Classical Reviews
Schiff, Baker, Hallé, Elder, Bridgewater Hall, ManchesterFriday, 14 October 2011
The objective: Beethoven’s symphonies. All of them. In numerical order, one after the other. Not only that, but a “powerful” work written in the last century to go with each one. That is Sir Mark Elder’s self-imposed mission for his 12th season with the Hallé. He has described it as the orchestra’s “first Beethoven cycle of the 21st century”. Is that a veiled promise of others to come? Perhaps in another 50 years, which is when the Hallé last tackled the cycle. Read more... |
Les Arts Florissants, Union ChapelFriday, 14 October 2011
“They should have trance nights here,” I heard a young man say to his girlfriend as we entered the domed, craggy splendour of Islington’s Union Chapel. Still a working church, this Victorian Gothic monster is an architectural Escher fantasy of arches and angles, its octagonal layout concealing as much as it reveals on first glance. Read more... |
Pacifica Quartet, Wigmore HallThursday, 13 October 2011
How good it feels, after several decades of Shostakovich quartet series, to be able to say not just “what a tragic life” but also “what ingenious treatment of great ideas, what a range of universal human emotions”. And even, walking on air away from the second concert in the Pacifica Quartet’s Wigmore Shostakovich cycle, “how accepting, how at one with the world”. Read more... |
Andsnes, BBCSO, Bělohlávek, Barbican HallThursday, 13 October 2011
Pundits have always yoked architecture and Bruckner together, touting void and mass at the expense of the dynamic experience music ought to be. Abbado and his Lucerne Festival Orchestra favoured sinuous instability in the Fifth Symphony earlier this week, making the very foundations gyre and gimble. Relatively solid ground last night was due to a more sober conductor and Bruckner symphony: a mixed blessing. Read more... |
Uchida, Lucerne Festival Orchestra, Abbado, Royal Festival HallMonday, 10 October 2011
We're living through a golden age of Bruckner conducting. A revolutionary age. Young sparks like Yannick Nézet-Séguin and Ilan Volkov are doing extraordinary things with the Austrian's music, experimenting with speeds and phrasing, reshaping him in a more extraterrestrial, more lithe and modern mould. All of which means that trying to get yourself noticed conducting Bruckner in the 2010s is a bit like trying to get yourself noticed as a footballer in 1970s Brazil. Good luck. Read more... |
Britten War Requiem, London Symphony Orchestra, Noseda, Barbican HallMonday, 10 October 2011
Nearly 50 years have passed since Britten’s War Requiem premiered at the consecration of the reconstructed Coventry Cathedral in May 1962. The intervening years have seen British military campaigns in the Falklands, Iraq, Afghanistan and Libya, and while the process and practice of war has changed beyond recognition, the horror that the pacifist Britten perceived so acutely remains the same. Read more... |
Rostropovich: The Genius of the Cello, BBC FourSaturday, 08 October 2011
How can even a generously proportioned documentary do justice to one of the musical world’s greatest life forces? John Bridcut knows what to do: make sure all your interviewees have a close personal association with your chosen giant in one of his many spheres of influence, then get cellist-disciples from Rostropovich’s Class 19 in the Moscow Conservatoire – here Moray Welsh, Natalia Gutman, Karine Georgian and Elizabeth Wilson - to watch and listen to their mentor talking and playing. Read more... |
Olga Borodina, Dmitri Yefimov, Barbican HallSaturday, 08 October 2011
In Italian opera, where lustrous Verdi mezzos are rare indeed, Olga Borodina tends to a first-the-music-then-the-words approach. In Russian song, the sole focus of last night's Barbican recital until the second encore, her classy, naturally inflected and beautifully coloured realisation of great as well as more generic native poets leaves you in no doubt what you're supposed to feel and think. Read more... |
Pierre Boulez Weekend, Southbank CentreMonday, 03 October 2011
William Glock once claimed that Pierre Boulez could literally vomit at music he believed to be substandard. I wonder what he would have made of my friend, who fled at the interval of the opening concert of the Southbank festival on Friday blaming Boulez's Domaines for setting off a panic attack. Read more... |
Classical CDs Weekly: Tchaikovsky, Shostakovich, Weir, Lockenhaus FestivalSaturday, 01 October 2011
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Tchaikovsky: Piano Trio in A minor; Shostakovich: Piano Trio in E minor David Trio (Stradivarius)Pages
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