Classical music
Bernard Hughes
My three Proms so far this year have all featured regional BBC orchestras conducted by women, all excellent, and it surely reflects well on the Proms management that they have done so much to address this gender imbalance in recent years. In last night’s Prom 36 the BBC Scottish Symphony Orchestra were led by the New Zealander Gemma New, who navigated a programme of Mozart, Mendelssohn and Bonis with élan, good humour and a gorgeous black frock coat.Before doing my research, the name Mel Bonis would have suggested an Australian Olympic athlete, or Californian surf champion, but she was in Read more ...
graham.rickson
Fauré: Requiem, Gounod: Messe de Clovis Le Concert Spirituel/Hervé Niquet (Alpha-Classics)It was as an avid fan of the short story author Saki that my eye was drawn to the title of Gounod’s Messe de Clovis, although the Clovis here is the 14th century king of France, who became, like Joan of Arc, an emblematic figure for the French people after defeat by Prussia in 1870. Paired with a recording of Fauré’s Requiem, which are ten-a-penny, this seems to be the only available recording of the Gounod, whose music I have become more interested in over the last couple of years. Gounod was Read more ...
Simon Thompson
When you stop to think about it, Schwanengesang is a pretty ridiculous thing. Schubert’s final song cycle was famously put together by his publishers after his death, and so it’s barely a cycle at all. Therefore, unlike Die schöne Müllerin and Winterreise, there’s no story and, even worse, the lurches in mood between the songs are so extreme that they can become absurd.I reflected on that several times while watching Ian Bostridge singing it during this EIF Queen’s Hall recital, because his identification with the songs and their meaning seemed so complete that he could drag the audience into Read more ...
Bernard Hughes
This Prom by the BBC National Orchestra of Wales and Nil Venditti featured a first half of Welsh composers, including the belated Proms debut of Karl Jenkins at the age of 80. It’s a sign of how Proms programming has evolved over the last 30 years that either of them gets a look-in and, even if I had some mixed feelings about their pieces, it can only be a good thing that they are now being heard in this festival.The second half featured someone who has waited even longer than Jenkins for a first Proms outing – Louise Farrenc, who died in 1875 – alongside a guy called Ludwig van Beethoven, Read more ...
Boyd Tonkin
Founded by Daniel Barenboim and Edward Said, the West-Eastern Divan Orchestra first performed at the Proms – to a rapturous welcome – in 2003. For two decades the visits, and the audience rapture, have continued, while the region of most WEDO players’ birth now looks, this hideous year above all, more steeped in blood and hate than ever. Said and Barenboim never intended the orchestra, with its core element of young Arab and Israeli musicians later augmented by players from neighbouring lands, as some kind of soppily high-minded peace project. Rather, they sought a way of creatively Read more ...
Simon Thompson
When you’re running a three-concert residency, you can afford to take a few repertoire risks, to programme a few things that might be close to your heart but which won’t pack in the punters.That must be the reason why the Bamberg Symphony Orchestra’s EIF residency included Hans Rott’s First Symphony in its first night and in this, its last, Dvořák’s Te Deum and Josef Suk’s Asrael symphony, works close to Chief Conductor Jakub Hrůša’s heart but which don’t resonate so much with British audiences.Predictably, therefore, the Usher Hall was only half full for both of those concerts (their middle Read more ...
David Nice
Let’s begin at the end. Can the Paris Olympics' closing ceremony offer anything as classy or joyous as 260 musicians aged 13 to 18 singing the French carol-plus-farandole finale of Bizet’s L'Arlésienne music?* This encore also made Proms history as a unique riposte to the Simón Bolivar Youth Orchestra’s instrument-twirling Bernstein “Mambo”. And what a sequel to a Mahler One brimming with energy, masterfully negotiated by conductor Alexandre Bloch.Range rather than cohesion was the name of this supremely high-spirited game. Wagner's Overture to The Flying Dutchman underlined the discipline: Read more ...
graham.rickson
Arthur Bliss: Works for Brass Band Black Dyke Band,/John Wilson (Chandos) I’ve really got into the music of Arthur Bliss over the last couple of years, aided by Paul Spicer’s authoritative 1923 biography. I had always had Bliss in my head as a stuffy old establishment buffer, but he was far from that, although he did end up as Master of the Queen’s Music. As a young man – having fought with distinction in WWI – he was quite the radical, and an early composer for film, most notably in the groundbreaking Things To Come. Above all, what emerged from the biography, was a grounded, contented Read more ...
Bernard Hughes
This was my first Prom of the season – always an exciting moment, even in my fourth decade as an attendee. I was hearing the BBC Philharmonic under its newly appointed Principal Guest Conductor, the excellent Anja Bihlmaier, in a programme of two giants of the 19th century Romantic repertoire separated by warp & weft by the American composer Sarah Gibson.This was not the originally billed commission beyond the beyond, as Gibson died of cancer at the age of 38 on 14 July, with the new piece unfinished. It was replaced by warp & weft (2021), based, according to the programme note, on Read more ...
Simon Thompson
The Queen’s Hall isn’t going to know what has hit it after the opening weekend of this year’s Edinburgh International Festival. What’s usually the festival’s demure home of chamber music – string quartets, piano trios and so on – was still recovering from Jakub Józef Orliński’s theatrics from Saturday morning, when it encountered this scorching performance of choral music from the Schola Cantorum de Venezuela (★★★★★).The Schola Cantorum’s main reason for being in Edinburgh last weekend was to take part in Golijov's La Pasión según San Marcos in the Usher Hall on Saturday evening, but Read more ...
Simon Thompson
When I first started attending the Edinburgh International Festival in the 1990s, the Opening Concert (capitals intentional) was a grand Usher Hall affair on a Sunday evening; a central work of the western classical tradition to set the festival running. Not any more. They’ve steadily moved the opening of the festival forwards over the years (the first of 2024’s preview events took place last Thursday) and this year the opening concerts take place over not one but two nights.The theme that director Nicola Benedetti has chosen for this year’s festival is Rituals that unite us, and the opening Read more ...
David Nice
Not everyone knew what to expect from this fascinating programme. Rachmaninov’s Symphonic Dances, last of his orchestral masterpieces, is nothing like the more familiar aspects of his piano concertos. Nor is Busoni’s nominal attempt at the form, which seems more of a Symphony-Concerto than anything else, and style-wise impossible to pin down. Both works had the fullest care and focus last night.It felt counter-intuitive to have Rachmaninov's very personal swansong in the first half; if some of us couldn't quite tune in to the depths at first, that was no fault of the performance. Edward Read more ...