Classical Music reviews, news & interviews
Classical composers have always enjoyed depicting the implausible. Operas based on mythological subjects abound, creating near-impossible staging demands. Musical works based on science fiction are far rarer. Haydn's plodding opera Life on the Moon isn't one of his most scintillating works. More engaging is the first act of Janacek's comedy The Excursions of Mr Brouček, its pickled hero dreaming himself onto the surface of a moon inhabited by a colony of fey artists and intellectuals. The most...
As I sat, engaged and occasionally charmed but not always as impressed as I’d been told I would be, through violinist-animateur Richard Tognetti’s lightish seven-course taster menu of string music with the Orchestra of the Age of Enlightenment, it was worth bearing two things in mind. One was that this happened to be merely the official zenith of a truly enlightened three-part project; on Monday, parts of the programme had been played first to educate all ages and later to grab a young audience...
London has more world-famous symphony orchestras than any other city in the world, the Philharmonia, Royal Philharmonic, London Philharmonic and London Symphony Orchestra vying with the BBC Symphony Orchestra and Royal Opera House Orchestra, crack "period", chamber and contemporary orchestras. The bursting schedules of concerts at the Wigmore Hall, the Barbican Centre and South Bank Centre, and the strength of music in Birmingham, Manchester, Leeds and Cardiff, among other cities, show a depth and internationalism reflecting the development of the British classical tradition as European, but with specific slants of its own.
brittenWhile Renaissance monarchs Henry VIII and Elizabeth I took a lively interest in musical entertainment, this did not prevent outstanding English composers such as Thomas Tallis and William Byrd developing the use of massed choral voices to stirring effect. Arguably the vocal tradition became British music's glory, boosted by the arrival of Handel as a London resident in 1710. For the next 35 years he generated booms in opera, choral and instrumental playing, and London attracted a wealth of major European composers, Mozart, Chopin and Mahler among them.
The Victorian era saw a proliferation of classical music organisations, beginning with the Philharmonic Society, 1813, and the Royal Academy of Music, 1822, both keenly promoting Beethoven's music. The Royal Albert Hall and the Queen's Hall were key new concert halls, and Manchester, Liverpool and Edinburgh established major orchestras. Edward Elgar was chief of a raft of English late-Victorian composers; a boom-time which saw the Proms launched in 1895 by Sir Henry Wood, and a rapid increase in conservatoires and orchestras. The "pastoral" English classical style arose, typified by Vaughan Williams, and the new BBC took over the Proms in 1931, founding its own broadcasting orchestra and classical radio station (now Radio 3).
England at last produced a world giant in Benjamin Britten (pictured above), whose protean range spearheaded the postwar establishment of national arts institutions, resulting notably in English National Opera, the Royal Opera and the Aldeburgh Festival. The Arts Desk writers provide a uniquely rich coverage of classical concerts, with overnight reviews and indepth interviews with major performers and composers, from Britain and abroad. Writers include Igor Toronyi-Lalic, David Nice, Edward Seckerson, Alexandra Coghlan, Graham Rickson, Stephen Walsh and Ismene Brown
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