CD Reviews - November 2022

Pianist Clare Hammond’s new disc (realised 4 November) of Études by Hélène de Montgeroult (1764-1836) is a complete revelation. Eight years younger than Mozart, Montgeroult, from a noble background, led a dramatic life involving a secret diplomatic mission, kidnap and imprisonment. Despite this, she was made professor of piano at Paris Conservatoire de Musique, and published nine sonatas, three fantasies, and her ‘Cours complet’ containing 114 études and over 900 exercises, as well as various other pieces. The style is so ahead of her time, in terms of what we might expect, that it is hard not to think that her work was not heard by the likes of Beethoven, Schubert, Mendelssohn, Brahms and Chopin. It is often the case that we fall into the trap of listening to unknown music composed by women and constantly liken it to that of male composers, as if to say they must have been the prime influence. Here it is so clearly the other way around, as many of the characteristics of her compositions, in terms of adventurous harmonies, complexity of texture, tempo changes and singing melodies, are foretastes of what we hear in the Romantic composers that followed her. The études were composed from around 1788 to 1812, by which time Schumann and Chopin were just 2 and Mendelssohn 3 years old. Yet if you didn’t know otherwise, the singing melodies over perpetual motion accompaniment of Études nos. 26 and 41, or the dancing energy or percussive textures of nos. 35 & 65, or the virtuosic trilling and insistent rhythmic energy of nos. 100 & 103, could be mistaken for Mendelssohn, Schubert or Chopin respectively. There are Beethovenian bagatalles, Field-like nocturnes, poignancy foreshadowing late Schubert, and even Brahmsian impromptus. Yet there is a clear individuality too in her expressive use of melody and her dense, rapid-moving textures. Did all of these composers know her work? There are possible connections to Mendelssohn via one of his teachers, and Clara Schumann’s father used the Cours complet in his teaching. But beyond that, we can’t be sure. We can only conclude from the quality and creative invention of her compositions that, had she not been a woman, her work would surely be better known today. Hammond has absorbed her soundworld and performs these gems with nuance, warmth and virtuosic fluidity throughout. Given that there are 29 études from the 114 here, there is surely scope for a follow-up, which would be greatly welcomed.

Montgeroult, H. de. 2022. Études. Clare Hammond. Hybrid Super Audio Compact Disc. BIS Records BIS-2603. 

American pianist Sarah Cahill returns with the second volume of her survey of keyboard music composed by women, The Future is Female. As with the first volume, the choice is eclectic, ranging from the late 17^thcentury to the present day, and the loose theme this time is The Dance. She opens with the delightful Suite No. 1 from Élisabeth Jacquet de la Guerre’s (1665-1729) Pièces de clavecin. If we put to oneside any concerns about this being performed on a modern piano, Cahill’s approach is light and delicate, with rippling ornaments and the five short movements bounce along with a gentle lilt. The middle Sarabande is quiet and contemplative, whilst the final Gigue, whilst not overly extravagant, is pacier, within an overall introspective soundworld. Clara Schumann (1819-1896) is next, and her Variations of a theme of Robert Schumann, Op. 20. Written as a present for her husband’s 43^rd birthday, it was one of her last compositions for the piano. The theme itself is rather mournful, almost funereal – and it was her husband’s last birthday before entering the asylum where he would end his days. However, she creates romantic passion in the variations that follow, increasing the intensity and rhythmic energy and moving the melody around in the texture. Yet she returns several times to the chorale-like plainness of the theme, and the six variation is particularly poignant and questioning. Cahill captures the atmosphere of this deeply personal composition with understated affection. We leap forward to 1957 for Germaine Tailleferre’s (1892-1983) Partita, with its wandering melodic lines and jazzy harmonies, and a playfully balletic dance to end. We move through the latter half of the twentieth century with a mournfully nostalgic Rhapsody from Zenobia Powell Perry (1908-2004) and two evocative movements from Madeleine Dring’s (1923-1977) Colour Suite, full of cabaret-style swing and dance rhythms. Elena Kats-Chernin’s (b.1957) Peggy’s Rag is delightfully nostalgic, and Betsy Jolas’ (b.1926) Tango Si deconstructs elements of the dance, with stop-start hints of tango rhythms. The St Petersburg Waltz by Meredith Monk (b.1942) swirls around repeated chords with Eastern European inflections and distant cries from the top of the keyboard. Mexican composer Gabriela Ortiz’s (b.1964) Preludio y Estudio No. 3 has a mysterious, free prelude with high outbursts contrasting with a drone-like bass, and the virtuosic Estudio is full of insistent driving rhythms, splashing chords and metallic use of the very top of the instrument. The disc ends with a dramatically expressive piece, ‘She Dances Naked Under Palm Trees’, by Theresa Wong (b.1976), with haunting use of the pedal to create ringing notes, thundering textures, glissandi and a deeply unsettling 13-beat metre. As with the first disc, with such a fascinating and well-chosen selection of diverse works, it is easy to forget the pianist here, and once again Cahill demonstrates an impressive command of such a wide variety of styles, so as well as being a great testament to the women composers here, high praise is deserved for these performances too.

Various. 2022. The Future is Female, Vol. 2, The Dance. Sarah Cahill. Compact Disc. First Hand Records FHR132.

Ruth Gipps (1921-1999) was an English composer, oboist, pianist and conductor, studying the oboe at the Royal College of Music with Léon Goossens, and composition with Gordon Jacob and Vaughan Williams. Her music eschewed serialism or atonalism and as such, perhaps fell out of fashion somewhat – and of course she sadly suffered at the hands of a misogynistic and male-dominated world of composition in the early to mid-twentieth century. Thankfully, her music is experiencing something of a revival, and Chandos’ second volume of her orchestral music further demonstrates the inventiveness of her orchestration and her understanding of orchestral colour. Her youthful Oboe Concerto, Op. 20, expertly performed here by Juliana Koch, along with the BBC Philharmonic conducted by Rumon Gamba, is full of lively writing for the oboe, along with lyricism in the slow movement, folksy dancing melodies in its finale. But its strengths also lie in the delicacy of the scoring, with just muted strings in the central Andante, and mysterious string textures in the opening movement. There are two short orchestral works here too, firstly an Overture to a never completed opera, Chanticleer, Op. 28, with atmospheric wind writing and surging strings, as well as rasping brass evoking the cockerel of the title. There is also a dark elegy on war, Death on the Pale Horse, Op. 25 (written in 1943), drawing inspiration from Blake’s painting of the same name. Here, gently pulsing timpani build to the climactic moments, and the opening horn solo, repeated at various points, adds to the sense of doom. The rest of the disc is given over to Gipps’ Symphony No. 3, Op. 57. Written in 1965, the style was surely running against the fashions of the time, which might explain its relative obscurity, but the wealth of expression and orchestral colour on offer here is immediately attractive. The shifting tonalities of the opening movement, with rich string writing, builds to exhilharating, surging climaxes, and the Theme and Variations second movement is warm and lush, with highly imaginative use of percussion. Again, unusual orchestral colour is on display in the Scherzo, with an ostinato (repeated figure) for harp and glockenspiel, against skittish string writing. The finale is jaunty, with some striking moments for the brass – she certainly knows how to make the most of all parts of orchestral textures, and Gamba and the BBC Philharmonic exploit this to the full. I missed Volume 1, and will certainly now be seeking it out.

Gipps, R. 2022. Ruth Gipps Orchestral Works, Vol. 2. Juliana Koch, BBC Philharmonic, Rumon Gamba. Compact Disc. Chandos CHAN 20161.

 

 

 

Brighton Early Music Festival 2022

 

My highlights from this year's Brighton Early Music Festival: 

Exceptional music making from such a talented pool of #BREMFLive musicians @brightonemf @flutesandfretsduo @tufnelltrio @horizon.voices #BREMFMedievalEnsemble @liturinamusic #earlymusic #bremf https://t.co/3CYKPCX43C

— Nick Boston 🏳️‍🌈 (@nickb86uk) October 22, 2022

 

Flutes & Frets

Tufnell Trio

 

BREMF Medieval Ensemble

Liturina

Horizon Voices

 

Spiritato & The Marian Consort

 

Exhilarating, energetic, life-affirming playing and singing from @spiritato & @marianconsort in 'Inspiring Bach' @brightonemf #BREMF #earlymusic @ St Martin's Church, Brighton https://t.co/DRUbGWgoUF

— Nick Boston 🏳️‍🌈 (@nickb86uk) October 22, 2022

 

Ensemble Molière, Angela Hicks & Kieran White

Glorious #rameau & stately #lully in 'Les Lullistes contre les Ramoneurs', beautifully played by @ensemblemoliere with enchanting and virtuosic singing from @AngelaHicksSop & @KWhiteTenor - a fine conclusion to @BREMF #BREMF #earlymusic pic.twitter.com/2nLyD0yhdL

— Nick Boston 🏳️‍🌈 (@nickb86uk) October 23, 2022

Strong cast lifts conventional Bohème revival at the Royal Opera House

Juan Diego Flórez (Rodolfo)
& Ailyn Pérez (Mimì)
© ROH/Marc Brenner

Kevin John Edusei (Conductor)

Richard Jones (Director)

Danielle Urbas (Revival Director)

Stewart Laing (Designer)

Mimi Jordan Sherin (Lighting Designer)

Sarah Fahie (Movement Director)

Orchestra of the Royal Opera House

Vasko Vassilev (Principal Guest Concert Master)

Royal Opera Chorus

William Spaulding (Chorus Director)

Andrey Zhilikhovsky (Marcello)

Juan Diego Flórez (Rodolfo)

Michael Mofidian (Colline)

Ross Ramgobin (Schaunard)

Jeremy White (Benoît)

Ailyn Pérez (Mimì)

Andrew Macnair (Parpignol)

Danielle de Niese (Musetta)

Wyn Pencarreg (Alcindoro)

John Morrissey (Customs Officer)

Thomas Barnard (Sergeant)

La bohème, Act 2
© ROH/Marc Brenner

Co-production with Teatro Real, Madrid & Lyric Opera of Chicago

Friday 14 October 2022

Royal Opera House, London

★★★

Giacomo Puccini (1858-1924): La bohème

(libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henry Murger)

Andrey Zhilikhovsky (Marcello) & Ailyn Pérez (Mimì)
© ROH/Marc Brenner

'A Chaplinesque Flórez lingering effortlessly (borderline indulgently – but if you’ve got it…) on his glorious top notes, and Pérez highly convincing with tender warmth and innocence building to rich passionately rich tones.'

'Danielle de Niese (Musetta) created much needed movement and colour here, with some precarious table-top attention grabbing. Her Musetta was light and playful.'

Juan Diego Flórez (Rodolfo) & Ailyn Pérez (Mimì)
© ROH/Marc Brenner

'Flórez and Pérez’s passionate ‘shall we, shan’t we?’ dilemma was evident and convincing, and Andrey Zhilikovsky’s Marcello developed into a more well-rounded character here, with a clear bond between him and Rodolfo, as well as jealous frustration with Musetta.'

'Flórez captured well Rodolfo’s slightly clueless final dawning of reality, and Pérez was equally moving – ... the final result packed the requisite punch.'

'On balance, a strong cast, and a visually stimulating Act 2, with fine playing throughout, once dynamically under control, from the orchestra. But for a more believable and convincing ensemble, despite its bleaker setting, Team Glyndebourne wins out for me.'

Read my full review on Bachtrack here. 

Death haunts Glyndebourne Tour's powerful Bohème

Bekhzod Davronov (Rodolfo) & Gabriella Reyes (Mimì)
© Glyndebourne Productions Ltd/Bill Cooper

Glyndebourne Tour 2022

Rory Macdonald (conductor)
Floris Visser (director)

Simon Iorio (revival director)

Dieuweke Van Reij (set designer)

Jon Morrell (costume designer)

Pim Veulings (choreographer)

Alex Brok (lighting designer)

Klaus Bertisch (dramaturg)

Glyndebourne Tour Orchestra

Richard Milone (leader)

Glyndebourne Chorus 

Aidan Oliver (Chorus Director)

Children's Chorus:

Glyndebourne Youth Opera, Trinity School

La bohème

© Glyndebourne Productions Ltd/Bill Cooper

Bekhzod Davronov (Rodolfo)

Luthando Qave (Marcello)

William Thomas (Colline)

Luvuyo Mbundu (Schaunard)

Darren Jeffery (Benoît/Alcindoro)

Gabriella Reyes (Mimì)

Peter Van Hulle (Death/Parpignol)

Mariam Battistelli (Musetta)

Andrew Davies (Customs Officer)

Patrick Keefe (Police Sergeant)

Sunday 9 October 2022

Glyndebourne, East Sussex

★★★★

Giacomo Puccini (1858-1924): La bohème

(libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henry Murger)

William Thomas, Luvuyo Mbundu, Darren Jefferey,
Luthdano Qave & Bekhzod Davronov 

© Glyndebourne Productions Ltd/Bill Cooper

'(The insertion of Death) is a useful conceit, drawing the audience into her fear and ultimate acknowledgement of her fate, as it is clear only we and Mimì see Death’s presence'.

'It is remarkably successful. ... there is an intensity to the setting, paring the action down allowing for full focus on the emotional interactions'.

'Davronov captured well Rodolfo’s impetuous youthfulness, contrasted with Reyes’ emotional intensity, with that added dimension of her visions of Death'.

'Davronov sang Rodolfo with strong clear lines and passion, yet he never dominated proceedings, for it was Reyes that shone with rich lyricism and depth of emotion. Qave as Marcello also deserves mention ... bringing a powerful, rich-toned presence to the role'.

Darren Jeffery (Alcindoro) & Mariam Battistelli (Musetta)

© Glyndebourne Productions Ltd/Bill Cooper

'Rory Macdonald conducted the Glyndebourne Tour Orchestra with energy, maintaining the forward momentum as well as eliciting the rich lyricism of Puccini’s luscious scoring'.

'It succeeds in bringing a new perspective, and the strength of the whole cast mean that this is a production that definitely stands out from the crowd'.

Read my full review on Bachtrack here.

CD Reviews - October 2022

There have been a crop of recordings coming out of musicians’ exploits during lockdown, and violinist Sara Trickey is a strong addition to the field (released 21 October). Trickey posted weekly videos of solo violin music via YouTube, and as well as bringing her performances to new audiences, she enjoyed the communication from listeners too. As the world returns to some sort of normality of performance, that intimacy of connection is something many performers are now missing. Trickey has recorded a range of repertoire here from those weekly videos, the majority being contemporary works, with several world première recordings and a number of compositions specifically written for her. She begins however with Albéniz’s (1860-1909) popular Asturias from his Suite Española No. 1, Op. 47, in a strong arrangement by Jane Gillie. Written for piano, but also well known in the guitar version, it works remarkably well on the violin, and the instrument has the additional advantage when it comes to sustaining the melodic lines. Trickey communicates the dramatic rhythmic energy, but also adds this element of sustain to the melodies. Telemann’s (1681-1767) Fantasie No. 1 receives a pleasingly light interpretation, with introspection in the slow sections, and an energetic bounce in the faster movements. Her Prokofiev (1891-1953) Violin Sonata, Op. 115 is full of playfulness, dancing through the outer movements, with a light-footed approach to the variations in the middle movement. Norwegian composer Bjarne Brustad (1895-1978) was new to me, and his wistful Lento from his Fanitulsuite No. 1 is beautifully played here, with an ethereal breathy tone in its repeated patterns, often echoed by glassy harmonics. Sally Beamish’s (b.1956) The Wise Maid is folksy and playful, with a surprise towards the end as the harmonies suddenly shift and slide into its quirky conclusion. James Francis Brown’s (b.1969) Soliloquy, written for Trickey, is evocative and improvisatory, again with that introspective feel that speaks of lockdown and isolation. Errollyn Wallen’s (b.1958) Bertha, for which Trickey is joined by Rosie Bergonzi on the handpan is a curious mix of racing, scratchy energy that almost can’t be contained by the gentle insistence of the handpan, followed by a move into more gently rocking rhythms and a delicate song melody from the violin, before the earlier energy returns. David Matthews’ (b.1943) Prelude no. 12 from his set of 15 was written for Trickey’s birthday, with delicate lyricism and birdlike trilling packed into its brief two minutes. Lyell Creswell (1944-2022) sadly passed away just after the recording of his Lento, written for Trickey back in 1994. It has a moving simplicity, played with touching intimacy, and Trickey also played this at Creswell’s funeral earlier this year. The disc ends with a more flamboyant encore piece from Aleksey Igudesman (b.1973). His Applemania is full of energetic, insistent rhythms, with an infectious build which almost bursts out at its conclusion – a fitting celebration perhaps of an end to lockdown. Overall, this is a fascinating survey of varied solo violin repertoire, and speaks of intense commitment and a desire to communicate, as well as clear virtuosic command from Trickey. 

Various. 2022. From an Empty Room. Sara Trickey. Compact Disc. First Hand Records FHR139.

Pianist Louis Lortie has reached Volume 7 of his Chopin survey, and this volume contains a good spread of the Mazurkas, perhaps the quirkiest genre of Chopin’s (1810-1849) output. Lortie immediately sets out his store with a stylish swagger in the first of the Op. 17 set. The second is suitably wistful, and then he manages well the slightly seasick, circling repetitions of the third, giving the sombre fourth a delicate poignancy, with some relief in its gently throbbing central section. The Op. 68 set is a more mixed bag – the first is a little on the weighty side, but the sombre mood of the second has a lightness contrasting with its thrumming central section. The third has an authoritative command, with light echoes. Lortie saves back the fourth, the most wistfully exploratory, to the end of the disc. For the Op. 30 set, we’re back in sombre territory for Nos. 1 and 2, whilst No. 3 has a ballroom swagger, and the fourth pushes chromaticism the furthest. From Op. 63, No. 1 has a gently meandering central section, surrounded by more ballroom swaying. Lortie gives the nostalgic second a gentle sway too, and the third follows in the same vein. He brings a great delicacy of touch to the delightful Rondo à la Mazur, Op. 5, composed by Chopin aged 16, and full of youthful exuberance, but equally poise and control in its lighter sections. The Boléro, Op. 19, after an opening flourish, settles into a gently lilting melody, before the boléro proper arrives, with its polonaise-like, bouncing accompaniment under its infectious melody. The Rondo, Op. 16 has a highly dramatic introduction, and Lortie lets this develop with virtuosic command, before giving the rondo theme a gently playful bounce, enjoying the gradual build in virtuosic display. The Tarantelle, Op. 43 is a swirling whirlwind, given great energy here by Lortie. The ‘Héroïque’ Polonaise, Op. 53 carries suitable weight, but Lortie avoids overegging the pudding, maintaining a sense of dance amidst the heft. Another great volume in this strong survey.

Chopin, F. 2022. Louis Lortie plays Chopin, Vol. 7. Louis Lortie. Compact Disc. Chandos CHAN 20241.

 

CD Reviews - September 2022

A highlight of the 2019 Brighton Early Music Festival was vocal ensemble Voice's show, Hildegard Transfigured, a programme of music by and inspired by St Hildegard of Bingen (1098-1179), performed making expert use of the space of St Martin's, along with an atmospheric light show. Voice have now released a wonderful collection, Hildegard Portraits, containing much of the same repertoire, and some new additions too. The three singers (Emily Burn, Clemmie Franks & Victoria Couper) have been singing together since they were at school, and it shows - the effortless blend, despite their distinctive individual voices, and the precision of their combined ornamentation and sense of line is highly impressive, whether in the long, mellifluous lines of Hildegard's souring antiphons, or in the virtuosic rhythmic demands of the contemporary companion works on this disc. Spread across the recording are pieces from the suite that gives the disc its name, Hildegard Portraits, by Laura Moody (b.1978). The seven short movements actually set texts from Hildegard's letters, rather than from her devotional writings. So they explore more of a sense of who she was - a woman 'who lived and loved'. In Humility, Emily Burn's pure tone 'flies on the wind', in contrast to the spoken text in which Hildegard describes herself as 'a poor little woman'. Sermon is frankly quite scary, as the fervent tirade to the clerics of Cologne is delivered in gabbled fury, and the finale of the set, The Living Light, is a masterpiece of virtuosity, with its repetition, complex rhythms and hypnotic clashes. Elsewhere, each of the voices gets their own solo take on Hildegard, with Emily Burns ringing out above the soft drone in O virtus sapiente, Clemmie Franks' rich, fuller tone giving warmth to O orzchis ecclesia, and Victoria Couper's variety of bright tone and delicate ornamentation particularly effective in O mirum admirandum. In Tim Lea Young's (b.1975) Three Wings: pt 1, written for the trio (as were most of the contemporary compositions here), the three watery lines weave and shift, with the vocal range spread wide across the voices. Marcus Davidson's (b.1965) approach is a more speech-like setting of the texts, with the voices mostly together rhythmically, communicating the text particularly directly in Musical Harmony. And in Ivan Moody's (b.1964) O quam mirabilis, the singers get to explore a greater dynamic range, with some delicate quiet singing, as well as a climax of echoing hight parts ringing out over a steady lower line. Stevie Wishart has had a huge influence on these singers, as it was with her group Sinfonye that they first discovered the music of Hildegard when they were around 12 years old. So it is fitting that several works by her, some specifically arranged by Voice, appear here. The almost electronic, hocketed (where individual notes in a figure or line are split between voices) rhythms, combined with a soaring, high slow line in Aseruz trium vocum, and the multi-tracked spatial effects explored in O choruscans lux, as well as Wishart's arrangements of some of Hildegard's pieces, serve to show her influence, but also the range and virtuosity of this young ensemble. And they even get to explore folk and jazz timbres in Emily Levy's (b.1980) How sweetly you burn, with its opening plaintive callings, slides and bluesy turns, and the fade away on the text 'never fade'. Quite frankly, this is an astonishing display, both in terms of strong interpretations of Hildegard's evocative music, and as a demonstration of virtuosic vocal talent in the contemporary works - highly recommended!

Various. 2022. Hildegard Portraits. Voice. Compact Disc. Somm Recordings SOMMCD 0652.

And singer Victoria Couper crops up on another great new release, this time from Musica Secreta, directed by Laurie Stras. As a close supporter of the ensemble, I have to declare an interest in promoting this release here, but it so worth the recommendation. Mother Sister Daughter explores music drawn predominantly from two Italian convents, Santa Lucia in Verona and San Matteo in Arcetri, uncovered by Stras in her research. And it was particularly her discovery of records in the latter, also the home of Suor Maria Celeste Galilei, Galileo's daughter, that gave rise to much of the previously undiscovered music here. The six female voices here are joined by Claire Williams (organ), Alison Kinder (bass viol) and Kirsty Whatley (harp). The group launched the recording with a great live performance at Kings Place in June. The music is rich and varied, and the performances are tender yet commanding. Two gloriously high-voiced sets of Vespers of St Clare, and one of Vespers of St Lucy are joined by works by Leonora d'Este, as well as Brumel and Mouton. The disc ends with The Veiled Sisters, a new composition for the group by Joanna Marsh (b.1970), which juxtaposes two texts, one by Norfolk poet Esther Morgan (b.1970), and the other by Alessandro Francucci (fl.1620). The texts contrast a woman looking outwards into the light with the journey of a young woman into life in a convent, and the texts are sung concurrently, with high ringing voices contrasting the sombre lower lines, joined by the organ. The more modern choral dissonances exist within a sound world that still sits well with the rest of the disc's repertoire, and it provides a striking end to the collection. 

Various. 2022. Mother Sister Daughter. Musica Secreta, Laurie Stras. Compact Disc. Lucky Music. LCKY001.

(Edited versions of these reviews first appeared in Scene, September 2022) 

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.