Monthly Archives: June 2015

CDs/DVDs June (2)

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J S Bach: Duo Recital
Janos Starker, Cello; Zuzana Ruzickova, harpsichord
HANSSLER SCM CD 93.726            66’51
The performances here were recorded in 1971 at the Schwetzingen Festival. They stand the test of time remarkably well not only in the quality of the recording but also in the authenticity of the playing, which predates our assumptions about original instrument approaches to style, yet remains alive and convincing throughout.

 

Cello Sonatas
Steven Isserlis, cello; Stephen Hough, piano
HYPERION CDA 68079     71’41
The cd includes two fairly familiar works by Grieg and Mendelssohn – even if they are not heard very often in live performance. Grieg’s Cello Sonata Op36 has had a chequered history though I am pleased to note that the critic writing in Musical Opinion in 1889 thoroughly approved of the piece. What connects the three is the fact that all the composers were also professional pianists, which may account for the often fearsomely difficult writing. The real value of this recording, however, is the inclusion of Stephen Hough’s Sonata for cello and piano left hand les adieux. Romantically cast, it is a fitting companion piece to the other two and deserves to be more widely known.

 

Sibelius: Lemminkainen Legends; Pohjola’s Daughter
Finnish Radio Symphony Orchestra, Hannu Lintu
ONDINE ODE 1262-5       61’40
There is a real value in hearing Finnish music from Finnish players, as I discovered some years ago when visiting Finland for the Lahti Organ Festivals. This new recording is no exception having the bite and austerity, almost at times the pain which underpins so much of the writing. Where others might stress Sibelius’ more romantic side, here we are at odds with the wilderness. I doubt if The Swan of Tuonela has ever sounded so convincingly bleak.

 

Folke Grasbeck plays Sibelius on the Ainola Piano
BIS 2132               80’54
The generous length of the cd and the liveliness of the recordings make it a bonus in its own right before one considers that we are hearing Sibelius’ own works performed on the piano at which many of them were written. Many of the pieces are very short but none the less give an excellent impression of the range of works which the composer produced, with many unfamiliar pieces alongside the more popular.

 

Haydn & Mozart
Arcangelo, Jonathan Cohen
HYPERION CDA 68090     57’44
This new release combines three familiar works. Haydn’s Sinfonia Concertante in B flat, with Mozart’s Oboe and Bassoon concerti. All are given clean, pleasing performances.

 

Richard Strauss: Feuersnot
Orchestra chorus and youth chorus of the Teatro Massimo, Gabriele Ferro
ARTHAUS 109065
This is very much a festival performance. Strauss’ early work was a failure in 1902 and even here it has nothing like the command of operas which were to follow very soon afterwards. There are hints of Meistersinger and also of Humperdinck in the scoring, which is for large orchestra and chorus with a wide range of soloists. The stage direction under Emma Dante keeps the stage alive if at times it seems over busy. Gabriele Ferro marshals his forces with some skill and while it makes for a pleasant experience it is not a work one would wish to return to regularly.

BPO: Summer Season

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Brighton Unitarian Church, Sunday 21 June 2015

H Blake

Solstice, and the first of the Summer Season of chamber concerts which have now become a familiar feature of Brighton Philharmonic’s programme. Howard Blake is a very familiar figure as a result of his many film scores – to say nothing of The Snowman – but his other compositions are equally appealing. Though a recent injury to his wrist meant he was not able to play the piano parts himself he was present to introduce the music with a gentle humour which suited the occasion and the intimacy of the setting.

The short programme reflected a long-standing interest in the complexity of writing for chamber instruments, opening with a recent arrangement of Pennillion for cello and piano. Originally conceived for harp and piano, it has gone through a number of arrangements before arriving at the present one. The opening melody is intensely lyrical. Blake’s melodic gift is similar to that of Elgar or Tippett in that the melodies seem so inevitable that we can’t believe we have not known them all our lives and he is just recalling a tune we all know already. The work moves rapidly through a set of variations which allow the cellist, Peter Adams, to show his technical skill as well as his sensitivity towards the subtleties of the melody.

The following Fantasy Trio was being given its first performance though the original idea for the score goes back to his early school days. It is obviously difficult on a first hearing to judge how much is the work of the 17 year old and how much the mature composer, but the melodic ideas and the confidence of the work must have been part of the original spark and as such are a tribute to his genius from an early age. The part writing is exemplary, maintaining a balance between them which never allows one voice to dominate. The final Scherzando is more complex both in rhythm and harmonic density.

Howard Blake admitted that the String Trio is probably the most challenging form for him as it constantly misses the fourth note of the chord. The Trio dating from 1975 is a fierce work with a dark edge to it, strengthened by the deeper tones of viola and cello. The violin, Daniel Bhattacharya, takes the lead throughout though he is often challenged by the viola line from Bruce White.

The final piece was a recent extended single movement entitled Elegia Stravagante – a title suggested by a waiter as it is a reflective elegy which ends with unexpected enthusiasm. Though Howard Blake admitted there are strong auto-biographical elements within it, the piece moves rapidly as a whole with universal rather than personal impact. The seven sections are difficult to follow but the sense of achievement by the climax is persuasive.

As Howard Blake was not able to play the piano parts Sasha Grynyuk proved to be a more than ample substitute, bringing a fine mix of subtlety and bravura to his playing.

The next concert is on Sunday 5 July with music by Frank Bridge and Haydn.

Sussex Chorus: A Tribute to Ralph Vaughan Williams

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St Bartholomew, Brighton, 20 June 2015

V Williams

It is easy to see why Toward the Unknown Region was such a success at its first hearing in Leeds in 1907. The score has echoes of Gerontius yet its spirituality is not linked to any specific belief system. Instead it seems more akin to current demands to be allowed to be spiritual without being religious. The score takes us on a brief but exultant journey towards spiritual freedom where the Soul bursts forth to float in Time and Space.

The acoustic in St Bartholomew’s is always a problem for any performers but once one had accepted that the text was, for most of the time, going to be completely incomprehensible, one could simply wallow in the sound world Vaughan Williams creates. If the thrust of Toward the Unknown Region was uncomplicated, the dichotomy within The Lark Ascending was on this occasion more so. Christian Halstead’s solo violin often disappeared within the richness of the orchestra, particularly in the lower passages, or seemed remarkably distant. In this way the balance shifted and rather than concentrating on the clarity of the lark we were forced to realise how elusive the sound is and how fragile. This may not have been what Vaughan Williams intended but it was a fascinating approach.

Both of these works seem to be about escape, and, somewhat surprisingly, A Sea Symphony continued the same theme.

After the tempestuous outpouring of the early movements it was the yearning and spiritual passion of the final Explorers that made an indelible impression. Walt Whitman’s poem uses the sea as a parable for spiritual freedom where risk and danger are all subverted by the love of God who is ever present. The Sussex Chorus were alive to the impact of the text even when the words themselves were clouded by the acoustic and caught the mood changes of the work with considerable skill. Soloists Jacquelyn Fugelle and Simon Thorpe rode the waves of sound with ease, her voice in particular cutting cleanly through chorus and orchestra. The Kent Sinfonia provided strong support though it was difficult to hear individual instruments. Alan Vincent brought authority to his handling of the scores and a deep sense of commitment. A splendid evening – just a pity there is nowhere else in Brighton affordable to forces like these.

ENO: The Queen of Spades

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London Coliseum, 6 June 2015

spades

This was Edward Gardner’s last production as Music Director for ENO, though he returns next season for a new Tristan and Isolde, and it drew on all of the strengths he has shown during his time with the company. The orchestra was on exceptional form with a rich romantic sound throughout and the cutting intensity which is a particular quality of Tchaikovsky’s late score. Added to this was choral singing which was outstanding throughout, high quality soloists and a production that drew just a few boos at the end!

The conductor has worked closely with David Alden over the years and this new production was as challenging as we have come to expect. The easiest approach, I find, is to go with the flow. Don’t expect beds in bedrooms or bridges from which to commit suicide, and don’t be put off by furry animals appearing in the party scenes. After all, Hermann is insane, and while he may be less so at the start of the work than at the end, there is little doubt about his sanity. Gideon Davey’s deliberately ill-fitting set, painted in acerbic pastel colours, is lit throughout with a harsh cruelty by Wolfgang Goebbel to highlight the nightmare which surrounds Hermann.  The costumes drift across the centuries with little sense of connection except where they impinge on what is actually happening in Hermann’s mind. Peter Hoare is outstanding as Hermann. After a slightly shaky start the voice quickly settled and he produced ringing, often Wagnerian, tone with dramatic intensity which was entirely convincing. Giselle Allen’s Lisa is a lost soul, unsure how to react and buffeted by events around her. The claustrophobia of the settings aptly reflect the way the world closes in upon her to the point where she brutally kills herself rather than accept the on-going chaos. Vocally she is a fine foil to Hermann and grows in strength as the evening progresses.

Felicity Palmer’s voice does not reflect her age, and its stamina and subtlety are never in doubt. When on stage she is the centre of attention and effortlessly draws the focus towards herself.

The large cast of smaller parts are carefully individualised – some more effectively than others – but the insistence on so many smoking on stage, while possibly historically accurate, does raise inevitable concerns. The presentation of Pauline, a vocally strong Catherine Young, was simply confusing. The more naturalistic approach to Prince Yeletsky, a virile Nicholas Pallensen, was more pleasing.

This has been a superb season, running from Otello through The Pirates of Penzance to The Queen of Spades and the next season looks just as exciting and challenging.

 

 

Beethoven by the Sea

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Bexhill Music Festival

Royal Philharmonic Orchestra, Brian Wright

De La Warr Pavilion, Bexhill, 4 June 2015

An all-Beethoven programme brought a full house to the De La Warr Pavilion on one of the most beautiful evenings so far this year. It was almost too nice to be inside, though the music-making more than made up for this. But we need to start with an honest appraisal of the problems facing any orchestra working in the De La Warr – the acoustic. While solo wind and brass instruments can carry where the string sound is light, there were times when the wind section all but vanished and the horns sounded as if they were coming from another room. This was all the more obvious in the opening Overture Leonore No3, where the ‘off-stage’ trumpet, from the gallery, was far more piercing and effective than the brass actually on stage. None of this was the fault of either the musicians themselves nor of Brian Wright who guided his forces with tact and virile enthusiasm throughout.

Brian Wright takes a very brisk approach to Beethoven, giving us a dramatically forceful reading of Leonore No3 before the Emperor concerto with Alexander Panfilov, winner of the 2015 Hastings Piano Competition, as soloist. The Yamaha, though not a full concert grand, is an impressively loud instrument though Alexander Panfilov tamed it when it came to more reflective passages. The second movement was particularly effective, with much subtlety of touch and phrasing, in marked contrast to the youthful enthusiasm he brought to the opening movement and the final Rondo. It was easy to see how he had won in Hastings and let us hope that his very warm reception will encourage this public concerto prize to become a regular feature. Young musicians of this quality certainly deserve it.

Alexander Panfilov

The surprise piece of programme planning was the inclusion, immediately after the interval, of another overture – Coriolan. The forceful and often anguished approach was effective, and allowed the more reflective second subject to be all the sweeter.

The symphony was the Fifth, which Brian Wright approaches with an excitement and fire which comes from very brisk tempi. As he notes himself, even his tempi are not as fast as those indicated by the composer but can seem challenging in a world of conductors who dwell in the moment but ignore the narrative pulse of the work as a whole. Beethoven’s Fifth should challenge us and this approach certainly did. The first movement burst into life leaving little time for reflection as we moved rapidly on to the climax. Cellos, placed firmly outside of the arch, benefited greatly and sounded superb in their solo passages. Where solo wind were able to penetrate they were equally effective and there was some sublime piccolo playing towards the end. The brass choruses were finely formed but again they were battling the proscenium arch and unable to create the bloom we hear regularly from this orchestra in other venues.

With playing of this quality, maybe next time the promoters will think more carefully about where they place the players to allow us to hear the musicianship we know this orchestra can bring. They deserve it as much as we do.

 

 

 

 

CDs June 2015

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INTO THE STARS
FAIRHAVEN SINGERS, conductor RALPH WOODWARD 
GUILD GMCD7417 (69’14)

 

This collection of choral music commissioned for the Fairhaven Singers presents some beautiful music in a range of styles by some well-known contemporary composers. Although I enjoyed all the music here I found the move from the unaccompanied first half to the addition of The Will Todd Trio (piano, bass and drums) rather jarring. I wonder if this would have worked better at the beginning of the CD. The final arrangement of an English folk-song also seemed a little out of place.

 

SMITH & HANDEL – JULIAN PERKINS, harpsichord
CHANDOS  CHACONNE  CHAN 0807 (77’50)

This is a lovely combination of unfamiliar music played by a fine musician on an original single manual (c1770) and a modern (1982) double manual harpsichord. The use of the two instruments allows for more variety than in some recordings. The bulk of the CD consists of a premiere recording of music dating from 1755, John Christopher Smith’s Six Suites of Lessons for the Harpsichord, Op 3. This is preceded by an overture by Handel, Riccardo Primo, re d’Inghilterra . Despite loving the sound of the harpsichord I sometimes find a whole CD too much. This is not the case here. A very enjoyable performance.

POWER OF LIFE – CHRISTOPHER HERRICK, Metzler organ, Poblet Monastery, Tarragona, Spain
HYPERION  CDA68129 (67’08)

This recording takes its title from  the opening track, an energetic composition dedicated to the performer by Mons Leidvin Takle. The Disc is a complete mix of styles but the programme is constructed in such a way that it works incredibly well. Alongside music by Mozart, Dupre, SAont-Saens & Walton are less familiar names – Hans-Andre Stamm, Vincenzo Petrali , Franz Wagner and Marius Monnikendam. There is a beautiful arrangement of Amazing Grace by George Shearing & further arrangements of melodic pieces by Villa-Lobos and Warlock. A highly enjoyable collection.

GREAT EUROPEAN ORGANS No 93
KONSTANTIN VOLOSTNOV, WALCKER organ, Riga Dom, Latvia
PRIORY PRCD 1111

This is a lovely collection of “solid” organ music linking another impressive large-scale organ with expert performances from a Moscow organist and seven preludes and fugues. The Russian composers – Glazunov, Karatygin, Catoire & Goedicke flank a central prelude & fugue of JS Bach (D major, BWV 352). The Russian music dates from the early 20th century and there are clear influences from German organ music.  A useful addition highlighting a neglected area of the organ repertoire.

THE COMPLETE ORGAN WORKS OF THOMAS TERTIUS NOBLE Vol 1
JOHN SCOTT WHITELEY, organ of York Minster
PRIORY  PRCD 1116

The beginning of another complete works collection provides some interesting music in another set of convincing performances by an organist who knows this instrument well. There are several pieces based on popular hymn tunes, as well as some “light” programme music. Of particular interest are the Pastorale-Prelude on a Chinese Christmas Carol and Two Traditional Hebrew Melodies. The most substantial work is the final track, Introduction & Passacaglia. I look forward to the subsequent volumes.

GREEN & PLEASANT LAND – KEVIN BOWYER, organ of Woburn Parish Church
PRIORY PRCD 1131

This is a very personal project by Kevin Bowyer who, after being asked to give a recital on this organ, was so taken by it that he wanted to make a recording. The music here has been inspired by thoughts of what might have been played by organists who later ended up serving in the First World War, and is taken from a set of volumes of the monthly periodical, The Organ Loft (1900-1915). I really enjoyed this collection of pieces – none of which I had heard before. Interesting biographical notes are included for all the composers. Kevin Bowyer has often introduced listeners to new organ music. He does the same here. It is just that this “new” repertoire dates from a century ago!

SIGFRID KARG-ELERT – The Complete Organ Works Vol 12
STEFAN ENGELS, Steinmeyer organ, Marienkirche, Landau/Pfalz, Germany
PRIORY  PRCD 1088 (76’13)

This volume in the continuing series is an enjoyable programme in its own right. Stefan Engels’ masterful playing of this large Romantic organ makes for a very musical recital. This CD comprises three of the composer’s larger works – Trois Impressions Op 72, Partita for organ Op 100 and Homage to Handel Op 75.

L’ORGANO A FIRENZE DAI MEDICI ALL’UNITA D’ITALIA
(Organ music in Florence from the Medici period to Italy’s Unification)
GABRIELE GIACOMELLI,  organs of Basilica di San Lorenzo, Firenze
TACTUS  TC 860002 (79’03)

This CD presents a wealth of music presented in chronological order from  the late 15th Century up to the late 19th Century. Two organs are recorded, dating from 1773 and 1864 respectively. I was particularly interested to hear some of the earlier music. Whilst the performances are all very good I found the overall sound of this disc to be harsh and it quickly became wearing. Perhaps it is my English sensitivity but I expected some of this music to have a gentler feel. It is still an interesting recording but perhaps to be listened to in small doses.

ET IN ARCADIA EGO – Italian Cantatas & Sonatas by Handel, A Scarlatti, Lotti & Mancini
CONCENTUS VII (Emily Atkinson, soprano & instrumentalists)
RESONUS  RES10142 (67’16)

A lovely programme of Baroque secular solo cantatas and oboe concertos makes for an enjoyable listening experience. Much of this music is less familiar.

LENNOX BERKELEY – CHAMBER WORKS
BERKELEY ENSEMBLE
RESONUS  RES10149 (59’48)

I really enjoyed listening to this disc. The music here deserves to be much better known and appreciated. There are small ensemble pieces including a String Trio, Sonatine  (clarinet and piano) and a Sextet. Three pieces for solo viola take the listener into a different sound world. The Introduction and Allegro is for the unusual combination of double-bass and piano. In memoriam Igor Stravinsky (for String Quartet) gives an insight into one of Berkeley’s influences. The short Piece for flute, clarinet and bassoon provides a lovely way in to this programme.

SP June 2015