Classical music
theartsdesk
As we all have only one shopping day left, theartsdesk hopes to make Christmas Eve a little easier by offering a few enlightened recommendations. From our writers on new and classical music, opera and ballet, film and comedy, here is a list of CDs and DVDs that we hope will enhance your 11th-hour shopping experience. Happy Christmas from all at theartsdesk. DVDsIn the Loop, dir. Armando Iannucci (Optimum)by Jasper ReesThe cinematic spin-off of The Thick of It seems destined to take its place as an enduring moreish classic alongside This Is Spinal Tap. It’s as if the film knows it itself Read more ...
edward.seckerson
The term “accompanist” is no longer acceptable, no longer “politically correct” in musical circles, not least Lieder. It’s hard to imagine now that the relationship between a singer and his or her pianist was ever regarded as anything other than an equal partnership. But 26 years ago, when Julius Drake first stepped out on to the Wigmore Hall platform to play Poulenc with “friends”, the rarefied world of chamber music and song was a very different place. Even Gerald Moore, the most venerated of Lieder pianists, called his autobiography Am I Too Loud? – a title more than a little suggestive of Read more ...
graham.rickson
Joanna MacGregor walks on stage purposefully, clutching a manuscript of paving-slab dimensions, promptly sits down and starts to play, smiling. The opening measures of Messiaen’s Regard du Père steal in gently, and for the next 120 minutes we are transfixed. Until this evening, listening to Olivier Messiaen’s Vingt regards sur l’enfant-Jésus on disc has always been an unappealing prospect - something I’ve done more in duty than pleasure. Hearing it live for the first time is a revelation.Composed during the liberation of Paris in 1944 for Yvonne Loriod (soon to be the composer’s wife), the Read more ...
igor.toronyilalic
Will she? Won't she? Ooh? Ah? No to the Mazurka? Yes to the Barcarolle? We were an audience on tenterhooks last night as flu-ridden Ingrid Fliter coughed and spluttered her way through her Chopin recital at the Wigmore Hall, chopping and changing her programme every five minutes as her fever came and went. The amassed audience willed her on enthusiastically. London was falling in love with Fliter.The staggering first half, full of weighty, melancholic Chopin works, begged one question: where was all her power coming from? Here was this pretty, petite Argentinian unleashing Read more ...
igor.toronyilalic
A truly terrifying sight this afternoon. The Wigmore Hall: full of children. A group of 50 10- to 13-year-olds were filing in to hear their first classical concert. On this one event a lifetime’s attitude to an entire art form would be based. It was make or break time. The concert would have to have been very carefully chosen. Hm. What had these wise teachers picked for these impressionable young rookies to ease their ears into the tough world of classical music? A lunchtime chamber recital of the works of Guillaume de Machaut, Harrison Birtwistle and Johannes Ockeghem. My instinct was to Read more ...
igor.toronyilalic
There’s simply no orchestral sound quite like it. The Royal Concertgebouw Orchestra had barely done a bar of Bedřich Smetana’s overture to The Bartered Bride before I found myself grinning like a fool. It was as if I had stepped off a plane and walked into a bath of fresh foreign sun. The biting cold of winter had temporarily lifted for those who had made it to the Barbican this weekend. Spring had come early. The rush of notes and folksy flavours of the Czech overture probably would have added glow to our cheeks no matter who had delivered them. But there’s a big difference Read more ...
David Nice
Creative old age brings with it not just the expected serene glow but also a singular urgency, a fresh intensity, or so that magisterial pianist Claudio Arrau once wrote. Arrau was a living testament to his claim; so, now, is the 84-year-old Sir Charles Mackerras. Everything he's chosen to bring to life this season has a valedictory quality, or perhaps he simply selects the best. His Philharmonia diptych of concerts led us from the Wagnerian end of the world on Thursday to a Sunday afternoon of prelapsarian innocence in Beethoven's pastoral idyll and paradise regained in Read more ...
Peter Culshaw
A continuing series celebrating musicians' birthdays.
16 December 1899: Noel Coward, sharing a birthday with Beethoven, an early English rapper of the silk polka dot dressing gown and cigarette holder school.
{youtube width="400" height="300"}vdEnxNog56E{/youtube}16 December 1770: Not sure whether to admit this, but I can't have been the sole Sex Pistols fan who only became enamoured of the second movement of Ludwig Van Beethoven's Ninth Symphony as a teenager after watching Stanley Kubrick's A Clockwork Orange, with Alex and fellow droogs discussing the magnificence Read more ...
joe.muggs
Linked to Joe Muggs' interview with Tim Lawrence on theartsdesk, this is extracted from the introduction of Hold On To Your Dreams: Arthur Russell and the Downtown Music Scene, 1973-1992.
Arthur Russell hailed from the Midwest, yet felt at home in downtown New York. Outwardly normal to those who observed his checkered shirt and acne-scarred face, he trod the maze-like streets that ran from the battered tenements of the East Village to the abandoned piers on the West Side Highway for hours at a time, and on a daily basis.The labyrinthine infrastructure and contrasting neighborhoods of lower Read more ...
theartsdesk
Our pick of the latest Classical CDs ranges from Tchaikovsky's first and final symphonies to Greek-themed songs by Schubert, by way of late Stravinsky ballets, rare Roussel, a complete Sibelius cycle, cross-over music for recorder and a Superman Symphony. Our reviewers this month are Edward Seckerson, Graham Rickson and Ismene Brown.CD of the Month
Tchaikovsky: Symphonies No.1 “Winter Daydreams” & No.6 “Pathétique”, London Philharmonic Orchestra/Vladimir Jurowski (LPO)
by Edward Seckerson
Exceptional performances from opposite ends of Tchaikovsky’s symphonic canon – and the secret of Read more ...
Jasper Rees
This week the BBC News online magazine is running a Portrait of the Decade. Each day has brought a consideration of the words, the events, the people, the objects and, today, the cultural highlights of the decade. I was invited to consider those highlights.In years to come, when they look back on the culture of the Noughties, no one will struggle to identify the overarching theme. This has been the decade in which the professional, the trained talent, has had to budge up and make room. A decade ago, who’d have imagined that the biggest stars in pop would be sourced from a Saturday-night Read more ...
igor.toronyilalic
Even Schubert’s very earliest compositions terrify. His first songs, written when he was only 13, are unforgettably vivid, gory, messy, mangled, full of darkness and horror, like dead little birds. He never shakes off this Gothic sensibility; it’s never ironed out of him. A part of him remains untutored, untamed, right to the end, and over time his dark preoccupations gather a more and more frightening shape. Pitch blackness is reached in his Piano Sonata in A minor, D784, one of strangest pieces in the whole piano repertoire, a work of utter nightmarishness and a focal point for last night’s Read more ...