Classical Reviews
Le Concert Spirituel, Christ Church SpitalfieldsFriday, 12 December 2014
The magnificent Christ Church Spitalfields is a masterpiece of the British baroque and very much an ideal venue for this Spitalfields Winter Festival visit by French period instrument group Le Concert Spirituel. Travelling as a chamber ten-piece without conductor Hervé Niquet, the group performed a selection of early 18th-century works from across Europe, bringing in Muffat, Purcell, Biber, Zelenka, Charpentier, Corelli and Bach. Read more... |
Messiah, OAE, Howarth, Royal Festival HallWednesday, 10 December 2014
Goldilocks would not have been a good conductor. There’s a reason why there isn’t a dynamic marking between mezzo forte and mezzo piano. Mezzo on its own would be a pretty bland state of affairs, sat solidly in an inoffensive state of not-too-loud-and-not-too-soft, not swelling to a crescendo or pining away to a decrescendo, but content with a steady sonic compromise. Read more... |
Siglo de Oro, Allies, Shoreditch ChurchWednesday, 10 December 2014
Black Friday, Cyber Monday, Greed Tuesday: they all vanished from memory once the first notes of Siglo de Oro’s Christmas-themed concert started. This young British choir, now six years old, began with what’s already become a modern classic, Jan Sandström’s magical setting of Es ist ein Ros entsprungen, where the first staggered entries open like a fan and we drift thereafter in slow-motion bliss. Read more... |
Stefanovich, Currie, Queen Elizabeth HallMonday, 08 December 2014
Tamara Stefanovich and Colin Currie – a dream team for Birtwistle’s The Axe Manual. Both are new music specialists with a gift for grace and dexterity, even in the most complex works. The score sets up a range of sophisticated relationships between piano and percussion, from sympathetic resonances to complex interplays of stretto and hocket. Yet none of this fazes the two players, nor ever challenges their close ensemble, seemingly telepathic in its precision. Read more... |
Garbarek, Hilliard Ensemble, King's College Chapel CambridgeSunday, 07 December 2014
This was “Officium – the final concert.” The Hilliard Ensemble took their decision around three years ago to disband as a group, and – for three of them – to retire, rather than to re-launch with a new generation of voices. They are now on the road doing a series of farewells. Their final bow will be at the Wigmore Hall on December 20th, and between now and then, their victory lap takes in Taunton, Gdansk, Châlons-en-Champagne, Florence and Cologne. Read more... |
Aimard, LPO, Jurowski, Royal Festival HallSunday, 07 December 2014
In words and music Harrison Birtwistle isn’t always as gruff as he’s been painted. Interviewed over the summer during one of his 80th birthday Prom concerts, the composer tossed off enough humorous remarks to suggest that a new career could almost beckon as a stand-up comedian touring the northern clubs. Read more... |
Birtwistle 80th Birthday Concert, London Sinfonietta, Atherton, QEH reviewSaturday, 06 December 2014
Sir Harrison Birtwistle has never sought to make life easy for his audiences, nor for interviewers, often giving short shrift to both. His music is as uncompromising as his carefully curated public persona. But fortunately last night we were treated to more notes and less chat than the printed programme threatened. Read more... |
Karajan's Magic and Myth, BBC FourSaturday, 06 December 2014
There have been legendary conductors, and then there was Herbert von Karajan. He was a colossus of post-World War Two classical music, equipped with fearsome technical mastery allied to a vaguely supernatural gift for extracting exquisite sounds from orchestras. But that wasn't all. An expert skier with a passion for high-performance cars and flying his own jet, he was as charismatic as a movie star or sporting idol. Read more... |
Classical CDs Weekly: Prokofiev, Tchaikovsky, Christina SandsengenSaturday, 06 December 2014
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Levit, LPO, Jurowski, Royal Festival HallThursday, 04 December 2014
If Brahms’s First Symphony has long been dubbed “Beethoven’s Tenth”, then the 23-year-old Rachmaninov’s First merits the label of “Tchaikovsky’s Seventh” (a genuine candidate for that title, incidentally, turns out to be a poor reconstruction from Tchaikovsky’s sketches by one Bogatryryev). Read more... |
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