the Berlin Philharmonic, recorded in 1994.  It felt very incisive, and had just the right amount of that youthful energy, whilst at the same time picking out those darker moments, and communicating the emotion of the slow movement well too.  I did however find their performance of the Concerto for Piano, Trumpet & Strings in C minor, Op.35, which follows on my disc a little sluggish, only really picking up the necessary energy at the end of the final movement.  I think Jansons' recording of the symphony is now only available as a complete symphonies set anyway.


Shostakovich.  Symphony No. 1 in F minor, Op. 10 , Concerto for Piano, Trumpet and Strings in C minor, Op. 35. Berlin Philharmonic, Mariss Jansons. 1995. Compact disc. EMI Classics 7243 5 55361 2 9.


So, onto Symphony No. 2 - if one can call it a symphony.... More of that later.


Any thoughts on Symphony No. 1 would be gratefully received.