Author Archives: Admin

Tippett and Wagner

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This was the first of an extended series of concerts by the BBC Symphony Orchestra at the Barbican Hall to revisit major works by Michael Tippett. The composer, as often happens, has experienced a decline in performances since his death over a decade ago and it is certainly time to reconsider his output. The Brighton Festival made a start earlier this year with a concert performance of King Priam but there is a good case to be made for at least a series of concert performances of all the operas, not least Midsummer Marriage, which should surely be in the regular repertoire of one of our major companies.

The Triple Concert may seem a strange place to start. Written to a commission in 1979, it is an enjoyable piece but hardly amongst the best of his output. The solo parts are well written, and Lawrence Power’s opening viola solos was immensely satisfying. The work lurches from a delicate intimacy to familiar, if extravagant, brass fanfares. Percussion is featured throughout, though there is no over-use simply for effect. The central nocturne is the most pleasing part of the composition, its heady almost sweet-scented tactility giving a languid sense of ennui to the whole.

For those of us who, for whatever reason, were unable to attend the recent Royal Opera revival of The Ring, the second half of the concert under Mark Wigglesworth gave us a lightning tour. If Henk de Vlieger’s orchestral adventure leaves one slightly breathless it is hardly the fault of the composer. De Vlieger brings together many of the purely orchestral sections, sequeing smoothly in most cases from one to the other. One good example was the way he takes the sword motif at the end of Rheingold and moves, via the end of Act Two of Walkure straight into the prelude to Act Three. Similarly there is a pleasing transition from the Waldweben through the fire music to a serene awakening of Brunnhilde. The final sections seemed more familiar and were played with a speed and dynamic that is not always apparent in the opera house. I can’t say I would like to live with this arrangement on a regular basis, but it did make me realise what I had missed by not being at the Royal Opera House!  BH

Hastings Day Concert

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The Sussex Concert Orchestra has become a regular visitor to Hastings Week and brought the annual celebrations to a fitting and exciting climax at St Mary in the Castle last night. Opening with Tchaikovsky’s 1812 Overture was something of a gamble as it is frequently used as a climax. In this case the panache needed to carry it off was not lacking, even if some of the attack was not as precise as might be expected. The percussion section was certainly enjoying itself at the end.

Jessica Zhu won the Hastings Piano Competition in 2011 and returned to perform Schumann’s Piano Concerto. The originally planned Prokofiev would have been more interesting for both orchestra and audience, though maintaining a wholly romantic programme did make sense. Her approach to the Schumann was remarkably dry and unemotional, not that it lacked commitment but that the sentimentality of some of the scoring was never in evidence. The rich orchestral accompaniment was well developed without ever overwhelming the soloist. The Andantino grazioso was particularly effective with its gentle mood changes.

After the interval we heard Dvorak’s Eighth Symphony, which brought us some fine solo playing from the lead flute and trumpet, and a beautifully flowing cello line at the opening of the final movement. The brass section was rightly raucous in the finale, bringing the evening to a fine close. Throughout, Kenneth Robert had steered his forces with aplomb. It is not easy, even with professional musicians, to produce finely rounded performances within very limited rehearsal times, and it is a tribute to all concerned that professionalism shines through with these musicians.

St Mary in the Castle is a small venue where orchestral music is concerned but its fine acoustic blends and softens sound without blurring details. That it might be lost to us would be a tragedy, and occasional outings like this only serve to remind us how short-sighted any closure would be. BH

 

Garsington Opera Pavilion

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The Garsington Opera Pavilion has won the prestigious British Construction Industry Award for the best new building under £3 million, given at the 25th anniversary BCIA dinner held at Grosvenor House on 10 October 2012.

This marks the sixth award to be received (others were the RIBA Award, for architectural excellence; the RIBA South Client of the Year Award; the RIBA South Building of the Year Award; the Galvanisers’ Design Engineering Award and the Structural Steel Design Commendation).

Anthony Whitworth-Jones, General Director of Garsington Opera, said:

“We are delighted that our new Opera Pavilion has been so widely recognized; Snell Associates, Unusual Rigging, Sound Space Design and all the team have done a superb job. The judges recognized that the concept and delivery of the structure achieved an inspiring building that pushes conventional boundaries of design, construction and procurement in so many ways.

In under a year, funds were raised, designs developed, planning permission granted and construction completed for the opening of Garsington Opera at Wormsley on 2 June 2011.”

 

New releases from Resonus

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This Christmas Night: Worcester College, Oxford, Choir; Stephen Farr

RES 10113            75.59

In a world full of the conventional Christmas recording this comes as a breath of fresh air.

Details to follow

 

Jacques-Francois Gallay; works for natural horn

Anneke Scott, natural horn

RES  10114           72.39

This really is a rarity. A whole CD of solo works for natural horn – and one which is surprisingly easy to listen to. If the range is naturally limited, the musical invention is not and is well worth the investment of time to get to know these rare compositions.

 

Baroque Chamber Works

Fantasticus

RES 10112            66.38

A pleasant collection of works, ranging from Stradella to Buxtehude, played by Rie Kimura, baroque violin, Robert Smith Viola da gamba/baroque cello and Guillermo Brachetta, harpsichord. The works all originate from the late 17th century stylus fantasticus

 

In the Dark

Platinum Consort; Scott Inglis-Kidger

RES 10110            58.04

All of the music on this CD is drawn from the Tenebrae tradition of scores written specifically for the last three days of Holy Week. Works range across national boundaries to include Anerio, Lotti, Victoria Lassus and Purcell. It also includes a recent works by Richard Bates and James Macmillan. Bates’ In the Dark is a gentle setting of an Easter verse by the Elizabeth poet George Gascoigne, while his Tenebrae follow the Latin text. The concluding Miserere by Macmillan is both moving and devotional.

The vocal balance is striking throughout. Though the ensemble includes two counter-tenors which give a suitably early music feel to the recording, the addition of two soprano voices adds an unexpected richness and warmth.

Resonus Classics can be found via www.resonusclassics.com

British Clarinet Concertos

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Stanford; Finzi; Arnold

BBC Symphony Orchestra, Michael Collins

CHANDOS CHAN 10739        65.45

These three romantic concertos work well together. Stanford is still overlooked given his position as a major composer of the late 19th -early 20th century, too easily swamped by endless performances of Elgar. His concert dates from 1902 though it was not published until 1976. Its single movement is tightly structured and flows with a lively enthusiasm throughout.

Gerard Finzi’s concerto, for clarinet and strings, comes from 1948 and is more reflective in nature. The pastoral slow movement is particularly effective and given a warmly sympathic performance here by soloist Michael Collins.

Malcolm Arnold’s concerto from 1974 is probably the least familiar item on the disc, and with its dedication to Benny Goodman is a world away from the earlier works. The jazz influence is carried over into the cadenza, which is by Richard Rodney Bennett, and the playing walks a tight-rope between jazz and romantic idioms. Jazz eventually wins out and the final movement is a riot of big-band and swing, tweeked by an often sentimental indulgence. A delight! BH

Elgar: The Apostles

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Halle Orchestra & Chorus; Sir Mark Elder

CD HLD 7534   65.08; 49.21

This recording was made live in the Bridgewater Hall, Manchester, in May this year, and the performance was repeated at this summer’s Proms. As such it reflects the reivew which I wrote at the time and which is published under national reviews. Sir Mark Elder brings a surprising lightness of touch to the work, which is helped by the youthful voices, particularly of the apostles themselves.

We have not had a recent recording of The Apostles which makes this a valuable undertaking. BH

Handel: Saul

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The Sixteen, Harry Christophers

CORO COR 16103              73:36, 48:19, 40:44

 

Saul is one of the earliest of Handel’s oratorios and has not fared as well over the years, being remembered mainly for its funeral march. This is a pity for it is a magnificent score and here gets a superlative performance. Most impressive is the lightness of touch with Harry Christophers brings to the score. There is a high sense of dramatic action in process, with the clash between Christopher Purves’ Saul and Sarah Connolly’s David at its heart. Numbers are never rushed but there is a sense of inevitability about the narrative which carries us swiftly towards its tragic climax. Handel not only draws on the organ continuo to fine effect but includes a carillon for special effects.

The Sixteen have a strong vocal line-up with many soloists in the making, and bring vivacity and joy to their choral items. BH

Josef Suk: Prague; A Summer’s Tale

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BBC Symphony Orchestra, Jirí Belohlávek

CHANDOS CHSA 5109     79:32

 

It is all too easy to miss concerts on Radio 3 even if one uses the internet service, so it is good that some of the best are still being issued on CD. This recording, dating from earlier this year, brings together two reasonably unfamiliar works by Suk. I heard A Summer’s Tale in Prague a few years ago and was glad to be reacquainted with it. The late romanticism of the scoring is captivating throughout and Jirí Belohlávek has an innate feel for the dance rhythms which underpin it.

Prague is a more extrovert work and one which would easily fit into the most conservative of concert programmes. Perhaps we could persuade somebody to put in into next season? BH

1066 Choir & Organ: Tom McLelland-Young

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 The meeting on 9 October coincided with Hastings Week and so made a fittingly celebratory occasion both for the members and the church. Tom had chosen a broadly-based programme which aimed to show off the many attributes of what might appear to be a small instrument.

He opened with two voluntaries by Blow and three short pieces by Clerambault. Though quietly focussed hey showed a fine command of tone and delicate texture.

More warmth was evident in Bach’s Chorale Prelude Jesus, meine Zuversicht which was followed by an intimate reading of the Chaconne from Handel’s G minor Organ Concerto. In Stanley’s anniversary year it was good to hear the introspective voluntary No 2 in D minor followed by the popular Trumpet Tune. Across these two Tom was able to highlight the Cornet and the Hautboy.

Now we came to the tricky part. There is no Voix Celeste on this baroque instrument, but by careful placement of the stop mechanism one can produce a creditable tremulo and string sound. Highly impressive!

Brahms’ Chorale Prelude O Gott, du Frommer Gott proved to be a romantic interlude before more challenging but warmly appreciated works. Alain’s Le Jardin Suspendu works remarkably well on this small instrument even if it needed a tactful third hand from Stephen Page to fill in the missing pedal. We then heard two works by the organist himself – a delightfully gentle Fantasia on o Lux Beata Trinitas and the increasingly familiar Fanfare for the Snetlzer. The atonal intensity of the writing of this latter work prepared us for the final two pieces by Messiaen. Force et Agilite des Corps Glorieux has presence and power, while Priere du Christ Montant vers Son Pere could surprisingly have been written for a chamber organ, so well does it sit.

The next meeting of 1066 Choir & Organ will be at the Manor Barn on Tuesday 20 November for an evening dedicated to Bath and William Herschel. Details from lark1066@aol.com  BH

ENO: Handel, Julius Caesar

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Michael Keegan-Dolan certainly brings a fresh approach to Handel’s Julius Caesar in his new production. If it does not quite come off, the difficulties could be easily remedied and the strong points as easily built upon.

Musically, under the precise direction of Christian Curnyn in the pit, the evening is a delight. Lawrence Zazzo is a somewhat sleazy Caesar, on the make and violent from the word go. That he sings so beautifully often seems at odds with his character. As he opposite number, Cleopatra, Anna Christy not only provides starry coloratura but keeps the characterisation well within bounds; no indication here of a sex-kitten. If anything she finds depths in the role others have not, with her aria at the end of Act Two particularly moving.

The emotional heart of the evening lies with Patricia Bardon’s Cornelia, who provided the most convincing rounded human being and touches our hearts with her loss. Her grief is fully characterised through the music, her changes of passion all of a piece. Changing her son Sesto into a daughter did no real harm to either narrative or music, especially when sung in such a forthright manner by Daniela Mack.

Tim Mead’s Ptolemy was that rare encounter, a dastardly counter-tenor, who clearly enjoyed being evil, though with such a heavenly voice he constantly seemed to get away with it.

Michael Keegan-Dolan uses dancers to underpin the arias. There are times when this is very successful, particularly in Sesto’s Act Two arias. The opening recalled Peter Sellar’s Glyndebourne Theodora with the choral movements, but these were not carried through as rigidly. This I found at times to be confusing. Why are some arias danced and others not?

There are other moments which are simply confusing. Are they Pompey’s ashes on the table or not? Given that – as much else besides – they were brought in in a bucket it was difficult to tell, and while Cornelia grieves over them, the dancers ignore them and kick them off the table. Quite what the significance of the dead crocodile and giraffe were I have no idea, nor of the careful placement of ostrich eggs.

But essentially these are small irritations in an evening that had a virility and style which eventually won me over. BH