BBC Music Magazine (2015-11 - Nov 2015)

THE WORLD’S BEST-SELLING CLASSICAL MUSIC MAGAZINE
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EXCLUSIVE INTERVIEW
KENNEDY
vs
VIVALDI
The violinist squares up The art
to The Four Seasons again – of opera
with extraordinary results 200 years of
theatre posters
ALSO IN THIS ISSUE

Alina Ibragimova
We interview the top violinist
Acis & Galatea Ukulele fever!
The best recordings of Handel’s ‘little opera’ Music’s unlikely plucky star
Betty Freeman Liszt’s thongs…?
The 20th century’s most important patron 15 bizarre composer products
Richard Morrison Vincenzo Bellini
How should we celebrate St Cecilia’s day? Italy’s short-lived opera genius
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“To play Bach, you need to feel in harmony with Christina Pluhar and L’Arpeggiata return to CELLO CONCERTOS
yourself, to feel humble – Bach really is a matter Italian music of the 17th century, and “Capuçon played the work beautifully, negotiating
of humility ... You cannot hide anything.” specifically to composer Francesco Cavalli. its difficulties with seeming ease … his elegance
(Alexandre Tharaud) paid dividends …, especially in the meditative
LIVE: 21 Dec – Wigmore Hall, London
Moderato and the brooding opening of the
LIVE: 2 Nov – Wigmore Hall, London cadenza.” (New York Times)
(Trio recital with Sabine Meyer and Daniel Hope)
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13 Mar – Wigmore Hall, London
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NOVEMBER 2015 THE MONTH IN MUSIC
THE MONTH IN MUSIC

The recordings, concerts, broadcasts and websites exciting us this November
ON STAGE ON DISC ONLINE ON AIR

Fond remembrance Masterful Polish An equal music Cultural exchange
In an event originally intended to Grażyna Bacewicz’s seven string A big hand to Jessy McCabe, For three weeks, conductor
mark the 70th birthday of Peter quartets display, as Lutos√awski the 17-year-old A-level music Grant Llewellyn and the BBC
Cropper, many of the violinist’s said of the Third, ‘masterly student who has taken her National Orchestra of Wales
notable musical friends will be idiomatic writing’. Yet these rich exam board to task over the are touring South America to
gathering at Sheffield’s Upper pieces are heard all too rarely, lack of female composers on celebrate the 150th anniversary
Chapel on 18 November. Sadly, especially outside the composer’s her syllabus. As well as writing of the founding of Y Wladfa,
the esteemed founder of the native Poland. Help is at hand to Edexcel in person, she has the Welsh settlement down in
Lindsay Quartet died in May, so from the Lutos√awski Quartet also launched a petition on the Patagonia. A concert at Buenos
this, the first of two ‘Celebrating (pictured below) who have change.org website to ensure the Aires’s Teatro Colón highlights
L RAJCHERT
Peter Cropper’ concerts, will recorded the complete set, with likes of Fanny Mendelssohn, Lili composers from both Argentina
instead be the most heartfelt the volume featuring Quartets Boulanger and Clara Schumann and Wales, including Ginastera
of tributes. See p103 Nos 1, 3, 6 & 7 out now. See p84 get their due recognition. See p17 and Huw Watkins. See p106
page 30:
James Naughtie meets
Alina Ibragimova
page 24:
Seasons greetings! page 34:
Nigel Kennedy tackles Peter Sellers plays the ukulele in
Vivaldi once again The Optimists of Nine Elms
CONTENTS
EVERY MONTH Anna Picard selects the best recordings 30 James Naughtie meets…
of Handel’s little opera, Acis and Galatea Russian violinist Alina Ibragimova
3 A Month in Music
What we’re all looking forward to this November 102 Live Events 34 Ukulele fever!
Matt Swaine explores the history and
6 Letters 106 Radio & TV listings repertoire of a plucky little musical hero
10 The Full Score 110 Crossword and Quiz 38 Betty Freeman

The latest classical music news – and more Helen Wallace looks at the life of the late-20th
112 Music that Changed Me century’s most influential composer patron
23 Richard Morrison Conductor Thomas Dausgaard
42 Lucerne Festival Orchestra
54 Musical Destinations After Abbado, what next?, asks Rebecca Franks
Jeremy Pound in Tampere, Finland FEATURES
46 The art of opera
56 Composer of the Month 24 Nigel Kennedy We admire opera’s most colourful posters
George Hall on Vincenzo Bellini Richard Morrison meets the inimitable violinist
to chat about his new Four Seasons recording 50 Liszt’s thongs…
60 Building a Library …and 15 more strange composer products
4 BBC M USIC M AG A Z I N E
Su e p8 stic
Se anta
bs for offe
f
cri o r
THIS MONTH’S NOVEMBER REVIEWS
be ur
CONTRIBUTORS The important new recordings,
!
DVDs and books reviewed
Richard Morrison
Chief critic, The Times
‘Football chat with
Nigel Kennedy was
all the sweeter this
year because my
Welc
team (Arsenal) had I almost 26 years since
It’s
thrashed his (Aston
Villa) in the FA Cup.
Nigel Kennedy’s ground-
N
He was, he says, on the Villa board, bbreaking recording of
“but resigned because I felt inhibited V
Vivaldi’s Four Seasonss took
in the directors’ box”.’ Page 24 tthe world byy storm,, sellingg
Matt Swaine oover three million copies. And
Journalist and lecturer deservedly so. Bracingly and
‘As a guitarist, I first 66 Recording imaginatively performed,
picked up a ukulele Kennedy had clearly thought
ten years ago and of the Month anted to say in each
playing it never fails
to bring a smile to
Giuseppe Verdi movement – and then proceeded to drive it to the wall.
my face. Learning Aida In many ways, though, that recording sounds tame to
about its history contemporary ears, which says a good deal about its
and talking to some of the finest massive influence and how musicians have tried (and
players in the country for this month’s 68 Orchestral
feature was a huge privilege.’ Page34 often failed) to recreate the Kennedy sound. Even today,
72 Concerto
you’d be hard pushed to find a new recording of The Four
Rebecca Franks
75 Itzhak Perlman special
Seasonss that doesn’t at least doff its cap to him, despite
BBC Music’s reviews editor 76 Opera what’s since been written on period performance. Even if
‘Few orchestras 80 Choral & Song Nigel Kennedy’s new recording isn’t to everyone’s taste, it
consistently draw 84 Chamber shows an artist still on the quest for something new. While
superlatives like
the Lucerne Festival
90 Instrumental
93 Brief Notes
Orchestra. It was
a genuine treat to 94 Jazz
Kennedy has spent his life so far
hear this rather
special ensemble in concert and to 97 World 98 Books merrily winding up the music critics
talk to its members about its future 100 Audio
under a new conductor.’ Page 42 many artists spend their lives simply chasing perfection,
Kennedy has so far spent his merrily winding up the music
critics. Someone needs to do it, and who better than one of
VISIT CLASSICAL-MUSIC.COM FOR THE the world’s most original – and remarkable – musicians?
LATEST FROM THE MUSIC WORLD Now, don’t get me wrong. I’m sure a Chopin bidet is
very useful and that the Liszt thong is perfect for those
who wear, er, thongs (see p50)… but I suspect a Beethoven
dating service would probably do better business.
However, there are certain products I’d be only too pleased
to see. How about the Mendelssohn boat, ideal for sailing
around the Scottish islands, steady as a rock while you
compose your orchestral masterpiece? A Rachmaninov
COVER: JAMES CHEADLE THIS PAGE: JAMES CHEADLE, JOHN MILLAR, GETTY
pocket watch might be useful if you fancy hypnotising

yourself to write a hit concerto. Or, given that he used to
eat steamed dover sole before every performance, what
■ Download a free track every week from one of the best
about the Horowitz fish kettle? No? Oh, OK.
reviewed recordings from a recent issue Finally. we’ve been having a look at historic opera posters
■ Read the latest classical music news this month. It turns out that the ‘spoiler alert’ isn’t as new
■ Listen to clips from BBC Music Magazine’s choice recordings a phenomenon as we all thought. Many of them reveal
■ Listen to the fortnightly BBC Music Magazine podcast what happens in the final scene (gulags, dead heroines,
■ Discover more about the lives of the great composers murdered villains) which must, at the time, have made the
■ Plus: the official chart, interviews, competitions, radio and TV
average opera-goer hopping mad. See page 46!
highlights, a preview of our monthly cover CD and much more!
The licence to publish this magazine was acquired from BBC Worldwide by Immediate Media Company
on 1 November 2011. We remain committed to making a magazine of the highest editorial quality, one
that complies with BBC editorial and commercial guidelines and connects with BBC programmes. Oliver Condy Editor
BBC M USIC M AG A Z I N E 5
LETTERS
Write to: The editor, BBC Music Magazinee Tower House, Fairfax Street,
Bristol, BS1 3BN or email: music@classical-music.com
EDUCATION WOES interest to me. However, I don’t

LETTER OF THE MONTH Your feature on the state of music believe that the concept of Music
education in the UK (October) Hubs is the way forward. The
makes depressing reading. A good focus is on handing powers to
system was in place up until the independent organisations,
1980s run by LEA music services; who ‘bid’, ‘compete’ and ‘make
it was comprehensive in scope partnerships’ with schools – this,
and was accountable through rather worryingly, sounds like the
locally elected councillors to the first step towards privatisation.
communities it served. I taught Furthermore, my experience of
in a First and Middle School Music Hubs is not all positive.
(ages five to 12) in Kirklees – the The primary school large-group
catchment area was not wealthy, (around 20 children to one
but parents were keen to support teacher) instrumental teaching
whatever the school could offer was of questionable effectiveness,
their children in experiences of the and many youngsters were left
arts. Violins, flutes and clarinets feeling alienated from centuries of
were hired to pupils, and if they great music. In addition, events
decided to purchase the instrument provided by Hubs often seem to
then what they had already paid discriminate against those who
youthful vigour: acted as a deposit. Expensive items can’t afford it. This reminds me
Enescu’s Octet packs such as bassoons, cellos, tubas, of a previous BBC Musicc feature
a hefty punch horns and euphoniums were on on penniless composers – imagine
free loan. On Fridays I brought all life without Sibelius or Debussy! I
these children together to perform, am lucky, as my state school’s two
DISCOVERING ENESCU and my scores looked as large as a music teachers are both dedicated,
I would like to thank you for Erik Levi’s fine article on George Mahler symphony as I had parts inspiring and talented – I only
Enescu (September). This is a musician I had mostly associated for open string violins, cellos and hope that we don’t end up with
with conducting and teaching, especially his influence on Yehudi guitars so the beginners could ‘regional-water-company-style’
Menuhin. I discovered Enescu the composer last June at the opening contribute. The children revelled in music education companies.
concert of ChamberFest Cleveland, held on a steamy hot night in a playing together and many of them Aidan Tulloch, Thirsk
Cleveland art gallery. After an excellent but not too unconventional carried on their music-making
first half, the capacity audience was suddenly hit with this passionate, into adult life. Then overnight SWEDE SUCCESS
even angry, yet lyrical torrent of sound that was Enescu’s Octet it stopped; payments for lessons With your October issue, you
Op. 7. Unfamiliar to most, we were were introduced and the 70-plus provided a stunning cover CD
enthralled by this masterpiece. At group became almost a quartet. containing Grieg’s Peer Gyntt and
first I thought it was the composer’s The children lost the community Wilhelm Stenhammar’s Symphony
response to the horrors of World War cohesion that music-making helped No. 2 in G minor. I guess many
I, and only afterwards discovered to foster. Now it’s only the well readers have never heard of
it was written in 1900 by a 19 off who can afford the lessons and Stenhammar, and his name
year-old! I have been getting better music teachers in the state sector does not even appear in my two-
Every month the editor will acquainted with this work and look are having to justify their existence. volume edition of The new Oxford
award a SolarDAB 2 Roberts forward to hearing more of the Jonathan Newcombe, Companion to Music. c My plea to all
radio (retail value £80 – see
ARENA PAL, LEBRECHT
www.robertsradio.co.uk) to the composer’s music. The experience Huddersfield receivers of the magazine is that you
writer of the best letter received. proves that even old codgers can should play this wonderful work
The editor reserves the right to
shorten letters for publication.
have a life-changing experience of HUB SNUB and not be satisfied simply with the
musical discovery. Eric Kisch, Ohio, US As a 15 year-old, your feature on Grieg. Here you have a symphony
music education was of particular which is well constructed, easy on
the ear, and full of good tunes. But, if they listened to their Palestrina, the Rachmaninov or
You will not be disappointed. favourite music with headphones even the medley of highlights from
Are there any other hidden gems while at the dentist, their fear and the Barry Manilow songbook do
NEED TO GET IN TOUCH?
from Scandinavia? stress would be ameliorated. not actually deliver you into the

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music@classical-music.com
Scandinavia, there are plenty! get it wrong, and one’s visit to masterclass as showman, conductor
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TheFullScore
OUR PICK OF THE MONTH’S NEWS, VIEWS AND INTERVIEWS
Riccardo Chailly grabs tasty Swiss role

Italian maestro to leave the Leipzig Gewandhaus Orchestra as Lucerne calls
between you and me: On the beat

Chailly will leave the Chailly’s current conducting posts
Gewandhaus in 2016
operatic splendour: Milan’s La Scala

Leipzig Gewandhaus Appointed
chief conductor in 2005, Chailly was
contracted to stay with the German
orchestra until 2020. He has, though,
decided to leave next year instead.
La Scala He has been principal conductor
at the Milan opera house (above) since
January 2015, a position that will change
R
iccardo Chailly is to be the new the ensemble, which consistently
to music director from January 2017.
music director of the Lucerne receives rave reviews and is regularly
Festival Orchestra. The Italian, described as the finest in the world, has Lucerne Festival Orchestra Appointed
62, will take up his role in the Swiss city been conducted by Bernard Haitink and music director from next summer,
at the beginning of the 2016 Summer Andris Nelsons, with many tipping the Chailly’s initial contract with the Swiss
orchestra is for five years.
Festival, filling a position that has been latter to take over permanently. Chailly,
vacant since the death of the orchestra’s though, would seem the natural choice,
founder Claudio Abbado in January last having worked under Abbado in Milan,
year. Chailly has also announced that the city from which they both hail. ‘To be are about to embark on a major project
he will be quitting as chief conductor of responsible for this great artistic project to record Rachmaninov’s orchestral
the Leipzig Gewandhaus Orchestra the initiated by Claudio Abbado is not only a works – this will, one presumes, be
same summer – as he is also principal privilege but also something that touches completed in a guest conductor capacity.
conductor of La Scala opera house in me emotionally,’ says Chailly about his And then there is the small matter as
Milan, his diary is nothing if not full. new job. ‘Ever since I was 18, when he to who will take over at an orchestra
Given the Lucerne Festival Orchestra’s appointed me to be his assistant at La that, under his guidance, has enjoyed
unique set up – assembling on a seasonal Scala, Abbado was my model and then unprecedented acclaim both live and in
basis with its members personally invited my point of reference and lifelong friend.’ the recording studio. The appointment
GETTY, ISTOCK
by Abbado himself – its future direction Chailly’s imminent departure from will be an eagerly anticipated one.
was looking decidedly hazy following Leipzig now raises its own questions. As See our feature on the future of the
the conductor’s death. In the meantime, reported last issue, he and the ensemble Lucerne Festival Orchestra on p42.
10 BBC M USIC M AG A Z I N E For more news and artist interviews visit www.classical-music.com
TheFullScore
Two’s company as Leeds names new heads

Paul Lewis and Adam Gatehouse take over at famous piano competition
So formidably successful has Dame

Fanny Waterman been at running the
Leeds landmarks
Leeds International Piano Competition 1963 The first ever Leeds
that not one, but two, people have International Piano Competition
been named as her successors. With is won by Englishman Michael Roll
Waterman retiring at the end of the 1975 An exceptional year
2015 event, which is taking place as this sees Mitsuko Uchida and
issue of BBC Musicc goes to press, Paul András Schiff finish second
Lewis and Adam Gatehouse will take and third respectively behind
over as the new artistic directors of the Dmitri Alexeev
triennial competition – it will be the 2009 Russia’s Sofya Gulyak
first ever change at the top since Dame becomes the competition’s
Fanny, now 95, founded it back in 1963. first ever female winner
Lewis is best known as one of today’s
leading British pianists. Although he taking the leeds: 2015 After 52 years, Fanny
Paul Lewis and Adam Gatehouse; Waterman (below) announces
never took part in ‘the Leeds’ himself,
(right) Dame Fanny Waterman her retirement as artistic director
he enjoyed success at both the Dudley
International Piano and the Royal
Overseas League Music competitions promote and assist young musical t integrity and passion I could ever
the
before launching his international career. talent. As she now looks forward to wish for,’ she says, ‘and together will
w
Gatehouse, meanwhile, made his name retirement, Dame Fanny says she is enable new generations of fine young
e
as a senior editor at Radio 3, where he ‘thrilled’ about Lewis and Gatehouse’s pianists to fulfil their promise and
p
founded the immensely successful BBC appointments. ‘I am confident that bring their great musicianship to ever
b
New Generation Artists Scheme to they will guide “the Leeds” with all wider audiences.’
w
RISING STAR Great artists of tomorrow

It’s easy to say, but he is one of the greatest
Beatrice Rana composers and an endless source of inspiration.’
Pianist It’s preparation that has clearly stood her
in good stead, as Rana won the Montreal
When the conductor Sir Antonio Pappano says Competition in 2007 and then, in 2013, the major
he’s heard a pianist he wants to record with, coup of a silver medal and the audience prize at
people take note. The result? A debut concerto the Van Cliburn competition. ‘Thank God I didn’t
recording for Beatrice Rana, a 22-year-old Italian realise what a competition meant or I would
pianist, and a record deal with Warner Classics. ‘It have run away!’ she jokes. ‘The Cliburn was a
was a great experience and life-changing experience.
very intense,’ Rana tells us. ‘I ‘The Cliburn is the It’s full of performances of
wanted to do Tchaikovsky’s
First Concerto and
most democratic way different repertoire and it’s
the most democratic way
Prokofiev’s Second because to become known’ for musicians to become
if it ain’t baroque:
NEDA NAVAEE, SIMON JAY PRICE, ANDY MANNING
I’ve played them many times. known. But there’s the stress
‘when I was nine or
Both are revolutionary and extremely dramatic. of it, the expectations of the public and the daily ten I only played Bach’
Tchaikovsky’s architecture is majestic and the reviews. It’s a complicated balance.’
Prokofiev is really very futuristic for the piano.’ A mixture of solo recitals, chamber music
With the new disc out this autumn, Rana plans and concerto appearances already fill Rana’s have helped her to do. And aside from these two
next to turn to Bach, a composer she describes diary, including a tour with the Orchestra important influences, who does she admire?
as ‘my first great love’. ‘I was a complicated child dell’Accademia Nazionale di Santa Cecilia and ‘Martha Argerich is one of the greatest pianists
as, when I was nine or ten, I only played Bach,’ Pappano. But as well as playing the pieces she I know. I’m fascinated by how she combines
she says. ‘My teacher thought it was fantastic loves, Rana wants to find time for new repertoire respect for the text, originality and poetry.’
but was desperate to get me to do something and to continue developing her ideas, something Interview by Rebecca Franks. Beatrice Rana’s
else. Now I have, so I would like to return to him. her teachers Benedetto Lupo and Arie Vardi new disc will be reviewed in the Christmas issue
For more news and artist interviews visit www.classical-music.com BBC M USIC M AG A Z I N E 11
BBC Music Recording news
THE OFFICIAL CLASSICAL CHART
The UK’s best-selling specialist classical releases
Chart for week ending 27 August 2015
★NEW 1 Shostakovich Symphony No. 10;

Passacaglia from Lady Macbeth of Mtsensk
Boston Symphony Orchestra/Andris
Nelsons Deutsche Grammophon 479 5059
Stunning accounts of searing orchestral works
★NEW 2 Lutosławski Piano Concerto; Symphony

No. 2 Krystian Zimerman (piano);
Berlin Philharmonic/Simon Rattle
Deutsche Grammophon 479 4518
Mesmerising brilliance from Zimerman
3
_
Sibelius Belshazzar’s Feast

Turku Philharmonic Orchestra/ scriabin sessions:
Leif Segerstam Naxos 8.573300 Petrenko will record the
The Sibelian master brings his experience to Russian’s orchestral works
bear on a lesser-known work by the Finn
From ecstasy to mystery

4
_
Beethoven Piano Concertos Nos 1-5

Leif Ove Andsnes; Mahler Chamber Vasily Petrenko is to record all of Scriabin’s symphonies
Orchestra Sony Classical 88843058872 with the Oslo Philharmonic. The first disc, out this autumn
Leif Ove Andsnes’s incomparable Beethoven set on Lawo Classics, pairs Symphony No. 3 and the Poem of
has enjoyed considerable success. Rightly so. Ecstasyy (Symphony No. 4) and marks the start of a new
partnership with the label. And after recording the other
★NEW 5 Sibelius Pelleas et Melisande
Turku Philharmonic Orchestra/
three symphonies, Petrenko hopes to tackle Scriabin’s
Preparation for the Final Mystery the first part of a wildly
Leif Segerstam Naxos 8.573301 ambitious work that the mystical Russian composer
More Sibelius and more Segerstam. This time, imagined would be performed over seven days at the
one of the composer’s luminous masterpieces foothills of the Himalayas. ‘Alexander Nemtin completed
★
the Final Mysteryy from the surviving sketches after working
NEW 6 Brahms Piano Concertos Nos 1 & 2
Daniel Barenboim/Staatskapelle Berlin
on them for over 20 years,’ explains Petrenko. ‘This would
be a great way to crown our work with Scriabin.’
Brahms’s piano concertos receive solid treatment
in the hands of Barenboim and Dudamel Wagnerian
g ambition
Fugue State ilms, the company behind the BC Music
★NEW 7 Adams Absolute Jest; Grand Pianola

San Francisco Symphony/Michael
Magazine Award-winning three-DVD, two-CD set
exploring the organ builder Cavaillé-Coll, is to turn its
Tilson Thomas/John Adams attention to Wagner. Film-maker Will Fraser has launched a
SFS Media SFS0063 crowdfunding campaign this autumn to raise money for the
Adams’s Absolute homage to Beethoven project (see www.fuguestatefilms.co.uk/wagner), which
will explore the German composer’s music. At the heart will
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Sol Gabetta (cello), Bertrand Chamayou
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be a lecture with musical illustrations by conductor Asher
Fisch on his home ground in Perth, where he conducts the
West Australian Symphony Orchestra.
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Vivaldi’s Four Seasons might already be one of the most
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this autumn there are three new versions to look out for.
This month’s cover star, Nigel Kennedy, offers a typically
_
10 Schubert Symphony No. 9

Orchestra Mozart/Claudio Abbado
unexpected take on the Baroque favourite for Sony Classics
with his Orchestra for Life and Massive Attack’s Damon
Reece. Roby Lakatos, a violinist equally at home playing
The legacy continues – a remarkable account of
jazz, Hungarian gypsy and classical music, joins forces
Schubert’s greatest symphony under Abbado
with the Brussesls Chamber Orchestra for Avanti Classics,
Visit our website at www.classical-music.com for while Adrian Chandler and his period-instrument ensemble
weekly chart updates, and download the regular La Serenissima continue their acclaimed Vivaldi series with
Radio 3 specialist chart podcast from iTunes the quartet of concertos for Avie Records.
TheFullScore
__ REWIND Artists talk about their past recordings STUDIOSECRETS

We reveal who’s recording
and consulting with my peers I decided to what, and where
correct them; most great conductors left it
unchanged out of respect for the composer.
My fondest memory
Rachmaninov The Bells Live in Moscow
Russian National Orchestra/Serebrier
Warner Classics 2564 68025-5
I grew up in a Russian-Polish household, so my
Russian debut in Moscow a few years ago was a
special moment. It was at the first Rostropovich
International Festival and I conducted the
Russian National Orchestra for the first time. It
was also my first performance of Rachmaninov’s
The Bells, but I felt as if I had lived with this soviet sounds: cellist Alisa Weilerstein
score my whole life. It’s so different from
Rachmaninov’s other works. The choral writing Alisa Weilerstein has been back
is so challenging g that not many choirs attempt in the studio to record Shostakovich
itt. For its first recording, Cello Concertos Nos 1 & 2. The BBC
Rachmaninov was asked
R Music Magazine Award-winning
tto simplify the choral cellist has joined forces with the
writing for a university
w Bavarian Radio Symphony Orchestra
cchoir as it was too
THIS MONTH and conductor Pablo Heras-Casado
difficult. He was a very
d
for the new disc for Decca Classics.
JOSÉ SEREBRIER practical composer and
p
A one-time assistant of Leopold Stokowski, didn’t mind making
d The Seattle Symphony Orchestra
the Uruguayan conductor and composer has cchanges. However, the is about to start recording the
conducted, and recorded with, many of the choir in Moscow were all top singers, and I was third volume in its Dutilleux series.
world’s finest ensembles. Serebrier’s complete so thrilled when they sang the original version. It Recorded in Benaroya Hall, Seattle,
Dvoπák symphonies with the Bournemouth was an amazing performance and we’ve since all for the orchestra’s own label, it
Symphony Orchestra is out on Warner Classics. become very close friends. will feature Les Citations, Timbres,
espace, mouvementt and Sur le même
I’d like another go at… accord,
d and will be out in the time
My finest moment Glazunov Symphony No. 4 to celebrate the centenary of the
Dvořák Complete Symphonies, Royal Scottish National composer’s birth.
Legends, Slavonic Dances Orchestra/José Serebrier
Bournemouth Symphony Warner Classics 2564 63236-2
Scriabin is not the only composer
Orchestra/José Serebrier I must say that this is a beautiful recording by occupying the Oslo Philharmonic and
Warner Classics 2564 61320-1 the RSNO. But I had only conducted it in concert Vasily Petrenko (see main story, left).
The BSO always play their best when they are once before that recording. Since then I have They are also turning their attentions
inspired. The beauty of the Dvoπák symphonies performed this magnificent work all over the to Prokofiev and are recording the
really touched their hearts and they gave their all world many times, and I understand it much Romeo and Juliett suites, also for
in the recording. I’d recorded the Eighth and Ninth better. My next recording should reflect that. I Lawo Classics.
symphonies before, but this version with the would use the opportunity to also record other Pianist Shai Wosner has been in
BSO is the closest to my vision of the work. We works of Glazunov that I haven’t done before, Copenhagen to record Haydn and
recorded everything we played so that nothing such as the ballet suites. Glazunov’s form is Ligeti. He’s playing two concertos
was wasted – sometimes the first reading was so perfect. The way the Fourth is constructed by Haydn with the Danish Radio
the best, when everyone was anxious. To save is a guide on how to write. It’s seamless.
Symphony Orchestra and Nicholas
time, I put in all the bow markings; I do this With someone like
W
Collon and the one by Ligeti as well
in everything I conduct and all my recording Tchaikovsky, I love the
T
as capriccios by both composers, for
sessions usually end ahead of schedule! I left music but you see the
m
Onyx Classics.
the First Symphony until the final sessions sseams, where it ends
because I was puzzled
b and starts. Glazunov
a ‘Il mio canto’ is the title of tenor
by what appeared to
b is different! So what Saimir Pirgu’s new album, which
be wrong notes in the
b I’ve learned after many he has recorded with the Orchestra
sscore towards the end. I performances is how to
p del Maggio Musicale Fiorentino and
purchased every version
p ccommunicate this music Speranza Scappucci. The Opus Arte
GETTY, JAMIE JUNG
ever made, to see what

e in the best way
way. Glazuno
Glazunov’s scores leave a lot up release will feature arias by Verdi,
others had done, and
o to interpretation; they require flexibility and the Donizetti, Puccini, Strauss and other
after a lot of agonising
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TheFullScore
#63 INVENTION DISCOVERING MUSIC your head while rubbing your stomach
with alternate hands in contrary
DECIDED YOU WANT to learn the Stephen Johnson gets to grips with directions – only worse. Persist, though,
classical piano? Seriously? Then sooner and the impossible happens: you
or later you’re going to have to get classical music’s technical terms progress from what psychologists call
yourself a copy of Bach’s Inventions. If unconscious incompetence through
you’ve already heard someone good play conscious incompetence (so easy to
them, you may be rubbing your hands despair at this point) to conscious
in eager anticipation. Stick with them, competence, and finally (hallelujah!) to
and they should give you at least as much unconscious competence.
pleasure to play as to hear. But before Brief pause for self-congratulation,
that, the hand-rubbing may take on a then there’s the minor matter of the
rather different emotional complexion. music, especially how to make this
Bach’s two-part keyboard Inventions sound less like a machine and more like
are probably the most beautiful and two voices in dialogue. Of course if
effective technical exercises ever you go back further into the past, you
compiled. But as with most exercise can find pieces called ‘Invention’ that
programmes, the early stages are likely have no obvious didactic purpose – for
to be gruelling and morale-draining. example, Clément Janequin’s first book
Take Invention No. 1, in the beginner- of madrigals (1555). And in the 20th
friendly key of C major. For quite a lot off century, calling a piece ‘Invention’ can
the piece the two hands are playing the same each other. As one descends, the other rises; be more about demonstrating the composer’s
thing (more or less), only not at the same time. as one lingers slightly, the other runs forward prowess than inviting performers to develop
It’s as if the left hand’s starting pistol went off – a better demonstration of the principles of theirs. But say ‘Inventions’ to trained pianists
a bar (about two seconds) behind the right’s. counterpoint is hard to imagine. The trouble and Bach will spring to mind, perhaps with an
The beauty is that the two staggered parts is, when you first try playing both hands accompaniment of knowing smiles. After all,
not only fit together beautifully (like ‘Frère together, you begin to feel that what you really these are the ones who have endured the Dark
Jacques’ sung in imitation), they complement need is two brains. It’s a bit like trying to pat Night and emerged to see the stars.
Norwegian ambition APP REVIEW

Home to one of Every issue we explore a recent digital product
the world’s most
striking opera ABRSM Aural Trainer, your phone or tablet, so you can judge
houses, Oslo has
now revealed Grades 6-8 £5.99 your efforts afterwards. I also like the
its plans for a IF YOU’VE EVER TAKEN an Associated cumulative progress charts, by which you
new concert Board grade exam, you’ll know just how can keep tabs of how you’re getting on.
hall. Situated on irritating it is to drop marks on the pesky So does the app itself get a Distinction?
the waterfront aural test at the end – after sublimely No. The joyless presentation and slightly
in the Filipstad navigating the pieces and scales, you see awkward navigation cost it a star. A Merit
area, the new your hoped-for Distinction, Merit or Pass it is, then. Jeremy Pound ★★★★
venue would slip away as you fail to spot
see the Oslo Philharmonic at last move away a perfect cadence or sing
from its unloved current home, the Oslo
correctly a melody played
Concert Hall – back in 2000, the orchestra’s
LINDEMANS LEGAT ILLUSTRATION: ADAM HOWLING
to you on the piano. This

music director Mariss Jansons resigned in a
useful app aims to avoid
row over the hall’s sub-standard acoustics.
Government funding for the new venue
those pitfalls by giving
is vital, says the Oslo Phil’s CEO Ingrid users practice examples
Røynesdal (above), if it wants the orchestra of the various tests
to remain a major force: ‘This is the first involved. These include
time in our almost 100-year history that we the Cadence Trainer, which
have the chance to build a hall specifically does pretty much what
designed for the orchestra. It will be a it says on the tin, while in
significant addition to the thriving cultural the Melodic Repetition
life of Oslo, boosting the city’s already and Sight-singing tests,
strong international musical reputation.’ your voice is recorded on
TheFullScore
Cherchez les femmes… Notes from the piano stool
David Owen Norris
Y
ou can learn a lot from a piano
tuner. Patience and the art of
hearing, for a start, but even in a
world where gossip has been commodified,
w
yyour piano tuner will occasionally let
a-level absentees: composers
a ffall a nugget of information unavailable
Judith Weir and Fanny Mendelssohn eelsewhere. Thus I learned of Neville
Chamberlain’s piano. It is, as Captain
C
A leading UK exam board will revise its A-level syllabus after Vere might remark, a curious story.
V
a 17-year-old student complained about the lack of female Neville Chamberlain has had such
composers on it. In discovering that not one of her course’s
negative
i press that
h it’s
i ’ hard
h d ffor us to grasp how wildly popular the
63 set works was written by a woman, Jessy McCabe wrote
to Edexcel to ask that they redress the balance. ‘Radio 3
PM’s Munich Agreement with Hitler was in 1938 itself. The cheering
managed to do a whole day of programming of female crowds at Croydon Airfield, the enthusiastic BBC reporter relaying
composers to honour International Women’s Day,’ McCabe events in Downing Street… they were not all fools. And there were
said in her letter. ‘If Radio 3 can play music composed by enthusiasts elsewhere. Chamberlain’s granddaughter’s christening
women for a whole day, Edexcel could select at least one. party was held at Downing Street that November, and gifts included
Why are we limiting diversity in a subject which thrives on its silverware from unknown admirers in Europe, with grateful
astounding breadth?’ A spokesperson has said that the board inscriptions about his stupendous achievement of avoiding war.
is now ‘going to consider how we can best showcase great The Leipzig piano firm of Blüthners trumped everybody by
male and female musicians through our revised A-level’. gratefully sending a grand piano to Downing Street. This sent the
Foreign Office into a terrible tizz, and in the end the piano was
TWITTER ROOM The Leipzig piano firm of Blüthners

Who’s saying what on the micro-blogging site trumped everybody by sending a
@tinetrumpet Thought for a moment
@ grand piano to Downing Street
the flight attendant said the flight was
going to Bali... #iwish #thickaccent
#nextstopBerlin given to Mrs Chamberlain. Chamberlain himself did not play, but
Trumpeter Tine Thing Helseth’s his zeal for music is set out in Sutcliffe Smith’s The Story of Music in
(left) dreams of an Indonesian Birmingham m (1945). It was he who, in the thick of the First World
getaway are sadly dashed
g War, led the campaign that brought us the City of Birmingham
@MJBartlettPiano
@MJB tl ttPi Finally. A beautiful holiday away with Symphony Orchestra, negotiating his way round political
family. Only problem is... Fingers are itching to practise disappointments, luring Thomas Beecham and Elgar to conduct, and
Much to pianist Martin James Bartlett’s dismay, working hand-in-glove with composer Granville Bantock. During
Steinway grands exceed airline baggage allowances the ‘dark days of the Second Great War’, Smith tells us, Chamberlain
@cellojohnston Finally chose to swat the two Mosquitos – who died in November 1940 – ‘spoke of the need for fine concerts,
at 5am this morning… then the cockerels started and alluded to his own musical preferences, wherein French composers
Also on holiday is cellist Guy Johnston… along with held an honoured place, and threw in hearty support to backing the
unwanted guests necessity for better concert-accommodation’. A timely political point,
@nicholascollon ME: explaining the job of a conductor in that French bit, but probably also true.
fine detail over about 10 minutes. TAXI DRIVER: ‘so you’re Like any child of war, the piano itself has had its ups and downs.
a bit like Simon Cowell then’ …um At one point it belonged to an institution that had so many pianos
Maestro Nicholas Collon finds himself wishing he’d
that not only did it lose it, but when it thought it had found it again,
CHRIS CHRISTODOULOU, BEN WRIGHT
caught the bus

it turned out to be the wrong Blüthner! They found it in the end and,
@Julian_Bliss Decided that my goal now restored, it lives with that same granddaughter who was showered
for next week is to learn how to slap
with gifts in 1938. She points out that her grandfather was the first to
tongue. Always wanted to learn it,
but never had the time!
stand up to Hitler, taking his first flight, to Munich, at the age of 69
Clarinettist Julian Bliss (right) aims and bravely doing what he could. And if ‘Peace for Our Time’ didn’t
to perfect a new technique. It’s not last even for Chamberlain’s brief remaining Time, it bought a year of
as painful as it sounds… preparation. And drew Blüthners into the searchlights of history. ■
David Owen Norris is a pianist, composer and radio presenter
TheFullScore
MUSIC TO MY EARS
What the classical world has been listening to this month
OUR CHOICES called Art Tatum: Piano Grand
Master,r containing lots of
The BBC Music team’s
famous and not-so-famous
current favourites
tracks, I feel so inspired and
Oliver Condy motivated to practise.
Editor Q I love the singing of Tom
Vaughan
Waits, and in particular the
Williams’s
wistful track ‘Broken Bicycles’ which is on his 1982 album
Symphony No. 3 is stock fare One from the Heartt with Crystal Gayle. This song
in the UK, but not in the US, helped me a lot when I was going through a tough
where I heard it performed time. I like the lyrics a lot, and there is something
brilliantly by the Grand
Teton Festival Orchestra in his voice that is so touching – I prefer listening to
under Donald Runnicles in him in his younger days, though, because as he gets
Wyoming. Runnicles had older you start to hear the effect of his cigars and
never conducted it, and whisky too much!
only two members of the
orchestra had even played
Alice Sara Ott’s recital at LSO Luke’s on 29 October is
it through. Talking to them broadcast live on Radio 3
keyboard genius: afterwards, it appeared
Art Tatum’s brilliance
their acquaintance with ANDREW STAPLES tenor
VW had been something
inspires Alice Sara Ott of a revelation.
Q In preparation for a forthcoming
Jeremy Pound performance of Britten’s Turn of the
ALICE SARA OTT pianist Deputy editor Screw,
w I’ve been listening to the
Ever since
recording conducted by Daniel
listening to
I have never heard anybody play the Baiba Skride Harding, with Ian Bostridge as Quint.
second movement of Ravel’s Piano record Nielsen’s Violin I love the completely unromantic way that Harding
Concerto in G in such a heavenly way Concerto in Tampere back in approaches the work – it’s clean, precise and
as Arturo Benedetti Michelangeli January (see p54), I’ve been energetic, with some beautiful singing. Bostridge is
waiting for the release of the
does. It’s a wonderful piece to play, disc with all the anticipation great as Quint, bringing just the right balance
but has a structure that makes it very difficult to of a child at Christmas. I’ve between honeyed romanticism and cold creepiness.
keep flowing in the one breath, and yet he does it. not been disappointed. Q When Daniel Harding conducted the Bavarian
He plays it so slowly, and starts the phrasing from From that gorgeous bassoon Radio Symphony Orchestra in Mahler’s Sixth
solo at the beginning, it’s
the first note then keeps it going for the whole a performance from both
Symphony, they attached electrodes to him to chart
movement. He creates that sort of unique magic that soloist and orchestra of poise, his heart rate and brain activity through the various
you can only really ever get from music – you feel verve and, above all, charm. peaks and troughs. As someone who is fascinated in
nothing else matters. science and how it relates to music, it’s a project that
Rebecca Franks
Q I recently saw a documentary called Searching for Reviews editor
I find fascinating and want
Sugar Man about a singer called Sixto Rodriguez who In Lucerne to learn more about. And the
had a brief career in the US and then disappeared recently (see recording itself, which is just
from view, leading to all sorts of rumours about what p42), I was out now, is stunning.
lucky enough to sit in on a
had happened to him – in the documentary, they find Q Anna B Savage is a singer-
rehearsal with the Chamber
him and organise a tour for him. I have since found a Orchestra of Europe and songwriter whose debut
recording with the song ‘Sugar Man’ on it – his style Bernard Haitink. Schubert’s four-song EP I’ve been
is slightly folky with touches of Bob Dylan to it. It’s Unfinished was on the listening to a lot recently.
hard to describe! timetable, though their It’s very charming. Basically,
performance was evidently
Q I’m a big, big fan of jazz pianist Art Tatum. I always already well polished. One it’s her with a guitar, but it’s very interesting
laugh when, after concerts, people say that I sound moment in particular stood harmonically. Her songs cover quite tough subject
like I’ve got five or six hands… but when you listen out: the utterly haunting matter, and she sings with an almost operatic voice
to Art Tatum you really do think he has more than playing of the clarinettist in – the way she uses her voice to express the things
their second-movement solo.
ten fingers! His sense of rhythm and harmony is For me, this was a moment of
she’s interested in is not always beautiful, but then
amazing, and then there’s the passion and devotion musical perfection. when she does turn it on, it is very powerful. She
to the music. Whenever I listen to my collection certainly breaks the mould.
TheFullScore
QOn vinyl, I’ve been enjoying an album by Sharon OUR CHOICES

Jones and the Dap-Kings, which my wife gave me as
a present. The disc was recorded in the mid-2000s, The BBC Music team’s
but it sounds like big-band swing music from the current favourites
1950s and ’60s. Jones has got an incredible voice with Neil McKim
real agility to it – in the style of, say, Ella Fitzgerald Production
editor
– while her band are formidably talented. It’s a I’ve been
nostalgic sound with a modern take on it, and is such listening to
a tonic. Malcolm Arnold’s Peterloo
Andrew Staples appears as Quint in Britten’s Turn of Overture with the composer
conducting the CBSO.
the Screw, Aldeburgh Music, 24 October Commissioned in 1968 to
mark the centenary of the
KATIE DERHAM Presenter, Radio 3 infamous Peterloo Massacre
in Manchester, the contrasts
are extraordinary, as the
We had some breathtaking solo Bach tranquil main string theme i’m a saul man:
performances at the BBC Proms this is overridden by a surge Christopher Purves was
year, but I’m going to single out of marching percussion superb in Handel’s oratorio
pianist András Schiff’s Goldberg and a cacophony of brass
before the optimistic bell-
Variations. His technique and control
embellished finish.
of the emotional range were exceptional. Schiff is well presenting an oratorio as an opera would
not a flashy player, but it was very deeply felt, and I Megan Watt work, but in fact the story was compellingly told. As
was compelled. The atmosphere in the Albert Hall Editorial well as having singers of the calibre of Christopher
was extraordinary. assistant Purves in the title role alongside Sophie Bevan and
I’ve recently
Q Another great BBC Prom this year was the rediscovered Iestyn Davies, the production itself – macabre, uber-
Bournemouth Symphony Orchestra’s performance of Emiko Uchiyama’s disc, Baroque and immensely stylised – was beautiful. It
Prokofiev’s Fifth Symphony under Kirill Karabits. The Works for Marimba. I find was my idea of exactly what an opera should be like.
orchestra is in fine form at present, and I am very the marimba very soothing Q I love the Great American Songbook in general
to listen to, but that’s not to
taken by Karabits, who is very good news. I did not say it’s boring. Uchiyama’s – Cole Porter, Gershwin, you name it. This year’s
know the work particularly well before the concert performance of Ripple for Sinatra Prom performed by the John Wilson
– I have only heard it a couple of times live before – Solo Marimba by Akira Orchestra was pretty cool, and in particular ‘A foggy
but this was a performance that not only had me on Miyoshi is captivating, and in day (in London Town)’. When it comes to swing, so
The Wave Impressions by her
the edge of my seat with excitement but was very teacher Keiko Abe virtuosity
many conductors don’t quite get it in the way that
beautiful at times too. and dexterity abound. Well John does. As I’m now moving into the sequined
Q Handel’s Saull at Glyndebourne this year was worth a listen. world of Strictly Come Dancing, I’m going to be
wonderful. I was not convinced beforehand how listening to a lot of this kind of stuff…
AND MUSIC TO YOUR EARS…

multiple soloists: a seminal work that was
You tell us what you’ve been enjoying on disc and in the concert hall Mozart’s Sinfonia not mentioned in your
Concertante for Oboe, recent Composer of the
Richard Howard may have experienced whilst coming Clarinet, Bassoon, Horn Month feature.
Banstead to accept her calling from God. and orchestra; Bruch’s
I am deeply immersed Commissioned in 2014, the piece Concerto for Clarinet, Patti
in, and mesmerised interweaves contemporary textures Viola and orchestra; Lalack
by, the music of three with plainsong influences to create Ravel’s Introduction Hutterli
composers who complement each an accessible and inspiring work and Allegro for Harp, Oregon, US
other perfectly: Avet Terterian, Giya for string orchestra, percussion, Flute, Clarinet and As well
Kancheli and Valentin Silvestrov. It’s choir, string quartet and soloists. Strings; plus a new as enjoying the BBC
a mystical experience and the more I Tarney composes with a fresh voice, work by Gareth Proms season over the
listen to these visionary composers, combining complementary texts Churchill. Delicious! summer, complete with my BBC
the deeper I’m drawn in. I especially from the Bible and the Qur’an and Music Magazine Proms issue and the
recommend Terterian Symphonies awakening a unique soundscape. Jaime Jean Mexico BBC Proms app on my Kindle, I have
Nos 3, 4, 6 & 8, Kancheli Symphonies City, Mexico been listening to some wonderful
Nos 4 & 6 and Silvestrov Symphonies Adrian King Reading I play Nielsen’s film scores by James Horner, r such as
GETTY, CHRIS GLOAG, KIYOTAKA SAITO
Nos 4 and 6. The scale and vision of The annual July symphonies on a Titanic and Avatar,r since his recent
these works takes my breath away. MusicFest in regular basis so, for a passing. I enjoy Horner’s luxurious
Aberystwyth was well change, I have celebrated his 150th orchestrations, especially when
Catherine Beddison worth my pilgrimage birthday listening to less popular writing for strings and horns, and
Cranleigh from Reading, despite clashing works such as the four string quartets also his use of choral elements in
Oliver Tarney’s with the BBC Proms. And this year’s in the fine recording by the Oslo String his scores.
evocative Magnificat festival content was special, with Quartet, the piano music with Enid Tell us what concerts or recordings
explores the wide several works that are rarely played Katahn, and the Melos Ensemble’s you’ve been enjoying by emailing us at
spectrum of emotions that Mary live because of the cost of gathering rendition of the Wind Quintet Op. 43, musictomyears@classical-music.com
TheFullScore
NEWSINBRIEF Thank you for the moosic

Top tunes bring dairy contentment, say performers
Among the many benefits of classical hoping to refine this knowledge by
music previously reported by BBC Music, finding out which composers’ music
one is that playing it to dairy cows brings the best results. In their recent
significantly increases milk production ‘Happy Cow Concert’, pianists Andreas
– listening to the right type of music has Kern and Roberto Prosseda and violinist
been shown to lower stress levels, Fabrizio von Arx played works
and cows who produce less of differing characters and
stress hormones also produce tempos by Scriabin, Saint-Saëns
sul ponticello: London’s Tower Bridge more and better-quality and Mendelssohn to a group
TO THE TOWER milk. Now, three musicians are of bovines. And the results?
The fad for playing music in unlikely We don’t know yet. But, if the
spaces gets ever more ambitious. As evidence of the video on YouTube
we go to press, the London’s Tower is to go by, the animals
Bridge is, for the very first time, set seemed happy enough. As
to host a concert by the Dockland we’ve always suspected,
Sinfonia in one of its bascule cows have good taste.
chambers. These, we are told, are
the underground vaults into which
the road’s vast counterweights are
lowered when the bridge is raised.
Which hopefully won’t happen
during the concert…
SCOTS TALENT
The Royal Scottish National Orchestra
has announced the launch of its
new RSNO Composers’ Hub scheme.
Aimed at up-and-coming talent, the front row:
Moses Mackay (centre)
scheme will see up to five composers
spending the 2015-16 season with the AFTER HOURS with Sole Mio props
orchestra, each writing a ten-minute

piece for it. The best piece will then Musicians and their hobbies
be programmed into the following
RSNO season. MOSES MACKAY
PLUCKY APPOINTMENT Baritone
Having appointed cellist Julian Lloyd
Webber as principal, Birmingham RUGBY UNION
Conservatoire has now signed up I was always watching rugby as a kid, and my
Catrin Finch as its first International dream was to be an All Black. I started playing
Chair of Harp. ‘There is no better – or myself when I was about six. I’m one of those
better known – harpist in the world people who has played almost everywhere on
today,’ says Lloyd Webber. ‘This is a the pitch. I used to play hooker, but eventually
clear indication of where Birmingham moved to number 7 (open-side flanker) and
Conservatoire is heading.’ also the wing. At my best, I was representing
North Harbour region, which involved training
’TIS THE SEASON five days a week. When I was at high school,
Entries are being invited for the I remember my music teacher telling me that
annual Radio 3 Breakfast Carol I needed to be at choir practice and I had to
GETTY ILLUSTRATION: JONTY CLARK
Competition. This year’s competition choose between singing and rugby – I chose
requires amateur composers to set rugby! It wasn’t until the same decision came
a specially commissioned poem by up again, when I was 19 and had had a bit of withh Pene and d Amitai, my cousins who h I sing
Roger McGough, and the best six an injury to my neck, that I settled for music. with in our Sole Mio trio. I also still spend a
will be sung on air by the BBC Singers. There are elements of playing seriously that lot of time watching club rugby and involving
The closing date is 3 November. I miss – the camaraderie and the discipline, myself in it, and know a number of All Blacks
See bbc.co.uk/radio3 for details. for instance – though I still chuck a ball about well, including captain Richie McCaw.
TheFullScore
Farewell to…
JOHN SCOTT Born 1956 Organist and musical director
J
John Scott enjoyed an
acclaimed career as both an
organist and choirmaster.
In 1977 he became, at 21, the
yyoungest organist to perform
ssolo at the BBC Proms. Having
begun his career with an
b
organ scholarship to St John’s
o
College, Cambridge, in 1978
C
he won the Manchester
h
International Organ
Competition and went on to
C
perform extensively across the
p
US, Europe and the Southern
U
hemisphere. In the same year
h
great musician: as his Manchester success,
a
John Scott was one
Scott became assistant
S
of our finest organists
organist at St Paul’s Cathedral,
o
rising to organist and director
f e made a series of
exceptional recordings for the Hyperion label. In 2004, he became
organist and director of music at St Thomas Church, Fifth Avenue,
New York. He raised the choir to the same high level that he had
achieved at St Paul’s, and recently oversaw the design of a new
organ, which when completed will be named in his honour.
NIKOLAUS LEHNHOFF Born 1939 Opera director

British audiences became particularly familiar with the work of
the work of Nikolaus Lehnhoff thanks to his direction of JanáΩek
operas at Glyndebourne in the 1980s and ’90s, conducted by
Sir Andrew Davis and starring soprano Anja Silja. A student
of drama at the University of Vienna in the 1960s, Lehnhoff
became assistant director at Deutsche Oper Berlin shortly after
graduating. He achieved his directorial debut in 1972 with Strauss’s
Die Frau ohne Schatten. Lehnhoff always directed operas paying
special attention to the instructions of their composers, but this
did not stifle his creativity – he secured his reputation in England,
for instance, with his radical setting of Wagner’s Parsifall in an
underground bunker for ENO. A former student of Wagner’s
grandson Wieland, Lehnhoff directed at many of the world’s most
famous opera houses, including La Scala and the New York Met.
Also remembered…
Natalia Strelchenko (born 1976) was a Russian/Norwegian pianist
based in Manchester. Her first concert was with the St Petersburg
Symphony Orchestra at the age of 12 before going on to study in
St Petersburg and Oslo. She received rave reviews for concerts at
venues such as Wigmore Hall and Carnegie Hall, winning praise
for her virtuosity and unshowy stage manner.
The statistician Claus Moserr (born 1922) was a tireless supporter
of classical music. Chairman of the Royal Opera House from
1974-87, he was also a member of the governing body of the
Royal Academy of Music, a trustee of the London Philharmonic
Orchestra and a member of the BBC’s music advisory committee.
He was made a life peer in 2001.
November Releases
Disc of the Month

Tasmin Little plays British Violin Concertos
BBC Philharmonic / Sir Andrew Davis
Following their acclaimed Elgar and Moeran concerto recordings (CHSA 5083 and
CHAN 10796, respectively – the latter an Orchestral Choice in BBC Music), Tasmin Little
and Sir Andrew Davis give further evidence of their special affinity for British music with
an exciting new recording of works by Samuel Coleridge-Taylor, Haydn Wood, and
Frederick Delius.
CHAN 10879
SUPER AUDIO CD IN SURROUND SOUND

Neeme Järvi Casella
ôāĀõćôĆą EƊöĀóòôù Orchestral Works, Vol. 4
Orchestre de la Suisse
BBC Philharmonic
Romande / Neeme Järvi
Gianandrea Noseda
Neeme Järvi – one of the most
Conductor of the Year at the 2015
recorded living conductors – and the
Musical America Awards, Gianandrea
Orchestre de la Suisse Romande
Noseda conducts the BBC
explore Offenbach’s effervescent
Philharmonic in a fourth captivating
music in this third album of their
volume of orchestral works by Alfredo
survey of French orchestral works
Casella, part of our ongoing Musica
of the 19th century. Those vividly
Italiana series which now numbers
tuneful overtures were all recorded in
more than fifteen recordings.
Geneva’s historic Victoria Hall.
CHAN 10880
CHSA 5160
American Works for HòôùÿòĀúĀāƊ

Cello and Piano Piano Duets
Paul Watkins / Huw Watkins Louis Lortie / Hélène Mercier
Having explored many twentieth- More than twenty years after their
century British works for cello and last recording of piano duets on
piano, the Watkins brothers turn Chandos, Louis Lortie and Hélène
their attention to the American Mercier – a ‘magisterial duo’ offering
contribution to this repertoire. ‘fascinating playing’ (Gramophone) –
The music spans a fascinating period return to perform poetic and
of some four decades of intensive powerful duets by Rachmaninoff:
compositional activity in the United the two suites and the Symphonic
States. Dances.
CHAN 10881 CHAN 10882
www.chandos.net STAY I N TH E K NOW

www.theclassicalshop.net (24-bit studio quality, lossless, MP3) New releases Reviews t Special offers t Artist features
t
Chandos Records, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX. Tel: 01206 225200
TheFullScore
PPA Columnist of the Year
The Richard Morrison column
Why we should make
St Cecilia’s Day a national
celebration of music
A
t the risk of sounding like After that, musical celebrations Cecilia, I’m down on my knees, orchestras, jazz ensembles, pub
a particularly delicate of St Cecilia’s Day, 22 November, I’m begging you please to come combos, brass bands or folk clubs.
species of High Anglican became commonplace across home’ could actually be read as a But, you might say, in the
vicar, can I ask whether we make Europe. In England, Dryden despairing composer’s plea for his modern world we already get
enough of St Cecilia? After all, and Pope wrote odes; Purcell and inspiration to return. bombarded by music everywhere
the poor lass – a devout second- Handel supplied glorious music. Given this extraordinary, we go. Yes, that’s true. We often
century virgin who committed no That tradition was revived in the millennia-spanning connection demote music to the status of
crime more heinous than playing 20th century, notably by Benjamin between musicians and Cecilia, ubiquitous background mood-
the organ – was terribly treated by Britten, who not only made the I wonder if the music world soother in shopping malls,
her inventive Roman executioners. excellent career move of being born should be making a much bigger restaurants and our own homes.
According to some historical on St Cecilia’s Day himself, but missionary statement on 22 That’s why, a few years ago,
accounts she was barbecued for 36 also collaborated with WH Auden November each year. In recent the satirical pop musician Bill
hours, but never so much as broke on a delightful unaccompanied times, there have been fundraising Drummond instituted a briefly
into a mild sweat. Whereupon a choral piece, Hymn to Saint Cecilia. concerts by musical charities on successful No Music Day on 21
swordsman attempted to decapitate Less well known, but even more that date, but what I envisage is November (symbolically the eve
her, but managed to make such intriguing, are the references to the more like the ‘National Music Day’ of St Cecilia’s Day). Drummond
a botched job that she lived for a envisaged that, one day each year,
further three days in what must we would banish this meaningless
have included some discomforting It should remind us of how aural wallpaper, and give our ears
neck pains. a much needed rest. The trouble is
Perhaps because this fate so much joy and profundity is that his satirical gesture is now too
aptly symbolises how musicians
have been treated by ruling classes
added by the gift of music close to reality. In too many schools
across the UK, every day is a ‘no
through the ages – persecuted but music day’.
allowed to linger in a traumatic saint in the oeuvres of Paul Simon that briefly fizzed, then fizzled No, let’s harness the name of
half-life – Cecilia became the – he of Simon and Garfunkel out, a few years ago. It should be Cecilia, and the talents of every
patron saint of music. Her house fame. In a song called ‘The Coast’ a day on which every musician, musician in the land, to celebrate
in the Rome district of Trastevere he depicts a ‘family of musicians’, professional and amateur, youthful the greatest of art forms so lustily
was turned into a church in the apparently destitute, taking shelter and venerable, makes an effort to on 22 November each year that,
fourth century, and her body for the night in a ‘church of reach out to the wider community, from Westminster to the most
allegedly discovered there in St Cecilia’. The notion of the saint and when every aspect of national deprived housing estates of our
1599. That would have been providing comfort for eternally life – from public events and inner cities, people feel compelled
convenient, because by then a cult insecure musicians is poignantly broadcasting to daily routines in to join in the merry chorus. There’s
of Cecilia was in full swing. A expressed: ‘This is a lonely life/ offices, schools, hospitals and a lovely line in Dryden’s ‘A Song
music festival in her honour, the Sorrows everywhere you turn’. shops – incorporates some sort of for St Cecilia’s Day’ in which an
first of thousands, had already Of course, Simon also wrote a musical celebration. angel hears music being played,
been established in Normandy much more famous song actually It shouldn’t be overtly political, ‘and straight appear’d, mistaking
in 1570. Not to be outdone, the called ‘Cecilia’. It is generally but it should remind us of how Earth for Heaven’. Once a year,
Italians inaugurated an Accademia interpreted as the cri de coeurr of much joy and profundity is added at least, let’s give everyone the
Nazionale di Santa Cecilia 15 years a besotted man for a capricious to human existence by the gift of chance to mistake 21st-century
later in Rome. Its orchestra and woman. But Simon himself music. And its chief focus should Britain for heaven. ■
chorus flourish still, now under pointed out that the choice of the be on increasing exponentially
the exuberant direction of Santa woman’s name was not accidental, the number of people who make Richard Morrison is chief music
Antonio di Pappano. and that such lines as ‘Oh, music – whether in choirs, critic and a columnist of The Times
NIGEL KENNEDY COVER FEATURE
A man for
FOUR
SEASONS
In 1989, Nigel Kennedy took the classical
world by storm with a multi-million selling
recording of The Four Seasons. Over a
quarter of a century later, the violinist is
revisiting Vivaldi’s masterpiece in the hope of
bringing his years of experience to the party, as
Richard Morrison discovers
PHO TO G R A PH Y J A M E S C HE A DL E
t’s The Four Seasons, but not as we know them. ‘Spring’ incorporates
I birdsong recordings as well as someone whispering ‘tweet, tweet’

and what sounds like a loud snore but could be something more
flatulent. ‘Summer’ seems to have recruited an entire farmyard as
a backing chorus. ‘Autumn’ has ‘rustic’ wrong notes and hunting horns,
while a soupy piano melody and Hendrix-style electric-guitar breaks have
been added to ‘Winter’.
Yes, Nigel Kennedy, the incurable bad-boy of classical music, has
returned to Vivaldi’s most celebrated concertos, 26 years after making
his famous, or infamous, recording for EMI. ‘I could package them
together as The Eight Seasons,’ he quips. If that 1989 recording raised
the hackles of purists, this new one for Sony Classical is likely to send
them crashing through the ceiling. I haven’t even mentioned the ubiquitous
drum track (courtesy of Damon Reece from the British pop band Massive
Attack), or the poems (Kennedy’s translations of Vivaldi’s original
movement headings) sung to the violinist’s own interpolated music.
‘Well, it’s the original poems that are really ****ing substandard, if you
don’t mind me saying,’ Kennedy says, momentarily giving in to what he
confesses is the ‘muvva of all ’angovers’ from a heavy session the night
before. ‘I just give them a musical backing.’ >
the entertainer:
Kennedy performs Bach to the
Future at London’s Roundhouse in
May 2014; (above left) with fellow
players at Villa Park; and (above
right) his wife Agnieszka
FAIR ENOUGH, BUT what prompted though I’ve added some Paganini-style in Slovakia. The nature is wild and beautiful,
him to revisit The Four Seasons at all? ‘I don’t double-stoppings and play some passages on and there are bears and wolves all around us.
know,’ he replies. ‘Vivaldi isn’t even my the electric violin. And I’m really proud of the The wolves have already killed four sheep this
favourite composer. But even the Aston Villa orchestra I got together – wonderful players, year. And that part of the world still has all
fans, when I’m going into the ground, mimic mostly from Poland.’ those types of species that you and I saw in
someone playing the violin and go “der rum- Poland is where Kennedy is now based. England before chemical farming came in.’
pum-pum diddle-um”.’ [He sings the opening ‘Except in midwinter when it’s ****ing 25 As that comment suggests, Kennedy is
phrase of ‘Spring’.] ‘There’s something very degrees below freezing and you can’t walk now fairly rampantly ‘green’. When he played
interactive about The Four Seasons. It lends The Lark Ascending at the Proms a few years
itself to improvisation and collaboration ago he made it clear that he saw the work as a
almost in a jazz sense. And audiences become
involved in it as well. You can feel the
‘I go running, and lament for all the birds that have disappeared
from English skies. ‘Well,’ he says, ‘I’m not
enjoyment of the people listening, and that
makes it a pleasure to play.’
after two kilometres very ecologically correct, but I don’t eat
McDonald’s and I try to put the garbage in
Even so, with the whole violin repertoire
available, why return to a piece that he has
I’m in Slovakia’ the right bins.’
Kennedy is being characteristically ironic.
already recorded? ‘What I did all those years In fact, he cares passionately about the
ago was contemporary for its time,’ Kennedy the dogs.’ He and his actress/producer second environment. In Jaworki he has built his own
replies. ‘But it sounds a bit old hat now. I never wife, Agnieszka, live with Kennedy’s beloved ‘green’ house. ‘It’s completely wooden, with
listen to it – unless it’s being played in the lifts dogs, Bully and Huxley (named after the straw insulation,’ he says proudly. ‘There’s no
at the Four Seasons Hotel. I wanted to do biologist TH rather than the novelist Aldous), concrete involved at all. I conceived it myself,
something more contemporary – broaden the in the tiny village of Jaworki, right on Poland’s and it has a huge music room in which I can
music out a bit with the members of my jazz mountainous southern border. ‘It’s literally at get a chamber orchestra. So I can record at
band in its various incarnations. But all the the end of the road,’ he says, his eyes gleaming. home. And because it’s completely wooden it
GETTY
stuff I do on the solo violin is kosher Vivaldi, ‘I go running, and after two kilometres I’m has a beautifully warm sound.’
THE BEST OF NIGE

Six of Kennedy’s greatest recordings
The Four Seasons
English Chamber Orchestra
Warner Classics 2564628814
£10.99
Kennedy’s original still
sounds as if it could have
been made yesterday
– sparky, energetic and
tastefully different, it set
the bar for others to try
to reach.
Elgar Violin Concerto
LPO/Vernon Handley
EMI Classics 4332872 £9.99
Recorded when Kennedy
was just 16, this award-
winning disc is the natural
announcing nigel: heir to Yehudi Menuhin’s
Kennedy takes the mic own legendary 1932
from Terry Wogan at recording under the baton
Proms in the Park 2013 of Elgar himself.
Brahms Violin Concerto
LPO/Klaus Tennstedt
Download from iTunes
The first movement’s pace
may be on the slow side,
but Kennedy makes up for
it with scintillating, clear,
lyrical playing and his own
quirky cadenza. The slow
movement is sublime.
Mendelssohn
Violin Concerto
English Chamber Orchestra/
Jeffrey Tate
Download from iTunes
Recorded two years before
in Eastern Europe so long, in a country that their 1989 Four Seasons,
the middle of Europe, that Kennedy generates was so dominated by the Russian ethos.’ Kennedy and the ECO
his new projects – especially the tours that Kennedy’s music was originally just for have a wonderful sense
of tempo and drama: the
involve his largely Polish jazz-musician himself and a guitarist. ‘We were improvising
finale may be unrushed
friends. ‘There’s a little club in the village a lot, and I found that taking part in the but it’s still sprightly.
where I start things off, then we play quite whole run, over five or six nights, was very
a few concerts elsewhere in Poland before educational and inspiring.’ Now he has Sibelius Violin Concerto
CBSO/Simon Rattle
hitting the road abroad,’ he says. expanded the score for orchestra and it will EMI Classics 749 7172 £10.99
One recent project originated even closer to be included on his next album, due out in A winning combination
home. Last year his wife translated Chekhov’s January. Rather confusingly, perhaps, that here, with Rattle and the
Three Sisterss from Russian to English will be called English Collection. ‘It’s because CBSO sweeping Kennedy
(‘because a geezer called David Mamet people think that a lot of the melodies I along in their wake back in
wouldn’t let us use his translation,’ Kennedy write sound very English,’ he says. ‘Could be 1992. It’s an exciting listen
says), then produced a staging of the drama something to do with where I grew up.’ with just the right amount
in which she played the central role, Masha, That Kennedy composes music as well as of swagger.
as well. Kennedy was roped in to supply the playing it will come as news to some. In fact, East Meets East
incidental music for the show, which came when he was a boy studying at the Yehudi The Kroke Band
(almost unnoticed by the press) to the Cockpit Menuhin School in Surrey and later at the EMI Classics 557 5122 £10.99
Now for something
Theatre in London last January. Juilliard School in New York he put pen to
completely different –
‘It was a lovely project,’ Kennedy says. ‘I manuscript quite often. ‘Yes, I composed a lot
Kennedy’s imaginative
never thought I would have any sympathy for until I was 20. Then I did nothing because but light exploration
the Russian bourgeois characters in Chekhov, it was discouraged completely by EMI. The of eastern European
but his study of psychology and motives is people advising me there always said “wait till and Arabic music is an
fascinating, whatever the social class of the next year”. Then I realised that 15 years had enjoyable romp.
people. And I guess it was helpful to have lived gone by and f***-all had happened.’ >
KENNEDY’S ORIGINAL FOUR SEASONS

Memories of the violinist’s sensational 1989 hit record
take a bow: the seven-

year-old Kennedy with
Yehudi Menuhin in 1964
seasoned professionals: That, it transpires, isn’t his only grudge

the team at EMI including against his erstwhile record label. ‘I did a
(left to right) Simon Foster,
Barry McCann and Kennedy
recording of the Berg Violin Concerto with
Edo de Waart and the Minnesota Orchestra
that never got released,’ he exclaims, ‘because
NIGEL KENNEDY’S willful… It was full I could never agree with EMI about what to
new recording of on, and Nigel was couple it with.’ Kennedy wanted it released
Vivaldi’s Four Seasons embellishing with his in tandem with a concerto by David Heath.
comes almost exactly own ornaments in ‘It’s not the same genre but it’s also not
26 years after the now between movements incompatible. But EMI had a different
famous blistering 1989 – and in his own words,
wisdom’ – Kennedy gives a sardonic laugh
version on EMI Classics, he wanted to go for
a disc that eventually the land speed record
– ‘so in the end I said “sod off” and the Berg
sold in excess of three in the final movement of “Winter”. It recording got put in the vaults.’
million copies, making it the biggest-selling was almost athletic.’ In any case, Kennedy says he has no
non-vocal classical record since the war, a McCann has his theories of why a recording great desire to record more concertos. ‘I’ve
phenomenon that took even EMI’s most of Baroque concertos should sell in such done most of the warhorses,’ he says. ‘And
optimistic marketers by surprise. Simon astonishing numbers. ‘Kennedy was coming there’s no need for me to record things like
Foster, the general manager of EMI Classics at off the back of the Elgar Concerto for which the Shostakovich concertos when Maxim
the time and now a director he’d won plaudits, so the Vengerov has done wonderful versions of
of Avie Records, suspects
a contributing factor may
‘Kennedy wanted to Vivaldi recording was
made in the time before
them. I do a concerto when I think I can bring
something different to the work.’
have been the nature of go for the land speed he became the Nigel we
Mozart, in particular, remains Kennedy’s
the work itself – at a little know today. This was the
over 40 minutes long, The record in “Winter”’ first flush of him stepping bête noiree – despite an extraordinary attempt,
Four Seasons contains 12 out with his new persona.’ 18 years ago, to establish some empathy with
movements of just a few minutes apiece. It Sales, McCann recalls, were modest the composer. ‘When my son was born, I
was, in effect, the perfect classical pop album. to begin with. Channel Four decided to named him Sark Yves Amadeus Kennedy,’ he
The recording sessions took place in 1986 in broadcast a film of a complete performance says. ‘Admittedly that was mainly because I
the church of St John-at-Hackney in the east of The Four Seasons on Boxing Day which, couldn’t slip any Aston Villa names past my
end of London where, Foster rememb bers, McCann a admits, was a huge help. And first wife’s radar. So Sark was named after
the rain was pouring through the roo of. ‘It then, a sttroke of luck… The then director the island, because Mervyn Peake is one of
all went very well, with a lot of humo our, of the BBC Proms, John Drummond,
my favourite writers and Mr Pyee is set there.
but it took three years for the recording publicly re eferred to Kennedy as ‘a Liberace
to be released because Nigel wanted for the e nineties’ the day before the
Yves was the French spelling of my first wife’s
to tinker with those extraordinary violinist was due to play at the Albert name. And Amadeus was popped in because
cadenzas which he didn’t do at the Hall. ‘Nigel came on stage in his I thought that if I called my kid after Mozart
recording itself. He wanted to add even ning dress,’ says McCann. ‘It was I would stop hating Mozart’s music. It didn’t
those in later.’ ‘I’m not sure the all Velcroed together, so Nigel ripped work. I love my son but still hate Mozart.’
English Chamber Orchestra knew it offf, revealing his tramp Charlie And has Sark Yves Amadeus Kennedy lived
what had hit them,’ says Barry Chaplin outfit. The place went wild, up to his musical ancestry? ‘He’s studying
McCann, Foster’s successor at EMI and we made the front pages. The studio engineering at Hereford College and is
and his colleague today at Avie. idea was that music was music, very much into creating rhythm tracks and so
‘Nigel’s performance was, let’s say, an
nd it didn’t need to be stuffy.’
forth,’ Kennedy laughs. ‘So he might be very
GETTY
useful to me as cheap labour!’

when they were still virtually unknown.
Have these famous mentors affected how
he plays Bach? ‘Yes,’ he replies. ‘Menuhin
played Bach to us a lot, and I performed
the Double Violin Concerto with him on a
fair few occasions. His way with Bach was
rhythmically far less flexible than mine, but
he did teach me one crucial thing: that these
are dance movements, and there has to be
some sort of dance momentum. You can’t
just wallow around.’
In the past Kennedy has been highly critical
of some aspects of life at the Yehudi Menuhin
School when he was there. His general view
is still that an unhealthy hero-worship of star
teachers by their pupils was a big factor in the
historic abuse cases now being uncovered at
some top music institutions. ‘Instrumental
teachers are revered in a way that academic
teachers aren’t,’ he says. ‘So they can get away
with a lot. It’s bad to over-respect any teacher.
I was lucky; I wasn’t subjected to abuse. It was
the girls who suffered when I was at school.
But I was so pleased to get to Juilliard and
study with Dorothy DeLay, who wasn’t into
perfunctory obedience at all. She loved having
debates about the music.’
Kennedy admits that his experience of the
Juilliard was limited ‘because I never used
to get up in the morning’. Going to New
York at 16 he became enthralled by the jazz
scene down in Greenwich Village, and was
sporting play: soon playing there himself. Could he have
Kennedy dons his left classical music completely and gone into
Aston Villa strip jazz? ‘Yes, easily. I found a lot more joy in it,
more self-expression, more respect between
the musicians. Particularly compared with a
If Mozart is off the Kennedy radar, another did – first the kosher way, then with some school like Juilliard where everyone
great 18th-century figure is very much in his accompaniments of my own. I’ve had a lot of was learning monkey-tricks on the violin.
mind. ‘Next year I am concentrating on music fun putting his melodies above reggae beats, But then the offers of gigs I got were all
I play every day anyway – and that’s Bach,’ so there may be some kind of shit like that.’ from the classical world, so that’s the direction
he says. ‘The first thing I do in the morning, Kennedy also wants to release the I went.’
every morning of my life, is pick up the violin recordings on YouTube, one movement a Now that he’s closing in on 60 (in
and play JSB. I have a very intense relationship December next year), has he thought of
with him, and I think the time has come to joining a conservatoire himself and passing
“embach” – if I might be droll – on recording
all the solo sonatas. It’s what I want to leave
‘Every morning of on the fruits of his eclectic experience to a
new generation? ‘I would like to,’ he replies,
behind: a recording that’s absolutely fitting for
the most sublime violin music ever written.
my life, I pick up the ‘but I try to persuade every student I meet
to leave college! So that wouldn’t be very
And my big wooden room in the Polish violin and play Bach’ helpful for the institution employing me.
mountains is the perfect place to do it.’ There are too many teachers in those places
For years Kennedy has been touring Bach telling all their students to learn the same
in programmes that mix his music with great week. ‘Listening to all six sonatas at once bits of repertoire because it’s more convenient
keyboard improvisers from the jazz era. Will is too much,’ he says. ‘Solo violin music is for the teacher. So I am the voice of the devil
his recording incorporate any element of a severe art form. And I want to get young whispering “quit, quit, quit” in the students’
that? ‘No, those touring programmes were filmmakers to make films to go with each ears. I say to them: get together as a group,
just a way of stopping me being a lonely sod,’ movement – but with the music done the best choose your own repertoire, and get out there
he replies. ‘Adding some Fats Waller, Dave I will ever do it.’ and play it in the real world. That’s a learning
Brubeck and Duke Ellington meant I could Kennedy was taught by Yehudi Menuhin, experience far more valuable than you will
take some mates along and make music who himself was taught by George Enescu, ever get in a college.’ ■
with them as well. But the recording will be the great Romanian violinist and composer ‘The Four Seasons – The Rewrite’ is released
just Bach, though I might do it like Kreisler who championed Bach’s solo-violin works on 9 October on Sony Classical
THE JAMES NAUGHTIE INTERVIEW FEATURE
The James Naughtie interview
ALINA IBRAGIMOVA
W
While JS Bach remains her first love, the Russian violinist also has a
passion for contemporary music – a passion matched, she says, only
p
bby her frustration at concert promoters reluctant to programme it
PHOTOGR A PH Y JOH N M I L L A R
T
wo of the most notable concerts that she seems to carry with her on stage is
at this year’s BBC Proms were by
ALINA IBRAGIMOVA
genuine. In anyone without her talent you
the same artist – two late-night might call it naivety, a kind of deliberate
performances by the Russian openness and un-stuffiness that belies all the
violinist Alina Ibragimova, playing the subtlety of her musicianship.
complete sonatas and partitas of JS Bach, I start by asking about her instrument,
which captivated everyone who heard them. because sometimes with soloists it’s a good
I ask her how it had felt. She simply smiles, way of starting to explore their personalities.
her face creasing into the girlish grin that’s The player and instrument are, after all,
so characteristic and which comes to her so best friends. This one turns out to be rather
often in the course of a conversation. Then interesting, because it was first thought to
she says, ‘I think it’s remarkable in the Royal have been made by Pietro Guarneri in Venice
Albert Hall that it seems to sound better to be around 1738 (his name’s inside, so that’s
playing solo than playing with an orchestra. I not surprising). But it wasn’t, and is now
don’t know why, but I think it does.’ young bow: Ibragimova, aged 12 attributed to a later maker, Anselmo Bellosio,
She sounds like an innocent young player Early years: Born on 28 September 1985, she and probably dates from the mid-1770s. I
who’s perhaps taken to the stage on only a began studying the violin aged four. The ask Ibragimova to describe it. She thinks for
few occasions, and has been trying the place following year she joined the Gnessin State some time as if she is worried about getting it
out. She sounds curious, a little surprised, Musical College in Moscow. wrong. ‘It’s hard to describe, but I would say it
intrigued. In fact, she is now, aged 30, a vastly Development: Moving to London when is very warm. Honeyed. I have come to know
experienced musician and in her generation her father joined the London Symphony it very well.’
one of the soloists who seems certain to have Orchestra, she was taught by Natasha In the ten years she’s been playing it, she
Boyarsky at the Yehudi Menuhin School.
a long career at the very top of her trade. She has stamped her own personality on the
has played with every top orchestra, graced Starting Out: She was a BBC New repertoire, particularly in the Baroque works
Generation Artist 2005-7. Together with
all the great recital rooms, and seems able at that were the centrepieces of her early career,
Nicola Benedetti, she performed JS Bach’s
every performance to summon up a warmth Double Violin Concerto under Menuhin, and
and of which she’s still such an enthusiastic
and passion that gives her playing the richness played at his funeral three months later. and celebrated exponent. We are, of course,
that you might expect from someone much Awards: She won the Royal Philharmonic bound to talk about Bach.
older. That young girl’s grin conceals an Society Young Artist Award in 2010 and, ‘Bach is the composer who, for me, is
astonishingly mature musical mind. at 14, was the youngest ever winner of the different. With everyone else you know the
ARENA PAL
We speak at her home in Greenwich, and it Emily Anderson Prize for young violinists. music is there and you try to understand it,
is striking to discover that the air of simplicity to play it as well as you can. Something else >
home and away:
Ibragimova relaxes in
London; (below) playing at
Usher Hall, Edinburgh in 2011
happens with Bach. You feel he is all around point in not being the best that you can be. performed at the Proms – would have a touch
you, and you are just entering something I’ve always followed that advice. It seems quite of romantic overlay. She was more interested
that’s complete. It’s very hard to describe, but natural to me.’ in stripping them down, before applying her
the feeling is real. Overwhelming.’ At the Menuhin School she would regularly own fiery touch. The consequence, when she
She feels his presence when she played the work and practise for 12- and even 14-hour recorded them, was a reading of the pieces –
music? That isn’t quite it, she says. I sense that days, because the understanding there was technically demanding for any player – that
she’s reluctant to sound as if she’s having a the same as her mother’s code: with great seems utterly fresh and teeming with life. It
séance with the composer every time she picks talent comes a responsibility to work at it, wasn’t the consequence of instruction, but
up the fiddle, and doesn’t want to sound too and let it flourish. She was also developing instinct. It’s how she wants to play.
dreamy. ‘I’m just aware that this is music of a an individual style. Even in the 1990s there As a child she would listen to recordings
different kind, and that being involved with it was still an expectation that Bach’s solo of great players – the styles of Jascha Heifetz
gives you an experience that, for me anyway, is violin works – the sonatas and partitas she and Vadim Repin were familiar to her
particular to him.’ from a young age – and it seems clear that
Again, her style in conversation is spare. even before her move to London and the
There’s no gushing, and she comes across Menuhin School her own expectation was
as a musician who has such a steely inner that she would try to follow them. She talks
confidence that she is spared the emotional about discipline and ambition without any
ups and downs that some others experience. drama: they are simply the building blocks
That control – an innate professionalism – of a proper musical training. It’s therefore
was instilled in her at an early age. not at all surprising, when we turn to talk
Ibragimova comes from a supremely about audiences, that she says she finds it
talented family. She was born in Polevskoy easy to forget they are there. The real worry is
in Russia, near Ekaterinburg, in 1985, and that she might be tired, which is dangerous.
moved to London ten years later when her ‘That’s when it gets scary. A feeling that you’re
father, Rinat, was appointed principal double- not ready. But with audiences – I’m fine.’
bassist in the London Symphony Orchestra. The distinctive quality that she produces on
Her mother taught the violin at the Menuhin stage can be heard in her last recording: the six
School, where Alina enrolled. By the time Op. 27 sonatas of Eugene Ysaÿe, the Belgian
she was 12, she says, she felt comfortable in virtuoso, who wrote the pieces in the 1920s
the knowledge that her career would be with in homage to players he knew and admired,
the violin, the instrument she’d first picked including Jospeh Szigeti, George Enescu
up when she was four. She grew up under the and Fritz Kreisler. His idea was to capture
influence of a disciplined Russian tradition something of the evolution of composition
ARENA PAL
of study and practice. ‘My mother taught for solo violin – he was inspired to write
me that we should all aim high. There is no the pieces by a Bach performance – and
THE JAMES NAUGHTIE INTERVIEW FEATURE
balanced individual. To relax, she practises

yoga, but says it’s more for physical comfort
than for any spiritual purpose (‘my back is a
mess – that’s what comes of holding a violin
for so long’) and I try to establish what kind
of person she thinks herself to be. Solitary,
perhaps? It’s meant as a compliment. ‘Maybe.
It’s certainly true that I’m quite comfortable
on my own. If I’m travelling – like in Japan,
where I’ll be next month for three weeks – I
am perfectly content.’
I mention my own fascination with the
loneliness of the long-distance musician,
holed up in anonymous hotels with nothing
except a music case and the promise of a car
to the stage door, knowing that somewhere
an audience is gathering, ready to pass
judgement. She laughs. ‘That doesn’t really
bother me at all.’ It’s as if I have suggested
something outlandish, when life can be
managed perfectly well. She copes.
I wonder if she ever takes a break from
working, and she says she thinks she is getting
taking a break: better at balancing her life – not taking on
‘For three weeks, I didn’t too many concerts, varying her repertoire
pick up the violin’ and giving herself time to work on scores
(Bartók’s Second Concerto at the moment)
– and reveals that for the first time she can
consequently they present the opportunity I love so much of it. The truth is that we’re not remember, she took a break earlier this year
for players to demonstrate a great breadth of being bold enough. We should do better.’ from playing at all. ‘For three weeks I didn’t
technique and style, if they’re up to it. She is also, unmistakably, a Russian pick up the violin.’ Was it strange when she
In Ibragimova’s case, the result is dazzling. through and through, although most of her came back to it? ‘A little. But I felt the benefit.
The delicacy and intimacy of her playing, life has been spent in London. Her English is After I had exercised my hands and so on I did
interspersed with passages brimming with impeccable, but her roots remain important feel refreshed, and I felt that it had done me
fiery virtuosity, is thrilling – capturing all to her, and her musical tastes persuade good. Beforehand, I did worry if it would have
the complex personality of the music, from her, for example, to champion the work of an effect. But no.’
the moody to the playful. You sense in her Nikolai Roslavets, a 20th-century modernist As I prepare to leave, I realise I have
performance a spirit that, despite all the composer from Ukraine whose music was been given a picture of a life that has an
discipline that’s such a part of her character, enviable balance. At the heart of it is a deep
wants to be free. emotional commitment to her music, which
I ask her how she sees her repertoire
developing. ‘I have played a lot of
‘The truth is we’re not is played with such excitement and passion,
and everything else fits neatly round that
contemporary music, of course, but I want
to play more. I should spend some time
being bold enough. commitment, each part in its place. When
she’s not working on scores or practising, she
with composers I admire.’ And at this point,
Ibragimova – whose conversation is warm,
We should do better’ says she doesn’t listen to music – preferring
to read. There appears to be a wonderful lack
polite and measured in general – expresses of anxiety around, a fact the resident cat has
some real frustration. ‘Concert promoters banned in the Stalin era and which she clearly absorbed.
are so afraid,’ she explains. ‘They think they believes deserves a wider audience. She still And for fun, there’s her own string quartet
know what an audience wants or doesn’t tries to alternate between Russian and English – the Chiaroscuro, with Clare Thirion,
want and I don’t believe it. They don’t like to literature in her reading, and her voice and Pablo Hernan Benedi and Emilie Hörnlund
programme Berg, sometimes – even Bartók! style remind you powerfully of her origins. – which has produced highly regarded
Imagine that!’ About the politics of her homeland, I decide recordings of the early repertoire, on gut-
It’s incomprehensible to her that there can not to speak – we have enough to talk about stringed instruments and from which Alina
be people putting on concerts who’re still without bringing Putin into proceedings. clearly gets a huge amount of professional and
convinced that audiences have to be cossetted In her sitting room, furnished in emotional satisfaction.
and will drift away if they’re not reassured by elegant modern style, I am aware of a calm Listening again to the Ysaÿe sonatas after
the presence of a worthy old warhorse on the personality. As if to prove it, a cat wanders our conversation, I am entranced again by
programme. ‘If we want to encourage new in from the garden. He had been around her playing. She is a person who finds it easy
audiences we have to be more adventurous. the house before she moved in, and decided to look even younger than she is, and has a
That’s one of the reasons why I want to play to stay. To me, that’s the clinching piece of natural poise that is striking and relaxing.
more contemporary music. It’s important, and evidence: cats know. Ibragimova is a very She is, however, fiery inside. ■
air guitars:
The Ukulele Orchestra
of Great Britain at the
Royal Albert Hall in 2009
Four-stringed sensation
Wipe those images of wacky George Formby songs and randomly strumming
primary school groups from your mind. The hugely popular ukulele has both
a noble heritage and much to offer serious music lovers, explains Matt Swaine
F
or the majority of musicians who ‘We were invited to play at the Proms and and counter-melody. We’d put all the materials
filed into the Albert Hall for that the BBC had asked people to sign up to bring for people online so they could select and learn
evening’s Prom, this was to be their their ukuleles,’ explains George Hinchliffe, one part and then turn up ready to play.’
first live performance. An estimated founding member of the Ukulele Orchestra It’s the approach that the orchestra takes
2,000 people took their seats and tuned their of Great Britain. ‘At least 1,000 registered with every piece of music they perform. ‘We
ukuleles in unison. Up until that point, most online and the same number again must have normally play something that’s seven minutes
of them had done little more than chug away turned up on the night. Some people said it long so it’s nothing like a full orchestral piece,’
to a three-chord pop song in the privacy of was brilliantly inclusive and others said it was says Hinchliffe. ‘We’re clearly being a little
their own living room. But on this particular dumbing down of the very worst order.’ tongue in cheek with the use of the word
evening in 2009, many were tackling their Those members of the public who came “orchestra”, but whether we’re doing a Johann
TIM MITCHELL, GETTY
first piece of ensemble music, and their debut along with their ukuleles on the night then Strauss waltz or a Tchaikovsky piano piece, it
performance had thrust them onto the stage – became part of the performance itself. ‘We’d all has to be set in the context of small sections
or at least into the auditorium – of one of the boiled Beethoven’s “Ode to Joy” down into of music: it has to be entertaining, beautiful
world’s most prestigious musical venues. three very simple parts – the chords, melody and offer both shade and light.’
THE UKULELE FEATURE
That 2,000-strong ukulele gathering may

not have been the most virtuoso performance
the Albert Hall has ever seen, but what it
lacked in technicality it made up for in joyful
exuberance, and it underlined the ukulele’s
unique ability to throw open the world of
musical performance to relative novices.
‘It was wonderful to hear,’ says Hinchliffe,
whose eight-strong ensemble led from the
stage. ‘The hall was lit up with all these people
twanging away. It was one of those nights
when people can make mistakes and it simply
adds to the whole experience.’
The Ukulele Orchestra of Great Britain
has become a national institution, with
a repertoire that ranges from classical to
punk, and spaghetti western to ’70s disco, strumming up support:
all performed on instruments with just four (clockwise from top left)
strings (a solitary acoustic bass guitar gets in never diminished – in fact, the Queen Lili‘uokalani; George
on this technicality). The orchestra has played country is considered the ukulele’s Formby; Paul McCartney;
a major part in popularising the ukulele, second home. The instrument (bottom) Nick Browning
with sales at music stores booming and the is loved by young Japanese, best
instrument becoming a mainstay of schools’ exemplified by the flash mob guitar student, I was very
music curriculum. But it’s been far from an group Ukulele Afternoon, who pleased with myself when
overnight sensation. descend on beaches and shopping I’d cracked one of Bach’s
The ukulele first arrived on the shores of malls to play as a group and fugues on classical guitar.
Hawaii in 1879 in the guise of the Portuguese describe their form of playing as Then I heard a violinist
braguinha, a small four-stringed instrument ‘Punk rock combined with the playing it on just four
from the island of Madeira, closely related sensitivity of a chamber orchestra’. strings and I wanted to know how they were
to the mainland cavaquinho. One man, Here in the UK, the ‘uke’ is most doing it. So when I discovered the uke I set
João Fernandes, learnt to play on the four- commonly associated with George Formby, out to challenge myself to do just the same.’
month sea voyage to Hawaii and legend has Adding to the restriction of a small
it that islanders were so impressed with the fretboard is the ukulele’s ‘re-entrant tuning’,
speed of his finger work that they named
the instrument ‘ukulele’, or ‘jumping flea’.
The ukulele first which is also found on instruments such
as the five-string banjo and means that the
Another (possibly more credible) explanation
for its name came from Hawaiian royalty.
arrived on the shores strings don’t run from low to high – instead,
they begin with the G above middle C, then
Princess Likelike was herself a ukulele player of Hawaii in 1879 drop down to middle C itself before rising up
and explained that the name meant ‘the gift to E and then A. This high register gives the
that came to here’. ukulele its characteristically bright sound, but
Royal seal of approval also came from King the comedian and film star who played a limits the range to that of a descant recorder.
David Kalakaua and Queen Lili‘uokalani, banjolele – a ukulele hybrid with a banjo ‘With the re-entrant tuning, it’s an exercise
who both played and composed on the resonator body. (The ukulele actually comes in minimalism,’ explains Browning. ‘You
instrument. With their endorsement it soon in a number of forms, from the tiniest have to imply a lot as there’s no bass note. It’s
became central to the sound of Hawaiian sopranino to the rather more guitar-like a small instrument with a tiny range, so you
music. ‘It brings a bouncing counterpoint baritone.) Formby ignited a passion for the have to orchestrate carefully. But by using
to the rhythm guitar and a gut or nylon instrument in the Beatles’ guitarist George the high G and playing across the strings, it
string timbre to groups of steel instruments,’ Harrison, who had a ukulele in every room of does allow you to achieve that campanellaa – or
guitarist and ethnomusicologist Bob Brozman his house, and other celebrity players include bell-like – sound that would have been heard
explained to me back in 2006. ‘And of course Paul McCartney, and comedian Peter Sellers. in Elizabethan music. So the ukulele has the
it provides a rhythm for singing Although Formby was potential to connect people to a vast repository
as well as slack and steel guitar.’ an impressive player, it’s of classical and contemporary music.’
In 1915, the ukulele hit the that jaunty ‘Leaning on a The ukulele’s classical roots have been
US. A highly portable and Lampost’ association that explored most recently in a new collaboration
inexpensive instrument, it has sunk the instrument’s between Browning, Hinchliffe and lutenist
sparked a craze and quickly reputation in the eyes of Elizabeth Kenny’s ensemble Theatre of the
became a staple of vaudeville, many people. But for classical Ayre. Called Lutes ‘n’ Ukes, it unites the
jazz and country music. guitarist Nick Browning, Renaissance guitar and 20th-century ukulele.
Across the Pacific it was the ukulele is a very serious ‘The Portuguese braguinhaa and lute would
introduced to Japan in 1929 proposition. ‘I came to have been contemporary instruments and
by Hawaiian-born Yukihiko the uke as a challenge,’ played together in Elizabethan times,’ says
Haida and its popularity has he explains. ‘As a classical Browning. ‘One of our orchestra plays a >
THE UKULELE FEATURE
A ‘FLEA’ IN YOUR EAR uke can do it:

children brandish their ukuleles
Essential ukulele listening at the University of York in 2013
plucky star:
Japan’s Jake
Shimabukuro
Jake Shimabukuro
The Jimi Hendrix of the ukulele, Jake
Shimabukuro is a fifth-generation Japanese-
American who found fame with his rendition
of George Harrison’s ‘While my Guitar Gently
Weeps’. He discovered the ukulele aged four
Renaissance guitar that just happens to be The highest and lowest note on the descant
and is known for his virtuoso performances
that blend different styles. a four-course instrument with re-entrant recorder are the same as on a ukulele. The
tuning, very much like the ukulele.’ And two instruments are interchangeable, and one
Israel Kamakawiwo’ole
the project also links two homonymous exposes you to strings while the other to wind
Kamakawiwo’ole’s rendition of ‘Somewhere
Over the Rainbow’ brought him to public composers from very different eras: Robert instruments. Why aren’t schools encouraging
attention after his death in 1997. The track Johnson (1583-1633), the Tudor lute kids to play duets on ukulele and recorder?’
was used in films and TV ads, but it’s the composer, and Robert Johnson (1911-38), In Canada the ukulele has been a mainstay
traditional Hawaiian tracks that make his the blues guitarist. of musical education for many years, where
album Facing Future essential listening. As part of the project, the group took it was introduced by J Chalmers Doane in
Eddie Kamae their music into primary schools in York the 1960s. Many Canadians in their forties
Hawaiian Kamae discovered his island’s and Lewisham. ‘The and fifties are
traditional music through the ukulele. His pupils were already competent ukulele
first love was the Latin music he heard on
the radio, but the ukulele allowed him to
using ukuleles in the
classroom but they had
‘The ukulele offers a players, according to
Hinchliffe and, at its
discover his musical calling. You can hear
him play with slack-key guitarist Gabby
never been introduced
to blues and
way in for people with peak, 50,000 school
children were enrolled
Pahinui on the album Sons of Hawaii.
Debashish Bhattacharya
Elizabethan music,’ very little money’ on the programme to
recalls Browning. ‘The learn the instrument.
The ukulele can appear in strange places,
assumption might have Its affordability is
here in the midst of traditional Indian music
played on a range of slide guitars. ‘Slide
been that if it wasn’t Lady Gaga, they wouldn’t another important aspect of the instrument.
ukulele frees me and my listeners to a place find it appealing, but they moved between ‘Some kids don’t have wealthy parents who
where cultural, regional and traditional blues and Elizabethan dance seamlessly. The can buy them a $6,000 bassoon, and the
barriers don’t exist,’ says Debashish. ukulele unlocked both genres for the pupils.’ ukulele offers a way in for people with very
Ukulele Orchestra of Great Britain The ukulele has been finding its way into little money,’ explains Hinchcliffe.
You’ll find a host of their music online, music classes around the country, but not The Canadian example is one we’d do well
but their album Top Notch is probably the without some resistance. OFSTED inspectors to follow, says Browning. He believes the
best introduction to their eclectic and told one school in West Yorkshire that ukulele ukulele has an ability to put young people in a
entertaining mix of classical, punk, jazz lessons weren’t providing sufficient challenge, position of power. ‘A young musician is likely
and disco – though nowhere near as good according to a newspaper report. ‘I think to be given a half-scale violin, cello or guitar to
as seeing them play live. You can find their p
that part of the problem is that it’s easy to start on – they may get to play “the real thing”
side project, Lutes ‘n’ Ukes, on YouTube. approach the ukulele as a strumming if they stick with it. The uke inverts this power
Joe Brown instrument when
w you’re working with a structure: kids look perfect playing ukuleles
A contemporary of George Harrison, young age grroup,’ says Browning. ‘The while it’s the grown-ups who look ridiculous.’
Joe Brown (right) shared his love of the notion of ind dividual notes often gets And the ukulele is a viable route into music
ukulele and played the song ‘I’ll See You
n
neglected. But you don’t no matter how old you are, according to
GETTY, NCEM, JUDY TOTTON
in my Dreams’ at Harrison’s memorial

service. Brown is an accomplished
have to do that. In the Hinchliffe : ‘Lots of people approach us to do
multi-instrumentalist and The media there seems to be this workshops saying that they had trouble with
Ukulele Album includes that track con nstant myth that ukuleles music at school because they didn’t find it fun,
as well as ‘Pinball Wizard’, ‘Ace of arre replacing recorders in the but the ukulele was the thing that allowed
Spades’ and ELO’s ‘Mr Blue Sky’. cclassrooms, but who says it them to play and have fun with music. Having
h
has to be one or the other? fun is the most important thing.’ ■
Cherish it. Play it. Hear it.
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FEATURE
Patron and benefactor, mentor and guru, not to mention fine photographer,
Betty Freeman played a crucial role in the nurturing and promotion of some
of the 20th century’s greatest musical figures. Helen Wallace looks at her life
L
ooking back to the latter Adams’s ground-breaking opera
part of the 20th century, Nixon in China and underwrote the
it’s clear now what a wildly controversial Death of Klinghoffer,
divergent tangle of musical which is dedicated to her.
styles were competing for stage-space. The list of her recipients
Mavericks Lou Harrison and Harry reads like a Who’s Who in late
Partch, and West Coast Minimalists 20th-century music, beginning at
like Steve Reich and Terry Riley Thomas Adès, Louis Andriessen,
were infiltrating a new music scene George Benjamin, John Cage and
hitherto dominated by European Morton Feldman and running
iconoclasts like Stockhausen, Ligeti, a broad canvas:
through Lou Harrison, Anders
Berio and Boulez; while, as the bonds David Hockney’s painting Hillborg, Magnus Lindberg, Thea
of the Soviet Union crumbled, a Beverly Hills Housewife Musgrave and Olga Neuwirth to
subversive post-modernism bubbled features Betty Freeman Terry Riley, Fred Rzewski, James
up besides stark spiritual meditations. Tenney, and Virgil Thomson,
It was hard at the time to separate whose opera The Mother of Us All
the wheat from the chaff, but one woman
in California had an instinct for composing
Freeman made would make an apt title for her.
She was born Betty Wishnick in Chicago
genius which has proved visionary and,
almost unknown to the public, she made
possible many of her in 1921 to a successful chemical engineer and
a maths teacher. Her father made a fortune
possible many of the period’s greatest works. period’s greatest works and his support of medical and educational
In fact, no patron and muse has been as charities inspired her, but it took a long time
significant a force in music of the last 50 years for her to find her own path as a patroness.
as Betty Freeman. After reading Music and English at Wellesley
Besides commissioning a vast array of new the course of five decades she helped more College, she married early, had four children
works, Freeman underwrote performances, than 80 individuals, giving nearly 500 grants and for years devoted herself to the piano,
recordings and the preparation of scores, from a few hundred dollars to five-figure even attending the Juilliard School. But
and was literally responsible for keeping sums, in almost total anonymity, and most recognising she would ‘never play as well as
some composers – including John Cage, and with no strings attached. It was Freeman Brendel’, she closed the lid and channelled
Harry Partch in his later years – fed, clothed who commissioned Lutosławski’s Fourth her creativity into contemporary art, filling
and working. For her, they were the most Symphony, Saariaho’s L’amour de loin, funded her airy Beverly Hills home with paintings by
LEBRECHT, CORBIS
important people of all, for, she said, they are Steve Reich’s potent Music for 18 Musicians Mark Rothko and Roy Lichtenstein and the
‘planting the seeds for the future’. and supported Philip Glass’s Einstein on the light sculptures of Doug Wheeler and Dan
The sheer scale and eclecticism of Betty Beach and the seminal recording of Music Flavin. Soon the artists became as interesting
Freeman’s patronage is breathtaking. Over in Twelve Parts; who commissioned John to her as their art: in the 1960s the young
music album: (clockwise from
m
left) Freeman with Harrison
Birtwistle, 1997; Morton Feldman
B
with John Adams (left) and Franz
w
van Rossum in 1987; Hans Werner
v
Henze in 1990; John Cage (right)
H
and Lou Harrison in 1977 at the
a
Cabrillo Music Festival
C
David Hockney came round to paint her a large sign on her piano stool saying ‘Here included the critic Alan Rich, conductor
swimming pool and found a friend for life. smoking is encouraged’, sent $100; he sent Esa-Pekka Salonen, and directors Gerard
His famous 1966 portrait of her, Beverly Hills her tapes: his haunting, attenuated, drone- Mortier and Robert Wilson) but made up her
Housewife, amused her greatly. She identified based pieces intrigued her, and opened her own mind. Her thirst for true originality was
herself as a housewife, while every fibre in her ears to other young Minimalists like Philip unquenchable: ‘I like complexity, challenge,
being subverted the stereotype. Glass, then driving a taxi, and Steve Reich, ambiguity, abstraction’ was her mantra.
Art led her back into music, with a typical from whom she commissioned the indelible There’s a telling moment in the one
twist: when, in 1961, La Monte Young Holocaust memorial quartet Different Trains. documentary film made about Freeman, A life
was arrested on possession of marijuana, Fiercely independent, Freeman didn’t have for the Unknown (BFMI 2004), in which she
his friends in the art world appealed for a coterie of advisors, nor was she a follower stands outside a hotel in Lucerne explaining,
contributions to his bail. Freeman, who had of fashion. She listened to her friends (who with a twinkle, that she chose it for its name: >
modernist visions:
Harry Partch on the set
of the film The Dreamer
that Remains in 1972
stolen moment:
Christoph Eschenbach in 2000,
as captured by Freeman; (below)
Freeman in Lucerne in 2004
The Wildman. Wild men – and women conversation, Cage grappling with a fish
– were her thing. Many, like John Cage, in the kitchen, Morton Feldman, hands
Lou Harrison, Merce Cunningham in flight. Her photographic books Music
and Harry Partch were not only radical People form a significant legacy, and
artists, but gay, left-wing, rugged she took pride in her exhibitions, at
individualists who stood apart even Carnegie Hall, the Royal Festival Hall
from the mainstream counter-culture and in Lucerne.
of the Sixties. Others simply defied It was perhaps Freeman’s
categorisation, like Conlon Nancarrow, unconditional surrender to her
out in Mexico City, crafting his composers that sets her apart from
dizzyingly complex, high-velocity piano- other patrons: she offered them not just
rolls. She loved to tell the story of how loyalty, but her inexhaustible fascination
Ligeti introduced himself to her: ‘I’m the with their creative process. Helmut
second greatest composer in world’. ‘So Lachenmann, one of Germany’s
I said, “Aha, who’s the first?” He wanted grittiest, most uncompromising sound
not to answer, but it was Nancarrow. So, of
course, I went to Mexico to find him.’
‘A gentle insistence explorers, was a favourite. What could
sound like a deafening roar of existential
Freeman may have kept a low profile,
but she rapidly became a focal point for
active everywhere: angst fell on her ears like celestial voices. In
the documentary she holds his hand and,
contemporary music on the West Coast. By that’s Betty Freeman’ eyes shining tears, describes his music as
the 1970s she had learnt that commissioning ‘everything to me’. Later, he reflects that she
new work wasn’t enough: it needed to be was one of the few people who gave composers
heard, so she began to fund ensembles and hope. ‘It’s her creative involvement,’ he
performances. Co-founding a series of new drama influenced by Kabuki and ancient explains; ‘she says: I am with you.’
music concerts at the Pasadena Art Museum, Greek theatre. She also produced the key While there may be no concert halls named
she showcased Olivier Messiaen, Riley and documentary on him, The Dreamer that after Betty Freeman, composers spontaneously
Partch, who pitched up in 1964, almost Remains. They made the oddest couple but, dedicated works to her and drew musical
destitute. Partch, now legendary for his as one of Partch’s percussionists recalls, ‘Betty portraits: Cage’s The Freeman Etudes typically
unique musical system based on a 43-toned was a good disciple. She didn’t argue, she dance on the edge of extremity; Lou Harrison’s
scale performed on his own outlandish respected him’. Serenade for her and her husband radiates
instruments, was notoriously demanding. But While taking stills on the Dreamer warmth. Harrison Birtwistle’s tiny tango for
where others saw an irascible ageing hobo, that Remains, she became interested in her is perhaps the most acute: ‘Here,’ he said,
Freeman saw a genius. photography and studied printing with ‘the qualities in play, oddly and smilingly,
GETTY, LEBRECHT
For the next decade, until his death, she Ansell Adams, no less. She began to travel were obstinacy and grace… a gentle insistence
helped keep a roof over his instruments and with a camera, capturing the inner life of active everywhere: that’s Betty Freeman.’
his head, and underwrote the production of her composers in moments of rare, revealing Gentle insistence became the way Freeman
his opera Delusion of the Fury, a ritualistic intimacy: Boulez and Birtwistle deep in made things happen. There are wonderful
BETTY FREEMAN FEATURE
sharp focus:
Freeman’s photograph of
artist David Hockney in 1973 Five more major musical sponsors
romantic leaning:
Wagner relied on
Ludwig II (standing)
Nadezhda von Meck

The wife of an engineer who made a
fortune in the expansion of the Russian
railway system, von Meck provided
Tchaikovsky with 6,000 roubles annually,
over 12 times what the composer earned
as a government clerk. During their 13-year
photographs of the salons she held in her Freeman’s taste sharpened with age. By relationship, the patroness asked for little in
home in the 1980s and early ’90s, a hundred the mid-1990s she began to feel some of return – only that they should never meet.
eager listeners packed into her living room, the American composers she’d backed
Paul Sacher
encountering composers and their new work: were getting too predictable and turned Sacher founded and conducted the
film directors, performers, directors, artists once more to Europe, and to what Adams Basler Kammerorchester. He focused
and writers young and old, male and female. described as ‘the gnarliest, most dissonant on 20th-century works, commissioning
How different from the images of Darmstadt, and uncompromising composers’ including Stravinsky, Richard Strauss, Hindemith and
or IRCAM in Paris, where men in white Lachenmann, Matthias Pintscher and Martin∞ among others. For Sacher’s 70th
coats stand glowering by vast computers. As Birtwistle, whose granitic, gnomic music was, birthday, cellist Mstislav Rostroprovich
director Peter Sellars described it: ‘I came to her, always ‘clear and embracing’. co-ordinated the composition of 12 pieces
from the East Coast where contemporary Birtwistle’s publisher, Janis Susskind based on Sacher’s name. The roster included
music was hide-bound, university-based and at Boosey & Hawkes, showed me a letter Britten, Berio, Boulez and Lutos√awski.
academic. Here there was oxygen coming off Freeman had written during her final illness, Winnaretta Singer
the ocean, a sense of possibility, eclecticism, on receiving scores of The Minotour. r Her The daughter of sewing-machine
wonderful art, food, the pleasures of living.’ craggy, unkempt hand-writing seems to entrepreneur Isaac Singer took particular
interest in avant-garde music. In her Parisian
Far across the world, vvibrate with delight: ‘A million
salon she hosted evenings with some of
Freeman’s salons proved a thanks for sending me the one thing the city’s most famous residents: Nadia
catalyst for change: with her iin the world I really wanted. You Boulanger, Ravel, Stravinsky and Debussy.
funding and moral support, ccouldn’t have made a girl happier!’ Ravel dedicated his piece Pavane pour une
the ultra-traditional Salzburg When Freeman died infante défunte to Singer.
Festival began to present iin 2009, her house and Ludwig II of Bavaria
contemporary music under iits entire modern art A devoted patron of Richard Wagner,
Hans Landesman and Gerard ccollection were sold. No Ludwig provided the composer with a
Mortier. The Next Generation physical trace remains
p residence in Switzerland, where he wrote
programme was launched. Landmark oof this art-generating his comic opera Die Meistersinger von
productions grew out of associations llegend: her legacy is an Nürnberg. Ludwig was also passionate
made there, such as Messiaen’s eextraordinary wealth of about architecture, and commissioned one
St Francois d’Assisee with Esa- music, and her example
m of Germany’s most famous landmarks, the
Neuschwanstein Castle.
Pekka Salonen and Peter Sellars, iis that of a true listener,
and the work of Robert Wilson, without
w h which music falls into a Willoughby Bertie,
who she supported for 20 years. vvoid. No one described it better 4th Earl of Abingdon
Haydn’s four years in England were assisted
Freeman paid for the premiere tthan Freeman herself:
by the Earl of Abingdon, who managed one
of L’amour de loin, the profound, ‘Contemporary music demands of the first series of concerts open to public
dream-like opera by Finnish a lot from us. You must use your audiences. Bertie was also acquainted
composer Kaija Saariaho. mind to ask what the composer
m with JC Bach and Carl Friedrich Abel, and
Always unsentimental iis doing… I never get tired of the composed over 120 of his own works.
and allergic to Romanticism, aadventure of listening.’ ■
PASSING THE BATON
When the Lucerne Festival Orchestra’s beloved conductor Claudio Abbado
died last year, decisions had to made about its future. Rebecca Frankss reports
W
hen the musicians of the do next? How could an d
director was announced: Riccardo
Lucerne Festival Orchestra orchestra that was the Chailly. ‘The orchestra hasn’t worked
C
sat down to play together vision and joy of one with him and the announcement
w
for the very first time, man, whose players gave did have a surprise aspect,’ says
d
it was instantly clear that it would be an up their summers to play Haefliger, ‘but he is one of today’s
H
extraordinary ensemble. And so it proved. with him alone, go on? ggreat conductors with a tremendous
Since 2003 it has played to packed audiences Abbado had the rrepertoire and great experience. He
and won rave reviews. An ‘orchestra of unspoken title of ccan take the orchestra further.’
PETER FISCHLI, MAT HENNEK, PRISKA KETTERER
friends’ is how its founder and chief conductor conductor for a lifetime, ‘It was always my strong
Claudio Abbado described his hand-picked says Michael Haefliger, wish for the orchestra to
w
ensemble of some of today’s best musicians. artistic director of the continue,’ says Haefliger. ‘We
‘Peerless’ and ‘one of the finest ensembles in Lucerne Festival and invested a lot in it, not only
the world’ is what the critics said. Profound co-founder of the orchestra, so the
h ffinancially, but also in terms
performances of Mahler and Bruckner artistic future wasn’t something oof time and dedication. And
symphonies became their calling card. But they talked about. But in due don’t forget that Toscanini
d
last year, at the age of 80, Abbado died, course a decision had to be made ffounded the orchestra in 1938.
leaving his orchestra – his friends – bereft. or the project would flounder, and The roots and tradition were
T
It also posed a difficult question: what to just this summer, a new music eestablished then. Now we’re
LUCERNE FESTIVAL ORCHESTRA FEATURE
to the future:
Riccardo Chailly, the LFO’s new
fond memories: music director; (below left)
Claudio Abbado at timpanist Raymond Curfs and
Lucerne in 2013 trumpeter Reinhold Friedrich
in a third era.’ It’s often forgotten that there streams and superbly filmed DVDs: this is look through him: he was already a bit on the
was a precedent for today’s Lucerne Festival an orchestra many know and love without angels’ side,’ smiles Friedrich. ‘And then along
Orchestra, so wholly does the ensemble seem ever having visited Switzerland. So the comes this Andris monster with the strength
to have been made in Abbado’s image. Arturo question over its future is, happily, artistic of Obelix! He’s tall and extremely powerful
Toscanini also brought together an all-star rather than existential. – the opposite of Claudio. But we played what
band of musicians, including the Busch String Over the past 18 months the orchestra we learnt with Claudio with Andris. And we
Quartet, and they played in the gardens of has already, necessarily, worked with other used his energy. What he did in a short period
Wagner’s house at Tribschen, just along the conductors: Andris Nelsons, who conducted of time was fantastic.’
lake from the KKL, the festival’s striking Jean part of the memorial concert and this year ‘I’m very positive that we will find a way
Nouvel concert hall. The gala concert was with Chailly so that the orchestra still sounds
broadcast to 80 countries and went down in like Claudio. And I think that he will love the
history as the start of the Lucerne Festival.
So what happened to that original
‘We will find a way so orchestra,’ continues Friedrich. ‘The key to
the music was to love – and to laugh! When
orchestra? It’s a complicated answer but, in
short, the festival did have a resident ensemble
that the orchestra still you give love, love comes back.’ It might
sound strange to want the orchestra to sound
from 1943, the Swiss Festival Orchestra, but sounds like Claudio’ like it did under a previous conductor, but
over the years it began to be eclipsed by starry it’s the spirit of Abbado’s music-making that
visitors including the Berlin and Vienna the musicians want to preserve. ‘He had this
Philharmonics. Musical standards began turned to Mahler’s Fifth Symphony, and vision of feeling 100 per cent comfortable
to decline and it was disbanded in 1993. Bernard Haitink, who opened this year’s with every musician in the orchestra,’ says
History is unlikely to repeat itself given the festival with Mahler’s Fourth. ‘Both Haitink principal viola player Wolfram Christ.
calibre of the Lucerne Festival Orchestra’s and Nelsons were so nice with us,’ says first ‘Every single player wants to be there, to play
current players. There’s also sound financial trumpeter Reinhold Friedrich, ‘Haitink is together and to dedicate all his knowledge.’
underpinning, thanks to its sponsor Nestlé 86 and a legend in the musical world and It’s a sentiment echoed by all the players:
and a circle of private donors. And the he was standing in front of me with tears in timpanist Raymond Curfs describes it as a
orchestra’s audience exists far further afield his eyes. He said he had never played with ‘youth orchestra for grown-ups’; Friedrich as a
than it did in 1938 and even in 1993. To radio such an orchestra.’ And how about Nelsons? ‘shoal of fish – we all go the same way’; while
broadcasts and CDs have been added live web ‘Claudio was so small and you felt you could first violinist Lorenza Borrani feels it is a >
LUCERNE FESTIVAL ORCHESTRA FEATURE
LUCERNE ON RECORD musical giant:

The orchestra’s best recordings Andris Nelsons at the
festival earlier this summer
gala concert: Toscanini in 1938 at Lucerne
THE LUCERNE FESTIVAL Orchestra’s

journey with Claudio Abbado started
with Mahler’s Resurrection Symphony and
Debussy’s La mer in 2003 (available on DG
and EuroArts) and ended ten years later
with Bruckner’s unfinished Symphony
No. 9 (DG) – a recording that won the explains it, ‘everyone in the orchestra could special. He didn’t fight for it, he just said
Orchestral Award at the 2014 BBC Music tell you a story about how they are related “This is what we do”’.
Magazine Awards. It would be possible to to Claudio.’ Understandably no one is sure One exciting prospect everyone agrees on
choose almost any performance between what sort of bond the orchestra and Chailly is new repertoire. Chailly will start his five-
to get a flavour of the LFO’s quality but will have yet. ‘I think there is a big question year tenure with Mahler’s Symphony No. 8,
this magazine described their Mahler mark,’ says Borrani. ‘It is a little bit like love. the only one of the symphonies that Abbado
Symphony No. 9 as perhaps ‘the finest
It’s a chemical reaction and you don’t know didn’t conduct with his orchestra. But after
concert DVD’ ever (Accentus). Highlights
until you meet someone.’ But there are already that, it seems likely that the focus will shift
mentioned by the musicians themselves
include Beethoven’s Eroica Symphony (2013, a few seeds from which their relationship from Mahler. Discussions have just begun
Accentus), Mahler’s Third Symphony (2007, can grow. At 18, Chailly assisted Abbado but already there are inklings of what we
Medici Arts) and Bruckner’s First Symphony at La Scala, an institution he now presides might hear. ‘A bit more 20th-century and
(2013, DG). And Andris Nelsons’s all-Brahms over, as indeed Toscanini once did. Chailly contemporary music,’ says Haefliger, ‘and
programme from last summer is already out forged his reputation, Chailly is a champion
on DVD (Accentus). particularly in Mahler of Italian music like
Although the 1938 gala concert with
Toscanini isn’t available on disc you can hear
and Bruckner, at the
Royal Concertgebouw
‘We cherish the Rossini which I’m
sure the orchestra will
it on YouTube, but there’s little else of those
early days preserved. Archive recordings of
Orchestra. And in
recent years he has
philosophy of the way enjoy.’ Stravinsky’s
Rite of Spring,
the Swiss Festival Orchestra are much easier
to find, thanks to the Audite record label’s taken the Leipzig we make music here’ Varèse’s Amériques,
series dedicated to historic Lucerne Festival Gewandhaus Rachmaninov and
performances. It includes Rafael Kubelík Orchestra – whose Tchaikovsky are all
conducting a performance of Bartók’s concertmaster Sebastian Breuninger also leads mentioned by Friedrich as possibilities. And
Bluebeard’s Castle (1962) starring baritone in Lucerne – to new heights. there might even be more opera. The festival
Dietrich Fischer-Dieskau, and Claudio The LFO players believe Chailly’s strong was recently awarded an £80m bequest, after
Abbado conducting the Chamber Orchestra musical credentials, respect for the score and a legal battle, and plans to build a new theatre
of Europe and Vienna Philharmonic at the work ethic will chime with the orchestra’s in Lucerne, but it’s early days.
festival in 1978 and ’88.
aims. Making the music the best it can be It’s a time of change and Friedrich speaks
is paramount. All the players agree that for the orchestra when he says, ‘I miss
rehearsals should take as much (or as little) Claudio. There’s no day when my music-
‘huge chamber music group that’s flexible and time as they need. After one concert this year, making isn’t related to him.’ But what shines
plays with freedom’. There are, says Curfs, no for instance, the orchestra returned to the hall through is that it’s also a time of tantalising
‘taxi-drivers’ in the LFO. ‘No one who asks to perfect some of the songs from Mahler’s possibility and that the players are embracing
“how much will I be paid?” or a violinist at the Des Knaben Wunderhorn, recording well after the future. ‘We cherish the philosophy of the
second or third desk who thinks they should midnight. ‘I personally hope that it won’t way we make music here. We have a heritage
sit in the front. Then you have conflict and change into an orchestra that does a lot of to take care of and that’s what we need and
friction. Maybe that’s one of the reasons it programmes and a lot of concerts in a short want to carry on,’ says Curfs. ‘We have a big
PRISKA KETTERER
works so well here.’ time,’ says Christ. ‘I wish for the future that responsibility towards Claudio to pass on this
Yet few of the Lucerne musicians have we’ll have plenty of rehearsal time. I know it’s idea. We are very positive about Chailly and
worked regularly with Chailly. Quite different a matter of money of course but with Abbado will play next year like we always play and
from under Abbado when, as Friedrich it was a question of having time and that was offer him what we always offered Claudio.’ ■
THE C9 5 DAY AUTOMATIC LIMITED EDITION – GREEN
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ground breaking in-house chronometer
E XC LU S I V E LY AVA I L A B L E AT christopherward.co.uk
your attention, please
from mozart to mark-anthony turnage, we admire some of the finest bills
and posters to have adorned the world's opera houses over the centuries
F
rom the yellow eyes of Andrew Lloyd Webber’s really develop until the latter half of the late-19th century,
Cats to the forlorn child’s face of Les Miserables, when lavish productions of the likes of Offenbach and
nothing defines a theatre production today more Puccini generated a wealth of similarly colourful posters.
instantly than a memorable poster image. Operas Before that, bills advertising the latest masterpiece by, say,
LEBRECHT, GETTY
are no exception, and many productions over the years Handel, Mozart or Weber, were all about words, words
have become associated with the stunning designs and more words. Over the next four pages, we bring you
that first brought them to the attention of the public. some classic bills and posters from opera history, from the
Interestingly, though, this was an artform that did not delightfully descriptive to the atmospheric and iconic…
Charpentier Louise Gilbert and Sullivan HMS Pinafore Shostakovich
Opéra-Comique, Paris (1900) Opera Comique, London (1878) Lady Macbeth of the Mtsensk District
Louise was Charpentier’s warning to lovers HMS Pinafore ran for an astonishing 571 Maly Opera Theatre, St Petersburg (1934)
everywhere of Paris’s seductive powers, the plot performances at Westminster’s Opera Comique, The uncredited poster for the premiere
revolving around a young girl who ultimately despite the hot summer of 1878 rendering the of Shostakovich’s tale of murder and all-
chooses the city over her family. Historical theatre unbearable at times. It made G&S’s consuming love is a drab affair, presumably not
and decorative painter Georges Rochegrosse’s fortune, allowing them to put on their own to draw attention to the opera’s more lurid sex
atmospheric poster depicts Louise in the arms productions without financial backers. The scenes – Lady Macbeth was banned after Stalin
of her lover at their cottage overlooking the poster, designed by a now unknown artist, allegedly wrote a damning piece in Pravda.
French capital, the darkening skies, the ghostly depicts a scene from Act II as Captain Corcoran Here, prisoners are shown being marched
typeface and the wan blue-green tinges expresses his disapproval of the lass Josephine eastwards across Siberia – something that
underlining their isolation and, perhaps, regret. and the sailor Ralph’s love affair. only really features in the final scene as Sergei
trudges slowly to the gulag.
Mozart The Magic Flute Offenbach Orpheus in the underworld
Freihaustheater auf der Wieden, Vienna (1791) Théâtre de la Gaité, Paris (1874) Richard Strauss Strauss-Woche
Fascinatingly, the playbill for the premiere of The great artist and lithographer Jules Chéret, National Theatre, Munich (1910)
The Magic Flute gives Emanuel Schikaneder, often referred to as the father of the modern In 1910, Munich celebrated its famous musical
the librettist, greater prominence than the poster, turned from designing jam jar labels to son with a ‘Strauss Week’ featuring three operas
composer. Only lower down are we told that producing posters for the Folies Bergère, Moulin – Feuersnot, Salome and Elektra – plus tone
‘As a gesture of respect to the gracious and Rouge and other Parisian venues. His riotous poems conducted by the composer himself. But
admirable audience, and out of friendship poster for Offenbach’s opera, premiered in 1858, which of Salome or Elektra is featured in Ludwig
to the author of the piece, Mr Mozart will be was his big break, and he adapted the poster for Hohlwein’s striking poster? Given the state of
conducting the orchestra himself’. the work’s second version, pictured here. relative undress, one presumes the former. >
Puccini Tosca
Teatro Costanzi, Rome (1900)
Turandot
Teatro alla Scala, Milan (1926)
Few posters in the
history of opera
are as instantly
recognisable as
those printed by
Puccini’s publisher
Ricordi for the
premieres of works
such as Tosca,
La bohème and
Madam Butterfly.
The poster for
Tosca (top) is
the handiwork of a German artist called
Alfonso Hohenstein who, as well as producing
a string of images that brought Italian
opera posters onto a level with their French
counterparts, also trained a generation of
brilliant young designers. Here, he shows
Tosca herself standing over the body of
Baron Scarpia, whom she has just dispatched.
The poster predates by 26 years that for
the premiere of Turandot – an event that
took place after the death of the composer
himself. The Ricordi poster on this occasion
(above) gives less away about the plot,
though the icy glare tells you all you need to
know about the work’s title character.
OPERA POSTERS FEATURE
Rimsky-Korsakov Ivan the Terrible

Théâtre du Châtelet, Paris (1909)
Serge Diaghilev was a wily old bird. When the
impresario introduced Rimsky-Korsakov’s Maid
of Pskov to Parisian opera-goers in 1909, he
certainly knew how to market it. Realising that
the production’s star was Feodor Chaliapin, he
cannily featured the Russian bass’s face on the
poster. And, as Chaliapin was playing the part of
Ivan the Terrible, his next move was to change
the title of the opera to, yes, Ivan the Terrible.
Massenet Manon
Opéra-Comique, Paris (1884)
Artist Antonin-Marie Chatiniere was something
of a serial poster designer for the late
19th-century Parisian opera scene. Here, in this
bleak, stormy monochrome scene, cherubs lift
the curtain on an antithesis of the traditional
bucolic country idyll – a desperately sick Manon
dying at the feet of her lover des Grieux under
an oak tree. A bit of a plot give-away, perhaps…
Weber Oberon
Covent Garden, London (1826)
The playbill for Weber’s English-language opera
isn’t exciting to look at, but is packed with
oodles of information, including conductors,
singers, choreographers and some of the scenic
riches on offer – these include a ‘perforated
cavern on the beach’ and the ‘golden saloon in
the kiosk of Roshana’. The opera, says the poster,
has been ‘never acted’, and will feature ‘entirely
new music, scenery, machinery, dresses and
decorations’. One should hope so, too.
Mozart The Magic Flute

New York Metropolitan Opera (1967)
It’s said that Marc Chagall’s ideas of perfection
were the Bible and Mozart’s Magic Flute, so the
Russian-French artist must have been in heaven
designing the sets and costumes (and poster)
for the New York Met’s 1967 production of the
latter… even if critics did then accuse him of
‘making Mozart about Chagall’.
Berio Un re in ascolto
Salzburg Festival (1984)
Berio’s opera, translated as ‘The King Listens’,
tells of a monarch in absentia who eavesdrops
on rehearsals of Shakespeare’s The Tempest,
imagines himself as part of the action and
then goes mad. All of which requires a slightly
bonkers poster, and Italian artist Mimmo
Paladino was only too glad to oblige with a
disturbing image of the king peering through
what appears to be a thick blood-red mist..
Mark-Anthony Turnage Anna Nicole

Royal Opera House (2011)
‘The party always ends’, says the tagline…
though in fact the fun here looks as if it’s just
about to begin. In Turnage’s opera documenting
the life of model-turned-billionairess Anna
Nicole Smith, the poster highlights the assets
which first brought her to fame. In the picture is
soprano Eva-Maria Westbroek, whose portrayal
of the title character earned rave reviews.
15 COMPOSER PRODUCTS FEATURE
FIFTEEN OF NOTE
15 dubious
composer brands
ILLUST R ATION DAV ID LY T T LETON WOR DS JOHN EVA NS
T
he great smell of Lang Lang. Actually, make that not so great. ‘I never
have time to wash my suit,’ the busy pianist once told the Wall Street
Journal. When I’m travelling, sometimes the smell isn’t very pleasant.’
However, while you or I might drop off a whiffy dinner jacket at the dry cleaners,
Lang Lang has seen an olfactory opportunity to launch a perfume range he calls
Amazing Lang Lang. ‘Two perfumes which combine and complete each other
perfectly, like the ying and yang or night and day,’ wafts the introduction to
the pianist’s two fragrances, one for him and one for her. At least the pianist is
around to willingly extend his brand reach beyond the keyboard. The same
cannot be said of those great composers and performers now long dead, whose
names and reputations have been purloined by big business and applied to all
manner of products. Such as…
1 Beethoven hearing aid

Most of us agree that Beethoven was
deaf. However, to Audicus, a hearing aid
the web. Often mistaken by British tourists as
a footbath, this low-lying bowl is actually a –
well, you know the rest. Perhaps to the strains
supplier, he was hearing-impaired: ‘Beethoven of his ‘Raindrop’ Prelude, and for a small
was not only one of the world’s greatest consideration, the composer might have been
composers – he was also one of the bravest persuaded to urge us to buy while stocks last.
hearing-impaired people of all time.’ It’s hard
to imagine the forthright composer accepting
‘impairment’ as a term to describe a condition
that sent him into rages, and almost drove
3 Gershwin tuxedo shirt
George Gershwin: the epitome of New
York style in the 1930s. So it’s not hard
him to suicide. Still, were he alive today and, to imagine him lending his name to the
assuming he accepted Audicus’s sensitive Gershwin tuxedo shirt, ‘the best tuxedo shirt
description of his condition, it’s fair to say in the world’. Designed in Dallas and ‘crafted’
we might be seeing him on our TV screens in Los Angeles, the limited-production shirt
casting aside his aged ear trumpet as he extols is made of moisture-wicking fabric to guide
the virtues of the company’s latest hearing- away that performance perspiration, a crisp
impairment product. collar with a ‘touch of stretch’ and, most
importantly, flat seams to ‘reduce chafe’. ‘In things were very different – on glimpsing
2 Chopin bidet
Chopin was an artist of refinement
who moved in the highest circles, but who
testing,’ says manufacturer Coregami’s spiel,
‘it has weathered over 40 symphony concerts,
six outdoor weddings and two nights at
the handsome pianist, ladies of otherwise
sound mind would throw themselves upon
him, fighting over his handkerchiefs and
rarely enjoyed the best of health. Not only the club.’ About par for a typical week in pulling at his hair. There are no reports of
that, he was a foreigner who lived in that Gershwin’s life. them throwing their undergarments at him,
most peculiar of all cities: Paris. Put all these which is why American Apparel’s Liszt thong
ingredients together and you have one of
those people most likely to… own a bidet.
Hence, yes, the Chopin bidet range that can
4 Franz Liszt classic thong
A few whistles and cries of ‘encore’ is
about as extreme as things get in today’s
– emblazoned with the composer’s image, no
less – is such an inspired creation, one that can
be carried discreetly in a small evening bag
be found at various bathroom outfitters across concerts, but when Franz Liszt was in town, and tossed enthusiastically in his direction.
International (Japan) to mark the 200th
anniversary of the composer’s death.
The bra and matching pants set was in
blue and decorated with musical staves.
However, the feature that would have set
Wolfy’s pulse racing were the lights sewn
into the material that flashed when the bra
was unclasped, an action that prompted it to
play Twinkle, Twinkle Little Star. At which
point, Mozart might have demanded they
change it to a piece he composed, rather
than arranged.
7 Paganini cigarettes
If ever a star and a product were made
for each other, it’s the violinist Paganini –
whose name was once a byword for diabolical
behaviour – and cigarettes. In 2014, a Hong
Kong-based company applied to register a
trademark for Paganini smoking products
that included ashtrays, chewing tobacco and
electronic cigarettes. However, this isn’t the
first time the violin virtuoso has been linked
to tobacco. In 1914, he and 19 other great
classical composers and artists were featured
on cigarette cards published by WD &
HO Wills. We know Puccini, one of the
featured composers, liked his cigars… but
Clara Butt, the celebrated contralto, puffing
on a Woodbine?
8 Caruso sauce
The one singer in our list otherwise
dominated by composers, Enrico Caruso
wasn’t the most svelte figure ever to stride
the globe. He liked his food, so it’s a fair
bet that, had he been asked and the terms
were satisfactory, he’d have lent his name to
Caruso sauce. The condiment was created
in Uruguay in the 1950s as a tribute to the
Italian, who toured South America several
times. It is served warm with pasta and
contains cream, ham, cheese, onions, walnuts
and mushrooms, and flour for thickening. It
has since become very popular, not only in
Uruguay but in neighbouring countries too.
Next in the range: ‘Caruso sushi – just like
Madama used to make’?
9 Puccini audio system

In 2009 hi-fi company Dynaudio
5 Mendelssohn piano
A piano named after a composer or
performer is about as relevant a musical
and the country makes around 400,000
pianos each year – about 80 per cent of
world production. Were Mendelssohn alive
created a bespoke in-car entertainment
system for a Bugatti Veyron Grand Sport,
called the Puccini. The composer loved
association as it possible to make. Daniel today, his association with Mendelssohn driving fast cars, so it’s likely he’d have
Barenboim recently launched his Barenboim Piano (Shanghai) Co. Ltd. might be worth jumped at the chance to have his name on
piano to an excited press at London’s Royal a tidy sum. a piece of hi-fi intended for one of the world’s
Festival Hall. Meanwhile, across the other fastest – the Bugatti Veyron. Indeed, Ettore
side of the world in China is a factory
producing upright pianos under the brand
name Mendelssohn. Around 40 million
6 Mozart bra
Here’s one product that would be sure
to receive its namesake’s enthusiastic support.
Bugatti, who founded the car company in
1909, would have encouraged the association,
since his parents were friends of the composer.
children are learning the piano in China, The Mozart bra was produced by Triumph With its bass/midrange drivers tuned to >
15 COMPOSER PRODUCTS FEATURE
pong cycle:
the sweat-proof Gershwin
shirt; (left) Lang Lang makes good
scents; (below) Rachmaninov
vodka and Verdi soap
deliver ‘a tight and dynamic sound, record, it’s a generous 59" long, and is made in the next episode of Dragons’ Den, pushing
with deep bass and excellent mid-range of two sheets of premium acrylic. for the next tranche of investment. Verdi nail
reproduction’, La bohème never sounded bar, anyone? I’m out.
so good at 270mph.
12 Schumann
waiting seat
14 Vivaldi 1678 hot tub
10 Rachmaninov
vodka
The composer could have cleaned up
Schumann must have spent many
unhappy hours in doctors’ waiting
rooms during his frequent bouts of
What is it with great composers and
bathtubs? Following Schubert’s ‘freestander’
model (without overflow), here’s something
(commercially speaking) with this depression and mental disorders. It’s altogether more sophisticated, not to mention
vodka bearing his name. It would not inconceivable that, during these sociable… The Vivaldi 1678 (the year of
have been a copywriter’s dream: periods, he might have considered the composer’s birth; a nice touch) hot tub
‘When my First Symphony was the quality of the chairs he was forced is billed as being for ‘adults only’ which,
panned by the critics, I just took to sit upon. Inspired, perhaps, by a from the little we know of Vivaldi, seems
a slug of my Rachmaninov vodka particularly uncomfortable one, he may appropriate. It comes, coos the marketing
and composed my Second Piano very well have designed the sleek steel blurb, with the ‘latest in entertainment
Concerto, the world’s greatest. and aluminium beam-mounted waiting technology and cutting-edge climate control.’
Rachmaninov Vodka revives those seat, electrostatically powder coated It’s part of the Symphony Collection, so
parts of the composer hypnotherapists for a durable finish, that today bears heaven knows what else Vivaldi has in the
cannot reach.’ The drink is sold by Lidl, his name. Later, his fellow composer could adult-only section of his bathroom brochure.
the supermarket chain, in two strengths: equally well have designed the Tchaikovsky
37.5% ABV (red label) and 40% ABV (blue
label). Reviews of it are mixed, but a fair
number of tasters agree it’s indistinguishable
cinema seat, also available from Schumann’s
manufacturing partner, Alloyfold. 15 Wagner cookie cutter
The Great British Bake Off could do
with a presenter shake-up, and who better
from premium brands. A bit like
Rachmaninov’s music. 13 Verdi bathroom
products
‘Delightful, fresh Verdi invigorates with a
than Wagner, brandishing his latest kitchen
product, the Wagner Cookie Cutter? As the
composer explains: ‘Nothing says “I love you”
11 Schubert bathtub
Franz Schubert, who suffered
from serious illnesses including syphilis
clean, crisp fragrance of lime and lemongrass.
Contemporary packaging and competitive
pricing makes Verdi a popular choice.’
i
in a sweeter tone than delicious home baked
cookies, apart from delicious home
baked cookies in the shape of your
throughout much of his short adult life, You’ve got to hand it to the composer. favourite composer’s bust. The Wagner
was at one stage prescribed mercury steam One moment he’s putting the finishingg Coookie Cutter will express your joy of
baths, otherwise known as ‘die grosse Kur’. touches to Aida, the next he’s applying music, from one of the most famous
m
Remarkably, in between these poisonous his considerable talents to creating composers
c of all time, in cookie form.
ablutions, he composed Die schöne Müllerin, and marketing his extensive range of Dunk Wagner’s face in a glass of cold
one of his greatest song cycles. It’s not hotel bathroom products including, milk, get creative and layer several
difficult, therefore, to imagine how a usually in no particular order, a shoe-shine cookies together to create a 3D cookie
destitute Schubert (he was terrible with sponge, shower gel and a pump for a bust.’
b OK, it’s not really Wagner
money) might have been tempted to lend five-litre refill of hair and body wash. who
w says that, but the ‘product
his name to Alloyfold’s high-quality, Who knows where he got the idea description’
d on Amazon. But with
GETTY
41-gallon free-standing bathtub. For the from, but don’t be surprised to see him j a little imagination… ■
just
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MUSICAL DESTINATIONS
THE MANCHESTER
OF FINLAND
Tampere: Finland
From the glories of its industrial past to its current cultural
scene, Finland’s third biggest city has long been a vibrant
powerhouse away from Helsinki, as Jeremy Pound finds out
F
or the best view of Tampere, head for Situated about 100 miles north of Helsinki
the Näsinneula observation tower. and the third largest city in the country,
Trust me, you can’t miss it. From the Tampere rejoices in the nickname of ‘The
top, 168 metres up, you can see exactly why Manchester of Finland’. This is largely due
this city is situated where it is. Immediately to the once-thriving cotton industry whose
to the north is one lake – Näsijärvi, covered legacy today is the large, red-brick mills that
in ice during my visit in January – and to make up the stylish Finlayson factory area
the south is another, Pyhäjärvi. Näsijärvi is of town. It could, though, quite as easily
much higher than Pyhäjärvi, so the water be a reflection of the two cities’ shared
that rushes from one to the other down doggedness of character and revolutionary
the narrow Tammerkoski rapids has long spirit – it was at Tampere Town Hall that
powered the wheels of industry and, latterly, the Finns first declared independence from
electric turbines – the Panimoravintola Russian imperial rule in 1905.
Plevna pub in the city centre proudly boasts
that, in 1872, it was the first building in the
Nordic countries to be lit by electric bulbs. Bright and welcoming,
Tampere Hall is blessed Bright and welcoming, the hall is blessed
LOCAL HERO with a superb acoustic with a superb acoustic – rich and warm,
Usko Meriläinen yet with a clarity that carries right to the
And like Manchester, Tampere is also a back seats. It is the ideal venue to host an
Born in Tampere in orchestra that, founded back in 1930, is
cultural powerhouse, from art to literature
1930, composer Usko
to music. While fans of the most lovable currently enjoying good times and helping to
Meriläinen studied
at Helsinki’s Sibelius characters ever to grace children’s literature remind the wider world that there is musical
Academy. His composing will make a beeline for the Moomin life in Finland beyond the bright lights of
style fell into three main Museum, music-lovers will put Tampere Helsinki. ‘People never know about us here
phases – starting out Hall top of their agenda. Opened in 1990, in the north,’ says Rouvali, who took over
with neo-classicism, this is the home of both the Tampere from Hannu Lintu in 2013. ‘But the players
he then turned his thoughts to 12-tone Philharmonic Orchestra and Tampere here are excellent – they are so motivated and
writing before settling on his own ‘character Opera, and the timing of my visit allows flexible. And, as well has having a wonderful
technique’, in which blocks of chords me to watch baritone Tommi Hakala in acoustic, the hall is the biggest in Finland.’
dissipate into fast-running sequences. A Rouvali is one of music’s more imaginative
rehearsals for a forthcoming production of
respected conductor and teacher at Tampere
Verdi’s Nabucco before I head up to the main concert programmers, giving the Tampere
University for 20 years, in 1989 he composed
Timeline for the opening of Tampere auditorium. There, from one of the 1,750 Phil hierarchy occasional heebie jeebies by
Hall and dedicated it to the Tampere seats, I listen in as chief conductor Santtu- coming up with ideas that, on paper, don’t
Philharmonic Orchestra, which has recorded Matias Rouvali leads the orchestra in a seem the most natural fit. But fit they largely
it under Hannu Lintu. He died in 2004. recording of Nielsen’s Violin Concerto with do, and proof of his genius is the sight of a
the Latvian soloist Baiba Skride. packed auditorium, month in, month out.
TAMPERE MUSICAL DESTINATIONS
mills and boon:

Tampere’s red-brick buildings hint at its
industrial past; Santtu-Matias Rouvali
(below left) has been a great success at
the Tampere Philharmonic Orchestra
high regards: Tampere viewed

from the Näsinneula observation
tower; (below left) recording gets
under way at Tampere Hall
The Philharmonic also plays for Tampere TAMPERE 5 MUSICAL HIGHLIGHTS

Opera performances, which take place each Tampere Philharmonic Orchestra next celebration of contemporary music runs
February, but there is plenty of musical life The orchestra’s season runs from August to from 13-17 April 2016. Exact details of the
outside Tampere Hall too. Every other year, June. Highlights this season include complete festival programme have yet to be announced.
for instance, Finland’s love of all things Sibelius and Brahms symphony cycles plus tamperemusicfestivals.fi/biennale
choral is celebrated at the Tampere Vocal the premiere of Jouni Kaipainen’s specially Tampere Vocal Music Festival
commissioned Marimba Concerto.
Music Festival, as choirs from around the Founded in 1975, this large festival sees around
tamperefilharmonia.fi 2,500 singers converging on Tampere, from
world take part in a series of concerts and
competitions. It alternates with the Tampere Tampere Opera professional groups to amateur choirs. Past
JUHA NENONEN, MAARIT KYTÖHARJU/FIMIC, SARA KALIC
Biennale, a superbly programmed festival Opening on 13 February, this events have been broadcast on
e
season’s production is Verdi’s Radio 3, and the next one takes
R
that fills various venues across the city with
Force of Destiny.
y Conducted by place in June 2017.
p
all manner of contemporary music. And then Santtu-Matias Rouvali, its cast t
tamperemusicfestivals.
there’s the annual Tampere Jazz Happening includes Johanna Rusanen as ffi/vocal
which, well, happens each November. Leonora and Mika Pohjonen as
In all, the Manchester comparison doesn’t Tampere Jazz Happening
T
Don Alvaro.
The 2015 Jazz Happening
T
seem too far fetched. Except, of course, that tampereenooppera.fi b
begins on 29 October. The focus
it tends to snow a lot here, rather than rain. Tampere Biennale of the festival is on modern jazz
o
Walking through the centre on a winter’s Under the directorship of and improvisation.
afternoon is recommended – chilly and icy, composer Sami Klemola tamperemusicfestivals.
but also really rather atmospheric. Do bring (pictured right), Tampere’s f i/jazz
some sensible footwear… ■
COMPOSER OF THE MONTH
VINCENZO BELLINI
The master of bel canto
Praised by Giuseppe Verdi for his ‘long, long, long melodies’, few could match the
short-lived Bellini’s talent for making every note and word count, says George Hall
I
n 19th-century Italy, opera was BELLINI’S STYLE who might support the education of such a
simultaneously both high art and talented lad as his grandson.
popular entertainment. The most Melody For Sicilian musicians of real talent, the
celebrated composers working in the genre Bellini is one of the supreme melodists of obvious place to move on to was Naples,
were household names, their music enjoyed Western music. Several of his best known where Bellini’s grandfather had studied.
and admired by a large and socially varied examples – such as ‘Casta diva’ in Norma It was on the recommendation of the local
public throughout the Italian peninsular. In (below), ‘Ah, non credea mirarti’ in La Sicilian governor that in 1819 Bellini was
the country’s towns and cities, even those who sonnambula, ‘Prendi, l’anel ti dono’ in I awarded a scholarship to study there. The
puritanii – are slow, organically developing
did not frequent theatres or own pianos in ancient conservatory he would attend could
melodies that sound improvised, yet they
their homes would have become familiar with were the result of considerable effort.
pride itself on a long and distinguished
the most popular operatic melodies simply history. In addition, Naples could boast
by hearing them recycled on barrel organs, Declamation other serious musical attractions, foremost
or even just sung and whistled in the streets. Crucial to the dramatic effectiveness of an among them the Teatro San Carlo, one of
Italian opera of Bellini’s period is the ability
But opera was necessarily a business, too. Europe’s most famous and well maintained
to make the recitatives linking the formal
Instrumental music was a poor relation, while opera houses; at this period it also benefited
set pieces both musically and dramatically
church music offered a safer alternative career effective. Bellini takes care to bring words from the presence of the leading figure in
option: but for ambitious composers, opera and notes into exact alignment, ensuring contemporary Italian opera, Gioachino
was the obvious route to fame and fortune. that the setting sounds not merely natural, Rossini, who was currently musical director
During a career that was tragically cut off but inevitable. of the Neapolitan royal theatres.
in its prime, Vincenzo Bellini made a swift The Neapolitan conservatory’s elderly
ascent to the top rank of Italian composers
Orchestration director Niccolò Zingarelli, however,
On those occasions when Bellini uses
and had just begun to establish himself on an orchestral colour for scenic or dramatic disapproved of Rossini’s new-fangled
international level when he was struck down purposes – as in the thrilling storm that innovations – though he had a profound
by a case of amoebic dysentery in a Parisian opens Il pirata, or the emotionally charged respect for the music of Haydn and Mozart,
suburb at the age of just 33. Leaving aside cello solo that suggests Norma’s grief at the and he undoubtedly recognised Bellini’s
juvenilia, his mature legacy consisted of songs prospect of killing her children – the results exceptional abilities. In 1824 the latter was
written for the Italian domestic market, plus are impressive. Composing I puritani for awarded the title of primo maestrinoo (a kind
just nine operas: producing so few stage works Parisian musicians, he was able to call upon of junior teacher position), and given the
was unusual at this time, but Bellini claimed resources he had never previously utilised. opportunity to write an opera which his
that he composed not only more slowly than Harmony fellow students would perform the next year.
his colleagues, but also more carefully. The situation regarding his use of harmony Blending together the serious and comic
Bellini was born into a hitherto minor is similar – though to a degree unusual in the semiseriaa genre, Adelson e Salvinii was
dynasty of musicians in the Sicilian city of even among his contemporaries Bellini was staged at the conservatory in February 1825
Catania: his grandfather Vincenzo Tobia had concerned with the expression of musical and impressed sufficiently to encourage the
moved there from the mainland, working drama through a single voice, so that his commissioning of a sequel. This would be
deliberate reining-in
locally as an organist and teacher, as did his a far more prestigious affair – an opera to
of the importance of
father Rosario. While their personal artistic other elements was a
be presented at the Teatro San Carlo itself
ambitions may not have extended much strategy designed to the following season; the result was Bianca
further than the production of church music, focus attention on the e Gernando, first performed in May 1826.
Bellini certainly grew up in a deeply musical subtlest inflections of Beginning his career in Naples gave
household. Vincenzo senior would also have the melodic line. Bellini one further benefit. The canny
been acquainted with the kind of people manager of the San Carlo, the impresario >
VINCENZO BELLINI COMPOSER OF THE MONTH
ILLUSTRATION: RISKO
VINCENZO BELLINI COMPOSER OF THE MONTH
LIFE&TIMES Domenico Barbaia, also ran another

extremely important opera house: La Scala,
Milan. It was due to this fortunate connection
A quick guide to the main events in the life of Vincenzo Bellini that within no more than a year Bellini found
himself working for the leading theatre in
THE LIFE 1801 THE TIMES northern Italy, in collaboration with the
greatest librettist of the day: Felice Romani.
1801 1804 With its fashionably no-holds-barred
Romantic plot, striking orchestral and choral
Vincenzo Bellini is In Germany,
born in CATANIA, FFriedrich Sertürner writing, and expressive mad scene for soprano
Y the eldest
SICILY, creates MORPHINE that brought the opera to a thrilling close, Il
of seven children. FROM OPIUM, pirataa (‘The Pirate’) went down a storm with
Raised in a musical launching a new the sophisticated Milanese public in October
household, his wave of medical
w 1827. Their approval instantly brought the
ffather is advances due to 25-year-old Bellini to the pinnacle of Italian
a composer tthe reliability of the opera. Following their initial success with Il
and teacher.
a pain-relief drug.
pirata, Bellini and Romani capped it with
1816 1805 La stranieraa (1829), again drawing on a
subject whose extreme emotions and Gothic
Now living with and taking lessons from Napoleon creates
his grandfather, also a talented composer the Kingdom of Italy, with himself as king situations resonated with the heady spirit of
and organist, he starts composing his and his stepson as viceroy. He is crowned in Romanticism sweeping the whole of Europe.
own works. Milan Cathedral in May. Written for the opening of the Teatro
Ducale in Parma, however, their next venture,
1819 1810 Zairaa (also 1829), was a failure. Bellini had
He receives a scholarship to the Real While in Turkey on his grand tour of offended Parmesan sensitivities by turning
Collegio di Musica in Naples. He often Europe, poet Lord Byron swims across the down a well-worn subject offered by a
visits the local opera and is awed by Hellespont, the narrow strait separating
local official and insisting instead on the
performances of Rossini’s Semiramide and Europe from Asia.
Donizetti’s La zingara.
commissioning of Romani. Late with his
1816 work as usual, Romani’s dilatoriness forced
1826 Reinstated as king of Bellini to compose in a rush; the end-result
His opera Bianca e Naples following the was a temporary setback.
Fernando receives its defeat of Napoleon, Bellini managed to capitalise on this failure
premiere at Naples’s Ferdinand IV merges the by recycling some of the score of Zairaa in his
Teatro San Carlo, kingdoms of Naples and next work, I Capuleti e i Montecchi, based on
before being renamed Sicily to form the Kingdom
m the more intrinsically Romantic subject of
Bianca e Gernando to of the Two Sicilies. Romeo and Juliet, t which went down well with
avoid any allusions to
audiences at the Teatro La Fenice in Venice in
the reigning prince. 1821 March 1830. Both subject and specific words
The poet John Keats
1828 dies in Rome after a were, indeed, of the greatest importance to
Bellini throughout his career. It is notable
He begins an affair bout of tuberculosis.
with GIUDITTA TURINA, the wife of a His GRAVESTONE, that having started a working relationship
rich Milanese silk manufacturer. The affair unnamed, bears the inscription ‘Here lies with Romani in 1827, he would not waver in
continues, on and off, for around five years. One Whose Name was writ in Water’. his commitment to his librettist until a public
quarrel ended their collaboration in 1833.
1833 1827 Bellini’s own statements constantly
After the success of Norma, the premiere Alessandro Manzoni begins the publication underline the importance he placed on a
of his Beatrice di Tenda receives a cool of his novel I promessi sposi. The work’s
strong and emotionally potent text. ‘Carve
response. Bellini’s frustration at his patriotic nature leads to it becoming a
librettist Felice Romani’s symbol of the Risorgimento movement for
into your head in adamantine letters’, he wrote
consistent latenesss Italian union. to Count Pepoli, the librettist of I puritani,
leads to a rift. in 1834. ‘Opera must make people weep, feel
1834 horrified, die through singing. It’s wrong to
1835 Witnessing Ve esuvius want to write all the numbers in the same
He dies in Puteaux x erupt while way, but they must all be shaped so as to make
after several weekks of travelling in Ittaly, the music intelligible through their clarity of
illness. ROSSINI iss author HANS expression, at once concise and frappante.’e
a pall-bearer at hiss CHRISTIAN Even when Bellini’s reputation had fallen
funeral and also ANDERSEN
to a low point in the late-19th century, his
acts as executor describes and
of the estate. draws the
early-Romantic lyricism being viewed as thin
Bellini is buried event in in comparison to the more complex writing
in Catania. his diary. of his successors, one aspect of his art – his
keen focus on textual expression – remained
1835
GETTY
beyond criticism. The mature Verdi, who
grand setting: the set design for
the premiere of Norma at La Scala
in 1831, starring soprano Giuditta Pasta
capital, the Théâtre Italien. Bellini

paid court to him and to others in a
position to offer commissions, but
aan offer was slow in coming. When
iit did the result was I puritani,
with its Romantically fashionable
w
bbackground of the English Civil
War and its obligatory mad scene
W
ffor the lovelorn heroine. Performed
by an outstanding cast, I puritanii enjoyed a
triumphal success in January 1835.
Bellini spent the summer just outside Paris
in a house owned by an English friend, where
he suffered a recurrence of a severe stomach
ailment that had plagued him years earlier;
this time, it proved fatal. He died alone in the
thought little of Bellini’s technical skills, her illicit relationship with her Roman lover house of his absent friend on 23 September
nevertheless maintained that his scores were and her loyalty to her own people and religion 1835, two months before his 34th birthday. ■
‘rich in feeling and a melancholy entirely his charts an unusually complete dramatic arc
own […] And how much truth and power of described in a vocal line that calls on the Composer of the Week is
declamation there is’. highest technical and interpretative skills broadcast on Radio 3 at 12pm,
Wagner might seem to be an even less likely to realise the central figure’s extraordinary Mon to Fri, repeated at 6.30pm.
admirer of Bellini’s, though having conducted emotional journey. Upcoming programmes include:
many performances of the Italian composer’s The score has other outstanding qualities 6N b Farrenc
operas in his youth – even writing an too – the strength and immediacy of its 9-13 November Ravel and his world
additional aria to be slotted into a production choruses, the neatness and drive of its 23-27 November Handel
of Normaa in Riga in 1837 – he once told orchestral writing, the power and dramatic
Bellini’s friend Francesco Florimo, ‘Bellini is concentration of its ensembles – all of which
one of my predilections: his music is all heart, demonstrate the comprehensive range of a VINCENZO BELLINI
closely, intimately linked to the words’.
RECOMMENDED RECORDINGS
After successfully launching Capuleti,
Bellini and Romani moved on to a new
‘Bellini’s music is all Norma
opera for La Scala that would star one of the heart, closely, intimately Maria Callas, Ebe Stignani;
La Scala/Tullio Serafin
outstanding performers of her time – soprano
Giuditta Pasta. Considered an exceptional linked to the words’ Warner Classics 25646 34111
£19.99
musician and a fine actress, Pasta was already Callas on unforgettable form
a friend of Bellini’s and a leading figure in composer once considered as essentially little in her first studio recording
of Bellini’s masterpiece
the Milanese artistic world. Fittingly for a more than a languid melancholic.
collaboration with the composer, she was The last Bellini/Romani/Pasta La sonnambula
regarded as supreme in the art of declamation collaboration, Beatrice di Tendaa (1833) is Maria Callas, Nicola Monti;
La Scala/Antonino Votto
– that of the great tragedienne, given extra not as consistently memorable as the works Warner Classics 25646 34114
potency through music. that preceded it. Its Venetian premiere £14.99
For her Bellini wrote the title-role of La was troubled, not least because of the Unbeatable in one of her
sonnambula, premiered at La Scala in 1831. overcommitted Romani’s involvement with signature roles, Callas is well
In the drama, the fragility and suffering of other composers. The result was another rush supported by Nicola Monti
and Nicola Zaccaria
the heroine cause her to sleepwalk – providing job. In the aftermath of the opera’s less than
another of those early-Romantic instances of euphoric reception, Bellini incautiously put I puritani
Montserrat Caballé, Alfredo
extreme states that allow the singer to range one of his friends up to firing off a letter to
Kraus; Philharmonia/Muti
freely through complex sequences of emotions a newspaper blaming Romani, to which the EMI 739 7692 £24.99
denied to ordinary mortals. In her music, and librettist responded in kind, aggravating the Stylish singing from the
that also of the other principal characters, situation by making an obvious reference to soloists is underpinned by
Bellini not only achieves that ‘truth of Bellini’s mistress which hastened the end of Muti’s focused conducting
declamation’ so admired by Verdi but, again their relationship. This sad finale marked the Il pirata
in Verdi’s words, those ‘long, long, long close of Bellini’s Milanese period. Carmen Giannattasio, José
melodies such as no one wrote before him’. By now his reputation was international. In Bros; LPO/David Parry
Opera Rara ORC 45 £44.99
Just nine months later, Bellini, Romani April 1833 he went to London, where several Opera Rara’s recording
and Pasta renewed their collaboration at La of his operas were being given, subsequently makes a strong case for
Scala with Norma, a work whose detailed moving on to Paris, where Rossini was adviser Bellini’s first major success
GETTY
presentation of a Druid priestess conflicted by to the home of Italian opera in the French
BUILDING A LIBRARY
ACIS AND GALATEA

Georg Frideric Handel
Frollicking nymphs and shepherds are rudely interrupted
by a one-eyed monster as Anna Picard d seeks out the finest
recordings of Handel’s Ovid-inspired entertainment
B
osky oboes, balmy strings and birdlike trills for recorders colour
Handel’s ‘little opera’ Acis and Galatea. Adapted from Book XIII of
Ovid’s Metamorphosess by authors including the playwright John Gay,
the poet John Hughes and (possibly) the tenor John Blackley, it was designed
for performance in 1718 on a terrace at the Duke of Chandos’s Stanmore
estate, Cannons, overlooking gardens designed by the Huguenot priest,
philosopher and hydraulic engineer John Theophilus Desaguliers. This was
an apt setting for the story of the nymph and shepherd parted by the jealous
giant Polyphemus; though Galatea cannot bring murdered Acis back to
life, she can transform him into a fountain. Sophistication and innocence
combine alluringly in the score, as do comedy and tragedy. This was
Handel’s second treatment of the myth – Aci, Galatea e Polifemoo was created
in Naples ten years earlier – and its idealised vision of pastoral life mirrors the
aesthetics of the 18th-century garden.
THE BEST RECORDING JOHN BUTT

CHOICE CONCEIVED AS a private t
that conveys the intimacy and breezy
entertainment, Acis and Galatea ssimplicity of an al fresco semi-staging,
enjoyed remarkable success in later, and that beautifully highlights the
a
more lavish revivals. The Duke of passages where Handel pays homage to
p
Chandos employed an unusual vocal Purcell. There are sexier Galateas than
P
consort of one soprano, three tenors Susan Hamilton (see Sophie Daneman
and a bass at Chandos, and a band of with Les Arts Florissants below) and
w
three or four violinists, two oboists more polished Acises than Nicholas
(doubling on recorders), two cellos and Mulroy, but both sing with a pure,
one bass, with occasional bassoon. sweet tone. The balance with Thomas
John Butt (conductor) Until recently it was believed that there Hobbs (Damon), Nicholas Hurndall
Hamilton, Mulroy, were significant differences between Smith (Coridon) and Matthew Brook
Hobbs, Hurndall Handel’s autograph and the version of (Polyphemus) makes for a crisply
Smith, Brook; the score used in the first performance. John Butt’s executed ‘Oh, the pleasures of the plain!’ and is ideal
Dunedin Consort 2008 recording with The Dunedin Consort resolves in ‘Mourn, all ye muses’. Brook captures the pathos
and Players (2008) several issues through study of a manuscript held and bathos of Polyphemus’s condition, and the
Linn CKD319 £15.99 by the Earl of Malmesbury. The result is a recording instrumental performance is dynamic.
ACIS AND GALATEA GEORG FRIDERIC HANDEL BUILDING A LIBRARY
Y
Building a Library is broadcast on

BBC Radio 3 at 9.30am each Saturday as
part of CD Review
w A highlights podcast is
available at www.bbc.co.uk/radio3
choreographed brilliantly but directed poorly

by Wayne McGregor, with the OAE in
the pit under the direction of Christopher
Hogwood. The Sinfonia is peppy, the
dynamic range broad, with a vibrant sound
from the resident chorus. Dancers Edward
Watson and Lauren Cuthbertson double
Charles Workman’s tense Acis and Danielle
de Niese’s supple Galatea, extrapolating
movements of fragile, kinetic beauty from
their vocal lines. Matthew Rose delivers an
unusually sinister Polyphemus, magnetic in
‘Oh ruddier than the cherry’ and ‘Cease to
beauty to be suing’.
Nicholas McGegan
(conductor)
Kleiter, Prégardien; Festival
Orchestra Göttingen
& North German Radio
Choir (2009) Carus CARUS 83.420 £15.99
Mozart and Mendelssohn both reorchestrated
Handel’s score, the first decorating it with
juicy clarinets and plump horns, the second
maximising the drama with trumpets and
contrabassoon. The English Concert’s
1992 recording of the Mozart Aciss is now
download only, though Peter Schreier’s 1987
Austrian Radio Symphony recording is still
on disc. As for the Mendelssohn version,
Nicholas McGegan’s performance from the
2008 Göttingen Festival has an irresistible
energy. The orchestral timbres are thrillingly
transparent, the choral singing disciplined.
Using Fanny Mendelssohn’s German text,
Christoph Prégardien is a stylish, if mature,
Acis, Wolf Matthias Friedrich a witty
Polyphemus and Julia Kleiter a passionate
THREE MORE GREAT RECORDINGS and elegant Galatea.
William Christie (conductor) compensations: a great sense of drama, bold AND ONE TO AVOID…
Daneman, Agnew, Ewing, tempos, vivid cameos from Joseph Cornwell
Sir Adrian Boult’s 1959
Petibon, Cornwell; (Coridon) and Patricia Petitbon (Damon),
recording has aged
Les Arts Florissants (2008) and singing of intelligence, sincerity and surprisingly well. Joan
Erato 2564659887 £14.99 sensuality from Paul Agnew (Acis) and Sutherland and Peter
Where John Butt takes us outdoors, Sophie Daneman (Galatea), both of whom Pears duet with grace
William Christie invites us into the warm, relish the quirks of this composite libretto. and ease in ‘Happy,
woody confines of an 18th-century theatre. happy we!’. Boult’s
He uses a consort of eight voices with Christopher Hogwood tempos are spry and the phrasing of the
immense individual appeal – the opening (conductor) Philomusica strings is smart. There’s much
of ‘Wretched lovers!’ is spine-tingling – but De Niese, Workman, Rose, to enjoy in Thurston Dart’s characterful
which seldom blend in any conventional Agnew, Park; Orchestra of the harpsichord continuo and Owen Brannigan’s
bluff Polyphemus. But the gentlemen of the
sense. The oboes are curiously prominent in Age of Enlightenment (2010)
St Anthony Singers struggle with Handel’s
the orchestra, somewhat overwhelming the Opus Arte OA 1025 D £28.99 choruses and the principal oboe sounds like
strings in the busy Sinfonia, and the edition This curious collaboration between the
Th a bee in a jam jar.
used is a compromise. Yet there are many Royal Opera and the Royal Ballet was
If you enjoy Handel’s Acis and Galatea and would like to try out similar works, see overleaf…
ACIS AND GALATEA GEORG FRIDERIC HANDEL BUILDING A LIBRARY
SO, WHERE NEXT…?

We suggest works to explore after Handel’s Acis and Galatea
Handel Aci, Galatea e Polifemo nicely, the six have an unmistakably

Not to be confused with Handel’s Acis pastoral theme. The best known is
and Galateaa is the same composer’s Aci, ‘Corydon, the lonely Shepherd’ who,
Galatea e Polifemo, a ‘serenata’ composed playing his flute in his shady grove,
ten years earlier while he was living and finds himself the target of Love’s
working in Italy. First performed at a dart. Splendid.
wedding in Naples in 1708, the storyline Recommended recording:
is pretty much the same as the later Bergen Barokk
work but, scored for three soloists and BISCD965 £12.99
no chorus, the music – and, in fact, the
musical style – is markedly different. Boyce Peleus and Thetis
The three main protagonists are all given The origins of this enjoyable masque
significant vocal workouts, in particular are shrouded in mystery, but it’s
Polifemo, whose part is something of thought to date from before 1740
a showpiece of virtuoso bass singing, and the period when William
heading to both ends of the range and Boyce produced several pieces of
expressing all manner of emotion. theatre music. Head to the striking
Recommended recording: Roberta trio ‘Bring me lightning! Give me
Invernizzi, Blandine Staskiewicz, thunder!’ and it seems very likely
Lisandro Abadie; La Risonanza/ that Boyce had in mind Handel’s
Fabio Bonizzoni baroque baiting: trio ‘The flocks shall leave’ from
Glossa GCD921515 £28.99 Bononcini was seen Acis and Galatea. Boyce took his text
as Handel’s rival from an adaptation of Shakespeare’s
Bononcini Polifemo The Merchant of Venicee by Lord
Giovanni Bononcini was seen as a rival Lansdowne, who had prefaced the
to Handel in 1720s London – a rivalry that writing – here, soloists playing the parts of play’s banquet scene with a masque about
led to them being famously described as the various Passions, such as Joy, Anger and Peleus and Thetis, and he sets it with a light
‘Tweedle-dum and Tweedle-dee’ by the poet Melancholy, try to gain favour from the touch and plenty of feeling.
John Byrom. Bononcini’s take on the Acis, ‘heavenly maid’, Music. While the choruses Recommended recording: Opera Restor’d/
Galatea and Polyphemus myth can be heard are relatively few and far between, in one of Peter Holman Hyperion CDA 66935
in his 1702 opera Polifemo, which throws them, ‘Revenge impatient rose’, you can hear (download only)
in the tale of Glaucus and Scylla (also from traces of Handel’s Messiahh and Music for the
Ovid’s Metamorphoses) s for good measure. Royal Fireworks. Lully Acis et Galatée
Like Handel, Bononcini sussed that low Recommended recording: Evelyn Tubb etc; Like Handel’s work, Lully’s earlier operatic
basses make good one-eyed monsters, though Chor der Schola Cantorum Basiliensis treatment of Ovid was commissioned to
his growling, grunting title character also & La Cetra Barockorchester Basel/ entertain the nobility, in this case a visit by
sounds decidedly fleet of foot at times. The Anthony Rooley Glossa GCD 922501 £14.99 the princely French dauphin, in September
more beautiful movements, meanwhile, fall 1686, to the Duke of Vendôme’s lavish
to Galatea, such as in her mournful aria Pepusch Six English Cantatas Château d’Anet. It follows the conventions of
‘Dove sei, dove t’ascondi’. Like Handel, Johann Christopher Pepusch the pastorale-héroïque – with three acts and
Recommended recording: Herbert Alsen was a German-born composer who forged a pastoral theme – using a plot that entangles
etc; Grosses Orchester der RAVAG/Max the latter half of his career in London – an the love life of gods and mortals. But in
Schönherr Walhall WLCD0381 £8.99 iinfluential figure on the Lully’s version, Acis is transformed into a
English capital’s artistic
E river, rather than a fountain, thanks to some
Hayes The Passions sscene, he co-founded the fatherly intervention by Neptune. Lully packs
An organist and professor at Oxford ooriginal Academy of Ancient his score with dramatic tension, not least in
University in the mid-1700s, Music and directed the
M Galatée’s agonised lament in Act III and also
William Hayes was one of Handel’s music at Cannons, the
m at the opera’s close, where a passacaglia builds
most ardent champions, regularly sstately home where many up over 13 minutes to a glorious full chorus.
performing the great man’s oof Handel’s works received Recommended recording: Jean-Paul
larger-scale works. As a composer ttheir first performances. Fouchécourt, Véronique Gens etc; Les
himself, then, it’s no surprise Among Pepusch’s own works
A Musiciens du Louvre/Marc Minkowski
that Hayes’s style was influenced aare these charming cantatas DG Archiv E453 4972 (see iTunes)
by his hero’s. Hayes’s dramatic ffrom 1710. Written for soloists
oratorio The Passionss (1750) is aand small ensemble with the
an excellent example of word- aaim of showing that the English Next month:
GETTY
painting and programmatic llanguage suited the cantata form Beethoven’s Fidelio
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Artist’s impression of the new extension
What makes a concert hall great?

sublime acoustic intimate performance experience established roll call of world class artists
engaged and loyal audiences innovative education programme
St George’s Bristol has all these. What it lacks are spacious, well designed back stage
and front of house facilities. We have a plan, a team, award winning architects and
the backing of major national funding bodies to put that right – will you join us?
Located in a tranquil landscape of beautiful terraced gardens, St George’s is a model

of classical architecture and has been a prominent city landmark since 1823 when it
was designed by Sir Robert Smirke, architect of the British Museum. The auditorium
of this elegant Georgian former church creates a uniquely intimate exchange between
artist and audience and is the favourite performance space for many of the world’s
leading musicians.
6Q HWNƂN KVU TGOKV CU C YQTNF ENCUU EQPEGTV JCNN 5V )GQTIGoU KU n$WKNFKPI C 5QWPF Artist’s impression of how the new building
Future’ with the construction of a contemporary garden pavilion extension designed will link to the existing building
by architectural practice Patel Taylor. This major capital project will extend and
upgrade St George’s, transforming the visitor experience and securing its future for
generations to come.
2CTVPGTUJKR QRRQTVWPKVKGU JCXG DGGP ETGCVGF CV C TCPIG QH NGXGNU YKVJ DGPGƂVU

extending to naming rights of the complete new extension in perpetuity, so delivering
a permanent record of major philanthropic support to this iconic world class venue.
“St George’s Bristol is my old friend. Warm acoustics, intimate and with an enthusiastic
audience. This is truly a great combination.” - Dame Mitsuko Uchida
“The best acoustic for chamber music in Europe” - Sir Simon Rattle The existing auditorium
For further partnership details please contact Simon Farley on +44(0)117 929 4929 x205, by email s.farley@stgeorgesbristol.co.uk or visit http://buildingasoundfuture.co.uk
CONTENTS
REVIEWS
66 Recording of the Month
68 Orchestral
The Boston Symphony and
Andris Nelsons thrill with
Shostakovich’s Tenth
115 CDs, Books & DVDs rated by expert critics
72 Concerto
JS Bach’s harpsichord
concertos from Andreas Recording of the Month
Staier; plus Perlman box-sets Verdi’s grand opera Aida is given a stunning performance
by an all-star cast including soprano Anja Harteros and
76 Opera tenor Jonas Kaufmann, conducted by Antonio Pappano, p66
Emmanuelle Haïm conducts
a superb DVD of Mozart’s
La finta giardiniera
80 Choral & Song

English pastoralism is alive
and well in this collection of
songs by Ian Venables
84 Chamber
Isabelle Faust and Alexander
Melnikov bring subtle grace
to Brahms’s violin sonatas
90 Instrumental
A recital of Schumann
from the distinguished
pianist Imogen Cooper
93 Brief Notes
A quick look at 16 new recordings
94 Jazz fascinating aida:

Anja Harteros
A live recording from recording in Rome
the energetic and eccentric
big band Loose Tubes
97 World
A round-up of the best recent recordings
Music to while away sleepless nights
JS Bach’s Goldberg Variations were written, so the story goes, to soothe an
98 Books insomniac count. And this most elaborate of lullabies is not the only piece
to explore the point where music, sleep and the night meet. It’s the theme
Sandy Tolan’s Children of the Stone
that the Aurora Orchestra has taken for Insomnia, with Britten’s Nocturne
the centrepiece of its new album exploring the dark hours of the night
100 Audio (p82). Max Richter, in contrast, hopes you will fall asleep when listening to his eight-hour
A guide to the best new hi-fi Sleep. This new piece will be broadcast on BBC Radio 3 on 26-27 September, and we’ll be
reviewing the shorter CD version next issue. But if it’s the Goldberg Variations that you’re
after, turn to p91 to read about Lars Vogt’s new recording. Rebecca Franks Reviews Editor
Our Recording of the Month features in one of the BBC Music Magazine podcasts
free from iTunes or www.classical-music.com
RECORDING OF THE MONTH
FURTHER LISTENING
Antonio Pappano
CHOICE VERDI
Four Sacred Pieces;
Ave Maria; Libera me
Donika Mataj, Maria Agresta (soprano);
Orchestra e coro dell’Accademia
Nazionale di Santa Cecilia/Pappano
Warner 845 2422 56:55 mins
BBC Music Direct £14.99
‘Pappano and
his Santa Cecilia
forces brought this
choral collection to
the Proms, and it
makes a worthwhile programme on
disc, too.’ October 2013
VERDI
Macbeth
Keenlyside, Aceto, Monastyrska,
Meister, Cliffe, Lindsay et al;
Royal Opera House/Pappano
Opus Arte DVD: OA BD 7095D 170 mins
‘This Covent
Garden staging of
Verdi’s opera has
a good deal going
for it. Pappano is
an authoritative
Verdian, punching the score out
into the theatre.’ April 2012
real understanding:
Antonio Pappano and VERDI
Anja Harteros get to Messa da Requiem
the heart of Aida Harteros, Ganassi, Villazón, Pape;
Orchestra e coro dell’Accademia
Nazionale di Santa Cecilia/Pappano
Warner 698 9362 94:11 mins (2 discs)
An extraordinary Aida BBC Music Direct

‘Pappano’s
conducting
maintains a firm
£14.99
Antonio Pappano’s Verdi is hugely impressive, says George Hall control of his forces,
showing a sense of
drama that includes an awareness
already a wealth of fine sets of Aida comments that rather than creating
of the importance of some crucial
in the back catalogue, a high-quality either a grand opera or something moments of silence.’ October 2009
new version is warmly welcome and essentially intimate, ‘Verdi’s genius
this release has certainly been well was to intertwine in the cleverest
worth the wait. With Verdi stylist Sir dramaturgical structure the two
Antonio Pappano in charge, you can elements, public and private, in an The cast is surely impossible
VERDI take it for granted astonishingly to beat today. Anja Harteros can
that musical cohesive whole’. boast both the high-octane tone
Aida standards are Pappano’s cast is The multiple and the necessary level of dramatic
Anja Harteros, Jonas Kaufmann,
Erwin Schrott, Ekaterina Semenchuk,
impressive, but it is surely imposible to perspectives expression to make Aidaa credibly
equally successful required in terms three-dimensional, and she can also
Ludovic Tézier; Orchestra e coro
as a dramatic beat today of onstage and float her soft high notes expertly. The
dell’Accademia Nazionale di Santa
Cecilia/Sir Antonio Pappano interpretation. offstage effects are performance’s intimate moments,
Warner Classics 2564610663 Aidaa is often labelled a grand vividly captured in a recording whose incidentally – including the crucial
133:01 mins (3 discs) opera, but in fact it is a good deal depth and range are extraordinary final scene – have your ears reaching
BBC Music Direct £18.99 more than that. In a personal note and which creates, again in Pappano’s out to catch the minutest sounds.
Verdi’s major operas turn up less that explores the complexity of words, ‘an imaginary production Ekaterina Semenchuk’s Amneris
frequently in the recording studio the piece from a sonic as well as built with the forces and space that possesses regal grandeur, but she, too,
than they once did. While there’s a musical perspective, Pappano you have at your disposal’. is concerned with Verdi’s markings,
66 BBC M USIC M AG A Z I N E All discs can be ordered from www.classical-music.com/shop

RECORDING OF THE MONTH REVIEWS
making many subtle observations banks of the River Nile where the THIS MONTH’S CRITICS
pertinent to the character’s inner fates of the four central characters are
emotional world. altered forever Our critics number many of the top music specialists
Jonas Kaufmann fulfils all In secondary roles, both Erwin whose knowledge and enthusiasm are second to none
requirements of the challenging tenor Schrott’s Ramfis and Marco Spotti’s
role of Radamès, offering scrupulous King are vocal towers of strength,
diction, distinguished musicianship while the Roman chorus and Max Loppert critic, Opera
and a huge variety of tone. In his orchestra excel themselves, revelling Johannesburg-born, formerly the
hands ‘Celeste Aida’ registers as a in the rich colours and subtle Financial Times chief music critic,
magnificent soliloquy, and unusually atmospheres conjured up in the Max now lives in Italy, from where he
he closes it with the immaculately marvellous score. continues both his Gluck opera studies
soft finish Verdi asks for, but which PERFORMANCE ★★★★★ and his long association with Opera
few tenors can actually deliver. RECORDING ★★★★★ magazine. An honorary fellow of the University of
Ludovic Tézier’s Amonasro, KwaZulu-Natal, Durban, he founded its opera studio.
meanwhile, is vocally firm and ON THE PODCAST
decisive, providing a consistent Hear excerpts and a discussion
politically determined quality; he of this recording on the BBC Music John Allison editor, Malcolm Hayes editor
Magazine podcast, available free on
and Harteros generate considerable Opera; critic, Sunday biographer, Anna Picard
iTunes or at www.classical-music.com
tension in the crucial scene on the Telegraph composer writer, critic
Nicholas Anderson Julian Haylock George Pratt
Baroque specialist writer, editor emeritus professor
Q&A
Terry Blain writer Ivan Hewett of music, University
Kate Bolton- broadcaster, critic of Huddersfield
Porciatti lecturer, Daniel Jaffé Anthony Pryer
New York University, writer, critic lecturer, Goldsmiths,
ANTONIO PAPPANO Florence
Garry Booth
Erica Jeal critic,
The Guardian;
University of London
Paul Rileyy journalist
The conductor tells REBECCA FRANKS about realising jazz writer & critic deputy editor, Opera Michael Scott
Geoff Brown Stephen Johnson Rohan author,
his ambition to record Verdi’s Aida with his dream cast critic, The Times writer, BBC Radio 3 editor
Michael Church broadcaster Nick Shave
A studio recording of a big Verdi opera The Independent Berta Joncus senior journalist, writer
issn’t that common anymore. How did Christopher Cook lecturer, Goldsmiths, Jeremy Siepmann
itt come about? broadcaster, critic University of London biographer, editor
O
Originally it was supposed to be three Martin Cotton Erik Levi professor, Jan Smaczny
cconcert performances and recorded live. radio & recording University of London professor of music,
But this piece is very much dependent on
B producer Jon Lusk world Queen’s, Belfast
ssilence and atmosphere and if there was Christopher Dingle music journalist Geoffrey Smith
ttoo much audience intrusion, too much Professor of Music, Andrew McGregor presenter, Radio 3
distraction, I thought somehow this
d Birmingham presenter, BBC Michael Tanner
piece would suffer more than any other.
p Conservatoire Radio 3’s CD Review critic, The Spectator
It’s one of the most difficult pieces in the Misha Donat David Nice Roger Thomas critic
ccanon to pull off, but we worked with producer, writer writer, biographer Kate Wakeling
great concentration in the large hall – it’s
g Jessica Duchen Roger Nichols writer, researcher
2
2,800 seats – getting the lontano effects critic, novelist French music Helen Wallace
of distance and the perfume of the piece.
o Hilary Finch writer, specialist consultant editor,
critic, broadcaster Bayan Northcott BBC Music
And
A dddoes recording
di ini a studio
t di bring its own challenges? George Hall writer, writer, composer Barry Witherden
The onus on everyone is to really communicate the text, the detail and editor, translator Tim Parryy writer, critic
nuance of the words. And then on top of that make the best music you
can. Anybody can play the notes, it’s getting what’s behind the notes
to jump onto the microphone that’s hard. The sessions – over six days Key to symbols Star ratings are provided for both the
– were the rehearsals and I was constantly explaining to the orchestra performance itself and either the recording’s sound
what was going on, what we were trying to convey. It makes for a very quality or a DVD’s presentation
creative atmosphere that forces the players to use their imaginations Outstanding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ★★★★★
and you can get surprisingly specific and precise results in the
Excellent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ★★★★
expression. It’s very exciting. And the same with the singers: they think
Good . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ★★★
about the words, nuance, shape and colour.
Disappointing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ★★
It certainly is an all-star cast. But were there specific qualities you Poor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ★
were looking for in their voices for this opera? BBC Music Direct You can now buy CDs, DVDs or Books
Aida is perhaps more often cast a little heavier with more dramatic reviewed in this issue from BBC Music Direct. The prices
voices and a case can be made for that in the theatre. The writing is quite
are given at the head of each review, and are inclusive
lyrical although it is big-boned music. It’s a bel canto type of lyricism:
not coloratura but legato and perfect intonation. And because Verdi
of p&p for orders placed from within the UK.
has found a very idiosyncratic harmonic language for this piece to try to There are three simple ways to order
evoke exotic and far-off lands, it is really difficult to nail the notes dead ● Order online at www.classical-music.com/shop
centre. I took more lyrical voices, not small voices but really grown-up ● Call +44 (0)1322 297 515
voices, which will contrast better with the bass voices. That’s been my
● Fax your order details to +44 (0)1689 888 800
dream with Aida – to try and assemble that kind of cast.
To order CDs call BBC Music Direct +44 (0)1322 297 515; prices include P&P BBC M USIC M AG A Z I N E 67
ORCHESTRAL
Christoph von Dohnányi conducts a devastating account of Bruckner’s Ninth Symphony;
plus Antonio Pappano conducts superb Tenth Symphonies by Maxwell Davies and Panufnik
ORCHESTRAL CHOICE
A peerless Shostakovich Tenth

BRUCKNER
David Nice relishes Andris Nelsons’s account of this great symphony Symphony No. 9
Philharmonia Orchestra/
Christoph von Dohnányi
Signum SIGCD 431 61:26 mins
Bruckner’s mature symphonies, in

fact all of them from No. 3 onwards,
SHOSTAKOVICH have always seemed to me to present
so many problems, with their famous
Lady Macbeth of Mtsensk – silences in the middle of movements,
Passacaglia; Symphony No. 10 the odd individual structures that
Boston Symphony Orchestra/
Andris Nelsons
they have, their startling innovations
DG 479 5059 64:52 mins and complexities, that one might
BBC Music Direct £15.99 expect good, let alone great
performances of them to be rare. In
‘Beautiful’ is not how one would fact Bruckner gets many wonderful
usually describe the granite cliff performances both in the concert
faces and the furious skedaddlings hall and in the studio. A great – yet
of Shostakovich’s Tenth Symphony. another – performance of his last,
Yet it’s a word I seem to have the Ninth, was given last year in
scribbled down a lot while listening Salzburg by the Philharmonia
to the incredible tones of strings Orchestra under Christoph von
and woodwind principals in Andris Dohnányi, and fortunately preserved
Nelsons’s live Boston performance. in this superb-sounding recording.
Not that there’s any soft focus: If state-of-the-art sound is what you
Nelsons is far too gritty and intense require, you won’t do better than
for that, and the crucial climaxes this, though Carlo Maria Giulini is
have punch as well as the right equally magnificent in his Vienna
Philharmonic recording, which still
The pacing and the sounds very fine; and Simon Rattle
out of the shadows: too, though I find the ‘completion’
atmosphere are up Andris Nelsons finds joy and of the fourth movement, which he
there with the best relief in Shostakovich’s work includes, an abomination.
Dohnányi realises all aspects of
pulling out or back to articulate this extraordinary work, both its
the centres of gravity. But he’s the disc does start with the heart of acidic alternative. But the new gaunt grandeur, as in the opening
now taken charge of America’s darkness in the work which caused team has joined the top ranks theme, and its warmth and fragility,
most cultured orchestra and, so much trouble, the Passacaglia of recent Shostakovich, Vasily as in its second subject. The Scherzo
given recording of unparalleled from Lady Macbeth of Mtsensk, Petrenko’s with the Royal Liverpool lacks, perhaps, the last degree of
naturalness, height and depth, it and Nelsons connects its dark and Philharmonic Orchestra, and vindictiveness which some accounts
sounds absolutely wonderful in superbly present bass lines with sonically it’s peerless. provide. But the sublime third
Boston’s Symphony Hall. the opening of the Symphony. PERFORMANCE ★★★★★ movement has everything, including
The cheesy subtitle of a projected The pacing, the atmosphere, the RECORDING ★★★★★ that terrifying last climax, which
series, ‘Under Stalin’s Shadow’, is expressive space for stricken solos builds to so brutal a dissonance that
wrong for the symphony. Its 1953 and the sheer electric charge of ON THE WEBSITE no other composer has matched
MARCO BORGGREVE
finale celebrations actually come the gallops are up there with the Hear extracts from this recording it since. The uneasy dying away
out from under the shadow, hardly best. The Russian rawness of and the rest of this month’s choices on after the awe-struck silence is
the BBC Music Magazine website
lacking joy or relief, as Nelsons Kirill Kondrashin and Gennady perfectly managed, and all told the
www.classical-music.com
declares in a concise liner note. Yet Rozhdestvensky still provide an performance is as devastating an
experience as it should be, and one

ORCHES RAL REVIE
of the most owerful that the whole h finale as a slow proarious motoric activity from the
iterature of music can provide. unified sweep of feelin . How the r f h r h r L REISSUES
M T hilharmonia strin s mana e to ERF RMAN E
Reviewe Geo Brown
PERF RM N E ★★★★★ ustain intensity in a mere t rea E RDIN ★★★★★
E RDIN ★★★★★ o soun t roug t ose a ting, ARNOLD
va e ictory ina ars is somet ing to he Roots of Heaven; David Copperfield
arve at. Bayan Nort cot oscow Symphony Orchestra/
ERFORMANCE ★★ illiam Stromberg
RECORDING ★★ axos 8.573366 2000 62:09 mins
he jewel here is
SCRIABIN he Roots of Heaven:
MAHLER multi-coloured,
ymphony No. 1;
ymphonic in scope.
S mphonies Nos 7, 8 & 9 The Poem of Ecstas
Malcolm
Philharmonia rchestra/Lorin Maazel ssian National rchestra/
ikhail Pletnev
rnold’s last cinema score, is
Signum SIGCD 362 281:40 mins 6 discs
maller and thinner, but nothing
BBC Music Direct £16.99 PROKOFIEV entaTone PTC 5186 514 (hybrid CD/SACD)
tops the Moscow players excelling.
6: 6 mins
Symphony No. 4 (ori inal version); ERF RMAN E
ith Lorin Maazel’s recent death BBC Music Direct £15.99
S mphon No. 5; Dreams RE RDIN ★★★
is ina insta ment o t e Ma er Bournemout Symp ony Orc estra/ Scria in’s First Symp ony is an
c c e e recor e ive wit t e Kirill K r bit o transitiona wor . Written y SAINTON
P i armonia in 2011 ecomes is Onyx ONYX 1 :28 mins headstrong composer-pianist in his
o y Dic
estament. An t ose w o s are is BBC Music Direct £14.99 ate twenties, re ative y inex erience oscow Symp ony/Strom erg
a arent conviction t at t e on y t e num er o current y avai a e in writin or u orc estra, it’s axos 8.573367 1997 63:13 min
wa to renew these familiar scores is ecor ings is a re ia e gui e to u e y am itious six-movement BBC Music Direct £7.99
o emphasise and push to extremes wor ’s current status t e irst wor invo vin voca so oists an o n Huston’s i m
heir every dynamic markin or ersion o Pro o iev’s Fourt must or s as we as t e s co o rs o t e Me vi e nove
em o mo i ication wi in man e re a e as t e east appreciate a ate-Romantic orc estra. T ere may e uneven, ut
moments o expressive orce or a is symp onies. Despite ein are hints of Wagner – for instance, ere are no o es
ivi text re to a mire ere. B t eavily anned by the critics after t e opening movement reca s t e in P i i Sainton’s
he drawback of this a roach is ts irst per ormance in Boston in awn se uence o Gotterdämmerun ma ni icent, storm-tosse score.
hat it tends to interru t flow and 930, t e com oser was su icient y – an e sew ere Grie . A wou - e e orc estra p ayin i ea y nee s
he lar e-scale unfoldin of form. convince w at e a written, ran iose statement a out art an more oom an inesse.
All three readin s are inordinatel ven t ou e su sequent y eci e Scria in’s own creative sensi i it , ERFORMANCE ★★★
slow: the Seventh Sym hony, which, o recast an su stantia y ex an uc o t e Sym ony’s e ect is RECORDING ★★★
at aroun 78 minutes, usua he work some 17 ears later. n ermine y an inept c ora ina e,
fits on one CD, lasts nearl 88 iri Kara its c ear y s ares w ose apot eosis invo ves a quasi ENGLISH MUSIC
minutes, requirin two, while both ro o iev’s e ie in is origina Bac ugue (presuma y a angover FOR STRINGS
he Ei hth and Ninth are around conception, and manages to give the rom Scria in’s stu ies wit Tane ev) Works by El ar, Britten, Vau han
en minutes lon er than most usic greater structura co erence us pompous imperia -sty e co a. Williams and Tippett
PO/C ar es Grove
ri al ersions roug a s arper e ineation E sew ere, t ou , t ere is a oo Alto ALC 1291 (1989) 75:47 min
T e opening movement moo s in eac o t e o r ea w ic is captivatin in Mi ai BBC Music Direct £8.99
of Symphony No. 7 begins ovements. T e Bournemout Pletnev’s excellent erformance: in
Music ver c ose to
exce tiona y sti y an on ymp ony Orc estra is exceptiona y the thistle own Scher t e Russian
e con uctor’s eart
rea y a roac es t e iery a egr esponsive to is eman s, ringing National Orchestra demonstrates v ent in these
ee ing Ma er as s or in its wealth of fascinating timbres and o is e an tig t ensem e p ayin pass onate, s n n ,
ina minutes – t ou t e t ree co ours to t e com oser’s o ten or t e ive y main tem o, w ic n s cc ent
ensu n mo emen s a ue orc estration. P etnev convincing y pu s ac or ccounts Britten s rank Bri
are nice y enou c aracterise . T ere’s a simi ar egree o aura t e re ective so o c arinet e iso es ariation
T e Eig t , y contrast, opens i mination in t e ar more ami iar ust t e type o tempo variation ERF RM N E ★★★
wit a c ora -orc estra aean o i t Sym ony. Particu a y Scria in use in is own iano ro RECORDING
tremen ous ower, on y to s ac en a mira e is t e manner in w ic accounts o is Pre u e
nto u cet entropy in t e ensuin ara its manages to create a rea is, y contrast, SCANDINAVIAN
yrica passa es or t e so oists – ense o orwar momentum a an mar masterpiece – one CLASSICS, VOL. 5
ac o intentness t at ersists more roug t e irst movement wit out wit out w ic Stravins y’s Firebir usic b Sibelius, Nielsen, Hamerik,
or ess t roug out t e vast secon acri icing any gravitas or un er yin o ave een nt in a e. ven sen, Lum ye etc
movement ina e. T e mannere anxiety. As e escr es in t e etnev’s re ative un urrie anis State Broa castin Orc estra/
ra in tempo o muc o t e oo et notes e views t e wor er ormance ma es t e two c imaxes rik xen etc
anacord DACOCD 757-758 (1933-55)
open n o t e very muc as a positive a irmation t e more ower u , V a is a 47:59 mins 2 discs
int Sym ony is es ecia y sa o t e uman s irit in t e ace o t e Lavri ’s trumpet a in a certain BBC Music Direct £20.99
n w at is argua y Ma er’s most erri e su ering en ure urin asoc istic e ge wit its cries o From the s blime
comp ex an master y symp onic e Secon Wor War. T is means cstatic pain. However P etnev’s Sibelius’s Fifth
structure. T is is not e pe y t e at t e more s versive sections o ow tempo oes rat er issipate ym hony under
Roya Festiva Ha acoustic, w ic e score, or examp e t e terri yin ny sense o a ent urgency, t e uxen) to divertin
o ers c ean soun in quieter passa es c imax o t e s ow movement, are ig ing strings just e ore t e ina rinkets (Lumbye
ut in ou tuttis ten s to s ri ness not quite as ramatise as in some a ence soun in ist ess, rat er t an , with Nielsen’s
at t e top an con use a ances in ore i -vo ta e per ormances. ntense y yearnin as p aye y t e ances an m ch else inbetween.
mi -range textures. Nevert e ess itt e etai s i e t e eve an Orc estra un er V a imir wonderful historical bou uet.
However, t e ensuin L rasping trumpet note near t e c ose A enazy on Decca. anie Ja ERFORMANCE ★★★
s p aye wit rea pungency an o t e Fina e stri e a momentary ERFORMANCE ★★ RECORDING ★★★
Maaze oes succee in e iverin eeling of uncertainty amid all the E RDIN ★★★★★
To order CDs call BBC Music Direct +44 (0)1322 297 515; prices include P& BC M USIC M AG A Z I N
REVIE S ORCHES RAL
and war, and Se erstam’s austere pace.

ersona y I’ pre er Osmo Väns ä’s
livelier BIS version, cou led with the
ic ae Scott Ro an
PELLEAS
ERFORMANCE ★★★★
MAXWELL DAVIES RE RDIN ★★★★
JEDERMANN
S mphon No. 1
ERFORMANCE ★★
A PANUFNIK RECORDING ★★★★
Symphony No. 1
Markus Butter (baritone); London
Symphony Chorus and Orchestra
ntonio Pappan
LSO Live LSO 0767 hybrid CD/SACD
57 51 min
T e circumstances surroun ing t e superbly judged: VAUGHAN WILLIAMS
creation o Sir Peter Maxwe Davies’s Mark Elder finds the epic
Sea Symp on
Tent Sym ony are remar a e quality of A Sea Symphony
Katherine Broderick so rano , Roderick
in ee . Diagnose ear y in 2013 illiams baritone ; Schola Cantorum
it cancer, Davies eci e to u i o Ox ord Ad Solem Hall Youth Choir
is ong-stan ing wis to compose nc u es enign y tona armony, is exce en Be s azzar’s Feas Chor s and rchestra/Mark Elder
sym onic tri ute to t e Renaissance o t at t e c ora passages, w i e programme (reviewe Octo er 2015) Ha é CD HLL 7542 7 :16 mins
arc itect Francesco Borromini, eman ing, are a rea istic proposition – a arge stage score wit esse nown BBC Music Direct £14.99
ose wor e irst enco ntere as or a sym ony-orc estra c orus. T e i ers. A te t e Pe ea Mar E er’s Vaug an Wi iams
com osition stu ent in Rome. T is nterp ay etween Mar us Butter’s music is pro a y Si e ius’s inest, not cyc e wit T e Ha é is turning out to
arge-sca e wor is in our movements, inging o Borromini’s own wor s east ecause it c a enges comparison e t e inest since t e two y A rian
wo or orc estra a one (an openin (inc u ing is escription o is wit so many ot er com osers rom Bou t – an t e opening ars o t is
an a s ee ttempte suici e) an quiet c ora Fauré to De ussy an Sc oen erg. ive recor ing o Sea Symp on
a ternating wit ot ers in w ic nterjections is eauti u y ju ge Si e ius’s vision is t e sparest. s ow w y. T e sweeping gran eur o
some o Borromini’s own writings ere, an is matc e y su er ative S etc e in eceptive y c ear, ig t, e moment is won er u y caug t:
(set or so o aritone) are intercut rc estra p ayin t rou out. a most c am er textures, wit yet t ere’s no trace o om ast, so
it passages or c orus, inc u ing Antonio ano irects an e ua y touc es o o me o , it nevert e ess at even wit t e masse c ora an
a sonnet y Giacomo Leopar i an ine per ormance o a very i erent catc es Maeter inc ’s roo in orc estra orces, t e ig paragrap s
anot er, anonymous one enouncing ent Sym ony – com ose y atmos ere no ess e ective y, are s ape wit a sense o t eir
Borromini an is wor ir Andrzej Panufnik in 1988, and especia y in t e som re sp en our yricism t at neit er rags nor g i
T e w o e i ea mig t soun eve opin its taut, 15-minute esi n o t e opening ‘At t e Cast e Gate’ un ercuts t e music’s epic sca e.
on erous, ut isn’t, t an s to rom t e interaction o c an i e – now wi e associate wit t e er’s mastery o pacing (sure
Davies’s invention at its inest: es es rchestral lines with small, rotatin BBC s e pro uct o a i etime o opera
e tra emar yperactivity, t e music usica ce s. T e resu t is uci con ucts wit impressive gravitas an con ucting) pays rare ivi en s in
a so as a sense o genuine space w ic motiona y c arge an memora e. measure etai , t oug one misses e ina e, ‘T e Exp orers’: t e o
alcolm Ha e t e s ivering gran eur o , or examp e, o t e opening section is super y
ERF RM N E T omas Beec am’s reco ing o ju ge , so t at t e movement’s oose-
BACKGROUND TO… RE RDIN ★★★ t e suite. T e com ete score rea im e esign seems to un o rom
a s on y one u iece more, ut en on i e a process o nature.
r Peter it oes suit t e context o t e ay, rom start to inis we’re resente
axwell wit Pia Paja a provi ing t e wor s wit a east o virtua y aw ess
avies o Me isan e’s song. T e i ers ave c ora singing an orc estra p aying.
b1934 t eir own interest, emonstrating t at T e inter ay o t e various semi
axwe c orus passages comes across to
avies st ie ca e it, ut re ects t e com oser’s near-per ection in t e Bri gewater
t t e Roya SIBELIUS s ig t y unexpecte ove a air wit a acoustic, an t e ste ar ua ity
anc ester Pelléas et Mélisande; Morceau t e wa tz – rom romantic stu ent o t e Ha é’s rinc a ayers
Colle e of Music, where with romanti ue; Musi zu einer Szene; ays in Paris an Ber in, er a s s ines in ‘T e Ex orers’, wit
Birtwist e, Goe r an t e pianist Va se rique; Va se c eva eresqu Si e s create t e ederman ea er Lyn F etc er o ering one
John Ogdon he became part o Pia Pa ala (soprano), Sari Nordqvist core or a Finnis pro uction eauti u y oise vio in so o a ter
t e so-ca e Manc ester Sc oo . mezzo ; Turku Philharmonic Orchestra/ o Hugo von Ho mannst a ’s anot er. A ew moments on’t uite
He won a scholarship rom the
Leif Segersta a aptation o t e Eng is mora ity a en: some ow t e oetry o t e
Na os 8.573301 57:49 mins a veryma . At t e irector’s orc estra c ose o ‘On t e Beac at
Ita ian government in 1957, an BBC Music Direct £7.99 request, e integrate t e music Nig t A one’ oesn’t come across as
went to stu y un er Petrassi
Je ermann; Two Serious Me o ies; c ose y wit wor s an action; aunting y as it s ou . An t ere
in Rome. Bac in Eng an e consequent y it’s most y a sequence as to e a ai y major reservation
composed scores for several Ken In memor a
Pia Pajala soprano , Tuomas Katajala o ragments, ess imme iate regar ing Kat erine Bro eric ’s
R ssell films and fo nded his tenor , Nicholas Söderlund bass ; invo ving on its own. T ere are some soprano singing – uncom orta e
ensemble The Fires o London Cathedralis Aboensis Choir; Turku star y origina segments, t e argo a ove mi -vo ume, wit a quic an
before spending more and more Philharmonic Orchestra/Lei Segersta especia y, attractive c ora songs an w e vi rato t at oesn’t convince
time iving in Or ney. T ere e Naxos 8.57 40 72:50 mins ina G oria, ut t e overa e ect a ongsi e Ro eric Wi iams’s ine
BEN EAL VEG
egan writing symp onies, BBC Music Direct £7.99 is somew at unerea . T e g oom’s an n orce aritone. a co m Haye
composing is First in 1973-76. e atest two insta ments in Lei eepene y t e grave coup ings, ERFORMANCE ★★★★
egerstam s new series mirror co oure y years o serious i ness RE RDIN ★★★★★
B M I M AZI ll discs can be ordered from ww assica music.com/s o

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CONCERTO
Daniel Barenboim joins Gustavo Dudamel for powerful accounts of Brahms’s Piano Concertos;
plus violinist Gidon Kremerr embraces the contrasts and extremes of Glass and Kancheli
CONCERTO CHOICE
Staier’s caffeine-beating Bach

Paul Riley gets a real buzz from Andreas Staier’s exciting concerto set BRAHMS
Piano Concertos Nos 1 & 2
Daniel Barenboim (piano);
Staatskapelle Berlin/Gustavo Dudamel
never mind the baristas: DG 479 4899 101:70 mins (2 discs)
Andreas Staier adds just the BBC Music Direct £19.99
right embellishments to Bach
Recorded live in Berlin in September
2014, these accounts of the Brahms
Piano Concertos may have some ups
and downs, yet they capture on the
wing a vibrant partnership between
grand maestro at the piano and
young lion on the podium.
The quality of that partnership
keeps everything on the rails.
Daniel Barenboim’s pianism here
can seem a little ponderous, but
comes across with a sense of titanic
will. His octaves, for example, feel
monolithic in strength, part of his
elemental concepts that remain
jagged at the biting edge of the
D minor First Concerto, and gear-
changes between shifting tempos
are unusually plentiful; but he
harpsichord that Johann Sebastian excitement, there’s always a fierce and conductor Gustavo Dudamel
fashioned for the Collegium’s intelligence at work. In the G minor’s together manage to ensure that no
convivial meetings. Served up by (BWV 1058) first movement the sense of disconnect occurs.
Andreas Staier and the Freiburgers closely-argued motivic cut-and- Occasional moments of
– their pin-sharp articulation and thrust is positively swashbuckling – unexpected magic flair up, such as
piquant pizzicatos to the fore – indeed, whisper it not within earshot the vibrant exchange between piano
BWV1052-58 pack the punch of a violinist, but so convincing are and cellos in the second movement
JS BACH of a quadruple espresso. Staier’s the performances of BWV 1054 and of the B flat major Second Concerto,
Harpsichord Concertos Nos 1-7 harpsichord, a beefy copy of a 1734 1058, their earlier incarnations as the and I defy anyone to breathe during
Andreas Staier (harpsichord);
better known violin concertos in E its slow movement in the minutes
Freiburg Baroque Orchestra
Harmonia Mundi HMC 902181-82 Behind the visceral and A minor might almost be taken before the return of the cello solo
for inferior first drafts. Saving the (whose player, incidentally, deserves
111.53 mins (2 discs) excitement, there’s a genial recorders-enriched F major, a credit, but doesn’t get one).
fierce intelligence BWV 1057 (a respray of Brandenburg More troublesome than
No matter how skilled the baristas Concertoo No. 2) for the end proves an Barenboim’s occasional splashiness
at Gottfried Zimmermann’s coffee original by Hass, growls splendidly effective benediction, albeit one with in his playing is the very close
house in Katharinenstrasse, when in the driving Sturm und Drangg of a punchily purposeful finale. miking of the piano, which
Leipzig’s Collegium Musicum the D minor, BWV 1052, and with PERFORMANCE ★★★★★ creates an artificial balance, or
assembled there – first under three violins to a part, plus an extra RECORDING ★★★★★ one may say a lack of it, with
Telemann, later under JS Bach – the continuo harpsichord for two of the orchestra. The Staatskapelle
coffee would inevitably play second the concertos, a glorious earful is ON THE WEBSITE Berlin – Barenboim’s home
fiddle. And surely never more so guaranteed – especially when Staier Hear extracts from this recording ensemble – sounds gorgeous under
than when Bach, or perhaps one gilds the opulence with frolicsome and the rest of this month’s choices on Dudamel: the muscle is toned, the
JOSEP MOLINA

of his sons, performed any of the embellishments and apposite sinew pliable, the portamentos
seven dazzling concertos for solo cadenzas. Yet behind the visceral honeyed and the ensemble
top-notch. Yet it is botheringly

CONCER O REVIE
relegated to the background in

hese most sym honic of concertos. REISSUES
essica Duche Reviewe Helen Wallac
PERF RM N E
E RDIN GLAZUNOV • PROKOFIEV
Violin Concertos (Prokofiev No. 1);
LISZT NEW SEASONS hchedrin: Stihir
nne-Sophie Mutter (violin); National
Piano Concertos Nos 1 & 2; G ass: Vio in Concerto No. 2 Symphony Orchestra of Washin ton
alédiction American Four Seasons ; Kancheli: DC/Mstislav Rostro ovic
Alexandre Kantorow ( iano); Ta iola x Contrario; Pärt: Estonian Lullaby; arner 2564613136 1989 63:36 mins
Sinfonietta/Jean-Jac ues Kantoro mebayashi: Yumeji’s Them BBC Music Direct £9.99
BIS BIS-2100 (hybrid CD/SACD) Gidon Kremer (violin); Giedré Mutter was born
EVJU • GRIEG 8: 2 mins irvanauskaite (cello), Andrei Pushkarev to play Prokofiev’s
Gr e : P ano Concerto n A m nor; BBC Music Direct £13.99 (keyboard); Girls’ choir of the Vilnius glorious, impudent
Pi n C nc r in B min r hoir-singing School ‘Liepaites’;
First Concerto
ure y no pianist, owever gi te , remerata Ba tic
fra ments; Med en vandlije, Op. 25 an her Glaz nov
s going to per orm at is or er G 47 4817 77: mins
No. 4 transcribed Evju ; Ein Traum, combines breathtaking brilliance
Op. 48/6 (transcribed Evju); i etime est at t e age o 18. BBC Music Direct £15.99
ith en a in warmth. Shchedrin’s
Ev u: P ano Concerto n B m no exan re Kantorow as more t an ‘T e American Four Seasons’ o
Carl Petersson (piano); Pra ue Radio noug tec nica comman to ta e P i ip G ass’s Vio in Concerto ERF RMAN ★★★★★
Symp ony Orc estra/Kerry Stratton n t ese u tra- eman ing wor s – No. 2 or so o vio in, strings an RECORDIN ★★★★★
ran Piano GP 689 56:35 mins ut no concerto in t e esta is e synt esizer were conceive in 2009
BBC Music Direct £13.99 epertory is a er to ring o as a companion piece or Viva i’s SHOSTAKOVICH •
T is CD is a ca inet o curiosities, an Liszt’s First, w ic resents its own, t oug G ass ater wit re MYASKOVSKY
t a are o io s m sica va e. o oist wit ara oxica eman s t e tit es, eaving it up to t e Cello Concertos Shostakovich No. 1 ;
T e version o t e Grieg A minor interpretation. Kantorow’s istener to eci e t e time o year Tchaikovsky: Rococo Variation
Concerto w ic we get ere owes its pproac rejects om ast in avour eac movement re resents. In ee , Rostro ovich (cello); various orchestra
lto ALC 1262 (1957-61) 74:03 mins
existence to t e rien s ip etween an e ua e, me ow-tone artistry e seems more engage wit an
Grieg an Percy Grainger, w ic at’s a mira e in itse ut oesn’t exp oration o sty e ere t an an
e to a revision o t e Concerto or ngage enoug wit t e music’s orm o extramusica associations, Rostro ovich’s 1959
a per ormance at t e Lee s Festiva in e-movement interp ay o a ing satis ying connections in t e hostako ich ith
in 1907. T e two went t roug uic si ver im u se an Romantic irst mo ement et een t e motoric rmandy restores to
us the original shoc
e manuscript a ing expression ran eur. T is is extreme y tric y to r yt ms an continuo o Baroque
of its raw astringency.
mar s, an a ter Grieg’s su sequent u e, ut it a nee s to e t ere (as sic an is own tra emar Sargent’s Myaskovsky lacks some
eat Grain er went on a ustin n Martha Argerich’s phenomenal arpeggios an arpsic or - i e shape, but Slava’s reading has
it, eaving a score mar e wit t ree eutsche Grammophon recordin synt esizers. Later, in t e t ir sombre, lyric grandeur.
categories o emen ation: c anges ith the LSO and Claudio Abbado ; ovement, t e counter oint is ERFORMANC
y Grieg imse , c anges suggeste it out it, passa es i e t e sc erzo im ue wit Romanticism – RE RDIN
erbally by Grieg, and changes made i e e iso e ris remin er o ow G ass’s once
y Grain er as a consequence o oundin earthbound. The work as strin ent approac as mature DVO∏ÁK • SCHUMANN
earin Grie p ay t e wor . whole resents a conundrum that, over time. T e our movements Cello Concertos; plus Tchaikovsky:
B t it as to e sai t at in t e s et, Kantorow doesn’t solve. are inters erse wit a re u e an ezzo Capriccioso in B minor
result as heard here it’s hard to he Second Concerto’s desi n three short ‘songs’ for solo violin, Rostro ovich (cello); various orchestra
see what distin uishes Grain er’s elates more obviousl to that of w ic rin urt er textura variet Praga DSD 350 112 (hybrid CD/SACD)
ersion from anything one might ne-movement iano sym hony, to t e arty, t rown wit a so ute 1957-64 71:56 mins
ear in a ‘stan a ’ concert nd Kantorow draws its less extreme onviction y Gi on Kremer
er ormance, since a ianists ta e an e of ideas to ether much more it its pizzicato strings an pure Des ite some
i erties, an a in ways o putting mpressively and convincin ly. Some voices o a gir s’ c oir, Arvo Pärt’s orchestral heaviness
eir ersona stam on w at t ey f the bass-heavy piano writin , ay u an er ect y orme this D k lows
ay. T e irst movement comes over hich would have worked naturall (2006) vanis es a most wit sincerit . T e
c umann is ar ent
more suave y t an usua , an t e n a concert rand of Liszt’s time, as quic y as it appears, c eansin
an viri e in t e tra ition o Casa s
emotion in t e is somew at can sound tur id on today’s modern t e a ette e ore t e me itative
ERF RM N ★★★★★
mute t e ina movement is counter art: Kantorow’s way wit re ections o x contrari
RE RDIN
er ect y e icient or most o its his, at once owerful and lucid, ritten y t at ot er ‘mystica
engt , ut en s y aying on t e convinces stron ly, and throu hout inima ist’ an Kremer c a orator, ELGAR • TCHAIKOVSKY
sc ma tz wit a trowe . e is su orted by orchestral iya Kanc e i. Kremerata Ba tica an
ar: Ce o Concerto; Tc ai ovs y:
T e Concerto y He ge Evju as ccom animents – the Ta iola o oists em race t e extremes o is erenade for Strin s; Rococo Variations
een ins ire y t e two-an -a- infonietta conducted b Kantorow’s riting – rom its eastern-soun ing v k Rondo in G minor
a minutes o ragmentary i eas ather Jean-Jacques – of top-flight e ismata or ce o to roo ing Paul Tortelier cello ; RPO/Grove
Grieg e t or a secon concerto: t e lertness and recision. imaxes to sentimenta strings – lto ALC 1265 1988 68:35 mins
ragments t emse ves are winsome it compe ing resu ts: it as some BBC Music Direct £8.99
oo es, ut t e Concerto goes ne o t e young-is Liszt’s ear ier stonis ing moments. here’s no shorta e
roug a t e motions o a ig - concerto attempts, is a ai y pro ix Less extraor inary, t oug ove y, of s irit in Tortelier’s
Romantic wor wit out aving any creation wit as es o genuine st e t eme El ar, but the treacl
o t e su stance. magination. It’s a goo c oice to y Japanese composer S igeru lides and an odd edit
Pianist Car Petersson p ays wit nc u e it ere, an Kantorow’s me ayas i; a avourite wit TV in the mar
conviction t roug out, as e oes c assy ingerwor is matc e y ro ucers o ocumentaries a out t e his version. A bum tious set o
e conc u ing Evju-Grieg son rc estra string-p aying o serious ast, it seems to e everyw ere rig t
ranscriptions. Mic ae C urc ua ity. a co m Haye ow. Nic S av ERF RM N ★★
RECORDIN
PERFORMANCE ★★★ ERFORMANCE ★★ ERFORMANCE ★★
E RDIN ★★★ RE RDIN ★★★★ E RDIN ★★
To order CDs call BBC Music Direct +44 (0)1322 297 515; prices include P& BBC M USIC M AG A Z I N
ITZHAK PERLMAN
Two huge box-sets released to celebrate the great violinist’s 70th birthday remind Radio 3’s Andrew
McGregor just how many treasures Itzhak Perlman’s vast and impressive discography contains
THE COMPLETE The chamber music highlights

WARNER RECORDINGS here are the Beethoven, Brahms
and Tchaikovsky trios with Lynn
Includes works by Tchaikovsky, Harrell and Ashkenazy, and a
Mozart, Beethoven, Stravinsky,
live Franck Sonata with Martha
Prokofiev, Paganini, Vivaldi,
Argerich from 1999, while the
Vieuxtemps & Rachmaninov
Perlman (violin); various orchestras duo albums with Zukerman are
Warner 2564615069 (77 CDs) captivating reminders of a wonderful
(see www.prestoclassical.co.uk) partnership. The jazz album with
Previn, Klezmer and Tradition,
ITZHAK PERLMAN: duets with Plácido Domingo, and
Compete Recordings on Perlman narrating Peter and the
Deutsche Grammophon Wolf or singing the jailer in Tosca,
Includes works by Beethoven, show his width as a musician
Berg, Brahms, Chausson, Debussy, and entertainer. The analogue
Elgar, Franck, Mozart, Ravel, Saint- recordings have been remastered
Saëns, Sarasate & Stravinsky for this release and the hardback
Perlman (violin); various orchestras book of tributes, essays, photos and
DG 479 4708 (25 CDs) a new interview includes a complete
BBC Music Direct £57.99 discography – which immediately
highlights why you are going to need
Alongside the tributes assembled a supplementary box-set: Perlman’s
‘generosity of spirit’:
for this 70th birthday retrospective complete recordings for Deutsche
Itzhak Perlman at Madison
from Itzhak Perlman’s peers and Grammophon and Decca…
Square Garden in 2015
musical friends – Daniel Barenboim,
Vladimir Ashkenazy, Augustin Perlman on DG and Decca
Dumay and Ivry Gitlis – it’s the The first two
ones from a younger generation of – think of a great violin concerto, Perlman; these days concertos are
violinists that strike a chord with chamber work or showpiece, and you wouldn’t start essential: the Berg
me. For Renaud Capuçon, Perlman’s there he probably is. It’s also his here for Baroque seriously passionate
recordings are the lullabies of his reliability: immaculate intonation, a repertoire, although and devastatingly
childhood; for Maxim Vengerov strong sweet sound and the warmth I’d make an beautiful, the
and Frank Peter Zimmermann he’s and generosity of spirit that’s so exception for his Stravinsky spiky and
an idol. As a student violinist in the obviously expressive of Perlman the wonderfully musical pungently propelled,
1980s, I eagerly awaited every new man as well as the musician. You can solo Bach. both with Seiji
Perlman recording. Not just for pick up a Perlman recording and nine But next Ozawa. The Elgar
the repertoire and sometimes the times out of ten be pretty sure it’s there’s the classic Concerto with Barenboim is
revelations, but because Perlman near the top of the heap. Mendelssohn-Bruch double act often underestimated; the balance
had become a musical friend, I still turn to Perlman’s Paganini with André Previn and the London of nobility and tenderness is
a trusted guide, a charismatic Caprices and Wieniawski concertos Symphony Orchestra, a Dvoπák touching. This is where you come
presence at the dawn of a new media from the ’70s for their combination Concerto brimful of life, and for Perlman’s Mozart too: concertos
age, when Christopher Nupen’s of effortless virtuosity, character, and French works with Jean Martinon with James Levine, a delightful
intimate documentaries put us in humour – but somewhere between and the Paris Orchestra’s authentic Sinfonia Concertante (partnered
the same room as Perlman, Pinchas came the JS Bach violin concertos, accompaniment. Perlman playing by Zukerman), and especially the
Zukerman, Barenboim and others and here time has caught up with Kreisler and the albums of encores complete sonatas with Barenboim.
as they took such obvious delight in should be compulsory for student The Beethoven cycle with Ashkenazy
making music. violinists, joyful reminders of hasn’t worn as well, but their Franck
those concert recitals when Sonata and Brahms Horn Trio (with
Perlman on Warner he’d choose pieces at random Barry Tuckwell) is still a favourite.
The Complete Warner from a pile of sheet music. The These two sets offer a legacy of
Recordings brings together great concertos: Brahms and the highest quality and astonishing
Perlman’s main EMI catalogue Beethoven with Carlo Maria breadth. Barenboim salutes
plus his Teldec and Erato Giulini, Tchaikovsky with Perlman’s courage and natural
recordings, and the chronological Eugene Ormandy, Sibelius with virtuosity; Vengerov can’t imagine
order, plus original couplings and Previn, Prokofiev with Gennady today’s violin heritage without him,
cover art, allow us to see that we Rozhdestvensky, are even better and for Zimmermann it’s Perlman’s
might even have taken Perlman for than I remembered (see what I mean pure delight and joy in making
GETTY
granted. Why? It’s partly his ubiquity about taking Perlman for granted?). music. You simply have to love him.
OPERA
Things turn sour for Gerald Finley’s Don Alfonso in Mozart’s Così fan ALBINONI
e Diana Damrau graces a would-be controversial staging of Verdi’s
tutte; Opera arias and instrumental music
Ana Quintans (soprano); Concerto de’
La traviata; and Bayreuth ignores the plot of Wagner’s Tannhäuser Cavalieri/Marcello Di Lisa
Deutsche Harmonia Mundi 88875081922
56 mins
Albinoni is widely known for the
OPERA CHOICE melancholy G minor Adagioo – the
creation, in fact, of 20th-century
The genius of young Mozart musicologist Remo Giazotto. So

this disc adds significantly to our
knowledge of the composer and of
early 18th-century Italian opera.
Anthony Pryer applauds this superb production of an early masterpiece Offering nine world premieres, the
result of meticulous research and
reconstruction, this musical potpourri
a consummate actress: spans some four decades of Albinoni’s
Erin Morley takes the central career, and flits from suave bel canto
role as the pretend gardener arias to flashy vocal display pieces and
spirited instrumental works.
Portuguese soprano Ana Quintans
– her voice bright, silvery, agile –
contrasts expressive and virtuosic
MOZART singing to fine effect. The Italian
DVD La finta giardiniera
period-instrument group Concerto
Erin Morley, Carlo Allemano, Enea Scala,
de’ Cavalieri offers taut, vigorous
Marie-Adeline Henry, Maria Savastano, ensemble playing and some deft
Nikolay Borchev, Dimitri La Sade-Dotti, obbligato solos. Conductor Marcello
Marcelo Rodrigues, Rolim de Goes; Di Lisa sets some breakneck speeds,
Le Concert d’Astrée/Emmanuelle Haïm; and there are occasional fluctuations
dir. David Lescot (Lille, 2014) in tempo (possibly a result of the
Erato DVD: 2564616645; editing process). The gritty account
Blu-ray: 2564616644 176 mins (2 discs) of the G minor Sinfonia – which
BBC Music Direct (DVD) £34.99 prefigures the turbulent Sturm und
BBC Music Direct (Blu-ray) £34.99 Drangg symphonies of CPE Bach and
Two early operas by Mozart prove Haydn – is particularly thrilling.
his genius beyond question – Recorded in Rome’s Parco della
Mitridatee (written when he was 14), Musica, the sound is clean and
and this one (composed when he detailed, if lacking a certain bloom.
was 18). Its plot, both comic and Kate Bolton-Porciatti
serious, concerns a certain Count PERFORMANCE ★★★★
Belfiore who once loved Violante RECORDING ★★★★
but stabbed her and left her for
The dramatic twists

purpose to the action on the stage, (Ramiro), and Maria Savastano
culminate in a fantastic and especially in making sense of (Serpetta – the servant) and Nikolay
mad scene in a wood the many recitatives. The sets are Borchev (Nardo – the assistant
attractively colourful, particularly gardiner) illuminate their parts well
dead. She now works in disguise as in the Blu-ray version. beyond the ordinary. There are at GASPARINI
‘Sandrina’, a pretended gardener Erin Morley (Sandrina) carries least two other DVDs of this opera Il Bajazet
(La finta giardiniera).
a Eventually the central role wonderfully with available, but this latest version from Leonardo De Lisi, Filippo Mineccia, Ewa
Belfiore arrives on the estate to her resourceful acting skills and Lille Opéra is the best and should Gubańska, Giuseppina Bridelli, Antonio
marry someone else (Arminda) vocal lyricism (her top C in ‘Geme do much to bring this early flash of Giovannini; Auser Musici/Carlo Ipata
and the whole situation begins to la tortorella’ is effortless). Enea Mozart’s genius to a wider audience. Glossa GCD 923504 205:08 mins (3 discs)
unravel. Mozart distinguishes the Scala (Belfiore) is also a fine actor- PERFORMANCE ★★★★★ BBC Music Direct £37.99
seven characters involved brilliantly, singer, and Marie-Adeline Henry PICTURE & SOUND ★★★★ Il Bajazet,
t Gasparini’s 1719 opera seria,
and the dramatic twists culminate (Arminda) relishes the bitchiness of was a vehicle for one of the Baroque
in a fantastic mad scene in a dark her ‘dominatrix’ role, and delivers ON THE WEBSITE era’s greatest tenors, Francesco
wood. The conductor (Emmanuelle her vengeance aria ‘Vorrei punirti’ Hear extracts from this recording Borosini. The involvement of other
Haïm) and director (David Lescot), with tremendous power. Marie- and the rest of this month’s choices on 18th-century stars, such as castrato
too, have been magnificently Claude Chappuis brings a warm, Antonio Bernacchi and soprano
inventive in bringing drive and strong tone to her trouser-role Faustina Bordoni, and their rivalries
led Gasparini to create recitative-

OPER REVIE
based ensembles where characters

could com ete dramatically and REISSUES
musically; Ba azet’s frenzied curses Michael cott Roha
in eat orm a c imax o suc
writing t roug out t e opera. As MASCAGNI •
a counter a ance, Gasparini a so LEONCAVALLO*
wrote so os o increasing i icu ty, Cava eria rusticana; Pa iacci
eventua y an in t e pa m to ario del Monaco Afro Poli Elena
ernacc i, w o p aye t e Tur is icolai, Clara Petrella; various orchs
K ERN MOZART loquence 480 7268 (1953) 143:25 min
em eror Tamer ano Available at www.mdt.co.uk
DVD how Boa DVD osì fan tutt
Base on a ive ro uction, t is alin Hartelius, Luca Pisaroni, Marie
premiere recor ing as a most Heidi Stober, Michael Todd Sim son, Bill Full-blooded, richly
Irwin Patricia Racette Morris Robinson au e C appuis, Martin Mitterrutzner, talianate mono
erri ic cast. Leonar o De Lisi Angela Renée Simpson, Harriet Harris; artina Jankov , Gerald Finley; Vienna recordings of this
comman s Borosini’s o tenor- San Francisco Opera/Jo n DeMain; ir. hilharmonic/Christoph Eschenbach; classic verismo
aritone register in t e tit e ro e an Francesca Zambello (San Francisco, 2013) ir. Sven-Eric Bechtolf (Salzburg, 2013
pairing, idiomatically
communicates Bajazet’s roo ing uroAr s V : 205 688; roArts DVD: 072748; lu-ray: 2 72744
onducted, with a swaggering Del
comp exity even in t e s ortest o lu-ray: 2059684 144 + 33 mins 00 mins (2 discs)
onaco and resonant Poli, Nicolai
num ers. Countertenor Fi i o BBC Music Direct (DVD) £28.99 BBC Music Direct (DVD) £15.99
nd Petrella passionate heroines.
Mineccia’s e gy, erocious ri iance BBC Music Direct (Blu-ray) £34.99 BBC Music Direct (Blu-ray) £20.99
ERFORMANCE
ring outs Tamer ano’s eve o question as to w et er t is Sven-Eric Bec to ’s pro uction is RECORDING ★★★
simmering menace. Soprano Giorgi i estone Kern-Hammerstein roa y tra itiona a air wit a stin
Cinciripi in er recor ing e ut, an usica e ongs in an opera in its tai . Marianne G itten erg’s SULLIVAN
Po is mezzo-so rano Ewa Gu ańs a, o se – ow Boat’s ua ity an ostumes are 18t -century, w i e he Yeomen o the G ar
winner o t e 2014 Han e Singin importance to t e eve opment o er us an Ro ’s sets irst s o O l Carte Opera Compan ; Ro al
Com etition, eaven t e moo . In usica t eatre ives a c ear answer. s a ver ant ot- ouse wit a tin i armonic Orc estra/Royston Nas
or oni’s ro e, Gu ańs a em o ies B t oes Francesca Zam e o’s at ing poo w erein t e two sisters loquence 482 0508 1979 92:03 min
Available at www.mdt.co.uk
sweetness, articu a y in er zippy pro uction, as per orme isport t emse ves, semi-na e , in
penu timate aria ravis ing y set to y San Francisco Opera, actua y t e opening scene. Act II moves us is very ast D’Oy y
izzicato vio ins benefit from video scrutiny? On insi e t eir ouse, w ere t e us Carte recor in
T e musicians i o irector B u-ray especia y, Peter Davison’s otanica specimens are sti c ear y ti reserves t e
Car o Ipata an Auser Musici is can oss-co oure sets azz e t e vis e on t e ot er si e o t e g ass. t entic avo r o
su er . Yet even t ey can’t i e e e; so o most o Pau Tazewe ’s T ings turn muc sourer at t e Gi ert an S ivan’s
e opera’s ongeurs. T e secon costumes, even i t e c orus arra ose. Gera Fin ey’s Don A onso gran est operetta, espite some
geing voices, an restores an aria
act is azi y score , its arias u o hemselves in ‘Ol’ Man River’ as if at acci enta y swa ows poison urin
ut a ter t e remiere.
ormu aic me o ic ‘spinning’ over a as ion magazine s oot. As or t e t e ina ensem e; Czec so rano
ERF RMAN E
c ugging ass ines. Patience is, cast, w o wou n’t want to re is at Martina Jan ová’s Despina c aims
RECORDING ★★★
owever, rewar e y t is o era’s c ose quarters t e w imsica agi it er assistant’s ee rom is corpse.
incan escent ina scenes, w ic of Bill Irwin’s Ca ’n Andy, the comic T is certain y a ens an a rea JOAN SUTHERLAND
em o ene ater i rettists to e ict r i n H rri H rri i oomy ina scene – at t is point t e
Command Per ormance: Weber,
eroic eat on stage. erta oncu att e-axe wi e Part y, or t e warmt returning iancés are vis y urious Rossini, Meyerbeer, Benedict etc
PERF RM N E o An e a Renée Simpson’s Queenie, Gera Fin ey ays Don A onso utherland (soprano); LSO/Bonynge
E RDIN ★★★★★ t is ro uction’s eart an sou as an earnest ut goo - umoure lo uence 480 4670 (1963) 93:13 min
n ortunate , t e cameras a so scientist intent upon esta is ing is Available at www.mdt.co.uk
un er ine e iciencies among t e roo s o uman nature, w atever he first re-release
BACKGROUND TO… otley erformers drawn from o era, t e cost, an singing wit vigour an f a 62 album
usica t eatre an te evision. Patricia urpose. T e u y team o Ferran o reconstructin the
ancesco acette’s over-egge e ivery o ‘Bi ’ an Gug ie mo is ine y e ineate in o concert
asparini ecomes a t ree- an ie tri into t e ustrian tenor Martin Mitterrutzner iven e ore Queen
1661-1727 rotesque. Morris Ro inson ectors us an Ita ian aritone L ca Pisaroni ictoria, ranging rom German,
as ar n was a in ‘O ’ Man River t e wor s unc ear res ective y, t e ormer’s sweet tone Frenc an Ita ian arias to Britis
hly success ul t oug c earer t an t e c orus’s o setting t e atter’s greater voca avourites y Ba e an Wa ace.
u c , a raw ac t roug out). aggression – e aunc es is ‘Donne ERFORMANCE
om oser whose
Mic ae To Sim son’s Ravena is ie’ u on Jan ová’s eart i y emotic RECORDING
rk in th
ir t c vocally plausible, but his romantic Despina wit particu ar venom; s e,
aura is aint. He i Sto e t e vi rant eanw i e, is as cynica an as muc
RENATA TEBALDI
the 18th centur was performed
i rat er operatic Magno ia, wins o a otter as A onso imse . T e Wor s y Ver i, Gouno , Puccini,
outside his native Ital as far ozart, Ci ea, Cata ani, Masca ni et
a ield as En land and Germany oo mar s or trying. two sisters cou , rom a visua oint ebaldi (soprano); various orchestras/
before bein overshadowed by T e version concocte o view, e just t at, t e res , ragrant r Er
such o era com osers as Vivaldi rancesca Zam e o an t e tone o t e Swe is so rano Ma in loquence 482 0286 1950s 77:39 mins
ym at etic con uctor Jo n Harte ius’s Fior i igi orming a neat Available at www.mdt.co.uk
n H n B c mir
eMain most y a opts t e origina ontrast wit t e greater tona warmt is series o 1950s
asparini’s work sufficientl to
orc estrations, inc u es wit ene it an persona ity o Swiss mezzo Marie mono recordin s
cop his Miss C nonic (1705),
ateria sometimes cut an trims t e au e C appuis’s Dora e a ca tures Tebaldi’s
adding parts or strings, oboes, ia ogue to increase pace – a mixe it t e Vienna P i armonic in n uely beautiful
brass and or an before havin essing once Hammerstein’s i retto, t e pit, t ere’s no consistent attempt at o rano and rather
it erformed. Handel also took initia y so stron , crum es into its. erio -sty e. T ere’s a sma amount e al style at its freshest in a ran e
ins iration rom Gas arini Yet t rou out, Kern’s mon re score o voca ecoration, an a ortepiano f popular arias, includin some she
in his own operas, notabl in tays t e oy it a ways is. Geo Brow p aye y Enrico Maria Cacciari) ever san in actual performance.
merl n , based on the same ERFORMANCE se or t e recitatives, w i e t e ERFORMANCE
stor as Gasparini’s l Ba aze IC URE & SOUND ★★★★ neat an c aracter u orc estra RECORDING
EX RAS ★★ aying maintains ig t textures an
To order CDs call BBC Music Direct +44(0)1322 297 515; prices include P& BBC M USIC M AG A Z I N 77
REVIEWS OPERA
Christoph Eschenbach keeps things

nicely on the move. George Hall
PERFORMANCE ★★★★
PICTURE & SOUND ★★★★★
VERDI
DVD La traviata
Diana Damrau, Francesco Demuro,
Ludovic Tézier, Anna Pennisi, Cornelia
Oncioiu; Paris Opera/Philippe Jordan;
ROSSINI dir. Benoît Jacquot (Paris, 2014)
Erato DVD: 2564616650;
DVD Aureliano in Palmira
Blu-ray: 2564616647 145 mins (2 discs)
Michael Spyres, Jessica Pratt, Lena
Belkina; Chorus of the Teatro Comunale
BBC Music Direct (DVD) £15.99
di Bologna; Orchestra Sinfonica G BBC Music Direct (Blu-ray) £24.99
Rossini/Will Crutchfield; Staged at the Opéra Bastille, this
dir. Mario Martone (Pesaro, 2014) production by film director Benoît
Arthaus Musik DVD: 109073; Jacquot sticks to the opera’s period
Blu-ray: 109074 201 mins + 14 mins (1853), give or take ten years or so. The
BBC Music Direct (DVD) £28.99 opening image is Manet’s Olympia, a
BBC Music Direct (Blu-ray) £34.99 picture focusing on a demi-mondaine
If you play these discs without lying naked on her bed which
reading about the opera first, you may shocked some of those who attended
get a shock. The overture is that to the 1865 Paris Salon. Diana Damrau’s
The Barber of Seville,
e here having its Violetta doesn’t appear naked in
first outing. Since this opera wasn’t Jacquot’s production, but Olympia’s
particularly successful, Rossini, never unnamed companion in the painting
one to waste a good idea, used some – a black female servant – reappears as
of its material more than once later: Annina, dressed exactly like Manet’s
the overture serves for Elisabetta, second female portrait. Bizarrely, the
Regina d’Inghilterraa again, and an aria singer – Cornelia Oncioiu – has to
of defiance in Aurelianoo turns up as black up to achieve visual similarity.
Rosina’s ‘Una voce poco fa’ in Barber Were there no black singers able to
too. This was Rossini’s 11th opera, undertake the role in Paris?
written when he was 21, so it’s hardly Despite the period setting, many
surprising that it has its weaknesses, of Jacquot’s gestures are no more
though I was very agreeably surprised than modern clichés. The chorus
about how much I enjoyed it. appears to consist entirely of men –
It’s mainly about two lovers who though it contains female singers who
should be enemies but can’t be, have simply cross-dressed; all wear
and the ruler, the title character, identical black top hats and frock
who wants to marry the woman coats in a bludgeoning attack on the
but is refused. He finally exercises double standards of the bourgeois
clemency, and the lovers end happily. male of Verdi’s time.
Familiar enough stuff, but the At Flora’s party, the gypsy girls in
musical invention is lively, though the divertissementt are inevitably all
at three hours and 20 minutes, male dancers in drag (their music
it’s considerably too long. But the sung by the chorus), the matadors all
production, in period costumes, is female (ditto). If only Jacquot were
excellent, and the singing on a very interested in obtaining real acting
high level. The title role has the performances from his principals, but
least interesting music, but Michael not for one second do you believe here
Spyres, a specialist in this repertoire, that this Violetta is in anything but
makes what he can of it. The lovers – the most perfect health.
the role of the male one was originally Vocally, Damrau can run rings
written for a castrato – are sung by around the notes, but in this role
Lena Belkina (Arsace, the male) and that’s not enough. Francesco Demuro
Jessica Pratt (the female), both of makes a likable if uninteresting
them evidently performers with a big Alfredo, and there’s a hint of a wobble
future. There is a delightful pastoral in his tone. Best of the principals is
scene, with three live goats (no vocal Ludovic Tézier’s Giorgio Germont,
contribution), and the opera is briskly a distinguished piece of singing and
but sensitively conducted by Will thoughtfully acted; he deserves to
Crutchfield, the well-known critic be in a better show. Philippe Jordan
and musicologist. Michael Tanner conducts a performance that is good
PERFORMANCE ★★★★ solid routine. George Hall
PICTURE & SOUND ★★★★ PERFORMANCE ★★
EXTRAS ★★★★ PICTURE & SOUND ★★★★★
All discs can be ordered from www.classical-music.com/shop

A REVIEWS
OPERA
VIVALDI WAGNER
DVD Il Farnace DVD Tannhäuser
Mary-Ellen Nesi, Sonia Prina, Roberta Kwangchul Youn, Torsten Kerl, Markus
Mameli, Magnus Staveland; Orchestra of Eiche, Lothar Odinius, Thomas Jesatko,
the Maggio Musicale Fiorentino/ Stefan Heibach, Rainer Zaun, Camilla
Federico Maria Sardelli; Nylund; Bayreuth Festival Chorus &
dir. Marco Gandini (Florence, 2013) Orchestra/Axel Kober; dir. Sebastian
Dynamic DVD: 37670; Baumgarten (Bayreuth, 2014)
Blu-ray: 57670 151 mins (2 discs) Opus Arte DVD: OA 1177 D;
BBC Music Direct (DVD) £34.99 Blu-ray: 0ABD 7171 D 252 mins + 30 mins
BBC Music Direct (Blu-ray) £34.99 BBC Music Direct (DVD) £34.99
Vivaldi’s Il Farnace, a work he recast BBC Music Direct (Blu-ray) £34.99
and revised numerous times, revolves The average length of a performance
around the opposing themes of love of Tannhäuserr is about three and a
and war, loyalty and revenge. The quarter hours. This production –
conventions of opera seria, with its which opened in 2011, prematurely
set-piece arias of bravura, passion and retired since – is about an hour longer
pathos, throw these psychological than that (though the jacket says
tensions into high relief, and Vivaldi 132 minutes). It’s a quarter of an
responds with music that is here hour after the curtain goes up before
martial and furious, there sensual we hear the overture, and action
and graceful. continues after the end of Act I and
Musically, this is a convincing before Act II, and so on.
performance of a truncated, two-act Director Sebastian Baumgarten
version: with Act III lost, the opera is wanted a bridge built from the stage
suspended mid-drama, without the to the auditorium, but since the
predictable happy ending. Vivaldi Festspielhaus is a listed building
expert Federico Maria Sardelli he wasn’t allowed that, so many
directs the Orchestra of the Maggio spectators sit on the stage. He and the
Musicale, Florence, with both radical designer Joep van Lieshout
precision and panache; he inspires want to banish the distinction
lithe and stylish playing, though the between art and life, and one way
continuo realisation in the recitatives they do that is to ignore completely
can be rather unyielding. Mary- the subject of the opera and show, in
Ellen Nesi is compelling in the title the incredibly elaborate staging, how
role, and her gripping account of human excrement, shown in vivid
‘Gelido in ogni vena’ – a dramatic close-up, is recycled into food and
masterpiece evoking Farnace’s alcohol: the latter is all-important,
guilt and grief – brings the tragedy to make sure the repressed workers
to a desolate conclusion. No less don’t rebel. The Shepherd Boy, for
captivating is Sonia Prina as Farnace’s instance, make several unscheduled
wife, Tamiri, torn between maternal appearances, utterly drunk.
love and marital duty (her husband What has this to do with the subject
has ordered her to kill their son and of Tannhäuser? Nothing whatever,
then herself to avoid the dishonour and to be fair Baumgarten and his
of captivity). Soprano Roberta crew don’t pretend that it does. They
Mameli is a mellifluous Gilade, as are more interested in other subjects.
beguiling as the nightingale of her So the conflict between carnality
aria ‘Quell’usignolo’. and spirituality which is, admittedly
The production, though, falls imperfectly, what Wagner intended
somewhere between a full staging this work to be about, disappears. Far
and a concert performance, many from being a seductress, Venus is a
of the singers reading from music mother-to-be in the opening scene,
stands. The mise en scènee features and actually gives birth at the end.
scaffolds and fluorescent tube Elisabeth, Tannhäuser’s saviour, is
lighting structures, and the inevitable despatched in a gas chamber.
– and intrusive – projections. It’s a If you turn off the vision and just
pity, because staged performances of listen you will, apart from the lengthy
Vivaldi operas are rare these days, and periods of non-musical activity, hear a
the musicians here cannot be faulted. decent but not remarkable traversal of
Kate Bolton-Porciatti Wagner’s score. Michael Tanner
PERFORMANCE ★★★ PERFORMANCE ★
PICTURE & SOUND ★★★★ PICTURE & SOUND ★★★★
CHORAL & SONG
Marin Alsop tackles Bernstein’s Kaddishh Symphony; Ian Bostridge brings his interpretative skills to
Brahms; and both John Potter and d Aurora Orchestraa imaginatively mix contemporary with pop
CHORAL & SONG CHOICE
The Spirit of the Cotswolds

BERLIOZ • CHAUSSON •
Ian Venables deserves, and receives, fine performances says George Hall DUPARC
Berlioz: Les nuits d’été;
Chausson: Poème de l’amour
et de la mer; Duparc: Le manoir
de Rosemonde; L’invitation au
voyage; Chanson triste
Soile Isokoski (soprano); Helsinki
Philharmonic Orchestra/John Storgårds
VENABLES Ondine ODE 1261-2 64:46 mins
The Song of the Severn; The
Pine Boughs Past Music; Flying Soile Isokoski and John Storgårds
Crooked; A Kiss; Evening Bells; take on two French orchestral song-
The Night has a Thousand Eyes;
cycles often linked by their Romantic,
Break, break, break; Midnight
Lamentation; The Hippo; The
sensuous exoticism, adding some
Invitation to the Gondola; Duparc songs in a very similar vein.
Frutti di Mare Actually, though, they’re quite
Roderick Williams (baritone), Carducci different in style. The Berlioz is more
String Quartet, Graham J Lloyd (piano) varied, a series of songs mirroring the
Signum SIGCD 424 70:08 mins moods of Theophile Gautier’s verse,
BBC Music Direct £12.99 and it repays a lieder-style sense of
detail in both word and expression.
The music of Ian Venables (born in This Isokoski certainly has, and it’s
1955) is extraordinary. He writes in the more successful performance of
a style that ceased to be the lingua the two. The later Poème de l’amour
franca of English music before he et de la mer,
r heavily influenced by
was born, and there is no evidence in Tristan, floats the vocal line across
his language of the impact of Britten a surging, shifting orchestral swell,
or Tippett, let alone of anyone more depicting a passionate lover helplessly
adrift amid the uncaring force of
Ian Venables’s song Nature. Isokoski makes much heavier
weather of this. Her French is fine,
settings of Hardy and a great interpreter: but not fluent enough to smooth out
Tennyson are superb Roderick Williams sings an ideally silky line, nor is her bright
Venables with intelligence soprano rich-toned enough to merge
recent. There will certainly be those well with the lusher orchestration; the
who will write him off merely on recording sometimes seems to half
these grounds. Yet that is surely milieu of the Venice-inspired The sensitive accompanist, while the submerge her. It’s deeper, darker, even
unfair. His songs, which set poets Invitation to the Gondolaa feels – as Carducci String Quartet – involved mezzo tones that have created the
like (Venables’s fellow composer) more or less everything else here in several individual songs, as well best versions – Kathleen Ferrier, Janet
Ivor Gurney, John Masefield and does – like the Cotswolds. as the above-mentioned cycle – are Baker, Jessye Norman, Susan Graham
John Drinkwater, as well as English But the best – settings of exemplary in their interpretations. – and often of the Berlioz also. And
classic authors, never feel like Hardy’s The Kiss, Tennyson’s PERFORMANCE ★★★★ while Storgårds conducts with
pastiche, or like copies – however Break, break, break, and Gurney’s RECORDING ★★★★ unusually clean-cut clarity, he lacks
good; they feel like the real thing. Soft Rainn – are superb. They find the voluptuous energy and warmth of
Not all of them are equally fine. in Roderick Williams a deeply ON THE WEBSITE Pierre Monteux and John Barbirolli.
The textures of the cycle The Song sympathetic interpreter, who Hear extracts from this recording The Duparc songs suit Isokoski
of the Severn, scored for baritone, lavishes as much attention on the and the rest of this month’s choices on best, capturing their ‘luxe, calme et
string quartet and piano, are words as the notes. Graham J Lloyd volupté’. Michael Scott Rohan
sometimes overloaded. The musical is the technically adroit, musically PERFORMANCE ★★★
RECORDING ★★★

CHORAL & SONG REVIE
unningham suggests a
connection between Han el’s
loria and the 1707 Roman Ves ers
t ere are s a es o t e a ve Regina
in ‘Et in terra pax’) an t ence to
uspo i’s estate an Marg erit
BERNSTEIN urastanti rat er t an a soprano
S mphon No. 3 (Kaddish); castrato. Sop ie Bevan sin s it wit
issa Brevis The Lar a u eminine tone, enc antin
Claire Bloom (narrator), Kelley Nassie in t e s ow movements, w i e er
soprano); São Paul Symphony Choir; ister Mary sings arias rom Han e ’s
Maryland State Boychoir; Washington 709 enetian opera, grippin ,
Chorus; Baltimore Symphony Orchestra/ an Pamp i i’s a egor Il trionfo de
Marin A so wit a e
Na os 8.559742 69:40 mins one , it e ri iance. T ere is smart
BBC Music Direct £7.99 o o p aying rom Cunning am in
T e e Sonata HWV 579 an rom
e most pro ematic o t e series o enchanting: vio inist A rian Butter ie in t e
wor s in w ic Leona Bernstein Sophie Bevan sings over ure o Rodrig , t oug t e
uestione t e w o e conce t Italianate Handel oo win soun arc e . T e
o re igious e ie . C oirs sin urprise is Benjamin Bevan, est
contrasting settings o t e tra itiona nown or is wor in t an
ewis rayer t e Ka is , an 0t -century o era ut secure an
narrator spea s an Eng is text seems a ien to im. ty is in t e ass cantat uopre ta
ernstein imse , an anguis e cou e o entire o us num ers P
interrogation o is eaven y Fat er re inc u e , an Jo nson’s notes ERF RM N E
– w i e in t e score, e wrest es a e a goo case or viewing Op. 32 RE RDIN ★★★★★
ruit u y wit t ree musica at e s a true cyc e, es ite two i erent
igures, Stravins y, Sc oen erg BRAHMS oets eing rawn on. Even earin
an Co an . n min t e imitations in Bostri ge’s
T e pro ems arise over t e Complete songs, Vol. 6: Lieder oca ism, t is is a wort w i e
und Gesänge, Op. 32; Vier Lieder,
tone o voice an p acing o t e ition to an im ortant series.
O . 96; Die Kränze, O . 46/1;
spo en passages, muc rewritten Botscha t, Op. 47/1; Liebesglut,
eorge Ha
Bernstein an ater y ot ers. For O . 47/2; Es liebt sich so lieblich, ERFORMANCE ★★
t is (we a ance ) ive recor ing, O . 71/1; Ständchen, O . 106/1; E RDIN MAHLER
Marin A sop opts or is origina eine Lieder, O . 106/4 etc Kin ertoten ie er; Des Kna en
version, speci ica y or ema e Ian Bostridge (tenor), un er orn – se ection;
voice. C aire B oom e ivers it in a raham Johnson ( iano) Rüc ert-Lie er
ca m, inwar manner, as i at rayer, Hyperion CDJ 126 67:07 mins
wit out t e ierce anger generate BBC Music Direct £13.99
SCHOENBERG
on Bernstein’s irst recor ing y is an Bostr ge joins a istinguis e Lieder, O . 2
Anne Schwanewilms so rano ,
wi e Fe icia Montea egre, an on company in t is ongoing co ecte
Malcolm Martineau (piano)
is secon (o is own revision) y ition o Bra ms’s songs, w ere HANDEL n x ONYX 4146 66:34 mins
Mic ae Wager. Despite assure , is pre ecessors inc u e Ro ert an e in Ita y, Vo . 1: G oria in BBC Music Direct £14.99
purpose u contri utions o an C ristop er Ma tman. xce sis Deo; Agrippina – Be
t e c oirs an A so ’s exce ent astermin ing t e project is ea in iacere e godere; Il trionfo del Arn Sc oen erg an Gustav
Ba timore Symp ony Orc estra, t e ccom anist Gra am Jo nson, empo e del disinganno – Un Mahler unfailingly prove a good
arration’s gent eness o tone nu i ies ose generous y proportione ensiero nemico di ace; Cuo re eam an t is recita starts so
an essentia e ement o t e wor . n insig t u iner notes are in a vo ta i cie o HWV 98 et romising y. Anne Sc wanewi ms
e ore an a ter t e Kaddi emse ves a major asset. ophie Bevan, Mary Bevan soprano , o s Sc oen erg’s me o y, in is
Symp ony, t e res -voice c oir s so o ten, Bostri ge proves to e en amin Bevan baritone ; London Earl a y Op. 2 songs, i e t e inest
o A sop’s ot er orc estra, t e São rea i mixe uantity. On t e us pera/Bridget Cunningha i en t rea . Her au t ess e ato
Pau o Sym ony, im resses in two i e, t ere’s is customary etai e ignum SIGCD 423 42:58 mins ea ises to er ection t e ec oes o
over apping concert versions o ttention to text; e uses some BBC Music Direct £12.99 nner r me an assonance wit in
ernstein’s 1955 music or c oir an iosyncratic tona co ouring to paint In Venice, F orence, Na es an e poetry. T ere’s a sense o ragi e,
ercussion or Jean Anoui ’s a n its meanings, ut t e approac is Rome, Han e com ose music t at recarious ex ectation wit in t e
a out Joan o Arc, e Lar : a atin ways inte igent. He is at is most rysta ise an emerging ta ent. armonic unease an su imina
Missa Brevis, an a suite in e y yrica y grace u in ie ränz avourite o t e Marc ese Rus o i roticism o t ese songs, an ot
some o Joan’s s eec es, w ic are in s just t e rig t eve o tone or an t e Car ina s Car o Co onna, c wanewi ms an Ma co m
spo en y B oom. Mixing jazz ac rase o Ge eimni Pietro Otto oni an Bene etto Martineau in is e t sentient
r yt ms an perio co ouring, t e s e ivere wit consi era e c arm. Pamp i i, e a so eve ope a s i iano p ayin , are ine y tune to t e
music is rig t an positive, as i e star ness an g oom o uf dem or securing power u patrons. T e usic’s nerve s stem.
o ering a response to t e esperate suit ot per ormers, w i e wor s e wrote or t ese men, to e t t en comes Ma er’s
questioning o Kaddi er orme in pa aces, c ape s an
nt ony Burto i ountry estates, orm t e ac one isappointment. There’s much to
PERFORMANCE uite simp y a great per ormance o a o t e irst vo ume o Handel in njoy in t e are, w ite ones o
ECORDING ★★★★ grea song. irecte rom t e ey oar Ma er’s piano accompaniments,
Hear t e BBC Music team giv
S SSIE AHLB R
ut cou o wit Bri get Cunning am. At 43 minutes specia y as expose y Martineau.
its ver ict on t is CD on our reater tona variety an s liebt sich s uration it is more o an amuse bouch ut I ecame increasin y impatient
‘First Listen’ po cast, avai a e ro wit more warmt . an a irst course ut t e qua ity o it t e way Sc wanewi ms pu e
- ostri ge is arc in t e we - nown e musicians ip is ig . e ine a out i e oose e astic,
To order CDs call BBC Music Direct +44 (0)1322 297 515; prices include P& BC M USIC M AG A Z I N 1
REVIE S CHORAL & SONG
mpe in t e natura pro ress o t e true to t emse ves as to t e music arrin ton’s arran ement o Pau
REISSUES e o y. Her tempos are so aring y supporte y ove y p aying rom t e McCartne ’s ‘B ac ir ’. anie Ja
ow t at s e ecomes expressive utenists. Barry Wither e ERF RMAN E
Reviewe K B -P
e - e eating. A song suc as PERF RMAN E RE RDIN
LA BELE MARIE Wenn ein Mütter ein’ soun s se RECORDING ★★★★★
3th-century French Songs to the Virgin
conscious y precious, wit t e top o
Anonymous e voice ta ing t e strain
Harmonia Mundi HMG 507312 (2002) etter news or Sc wanewi ms’s
6:4 mins
BBC Music Direct £10.99 r
These perfumed, ou ness s e an Martineau rin
French solo-voice o t e a est, most angri y ironic
songs and hauntin INSOMNIA LOQUEBANTUR: Music
Latin polyphonic mi in an a ent exi i ity wit in Britten: Nocturne Dean: Pastoral
from the Baldwin Partbooks
works testify to the Ma er’s ten er settings o Rüc ert, S mphon ; plus works b Gurne , orks b Parsons, Tallis, Mund ,
rdent Gothic cult of the Virgin n a eist , i at times e ort u , Couperin, McCartney, Li eti, Buck, rd, Aston, Ferrabosco I, Lassus,
Mary. Anonymous 4 produces an tren t to er ‘Um Mitternac t’. Mills & Strip ollande Baldwin Gerade
ptly pure and ethereal sound. i ary Finc Allan Clayton (tenor); Aurora Orchestra evin & She ar
PERF RMAN
ERFORMANCE ★★★ Nic o as Co o Marian Consort; Rose Consort of Viols
E RDIN ★★★★★ RE RDIN Warner 256460822 58:41 mins Rory McCleer
BBC Music Direct £14.99 De ian DCD 34160 66:12 mins
MONTEVERDI BBC Music Direct £14.99
Following its critically acclaimed
Vespro e a eata Ver in
Ne er an s Kamer oor;
a m (reviewe in T e most stri ing eature o t is
C nc r V c l /R n J c b Fe ruar ), t e Aurora Orc estr entertainin y varie co ection is
Harmonia Mundi HMG 501566.67 (1996) re eats the formula with rather e consistent y res , ruit-r e tona
04:07 mins 2 discs more voca materia , courtes ua ity o t e Marian Consort’s
BBC Music Direct £13.99 o tenor A an C ayton. Again, sin in . It’s a p easure in itse in
Fine soloists vibrant AMORES PASADOS t e pro rammin o ows t e Tallis’s Lo uebantur variis lingui
choral sin in , Works b Campion, Warlock, reew ee in stream-o -association ere t e orwar -pressing tempo
and René acobs’s Moeran, Banks, Sting Jones sty e er ecte in t e 1970s n neat inter eavin s o t e imitative
d namic and John Potter voice , Anna Maria t e Kronos Quartet, an i e arts catches graphically the various
theatrical irection Friman voice, hardanger fiddle , Ariel t e previous a um eatures an oices an an ua es conten in in
ll combine to hi hli ht the Abramovich, Jacob Heringman (lute esta is e mi -20t centur c assic e iscip es’ Pentecosta moment.
sum tuous and sensual ualities o ECM 481 1555 46: mins ( ere Britten’s octurn e singers’ rig t, g eamin
this prodi ious work. BBC Music Direct £14.99 recent an stron y contrastin wor co orations can occasiona y wor
PERFORMANC ★★★★★ Jo n Potter says t is project aims to y a contemporary composer (Brett ainst eeper veins o expression.
ECORDIN ★★★★★ ri ge t e gap etween ‘art song’ an D n , woven he pained introspection of the
pop song’. It ac ieves t is very we . to et er in a ream- i e tapestry o sa mist in Mun y’s
LE JEUNE
A ongsi e 16t an 17t -centur songs. Ivor Gurney’s poignant ymn
Missa A acitum; Tristitia o se it
rigina s t e programme inc u es to s ee , o owe y T omas A ès’s similar reluctance to proactively
me; Benedicite Dominum; Magni ica
Ensemble Cl ment Jane uin; ranscri tions y com osers rom quir y instrumenta arran ement o arse an unctuate t e musica ine
Dominique Visse (countertenor ast century (War oc , Moeran) François Couperin’s ‘Les barricades can e etecte in some o t e Rose
Harmonia Mundi HMA 1951607 1997 n new settings y roc -stars Tony mistérieuses’, rovi e an e ective Consort of Viols’ instrumental pieces
3:48 mins an s (Genesis) o yrics y T omas pre u e to t e so t reat in – t e rat er o ace traversa o
BBC Music Direct £7.99 Cam ion, Jo n Pau Jones (Le rh thms of Britten’s octurne. ug Aston’s
Le Jeune’s p an ent eppe in) o Spanis poems rom T is p antasma orica an o ten ore s a e an contour, an
sacre wor s are cross t e centuries an Sting, w o yrica y aunting sequence provi es ore emotion is evi ent in Derric
su er y rea ise ere. e ease an a um o Dow an songs an excellent sho case for se eral Gerar e’s Sive vigi e wit
T e voca ensem e’s n 2006 an ere sets a oem o o oists in t e orc estra. C a ton articularly expressive input from the
pungent, reedy sound is own. is most success u in Mi eton’s wo sopranos, an t ere is p an ency
is delicately embroidered (unusually) Jones’s t ree-son set, more ‘Mi nig t’s e ’, is imitation o so in t e eart e t im recations
wit utes, vio s an or an. was origina y written or various nig t creatures soun in F rr a pacem omine
PERF RM N
e Byr a quarter-century ago. It inister rat er t an ueasi y ey; an ere’s some eauti u y en e an
E RDIN
as worn we an sti c arms, ot e natura umanity o is singin a ance singing in Ta is’s uscipe
n t e ar ent I erian tinge o ‘A a es t e conc u in S a espeare
SIGISMONDO D’INDIA
on e os Arroyue os’ an ‘So E Sonnet t e a ro riate cu mination otes a certain ac o s eci icity in t e
Ma riga i e Canzonette
ncina’ an t e austere ainc an ean’s angry sonic attac on t e communication o text an meaning –
Maria Cristina Kiehr (so rano);
Concerto Soave/Jean-Marc Aymes nspire ‘No Dormia’. Moeran’s i y ic c ic és o ‘Pastora ’ may e e tone is per aps a itt e too c ipper
Harmonia Mundi HMA 1951774 2003 n Ban s’s ieces sit articu a istur ing po itica statement, ut or a settin o a con essiona nature.
: mins e toget er ecause o t eir quir y I’m not sure its simp istic morp in ensitive unison singing, an a
BBC Music Direct £7.99 armonic progressions. o ir son into mec anise noise, firm bass lead from Christopher
Kiehr’s distinct e s ou no onger e surprise en ing wit a quiet, sou ess c or orrett set S eppar ’s ve maris
andro ynous voice, at musicians an singers crossin erminate y a percussive cras ,
an lissom ensemble oun aries (t oug , y an arge, resents a compe ing aest etic nterpretive y it’s t e programme’s
playin reveal the roc m sicians’ ‘c assica ’ wor s experience. An Ligeti’s inest per ormance, t e pacin more
inventiveness an convince more t an c assica singers’ for 100 metronomes oise an ex e, t e text respon e
be uilin lyricism of Monteverdi’s attempts at pop an roc ). Potter ure to e seen as muc as ear , o with notable insight and maturity.
less well-known contem orar an Friman especia y are o oun s no more interesting t an t rings t e CD to a poignant y
PERFORMANC ★★★★★ an s at category-crunc ing, an , opping corn on the hob. A pity, contemp ative conc usion. Terry B ai
ECORDIN ★★★★★ as ever, ma e it wor t roug t e ecause t e entire irst a o t is ERFORMANCE ★★
integrity o t eir per ormances, as rogramme is enc anting, as is Iain RE RDIN ★★★★★
82 BB M I M AZI ll discs can be ordered rom ww.classic music.com/sho

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Classical Record Labels seeking worldwide digital and
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and DVD manufacturing.
A selection of new releases now available via the LMI Worldwide Distribution Network
LISZT Piano Sonata in B Minor BAROQUE MARIMBA

Maria Razumovskaya «> Stanislao Marco Spina >ÀL>
Maria Razumovskaya is a musician of BACH: Prelude in C minor BWV 847,

integrity, great talent and beguiling Goldberg Variations (selection), Concerto
charisma. This highly accomplished debut Italiano BWV 971 Andante, Partita No.2
recording is an album not to be missed. BWV 1004.
Debut release from marimba virtuoso
º> ÞÕ} ÛÀÌÕÃ Ü Ã Ì> } v>ÃÌ
Stanislao Marco Spina includes some of
ÃÌÀìÃ Ì Ì> i iÀ «>Vi >}ÃÌ Ìi
Bach’s most popular works reinterpreted
}Ài>Ì «>ÃÌÃ°°° iÀ «>Þ} Ã >À i` LÞ
on the marimba. A recital that intoxicates
Ìi «>ÃÃ>Ìi ii` Ì ÌÀ>ÃÌ Ì iÀ
and astonishes through the sheer
>ÕìVi Ìi ÃÌ «ÀvÕ` VÕ
technical brilliance of the performer
ÜÌÌiV«ÃiÀ» Le Courrier
and the illuminating effect of this new
instrumentation.
Malachite / CU20301 Stone Records / ST8057
SONGS OF LOVE AND NATURE TRIPTYCH

Jake Barlow countertenor HERMESensemble, Wim Henderickx
Nada Brahma (2005), On the Road (2013),
i>ÕÌvÕ `wi` «À}À>i
Atlantic Wall (2012)
of English, French and American art
songs. Song cycles from Quilter, Finzi, “Over time, Henderickx’ music becomes
Poulenc and Tippett as well as Howells’ iÛiÀ Ài Àiwi`° "ÀiÌ> yÕiViÃ
masterpiece for } >Û`. Featuring iÀ}} ivvÀÌiÃÃ ÜÌ }Þ >`Û>Vi`
the World Première recording of White VÌi«À>ÀÞ V«ÃÌ ÌiVμÕiÃ°
Bee by Cecilia McDowall. /i ÀiÃÕÌ Ã > À>ÀiÞ ÜÌiÃÃi` «iVi v >ÀÌ\
> ÃÌÀi> v ÃÕ` v iÝÌÀ>À`>ÀÞLi>ÕÌÞ]
º >ÀÜ Ã > wi ÕÃV> ÜÌ > «ÀiVÕÃiÛi°» (de Morgen)
«ÀiÃÃÛi ÛVi° Ƃ Ã}iÀ Ì Ü>ÌV vÀ
Ìi vÕÌÕÀi°» Jonathan Arnold, Chaplain,
Worcester College, Oxford
Willowhayne Records / WHR036 HERMESensemble / HMES002
PASSIONS & REFLECTIONS GALANTERIE Music for Lute

Kasparas Uinskas «> Sylvius Leopold Weiss Volume 3
Nigel North ÕÌi
The debut CD from the brilliant new
talent, Kasparas Uinskas. Featuring º ÀÌ Ã«i> Ã 7iÃÃ½Ã VÃ«Ì>
DEBUSSY Et la lune descend sur le >}Õ>}i ÜÌ wiÞ >ÌÌÕi` yÕiVÞ]
Ìi«i μÕ vÕÌÆ "ìÆ ,iyiÌÃ `>Ã VÃÕ>Ìi y>À >` Ãi`ÕVÌÛi
l’eau; Clair de lune; RACHMANINOV «iÀÃÕ>ÃÛiiÃÃ°» BBC Music Magazine,
Sonata No.2; CHOPIN 12 Études Op.25. 5 Stars (BGS120)
º> Ìi }ÀiìÌÃ v > }Ài>Ì «>ÃÌ >` ºâ} Ã«ÃÌV>Ìi` ÕÀL>ÌÞ°° Õv>}Þ]
ÕÃV>o Ã iÜ 9À ÀiVÌ> ìLÕÌ°°° ÀÌ½Ã «>Þ} Ã ÃVÀÕ«ÕÕÃÞ VÃìÀi`
> «ÀiÃÃÛi ÃÌ>ÀÌ > ÌiÀ>Ì> ÞiÌ Ã«Ì>iÕÃ°» BBC Music Magazine
V>ÀiiÀo» Carnegie Hall, 2008. (BGS119)
(New York Concert Review)
Stone Records / ST8053 BGS / BGS125
“LMI -- now there’s a class act! Professional, versatile and “Congratulations!, well done on a great service to the “Launch Music International provides a unique
courteous in the extreme, they handle all aspects of their OWUKEEQOOWPKV[q professional management arm to this artist-driven label,
FKUVTKDWVKQP UGTXKEG YKVJ ITGCV CRNQOD +P UWEJ C FKHƂEWNV covering all aspects of PR and sales expertise with a
climate, we are lucky to have their support in worldwide RGTUQPCNVQWEJq
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LaunchMusicInt @LaunchMusicInt
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www.launchmusicinternational.co.uk or contact philip@launchmusicinternational.co.uk Launch Music International
CHAMBER
The Lutosławksi
ł Quartet champion the underrated Polish composer Grażyna Bacewicz;
autobiographical music is in the spotlight as the Doric Quartet premiere pieces by Brett Dean
and the Takács Quartett bring together JanáΩek and Smetana; plus Beethoven violin sonatas
CHAMBER CHOICE
Brahms the Romantic BACEWICZ

Stephen Johnson
n admires an unexpected approach to the violin sonatas String Quartets Nos 1, 3, 6 & 7
Lutos√awski Quartet
Naxos 8.572806 71:04 mins
Grażyna Bacewicz’s seven string
quartets stand tall in the repertoire
of 20th-century chamber music,
BRAHMS worthy of comparison with works
by more famous composers of the
Violin Sonatas Nos 2 & 3
period. But in Poland they occupy
SCHUMANN the very highest place, especially
Three Romances since in the period after the Second
DIETRICH- World War it was Bacewicz who
SCHUMANN-BRAHMS almost single-handedly kept the
genre alive there. Under the Soviet-
FAE Sonata
Isabelle Faust (violin), imposed strictures of socialist
Alexander Melnikov (piano) realism, chamber music – lacking
Harmonia Mundi HMC 902219 77:51 mins potential as a propaganda tool – was
BBC Music Direct £14.99 positively discouraged, yet Bacewicz
found a way of speaking with not
Agility, a light touch, emotional only her own stylistic identity but
fragility and elusive intensity – these also absolute artistic integrity. A
may not be qualities one normally violinist herself who in the pre-war
associates with Brahms. But these years had led the newly formed Polish
performances of the Second and Radio Orchestra, Bacewicz wrote for
Third Violin Sonatas by Isabelle strings with complete mastery, and in
Faust and Alexander Melnikov the first of their two volumes devoted
are so persuasive in precisely those characterful duo: to her quartets, the young players of
terms they make one wonder if we Isabelle Faust and the Lutosławski Quartet relish all the
aren’t seeing this alleged ‘Classical- Alexander Melnikov possibilities of these works.
Superbly recorded, the
This is an intriguingly Lutosławskis project with presence
far less solidly assured, his moods impression one takes away. Even the and warmth, bringing out the deep
compiled, sensitively more shadowy, nervous, even labile. turbulent finale of the Third Sonata humanity of the String Quartet
recorded disc The elegance of Brahms’s craft is has a vulnerable, confessional No. 1. Composed in 1938, the
still apparent, especially his ability quality, which is, after all, much same year as Shostakovich’s First,
Romantic’ through the wrong to create long singing melodic lines better suited to the character of the at its heart there is a haunting set of
end of the telescope: ie that it’s the of great sweep and complexity, yet other three movements. Lovers of variations on a Lithuanian folk song
‘Romantic’ part that really matters. I was surprised at how much I was big tone and the grand oratorical (Bacewicz’s father was Lithuanian).
Put him alongside his mentor emotionally drawn into the Third manner in Brahms may be Her final quartet, written in 1965,
Schumann, as on this intriguingly Sonata, while the second lost all disappointed; I was captivated. four years before her death, confirms
compiled, sensitively recorded disc, hint of structural awkwardness. The PERFORMANCE ★★★★★ the modernist credentials already
and the relationship between them fusion of ardent song and scherzoo in RECORDING ★★★★★ shown in the partly serial Sixth. But
MARCO BORGGREVE, GETTY
seems touchingly intimate. Brahms the latter’s second movement even the Sixth also bears traces of that
is very much his own man (unlike comes close to the ‘lateral’ brilliance ON THE WEBSITE neo-classicism so strongly felt in
Albert Dietrich, whose contribution of Schumann at his quirky best. It’s Hear extracts from this recording the Third, a work that carries itself
to the collectively-composed ‘FAE’ not that Faust and Melnikov can’t and the rest of this month’s choices on along with bittersweet and cheeky
Sonata is more in Schumann’s be forceful or imposing in Brahms, insouciance. John Allison
shadow), yet his path now seems but that’s not ultimately the PERFORMANCE ★★★★★
RECORDING ★★★★★

CHAMBE REVIE
art a Ar eric an rien s

Jeremy iepmann exp ores a se ection o recor ings rom estiva s
BEETHOVEN
iolin Sonatas Nos 4 & 9 (Kreutzer),
Opp. 23 & 4
CARTE BLANCHE
Susanna Ogata (violin), Beethoven, Schumann, Schubert, Ravel, Bartók et
Ian Watson (fortepiano) rgerich, Lang Lang, Montero (piano), Capuçon, Rachlin
oro COR161 8 58:2 min violin), Bashmet (viola), Maisky (cello
BBC Music Direct £12.99 eutsche Grammophon 479 5096 137:40 (2 discs
T ese two sonatas, compose some
our years apart, ot ave a res
VERBIER FESTIVAL BEST OF 2014
opening movement in t e ey o Beethoven, Berlioz, Chopin, Grieg, Scriabin et
minor, an in t e ina moments o rgerich, Lisiecki, Babayan, Trifonov (piano); Verbier Festival
CO Orchestra/Charles Dutoit, Gábor Takács-Nagy et a
Sonata No. 4’s irst movement t e rato 2564607804 131:36 mins (2 discs
music reac es a pea o agitation in BBC Music Direct £13.99
a passage t at c ear y oo s orwar
o t e u - oo e sty e o t e MARTHA ARGERICH & FRIENDS:
reutze Live from the Lugano Festival
excitement in ot wor s is very we Mozart, Beet oven, Mi au , Men e sso n, shining light:
capture y Susanna Ogata an Ian Boro in, Bri ge, Pou enc, Scria in et Martha Argerich’s
atson, w o p ays on a copy o an rgerich piano & friends; Orchestra della Svizzera playing is joyous
ear y 19t -century iano y Anton taliana/Jacek Kaspszy
a ter. One o t e ea ing Viennese arner Classics 2564613460 195:04 mins 3 discs
ma ers o t e ay, is instruments BBC Music Direct £14.99 More consistent y su stantia are t e excer ts
ere e no n to Beet o en JS BACH rom Argeric ’s own estiva at Lugano,
T e ast year. Hig points inc u e er mo e
ot or t e amous Frenc p ayer DVD ano Concertos er ormance o t e Mozart D minor concerto:
rgerich & friends;
(t e e ication to im re resente
rc estre e C am re e La sann
c ange o eart on Beet oven’s part), el Air Classiques BAC115 177 mins (2 discs
egant, acute y ( ut never exaggerate y)
ut or t e vio inist George Augustus BBC Music Direct £14.99 ramatic, u o voca -sty e in ection
Po green Bri getower. W en e an po yp onica y a ert rom start to
an Beet oven re earse t e wor , For er ann a concert at t e Ver ier inis . An Beet oven’s ei änner
Bri getower seize on a ong- e Festiva ac in 2007, Mart riation , wit Misc a Mais , are
ause near t e start o t e Argeric was given carte anc e to asterc ass in unanimity an contrast,
or er to aunc into a s ontaneous oose ot re ertoire an ‘cast’. T e
ca enza, muc to t e com oser’s res t was a concert i e no ot er. Beet oven’s e imagination, sop istication an ear
e ig t. Fu mar s, t en, to Susann arming mutua ity o t e p aying ere are
Ogata or oing t e same urin stunning in its e ectri ying vita ity, in t e tu y in pure enc antment. Few wo s are
e repeat. T ese are a toget er eer e, an ss m o intimate y investe in t eir very articu ar
compe ing per ormances, wit movement, an in t e master u iscourse o oun wor as Mi au ’s jazz-in uence a et
we -ju ge tempos (except, per aps, t e ina e – a re ete wit some o t e most a u ous La création du mond . Fascinating, t en, to ear t e
or t e curious y ast account o t e piano p aying you’ ever ear, especia y in t e owest composer’s own arrangement or piano quintet, w ic
pattering’ secon variation rom reac es o t e ynamic spectrum. T en, surprising wor s surprising y we . An t e itt e- nown Pou enc
e reutze ’s mi e movement , rom Argeric , comes t e most enigmatic account o Ce o Sonata gets w at must e t e per ormance o its
an t e music a wa s viv Sc mann’s i e rom Gautier Ca uçon an t e exce tiona ianist
c aracterise . M D o izarre ru atos, exaggerate accents. Ditto t e two Francesco Piemontesi, an artist o rare re inement an
PERF RM N E ★★★★ uets wit Lang Lang – equa y u o extreme rubato , uic si ver r yt mic voca u ary. ★★★★★
ECORDING iminuen os, ianissim ; u o ‘e ect’; o sty istic A ina y, to Bac . I you i e Bac on t e iano,
ancy ootwor , most nota e or a tru y istracting ac an tra itiona , o - as ione , inaut entic strin
o sim icity. But t e Sc u er orc estras (t e Lausanne C am er Orc estra is
Bartó Vio in Sonata No. 1 are su er in a res ects. erri ic ere), you s ou ave a w a e o a time wit
A w at a t ri to ear Argeric ’s uoyant, s ape y, is compen ium o some o t e most i e-en ancing,
tru y asic ass; no ess, er ex uisite y su t e an varie joy u , ancy, ro ust y p ysica music ever written.
me o ic in ection in every part. On t is evi ence T e ic ety-s it tem os on’t eave muc sco e or
a one s e is t e most com re ensive y versati e an art u in ection an uoyant articu ation ut t e s eer
BEETHOVEN instrumenta y resource u c am er pianist current igour o t e p aying, easi y matc e y t e s ou
iolin Sonatas Nos 4 & 5 p aying. out- ou vita ity o t e music, simp y e ies one to sit
O . 23 & 24; Variations on As a portrait t e Ver ier Festiva in genera , t e ti . T oug er spirit is everyw ere, Argeric erse
ozart’s ‘Se vuol ballare’ WoO 40 014 misce any juxtaposing esta is e an risin ays a very sma part (appearing on y in t e rie
Thomas Albertus Irnberger violin , stars wou e a to eat. Wit its prepon erance o our- ey oar Viva i transcription), yet even ere s e
Michael Korstick ( iano) re ative miniatures, owever – we on y get Argeric in emonstrates at once t e i erence etween greatness
ramola 99052 (h brid CD/SACD) t e seven-minute ina e o t e Tc ai ovs y concerto an exce ence. As in speec , no two ‘sy a es’ are t e
3 22 min it ee s more i e an unas ame samp er t an a uni ie ame, yet a co ere into comp ementary ‘wor s’ an
BBC Music Direct £13.99 artistic experience, ut i e a t e est ors ’oeuvres, it rases o tru y organic unity. Resu t? Irresisti e joy.
eet oven’s Vio in Sonatas Nos 4 e icient y w ets t e appetite or more. ★★★★★
an 5, Opp. 23 & 24 were esigne
To order CDs call BBC Music Direct +44 (0)1322 297 515; prices include P& BC M USIC M AG A Z I N
REMA STERED CL A SSICS
Revolutionary four-channel Deutsche Grammophon recordings

from the 1970s and 1980s finally come to life and full bloom in
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CHAMBE REVIE
as a stron ly contrasted pair, and nd Rimmer brin lots of drive and

hey were originally issued together nergy to the outer movements and
under the same opus number. Onl hey build up the tension in the
a quir o pu is ing e to t eir to a power u
separation in a second edition: owin climax. Yet in general their approach
o an oversig t, t e vio in part o one s ar too unyie ing. T ere is an
sonata a een printe in a vertica unwi ingness to a ow t e music to
ormat an t e ot er in a orizonta reat e an o er reater moments
so in or er to save t e expense o repose, wit t e mysterious
re-engraving one of them, the sonatas remolando passage in the middle o
were issued individuall . he first movement sounding fou
Muc ess we nown t an t ose quare. Ironica y, t e u ity an
ieces – t e secon o t em is t e u t et t at seems to ave e u e
amous ot per ormers in t e Sonatas is ar
are t e ariations on ‘Se vuol ballar ore in evi ence in t eir enterprisin
r m T e Marria e o Fi ar I n ranscriptions o Six Son s, a o
ear y piece, stra ing Beet oven’s ic are projecte wit a ection
Bonn an Viennese erio s (t e co nd bags of charisma. L
as added after his arrival in the ERFORMANCE ★★
Austrian ca ita in Novem er 1792). RE RDIN
In t e vio in accompaniment to t e
t eme itse Beet o en mirrors t e
uita i e pizzicato o Mozart’s aria,
t ou vio inist T omas A ertus
Irn erger an pianist Mic ae
Korstic ay t e me o y in curious genuinely affecting’: soprano Allison Bell stars in Dean s Quartet No.
aggressive style, entirely robbing it of
ts e ement o un erstate sarcasm. com ete onatae am Aris Quam DEAN
T eir er ormance o some o t e Epitaphs; Eclipse (String Quartet
ensuin variations is somew at or t e a tar as t e ta e’) on isc No. 1 ; String Quartet No. 2 ‘And
renetic, too, t ou t e p ayin ave a straig t c oice etween t e once I pla ed Ophelia’
tse is un enia y azz in . ng is perspectives o T e Par ey Allison Bell (soprano), Brett Dean (viola);
No suc com aints a out t e Instruments (He ios) an T e Doric String Quarte
acco nt o t e a stere Sonata No. 4 urce Quartet (C aconne). Now, BRAHMS C an os CHAN 1 873 61:51 min
in A minor, Op. 23 w ere Irn erger owever, Bi er – w o spent t e BBC Music Direct £13.99
an Korstic are actua y at t eir ast 34 years o is i e wor ing in ello sonatas and song rett Dean is not s y a out revea ing
Gabriel Schwabe cello ,
est in t e sc er o i e mi e a z urg – is coming ome, as Gunar at is m sic is ‘a o t’. W et er
icholas Rimmer ( iano)
movement, w ic t ey p ay wit etz or’s crac Austrian ensem e axos 8.57 48 65:5 mins nspire y certain in ivi ua s (as
a mira e e icateness. T ere’s m c oes t e com oser-vio inist an is BBC Music Direct £7.99 n
to a mire in t ei onata as onatas a resse ot to c rc an or uman isaster (as in is Strin
we , t ou t ey on’t a ways u y court, prou . It’s re res ing to ear t e irst uartet No. 1, on t e now a
ca ture t e yrica warmt o t e Score or etween ive to eig t o ement o Bra ms’s E minor oo topica p ig t o re ugees),
o er movemen s p ayers an continuo, s ot t roug e o Sonata ta en at a tr e egr
rn erger s ou , owever, e wit t e contrasting ri iance o tempo. A too o ten, per ormers
issua e rom writing is own martia trumpets an t e sumptuous treat t e music in an un u BACKGROUND TO…
oo et notes: is attem ts to in anc oring ric ness o up to t ree ugu rious manner as i to suggest
t e music to Beet oven’s ove- i e are vio as – w ic outnum er t e t e com oser rea y inten e it to e Brett Dean b.1961)
mis u e , to say t e east. rig ter vio ins – t e sonatas in a it an ex an ve ndant . Yet a t oug viola pla er
Mis a Dona a u ic om an circumstance I a au t e ur ose u manner in y trainin , t e
PERFORMANCE t at ma es room or a serenity an w ic ot Ga rie Sc wa e an ustra ian Brett
ECORDING intimacy t at ta s into Bi er’s ty us Nic o as Rimmer un o t e musica ean p aye
antasticus inter an . narrative, t ere is a so a ten enc n t e Ber in
erio -instr ment ensem e to ri e roug s o over certain armonic
rs Anti ua Austria ta es t e nexpecte armonic c anges t us or 14 years. His
contrapunta exterity y t e scru re ucing t e emotiona impact irst foray into
t e nec an t e musicians reve o t e music an owngra ing its
n rea ings t at ooze rio an origina ity. A goo examp e occurs realm of experimental film and
oisterous é an. Just occasiona y at t e eginning o t e eve opment radio music and not lon after
BIBER e meticu ous r yt mic w ere Rimmer’s mo u ation to e egan writing concert wor s.
Sonatae Tam Aris uam Au is ccentuation t reatens to ren er a istant ey is isappointing
Dean now wor s as a vio a p ayer
Serv ente e verve over-com ative, ut er unctory as i to suggest t e
and composer. His music often
rs Anti ua Austria/Gunar Letzbo onata No. 9’s s y, per y c arm an esture is not particu a y interesting.
e o ramatic gran stan ing are Sc wa e an Rimmer are more takes inspiration rom literary,
hallenge Classics CC72676 69:08 mins
e in savvy equi i rium. sensitive to t e unpre icta e visua , auto iograp ica an
on er u y c ear an etai e , armonic twists in t e mi e po itica sources. T e awar
it recor in s o Bi er’s C a enge C assic’s surroun -soun section o t e secon movement ut winning 2006 vio in concerto
mu titas ing sonata set y T e recor ing per ect y comp ements t e t e Minuet itse seems ectic an The Lost Art of Letter-Writin , for
Rare Fruits Counci (on Naïve) an ensem e’s incisive vita ity. ere t o t e court y e egance sure instance, was inspire y etters
FELIPE PA AN
Com attimento Consort Amster am Pau Ri e inten e y t e composer by the eclectic mix o Brahms,
(C a enge C assics) on y avai a e ERFORMANCE ★★★★ Simi ar issues arise in t e F major Wolf, Van Gogh and Ned Kelly.
as own oa s t ose in searc o t e RE RDIN ★★★★★ Sonata. On t e one an , Sc wa e
To order CDs call BBC Music Direct +44 (0)1322 297 515; prices include P& BBC M USIC M AG A Z I N
REVIE CHAMBE
ean’s works are usually – perhaps

REISSUES nvariably – driven by extra-musical
Reviewe y aul Rile arratives. Rather than tease out
ny innate structura puzz es or
JS BACH ensions, is music typica y a s into
ello Suite No. 5 Gamba Sonatas Nos 1 ort itt e ramatic narratives – no
3; Chromatic Fantasia Fugue ovement on t is isc asts as ong as
János Starker cello , i t minutes, many o t em rat er
Z zana žičková harpsichord ess t an ive.
Hänssler CD 93.726 (1971) 66:51 mins
e most o vious y success u
or ere is uartet No. 2, ‘An
Ty ically trenchant nce I p aye Op e ia’, e ective
in the minor
ramatic scena. Its so rano
Suite Starker all but
o oist is no mere extra voice (as in
l r o
in the G ma or c oen erg’s Secon Quartet) ut
Gamba Sonata, but she’s ranted e ea ing protagonist. A ison Be ’s
an au ust presence in the knott genuine y a ecting per ormance
Fantasia BWV 03 s ac e y t e Doric Quartet’s
PERF RM N ★★★ xpressionist scampering an
E RDIN ★★★ ustaine armonies, t e strings new paths:
ccasiona y coming to t e ore Tamsin Waley-Cohen
JACQUET DE LA GUERRE n t e manner o a Sc mann explores rare Hahn
hamber M sic ty e song post u e. Muc o t e
Music Fiorita, Dolci (harpsichord, or an ectiveness o ot er wor s re ies
Pan PC 10333 (1999) 73:42 min n Dean’s co ouristic an ex ressive ac o ex ressive contrivance or recor ings o Men e sso n’s piano
BBC Music Direct £14.99 nventiveness (reca ing James etermination to get t e message trios just so appen to give a air
Reissued to celebrate MacMi an, t oug wit out is across u timate y serves to en ance avour o w at you’ get rom eac .
Musica Fiorita s nac or sustaine yricism), as we t e inner content. It’s very muc Mem ers o t e Trio Da i eature in
uarter-century, five s t e istener’s a i ity to tune in to matter rat er t an manner. T e a sty is ac -an -w ite oto t at
assorted sonatas and ts emotiona so n wor . same is true o t e an .T e revea s many su t eties an s a es
an early har sichord anie Ja music touc es, stirs, excites, ut at o grey. T e Trio Sit ovets y, on t e
suite b the musical do enne of the ERF RM N E ★★★★★ e same time you’re aware o ow ot er an as c osen one o t e
Sun King’s Court are despatched RE RDIN ★★★★★ tron y eac quartet is s ape as a m ti-ta ente Men e sso n’s own
with seductively stylish insights. o e – eac wor is so muc more waterco o rs o t e Ama i Coast.
PERF RM N
an a c ain o poi nant or arrestin A t eir p aying correspon ing
E RDIN ★★★★★ iso es. Per a s in t e en it oesn’t displays colour, liveliness and
uite ‘ urt’, as Janá e ut it – e strong feel for Mendelssohn’s voice.
PERLE DEL PIEMONTE
actua y compare one i ea in t e Both a roaches work but the
Violin Sonatas by Somis, Chiabrano,
ina e o t e Secon uartet to Sitkovetsk ’s is the one I would want
iardini, Canavasso & Pu nan
atti (violin), Mosca (cello), ‘cutting es ’. But it’s a not to to go back to again – it has all the
Tabacco (har sichord) JANÁ∫EK e im resse , emotiona y as we as ‘ ire an vivacity, t e ow, in a wor
Glossa GCD c80018 (1992) 64:40 min
String Quartets Nos 1 inte ectua y, especia y w en it’s a t e mastery’ t at Fer inan Hi er
BBC Music Direct £11.99 so c ear y an intimate y recor e . escr e a ter earing t e premiere
Two cello sonata SMETANA Step en Jo nso o Men e sso n’s First Piano Trio in
interlo ers, executed Strin Quartet No. PERF RM N E ★★★★ D minor in 18 0.
it nowing Takács uartet RE RDIN It’s a trio wit a particu a y taxin
suavity, amp i y H perion CDA 67997 71:29 mins iano art: t e com oser imse
t e ran e o a isc BBC Music Direct £7.99 sai it was esigne to et t e pianist
exp orin t e e i ts o a Turin e coup ing o Smetana’s rom m s ow o . Wu Qian azz es ut
coterie oun y ami y ties an an aná ’s two string quartets never in s an er seeming y-eas
penc ant or Paris is so natura I’m surprise it isn’t virtuosity is we matc e y vio inist
PERFORMANC one more o ten. Jan ’s First A exan er Sit ovets y an ce ist
ECORDIN Quartet not on y egins o iging Leona E sc en roic . T ere’s
BIBER
in t e ey in w ic Smetana en e , MENDELSSOHN a ways t e sense o t ree in ivi ua s
it o ows on rom t e atter’s ina Piano Trios Nos 1 istening to one anot er to create
Karneva in Kremsier various wor e egiac sa ness so natura y it ma es a satis ying w o e, rig t rom t e
Ars Antiqua Austria/Gunar Letz o it ovets y Tri
Pan Classics PC 10300 1995 75:01 min
one won er i Jan e i n’t ave BIS BIS 2109 hybrid CD/SACD 56:59 mins expansive p rasing t ey emp oy in
BBC Music Direct £14.99 at t e ac o is BBC Music Direct £13.99 t e opening o t e D minor trio.
in . T at’s one goo reason or T at sense o ine a so ma es itse
Dr nken
istening to t is isc w o e. But MENDELSSOHN e t in t e sweet y sun Andante co
ni htwatchman
ere are ot ers. For a moment or Piano Trios Nos 1 moto tranqui paving t e way or
to midni ht
melanchol , Ars wo in t e Smetana one mig t t in JS BACH nim y per orme sc erz T e
Ant ua Austria’s at t e Ta ács Quartet’s a most C minor Secon Trio opens t eir
O ympian o jectivity wou n’t suit Chorale Preludes, BWV 659 & BWV isc, wit t e a tur u ence t e
ima ined carnival feast invites 639 transcriptions
Biber to be a solo dancin master. usic t at o ten seems to we up ring to t e irst movement pointin
rio Dal
few s ueaky-clean easant o irect y rom t e eart. In act Zig-Zag Territoires ZZT364 60:13 mins
to Bra ms, a t oug t e scurryin
inter olations enliven the t’s a vin ication o Smetana as a BBC Music Direct £15.99 e in
aristocratically olished festivities arge-sca e ramatic arc itect. An n it’s e t y one ere.
PERF RMAN at ‘o jectivity’ oesn’t prevent We a now you can’t – or s ou n’t T e Trio Da i ave programme
E RDIN ★★★ – ju ge a oo or in t is case CD t e two trios in numerica or er,
oving at times. Per aps t at very its cover, ut t e s eeves o two ne pairing eac wit a transcription
88 BB M I M AZI ll c c nb r r r m ww cl ic l music.com/sho
R REVIEWS
CHAMBER
(author unamed) of a Bach chorale in the central ‘Veloce’, while Huw

– one for violin and piano, one for Watkins is typically deft, flitting
cello and piano. It’s a thoughtful nimbly across the piano.
nod to Mendelssohn’s reverence It is the sheer melting beauty
of Bach but perhaps works on in the opening pages of the final
better on paper than in practice, as movement that makes Hahn’s sonata
these short chorales end up feeling so affecting, especially with Waley-
inconsequential in comparison to Cohen’s hushed tone. His Nocturne
the weighty trios. Recorded up close, is equally lovely, being a more settled
the layers and nuances of the Dali’s affair than Szymanowski’s, which
gentle sound are on display, and their bursts into a dance in the midst of
carefully judged individual voices its seductive poetic musing. It is an
sing out. A particularly beautiful effective contrast that typifies an
sense of tranquillity infuses the D enjoyable recital. Christopher Dingle
minor’s Andantee but both finales fall PERFORMANCE ★★★★
a little flat. Rebecca Franks RECORDING ★★★★
SITKOVETSKY TRIO
PERFORMANCE ★★★★
RECORDING ★★★★
TRIO DALI
PERFORMANCE ★★★
RECORDING ★★★★
PARADISO E INFERNO
Works by Rabe, Schubert,
Xenakis, Brahms, Scelsi, Schnyder,
Carter & Mahler
Matthew Gee (trombone),
François Killian (piano)
SZYMANOWSKI MG Music GEE01 61:53 mins
www.amazon.co.uk
Violin Sonata in D minor;
Nocturne and Tarantella Matthew Gee, principal trombone
player in several orchestras, chairman
HAHN of the British Trombone Society,
Romance in A; Violin Sonata in C; is a man with a mission as well as
Nocturne in E Flat a trombone. He wants the world
Tamsin Waley-Cohen (violin), to take his instrument seriously by
Huw Watkins (piano) revealing its ‘beauty and terror’. And
Signum Classics SIGCD432 69:31 mins this first solo album, on his own
BBC Music Direct £12.99 label, is perfectly designed for the job.
It is not an obvious pairing. Karol The bill of fare – late 20th-century
Szymanowski and Reynaldo Hahn cries and gurgles, interwoven with
share little in common either transcribed Schubert and Mahler
biographically or musically. They songs – is striking enough. Even
lived in the same epoch, though at more impressive are the kaleidoscopic
opposite ends of Europe. Like many colours, virtuosic flights and liquid
composers growing up at the end subtleties pouring from Gee’s lips.
of the 19th century, they both were Scelsi’s Three Pieces deliciously
influenced to a degree by Franck tease us by persistently melting
and they both ended up slightly at their tonal centres. Carter’s Gra,
odds with the prevailing musical originally for clarinet, jumps
fashion. Regardless, the violin works about, puckishly playful; while
chosen for this disc combine most Xenakis’s Keren n muses over melodic
effectively, with Szymanowski’s material only to kick it in the pants.
music bookending Hahn’s. Quality and intensity drops for
If Szymanowski’s early violin Daniel Schnyder’s sonata for tenor
sonata is indebted in part to Franck’s, trombone, though its muffled central
it could hardly be more dissimilar in lament retains an eerie power. Lyrical
its fiery opening gestures. Tamsin beauties dominate the 19th-century
Waley-Cohen is certainly not afraid transcriptions, ending spectacularly
to let her violin rasp dirtily either with the calm withdrawal of Mahler’s
here or in the furious and thrilling Rückert setting Ich bin der Welt
Tarantella that closes the disc (if it abhanden gekommen, given such a
were a singer it would need a throat tender coda by François Killian’s
lozenge by the end). Nonetheless, she piano. Along the way, in burnished
also has a creamy lyricism, and she eloquence, we visit paradise, hell, and
doesn’t shy away from the occasional much else inbetween: all this from an
lilting portamento in Hahn’s instrument too often considered just
exquisite Romance or the genial the orchestra’s clown. Geoff Brown
opening movement of his Sonata. PERFORMANCE ★★★★
Waley-Cohen is also suitably skittish RECORDING ★★★★
INSTRUMENTAL
Rudolf Buchbinder gives effortlessly fresh accounts of Bach’s keyboard partitas; Steven Osborne
demonstrates Schubert’s formal mastery; and Kathryn Stott finds Ravel’s emotional power
INSTRUMENTAL CHOICE
A true match for Schumann CPE BACH

Jeremy Siepmann hails the eloquent artistry of Imogen Cooper Württemberg Sonatas
Bruno Procopio (harpsichord)
Paraty 515501 90:59 mins (2 discs)
gallery of extremes: BBC Music Direct £19.99
Imogen Cooper presents
Schumann’s Davidsbündler Carl Philip Emanuel’s Württemberg
Sonatas – published not long after
his father’s Goldberg Variationss and
ahead of the Art of Fuguee and Musical
Offeringg – throb with the testosterone
of a young composer plunging
enthusiastically into all manner of
arresting new styles. But as the Fifth
Sonata’s Adagioo reminds us, he was
also his father’s son. Bruno Procopio’s
new recording is too late for 2014’s
tercentenary celebrations, but it holds
up well alongside Mahan Esfahani’s
magnificent set that got CPE Bach
300 off to such an exhilarating start.
Both deploy harpsichords rather than
the clavichord favoured by Miklós
Spányi, and Procopio’s is noticeably
the brighter.
‘A musician can’t move others
without being moved himself,’
CPE wrote in his famous keyboard
fact that we have here not only a Schumann, whose own juxtaposition treatise, and Procopio is manifestly
very distinguished but a truly great of emotional-psychological moved. He inhabits the chameleon
pianist? Why is she not ‘damed’? A extremes requires a maximum of fluidity of the A flat Sonata’s first
CBE is not sufficient honour. True, characterisation with a minimum of movement, and displays captivating
she’s a woman, and women pianists evidence – the art that conceals art. vigour in its Finale. The Finale
are still short-changed, but greatness, Cooper’s gifts in this department are of the A minor Sonata has fire in
SCHUMANN human or musical, transcends unmistakable even before she reaches its belly, too, with arpeggiated
Abegg Variations; the end of the first, brief piece in flourishes that streak across the
Davidsbündlertänze; Novelettes Every piece is a study in the Davidsbündlertänze. e And as she landscape like forked lightening. On
Op. 21 Nos 2 & 8; Geisternähe begins, so she continues. Every piece balance, Esfahani has the expressive
Imogen Cooper (piano) portraiture worthy of in this recital is a study in portraiture upper-hand in slow moments,
Chandos CHAN 10874 75:51 mins ETA Hoffmann worthy of Schumann’s beloved ETA and is peerless in making CPE’s
BBC Music Direct £13.99 Hoffmann. Variety and organic trademark pregnant pauses resonate;
The state of British pianism (albeit gender. Pianistically alone, momentum (structure, in short, in a but Procopio brings an affecting
an odious and ultimately irrelevant Cooper commands a dynamic and sea of diversity) go hand in hand. tenderness to the B flat Sonata’s
concept) has never, surely, been colouristic range beyond the reach PERFORMANCE ★★★★★ Andante. Esfahani, nonetheless,
more richly served than it is today. of most pianists. She understands RECORDING ★★★★★ has the edge and compounds his
But it’s not without its miscarriages that musical, like verbal, speech interpretative advantage with a
of justice. Yes, for many years now, acquires eloquence and continuity ON THE WEBSITE logistical one by confining the
Imogen Cooper has reaped glowing through the close, asymmetrical Hear extracts from this recording sonatas to a single disc, unlike
SUSSIE AHLBURG
reviews and the profound admiration juxtaposition of extreme but varied and the rest of this month’s choices on Procopio who takes up two.
of her colleagues, but have we, as contrasts – as in any polysyllabic Paul Riley
a nation, really awakened to the word. Nowhere is this truer than in PERFORMANCE ★★★★

INSTRUMENTAL REVIEWS
fiery and captivating:

Bruno Procopio conveys
CPE Bach’s excitement
JS BACH GRIEG
Goldberg Variations Lyric Pieces – selection
Lars Vogt (piano) Janina Fialkowska (piano)
Ondine ODE 1273-2 76:38 mins ATMA Classique ACD 2 2696 67 mins
BBC Music Direct £13.99 BBC Music Direct £14.99
If the Goldbergss are a set of variations Janina Fialkowska is one of today’s
for all seasons, Lars Vogt’s new most dependable pianists – bold,
recording has more than a touch poetic, virtuosic and very much
of spring about it. Vogt talks about more. Yet here I feel a certain
‘de-sanctifying’ the work, and argues measure of frustration (albeit at a
that ‘we don’t have to navigate but very high level). Given 25 of these
are guided’. The Aria, he maintains, miniatures, filleted from a total of
is ‘no squeezing out of meaning’, 66, I would have welcomed a less
and so it proves to be, unfolded with broadly predictable range of expressive
a limpid, unfussy directness at a and a short foray into Schubert, the devices, both within the individual
tempo that gives no quarter to over- Austrian pianist Rudolf Buchbinder pieces and between them. Part of
expressive navel-gazing. And when it turns his attention to Bach, and the problem lies with Grieg, though
eventually returns, the effect is not so he takes to that idiom like a duck he never intended an entire meal of
much ‘journey’s end’ as a reminder of to water. There’s nothing radically hors d’oeuvres. This cornucopian
where we started from. new in his conception of these approach poses special challenges to
Of course in a work of complex dance suites, yet every piece feels BLISS the imagination, and technique, of the
architecture lasting an hour and a freshly imagined. player. That Fialkowska has both in
Piano Music, Vol. 2: Masks; Two
quarter some sense of ‘navigation’ The Praeludium to the First rich supply is abundantly clear in her
Interludes; Suite for Piano; Bliss;
is necessary to ensure coherence. Partita is played with severe The Rout Trot; Triptych etc recordings of Chopin’s mazurkas, and
Vogt’s feel for the over-arching whole precision, but its structure is Mark Bebbington (piano) much else besides; but here, in both
is impressive. He’s not above a little signposted by delicate rubatos. The Somm SOMMCD 0148 62:11 mins atmosphere and structural plotting,
‘guiding’ either – pianist that he is, pace at which Buchbinder takes BBC Music Direct £11.99 she adopts what appears to be a more
sometimes drawing attention to detail the Allemande is gentle, with the restricted and generalised repertoire
in a way denied to Bach’s harpsichord. notes slightly détaché; small surges The previous first volume of of expression and dramatic tension.
But he’s sparing in the use of pedal, of bass warmth at the conclusion Mark Bebbington’s complete Bliss A contributory factor is her choice
and, like András Schiff and Murray of each section suggest contours. survey was a quality release in of a strictly chronological order. A
Perahia, inclined to let his fingers sing The Corrente comes vigorously every way. Once again, his playing more adventurous juxtaposition,
wherever possible. To laugh, too. After staccato first time round, and with here does impressive justice to a however unconventional, might have
the intricate ruminations of Variation a silvery cantabilee in the repeat; the keyboard idiom which needs top- yielded a greater variety and degree
13 its successor erupts with impish opening statement of the Sarabande notch performance if it isn’t to of contrast than we get here. These
glee, as does Variation 23 with right is lyrical but restrained, then grows risk sounding over-conventional. reservations aside, however, this is an
and left hands slugging it out in manic increasingly ornamented to a point Bebbington never merely relies on engaging, characteristically elegant
contrary motion. And the profound where the ornamentation becomes his professional fluency, superlative and pianistically commanding
stillness of the ‘Black Pearl’ No. 25 integral to the melodic line. In the though this is; on the contrary, every recital. Some of Fialkowska’s most
is the more eloquent for its inner first Menuet the ornaments are phrase of the music is delivered with vivid characterisations have, too,
restraint. Vogt’s ornaments are not unexpected and playful, and the an incisive clarity that takes nothing an element of surprise: her almost
always as effortlessly incorporated into closing Giga goes like the wind, for granted. mischievous account of ‘Butterfly’
the dancing flow as Angela Hewitt’s, with just a few legato bass notes to As with any exercise in completism, is more redolent of a hummingbird
and Jeremy Denk interrogates the anchor the immaculate staccato the quality of the individual works – lively, darting, energetic, quite
music more closely, but Vogt’s act of hailstorm above. varies. The early Suite for Pianoo is entrancing. ‘Little Bird’ is even more
‘de-sanctification’ has a freshness that In other words, the delight of this still pretty much embalmed in the characterful, but now the portrait is
unquestionably refreshes. Paul Riley recording lies in the detail. When Edwardian era, while short numbers spot on. Jeremy Siepmann
PERFORMANCE ★★★★ full-dress grandeur is called for, as in like The Rout Trott and ‘Bliss’ (A One- PERFORMANCE ★★★★
RECORDING ★★★★ the Sinfonia to the Second Partita, Step)) have a self-conscious 1920s RECORDING ★★★★★
Buchbinder provides it in spades, and manner that hasn’t worn too well.
when athleticism is required – as in There are also far more individual
the final two movements of that work statements like the four-movement
– he’s ready with that too. Maskss – as in ‘A Romantic Mask’,
Buchbinder manages to suggest with its Scriabin-like flights of
a completely different sound-world impulsive imagination, and the brittle
with the opening to the English unease of ‘A Sinister Mask’.
JS BACH Suitee – with a resounding percussive Even more striking are the three SACHEVERELL COKE
Partitas Nos 1 & 2; English Suite No. 3 clangour – and when it’s time for substantial movements of the Triptych 24 Preludes; Variations and Finale
Rudolf Buchbinder (piano) school’s-out exuberance, as in that of 1970 – one of Bliss’s last works, Simon Callaghan (piano)
Sony 88875053302 56:57 mins work’s closing Gigue, he coruscates. whose leaner manner still allows the Somm SOMMCD 0147 77:12 mins
BBC Music Direct £14.99 His next Bach recording can’t come composer’s mastery of piano sonority BBC Music Direct £11.99
too soon. Michael Church to shine through. Malcolm Hayes
After magisterial recordings of PERFORMANCE ★★★★★ PERFORMANCE ★★★★ Has Roger Sacheverell Coke’s time
Haydn and Beethoven sonatas, RECORDING ★★★★★ RECORDING ★★★★ come? It didn’t come in 1959, when
REVIE S INS RUMEN AL
ismissive reviews o is oper Prélude are beautifully controlled

enc an t e Fugue reconci es t e orm
obscure British com oser, already o with a remarkably pro ressive
ragi e ea t , into a eep epression. lan ua e – less than 90 seconds
He ie in 1972, 60 years o , ust lon , but full of character. The other
one o many post-Romantics cast three better known works on the
a e y c anging as ion. disc ive us an interestin conspectus
His 24 Pre u es’ st e an manner of French iano music between 1914
is soa e in t e Romantic piano and 1948
ra ition (Rac maninov u ermost), In Ra el’s Le tombeau de Cou eri
et armonic twists an an o sessive Kathryn Stott not only pays tribute
epetitions o me o y an r yt mic to the Classical im ulses behind
moti s oint to an in ivi ua the work but also honours its more
persona ity, i one existin in a ver owerful moments: in the ‘Menuet’
sma wor . S ow s ee s an a moo the climax, as played here, reminds
o sa nosta gia ominate, ut Simon s that all the movements are
Ca a an’s supp e an sympat etic dedicated to friends the composer
p aying e p eep t e istener’s spirits emotional power: lost in the First World War. I do
a ert. Un ortunate , t e variation set Kathryn Stott finds the think thou h that, at the end, the
oesn’t ea Co e’s case near y as heart of Ravel’s Tombeau trill has to be cleared as in the
e . T e t eme, is own, is not very orchestral version.
appea ing, an t e rustration stirre Stott’s fin ers are well up to the
y its c inging variations mig t e ont s t ese per ormances ran wit per aps (just per aps) mo eration virt osic eman s of the ‘Prél e’
ecognised by a dog kept on a short e inest. ere s orne exce s is – especia y in t e extravagant and ‘Toccata’, as the are to those
eas . Ca a an ere is power ess to n is grasp o structure – i anyone uixot of the works b Dutilleux and
inter ene. Geo Brown emains w o t in s t at Sc ert ac s t e t eatrica orma ity an Messiaen. She is particularly attentive
PERF RM N E just ram es e ig t u y on, t ese arti ice o to dynamics and chordin , and her
RECORDING ★★★★ ccounts s ou ea to a rapi c ange as e a , a ter a ). phrasin throu hout is never less
min ; an in coping e ort ess T ese t ings are a ways ver than convincin . My only sli ht
it Sc u ert’s un e p u y aw war ersona , ut I can’t e p ee ing ere, reservation in a cou le of laces
eaps w ic ave e Mitus o Uc i on y spora ica y, t at F orestan as concerns tempos: the openin of the
o c aim t at e is t e most i icu t o een eeping c oser company wit D tille x Sonata is a to ch caref l
composers to p ay. Mic ae Tanner use ius t an is goo or im or us. compared with the recordin by the
ERFORMANCE ★★★★ I miss t e wi ness, t e anger, t e com oser’s wife for whom the iece
RE RDIN ometimes near-c aotic energy, t e was written, an i ewise in t e
SCHUBERT anic ‘ ig s’. Part o t is ies in t e excerpt rom Vingt Regar ‘Le baiser
Im rom tus, D935; Piano Pieces, aracter (not t e exemp ary qua ity) de L’Enfant- ésus’, Stott at times
D946; Variations on a theme by o t e ianism. Just as Sc umann crosses the ver fine line between
nselm Hüttenbrenne D57 enera y avoure t e mi e register rapture and solidity. The recordin
Steven Osborne (piano o t e ey oar , so U ig, it seems uality is su erb. Ro er Nichol
H perion CDA 6810 : 8 mins o me ten s to cu tivate t e mi e ERF RM N E
BBC Music Direct £13.99 register o t e ynamic range at t e RE RDIN ★★★★★
SCHUMANN expense o t e upper. T is is a matter
Steven Os orne is er a s t e Piano Wor s, Vo . 8: Carnava ; not on y o ou ness, ut o vo ume: o
outstan ing Britis pianist o is e t ; o r yt mic unc iness. T e BACKGROUND TO…
Davi s ün ertänze; Piano Pieces,
generation, certain y one o t e most O . 124 – se ection; A um att III e om ear misce aneous ieces, y
ersati e an a venturous. Recent y ontrast, are quite outstan ing y we Roger
in A flat, O . 99/6; Asch-Ca riccio
e seems to ave move into t e more in B lat; Fantasia so ra un tema di one. eremy Siepman acheverell
conventiona C assica repertoire o uatre suon n E m nor etc PERF RM N E ★★★★ oke
e Viennese ‘ irst sc oo ’, an on Florian Uhlig piano RECORDING 1912-72)
is isc e ays some o Sc u ert’s Hännsler Classic CD 98. 5 75:14 mins riend in his
most ami iar ate wor s, toget er BBC Music Direct £13.99 eenage years
it t e rare y per orme ariations orian U ig, now we into is f one of A atha
com ete Sc umann cyc e, is hristie s sisters,
e rien an wretc w o was so usician to is ingertips, wit a sense Coke pronounced ‘Cook’ was the
pat o ogica y possessive t at e ept sty e an an a inity or t e iano apparent model for the novelist’s
e manuscript o t e un inis e o natura t at one orgets a a out
moo y Scria in-sty e composer
Eig t Symp ony un er wraps unti ec n ue. Me o ica y, e cou te SOLITAIRES in one o her rare excursions into
1865, 37 years a ter Sc u ert’s eat . any singers a t ing or two a out Rave : Le tom eau e Cou erin; non-detective fiction i nt s
Sc u ert’s 1 variations on t e n ection, an is uoyant r yt mic Messiaen: Vin t Re ar s sur
pa try t eme are not especia y ro i es an c arity o p rasing are rea
l’Enfant-Jésus – excer t; Alain:
interesting. But t e secon set o esse y ree rom t e tyranny o Coke studied composition under
Pr lude et Fu ue; Dutilleux: Sonat
Impromptus an t e T ree Pieces etre. His e ineation o Sc umann’s Kathryn Stott piano A an Bus , ma ing is e ut as a
D946 are among is ey oar ua persona ity – ocumente BIS BIS-2148 h brid CD/SACD 68:37 mins composer-pianist in 1932. A riend
masterpieces, s owing t e rapi e composer t roug is twin a ter BBC Music Direct £13.99 f Rachmaninov s, he dedicated
c anges o moo o is ater gos ‘F orestan’ (extrovert, impu sive, T ere is muc to enjoy in t is his Second Symphony to the great
or s. Os orne p ays t em wit igorous) an ‘Euse ius’ (introverte , enterprising programme. Jé an composer. He wor e in re ative
intensity, per aps a it too stern y. e ective, yrica , reamy) – is very A ain’s Pré u e et Fugue, written bscurity, publishing his music
NIK LAJ LUND
C arm is not rea y is t ing, ut e t y an e , wit out recourse to at 24, is testimony to w at Frenc at is own expense an ong
as a emonstration o t e sca e an xaggeration, et a one caricature. music ost wit is eat on y ive su ering rom schizophrenia
immense erti ity o Sc u ert’s ast In ee e exaggerates not ing, except years ater. T e armonies o t e
2 BB M I M AZI ll c c nb r r fr m ww cl ic l music.com/sho
BRIEF NOTES Wagner Wesendonck Lieder etc;
Elgar Sea Pictures etc
Sarah Rose Taylor (mezzo), Nigel
Potts (organ), Grace Cloutier (harp)
MSR Classics MS1532
(see www.msrcd.com)
Sarah Rose Taylor’s CD
Your quick listening guide to more new releases, including Mozart piano debut reveals a voice
sonatas, choral works by Paulus and Clausen and Chinese piano pieces still in development,
riper in the chest
register than above
it. The organ accompaniments are a
JS Bach • Schumann • Prokofiev curious decision, creating an oddly
English Suite No. 2 • static impression. (TB) +++
Faschingsschwank aus Wien •
Piano Sonata No. 6 Echoes of China Works by Zhou
Elisabeth Nielsen (piano) Long, Alexina Louie & Tan Dun
Danacord DACOCD 761 £15.99 Susan Chan (piano)
A promising debut Naxos 8.570616 £7.99
for Danish-Ukrainian Chinese landscapes,
pianist Elisabeth legends, and folk
Nielsen. She could songs are the
afford to carry the inspiration for these
Prokofiev’s emotional extremes pieces, which Susan
further but her Bach is rigorous and Chan delivers with conviction. Zhou
supple and the Schumann engagingly Long’s Pianobells, evoking a mystical
communicative. (JD) ++++ synthesis, is the most successful.
(MC) ++++
Bartók Complete works
for piano solo, Vol. 2 fresh approach: Far in the Heavens Choral
the Quatuor Modigliani
Andreas Bach (piano) music by Stephen Paulus
shed new light on Bartók’s
Hänssler HAEN98043 £13.99 Soloists, True Concord Voices &
String Quartet No. 2
Bartók’s rarely aired Orchestra/Eric Holtan
early works are much Reference Recordings FR716 £11.99
under the eerie spell of Stephen Paulus’s
fin de siècle Vienna and Dvoπák • Bartók • Dohnányi Mozart Piano Sonatas Prayers and
reflect his own abilities String Quartets Jennifer Lim (piano) Remembrances is
as a pianist. Bach rises to their every Quatuor Modigliani Genuin GEN 15371 £13.99 the main work here.
challenge in these colourful, full- Mirare MIR 269 (see www.mirare.fr) Some enjoyable It marked the tenth
blooded performances. (JD) ++++ The Quatuor playing from Lim in anniversary of 9/11, and receives
Modigliani exemplify two of Mozart’s most an appropriately sincere, reflective
Chilcott St John Passion a refreshing modern popular sonatas and performance by the choir that
Wells Cathedral Choir/Owens trend towards probing, one of his best (K332). commissioned it. (TB) +++
Signum Classics SIGCD412 £12.99 highly responsive, Sensitive, songful, attentive, Lim
Bob Chilcott’s Passion rhetoric-free performances that offers control, even if some tempos Fugue State Works by JS Bach,
setting is essentially (especially in Bartók’s Second are a little too slow. (JD) ++++ Buxtehude, Scarlatti etc
conservative in idiom, Quartet) take absolutely nothing Alan Feinberg (piano)
but tautly structured for granted. (JH) +++++ Ravel • Prokofiev • Gershwin (arr. Steinway & Sons STNS30034 £11.99
and designed to Heifetz) • Tzigane Various works A fruitful idea: by
maximise choral involvement. (TB) Hahn Piano works • Debussy Nikki Chooi (violin), juxtaposing fugues
++++ Preludes (selection) etc Stephen De Pledge (piano) from two generations
Philippe Guilhon-Herbert (piano) Atoll ACD 615 £15.99 of Baroque composers,
Clausen • Paulus Choral songs Continuo Classics CC777715 £11.99 Winner of the Feinberg shows
Lucy Wakeford (harp), Rachel Gough Six Debussy Preludes 2013 Michael Hill how they shared ideas. Feinberg’s
(violin); Royal Holloway Choir/ are magisterially International Violin performances of these pieces – some
Rupert Gough delivered, but the Competition, Nikki seldom heard – are exemplary. (MC)
Hyperion CDA 68110 £13.99 accompanying Chooi plays this ++++
Until his untimely selection of short demanding programme with a
death in 2014 Stephen pieces by his more conventional winning combination of exquisitely Piano Seasons Works by
Paulus was a bastion contemporary, though charming, refined tone and an exultant Tchaikovsky, Piazzolla
of Minnesotan choral underline the difference between sensitivity to phrasing. (JH) ++++ and Carrapatoso
music, as René Clausen talent and genius. (MC) ++++ Filipes Pinto-Ribeiro (piano)
is. This introduces them in warm- Sarasate Opera Phantasies, Vol. 2 Paraty 315132 (see www.paraty.fr)
toned performances. (TB) ++++ Kalliwoda Violin Concertinos etc Volker Reinhold (violin), This Portuguese
Ariadne Daskalakis (violin); Ralph Zedler (piano) pianist ‘challenged’
Damrosch Symphony in A etc Kölner Akademie/Willens MDG 9031909-6 Eurico Carrapatoso to
Azusa Pacific University SO/Russell CPO 77692-2 £13.99 (see prestoclassical.co.uk) compose a cycle on
Toccata TOCC 0261 £13.99 Another fine release In this selection of Lisbon, but it’s anodyne
Conductor-violinist from the enterprising Sarasate’s virtuoso stuff; Nisinman’s arrangements
Leopold Damrosch CPO label featuring violin and piano of Piazzolla tangos are atmospheric,
emerges as a skilled, Prague’s answer to potpourris from and the Tchaikovsky is gracefully
early-to-middle period the young Beethoven, popular operas, an played. (JH) ++++
Wagnerian composer Johann Kalliwoda, whose enchanting unfortunate quantity are based on Reviewers: Terry Blain (TB), Michael
in his own right in these radiantly concertos possess a choreographic mediocre stage works and outstay Church (MC), Jessica Duchen (JD),
engineered recordings. (JH) ++++ virtuoso thrust. (JH) ++++ their welcome. (JD) +++ Julian Haylock (JH)
JAZZ of creativity is undipped. The Bristol
quartet headed deep into the West
Country for inspiration, recording at
a remote Cornish location. And it’s no
picture postcard view. It takes a while
for the ears to adjust to the murky
A family album features the late pianist John Taylor;
r Drifterr reveals a flair opener, as pulsing foghorn-style
for intricate composition; plus a sea-themed disc from Get The Blessing
effects set the scene. And this eerie
seascape strand runs throughout, with
‘Conch’ anchored by lurking bass and
shards of electronically manipulated
brass, while ‘Cornish Native’ sees
the band whipped up in a trance-like
groove. The electronic trickery is
JAZZ CHOICE omnipresent, with trumpet and sax at
times rasping, warbling and echoing.
Crowd-pleasers JOHN TAYLOR

‘Monkfish’ is more like the band’s
familiar output – propelled by driving
beats – and ‘Green Herring’ proves yet
again GTB’s knack for short catchy
Garry Booth enjoys a live release from the 2081
melodies that go down so well with
live audiences. The band heads inland
maverick British big band Loose Tubes John Taylor (piano), Alex Taylor (vocal),
Oren Marshall (tuba), Leo Taylor (drums) this October for Astronautilus’s
CamJazz CAMJ7889-2 49 mins live London launch. Neil McKim
BBC Music Direct £14.99 PERFORMANCE ★★★★★
The sad and sudden passing of pianist
John Taylor in July of this year has left
an unusual void in contemporary jazz:
everyone knows it’s there, but defining
its exact location is another matter.
His highly individual style combined
the structural rigour of classical music
with a facility for improvisation
in which the vocabulary of the DRIFTER
mainstream was a seam to be mined Flow
as diligently as the statements of Alexi Tuomarila (piano), Nicolas
the avant-garde, with everything Kummert (sax, vocals), Axel Gilain
bound together into a remarkably (bass, vocals), Teun Verbruggen (drums)
approachable whole by his distinctive Edition EDN1059 58 mins
thinking big: touch and elegant phrasing. BBC Music Direct £13.99
Loose Tubes get The music on this CD is a quartet Drifter is a resurrected form of the
back together version of a commission originally Alexi Tuomarila Quartet, which
for octet based on a Kurt Vonnegut garnered admiration in 1999 with
story and the album demonstrates his Voices of Pohjolaa on the Belgian label
every night was like a first night – subtly receptive approach by featuring Igloo. The success of this prompted
or maybe the last – and this album, a floaty alternative-rock drummer and interest from Warner and the band
live recordings from Ronnie Scott’s a gnarly singer-songwriter (both of recorded O2, receiving praise, but the
club in 1990 and also their 30th whom happen to be the pianist’s sons) door of opportunity slammed shut
anniversary reunion gig there alongside the UK’s leading leftfield when Warner scaled down its jazz
last year, perfectly captures the tuba player. Impeccably recorded, and classical departments. Thank
LOOSE TUBES cracked beauty of a Loose Tubes the results are assured and quirkily goodness for indie labels like Edition.
show. There’s the insouciant, imaginative. Roger Thomas Drifter’s primary strength lies
Arriving
Django Bates (keyboards etc), Mark
crafty arrangements of ‘Armchair PERFORMANCE ★★★★★ in the compositions, all originals
Lockheart, Iain Ballamy (saxophone), March’ and the slapstick bathos RECORDING ★★★★★ by members of the quartet:
Chris Batchelor (trumpet), Eddie Parker of ‘Nights At The Circus’; on the intricately constructed, with
(flute), John Parricelli (guitar), Steve discombobulating ‘Eden Express’ attractive, memorable melodies and
Watts (bass), Martin France (drums) etc it sometimes feels like the tape is compulsive rhythms, these pieces
Lost Marble LM008 65:21mins on rewind. Cut to 2014 and the hold the attention themselves as
BBC Music Direct £15.99 group’s delight in one another well as providing interesting bases
They broke the mould before and the tightly controlled anarchy for improvisation. Kummert has a
they made Loose Tubes, the of their tunes is undiminished. satisfyingly husky tone and, when
extraordinary big band that tore up What’s not clear is whether they GET THE BLESSING developing the themes, phrases in a
the European jazz scene between led their anniversary audience out Astronautilus pleasing manner appropriate to the
1984 and 1990. The wildly of the Soho club into Frith St, as Jake McMurchie (saxophone), Pete mood of each tune. Tuomarila’s
eccentric 20-plus piece collective happened 30 years earlier! Judge (trumpet etc), Clive Deamer blithe cascades of notes are highly
★★★★★
NICK WHITE, GETTY
used to hit the stand bursting with PERFORMANCE (drums), Jim Barr (bass) ear-catching, while Axel Gilain and
such musical energy and love that RECORDING ★★★★★ Naim naimcd221 43 mins Teun Verbruggen provide sterling
BBC Music Direct £13.99 support throughout. Barry Witherden
Hear an excerpt of this recording at www.classical-music.com Get the Blessing (GTB) is back for PERFORMANCE ★★★★
its fifth album and the momentum RECORDING ★★★★
JAZZ REVIEWS
JAZZ STARTER COLLECTION

spirit of adventure:
Joe Henderson, here in 1986, kept
at the forefront of jazz styles
No. 185 Joe Henderson

Geoffrey Smith, presenter of Geoffrey Smith’s Jazz, on a
tenor sax player who restored the reputation of jazz
Thirty years ago The Sidewinder and Horace Silver’s
this month, tenor Song for My Father, as well as a
saxophonist Joe string of acclaimed albums of his
Henderson made own. His jazz roots were manifold
a live recording at and deep, encompassing bebop,
New York’s Village Latin, free – the full array of styles
Vanguard which not only he forged into his personal voice.
proclaimed his eminence as a It’s that range of committed
saxophonist but restored the creativity that gives The State
credibility of jazz itself. Since the of the Tenor its excitement,
1970s, the music had been in a accomplishment and power.
state of schism, torn between the Henderson’s attack is fluent
scorched-earth freedom of the and flexible, rough-edged but
avant-garde and the robotic melodic, and every track a feat
hammering of fusion, with little in of exploration, in keeping with
between. Listeners fled to pop and his belief that ‘you’ve got to
rock, leaving musicians espousing keep changing things around,
the classic jazz values of blues and keep inventing’. As he does, from
swing, tunes and structure Thelonious Monk’s obliquely
without an audience. romantic ‘Ask Me Now’, to his own
In that parlous context, Joe driving blues, ‘Isotope’ and fiery
Henderson’s The State of the Tenor, Latin ‘Y Ya La Quiero’, to bassist
Volumes One & Two was an act Ron Carter’s funky ‘Loose Change’.
of faith and renewal. Performing Carter himself is a wonder,
a programme of originals, jazz with his fat, sinewy sound and
standards and Broadway songs unfailing inspiration, abetted by
backed only by bass and drums, Al Foster’s canny drums. The disc is
he produced a statement of a collective triumph, proving both
pure quality, improvisations that that Joe Henderson is a great tenor
combined emotional depth with player, and that jazz is great music.
spur-of-the-moment discovery.
CD CHOICE
In a way, Henderson’s
Vanguard achievement was no The State of
the Tenor
surprise. Almost 50, he’d been
Blue Note CDP 7243
an acknowledged star for two
8 28879 2 8
decades, a key player on such
(see iTunes)
famed sessions as Lee Morgan’s
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at www.orchidclassics.com
WORLD Ghanaian veteran singer PAT
THOMAS was dubbed ‘the golden
voice of Africa’ during his 1960s
heyday. He was also active through
the 1980s, when he wrote some of
the songs on Pat Thomas & Kwashibu
Ghanaian singer Pat Thomas makes a model comeback; and Chaos Area Band,d a model comeback, with
inspired choice of guests. There’s
blends rustic Greek tradition with attractive electronic soundscapes also new material, like ‘Odoo Be Ba’,
featuring Nigerian drummer Tony
Allen. Altogether, an album with a
warmly retro feel.(★★★★)
Born in Iraq, but brought up in
RAMÓN EN Tottenham, London, pianist and
WORLD CHOICE PALENQUE singer Alya Marquardt recorded her
Palenque La Papayera debut CHAI PARTY in Brooklyn,
NY, with the Shamash Ensemble.
Steel away in style
Buda Musique 860272
They mix jazz improvisation, Iraqi
GOSSIP folk and unfortunately a little too
K
Khaira Arby much human beatboxing from Adam
Jon Lusk is transported to somewhere festive Clermont Music CLE 011 CD
C Matta. (★★★)
The post-war situation in Iraq
by steelpan legend Rudy Smith could be described as ‘chaos’, which
PAT THOMAS is the meaning of the Greek word
& KWASHIBU XAOS, the title of another of the year’s
panorama: AREA BAND highlights. It’s intriguingly described
Rudy Smith flits Pat Thomas as ‘Post-Troika Hellenic Trance
across genres Strut 126 music’, but is actually often closer
CHAI PARTY to ambient or chill-out than any
A Marquardt
Alya
dance genre. The two-man team who
Two Rivers Records TRR 001
T played and produced most of it over
ten years is multi-instrumentalist
Nick Page (aka Dubulah,) and
Ahetas, who explore the Greek
CHAOS
ancestry they have in common
N Page, Ahetas
Nick
through music; conventional
Dubulah and Ahetas
D
IR
RL Records PGR 001 instruments are juxtaposed with
ravishingly beautiful electronic
soundscapes and an array of rustic
THE BELL THAT traditional Greek instruments such
NEVER RANG
as the Pontic lyra. Konstantinos
Lau Reveal Records 047 CDX
Tsahourides delivers melancholic
vocals, and on the ominously pulsing
‘Processional’, Giorgos Makris
RAMÓN EN PALENQUE , by Geneva plays Greek bagpipes which sound
maestro, pan-maker and mentor based ten-piece Palenque la Papayera, remarkably Celtic. (★★★★)
with his own groups, working is another recent debut with a similarly You can definitely say the same
throughout Europe, North festive feel, and draws on Colombia thing about the largely Scottish
America and the Caribbean. for traditional sources. It certainly group Lau, although they don’t
There are plenty of details in the sounds like they had fun making it as have any piper. Most of their higher
excellent sleeve notes, based on an they charge through Afro-Colombian registers come from fiddler Aidan
WHAT PAN interview done in his Copenhagen roots styles such as cumbiaa and porro. O’Rourke and Martin Green’s
DID FOR ME home, as well as historical Papayera is a derogatory reference to accordion/keyboards. THE BELL
information about pan. Smith is a these, and a palenque is a Colombian THAT NEVER RANG is arguably
Rudy Smith
Caprice Records CAP 21839 73:41 mins talented writer and novel arranger village founded in the jungle by their strongest and most fully realised
See musikverket.se/capricerecords of jazz standards. He flits like a Africans who had escaped slavery studio album since they started in
hummingbird from style to style, centuries ago. (★★★★) 2005, and takes this largely Scottish
There are few things more with clear references to Trinidad’s There’s a passionate anti-slavery post-folk trio into newly and zestfully
powerfully evocative of any sense neighbours, in hints of Venezuelan song on GOSSIP, the fifth album by experimental territory, as usual.
of place as the soft but brightly tonadaa and one Afro-Cuban piece. Malian singer Khaira Arby, aka ‘The The title track is an extraordinary
metallic, trickling sound of steel There’s even flamenco-jazz, jazz Nightingale Of Mali.’ She performed 17-minute collaboration with the
pan drums.What Pan Did For Me samba and JS Bach plus R&B. The ‘La Liberté’ at the UN in 2012, and Elysian Quartet. Producer Joan
tells its story through the music of constantly shifting focus and the like much of her original material, it’s Wasser (aka Joan As Police Woman)
Trinidadian steel pan legend Rudy number of upbeat tracks should based on a traditional piece. The rest helps guide them further into rock
Smith from his 1956 recordings make this a good party album. of the songs date from her 2010 album than ever before, as does Kris Drever’s
with the Merrymakers Steelband, It all begs the question: why has Timbuktu Tarab. With Dramane mostly electric guitar and Green’s
up to those with Birdsong steelband this wonderfully eclectic debut Toure’s almost psychedelic electric digital percussive effects on laptop.
in 2000. Spurred on by the 1950s compilation taken so long to arrive? guitar riffs, cascading over the ngoni, Drever’s unerring vocals are routinely
BILL PRINCE
calypso craze, the largely self- PERFORMANCE ★★★★★ tehardentt and calabashh arrangements, rich and his personal lyrics studded
taught Smith became a jazz/fusion RECORDING ★★★★★ the vibe at times recalls Zani Diabate’s with striking imagery. (★★★★★)
1980s Super Djata Band. (★★★★) Jon Lusk
To order CDs call BBC Music Direct +44 (0)1322 297 5155 prices include P&P BBC M USIC M AG A Z I N E 97
BOOKS
Andrew Parrottt s provocative yet highly readable collection of writings;
plus the fraught and controversial autobiography of James Rhodes BEETHOVEN’S
SYMPHONIES:
An Artistic Vision
Lewis Lockwood
Norton
ISBN 978-0-393-32638-3 320pp (hb)
BOOKS CHOICE www.wwnorton.co.uk
Musical hero of Ramallah Lewis Lockwood is a senior

American musicologist, who has
already written four books on
Beethoven, one of them a biography.
Michael Church reads the Palestinian musician’s incredible story His speciality is Beethoven’s
sketchbooks, in which the composer
jotted down musical ideas, many
hope in adversity: of them never taken up, and
Ramzi Aburedwan offers preliminary versions of passages
change through music in works which we now recognise
instantly. The main question
that this new general book on the
symphonies raises is how much, in
listening to or thinking about one
CHILDREN OF THE of Beethoven’s symphonies, one
STONE: The power of is helped by knowing the various
music in a hard land backgrounds against which it was
Sandy Tolan written. It is, everyone will agree,
Bloomsbury interesting to know whether or not
ISBN: 978-1-4088-5304-7 454pp (hb) Beethoven had Napoleon Bonaparte
www.bloomsbury.com in mind when he wrote the Eroica,
and under what circumstances it
This inspiring book is the biography and the other symphonies were first
of a musician: Ramzi Hussein performed, and so forth. But does it,
Aburedwan, who first found global should it, make any difference to how
fame at ten through a sequence we listen to them and what we feel
of photos showing him throwing about them? So far as I’m concerned,
stones at Israeli soldiers. It’s also, the answer is definitely: No. That
in the words of the subtitle, a isn’t Lockwood’s.
portrait of ‘the power of music in The shape of each of his chapters
a hard land’. In 1998 Sandy Tolan is to begin with an overview of the
made a radio documentary about relevant symphony, which includes
a list of the tempo indications for
Tolan does not gloss each movement, an account of the
structure, and so on. Then follows a
over the problematic biographical and historical account of
personality of his hero within the West-Eastern Divan his equally beloved grandfather – a the circumstances of its composition,
Orchestra, and the long-drawn-out volunteer street-sweeper – mown in so far as they are known. Then a
19-year-old Ramzi in his new guise vacillations of Daniel Barenboim’s down by a lorry. more detailed account of the work,
as a musical celebrity in Ramallah, re-condemnation of the Israeli The emergence of Ramzi’s iron movement by movement, with a
and in 2009 the pair chanced to occupation of Palestinian territory; political will – in tandem with his few musical quotations, which can
re-meet in a West Bank restaurant: Tolan does not gloss over the musicality – becomes the armature of also be found, aurally, online; and
Ramzi agreed to give Tolan problematic personality of his this vividly-written narrative which, some remarks about how the work
unfettered access for a book about protagonist. But as he makes clear, drawing on copious interviews, went down at the time – generally
his refugee-camp background, his nobody could endure what Ramzi gives fascinating insights into music- called in the trade ‘reception studies’.
turbulent relationship with the has endured without getting making both European and Arabic. None of this is without interest,
West-Eastern Divan Orchestra, and seriously messed up by it. Deserted And this tale is at every point set particularly coming from so vastly
the Palestinian music school he has by his alcoholic, wife-beating father, against the backdrop of a catalogue erudite a musicologist. But none of
founded and run under the eyes of then discovering that father, who of institutionalised cruelties – amply it is necessary for understanding and
the incredulous Israelis. had been wrongfully accused of documented in a massively detailed enjoyment of these great works, and
It was agreed that the book should collaboration with the Israelis, appendix – by settlers, Israeli soldiers, so there is a sense in which this book
not be hagiographic: Tolan pulls beheaded by vigilantes; finding his and successive Israeli governments. and the many like it are superfluous,
no punches as he chronicles the beloved younger brother brutally In that respect, it makes the more likely to lead listeners away
furious Arab-Israeli disagreements murdered by a criminal gang; seeing blood boil. ★★★★ from, than into, the symphonies.
GETTY
Michael Tanner ★★
98 BBC M USIC M AG A Z I N E All discs can be ordered from www.bbcmusicmagazine.com/shop

BOOKS REVIEWS
COMPOSERS’ INSTRUMENTAL:
INTENTIONS?: A memoir of madness,
Lost traditions of medication and music
musical performance James Rhodes
Andrew Parrott Canongate
Boydell Press ISBN 978 1 78211 337 9 276pp (hb)
ISBN 978-1-78327-032-3 422pp (hb) www.canongate.tv
www.boydellandbrewer.com
This memoir is not one that lends
The question mark in the title itself easily to the format and star
of Andrew Parrott’s Composers’ ratings of a short review. A raw
Intentions?? can be read as self-effacing account, filled with self-loathing
or playfully provocative. There is an and anger, it exposes pianist James
enviable lightness of touch in this Rhodes’s struggle to deal with a
collection of essays, some of which legacy of child abuse.
date back to the 1970s, when period The facts are grim: from the
performance practice was still a age of six, over a period of nearly
niche pursuit. Four decades on, our five years, he was repeatedly raped
understanding of style, which Parrott by his Physical Education teacher
terms ‘the often barely definable at prep school. It led to ‘multiple
characteristics of musical delivery’ surgeries, scars (inside and out), tics,
and is careful to distinguish from OCD, depression, suicidal ideation,
historically informed choices of vigorous self-harm, alcoholism,
instruments, temperaments or choral drug addiction’, and Rhodes was
forces, remains fluid. It was ever thus. institutionalised in his early thirties
In his essay ‘A Brief Anatomy after suffering a mental breakdown.
of Choirs’, Parrott surveys three His ex-wife tried unsuccessfully to
centuries of choral practice, touching ban the book in order to protect
on the use of string and wind their 12-year-old son, to whom it
instruments in services, the first is dedicated.
performance of Messiahh in Dublin, As the story of his breakdown
the all-female choirs of the Venetian unfolds, his sense of humour invites
ospedale and the rise of the castratos. us to watch. In hospital, after his
Having spent four decades arguing first suicide attempt fails, he finds
over the vocal forces used by Bach himself in a ‘Benny Hill-in-a-
(there are three essays on this) and psych-ward sketch… springing out
issues of pitch in Monteverdi’s 1610 the bathroom in my boxer shorts,
Vespers (four essays), he could be television aerial around my neck like
forgiven for sounding a little tetchy. a pretentious fashion show moment’.
‘High Clefs and Down-to-Earth Not long after, and still on mission
Transposition: A brief defence of to kill himself, he escapes from the
Monteverdi’ (2012) offers a table of institution, going ‘all Jason Bourne’
100 sources to support a theory he as he hops on and off the tube,
first put into practice in 1993. heading to a hotel in Paddington
It’s a comprehensive slap-down. ‘that would make you want to kill
But the most interesting essays here yourself even if you were perfectly
are on less well-rehearsed subjects: happy before checking in’.
English Puritan ‘revulsion’ at the Throughout, music is his
sound of sackbuts and cornetts lifeline – he begins each chapter
in church prior to the Civil War, with a favourite track and a brief
and the curious history of falsetto introduction to its composer – and
singing. Parrott has amassed several it’s his passion for piano-playing that
pages of fascinating historical keeps him alive. His story of how
notes on the breaking treble voice, he became a professional pianist,
attributed by Johann Friedrich Oest helped by wealthy philanthropists,
in 1787 to ‘indulgence in the secret is fascinating, and Rhodes writes
vice’. Vignettes such as this and insightfully about the need for
contemporary accounts of the haute- change in an industry that clings to
contre voice in 18th-century Paris are tradition. He rants, he self-promotes,
a delight. While Parrott maintains he preaches – and yet you can’t help
a reasonable tone, he clearly enjoys but feel deeply sympathetic and
the more outspoken language of the angry at the injustices of his past.
dead. Anna Picard ★★★★ Nick Shave ★★★★
AUDIO
Our audio expert Michael Brookk takes a look at the best new audio andd
video equipment to help you get the most out of recorded classical musicc
CHOICE
STUDIO-QUALITY HEADPH
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AKG K812 £950 full stereo pair via the Ultimate Ears
AKG has enjoyed something of a smartphone and tablet app.
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professional recording kitt, there’s of the box, the Boom delivers a well-
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inches written about the brand in bass-heavy – with plenty of space to
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What’s clear from AKG’s recent It’s an engaging sound but at this
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production purposes, the So are there any caveats? Well, sound Soundmagic E50 £50
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AKG’s Reference series, a Crank the volume up and you can be garnered five-star reviews across the
position hinted at rather assured that more-or-less anyone within two board when they appeared on the
pointedly by the £900-plu us metres of yo ou will be able to hear what you’re in-ear scene a few years back and
listening to. The fact that these are built for sonic have scooped many awards since.
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attention to detail: people will be using g them in the home rather than on a model to get excited about, and now
the sound quality of the AKG
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that it packs plenty of punch from deliver, with a sound that really
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will effortlessly fill all but the most earphones… It’s worth noting that
capacious of rooms or halls. Although these aluminium bodied earphones
weighing 11kg, it’s surprisingly are may sound a little too ‘neutral’
portable and, while it lacks some of for some tastes, meaning they
the space and dynamism of a home reproduce the sound levels of the
music system, it’s supremely capable original recording. They lack the
for large-scale music reproduction bass that’s often associated with
and even live performance. contemporary headphones – but
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systems. JBL is well known across connection to MP3 and CD players, (black, blue, red and plum) and is
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The JBL EON 206P is a small only tinkering being to tweak treble In addition, you can buy a pair of
suitcase-sized portable sound system and bass settings to taste. Booms and link them together as a

LIVE CHOICE
20 UNMISSABLE EVENTS
FOR NOVEMBER 2015
BBC Music Magazine’s choice of the best November
concerts and operas, plus a guide to Tallis’s Spem in alium
For detailed concert listings visit www.classical-music.com/whats-on
1 FLANDERS
ORCHESTRA
SYMPHONY
The Anvil, Basingstoke, 1 November 3 THE PIANO
Royal Concert Hall, Glasgow,
Tel: +44 (0)1256 844244 6-8 November
Web: www.anvilarts.org.uk Tel: +44 (0)141 353 8000
Music director Jan Latham-Koenig brings Web: glasgowconcerthalls.com
the Flanders Symphony Orchestra to the Glasgow’s pre-eminently eclectic piano
UK for a five-concert tour remembering the weekend is fast becoming something
return of the king:
bicentenary of Napoleon’s defeat at Waterloo. of a November fixture and remains as
countertenor Xavier
The programme features Le Sueur’s music for adventurous as ever. The standard is Sabata takes the lead in
the coronation of the Emperor and Berlioz’s exceptional throughout, with John Lill Tamerlano (Choice 5)
The Fifth of Mayy which commemorates his performing Beethoven (on 6 November)
death. Schoenberg’s Ode to Napoleon and and closing jazz from Gwilym Simcock
Beethoven’s Wellington’s Victoryy also rub salt and Iiro Rantala (on 8 November).
into any lingering Gallic wounds. Elsewhere, Richard Goode is tackling Met, Calixto Bieto’s new production shifts the
Mozart and late Brahms, while Philip action to the Spanish Civil War and includes
2 STEPHEN KOVACEVICH
& ELISABETH LEONSKAJA
Wigmore Hall, London, 2 & 22 November
Glass’s cycle of Etudes is performed by
Maki Namekawa. Alexandre Tharaud
(below) spends an afternoon immersed
tenor Gwyn Hughes Jones as Don Alvaro and
soprano Tamara Wilson as Donna Leonora.
Tel: +44 (0)20 7935 2141

Web: www.wigmore-hall.org.uk
The Wigmore Hall is marking the milestone
in JS Bach’s Goldberg Variations.
5 HANDEL’S TAMERLANO
Barbican, London, 10 November
Tel: +44 (0)20 7638 8891
anniversaries of two pianists. First off is Web: www.barbican.org.uk
Stephen Kovacevich, who invites Martha After being nominated for this year’s BBC
Argerich to share 75th-birthday Debussy Music Magazine Awards, Il Pomo d’Oro’s
and Rachmaninov duos before he plays vibrant account of Tamerlano, Handel’s richly
Schubert’s sonata swansong. Three weeks complex Turkish tale, takes to the concert
later, Elisabeth Leonskaja embraces 70 platform. Spanish countertenor Xavier Sabata
with Mozart’s G minor Piano Quartet and (above) revisits the title role and tenor John
Schubert’s Troutt Quintet. She is joined by Mark Ainsley reprises his formidable portrayal
friends including clarinettist Jörg Widmann. of Bajazet. Taking over the musical direction
from Riccardo Minasi is young Russian
4 VERDI’S THE
FORCE OF DESTINY
Baroque specialist Maxim Emelyanychev.
Coliseum, London, from 9 November

Tel: +44 (0)20 7845 9300
Web: www.eno.org
6 ROYAL LIVERPOOL
PHILHARMONIC
Philharmonic Hall, Liverpool,
Having introduced himself as English 12 & 13 November
National Opera’s new music director with Tel: +44 (0)151 709 3789
Shostakovich’s Lady Macbeth of Mtsensk, bach challenge: Web: www.liverpoolphil.com
Mark Wigglesworth turns to Verdi’s The Force pianist Alexandre Tharaud Having scaled one symphonic Everest last
of Destinyy – a work not seen at the Coliseum tackles the Goldberg Variations month in the shape of Richard Strauss’s
for over 20 years. Shared with the New York An Alpine Symphony,
y Vasily Petrenko and

NOVEMBER 2015 LIVE EVENTS
Mozart and Schubert, the festival is heralded

by a strongly cast Monteverdi Vespers on the
opening night.
10 BIRMINGHAM
CONTEMPORARY
MUSIC GROUP
CBSO Centre, Birmingham, 15 November
Tel: +44 (0)121 345 0600
Web: www.thsh.co.uk
Oliver Knussen returns to conduct the CBSO’s
enterprising contemporary music ensemble
offshoot in a programme that includes
Nielsen as reimagined by Hans Abrahamsen,
Julian Anderson’s ballet score The Comedy
of Change, and a new work by Melinda
Maxwell inspired by Thelonius Monk’s
’Round Midnight. These preface Stravinsky’s
‘burlesque for the stage with singing and
music’, the farmyard fable Renard.
11 CELEBRATING
PETER CROPPER
Upper Chapel & Crucible Studio Theatre,
Sheffield, 18 November & 5 December
Tel: +44 (0)114 249 6000
Web: www.musicintheround.co.uk
Planned by the erstwhile leader of the Lindsay
Quartet (and founder of Sheffield’s Music
in the Round) as a 70th birthday present
to himself, two concerts ‘Celebrating Peter
Cropper’ become poignant tributes to the
much-missed violinist who died in May.
Family members and colleagues – including
pianist Martin Roscoe and cellist Moray Welsh
– play Bach, Beethoven, Mozart, Haydn and
Vaughan Williams’s The Lark Ascending.
the Royal Liverpool Philharmonic Orchestra
square up to another: Mahler’s Symphony
No. 6 – the fate-obsessed epic that Berg called
8 HAAS’S MORGEN
UND ABEND
Royal Opera House, London, 12 EARLY OPERA COMPANY
St John’s Smith Square,
‘the only Sixth, despite the Pastoral’. Setting 13-28 November London, 20 November
the scene is Schumann’s Violin Concerto Tel: +44 (0)20 7304 4000 Tel: +44 (0)20 7222 1061
played by Isabelle Faust, whose ‘Schumann Web: www.roh.org.uk Web: www.sjss.org.uk
Trilogy’ recording project reaches its final Based on a novel by the Norwegian writer Hot on the heels of Rossi’s Orpheus at the
stage early next year. Jon Fosse, the world premiere of Morgen und Wanamaker Theatre (in a new production by
Abend by Austrian composer Georg Friedrich Keith Warner which runs until 15 November),
7 BATH MOZARTFEST
Various locations, Bath,
13-21 November
Haas is the latest main stage Royal Opera
commission to be aired in a series stretching up
to 2020. Graham Vick directs a drama dealing
Christian Curnyn’s Early Opera Company
follows up the success of last year’s Platée
with another foray into Rameau at St John’s
Tel: +44 (0)1225 463362 literally with matters of life and death, and Smith Square. Tenor Samuel Boden and
Web: www.bathmozartfest.org.uk making his House debut is German baritone baritone Ashley Riches take the title roles in
It’s no surprise that Mozart is threaded Christoph Pohl. Michael Boder conducts. the 1737 ‘tragédie en musique’ Castor et Pollux.
throughout a festival that features his
name so prominently in its title; but as
Bath Mozartfest notches up its quarter
century, the composer shares the billing
9 WIMBLEDON FESTIVAL
Wimbledon, London, 14-29 November
Tel: +44 (0)20 8543 7533
13 THE CARDINALL’S
MUSICK
Christ Church Cathedral, Oxford,
with an all-Monteverdi programme by The Web: wimbledonmusicfestival.co.uk 20 November
Sixteen, conducted by Harry Christophers in At every turn, the seventh edition of the Tel: +44 (0)1865 244806
MICHAL NOVAK, MARCO BORGGREVE
Bath Abbey. There is also a delectable song Wimbledon Festival is brimming with Web: www.musicatoxford.com
recital from mezzo-soprano Sarah Connolly inventive ideas. Accompanied by pianist The Cardinall’s Musick, Andrew Carwood’s
and pianist Joseph Middleton, including Paul Lewis, tenor Mark Padmore enters the vocal ensemble that takes its name from
Schumann’s Frauenliebe und -leben. The bittersweet world of Schubert’s Die schöne Cardinal Wolsey, is exploring the roots – both
festival ends in style as Vassily Sinaisky raises Müllerin and harpsichordist Mahan Esfahani musical and geographical – of Thomas Tallis’s
the baton for Tchaikovsky’s Fourth Symphony mixes Prokofiev and Martin with Scarlatti and 40-part motet Spem in alium (see box, p104)
with the City of Birmingham Symphony JS Bach. While András Schiff brings together and its English ‘cover version’ Sing and Glorify.
Orchestra at The Forum (on 21 November). last piano sonatas by Haydn, Beethoven, The choir of Christ Church Cathedral lends >

NOVEMBER 2015 LIVE EVENTS
QUICK GUIDE TO…

TALLIS’S SPEM IN ALIUM
additional lung power and the concert ends
with Cheryl Frances-Hoad’s Homage to Tallis,
premiered at the BBC Proms back in July.
18 AURORA ORCHESTRA
Kings Place, London, 27 November
Tel: +44 (0)20 7520 1490
Web: www.kingsplace.co.uk
Five essential facts about a work
being performed this month 14 DUNEDIN CONSORT
Sage, Gateshead, 20 November
Tel: +44 (0)191 443 4661
The Aurora Orchestra rounds off the Kings
Place ‘Minimalism Unwrapped’ year on
20 December when it pairs Terry Riley’s
Web: www.sagegateshead.com In C with Beethoven’s Symphony No. 1. In
John Butt carefully sites JS Bach’s Orchestral the meantime conductor Nicholas Collon
Suite No. 1 at the heart of a programme spearheads three minimalist classics as he
showcasing two of the most exuberant directs John Adams’s Shaker Loops, Arvo Pärt’s
choral works of the Baroque. The singers Spiegel im Spiegel,l and, with cellist Leonard
of his Dunedin Consort will welcome the Elschenbroich as soloist, John Tavener’s 1989
breather. After Handel’s virtuoso setting Proms hit, The Protecting Veil.
of Dixit Dominus, they turn to a work from
JS Bach’s first Christmas in Leipzig: the
equally exhilarating five-part setting of
the Magnificat.
19 ULSTER ORCHESTRA
Ulster Hall, Belfast, 27 November
Tel: +44 (0)28 9033 4400
Web: www.ulsterorchestra.com
15 BBC PHILHARMONIC
Bridgewater Hall, Manchester,
20 November
Italy meets South America as Venezuelan
conductor Domingo Hindoyan follows up a
Viennese lunchtime feast of Schubert and
eenduring appeal: Tel: +44 (0)161 907 9000 Webern on 25 November with an evening
conductor David Willcocks Web: www.bridgewater-hall.co.uk concert that includes Carl Herrmann’s
championed Tallis’s (left) Let joy be unconfined as John McCabe’s arrangement of the Verdi String Quartet
Joyboxx – inspired by a Japanese amusement and Mendelssohn’s effervescent Italian
■ Thomas Tallis’s Spem arcade – lifts the lid on a selection of Symphony. In between, accordionist James
in
n alium (Choice 13) was Stravinsky as well as Antheil’s Symphony Crabb addresses Piazzolla’s tango-fuelled
composed in c1570 and is
No. 5, subtitled Joyous. Conductor John Bandoneon Concerto Aconcagua.
scoredd ffor 40 voices.
i It is arranged for eight
Storgårds also includes Mark-Anthony
choirs with five voices in each. Tallis set ¡
the text of the Matins response Spem in
alium and it is likely that he designed it to
Turnage’s 2013 Erskine – Concerto for Drum Set
and Orchestra – played by its original creator,
Los Angeles-based jazz drummer Peter
20 FIESTA SINFÓNICO!
Hoddinott Hall, 27 November
Tel: 0800 052 1812 (UK only)
be heard ‘in the round’, with the audience
seated within a circle of singers. Beginning Erskine (below). Web: www.bbc.co.uk/bbcnow
with a single voice, the composer deploys as If the BBC National Orchestra of Wales
many effects as he can, displaying a mastery
of counterpoint and scoring all 40 voices
together at four key moments.
16 BRITTEN SINFONIA
Saffron Hall, Saffron Walden,
21 November
is suffering from withdrawal symptoms
following an extensive three-week tour of
South America, the final concert in its ¡Fiesta
■ According to the notebook of a London Tel: 0845 548 7650 (UK only) Sinfónico! series should set a few pulses racing
law student, Thomas Wateridge (writing in Web: www.saffronhall.com to a Latin beat. Mexican conductor Alondra
1611), a song was ‘sent into England of 30 Direct from EFG London Jazz Festival de la Parra brings together works by
parts’ from Italy. He recalls that a music- (on 18 November), the Britten Ensemble Revueltas, Letelier and Márquez plus the
loving duke ‘asked whether none of our assembles an all-star team of pianist Steven Concierto Caribeño for flute by Lalo Schifrin.
Englishmen could sett as good a songe’. The Osborne, bassist Eddie Gomez and conductor
nobleman is thought to be Thomas Howard, Kristjan Järvi for a line-up weaving Frank
the Fourth Duke of Norfolk. Wateridge notes Zappa and jazz-struck Stravinsky around
how Tallis took up the challenge. ‘Tallice… Milhaud’s La création du monde and a specially
would undertake ye Matter, wch he did and commissioned piece from Simon Bainbridge.
made one of 40 partes…’.
■ The Italian work that inspired Tallis is
likely to have been Striggio’s 40-part motet
or mass. The two composers probably met
17 PHILHARMONIA
AND LANG LANG
Southbank Centre, London,
each other in London in 1567 when Striggio 26 November, 1 & 3 December
was on a European tour with this work. Tel: 0844 847 9915 (UK only)
■ It is unclear when the first performance Web: www.southbankcentre.co.uk
took place. It may have been at London’s Daniil Trifonov’s Rachmaninov concerto
Arundel House, after the Duke of Norfolk’s cycle concluded, the Philharmonia has
release from prison in 1570, or maybe in the another piano project up its sleeve as
octagonal hall of Nonsuch Palace in Surrey. Lang Lang joins forces with conductor
■ The work was used for the 1610 Esa-Pekka Salonen for a residency that
investiture of Henry Frederick, the Prince of builds on their 2012 Beethoven cycle. The
GETTY, ROB SHANAHAN
Wales, and its enduring popularity has led first concert is an all-Grieg affair; the second
to landmark recordings including one by the sandwiches Bartók’s Piano Concerto No. 2 the beat goes on:
choir of King’s College, Cambridge, under between Beethoven; while the third crowns drummer Peter Erskine performs
David Willcocks (above), in 1965. Prokofiev’s Third Piano Concerto with in Manchester (Choice 15)
Scriabin’s The Poem of Ecstasy.y

RADIO & TV LISTINGS
Each issue we provide full listings for BBC Radio 3 introduced by the station’s controller
Alan Davey, plus highlights of classical music programmes on television
northern blast:
Norwegian trumpeter
Nils Petter Molvaer
appears in London
guests including Norwegian jazz trumpeter including Ginastera’s Harp Concerto and Huw
DIRECTOR’S CHOICE Nils Petter Molvaer (above). Watkins’s Three Welsh Songs.
Radio 3 In Concert; 13 November, 7.30pm, Radio 3 In Concert; 3 November, 7.30pm
Alan Davey, the Jazz on 3; 13 November, 11pm
controller of Radio 3, FREE THINKING FESTIVAL
picks out three great BBC NOW IN SOUTH AMERICA Radio 3’s Free Thinking Festival celebrates
moments to tune This year’s 150th anniversary of the its tenth anniversary, returning to Sage
into in November links between Wales and its Patagonian Gateshead for a weekend of provocative
settlement of Y Wladfa has been packed with debate, new ideas, live music and
EFG LONDON JAZZ FESTIVAL musical achievements, including a world performance. Many of Radio 3’s regular
As this year’s annual jazz fixture in the capital record-breaking vocal duet on BBC Music programmes will broadcast live from the
gets underway, Radio 3 is on hand to cover Day, bridging the 7,000 miles between the festival with more music than ever before.
two contrasting events from the EFG London two locations. This autumn the BBC National Highlights include special editions of In Tune,
Jazz Festival’s opening night. The annual Jazz Orchestra of Wales and conductor Grant The Verb, In Concert, World on 3, Music Matters,
Voice launch at the Barbican will see a 40-piece Llewellyn are making the long journey from The Choir, The Early Music Show and Words
jazz orchestra taking the stage, along with Cardiff for a three-week tour of Argentina and Music. Leading thinkers from the worlds
a starry cast of singers, to celebrate some of and its neighbours, with a stop at Buenos of arts, science, politics and literature will
the greatest names in jazz. Over in Soho, the Aires’s lavish Teatro Colón. Harpist Catrin challenge current thinking on a range of topics,
legendary Ronnie Scott’s Jazz Club will be Finch joins the orchestra for this concert with a theme of ‘Tearing up the rule book’.
packed until the early hours, with high profile that celebrates music from both countries, Free Thinking Festival; 6-8 November

NOVEMBER 2015 RADIO & V LIS ING
9am-12 noon 1-2pm fr m

NOVEMBER’S RADIO 3 LISTINGS nti l l i i more Hall rpt, rom 2 November nli htenment/Andr s Schiff piano/
12 noon-1pm Composer 2-3pm he Early Music Show irector)
the Wee rr n from Sa e Gateshead. A special 10-10.45pm i M tt r rpt
1-2pm unchtime C ncer dition of the pro ramme from 10.45-11pm –N w
Schedules ma be 2-3.30pm Aftern n n Radio 3’s Free Thinkin festival n r ti n Think r
3.30-4.30pm Choral Evenson sta e explorin the theme of tearin 11pm-12.30am Jazz n
sub ect to alteration;
4.30-6.30pm In Tun up the rule book…
or up-to-date listin s 6.30-7.30pm Composer of 3-4pm horal Evenson (rpt) 10 TUESDAY
Ra i Tim he Wee Farrenc (rpt) 4-5.30pm he Ch i 6.30-9am Breakfas
CHOICE 5.30-6.45pm rds and Mus c ith Petroc Trelawny
7.30-10pm adi 3 In C ncer 6.45-7.30pm Sunday Feature 9am-12 noon
1 SUNDAY 12 noon-1pm Com oser of live from Sage Gateshead. Free N w n r ti n Think r nti l l i
7-9am Br kf t e ee arren Thinking Festival. Mozart & Strauss 7.30-9pm i In n r 12 noon-1pm omposer o
9am-12 noon Sunday Mornin 1-2pm L n htim n r ar as, Stravinsky Concerto in rom the European Broadcasting h W Ravel (rpt
12 noon-1pm Private Passi ns 2-4.30pm Aft rn n n D, Shostakovich (arr. Barshai) Union 1-2pm unchtime ncert
1-2pm Lunchtime C ncer rom 4.30-6.30pm n un Mozart 9-10.30pm rama n 2-4.30pm Aftern n n
igmore Hall (rpt, from 26 October). 6.30-7.30pm omposer o Exsultate Jubilat . Elizabeth Watts 4.30-6.30pm In Tune
Liszt 283 ’il (soprano), Royal Northern infonia 10.30pm-11.30pm 6.30-7.30pm om oser of
st un charmant gazon 284 1 CHOICE K ra Hum hre Early Music Late he Wee Ravel (rpt
disaient-ils 276 La 7.30-10pm Radi 3 In C ncer 10-10.45pm The Ver 7.30-10pm Radi 3 In C ncer
tombe et la rose, uand tu from Teatro Colón, Buenos Aires, 10.45-11pm The Essa 9 MONDAY rom Bridgewater Hall, Manchester.
hantes bercée S306a h! uand Argentina. Mathias A Dance overture 11pm-1am rld n 3 6.30-9am r kf wi h i li K r li it , O . 11,
e dors, 282, e uss r ettes , O . 1 Ginastera Petroc Trelawn n erg iolin Concerto, Sibelius
oubliées, eyna o a n Rêverie, Britten Fou 7 SATURDAY 9am-12 noon h w n f n l S m hon
i m v r v i nt il , ea Interludes from ‘Peter Grimes’ 7-9am Break as Essential Classic .
L’Incr dul tes galantes. za et . 33a Huw Watkins Thr W l 9am-12.15pm 12 noon-1pm om oser of BC Philharmonic/John Storg rds
atts soprano , Julius Drake piano on s Dvořák S m hon No. 7 in u ng a rary 10-10.45pm Free Thinkin
2-3pm he Earl Music how . 70. Catrin Finch harp , 12.15-1pm Music Matter 1-2pm rom 10.45-11pm
Lucie Skeapin presents from a B National rchestra of Wales 1-3pm Saturda Classic igmore Hall, London. J Bach New Generation Thinkers
lasgow concert in which The rant Llewell n 3-4pm und inem Partita No. 2 in D minor or sol 11pm-12.30am L t n ti
Dunedin Ensemble erform John 10-10.45pm ree Thinkin 4-5pm azz ecor e uest i lin BWV1 4, Ysa e Vi lin n t
w 10.45-11pm e ssa 5-6.30pm Jazz Line-U 11 WEDNESDAY
two new com ositions from the 6.30-10pm O era on 3 r m agan n 6.30-9am wt
winn r f th 2 1 N ti n l 4 WEDNESDAY Welsh National O era. Handel ix Tan etroc re awny
entre for Early Music Young 6.30-9am wt rl n Lawrence Zazzo (Orlando), a se ect o 9am-12 noon
Com osers Award: Joshua Urben Clemenc Burton-Hill e ecca vans nge ca , o n Kelemen violin nti l l i
n hn l i - t 9am-12 noon Blaze (Medoro) etc. WN rchestra 2-4.30pm A tern n n 12 noon-1pm om oser of
3-4pm Choral Evenson (rpt) E nti l l i na o essan r n 4.30-6.30pm In n
4-5.30pm he h i 12 noon-1pm Com oser of 10pm-12 midnigh 6.30-7.30pm om oser o 1-2pm L n htim n r
5.30-6.45pm W r n M i t rr n ear an 2-3.30pm Aft rn n n
6.45-7.30pm unday Feature 1-2pm L n htim n r 12 midnight-1am 7.30-10pm i In n r 3.30-4.30pm Choral Evenson
7.30-9pm R i In n r 2-3.30pm Aft rn n n eo re mith’s Jaz live from West Road Concert Hall 4.30-6.30pm n T n
rom the European Broadcasting Unio 3.30-4.30pm horal Evenson ambrid e. Cambrid e Music 6.30-7.30pm Com oser of
9pm-10.30pm Dr m n 4.30-6.30pm n T n 8 SUNDAY F tiv l. M n l hn ri
10.30pm-11.30pm 6.30-7.30pm omposer o 7-9am Break as v rt r Schumann 7.30-10pm i In n r
Earl Music Lat t e ee arrenc rpt 9am-12 noon unday Mornin live from King’s ollege, ambridge.
7.30-10pm R i In n r 12 noon-1pm Pr vate Pass n M n l hn m hon No. 500th anniversary organ gala. Widor
2 MONDAY live rom Royal Festival Hall, London. occat
6.30-9am wt B th v n Pi n n rt N . in
Clemenc Burton-Hill a er m hon . omas rotter or an ,
9am-12 noon N . BBC Concert Orchestra, Cambrid e
Essential lassic Philharmonic rchestra Jukka- niversit Musical Societ Chorus,
12 noon-1pm Com oser P kk r t King’s College Choir/Stephen Cleobury
f th W F rr n 10-10.45pm ree Th nk n 10-10.45pm Free Thinkin
1-2pm Lunchtime C ncer 10.45-11pm e ssa 10.45-11pm –
rom Wigmore Hall, London. N w n r ti n Think r
travinsk it fr m L’hi t ir 5 THURSDAY
u soldat The Soldier’s Tale , 6.30-9am Br kf 12 THURSDAY
au Scaramouche, O . 165b with Clemenc Burton-Hill 6.30-9am wi h
(arr. for clarinet and piano), Satie 9am-12 noon etroc re awn
n i nn N 1 4, Bartók Essential lassic 9am-12 noon
ontrasts for violin, clarinet 12 noon-1pm Com oser ssential lassic
an ano, 116 an e o e th W rr n 12 noon-1pm Com oser of
violin), abine Meyer (clarinet), 1-2pm Lunchtime C ncer t ave rpt
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2-4.30pm ft rn n n 4.30-6.30pm n T n 2-4.30pm Aftern n n
4.30-6.30pm n n 6.30-7.30pm Com oser of 4.30-6.30pm In n
6.30-7.30pm Com oser of t e ee arrenc rpt 6.30-7.30pm om oser of
7.30-10pm Radi 3 In C ncer
7.30-10pm live from ity Halls, lasgow. Unsu 7.30-10pm Radi 3 In C ncer
hin R Strauss ive rom the Barbican, London.
10-10.45pm Music Matter (rpt) Schumann Symphony No. 2. Wu Wei th v n
ARALD HOFFMANN/DG GETT
10.45-11pm The Essa (sheng), BB cottish ymphony Strauss Death and Transfiguratio
11pm-12.30am azz n rchestra Markus tenz losin scene from
10-10.45pm ree Thinkin oile Isokoski (soprano), London
3 TUESDAY 10.45-11pm The Essa ymphony Orchestra/Nikola Znaider
6.30-9am Br kf t 10-10.45pm ree Thinkin
with Clemency Burton-Hill 6 FRIDAY 10.45-11pm – New
9am-12 noon 6.30-9am Br kf n r ti n Think r
Essential lassic with Clemency Burton-Hill lunch t : Daniel Hope visits Wigmore Hall (2 November) 11pm-12.30am L t n ti
BBC M USIC M AG A Z I N 7
NOVEMBER 2015 RADIO & TV LISTINGS
17 TUESDAY
Early Music Show 2-3pm, Sundays 6.30-1pm
As Monday 16 November
1-2pm Lunchtime Concert
music with passion:
Women of influence Barbara Strozzi’s work
2-4.30pm Afternoon on 3
4.30-6.30pm In Tune
is explored in Brighton 6.30-7.30pm Composer of
The Early Music Show’s Lucie Skeaping the Week
previews the Brighton Early Music 7.30-10pm Radio 3 Live In
Concert from Bath Mozartfest,
Festival’s theme of women composers Bath. Mozart Symphony No. 21 in
A, K134, Clarinet Concerto in A,
One of the pleasures of presenting the K622, Tchaikovsky Serenade for
strings, Op. 48. Paul Meyer (clarinet),
Early Music Show w each week is being
English Chamber Orchestra/
reminded of how much high quality Stephanie Gonley (director, violin)
live music-making there still is around 10-10.45pm Free Thinking
the country – in particular in the summer 10.45-11pm The Essayy –
festivals. And just when you think it’s New Generation Thinkers
all over for another year, along comes the autumn 18 WEDNESDAY
Brighton Early Music Festival (BREMF) and we all get to
6.30-1pm
leave our desks again, pack into the BBC pantechnicon, As Monday 16 November
and head off for a few days at the seaside. 1-2pm Lunchtime Concert
Now in its 13th year, BREMF’s imaginative themes 2-3.30pm Afternoon on 3
never fail to delight, and this 3.30-4.30pm Choral Evensong
year’s is certainly timely: Women 4.30-6.30pm In Tune
Composers. You might wonder Many convents 6.30-7.30pm Composer of
the Week (rpt)
just how much early music could were centres of dialogue, and she’s now gaining 7.30-10pm Radio 3 In Concert
possibly come into this category – musical excellence recognition as one of the finest live from the Barbican, London.
surely all the great composers were composers of the mid-Baroque. Boulez Livre pour cordes, Ravel
men? But we’ll hear that this was Francesca Caccini led a very Piano Concerto in D for the
Left Hand,
d Berlioz Symphonie
often far from the case when we broadcast highlights different kind of life. Dubbed ‘La Cecchina’ (‘The
fantastique. Jean-Efflam Bavouzet
from ‘Convent, Court and Salon’ – a concert of 16th and Songbird’) by her admirers – Monteverdi among them – (piano), BBC Symphony Orchestra/
17th century Italian music given by the BREMF Consort of by 1620 she had become the highest paid composer at the François-Xavier Roth
Voices (on 15 November, 2pm). Medici court, providing music for multi-media spectacles 10-10.45pm Free Thinking
For a family facing the prospect of paying out an alongside ravishing sacred and secular motets that show 10.45-11pm The Essayy –
enormous dowry, incarcerating a daughter in a convent great quality and extraordinary attention to detail. New Generation Thinkers
could be a cheaper option; but becoming a nun wasn’t As for the ‘Salon’, here we meet singer-songwriter 19 THURSDAY
necessarily as bleak a fate as it might appear. Many Barbara Strozzi, a truly emancipated lady for her time. Not 6.30-1pm
convents were centres of musical excellence, and recent quite the courtesan her bosomy tousle-haired portrait As Monday 16 November
research has revealed surprisingly rich pickings – such as (above) might suggest, she played hostess in her father’s 1-2pm Lunchtime Concert
the works of Chiara Margarita Cozzolani, who entered home, performing her own captivating, sometimes 2-4.30pm Afternoon on 3
the convent of Santa Radagonda at the age of 17. Her 4.30-6.45pm In Tune
erotic, songs and cantatas; certainly the gasps and sighs
6.45-7.45pm Composer of
eight-part Vesper Psalms fizz with a sense of drama, in I baci and the exhortation to ‘love’ to ‘wake up’ and the Week
foreshadowing the oratorio in their use of narrative and ‘arise’ in Amore dormigione leave little to the imagination. 7.45-10pm Radio 3 In Concert
live from City Halls, Glasgow.
Butterworth/Russman Orchestral
Fantasiaa (UK premiere of version for
13 FRIDAY 14 SATURDAY 12 noon-1pm Private Passions 9am-12 noon orchestra), Walton Cello Concerto,
6.30-9am Breakfast with 7-9am Breakfast 1-2pm Lunchtime Concert from Essential Classics Coles/Brabbins Sorrowful Dance
Petroc Trelawny 9am-12.15pm CD Review – Wigmore Hall (rpt, from 9 November) 12 noon-1pm (UK premiere of version for
9am-12 noon Building a Library 2-3pm The Early Music Show Composer of the Week orchestra), Elgar Enigma Variations.
Essential Classics 12.15-1pm Music Matters from Brighton Early Music Festival 1-2pm Lunchtime Concertt from Nicolas Altstaedt (cello), BBC
12 noon-1pm Composer of 1-3pm Saturday Classics (see box above). In the first of two Wigmore Hall, London. Brahms Scottish SO/Martyn Brabbins
the Week Ravel (rpt) 3-4pm Sound of Cinema programmes of music by female String Quartet in A minor, Op. 51 10-10.45pm Free Thinking
1-2pm Lunchtime Concert CHOICE composers, Lucie Skeaping presents No. 2, Bartók String Quartet No. 4 10.45-11pm The Essayy –
2-4.30pm Afternoon on 3 4-5pm Jazz Record Requests highlights of a concert given by BB955 Emerson String Quartet New Generation Thinkers
4.30-6.30pm In Tune Live from the Barbican, London. EFG the Brighton Early Music Festival 2-4.30pm Afternoon on 3
6.30-7.30pm Composer of London Jazz Festival. Alyn Shipton Consort of Voices, including music 4.30-6.30pm In Tune with 20 FRIDAY
the Week Ravel (rpt) presents a special festival edition by Barbara Strozzi and Chiara live performances from guests 6.30-1pm
CHOICE 5-6.30pm Jazz Line-Up Margarita Cozzolani. from the EFG London Jazz Festival As Monday 16 November
7.30-10pm Radio 3 Live in 6.30-10pm Opera on 3 Opera 3-4pm Choral Evensong (rpt) featured throughout the week 1-2pm Lunchtime Concert
Concert from the Barbican, North at Leeds Town Hall. Janáček 4-5.30pm The Choir 6.30-7.30pm Composer of 2-4.30pm Afternoon on 3
London. EFG London Jazz Festival. Jen∞fa. Ylva Kihlberg (Jenůfa), 5.30-6.45pm Words and Music the Week 4.30-6.30pm In Tune
Jazz Voice – celebrating a century Susan Bickley (KostelniΩka), 6.45-7.30pm Sunday Feature – 7.30-10pm Radio 3 In Concert 6.30-7.30pm Composer of
of song. The festival’s star-filled Elizabeth Sikora (Grandmother) etc, New Generation Thinkers from Bridgewater Hall, Manchester. the Week (rpt)
opening night. Orchestra of Opera North/ 7.30-9pm Radio 3 In Concert Bernstein Symphony No. 1, Mozart 7.30-10pm Radio 3 Live In
10-10.45pm The Verb Aleksandar Marković European Broadcasting Union Concerto for Piano No. 17 in G, Concert from Bridgewater Hall,
10.45-11pm The Essay – New 10pm-12 midnightt 9-10.30pm Drama on 3 K453, Schumann Symphony No. Manchester. John McCabe Joybox
Generation Thinkers Hear and Now Ashes to Ashess by Harold Pinter 2 in C. Rebecca Evans (soprano), Stravinsky Ode, Mark-Anthony
CHOICE 12 midnight-1am 10.30pm-11.30pm Ronald Brautigam (piano), BBC Turnage Concerto for Drum set and
11pm-1am Jazz on 3 live Geoffrey Smith’s Jazz Early Music Late Philharmonic/Yutaka Sado Orchestra, Stravinsky Scherzo à la
from Ronnie Scott’s, London. 10-10.45pm Music Matters (rpt) russe, Stravinsky Circus Polka, Ives
EFG London Jazz Festival, with 15 SUNDAY 16 MONDAY 10.45-11pm The Essayy – The Unanswered Question, Antheil
festival artists including Nils Petter 7-9am Breakfast 6.30-9am Breakfast New Generation Thinkers Symphony No. 5 ‘Joyous’.’ BBC
Molvaer (trumpet) 9am-12 noon Sunday Morning with Clemency Burton-Hill 11pm-12.30am Jazz on 3 Philharmonic/John Storgårds
g

NOVEMBER 2015 RADIO & V LIS ING
10-10.45pm Th V r n rt f r vi lin in r l ll
10.45-11pm h k r
N w n r ti n Think r cademy of Ancient Music/ Loops, Arvo Pärt piegel im piegel ADI HI HLI HT
11pm-1am rld n Bo an ić director & violin On our website each week we
10-10.45pm M i M tt r rpt Elschenbroich cello , Thomas Gould ick the best of the classical
21 SATURDAY 10.45-11pm – violin , John Reid piano , Aurora music pro rammes on radio,
7-9am Breakfas Si ns and Mytholo ies r h tr Ni h l ll n V and iPlayer. So to plan your
9am-12.15pm – 11pm-12.30am Jazz n 10-10.45pm he Ver weekly listenin and viewin ,
Building a Library 10.45-11pm – head to the website or si n up
12.15-1pm M i M tt r 24 TUESDAY igns and Mythologies o our weekly newsletter to
1-3pm aturday lassic 6.30-1pm 11pm-1am W rld n be sent information abo t the
3-4pm und f Cinema As Monday 23 Novembe week's classical pro rammes
4-5pm azz ecor equest 1-2pm unchtime C ncert 28 SATURDAY irectly to your inbox.
5-6.30pm Jazz Line-Up 2-4.30pm Aftern n n 7-9am Br kf
6.30-10pm O era on (tbc) 4.30-6.30pm n un 9am-12.15pm –
10pm-12 midnigh 6.30-7.30pm Composer of Building a Library
Hear and N th Wee andel (rpt) 12.15-1pm M M tt r TV HIGHLIGHTS
12 midnight-1am 7.30-10pm Radi 3 In ncer 1-3pm Saturday Classic
eoffre Smith’s Jazz from t David’s Hall, ardiff. 3-4pm S und f Cinema
Grie Holber Suite, Op. 40, Piano 4-5pm Jazz Record Request
22 SUNDAY oncerto in A minor, O . 1 , 5-6.30pm Jazz Line-U
bohemian rhapsody:
7-9am Breakfas Rachmaninov S m honic Dances, 6.30-10pm era on rom Musetta (Stefania
9am-12 noon unday Morning he Sam Wanamaker Pla house, Dovhan) and Marcello
12 noon-1pm Priv t P i n BB N ti n l r h tr f W l hakes eare’s lobe, London. (Audun Iversen)
1-2pm Lunchtime C ncer ki t k oss
rom Wigmore Hall (rpt, rom 10-10.45pm ree Th nk n with the Royal Opera . Mary
16 November 10.45-11pm The Essa Bevan rpheus , Louise Alder
2-3pm he Earl Music Show an yt o o es Eurydice , Caitlin Hulcup Aristeus
from Brighton Early Music Festival. tc. rchestra of the Earl era
In the second of two pro rammes 25 WEDNESDAY om an /Christian Curn
f music b women com osers, 6.30-1pm 10pm-12 midnight
Lucie Skeapin presents hi hli hts As Monda 23 Novembe ear and N
the rst ma or UK production 1-2pm unchtime ncert 12 midnight-1am
f Fr n ini ll tt L 2-3.30pm Aft rn n n Geoffre Smith’s Jaz
eraz one ugg ero a so a 3.30-4.30pm horal Evenson
4.30-6.30pm In n 29 SUNDAY
the rst o era b a woman. 6.30-7.30pm omposer o 7-9am reak as
3-4pm horal Evenson rpt 9am-12 noon unday Mornin
4-5.30pm he h i 7.30-10pm R i In n r 12 noon-1pm Pr vate Pass n
5.30-6.45m r n M i live from the Lighthouse, Poole. 1-2pm n htim n r fr m
6.45-7.30pm Sunda Feature t v n Pi n n rt N . Wigmore Hall (rpt, rom 23 Nov)
Stardust and S ice: Asian theatre gar ymphony No. . Kirill erstein 2-3pm The Earl Music Show –
n rt n (piano), Bournemouth Symphony Lucie keapin presents hi hli hts
7.30-9pm R i In n r rchestra Vassily inaisky of a concert given by keyboardist
uropean roa cast n n on 10-10.45pm Free Thinkin n a c o son at on on s rt
9-10.30pm rama n 3 10.45-11pm – Workers’ Guild on clavichord and PUCCINI’S LA BOHÈME
Dinn igns and Mythologies t e on y tan ent p ano n t e . Puccini s tra ic love story is based on Henri Mur er s
10.30pm-11.30pm 3-4pm horal Evensong rpt 1 51 nove c nes e l vie e boh m , a depiction o
Earl Music Lat 26 THURSDAY 4-5.30pm The Ch i
6.30-1pm 5.30-6.45pm rds and Musi life in Paris’s Latin Quarter. Arturo Toscanini then
23 MONDAY As Monda 23 Novembe 6.45-7.30pm Sunda Featur aged just 29, conducted L bohèm s premiere in
6.30-9am wt 1-2pm Lunchtime ncer Ballad for lasgo 1896 at Turin s Teatro Re io, and within a year the
Petroc Trelawn 2-4.30pm A tern n n 7.30-9pm i In n r opera was per ormed in houses worldwide
9am-12 noon 4.30-6.30pm n n uropean roa cast ng n on
E nti l l i 6.30-7.30pm Com oser of 9-10.30pm Dr m n
The opera (seen here in a Royal Opera House
12 noon-1pm Com oser of uman e ng e t at n g t production by John Copley follows two artists, the
7.30-10pm ad 3 In y c o as r g t oet Rodolfo and ainter Marcello baritone Audun
1-2pm from 10.30pm-11.30pm Iversen, above , and their romantic entanglements.
igmore Hall, London. chumann armon c a , ver oo . Earl Music Lat
Th f rm r m t th m tr Mimì n th
Five Pieces in Folk St le, O . 10 ozart e arr age
am u o an ll n t N . , of Figaro, en e sso n o n 30 MONDAY latter is pursued by a ormer mistress, Musetta.
en e sso n Cello Sonata No. n rt , ozart m hon No. 35 6.30-9am Br kf with Puccini emplo s inventive orchestration, with a
in D, O . 58. are a nazar an S m hon lemenc Burton-Hill recurring 9/8 theme for Mimì, the use of a harp
ce o , ave o esn ov p ano 9am-12 noon to embellish the wintry atmosphere, and even
2-4.30pm ft rn n n Philharmonic rchestra Julian ssential lassics
4.30-6.30pm n un Rachlin (violin director) 12 noon-1pm Com oser a passing military band. Towards the end, the
6.30-7.30pm Com oser of 10-10.45pm ree Thinkin th W com oser weaves in minor chords and dissonances
10.45-11pm e ssa 1-2pm unchtime C ncer from to indicate the onset of Mimí s fatal illness. Sir Mark
7.30-10pm i In n r an yt o og es Wigmore Hall, London. Janá e Elder conducts. Sky Arts 2; time and date tbc
from West Road Concert Hall, tring Quartet No. r tz r
Cambridge. Vivaldi Violin Concerto 27 FRIDAY onata’, r hm Strin Quartet in C
6.30-1pm inor, Op. 51 No. 1. Artemis Quarte
n t – ‘ n ti As Monday 23 Novembe 2-4.30pm Aftern n n 4. Olivier Messiae
Vivaldi 1-2pm unchtime C ncert 4.30-6.30pm n un 10 Han-na Chan John Fould
2-4.30pm A tern n n 6.30-7.30pm Com oser of 9 Tan Dun 2. Claude Debuss
Leclair Violin oncerto in D 4.30-6pm In n 8 Lorin Maaze ) India
PER
Man redini oncerto rosso in 6-7pm Composer of the Wee 7.30-10pm Radi 3 In 7. G st v Hols ) Ce lon (Sri Lanka);
Handel (rpt) G it r b) Ja an;
R H/BILL C
7.30-10pm Radi 3 In C ncer 10-10.45pm

5 Mon oli . a) China;
Biber assaca lia for solo violi i M tt r rpt
Vivaldi oncerto live from Kin s Place, London. 10.45-11pm The Essa QUIZ ANSWERS from p110
in E ‘Il ri oso – er il antissimo Minimalism Unwra ed. Tavener 11pm-12.30am zz n
BBC M USIC M AG A Z I N 1
November prize crossword No. 287
The first correct solution of our monthly crossword to be picked at random will win a copy of The Oxford Companion to Music
worth £40 (available at bookstores or www.oup.co.uk). Send your answers to: BBC Music Magazine, Crossword 287, PO Box 501,
Leicester, LE94 0AA to arrive by 21 October (solution in our January 2016 issue). Crossword set by Paul Henderson
ACROSS 12 Slips from note to note (lads sing so

1 To feel moved about prisoner’s wind badly) (10)
instrument (9) 13 Soprano style: a shade American and
6 Opening of show always getting cut (5) natural at heart (10)
9 Volume is more variable in style of 16 Sculthorpe’s place, providing a form of
opera (7) aria suffused with lust (9)
10 Cheers mechanical instrument 18 Asked questions of network over debut in
dispatching an opus of 11 (7) Donizetti (7)
11 Anniversary composer, broadcast as in 19 Colin and I, excited to welcome a German
jubilees (4,8) composer (7)
14 Attractive girl recalled embracing 21 Gossip about special piano producing
unknown English composer (5) sounds of astonishment (5)
15 Swap clarinets and bassoons etc? That’s 22 A lot of money is for this melody (4)
a blow (5-4) 23 MacMillan heroine captured by fine
17 Dancers, perhaps, beginning to squeal soprano (4)
sounds of woe about returning equipment (9)
19 Compound element of concert indirectly
recalled (5) AUGUST SOLUTION NO. 284
20 Astonishing people embracing good
hymn (7,5)
24/25 NZ composer and soprano engaged in
unfortunate dull labouring (7,7)
26 Tolerate a place for music? (5)
27 Fake and spurious noises, nothing less,
from Japanese guitars (9)
DOWN
1 Quintet following quartet onto rear of
stage (4)
2 Songs and duos without piano (4)
3 Cilea’s tending to include part of
London? (4,3)
4 Opus of 11 striking lunar note, mostly, with AUGUST WINNER
nothing added (9) Timothy Kinahan, Bangor, Co. Down
Your name & address 5 Unison passage: annoyed comment over it
Immediate Media Company Limited, publisher
going the wrong way (5)
of BBC Music Magazine, may contact you with details
6 Foremost member of 60s group? (7) of our products and services or to undertake research.
7 Six old catalogues filled with fashionable Please write ‘Do Not Contact’ if you prefer not to
string-players (10) receive such information by post or phone. Please
8 Arrangement for harp thus ends emotional write your email address on your postcard if you prefer
pieces of music (10) to receive such information by e-mail.
THE QUIZ PICTURE THIS 6. Inspired by a tour of the Far East in 1956,
Britten’s Songs from the Chinese are scored for
5. Baritone Amartuvshin Enkhbat (below)
tenor voice and which solo instrument?
This month’s quiz requires won the Audience Prize at this year’s BBC
Cardiff Singer of the World. Where is he from?
you to look to the east… 7. Which British composer wrote his Japanese
Suite for orchestra in 1915, based on tunes
1. In which Asian countries are the following whistled to him by Japanese dancer Michio Ito?
operas set: a) Puccini’s Turandot; b) Gilbert and
Sullivan’s The Mikado; c) Bizet’s Les pêcheurs de 8. In 2008, which conductor led the New York
perles; d) Donizetti’s Il paria? Philharmonic on a groundbreaking tour to
North Korea, culminating in a concert at the East
2. ‘Javanese music obeys laws of counterpoint Pyongyang Grand Theatre?
that make Palestrina seem like child’s play,’ wrote
which composer after hearing the gamelan at 9. Showcasing the talents of cellist Yo-Yo Ma,
the 1889 Paris Exposition Universelle? the score for the 2000 Ang Lee-directed film
Crouching Tiger, Hidden Dragon was written by
3. Best known for his Three Mantras, which which leading Chinese composer?
British composer devoted the last four years of
his life collecting folk music in India before dying 10. Which South Korean cellist and conductor
of cholera in Calcutta in 1939? resigned last year as music director of the Qatar
Philharmonic Orchestra just one day after its
4. Which composer’s Seven Haikai incorporates BBC Proms debut?
the sounds of 25 birds that he heard while on a
trip to Japan in 1962? See p109 for answers

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MUSIC THAT CHANGED ME
Thomas Dausgaard conductor

M
y earliest memories are of keep them all going at the Copenhagen
sitting next to my father Conservatory, so I began my studies
C
at the piano: he played th here. NIELSEN had been a figure in my
jazz piano and he would let me play liife since childhood: I heard about him
along on the other keys. My maternal frrom my grandmother and my piano
grandmother had studied piano in teeacher who were taught harmony by him
Vienna, and her friend became my in the conservatory. They found him
piano teacher. eempathetic and charming, but didn’t
My first love was BEETHOVEN: his ccare much for his music – they thought it
music grew on me from as early as I can ooften sounded like being on a farm…
remember, particularly the piano music. I had a healthy dose of Nielsen at
The defining moment came when I cconservatory, and actually wanted to
heard and recorded a live broadcast of lleave it behind. It was only when, as a
the Seventh Symphony by the Jerusalem m sstudent in London, I went to a Danish
Symphony under Lukas Foss. I must National Symphony concert at the
N
have been 11 or 12. I remember Foss Barbican and heard the Overture from
B
saying that it must sound completely M
Maskarade e that it really moved me. I
new every time we hear it – that struck ssuddenly realised how deeply his music
moved by mahler :
me. I listened obsessively to that cassette ‘we went from death
was a part of me. It belonged inside me –
w
tape (it was only 30 minutes on each sidee to the sublime in a day’ a gift I cherish. ■
so I still feel the shock waves where it IInterview by Helen Wallace
stopped just before the middle section off
the finale!). It awoke such joy in me: with that IN AUTUMN 2016, Thomas Dausgaard
elemental force, it made me feel the world was will become chief conductor of the BBC THOMAS DAUSGAARD
bigger than I could imagine, and gave me a Scottish Symphony Orchestra. Born and MUSIC CHOICE
sense of the infinite. trained in Copenhagen, he was principal Beethoven
I was interested in lots of things as a conductor of the Danish National Symphony No. 7
teenager: I loved drawing, animals and Symphony Orchestra, with whom he Swedish Chamber Orchestra/
writing, and I played in a rock band, but made acclaimed Nielsen recordings. He Thomas Dausgaard
Simax PSC1182 £14.99
gradually things began to accumulate has been chief conductor of the Swedish
in one direction. A step on the way was Chamber Orchestra since 1997 and, in
watching Leonard Bernstein conduct the the US, is principal guest conductor of Brahms Symphony No. 1
Vienna Philharmonic/
Israel Philharmonic in BRAHMS’s First the Seattle Symphony Orchestra. This Leonard Bernstein
Symphony on TV. He was larger than life and autumn sees him conduct the BBC DG 445 5052
he took everything a step further – further Scottish in Sibelius Symphonies Nos 5, 6 (see iTunes)
than I realised was possible. Later in life I & 7 in Glasgow and Perth.
encountered the multi-talented man he was, Dvoπák Symphony No. 8
not only in music but in particular also with Berlin Philharmonic/
words and poetry; he loved word-games and Rafael Kubelík
would always win them! joyful experience. Seeing him conduct made DG 447 4122
£10.99
Because my piano teacher’s sister played in me want to do it too. So I began gathering
the Danish National Symphony, I was allowed friends together in a chamber orchestra for
Mahler Symphony No. 2
out of school to go to rehearsals. Sergiu performances in Copenhagen’s churches. Barbara Hendricks, Christa
Celibidache was a regular conductor there, Around that time, I was lucky to join an Ludwig; Westminster Choir,
and it was fascinating to see him painstakingly amateur chorus doing MAHLER R Symphony New York Philharmonic/
rehearse and then witness the music come to No. 2 with the Tivoli Orchestra under Frank Leonard Bernstein
life in such an intense way in the concerts. Shipway. We went from death to the sublime DG E423 3952 (see iTunes)
I took up the cello and was admitted into in a day. Being able to scream along during the Nielsen
Symphonies Nos 1-6 etc
ULLA-CARIN ECKBLOM
the youth orchestra in Copenhagen. We had final pages of that symphony is life-changing –
Danish National Symphony
an inspiring Czech conductor, Milan Vitek, there are few greater earthly experiences.
Orchestra/Thomas Dausgaard
and I’ll never forget playing DVO∏ÁK’s At that point in my life, I wanted to Dacapo 8206002
joyful and celloistic Symphony No. 8 with do everything: cello, piano, composing, £32.99
him: being part of an orchestra was such a conducting. I was persuaded that I could

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THE WORLD’S BEST-SELLING CLASSICAL MUSIC MAGAZINE

ALSO IN THIS ISSUE

ALEXANDRE THARAUD L’ARPEGGIATA, CHRISTINA PLUHAR GAUTIER CAPUÇON, VALERY GERGIEV

THE MONTH IN MUSIC

ON STAGE ON DISC ONLINE ON AIR

10 The Full Score 110 Crossword and Quiz 38 Betty Freeman

pocket watch might be useful if you fancy hypnotising

EDUCATION WOES interest to me. However, I don’t

Have BBC Music Magazine delivered

Riccardo Chailly grabs tasty Swiss role

between you and me: On the beat

operatic splendour: Milan’s La Scala

Two’s company as Leeds names new heads

So formidably successful has Dame

RISING STAR Great artists of tomorrow

★NEW 1 Shostakovich Symphony No. 10;

★NEW 2 Lutosławski Piano Concerto; Symphony

Sibelius Belshazzar’s Feast

From ecstasy to mystery

Beethoven Piano Concertos Nos 1-5

★NEW 7 Adams Absolute Jest; Grand Pianola

Never out of season

10 Schubert Symphony No. 9

__ REWIND Artists talk about their past recordings STUDIOSECRETS

ever made, to see what

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to you on the piano. This

TWITTER ROOM The Leipzig piano firm of Blüthners

caught the bus

QOn vinyl, I’ve been enjoying an album by Sharon OUR CHOICES

AND MUSIC TO YOUR EARS…

NEWSINBRIEF Thank you for the moosic

orchestra, each writing a ten-minute

NIKOLAUS LEHNHOFF Born 1939 Opera director

Disc of the Month

SUPER AUDIO CD IN SURROUND SOUND

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www.chandos.net STAY I N TH E K NOW

I birdsong recordings as well as someone whispering ‘tweet, tweet’

THE BEST OF NIGE

KENNEDY’S ORIGINAL FOUR SEASONS

take a bow: the seven-

seasoned professionals: That, it transpires, isn’t his only grudge

useful to me as cheap labour!’

The James Naughtie interview

balanced individual. To relax, she practises

That 2,000-strong ukulele gathering may

A ‘FLEA’ IN YOUR EAR uke can do it:

in my Dreams’ at Harrison’s memorial

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Nadezhda von Meck

LUCERNE ON RECORD musical giant:

gala concert: Toscanini in 1938 at Lucerne

THE LUCERNE FESTIVAL Orchestra’s

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Rimsky-Korsakov Ivan the Terrible

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