Monthly Archives: August 2016

Prom 60

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Royal Albert Hall, 30 August 2016

Prom 60 5

Two works which could be considered spiritual but in very different ways. Bach’s Cantata No82 Ich habe genug has a text many today may find difficult with its insistence on the hope of death in the face of the pains of living in this world. All three arias, beautifully and sensitively sung by Christian Gerhaher, yearn for the moment of escape from life, and the third, Ich freue mich is positively confident of the joys of heaven. It is easy to be swept away by such beauty and indicates the depth of Bach’s faith as he was writing. The small instrumental ensemble from the Gustav Mahler Jugendorchester were joined by Bernhard Heinrichs whose mellifluous oboe playing did much to heighten the occasion.

Prom 60 3

After the interval we heard Bruckner’s 9th Symphony. The work may be incomplete but there is no sense of that in performance and especially when the playing is as good as it was from these young players. Philipps Jordan brought a delicacy and clarity to the opening sections which made the climaxes even more telling. The passages at full throttle had a fizzing excitement which is rare even for Bruckner. The scherzo had a steely cutting edge to its attack making the silences even more electric. Where the Adagio can sometimes seem introvert and even claustrophobic, here it was optimistic in its warmth and radiant in its climaxes, not the least of which was the final dissonant moments which had an intensity which reached into the twentieth century.

The Gustav Mahler Jugendorchester are always warmly welcomed to the Proms and this year it was most certainly deserved.

August DVDs

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Donizetti: Poliuto
Glyndebourne Festival Opera
OPUS ARTE OA 1211 D

We saw this production last year at Glyndebourne and it made a deep impression, particularly the power of the score. As such it is surprising that it is so rarely staged. Marianne Clement’s approach is dark and often forbidding, but within this world the singing of Michael Fabiano in the lead roll and Ana Maria Martinez as Paolina are splendid. Let us hope it returns to the live stage again soon.

Giovanni Simone Mayr: Medea in Corinto
Festival della Valle d’Itria, Fabio Luisi
DYNAMIC 37735

I doubt if many readers will have come across this work before.  First performed in 1813 at the San Carlo opera house in Naples, Mayr is writing for a theatre used to works by Cherubini and Spontini, though his own works lean towards a more French style. It seems that, despite an attempt to revive it almost a decade later, Mayr’s music appealed to the spirit and the mind at a time when audiences wanted to be moved and roused in their hearts. A fascinating discovery and performed here with enthusiasm and commitment.

Mussorgsky: Boris Godunov
Sofia Opera
DYNAMIC 37718

Some operas can benefit from an outdoor performance and Boris is certainly one of them. Set against the Aleksandr Nevskij Cathedral in Sofia, the visual impact cannot fail. Though there are many more intimate, reflective scenes here, it is the large-scale ones which come off best with Martin Tsonev a fine protagonist.

Shakespeare: Measure for Measure
Shakespeare’s Globe
OPUS ARTE OA 1218 D

The most recent in the series of complete performances from the Globe, this traditional approach to Measure for Measure brings us a superb Isabella from Mariah Gale around whom the cast react with a feisty intensity which is both crowd pleasing and convincing intellectually. While the Globe lends itself to close audience involvement, this production deliberately invites a response to its depraved society as it holds a mirror up to the very people who find the situations amusing, yet morally questionable. That it works well is a tribute to Dominic Dromgoole’s fast moving production.

Famous German Arias and Scenes
ARTHAUS 109244

This release is part of a series of DVDs bringing together a range of musical items from a broad spectrum of works. As such it is difficult to see who it is actually aimed at. While the individual items are interesting – Kiri Te Kanawa in Capriccio;  Bryn Terfel in Salome; Rene Kollo in Tannhauser – most listeners who are enthusiastic about individual composers are likely to have the complete works in the first place, and those who have not will gain little from the excerpts presented here.

The only exception to this is the three extended excerpts from Die Entfuhrung aus dem Serail which not only gives a very good indication of the strength of the production but is very well sung throughout.

All Saints, Hastings – Organ Concerts 2016: 6

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Simon Bell has been a regular and popular contributor to these concerts over the last few years. He never fails to entertain, presenting  a selection of music well-suited to the All Saints’ Willis, in an accessible but no-nonsense manner. His careful introductions give interesting background and points to listen for without being overlong or too technical. As on previous occasions he presented a well balanced programme of fine performances of the familiar and the less so.

Simon Bell

Opening in grand fashion with the ecclesiastical pomp that is Widor’s Marche Pontificale , we were immediately seized by the power of this instrument and also this performer’s command of its resources as he shifted easily between the grand and the subtler passages. Simon’s Bach playing has been a highlight of previous recitals and on this occasion he gave an impressive performance of the substantial and less familiar Prelude & Fugue in E minor (“Wedge”). He has a wonderful ability to maintain a lightness of touch with this music that can otherwise easily become stodgy and austere.

A lovely contrast followed in the form of the little known Scherzo by Rousseau, a delightfully frothy romantic interlude, with beautiful registrations selected throughout. A commanding performance of Franck’s well-known Choral No 3 in A minor ended the first half. I personally felt his technically correct abrupt end to phrases could have benefitted from some artistic licence in this acoustic. However, the performance was exciting and emotional, with the excessive contrasts this piece affords, and the chance to highlight this organ’s beautifully haunting oboe stop.

The second half was made up of mostly very familiar items, each well played and as before demonstrating an affinity with the resources and makeup of this particular instrument. An arrangement of Elgar’s Pomp & Circumstance March No 4 was followed by Alfred Hollins’ A Trumpet Minuet. Vierne’s evocative Clair de Lune allowed Simon to conjure with some mellifluous tones , including the Claribel Flute. Boellmann’s popular Suite Gothique brought the programme to a close with its contrasting movements including the delicate Priere a Notre Dame and the frantic and theatrical closing Toccata.

As an encore we were treated to the playful Mozart Changes by Zsolt Gardonyi. Simon gave a superb performance of this entertaining piece that moves from the classical style into a delightful laid back jazz romp before returning to its source.

Another evening of quality performances. Simon will open the 2017 series.

Stephen Page

OXFORD LIEDER FESTIVAL 2016: THE SCHUMANN PROJECT

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For the first time ever, all of Schumann’s songs will be performed at the Oxford Lieder Festival (14- 29 October 2016) together with an array of his other works, the complete songs of his wife Clara Schumann, and songs by his friends, contemporaries and successors. Featuring nearly 100 events, The Schumann Project will include some 40 song recitals, as well as piano and chamber music recitals, choral works, study events, film, readings, masterclasses and more.

World class artists will come to Oxford including Christian Gerhaher and Gerold Huber who will give the opening recital (14 Oct), Anne Sofie von Otter (24 Oct), Bo Skovhus (23 Oct), Juliane Banse (21 Oct), Thomas Allen (20 Oct), Sarah Connolly (15 Oct), Sophie Daneman (27 Oct), Dietrich Henschel (17 Oct), Felicity Lott (26 Oct), James Gilchrist (27 Oct), Sophie Karthäuser (15 Oct ), Christopher Maltman (16 Oct), Joan Rodgers (17 Oct), Mark Padmore (25 Oct),Christoph Prégardien (22 Oct), Kate Royal (28 Oct), Birgid Steinberger (18 Oct) and Roderick Williams (24 Oct).Emerging stars performing include Lorena Paz Nieto, Katherine Watson, Raphaela Papadakis, Ben Johnson andJohannes Kammler. They will be joined by acclaimed pianists including Julius Drake, Eugene Asti, Bengt Forsberg, Matti Hirvonen, Graham Johnson, Malcolm Martineau, Anna Tilbrook, and Roger Vignoles. Chamber and piano music will be performed by Alasdair Beatson, the Doric Quartet, the award-winning Gildas Quartet, Tom Poster, Alexander Panfilov, the Phoenix Piano Trio and others.

Renowned pianist David Owen Norris (19 Oct) performs on one of Clara Schumann’s pianos exploring the sound world of the 1840s. Graham Johnson (15 & 22 Oct) gives two lecture-recitals; study days will look at Schumann’s fascination with Bach, and at the political upheaval and revolution of the 1840s; Wolfgang Holzmair will lead the residential mastercourse; and there will be film screenings, masterclasses and talks. 2016 is also the 120th anniversary of Clara Schumann’s death; her 29 songs will be included in the Festival.

Events take place in all corners of the city from college chapels, Christopher Wren’s Sheldonian Theatre and Europe’s oldest concert hall – the Holywell Music Room – to the recently restored Ashmolean Museum and the Bodleian Library.

Sholto Kynoch, Artistic Director, says: “I’m thrilled that such an amazing array of artists will be coming to Oxford for this unique celebration of Schumann. It’s a wonderful opportunity to hear his complete songs, but a survey like this must never become an exercise in simply ticking off songs so we also have a fantastically wide-ranging series of other events designed to give a genuine insight into the man, his music and the world he inhabited. People ask me what the highlights are: it’s impossible to pick a single event and the highlight for me is the whole Festival experience. Whether you just dip into one of our superb lunchtime recitals, or come to hear the world’s great singers, or want to spot the best new talent, you’ll find much to enjoy. I always encourage people to set aside some time and come to a selection of events. Enjoy being immersed in Schumann and hearing him in a new light!”

The annual Oxford Lieder Festival is now in its 15th year and has established itself as one of the most prestigious celebrations of song in Europe. It presents a feast of song in Oxford each October with the world’s most sought-after artists as well as the new generation of younger talents. Its founder and artistic director is the pianist Sholto Kynoch. The 2014 Festival, The Schubert Project, won a prestigious Royal Philharmonic Society award, and was singled out for its ‘breath, depth and audacity of programming.’

General booking open www.oxfordlieder.co.uk / 01865 591276. www.oxfordlieder.co.uk

Prom 39

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 Royal Albert Hall, Sunday 14 August 2016

Prom 39

Haydn’s Symphony No 34 in D minor is so rarely heard this was its first Proms outing. Strange, when one comes to consider the work, as it is a fascinating link between earlier baroque structures and the later romantic movement. It is almost as if the composer poured himself into the first movement then reverted to the more conventional for the rest of the symphony. The third movement has a lovely gentle trio before a rather folksy finale.

One of the reasons for its inclusion was the parallel with Mahler’s 5th Symphony both in terms of key – D minor – and the movement from angst to sunny optimism. This was certainly true of Sakari Oramo’s approach. There was nothing cynical or nasty about the joy of the final movement which blazed with authority and vigour. The brass section of the BBC Symphony Orchestra had excelled itself throughout and brought the final pages to a thrilling intensity. The Adagietto was given a hushed sensitivity which may have come across better on the wireless for the frequent uncovered coughs were an irritant to an approach which even the RAH can take if the audience is on its side. There used to be a note in the programme about coughing – maybe it needs to return.

Between these two masterpieces we heard a new commission from Charlotte Bray. Entitled Falling in the Fire it was envisaged as a Cello Concerto and Guy Johnston was the soloist last night. I accept it may have come across better on the radio but in the hall the cello was frequently inaudible beneath the battery of brass and percussion. It only really surfaced in the quieter reflective moments where there seemed to be the makings of a distinctive solo voice, only to vanish again as the orchestra returned. If this was intentional it is hardly a concerto; if it was not, then the composer needs to reconsider the internal balance of the work.

Brighton Connections Summer Season 2016

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Brighton Unitarian Church, 14 August 2016

The central plank and final work in this enjoyable hour-long concert, focusing mainly on the work of young composers, was Haydn’s String Quartet in B flat Op 1 No I. One of the earliest of all string quartets, its symmetrical five movement structure consists of two minuets sandwiching an adagio (warmly played by this group) and flanked by a presto at either end. It’s a delightful piece, brought joyfully to life by Roland Roberts, violin, and his colleagues especially during the first minuet when the texture splits into a typically Hadynesque question and answer sequence between the two violins in “conversation” with viola and cello. The rapport was nicely highlighted.

Three works preceded the Haydn. Mozart’s three movement String Divertimento, also in B flat major,  (K137) opens with a first violin lead – Roberts is an unshowy but assertive player – into the sonorous andante, which was thoughtfully explored. There was some fine work in the sparky, colourful finale too.

Two of Dvorak’s Zypressen (Liebeslieder) made an interesting contrast to the classical world of Haydn and Mozart. Originally written as songs for voice and later adapted by the composer these are intensely tuneful. The first opens with the melody – lyrically played by violist Morgan Goff and then passed lovingly round in an attractive performance of an appealing work.

An even greater contrast came with Fuzon (String Quartet in two movements) 2012 by John Hawkins who lives in Lewes and was present in the audience. This was certainly the most challenging, and probably the most satisfying, work in the programme for the players. At one point I could feel Roland Roberts counting (and he has my sympathy). Inspired by Blake’s poetry the first movement depicts the elderly sterile Urizen and the second Fuzon, the embodiment of fire who opposes him. The quartet managed the contrast dynamically and played with real clarity and precision in the busy, rapid second movement particularly during the rhythmic  harmonics which conclude the piece.

The Unitarian Church in New Road has a fine acoustic for chamber music which sounds both crisp and resonant therein. With the doors closed you feel sealed in with the music.  Even the sound of Street Brighton noisily enjoying itself outside on a summer Sunday afternoon seems a long way away.

Susan Elkin

Shanghai Opera: Thunderstorm

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London Coliseum, Thursday 11 August 2016

Thunderstorm

In a world of instant communications and video links we may think we have a good understanding of culture across the planet but there are times when actually encountering the unfamiliar can be a shock. Last night Shanghai Opera House brought Mo Fan’s Thunderstorm for its first performance in the United Kingdom. Written in 2007, it is billed as a modern opera – a term frequently used to warn any potential audience that it will probably be discordant and contain high levels of discomfort and challenge. This is not however the way the word is used by the Chinese company. It simply means this is a contemporary composition but here any idea of modernity ends. Mo Fan is a wide ranging composer with many film scores to his name and his style is relentlessly tuneful. To give a flavour of what we encountered may I suggest an episode of Eastenders set to a score based on Star Wars. If that seems unduly dismissive it will give some understanding of why many in the audience around me found it difficult to control their laughter as the evening progressed. There was a total mismatch between the constant tunefulness of the score and the supposed emotional interaction of the characters.

Based on a play by Cao Yu, the plot revolves around a family overseen by a dictatorial father who has had an illegitimate son who in turn is now in love with a maid who turns out to be his sister, as her mother is still alive. As a plot this has operatic potential but for a western audience it needs a score which supports the emotional content. While the writing is highly lyrical it does not aid the emotional nuances, seeking rather to bombard its listeners with volume rather than subtlety. The only music which really fitted the character was the sailor songs for Chong at the opening of each act. Beautifully sung and well-crafted these stood out and were appreciated by the audience. For much of the rest of the evening there was a wash of emotional mood setting with little sense of direction. It did not help that the composer had added in a chorus who stood at the sides and emoted, or worse still sang off-stage to heighten the tension at key moments – an effect lost by over-use.

The key role of the mother, Fanyi, comes across with the intensity of Klytemnestra but the vocal line of a second rate musical, her histrionics hurled across the foot lights whenever she became excited.

The stage design was conventional and while the projections worked well it was poorly lit for most of the evening, with banks of front-of-house lighting cutting through any hope of sensitivity.

While it was fascinating to encounter this live – and many thanks to those who brought it to us – I doubt if works of this type could ever survive within the current western cultural environment. Where we have moved on, and modern means challenge if nothing else, Shanghai seems stuck in a 1950s time-warp.

All Saints Church Organ Series 2016: 5

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Monday 8 August, 2016

Simon Hogan

In his first visit to Hastings Simon Hogan, assistant organist at Southwell Minster, gave us an evening of assured performances in a well chosen programme. The first half was given an interesting structure with the two movements of Bach’s Prelude & Fugue in Eb bookending four other items spanning around four hundred years and all from these shores.

The first of these, William Byrd’s A fancie for my Ladye Nevell, an extended florid free composition for manuals, demonstrated Simon’s brilliant mastery of the manuals and also showed, as in the pieces that followed, his ability to conjure beautiful and authentic registrations from this instrument. S S Wesley’s Andante in F gave Simon the chance to produce some English romantic sounds both delicate and robust. The lyrical Allegretto grazioso by Frank Bridge showed off Simon’s sensitive side. A change of mood came with William Mathias’ Toccata giocoso, and demonstrated again Mr Hogan’s affinity with a wide range of musical styles.

A very welcome feature of this recital was the giving over of the second half to a complete organ symphony.  Widor’s Symphony No 6 in G minor is a Romantic tour de force. Simon gave an entertaining and convincing performance of this piece, at times majestic, sometimes lyrical and often virtuosic including the demanding extended pedal flourishes.  His command of the All Saints Willis was superb throughout and he demonstrated agility and technical brilliance as well as a sensitivity for conveying this music on an instrument very different from that for which it was originally written.

The enthusiastic audience was treated to a Scherzo from Vierne’s Symphony No 2 as an encore. This light but by no means slight offering brought this superb concert to an end. It is to be hoped that this will not be the only visit to Hastings for Simon Hogan and his excellent assistant who also worked incredibly hard throughout the evening.

Stephen Page

 

CDs/DVDs August 2016 (1)

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THE GLORY OF GLOUCESTER
David Briggs ‘Live’, organ of Gloucester Cathedral
CHESTNUT CD 011 (2 CDs) 111’5 total

This is a compilation of recordings made on two occasions and includes a wide range of music from JS Bach, Dupre, Widor, Alain, Reger and Cochereau to transcriptions of Mahler and three substantial improvisations by Briggs. The most unusual of these is Disneyrama, which uses five themes from Disney films (“I was only allowed to use the first seven notes of each theme, for USA copyright reasons”)! A highly eclectic CD.

BERNARDINO RIBERA (c1520-?1580) – MAGNIFICATS & MOTETS
DE PROFUNDIS, director David Skinner
HYPERION CDA 68141   76’51

All but one of the 19 tracks on this disc are first recordings. It is incredible that so much early music has still to be rediscovered and championed. The items here come from a choirbook in Toledo Cathedral. The book was heavily vandalised, probably in the 18th Century and so some detective and repair work has been necessary to bring this music back to life. A very worthy undertaking resulting in an enjoyable CD.

TAVERNER – WESTERN WYNDE MASS / MISSA MATER CHRISTI SANCTISSIMA
CHOIR OF WESTMINSTER ABBEY, director, James O’Donnell
HYPERION CDA68147  58’36

Under the very capable direction of James O’Donnell the Abbey choir present these well crafted renditions of these two Taverner mass settings, pairing the second, less familiar mass with the Western Wynde.  Like the previous CD some reconstruction of a missing part has been undertaken with the music. Full texts and translations are included, together with the very helpful printing of the source melody of Western Wynde.

BEDRICH SMETANA – CZECH DANCES / ON THE SEASHORE
GARRICK OHLSSON, piano
HYPERION CDA68062  62’15

Ohlsson presents a charming recording of this collection of short characteristic works for piano. An introduction to some unfamiliar and enjoyable music.

AVE MARIA – MUSIC FOR UPPER VOICES
ST CATHARINE’S GIRLS’ CHOIR, CAMBRIDGE, director Edward Wickham
RESONUS RES10170  66’15

This is a beautiful collection of mostly sacred contemporary works for upper voices. Mass settings by Leighton and Tavener sit alongside canticles from Diana Burrell and Joanna Marsh and settings of Ave Maria by Rebecca Clarke & Cecilia McDowall. There are two works by Judith Bingham and Three carols by Stevie Wishart. There is much to be enjoyed here.

SERGEI RACHMANINOFF – VESPERS, Op 37
ST THOMAS CHOIR of men & boys, Fifth Avenue, New York, conductor John Scott.
RESONUS RES10169  58’16

John Scott’s legacy continues with the release of this recording from his choir on Fifth Avenue. Rachmaninoff’s Vespers comes from a time when Western ears were less accustomed to the traditions of the Orthodox church. This recording presents a very assured performance of the music of the Russian Orthodox all night vigil from this bastion of the Anglican choral tradition in the US! It is an excellent example of how the music of worship can cross cultural barriers and have universal appeal.

J S BACH – CLAVIER-UBUNG III
STEPHEN FARR, Metzler organ of Trinity College, Cambridge
RESONUS RES10120  (2 Discs) 58’26  &  46’54

This is Stephen Farr’s first JS Bach recording. He presents this music in carefully registered and executed performances on this organ that has already been used for a number of recordings of Bach. An entrancing presentation of what itself is a well crafted collection of organ works.

SIGNS, GAMES & MESSAGES – WORKS FOR SOLO VIOLIN BY BARTOK & KURTAG
SIMON SMITH, violin
RESONUS RES10167  56’47

An unusual programme is presented on this recording by British violinist Simon Smith. The pairing of Kurtag’s Signs, Games & Messages from the 1980s with Bartok’s Sonata for Solo Violin of 1944 makes for very interesting listening. The Bartok sonata was a commission from Yehudi Menhuin and it makes great demands on the player. Kurtag’s work consists of a number of very short movements from a larger collection of short works for various solo instruments. All of this is music that inspires repeated listening. A genre that has much to be explored.

MOZART – PIANO TRIOS KV 502, 542 & 564
RAUTIO PIANO TRIO
RESONUS RES10168  57’11

More traditional fare is to be found on this disc. The Rautio piano trio breathe new life into this music  in committed performances on period instruments.

ELIZABETH’S LUTES
ALEX McCARTNEY
VETERUM MUSICA  56’05

Alex McCartney not only plays lutes but makes them! On this CD we have an enchanting collection of fine performances of lute repertoire from a number of composers from the time of the court of Elizabeth I. Very enjoyable.

RAUTUVAARA – RUBAIYAT, BALADA, CANTO V, 4 SONGS FROM RASPUTIN
GERALD FINLEY & MIKA POHJONEN soloists
HELSINKI PHIL ORCH & MUSIC CENTRE CHOIR, John Storgards, conductor
ONDINE  ODE1274-2   59’29

The recent death of the composer makes this release more poignant. Most of his work has been presented on CDs from Odine and here we have four contrasting works. Song cycles respectively for baritone and tenor with orchestra are to be found alongside Into the heart of light (Canto V)and the selection of songs from the opera Rasputin for mixed choir and orchestra.

THE PLEASURES OF THE IMAGINATION – ENGLISH 18th CENTURY MUSIC FOR HARPSICHORD
SOPHIE YATES, harpsichord
CHACONNE CHANDOS CHAN 0814   75’20

This lovely CD presents a varied selection of the English harpsichord repertoire. The longest section of the disc is given over to the seemingly recently rediscovered Richard Jones with his Third set of lessons in B flat major. Other composers are John Blow, Jeremiah Clarke, William Croft, Maurice Greene, Thomas Arne & Johann Christian Bach. A lovely excursion into a magical soundworld.

PRELUDIO – MUSIC FOR ORGAN BY CARSON COOMAN
ERIK SIMMONS, organ of Basilica Maria-Himmelfahrt, Krzeszow, Poland
DIVINE ART  DDA 21229  (2 Discs) 68’39   &  72’19

This is a very welcome release, collecting a number of works for organ by this prolific American composer. Most of the works here have been inspired by aspects of Early music whilst combining them with more contemporary compositional techniques. A very interesting CD set.

DVD / BLU-RAY/ CD set

THE GRAND ORGAN OF GLOUCESTER CATHEDRAL
JONATHAN HOPE, Gloucester Cathedral organ
PRIORY PRDVD 14 (Blu-ray/DVD/CD – 3 disc set)

The latest release in this line from Priory presents a varied and entertaining programme played by the cathedral’s Assistant Organist. Each of the three discs presents the same basic programme and there are bonus features on the two visual discs. Included alongside traditional fare such as Bach’s Toccata & Fugue in D minor, BWV 565 & Vaughan Williams’ Rhosymedre are transcriptions of Liszt,  Elgar and Cochereau as well as this organist’s own transcription of Dukas’ The Sorceror’s Apprentice.
The bonus features include an explanation and introduction to the programme and a very detailed organ tour as well as narrated demonstrations and an astonishing bonus piece by Leo Sowerby which includes extended writing for pedals, Pageant. Throughout Jonathan Hope demonstrates his affinity with and thorough knowledge of this instrument as well as great musicianship.

SP