Saturday 29 August 2015

The celebration of Sibelius’ major works came to a fittingly triumphal conclusion with Kullervo. The BBC Symphony Orchestra and (Men’s) Chorus were joined by the stentorian forces of the Polytech Choir from Helsinki to provide a formidable onslaught in the third and final movements. Sakari Oramo allows this early work the violence and passion inherent in the text while also finding the delicacy of the woodland moments and introspection which may not be natural to the anti-hero but certainly were to the composer and to those of us listening.

Sakari Oramo allows the Brucknerian overtones to evolve naturally but they are never more than allusions to grandeur. The second movement was taken quite rapidly building to thrilling climaxes which had hints of Janacek in the growing atmosphere of unease.

Johanna Rusanen-Kartano is probably the finest interpreter of the Sister in the third movement and she brings an innocence and feistiness to her singing which adds to the tension and forward thrust of the score. Waltteri Torikka’s bluff hero made a shattering impact at the end of the third movement as he realises the enormity of his act.

The BBC Symphony Orchestra responded with subtlety to the demands made upon them not only by the score but by Sakari Oramo’s tight conducting. Brass were particularly impressive in explosive moments and the woodwind on top form in their many exposed moments.

Before the interval we heard En Saga. The piece is something of a rarity compared with the rest of the Sibelius opus, which is surprising given its wealth of detail and range of musical ideas. Maybe the lack of a programme leaves some confused as to its narrative, but like Strauss’ tone poems there is an internal logic and sense of forward movement throughout which holds the attention at all times. The opening murmuring strings have a gentle optimism from which arose snatches of folk-like melodies. Sections of poised, calm repose hold us spellbound before the headlong dash towards the next dramatic climax.

The evening was a splendid way to complete a fine set of Sibelius performances this season.

Thierry Eschaich, Willis Organ, Royal Albert Hall 23 August 2015

Presenting a programme of solo organ music based upon chorales, French virtuoso Thierry Escaich made his second appearance at the Proms (the first being four years ago). There is no doubt that he is a fine organist, displaying remarkable technique as a player, composer and improviser, as well as having an impressive command of the RAH’s substantial organ.

As well as the music of Lutheran hymnody items in the programme were linked by the development of organ music through Bach, Brahms and Mendelssohn and to the present day with the improvisational and compositional work of the performer.

This was an extremely interesting concert. I appreciated the contrasts between the linked material and there were some moments of sheer delight. The opening Passacaglia and Fugue in C minor (Bach) set the scene well for what was to follow. This was a highly romantic interpretation with varied registration throughout, including some lighter moments. Brahms’ Prelude & Fugue in G minor  followed and then came the first of the evening’s pairings  of a chorale prelude, Herzliebster Jesu and a re-interpretation (Chorale-Etude) by Escaich. This work short work was a furious, fragmented take on the theme, far removed from Brahms’ prelude.

Throughout the prom four of these Chorale-Etudes were heard, in widely differing styles. The second, Nun freut euch, ihr Christen, was less fragmentary but still with jazz influences in evidence. Herzlich tut mich verlangen used the plaintive chorale melody in its entirety as it collided with a seemingly atonal onslaught. As a commentary on Christ’s crucifixion it certainly served to de-sanitise the scene and created an atmosphere of tension and agony. I didn’t particularly like it – but perhaps that was the point.

As well as Bach and Brahms we heard Mendelssohn’s Organ Sonata in A major, No 3, unusual in that it consists of just two movements.

Whilst an interesting programme, with clear links I have to say that as the evening progressed I became a  little tired of hearing so much loud and furious organ music. I longed for the quieter moments when solo stops and subtle combinations came to the fore. I also prefer a plainer approach to registration when it comes to much of Bach’s output. Howeve, the highlights of this concert for me came at the end of each half when we were treated to two marvellous improvisations on themes by Bach.

The first, a Prelude & Fugue, was a wonderful demonstration of Thierry Escaich’s improvisational skills. Freed from the musical score (beyond the fragment that had been presented to him) an imaginative musical structure was grown as aspects of the theme were given various treatments of registration, texture, rhythm and tonality. In the hands (and feet) of the skilled improviser the organ becomes a palette from which to select and mix these various elements – and here we had a remarkable demonstration of how successful and thrilling this can be.

The second improvisation (Suite on themes by J.S.Bach) developed this art even further as extreme contrasts and endless invention transported the audience to a very special place. In both improvisations there were passages where it was easy to imagine a silent movie dictating the structure of the music as well as moments of ethereal beauty. In the final improvisation much use was made of shimmering upper flutes and strings as well as the celeste, perhaps harking back to musical settings by Holst and built to a stunning Toccata climax.

I could have listened to a whole evening of improvisation by Thierry Escaich at this console.

Stephen Page

21 August 2015
BBC Symphony Orcheatra, Sakari Oramo,

Stephen Farr, Organ

The programme began with the symphonic poem, Tapiola, Sibelius’ last major work. Tapiola is the Finnish god of the forests and this work has a cinematic quality as it evokes mystery, timelessness and grandeur. The score is dominated by the large string section which moves between sustained and understated line to powerful tremolando. This was a magical start to the evening, amply demonstrating the tightness and control of conductor and orchestra.

Jon Leifs’ music has only recently become more widely known. He is often described as a maverick and the work performed here certainly shows an individuality that is characteristic of his music. Organ Concerto, Op 7 was completed in 1930 but began life in 1917. This three movement work draws on vast orchestral forces including a large percussion section. As the programme note points out, “The work starts as it means to go on, with an ear-splittingly dissonant chord on the full organ, reinforced later by the orchestra”. The middle movement Passacaglia begins in conventional fashion as it slowly builds in texture and volume but as it develops there are passages influenced by jazz and military bands. The Finale teases as successive false endings build in intensity to its climax. Throughout the work there is much dialogue between the organ and various sections of the orchestra and there was a sense of dedication and purpose in the performance despite the wonderful madness of it all! Stephen Farr’s performance at the organ was impressive and greatly appreciated by the audience. This was rewarded by a gentle solo encore.

Further contemporary sounds were experienced  in the UK premiere of Anders Hillborg’s Beast Sampler, given in the presence of the composer. Like Tapiola this piece is an evocation of aspects of the natural world. As well as using ‘almost pitchless’ wind sounds, ‘seagull glissandos’ and other effects the piece covers a huge dynamic range, often moving rapidly from pppp to ffff. This was another tightly controlled performance, displaying great musical skill as well as Sakari Oramo’s conviction in leading the ensemble.

The final work was the most traditional of all, Beethoven’s Symphony No 7 in A major. Throughout this piece there was a lightness and sense of movement that allowed the music to sing and have life without feeling overplayed. The second movement Allegretto was allowed to breathe and danced along without feeling forced and the Presto sections of the third movement had a real sense of fun and vitality. Great use of dynamics was made throughout, my only criticism being (as in earlier pieces) that the extremely soft passages were almost inaudible and I wonder how that would be experienced by those listening on the radio.

This was an exciting and at times challenging programme. I personally would have preferred to have ended the evening with the climactic Organ Symphony. Perhaps there was a  feeling that the evening needed to end in safer and more familiar territory.

Stephen Page

15 – 17 August 2015

There have been many Sibelius Symphony Cycles over recent years and I’m lucky enough to have been at some of them. This BBC cycle was, however, rather different – two orchestras and three conductors. In what sense, other than the fact that all seven symphonies would be heard, was this to be a cohesive cycle? In the event the planning did make sense with the three conductors bringing individual strengths to the works they led.

On Saturday the BBC Scottish Symphony Orchestra was conducted by Thomas Dausgaard, taking us through the First and Second Symphonies from memory. His approach seemed to look back to the romanticism of Tchaikovsky in the warmth and wash of the phrasing. His rather flowery style meant that on occasions in the First Symphony the ensemble was not totally together and there were passages which came close to falling apart. By the end of the fourth movement the sense of direction was clearer and we were at last approaching a sense of Sibelian style rather than a generalised romanticism.

The Second Symphony fared rather better with a leanness to the opening movement but the second movement lacked bite. The fast tempi helped the final movements and the symphony reached its heroic climax with aplomb.

The evening had opened with an enthusiastic if rather heart-on-sleeve rendition of Finlandia. Thankfully Promenaders do not know the words or it could have been like Land of Hope and Glory.

On Sunday the orchestra was conducted by Ilan Volkov who brought a sense of immediacy and bite which had been missing the previous evening. It was more than just the writing itself. The Third Symphony is a world away from the Second but the clean, crisp entries and attention to rhythm meant we were in an altogether different place. It was almost as if it were a different orchestra and puts paid to any idea that the conductor does not make a difference!

The second movement brought gentle wind and a warm melancholy, followed in the third by unnerving accuracy from the brass, rising to a finely formed climax.

If the Fourth Symphony brings tiny moments of hope they are fleeting and by the end the bleakness and near suicidal depression have set in. The echoes of Parsifal are there throughout but it is music between acts two and three – there is no hope of resolution or outcome – merely a need to go on in the face of inevitable despair. All of this was magnificently found by the orchestra with superb detailing throughout.

It may have been positioning the Violin Concerto between the Third and Fourth Symphonies that gave it an unusually astringent and introspective feel. Julian Rachlin was a persuasive soloist, with an inner tension and a real sense of loss in the slow movement. The finale was chunky in approach and determined, as if it was going to be cheerful no matter what the odds.

The deeply felt encore – not by Sibelius – was a tribute to Julian Rachlin’s technical brilliance and depth of feeling.

Monday brought new forces – the BBC Symphony Orchestra under Osmo Vanska. I am lucky enough to have heard him with the Lahti Symphony Orchestra some years ago and it is fascinating how his approach to these later symphonies has matured and changed over time. The Fifth Symphony opened slowly with much menace, allowing the moments of joy and release to be all the more effective. The slow movement ached to be more romantic but could never quite tear itself away from the present, while the finale, launched with zest, came across in a flurry of energy and finely crafted climaxes.

The Sixth opened with restless energy which never quite seemed to find a sense of direction – a perfectly sound reading of the score and one which made sense of the bleakness of the second movement. If the sun comes out occasionally in the third movement it is a wintery warmth, fading rapidly. The finale was light, crisp and fresh until it dies gently away. A masterly reading and challenging at the same time.

I had never really thought of Bruckner as a potential influence on Sibelius but there were passages in the Seventh Symphony which Osmo Vanska crafted into huge, mountainous peaks, with a sustained intensity which carried the single movement through to its subdued close. Again, an unusual but convincing approach which brought the cycle to a close. I doubt if anybody except the BBC could mount a cycle like this but the outcome certainly justified the thinking behind it.

Cadogan Hall, Monday 17 August 2015

Stephen Sondheim’s 85^th Birthday so what better way to celebrate than a lunchtime cabaret from some of the most gifted interpreters of his works.

The programme had been compiled and was introduced from the piano by Richard Sisson who gave as little information as was necessary for background before concentrating on the music and words from the master. In the event, the hour passed all too quickly and we could easily have sat through far more. Much of this was due to the infectious ability of Jamie Parker to change characters on an instant – including accents – and carry every word with ease. Maybe it is something to do with the musical – as opposed to operatic – voice. While Kitty Whately sang with great beauty of line, the text was not always as clear, and in Sondheim this is essential. Her stage presence, and gentle sensuality, was however, charming throughout.

Sian Phillips is a master at the clarity of diction needed, and her rendition of Liaisons was a masterclass in itself. She joined in the later ensembles which brought the afternoon to a close.

Two unexpected pieces crept in in the form of arrangements for saxophone of Send in the Clowns and By the Sea which were played by Anthony Brown. While nicely done it seemed a shame in such a short programme not to have had the songs sung.

When Sibelius’ anniversary is being given such high prominence this year, surely Sondheim was worth rather more than an hour?

Cadogan Hall Saturday 15 August 2015

Apollo’s Fire were making their Proms debut this afternoon and invited us to join them in a Coffee House in Leipzig in around 1720. No problem with that except that the majority of the music offered was written well after this date and seemed to have little relevance to the concept. No matter in the long run for the music itself was pleasant throughout, opening with CPE Bach’s Symphony for Strings in B minor. The melancholy opening Allegretto gives way to a brief Larghetto and a final Presto which seemed closer to late Mozart than the baroque of the coffee house.

Vivaldi’s violin concerto RV234 brought Alina Ibragimova as soloist. The work is very brief and the ensemble almost took more time arranging themselves beforehand than they did actually playing. Thankfully the score was worth it.

The most pleasing section of the afternoon was a suite of pieces from Telemann’s Burlesque de Quixotte which involved some fine guitar playing from John Lenti.

The final two works, both by Bach, left something of a question in my mind. Alina Ibragimova returned as soloist for Bach’s Violin Concerto in E major BWV1042, and this was followed by the Fifth Brandenburg Concerto. While the notes were all there, there seemed to be a lack of communication with the audience. It was almost as if they were in a coffee house playing for themselves rather than for us. There was no doubting Jeannette Sorrell’s technical aplomb in tackling the harpsichord solos in the Brandenburg but both pieces lacked the impact which had come through in the Telemann. It may have sounded better on the radio, but then the listener has coffee to hand.