Classical music
Bernard Hughes
Every now and then a concert programme comes along that fits like a bespoke suit, and this one could have been specially designed for me. Two established favourites from big names of the 20th century plus a new-to-me piece by a forgotten figure worthy of re-discovery.And the LSO under Susanna Mälkki didn’t disappoint in any regard: this was a great night in the Barbican hall. I came across the black American composer Julia Perry (1924-1979) a few years ago, but this was my first chance to hear her music live. There are a few black and women composers getting performed these days who, I fear, Read more ...
graham.rickson
Brahms: Lieder Christian Gerhaher (baritone), Gerold Huber (piano) (Sony)The concert I attended of Brahms Lieder in the Sheldonian Theatre in Oxford in October 2024, with Christian Gerhaher in fabulous voice and Gerold Huber at the peak of his craft was fabulous – five star review of that very special evening here. I was therefore overjoyed to discover only recently that they had made this recording of a very similar programme just one week before. The whole disc is a wonderful outpouring from a gloriously intelligent singer; maybe that’s all it’s necessary to know.The programme is a Read more ...
David Nice
It was a daring idea to mark Ravel’s 150th birthday year with a single concert packing in all his works for solo piano. Jean-Efflam Bavouzet knows them by heart, has bags of charisma and energy, so why not? I could give more than one reason, but the main problem was that while Bavouzet perfectly embodied Scarbo, the monster-Puck of Gaspard de la nuit, and other nocturnal flitters, he seemed careless with Undine and her watery companions, of which there were many.So much felt too loud - does Bavouzet's choice of a Yamaha piano, Richter's favourite, have anything to do with it? - and rushed. No Read more ...
David Nice
William Byrd, Arnold Schoenberg and their respective acolytes go cheek by jowl, crash into one another, soothe, infuriate and shine in their very different ways This is all in a typical programme of pianist, conductor, composer and all-round pioneer Karim Said, and last night in the studio of Leighton House, it nearly all worked (when it didn’t, that was the nature of the beast, not the pianist).Lord Leighton may not have been a great artist – he was a state figure who had a grand funeral in St Paul’s Cathedral in the same year as the much more original William Morris was buried under simple Read more ...
Bernard Hughes
There was a wonderful festal spirit at the Wigmore Hall last night, as the vocal ensemble Stile Antico ran through a Greatest Hits selection in celebration of their 20th anniversary, in front of a packed and enthusiastic audience. The 12-strong group still boasts four founder members, but this was swelled to 10 for the final item, as a swarm of alumni joined in a beautiful rendition of Gibbons’ The Silver Swan.Stile Antico specialises in music of the 16th century, in all its variety – from Byrd to Palestrina – sung with rich-hued warmth in the vocal sound, animation and vigour in the rhythms Read more ...
Robert Beale
Huw Watkins’ Concerto for Orchestra, the fourth new work of his to be commissioned and premiered by the Hallé and Sir Mark Elder, is another beautifully crafted and highly appealing construction.It’s also intriguing in its game-playing with genre, in almost a mirror image of the way his First Symphony was back in 2017. That, a two-movement piece, was undoubtedly symphonic by the time it reached its somewhat surprising ending, but managed to give the impression of being a concerto for orchestra at many points along the way.This, in three movements and running for around 35 minutes in total, is Read more ...
Zlatomir Fung
My new album, Fantasies, recorded with pianist Richard Fu, is the culmination of my years-long fascination with the wonderful genre of instrumental opera fantasies. I first fell in love with opera fantasies while attending summer music camps as a teenager. Franz Waxman and Pablo De Sarasate’s fantasies on Bizet’s Carmen were staples of the summer festival repertory of my violin-playing peers, and they were my first exposure to this sub-genre.As an ambitious young cellist, I couldn’t help but feel envious. Something about the virtuosic nature of the music – like a daring, high-wire circus act Read more ...
graham.rickson
Jürg Frey: Voices EXAUDI Vocal Ensemble/James Weeks (Neu Records)A new CD from EXAUDI is a guaranteed treat for all the senses: the sound quality is always impeccable, the CD presentation a tactile pleasure. Heck, it even smells good (a mixture of new car and old bookshop). VOICES presents the music of Swiss composer Jürg Frey (b. 1953), which is an intriguing mixture of the sophisticated and the almost naïve, a surface simplicity revealing submerged depths, a place where fragility and steely inner purpose meet. It is music that is extreme in its singlemindedness, the long spans over Read more ...
Rachel Halliburton
When Giuseppe Torelli made the journey from his birthplace of Verona to Bologna in the late 17th century, the trumpet was still seen as something of a brash outsider, suitable for military displays but not for sophisticated music ensembles. Within decades, it would seem perfectly natural for both Vivaldi and Bach to write major works featuring the trumpet.But both owed a considerable debt to Torelli who – beyond being Vivaldi’s teacher – put the instrument on the map by composing 30 concertos for it. So it’s not difficult to see why La Serenissima launched its glorious, vibrant celebration of Read more ...
Boyd Tonkin
I came to Isata and Sheku Kanneh-Mason’s Wigmore Hall recital on Saturday armed with a certain degree of scepticism. Not about the siblings’ stupendous talent and technique – their manifold achievements speak for themselves – but about the popular idea that family connections make for closer, more cohesive music-making. Well, the more fool me. Sheku’s delighted little glances back to his sister at the keyboard as he waited for her opening notes in a movement or a work hinted at the solid but playful rapport, and rippling empathy, that bound the quartet of fairly disparate pieces they Read more ...
David Nice
Transcendence is everywhere in Mahler’s most ambitious symphony, from the flaming opening hymn to the upper reaches in the epic setting of Goethe’s Faust finale. You’d think no visuals could match the auditory phantasmagoria, just as dance, music and design flunked the essence of Paradiso in the Royal Ballet’s The Dante Project. Mahler does compose a kind of concert opera in Part Two, though; sound, movement and image accorded well.The Southbank Centre has splashed out on its sound-and-vision Multitudes festival, which here meant further expense in a work that already calls for a large Read more ...
David Nice
“Let the music guide your imagination” was never going to be the slogan of the Southbank Centre’s Multitudes festival. Its 13 events offer parallel visions, intended in the case of Ravel’s Daphnis et Chloé (a shared project between the LPO and Australian dance company Circa I regret missing), not so in Shostakovich’s Tenth Symphony: as that masterpiece begins to be freed of its Soviet-era load, William Kentridge shackles it again on his own brilliant terms.More of that later. The redemption came in the last hour and eight minutes I caught of Igor Levit’s marathon performing the short Read more ...