lis 90
io e p
ad se
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Fu insi

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see p55

How the composer’s
sacred sounds have
captivated a generation

Yo-Yo Ma
The celebrated
cellist on his
favourite music


Stephen Kovacevich
The acclaimed pianist at 75

Debussy’s Images
The best recordings of the piano masterpiece

Tchaikovsky Competition
Ivan Hewett reports from Moscow

Richard Morrison
Should concerts really be relaxing?

Classical India
Mumbai’s orchestral renaissance

Pencils and Post-its

their scores

George Enescu
Romania’s greatest composer


The recordings, concerts, broadcasts and websites exciting us this September

ON STAGE Electric Leeds
Former Leeds International Piano
Competition winners have included
Radu Lupu and Murray Perahia, and
the likes of Mitsuko Uchida and
András Schiff have been finalists too.
The competition, founded by Dame
Fanny Waterman (right) in 1961, has
a fine track record of bringing to light
the greats of tomorrow, so expect an
electric atmosphere at Leeds Town Hall
for the final on 13 September. See p86

ON AIR Brahms charms
Jamie Barton was an immensely
popular winner of the BBC Cardiff
Singer of the World in 2013, so will
be sure to receive the warmest of
welcomes when she makes her debut at
the BBC Proms on 1 Sept. For her Albert
Hall outing, the US mezzo joins the
Orchestra of the Age of Enlightenment
in Brahms’s Alto Rhapsody, conducted
by Marin Alsop. See p90

ON DISC Riley special
It’s Terry Riley’s 80th birthday this
year, and to celebrate the occasion, the
Kronos Quartet is releasing a box set
of his works. The American minimalist
has worked with the world-renowned
string quartet for 35 years; they’ve
commissioned 27 works from him,
beginning with Sunrise of the Planetary
Dream Collector, which they’ve
recorded afresh this year. See p76


ONLINE Tasty Apple
Apple Music, the much anticipated
music streaming service, is now
up-and-running. Seen by some as a
badly needed alternative to Spotify, but
by others as a worryingly large stride
towards the US giant’s domination of
the global music market, Apple Music’s
vast resources are being offered for
free to users for the first three months.

a giant among composers page 28: Stephen Kovacevich talks to James Naughtie page 36: Winning smiles in Moscow CONTENTS EVERY MONTH 3 A Month in Music 6 Letters 10 The Full Score 21 Richard Morrison 46 Musical Destinations Rebecca Franks pushes the boat out in Venice 48 Composer of the Month Erik Levi on George Enescu. scrawls and swearwords 36 Moscow duels As he reports from the International Tchaikovsky 22: Arvo Pärt. a Romanian great 52 Building a Library Rebecca Franks explores the best recordings of Debussy’s colourful Images for solo piano 4 BBC M USIC M AG A Z I N E 86 Live Events 90 Radio & TV listings 96 Crossword and Quiz 99 Music that Changed Me Cellist Yo-Yo Ma FEATURES 22 Arvo Pärt We celebrate the 80th birthday of the Estonian. where an exciting young symphony orchestra is introducing an enthusiastic new audience to classical music 44 The Young Ones What were today’s musicians like at university? Christopher Gillett opens the photo album and reveals the past antics of five well-known names . arguably today’s most influential composer. Ivan Hewett wonders whether home advantage still rules a little too strongly… 40 Classical India John Allison heads to Mumbai. with a look at his life and uniquely powerful music 28 James Naughtie meets… Pianist Stephen Kovacevich 32 Pencils and Post-its What do top musicians write in their printed music scores? Ten leading performers explain their array of scribbles.

How times have changed… Oliver Condy Editor BBC M USIC M AG A Z I N E 5 . but also because their annotations are usually very private. but will reassure those musicians among you that the greatest artists need the security of good fingering too. be ur cri o r bs for offe Su e p8 stic Se anta f THIS MONTH’S CONTRIBUTORS A musicians. The stress. ALEX SHAPUNOV/TCHAIKOVSKY COMPETITION ‘After immersing myself in the wonderful and wideranging musical world of George Enescu. DVDs and books reviewed 56 Recording of the Month WA Mozart Arias and overtures 58 Orchestral 62 Concerto 66 Opera 70 Choral & Song 74 Chamber 78 Instrumental 80 Brief Notes 81 Audio 82 Jazz 84 Books VISIT CLASSICAL-MUSIC. Marking up a score with i h fingerings/bowings/pedallings fi i /b i / is the first thing many musicians do before the serious practice can begin. found their musical feet at university rather than at a conservatoire. crayons and Post-it p Notes and you’ve got the full N aarsenal. directions for the page-turner and even phone numbers of favourite restaurants. radio and TV highlights.’ Page 48 ! Peter Bouteneff Author and writer SEPTEMBER REVIEWS The important new recordings. lurks within his odyssey of inward and outward exile. We remain committed to making a magazine of the highest editorial quality. This world of intense musical preparation is usually hidden from us. critic and author COVER: LEBRECHT THIS PAGE: JOHN MILLAR. Economics (that was me). good fingering can do 90 per cent of the work for you. competitions. Zoology. and it’s understandable that we should only be allowed to hear the final product… But we hope that this feature will not only inspire you to see under the bonnet. I think. and perform for a living?’ Page 44 Erik Levi Professor.. u Add to that coloured felt-tip A pens. like me. musicianship comes a distant second to very Russian ideas of performance. as pianist James Rhodes told me for our fascinating piece starting on p32. reminders. of great performance. Having made it into the second round. strain and anxiety of the event calls to mind a feature from one of last year’s issues. Ogdon returned to the UK to give a scheduled performance of the Tchaikovsky Piano Concerto No. 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. as it were. there is little doubt in my mind that he is the one great composer of the first half of the 20th century who still awaits rediscovery. 1 with the London Philharmonic. and his spiritual and musical searches…’ Page 22 Christopher Gillett Baritone and author ‘I’ve worked with countless musicians who. From then on. partly because so many musicians perform without the score. quotations. when Brenda Lucas Ogdon told the tale of her husband John’s triumph in the 1962 competition. What inspired them to give up Law.. and even the legendary ones are prone to forgetting the odd semi-quaver rest unless it’s well marked! Ivan Hewett’s absorbing piece on this year’s Tchaikovsky Competition in Moscow and St Petersburg (see p36) paints a very vivid picture of an asphyxiating musical environment – one where. interviews. before flying back out to clinch the first prize (jointly with Vladimir Ashkenazy). the score becomes a musical notice-board of philosophical ramblings. one that complies with BBC editorial and commercial guidelines and connects with BBC programmes. amateur and All professional.Welc ‘How does Arvo Pärt write music that breathes an intense spirituality to people of all faiths and of none? Part of the answer. The road to musical perfection is paved with messy scrawls The road to perfection is paved with messy scrawls. KAUPO KIKKAS.COM FOR THE LATEST FROM THE MUSIC WORLD ■ Download a free track every week from one of the best reviewed recordings from a recent issue ■ Read the latest classical music news ■ Listen to clips from BBC Music Magazine’s choice recordings ■ Listen i t to t the th ffortnightly t i htl BBC Music i Magazine i podcast d t ■ Discover more about the lives of the great composers ■ Plus: the official chart. know only too p well that their best friends w aare a decent 2B pencil and a top-quality p qu y w white rubber. Hewett hints.

to which my parents took me as a teenager some 46 years ago. David Rowe. I saw the oddest production of the Barber of Seville I have ever witnessed. . but I downloaded Anatoly Lapunov and the Byelorussian Radio and TV Symphony Orchestra’s disc of his music as a result. surely Mr Jaffé intended this to be in the ‘And One To Avoid’ category? Your writers have got to be realistic and use some common sense in their recommendations. They introduced a less stuffy form of music-making – no tails and bow ties – with Peter’s illuminating and amusing commentary on the music. 11 in all. Bratislava old town itself is very pretty. followed by The Dream of Gerontiuss with Janet Baker. This is the case in Daniel Jaffé’s well considered article. ‘Do you know what is going on?’ she whispered to me. David Sharpe. which included The Elias String Quartet. His vision was to take chamber music to places where it had never been heard. and Shirley-Quirk’s diction and clarity of phrasing – truly touches of the divine. That concert opened my ears. Tear’s humanity. He’s a composer I wasn’t too familiar with (with the exception of the well-known ‘Dance Of The Tumblers’). BBC Music Magazine. yet still have much of interest in it to prompt a reviewer’s excitement and.LETTERS Write to: The editor. I sat next to a Finnish lady who agreed with me that the orgy which seemed to be developing behind the singers throughout the entire performance had nothing whatever to do with the plot. Music in the Round. continues the work that he LETTER OF THE MONTH albert hall icons: pianist Daniel Barenboim and mezzo Janet Baker A MEMORABLE START CLIVE BARDA/ARENA PAL I read July’s Music That Changed Mee by Daniel Barenboim during a pause in clearing my house in readiness for down-sizing.robertsradio. It’s fun to have a ‘new’ composer to explore! John Peel. It brought to mind a memory that has now been confirmed by finding in said clearing a concert programme for a concert by the New Philharmonia at the Royal Albert Hall. While I was there.s July) for her recommendation of Kabalevsky. He and The Lindsays founded Music in the Round in Sheffield. Collingham 6 BBC M USIC M AG A Z I N E PETER THE GREAT Your farewell to violinist Peter Cropper (August) does not do justice to all that he did for chamber music. hence. heart and mind to appreciate the rich humanity of music composition and performance and the architectural space and Every month the editor will award a SolarDAB 2 Roberts form of the building in which it is radio (retail value £80 – see being performed – qualities so richly www. David Yabbacome. shorten letters for publication. Ruislip FINE DISCOVERY I’d like to thank your disc editor Alice Pearson (Music To My Ears. playing in the Crucible Studio with the audience surrounding them 360 degrees at close quarters. principally in the north of England. recommendation. and has the added virtue of more than one chocolate shop in which the most sublime chocolate drinks can be tried. demonstrated by Daniel Barenboim The editor reserves the right to and his music-making. We were all friends! When the Lindsays to the writer of the best letter received. Bristol. Tim Horton on piano and distinguished wind players. Fairfax Street. via email DODGY LIBRARY? In his July Building A Libraryy piece on Prokofiev’s Piano Concertos. The performances that night have continued to live and enrich my very being: the Elgar Cello Concerto played by Jacqueline du Pré. Bryan Kesselman. and I’ve discovered that he has a fine ear for melody coupled with a great feel for orchestration. Du Pré’s passion was deepened by Baker’s heavenly angel. surely Daniel Jaffé didn’t mean to actually recommend the Toradze/ Gergiev Decca recordings? With its ‘sins’ of ‘perverse liberties’. via email SLOVAK SURPRISE I was interested to read your article on Bratislava (August).co. eyes. ‘languid tempos’. e Tower House. BS1 3BN or email: music@classical-music. which he founded. Denver. ‘corner cutting’ and ‘several wide-leaping chords missed’. US THE EDITOR REPLIES: One of the beauties of music is that a recording can have faults aplenty. I could only shake my head – though I know the opera very well having played Doctor Bartolo in two productions. Robert Tear and John Shirley-Quirk. he founded Ensemble 360 at the Crucible. Many like me are grateful to Peter for introducing them to chamber music.

and vice-versa. to judge an artist’s charisma and abilty to project personality from a TV transmission alone is equally wrong. Also.MISSING IN CARDIFF Congratulations to the BBC on its excellent coverage of the Cardiff Singer of the World competition. NEED TO GET IN TOUCH? . One of the joys of the competition is the debate it engenders. But it cannot be right when one of the UK’s most senior arts correspondents reviews the event without having even been present. bloom and ‘spin’ is lost. So too the final itself. Some singers come across better in the hall. Rupert Christiansen of the Telegraph had the temerity to pass judgment on the singers having merely ‘browsed the heats on TV’. and we are all ‘armchair critics’ at heart. How can anyone judge the true quality of a voice without being present in the same acoustic space? Television sound tends to make all voices sound the same size – colour.

UNBEATABLE NAME ‘The Inextinguishable’ is a near-aspossible translation of the Danish ‘Det Uudslukkelige’ for Nielsen’s Symphony No. 3122 EDITORIAL Editor Oliver Condy Deputy editor Jeremy Pound Production editor Neil McKim Reviews editor Rebecca Franks Cover CD editor Alice Pearson Listings editor Paul Riley Consultant editor Helen Wallace Art editor Dav Ludford Designer Liam McAuley Picture editor Sarah Kennett Office assistant Maisie Hillier Thanks to Jenny Price MARKETING Subscriptions director Martin Furber. BS1 3BN Subs rates £71. via email THE EDITOR REPLIES: It was definitely Hubert. see p97) General enquiries +44 (0)117 314 7355  Subscriptions and back issues bbcmusic@servicehelpline.99 (Rest of World) ABC Reg  Subscriptions and back issues BBC Music Magazine. Anglesey Brand sales executive Carl Kill +44 (0)117 314 8841 Inserts Laurence Robertson +353 876 902208 SYNDICATION & LICENSING Tim Hudson +44 (0)20 7150 5170 Richard Bentley +44 (0)20 7150 5168 PRODUCTION Production director Sarah Powell Production coordinator Emily Mounter Ad coordinator Charlotte Downes Ad designer Alice Davenport Reprographics Tony Hunt. Andy MacFarlane. PO Box 279. Tower House. (Eire. Cardiff Jacky Perales-Morris THE EDITOR REPLIES: Critics Ethan Parry starting to review from the TV would be. Fairfax Street. Mary Allen. 9th Floor. We. But would not ‘The Indomitable’ do? Or ‘The Invincible’? ‘Inextinguishable’ has stuck. a worrying trend. Eur) £74. Is this a photo of Ben Parry (born 1965). Subscriptions and back issues 0844 844 0252 (outside UK. Bristol. Immediate Media Company Ltd. are pleased to say that BBC Music’s correspondent was present at the heats and the final! Direct marketing assistant Press & PR manager Carolyn Wray ADVERTISING Senior advertising manager Tom Drew +44 (0)117 933 8043 Advertisement manager Rebecca O’Connell +44 (0)117 933 8007 Senior account manager Rebecca Yirrell +44 (0)117 314 8364 Classified sales executive Isabel Higuero +44 (0)117 314 8754 WHICH PARRY? I was puzzled by the photo of Parry in August (p17). Chris Sutch PUBLISHING Publisher Andrew Davies Chairman Stephen Alexander Deputy chairman Peter Phippen CEO Tom Bureau Managing director Andy Marshall BBC WORLDWIDE MAGAZINES UNIT Director of editorial governance Nicholas Brett Director of consumer products and publishing Andre Moultrie Head of UK publishing Chris Kerwin Publisher Mandy Thwaites Publishing coordinator Eva Abramik EDITORIAL ADVISORY BOARD Graham Dixon. August). director of the National Youth Choirs of Great Britain? Steve Kirby . Sittingbourne. as you suggest. Surely this cannot be Sir Hubert Parry (1848 –1918) who. one imagines. (Composer of the Month. not Ben. Greg Sanderson This magazine is published by Immediate Media Company Bristol Limited under licence from BBC Worldwide . never wore an open-neck sports shirt. but it’s a bit of a General enquiries music@classical-music. 4.50 (UK) £72. Kent ME9 8DF General enquiries BBC Music Magazine.

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classical-music. Komische Oper Berlin (2002-7). For more news and artist interviews visit www. even the announcement of the conductor’s appointment came with a touch of farce – with Petrenko himself nowhere to be seen. that is largely because Petrenko has plied his trade almost entirely in Russia and Germany. though no exact date has been given for when Petrenko’s tenure will begin. is decidedly media- Born: in 1972 in Omsk. 43. ‘I am aware of the responsibility and high expectations. and has won great acclaim for his performances at Bayreuth. he made his concerto debut in Omsk at the age of 11 Conducting: having moved to Vorarlberg. and I will do everything in my power to be a worthy conductor of this outstanding orchestra. Kirill Petrenko has been chosen by the players of the Berlin Philharmonic to be their new chief conductor. his big moment was revealed at a lunchtime press conference that was 10 BBC M USIC M AG A Z I N E hastily convened by the orchestra’s board after the outcome of the players’ vote had been leaked to a local radio station. he went on to study conducting in Feldkirch and Vienna Major posts: music director. ‘Words cannot express my feelings – everything from euphoria and great joy to awe and disbelief. will be taking over from Sir Simon Rattle. The Russian. his name will doubtless soon become very familiar much further afield. Herbert von Karajan and Claudio Abbado. . Meiningen Theatre (1999-2002). he is extremely highly rated. music director. Bavarian State Opera (2013-present) shy and has made very few recordings. music director.’ If it is an appointment that has British and US music-lovers scratching their heads. Appropriately for an election process that has endured more than its fair share of mishaps along the way.TheFullScore OUR PICK OF THE MONTH’S NEWS. Siberia. Where he is known.400 miles to the east of Moscow Early career: a brilliant pianist. the Omsk-born conductor was at least able to convey his thoughts by way of a written statement. Thankfully. And now that he takes over a position that has previously been held by the likes of Wilhelm Furtwängler. with his family in 1990. Austria. GETTY I n what was once seen as a headto-head race between Christian Thielemann and Andris Nelsons.’ he said. however. he has also been music director at Berlin’s Komische Oper. here i come!: Kirill Petrenko has landed the biggest conducting post of all A life in brief ARENA PAL. VIEWS AND INTERVIEWS Petrenko says ‘Ja!’ to Berlin Phil Russian conductor named as successor to Simon Rattle at the world’s most prestigious orchestra Kirill Petrenko berlin. Currently music director of the Bavarian State Opera in Munich. who leaves the orchestra in 2018.

Koutcher soars to Cardiff glory
Belarusian soprano hits the high notes in BBC competition final
Soprano Nadine Koutcher has won
BBC Cardiff Singer of the World 2015,
joining a list of winners that includes
Karita Mattila and Dmitri Hvorostovsky.
The Belarusian sang Mozart, RimskyKorsakov and Delibes in the final, beating
four other singers to the main prize. She
wins £15,000, the Cardiff Trophy and will
also perform a new piece by John Lunn
commissioned by the competition.
Koutcher, 32, already has an
established career. She made her debut in
St Petersburg in 2009, joined Perm State
Opera in 2012 and has recorded Rameau
with conductor Teodor Currentzis. The
four other finalists included bass Jongmin
Park, baritone Amartuvshin Enkhbat,
soprano Lauren Michelle and tenor
Oleksiy Palychykov. In a final sure to be
remembered as one of the competition’s
most interesting contests in years, they
performed to a packed-out St David’s
Hall, with the BBC National of Wales
and conductors Thomas Søndergård and
Martyn Brabbins.

aiming high:
Koutcher celebrates
her Cardiff Singer win


RISING STAR Great artists of tomorrow
musicians and there was so much I could learn
Kevin Zhu
from others, as well as meeting new friends. I
was very happy to win it, but the most important
thing was to keep growing as a musician.’
It took Kevin Zhu around a year to get over his
As well as the performance opportunities
fear of the violin. ‘I started playing when I was
it brought him, not least a concert with the
about three,’ he tells us. ‘When I was two, my
Philharmonia at the Royal Festival Hall, that
Dad would play Chinese folk songs and give my
2012 Menuhin success gave the California-based
sister violin lessons. I was really interested in
Zhu one particularly notable benefit: part of
the sounds that the violin
the prize was the year-long
made and so would come
‘The most important loan of a Guarneri by Florian
over to listen. Once or twice
Leonhard, the worldthing is to keep
my Dad tried to hand me
renowned violin dealer and
the instrument but I crawled growing as a musician’ restorer. In fact, so impressed
away – I found it scary
was Leonhard that he’s now
because it was about as big as I was.’
extended the loan, and also lent Zhu Stradivarius
But once he had got going, there was no
violins for important performances.
stopping him. By five, he knew that playing
Taking a look at Zhu’s repertoire list, one
the violin was something he wanted to do
can’t help but notice the number of works
seriously, and by 11 he had become the youngest
by composers who were equally famous as
ever winner of the junior section of the Yehudi
violin virtuosos – Kreisler, Sarasate, Paganini,
Menuhin International Competition, the most
Wieniawski, Tartini and Ysaÿe are all well
prestigious such contest for young players. ‘The
represented. So is he a bit of showman at heart
experience of the competition was amazing,’
himself? ‘These composers blend the physical
says Zhu, now 14. ‘There were so many talented
aspects of playing with the emotional aspects

For more news and artist interviews visit

BBC Cardiff Singer
The 2015 finalists
Nadine Koutcher
(Belarus; soprano)
Amartuvshin Enkhbat
(Mongolia; baritone, left)
Oleksiy Palychykov
(Ukraine; tenor)
Lauren Michelle (US; soprano)
Jongmin Park (South Korea; bass)

A five-strong jury chaired by David
Pountney, artistic director of Welsh
National Opera, marked the finalists
on vocal quality, technical excellence,
musical presentation and artistic
personality. Tackling a repertoire
described by the Guardian as ‘carrying
the highest possible tariff in difficulty’,
Koutcher held her nerve, and her top
notes, and was presented with the
trophy by fellow soprano Kiri Te Kanawa.
Two other prizes were awarded over
the weekend. The Song Prize went to
Park, who impressed with Schubert,
Schumann and others, while the public,
voting by phone and on online, awarded
the Audience Prize to Enkhbat, the first
ever entrant from Mongolia.

fast progress:
Zhu won the Menuhin
Competition at 11

of music very well,’ he counters. ‘And, in fact,
having a Guarneri to play on makes it easier for
me to express what I want to. And music is, after
all, a method of expression.’
Interview by Jeremy Pound. Kevin Zhu performs
Szymanowski, Ysaÿe and others at Florian
Leonhard Fine Violins, London, on 1 September



BBC Music Recording news
The UK’s best-selling specialist classical releases
Chart for week ending 4 July 2015

Todd Alice’s adventures in Wonderland
Opera Holland Park
Signum Classics SIGCD420
In the 150th anniversary year of the book, Will
Todd’s Alice-inspired opera proves a winner






American Polyphony
Polyphony/Stephen Layton
Hyperion CDA 67929
From Barber to Bernstein, Polyphony’s visit to
Uncle Sam was our August Disc of the Month


Schoenberg Gurrelieder
Gurzenich-Orchestra Köln/Markus
Stenz Hyperion CDA 680812
Stenz’s Cologne forces bring a riot of colour and
character to Schoenberg’s sumptuous cantata



Ysaÿe Sonatas for Solo Violin
Alina Ibragimova (violin)
Hyperion CDA 67993
The impeccable Ibragimova revels in the glorious
isolation of Ysaÿe’s captivating solo violin works





Sonic Waves
Emmanuel Vass
Water, water everywhere, from Chopin to
Debussy, as Vass invites us to join him for a dip
Sibelius Belshazzar’s Feast
Turku Philharmonic Orchestra/
Leif Segerstam Naxos 8.573300
Finland meets the Middle East as conductor Leif
Segerstam tucks into Sibelius’s exotic suite








The Tchaikovsky Album
RLPO/Vasily Petrenko
Classic FM CFMD38
A fine Tchaikovsky orchestral romp, including
the cannons and bells of the 1812 Overture

Lassus Missa super dixit and motets
Hyperion CDA 68064
A great of the Dutch Renaissance receives due
attention from this exceptional six-voice group
Mendelssohn • Grieg • Hough
Cello Sonatas
Steven Isserlis (cello), Stephen Hough
(piano) Hyperion CDA 68079
Steven and Stephen: a winning formula yet again


Martha Argerich and friends:
Lugano 2014
Various artists Warner Classics 825646134601
The pianist and her notable chums deliver the
goods as they enjoy another Swiss get-together
Visit our website at for
weekly chart updates, and download the regular
Radio 3 specialist chart podcast from iTunes



box clever:
new Horowitz
recordings are being
released by Sony

Horowitz treasure trove
When tthe
e great virtuoso Vladimir
Horowitz toured the US, many of
his conccertts were recorded. But until
now mu
uch of the material has been
guishing in archives, unheard
a unreleased. Sony has recently
d g out recordings of 25 of these
o recitals, with 13 different
grammes, and is releasing
m as the 50-CD box-set Vladimir
witz: the unreleased live
recordings, 1966-1983 this October. Three works are new
to the Horowitz discography: Schumann’s Carnavall Op. 9,
Chopin’s Etude Op. 25 No. 10 and Scriabin’s Prelude for the
Left Hand Alone, Op. 9 No. 1. The set also includes a recital
at the White House and his 1978 Rachmaninov Concerto
No. 3, his first performance with orchestra for 25 years.

Beyond Jerusalem
Hubert Parry might be best known as the composer of
Jerusalem and I was Glad,
d but he was also a song-writer of
considerable gifts. The 12 sets of his English Lyrics have been
recorded complete for the first time, over three discs for the
Somm label, with the first to be released this November.
Written between c1885 and 1920, these settings grew
out of Parry’s love of Schumann and Brahms. The project
brings together soprano Susan Gritton, baritone Roderick
Williams, tenor James Gilchrist and pianist Andrew West.
‘Our programming will endeavour to loosely bind thematic
groups of songs with strands of biography,’ explains
Gritton, adding that ‘this might really help shift false
prejudices of Parry being an institutional Victorian.’

Left-hand drive
The one-handed pianist Nicholas McCarthy
(left) has been signed to Warner Classics.
His debut album Solo is out this month. He
is the only left-hand pianist ever to have
graduated from the Royal College of Music,
defying critics who said he wouldn’t be able
to make a career. Solo features 17 pieces, ranging from Paul
Wittgenstein’s left-hand arrangement of Bach/Gounod’s
Ave Maria to McCarthy’s own version of Gershwin’s
‘Summertime’. ‘I hope this album will offer a snapshot of
the range of repertoire that exists for the left hand,’ he
says. ‘My selection also offers a portrait of me as an artist.’

For more news and artist interviews visit



REWIND Artists talk about their past recordings
My fondest memory

The US conductor and pianist began his career at
the St Paul Chamber Orchestra, and has gone on
to perform across the world. He currently holds
posts with the Linz Opera, Bruckner Orchestra
and Basel Symphony Orchestra, with whom he
tours the UK and Ireland this September.

Hindemith & Schumann Cello Concertos
János Starker (cello); Bamberg Symphony
RCA Victor Red Seal 09026 68027 2
I had the great fortune from early on in my
conducting career to meet János Starker, when
I was with the St Paul Chamber Orchestra, and
was able to perform with him many times, also
as a pianist. He was the conducting mentor I
never had. We had three days reserved to record
the Schumann and Hindemith, but we ended up
g onlyy two – not g
good luck for the musicians
as they were paid for
tthe sessions! But more
tto the point, János was
always completely
prepared and strong.
He played beautifully
ffrom the beginning.
It’s a very good
orchestra, but having
someone like János there forces you to perform
and play at a new high level. In the Schumann
Concerto he always played a cadenza that he’d
composed. Usually in a recording, at that point
the orchestra would leave and the soloist would
stay on. Here, he said to the musicians, I hope
you don’t mind if I play the cadenza. He played
it one time through and that was it. That’s what
you hear on the recording.

I’d like another go at…


My finest moment
No. 9, ‘Great’
Basel Symphony
Russell Davies
Basel Symphony Orchestra
bert’s Ninth Symphony
S mp
(the Eighth in
Germany) is one of those pieces I’ve lived with
for a very long time, and I had some pretty
strong ideas about how it should be played. In
my childhood, growing up in Ohio, I had a George
Szell recording I used to listen to, and although I
haven’t listened to it for 40 years, the atmosphere
of the whole thing stayed with me. I had a
feeling my recording is something he might
have recognised. Music of this kind needs space
in the concert hall. From the standpoint of
endurance, the ‘Great’ Symphony is very difficult
for musicians, especially the string players. The
Hallé orchestra refused to play it in the 19th
century, saying it was unplayable. It is playable
but it demands a lot, and needs acoustical,
rhythmical and sonic space. And it’s an important
work, not just for Schubert but as a forerunner
of composers like Hans Rott and Mahler.

Musique funèbre
Works by Bartók and Lutosławski
Stuttgart Chamber Orchestra/Davies
ECM 476 4672
This is a recording that I was extremely proud
of and happy with. But when I was listening to
the retakes after the session I discovered that, in
the first movement of the Bartók Divertimento,
the double bass player who was new to the
orchestra was playing a note in one bar that
was clearly a third higher than printed. To my
chagrin I hadn’t heard it. I was dumbfounded
and stunned. Fortunately, we live in a time
in which we have all these digital recording
techniques, which I’ve spoken about not very
ccomplimentarily as I think
tthere’s too much editing
and fussing around.
But in this case I was
rreally grateful. We had a
rrecording of another work
sscheduled a month later,
and we were able to drop
tthat bar into the recording.
It was not one of my p
prouder moments, but I
was just happy we were able to fix it. But every
time I listen to it and get to that bar I cringe.

For more news and artist interviews visit

We reveal who’s recording
what, and where

bach man: René Jacobs conducts St John
René Jacobs and the RIAS
Kammerchor have been in the Teldex
Studios, Berlin to record JS Bach’s
St John Passion for Harmonia Mundi.
Jacobs himself sang as an alto soloist
in Sigiswald Kuijken’s recording of the
work in 1989; his own soloists include
Werner Güra as the Evangelist, and
Johannes Weisser as Jesus.
Pianist Nelson Freire has also been
in the Teldex studio, recording his first
Bach recital disc. The final choice has
yet to be made, but among the works
the Brazilian has recorded are the
Toccata in C minor, BWV 911, English
Suite in G minor, BWV 808, and
Partita No. 4 in D major, BWV 828.
Elgar, Debussy and Respighi have
been occupying violinist James Ehnes
and pianist Andrew Armstrong,
whose latest CD features sonatas by
these three 20th-century composers.
Recorded at Potton Hall, Suffolk, for
Onyx Classics, it follows the pair’s
superb recent recording of Franck and
Strauss sonatas.
Yevgeny Sudbin made his solo
debut on disc ten years ago, with a
programme of Scarlatti. A decade
on, the Russian pianist is marking his
anniversary with the BIS record label
by recording a second disc of Scarlatti
Sonatas, at St George’s Bristol.
Klara Min is just about to make
her debut with the Steinway & Sons
label. The South Korean pianist
has recorded an all-Scriabin album,
featuring the 24 Preludes and a
selection of short pieces. It was
recorded in Boyce, Virginia, at the
record label Sono Luminus’s studios.



Some of Schoenberg’s efforts to fuse it with the stylistic features of Brahmsian Classical-Romanticism in the 1920s and ’30s can remind one of the tragic Trojan priest Laocoön. So was this an extreme interpretation of the Nietzschean proclamation ‘God is dead’? Was it an understandable reaction to the destruction unleashed by the unrestrained human will in two world wars? Or was it simply the final expression of what Nietzsche also called ‘the will to power’ in music? Strikingly. ‘But to show biologically (and scientifically) that it can reduce stress is very exciting. Schoenberg. instrumental colour – under serialist control.TheFullScore #61 SERIALISM DISCOVERING MUSIC NO SINGLE MUSICAL technique Stephen Johnson gets to grips with has elicited such extravagant praise or classical music’s technical terms such pungent opprobrium. finally. he seems to both more and less than a theme: less in that it have reacted like someone waking suddenly has no rhythmic dimension and therefore no from a terrifying dream. serialism was a deterministic nightmare. Yet. All four volumes are worth investigating.’ See Comment. but perhaps the real gem lies in the last of them. There had to be existence in time. so leave a lot of time and free memory to download them. Reading its leading exponents. an account of how Pablo Casals discovered the Six Suites for Solo Cello (Vol. Looking back on the wild experimentalism of ordered rotation: a ‘12-note row’. The singers’ stress levels also lowered in rehearsal but. Casals and the Six Suites for Cello Solo £5. When the audience’s results were analysed. ‘Singing is something that many people inherently feel is good for them and relaxes them. ‘What we were doing.’ proclaimed serialist apostle Pierre Boulez in 1963. it’s sometimes hard to tell which side they think they’re on. the great Lawgiver of 20th-Century Music. pictures and text – as a result. In research ccarried out by tthe Royal College of Music at two recent concerts of choral music by Eric Whitacre ((above). each volume is vast. b ) singers i and d audience di members submitted saliva samples and wore ECG monitors to measure their heart activity. why the public resolutely refused to love serialism’s children. and his playing of the music itself is glorious. 1) and his legacy (Vol. while mood states invariably became more positive. wrestling desperately with huge constricting seaserpents.49 per volume First the warning. an in-depth look at each of the suites in turn (Vol. Jeremy Pound d ★★★★ . We but now scientific b sstudy has proved iit – attending a cconcert reduces sstress. the rewards are rich. A theme? It’s his atonal works before the war. What Boulez and his confrèress attempted. more in that everything – unity. which introduce us to the life of Bach (Vol. and from then it’s arguable that the flow of real masterpieces resumed. a general drop in stress hormones (cortisol and cortisone) was observed. a means of organising non-tonal music ILLUSTRATION: ADAM HOWLING Molto meno stresso W knew it anyway. Whether or not you agree with Hancoff’s analysis of the music – and occasionally one gets the feeling that he over-philosophises a touch – his thoughts are always interesting. Once you’ve done so. ‘Perhaps we did not take into account sufficiently the way music is perceived by the listener.’ says the chilled composer himself. unsurprisingly. perhaps inspired by the less fanatical efforts of his pupil Alban Berg. was to bring other musical parameters – rhythm. in the wake of yet another world war. When asked. Boulez replied wistfully. Guitarist Steven Hancoff has lavished a lot of love and attention on this project. dynamics. ‘was to annihilate the will of the composer in favour of a predetermining system’. Schoenberg later began to relax the rules and introduce tonal elements to his rows. almost certainly doomed enterprise. Compared to the elastic. There are four volumes in all. at the 1999 Edinburgh Festival.’ APP REVIEW Every issue we explore a recent digital product Bach. p21 14 BBC M USIC M AG A Z I N E absolutely everything – in the resulting composition must derive from it. readable in iBooks. Schoenberg came up with a device to keep all 12 notes of the chromatic scale in constant. packing it full of videos. 3) and. wonderfully ambiguous language of tonality. invented his that might replace the old ‘system’ of tonality. 4). version of serialism in the aftershock of WWI. It was a heroic. 2). rose while performing.

Things change. in honour of a 1715 Stradivarius being loaned to them for the duration of the festival. The debate over the number is a handy reminder of one of the common misapprehensions about Completeness – the one that led a student of mine to write ‘Fortunately Beethoven did not die until he had been able to complete his 32 Piano Sonatas. though. The latest to enter the lists is that by the Welsh pianist Llyˇr Williams.TheFullScore Rakes’ progress seen in Fife They do like playing in the sand at the East Neuk Festival. the Kosegarten ssettings from 1815. I contributed SSchubert’s first song cycle. the organisers commissioned the creation of a giant image of Schubert on nearby Elie Beach. and I had the pleasure of prefacing one of his Wigmore Hall performances with a pre-concert talk. Someone. l a charade sung by several singers. after 18 years. I think I may have broken the world record for notes recorded on one session Fast-fingering flautist Gareth Davies is put through his paces by US composer Douglas Knehans @danieltongpiano Now I can fully focus on Beethoven and Wimbledon. it’s stayed in mine! ■ David Owen Norris is a pianist. In 2014. the Serpent tempting Adam and Eve. Last year the Oxford Lieder Festival won prizes for putting oon all of Schubert’s songs. You can’t love music if you don’t love silence. Pianist Daniel Tong gets his summer priorities in order MIRA STOUT @clarebalding Watching the rugby league and @alicearnold1 says of Mark Minichiello ‘why don’t they just call him Violin?’ BBC presenter Clare Balding makes a valid musical point @Paul_McCreesh I’m blessed. proverbially 32 in number. when the scholar Morten u SSolvik discovered pencilled numbers oon the back of the manuscripts and grouped d them h together h – he h surmised that their haphazard published order had resulted from so simple a thing as the Imperial librarian dropping a pile of papers. As the Berlin Philharmonic names its A new conductor. however. Schubert sits playing the piano with his left hand (I like to think it’s a tremolando diminished seventh) as the dog looks on. clearly didn’t look at the photo closely enough before applying rake to sand. the vast violin provided a fine sight before the tide consigned it to history. to mark the Fife event’s Schubertiad weekend. and Complete Beethovens confront us on every side. Conductor Paul McCreesh (right) likes the sound of a silent evening Notes from the piano stool David Owen Norris C ompleteness has a glamour all its own. depending on your definitions. ‘but you played it anyway!’ That was Beethoven too. The most egregious example of Completeness is Beethoven’s Piano Sonatas. they form what’s known as a Liederspiel. A left-handed Strad? With five strings? Hmmm… rake mistake: East Neuk’s rare five-stringed Stradivarius… TWITTER ROOM Who’s saying what on the micro-blogging site @ThomasGouldVLN Why so much fuss @ over a new chief conductor? Maestrohype only leads to further inequality in how conductors get paid/treated vs. Funny how life catches up with you – two members of my audience wanted to remind me of a concert I gave some 40 years ago with the baritone David Wilson-Johnson. This year. then you may like Y’. Sitting in the garden. Drawn by sand artists Jamie Wardley and Claire Jamieson using various rakes. few have ever heard of that early cycle alerts us to another force acting on concert repertoire – distaste for the new. These had languished piecemeal in the Complete Edition p until 1997. they guffawed. but most critics regarded them as a bit of an oddity. though. In the 19th century. violinist Thomas Gould n (l ft) ffails (left) il tto share h in the excitement @Flutelicious Recording of the new concerto finished. Completeness. because by gum. The fact that. can happily square that circle: ‘If you I think the appeal of Completeness is about the lust of possession: the Collector’s Instinct liked X. Total silence broken only by the odd sheep and owl.’ Beethoven did not intend them as a set. they chose a violin as the sandy subject. and I’m glad the performance has stayed in their minds. Performed in the numbered order. There’s a famous painting of Schubert and his friends performing a simple example. pianists like Sir Charles Halle made a point of playing the last five sonatas at a sitting – the distilled essence of Beethoven – and complete cycles did come along from time to time. They recalled it with a good deal of pleasure. the song-cycle An die ferne Geliebte. ‘You’d left your music on your kitchen table’. players. composer and radio presenter BBC M USIC M AG A Z I N E 15 . But I think the appeal of Completeness is more about the lust of possession: the Collector’s Instinct.

He is also a very versatile player who can change tone depending on whatever composer he is playing. has encouraged me to look beyond the Frenchman’s eccentricities and explore his music further. and Fischer-Dieskau’s voice is such a miracle – it changes with every little change of words and temperament and character. it’s also an unusual one. PHILIP HIGHAM cellist One recording that I have known about for a long time but only recently heard is the Brahms Sextets performed bythe American group L’Archibudelli. It is so deeply inspiring. I came across the original orchestral score to Stanley Kubrick’s film 2001: A Space Odyssey. Q Another historic recording that I find inspiring is one made by the Polish violinist Bronislaw Huberman of Schubert’s ‘Ave Maria’. So often you hear the first violin and first cello trying to outdo each other in these works. too. as he prioritises rhythm above everything – as a result. such as ‘Ich habe genug’. and this autumn. admittedly. I have been enjoying Anne Queffélec’s exquisitely mannered performances of his solo piano works on the Virgin label. I’ve been listening to them performed by baritone Dietrich Fischer-Dieskau and pianist Gerald Moore. almost like a symphony. the score was famously ditched by its director in favour of works by Strausses R and J. but Casals understands them so well. I have been listening to the Bayerischer Rundfunk Orchestra’s recording under Daniel Harding and with soloists including baritone Christian Gerhaher and soprano Christiane Karg. a new play about Satie at this year’s Cheltenham Music Festival. It is a challenge for both listeners and performers. the piece becomes incredibly unified. Lars Vogt’s new recording of Bach’s Goldberg Variations will be reviewed in the October issue 16 BBC M USIC M AG A Z I N E OUR CHOICES The BBC Music team’s current favourites Oliver Condy Editor While digging around on a music streaming site. and I find Pablo Casals’s recording from 1936 such a masterful interpretation. I am such a big fan of Gerhaher. which has the last cantatas that Bach wrote. I’ve never performed with Koopman but would love to – let’s hope he reads this! Q I’ve recently been performing Schubert Lieder with tenor Ian Bostridge. Fascinatingly. Q Dvorák’s Cello Concerto is a dear piece to me. my dear friend Christian Tetzlaff will be coming to perform Sibelius’s Violin Concerto with us. finely tuned: Bronislaw Huberman wows with Schubert For more news and artist interviews visit www. with an organ chord. and is so incredibly flexible that it just seems to go at will with Schubert’s music. among others. In many ways. Tempo relationships can very easily become a problem for both performer and conductor in this concerto. and the players show such a healthy and invigorating interest in what’s happening. but a glorious challenge with some of the most beautiful music. He plays the melody with such breathtaking integrity and control and the most beautiful use of portamento and phrasing. He plays the first verse only on the G string. They play on period instruments with gut strings which gives the texture a greater transparency. clear in its simplicity and clear in its language. sweeping the listener between dark turbulence and ecstatic lyricism. I love the way that he phrases everything – it is beautiful music-making. His playing is outstanding – he dares to be intimate like no other player that I know. Jeremy Pound Deputy editor Memoirs of a pear-shaped life. melancholic introspection and tender intimacy. so it sounds more like a cello. Isabelle Faust and Alexander Melnikov’s intelligent. North’s opening ‘Main Title’ music begins with a similar rumble and brass fanfare as Also Sprach Zarathustra. even if the FAE Sonata that completed the programme is. but here it’s more of a conversation. y Composed by Alex North. then he plays Rebecca Franks Reviews editor Brahms’s three violin sonatas make for a glorious evening of chamber music. a patchy piece. I have been listening to his recording of it with the Danish National Symphony Orchestra and Thomas Dausgaard. so to get myself into that. Q Schumann’s Scenes from Faustt is the most wonderful big-scale setting of Goethe.TheFullScore MUSIC TO MY EARS What the classical world has been listening to this month LARS VOGT pianist I regularly listen to Bach’s cantatas conducted by Ton Koopman as they are simply food for the soul. heartfelt performance of them at Wigmore Hall recently was a joy to hear. While I have no plans to tuck into all 20-plus hours of his Vexations just yet. And I really admire the warmth and character of Moore’s accompaniment. Q I have a wonderful new job as music director of the Royal Northern Sinfonia. in particular – he’s an incredible artist who simply becomes whatever he’s singing. and his passion and commitment to phrasing is a miracle to hear. I particularly love the final box of CDs in the series. and .classical-music.

Q Less well known than Rachmaninov. Philip Higham’s recording of Bach’s Cello Suites will be reviewed in the October issue HIDEKO UDAGAWA violinist Many people think that Jascha Heifetz was the greatest violinist ever. I was always drawn to Rachmaninov. And then Thomas Adès’s Tevot. Mahler’s First Symphony – a childhood favourite – and. SUSSIE AHLBURG Tony King Edinburgh I was lucky enough recently to play in the first UK performance of the Norwegian composer Eivind Groven’s Hjalarljod Overture. He made his debut playing OUR CHOICES The BBC Music team’s current favourites Neil McKim Production editor I’ve been exploring Stravinsky’s Ebony Concerto. Bob Stuartt Cambridge Sometimes one discovers a work that is interesting at first listen. but this time around Symphony No. AKG. Tell us what concerts or recordings you’ve been enjoying by emailing us at musictomyears@classical-music. One to treasure. I’ve never seen both conductor and orchestra inhabit the architecture of the Beethoven in such a tangible way – the orchestra played like the world’s greatest string quartet. it is very different d ff from hearing other pianists play them. It is a monumental performance that is deeply moving. Alice Pearson Disc editor Finzi’s Cello Concerto is arguably his finest work. deriving their imagination and passion from the structure of the piece itself. BBC Music. David Kane Maryland. Add to these. but of course he wrote very few pieces for the violin – he seems to have preferred the darker sound of the cello. the work is bursting with inventive contrasts. Rachmaninov and others. as h tthis is Glazunov’s anniversary year. and I wouldn’t disagree. Everything he recorded was great. for a bit of first-class post-modern jazz-funk. maybe as a result of its long gestation period and the many changes in his life. You bring such life to my home – great reading and amazing music. performed by clarinettist Dimitri Ashkenazy. but just wonderful. There’s an excellent recording by the Stavanger Symphony Orchestra under Eivind Aadland on BIS that has been spending a lot of time on my CD player and iPod. He was so individual as a player but always very satisfying to listen to as he was well known as the aristocrat of good taste in everything he played – he never over-indulged himself. Everything is G Glazunov’s Violin Concerto conducted C by the composer b himself and. was his unusual recording of Vitali’s Chaconne. Snarky Puppy’s We Like It Here. This has been my experience with the exquisite. dissonant and Russian respect. I feel. NEVA NADAEE. and the magical music had me going through my old albums of his music. Q I studied with the violinist Nathan Milstein for ten years. Hideko Udagawa’s new disc with the Scottish Chamber Mike Rayy Indiana. I cannot for the life of me understand why it isn’t an established concert hall favourite. In the Moderato finale. so every one that is available is very precious. tuneful. Originally composed for Woody Herman. you’ve done it again. Q One of the best concerts I’ve ever been to was at the Edinburgh Festival when the Chamber Orchestra of Europe played Beethoven’s Eroica Symphony and Richard Strauss’s Metamorphosen. exciting and deeply affectionate (it’s also nice and short). US The April edition of BBC Music Magazine has brought great joy to my home – that month’s CD is a real treasure. The First had always been my favourite with its brashness and grotesquerie. In particular.l played by the pianist Eudóxia de Barros. Lior Sayada London I have been listening (again!) to Mariss Jansons’s complete Shostakovich Symphonies on BBC M USIC M AG A Z I N E 17 . but which on second and subsequent listening gets right inside your skin. performed with organ in an edition by Respighi. Charles For more news and artist interviews visit www. The piece is only four minutes long. 7 blew me away! The first movement grows relentlessly and is utterly Shostakovich in every percussive. He had sketched ideas for it but didn’t get round to writing it until he had the news that he was terminally ill. melodic.TheFullScore the second verse in octaves with impeccable control and expression. will be reviewed in a future issue fresh: a young Norwegian composer. but one of the greatest. ‘Baroque Inspirations’. AND MUSIC TO YOUR EARS… You tell us what you’ve been enjoying on disc and in the concert hall GETTY. but also very great. but every single phrase makes sense. t performed by the Berlin Philharmonic under Simon Rattle. One that I particularly treasure is a collection of pieces including Chopin impromptus and smaller works by Liszt. from its spiky first movement to its mournful Andante. the Trondheim Soloists’ strings and a technically superb recording by 2L. was the Soviet pianist Stanislav Neuhaus (above). I a have been enjoying h his recording of h tthe work. The turmoil of the first movement contrasts greatly with the playful Rondo and in between there is a beautiful. but he handles the music so freely and is very passionate. lyrical setting of the Magnificat by Kim André Arnesen. Stravinsky underpins complex jazzy melodies with mechanical pulsing rhythms. arresting. It is played with a magnificent organ in a very acoustic church. partly through Milstein who collaborated closely with him. Every piece on this disc has so much personality – you could say that Neuhaus has a bit of nervous tension to him. the Nidaros Cathedral’s Girls Choir. He always played with a lot of emotion. Stanford’s (below) Songs of the Sea brought back great memories of my Air Force days in London. and he had such an influence on me. Q I have a set of recordings of o Rachmaninov playing R Rachmaninov. He adds a lot of rubato. It is fresh. The work has a wide emotional range. US My recent listening has been very varied. When I listen to him playing his own concertos. is one of the most powerful works of the 21st century so far. singing Andante quieto. conducted by Yannick Nezet-Séguin. I love the audacious polytonality of Milhaud’s Saudades do Brasil. and the result is out of this world. Mikhail Pletnev’s fantastic renditions of CPE Bach Keyboard Sonatas. He didn’t make many recordings.

GETTY ILLUSTRATION: JONTY CLARK STICKIE PROBLEM Opera Australia has joined the rapidly growing global campaign against selfie sticks by banning them from its productions. waggly pole to do so is taking vanity just a little too far. but hate knitting with various colours at once. As he ducked out of tth he way. and so I started knitting wrist warmers. will take over from Dennis Russell Davies at the Swiss ensemble at the beginning of the 2016/17 season.classical-music. Cook was a chorister at St Paul’s Cathedral as a boy and. The Brit. so it can’t be too complicated or it gets frustrating. now we are allowed to take knitting needles on planes again – they were banned for a while – I can knit there too. He adds this new role to his current positions of music director of the Teatro Real Madrid in Spain and chief conductor of the Dresden Festival Orchestra. One of the great things about knitting is that it’s easy to take with me when I go on tour. Yes. While the company says it has no wish to stop audience members from taking lovely mugshots during applause. I can knit on the train and. and Finghin Collins flew in from Dublin to fill the breach. Possibly. the pianist recently injured himself in a fall… while trying to evade an attack by a particularly aggressive seagull. a seagull. I’m also a little bit lazy in that I like to knit and read at the same time. and it escalated from there. he conducted the CBSO to acclaim in concerts in Birmingham and Oxford. standing in for Andris Nelsons at the last minute. it evidently believes that bringing in a long. our ill-ffated virtuoso sp prrained a finger in hiis right hand. While Lewis went home e to convalesce and share the story of his bad luck on Twitter. stumbled and then hit th he e ground. an injju ury that instantly rule ed him out of the week’s pe erformances. In a moment that could have come straight out of a Hitchcock movie. the practice rooms were absolutely freezing. so I hope he likes it! For more news and artist interviews visit www. Lewis’s moment of horror came as he was leaving rehearsals with the AFTER HOURS Musicians and their hobbies Royyal Liverpool R Philharmonic Ph Orchestra (RLPO) O an nd the spiteful squawker – sq evidently not a fan ev off tthe Schumann and dM Mozart they had been p pla aying – chose its momentt tto swoop.TheFullScore NEWSINBRIEF ivor new job: conductor Bolton is heading for Basel Where seagulls dare… Leadingg pianist p injured j in savage g Liverpool p bird attack BOLTON WANDERS Basel Symphony Orchestra has named Ivor Bolton as its new music director. but I thought there must be a better way than that. a job wool done: Fenella Humphreys works on a new project FENELLA HUMPHREYS Violinist KNITTING When I was studying in Germany. 18 BBC M USIC M AG A Z I N E There’s danger up in those skies. I’m currently knitting a hat for Sir Peter Maxwell Davies to say thank you for writing an incredible piece for me – it can be cold and windy in Orkney where he lives. Just ask Paul Lewis. Chauhan recently impressed when. RLPO top brass are believed to have been discussing the provision of gull-proof armour for all future soloists. Though he tends to keep quiet about it these days. by all accounts. I enjoy challenges. such as cabling and anything else that looks good. CHORAL CAPTAIN England cricket captain Alastair Cook has reconnected with his musical past by agreeing to become a patron of the Friends of Newport Cathedral Choir. My mum and my gran knitted. I like to knit things both for new-born babies and also as thank you presents. At first I cut off pairs of tights to keep my hands warm. it has at least announced that Alpesh Chauhan will be staying on as assistant conductor for another season. is still a dab hand at the saxophone. As well as knitting for myself. Hurrah. 57. ALPESH STAYS While the City of Birmingham Symphony Orchestra keeps us waiting as to the identity of its new chief .

particularly at the New York Met. while in the 1980s he worked on the Star Trekk franchise and blockbusters including Aliens. Born in Vienna. which won the 1994 Pulitzer prize for music and. heroic roles such as Wagner’s b Parsifal and Tristan. whose soundtrack album sold over 27m copies and won him two Oscars. Ron Howard and Titanic’s James Cameron. The directors he worked with included Oliver Stone. His works included the orchestral Reminiscences and Reflections. Jon Vickers excelled in m big. WALTER WELLER Born 1939 Conductor Such was Walter Weller’s impact as principal conductor of the Scottish National Orchestra in the 1990s that his image appeared on Scottish £50 notes.TheFullScore Farewell to… JJON VICKERS Born 1926 Tenor P Powerfully built with a voice to match. As a G Jon Vickers excelled man of strong Christian faith. he started out as a violinist. for whom he also wrote the score for 2009’s Avatar. earlier. Concerto for Jazz Quartet and Orchestra and Variants on a Theme of Thelonious Monk. earning himself the nickname ‘God’s tenor’. the Canadian N ssang for conductors including Otto Klemperer and Herbert von O Karajan and made important K rrecordings of many of his major roles. He retired from the stage in 1987. A major P figure on the global opera scene fi in the 1960s. which he joined in 2007. He also wrote for The Penguin Guide to Compact Discs and Gramophone magazine among others. r GUNTHER SCHULLER Born 1925 Composer Having played the French horn in the Cincinnati Symphony and Metropolitan Opera orchestras and then with the likes of Miles Davis and Charles Mingus. becoming concertmaster of the Vienna Philharmonic before taking up the baton when he stepped in for Karl Böhm at late notice in 1966. GETTY Edward Greenfield d (born 1928) joined the Guardian in 1955 and was chief critic from 1977 to ’93. . He went on to hold posts at orchestras including the Royal Liverpool Philharmonic and Royal Philharmonic. Gunther Schuller’s natural affinity for both classical and jazz led him to fuse the two in his music. he avoided roles such as Wagner’s Tannhaüser which a he felt offended his beliefs. an approach that became dubbed the ‘Third Stream’. JAMES HORNER Born 1953 Composer James Horner’s many famous film scores included that of Titanic. Before that. such as Britten’s Peter mighty presence: Grimes and Verdi’s Otello. in heroic tenor roles however. he was a founder member of the Petersen Quartet. His first major score was for the The Lady in Red (1979). Also remembered… Friedemann Weigle (born 1962) was best known as the violist of Germany’s acclaimed Artemis Quartet.

CHSA 5158 RUSSIAN ÉMIGRÉS Rachmaninov  Smirnov  Firsova ALISSA FIRSOVA piano VIVAT 109 available worldwide from August 14 Video on YouTube channel “VivatMusicLive” Pierné The Call Orchestral Works. www. this album is a festival in itself.September Releases Disc of the Month 7<öąĆúĈòþā÷<ćĩľý Royal Scottish National Orchestra / Neeme Järvi Full of energetic. Alice Castello. MP3) www. Panufnik.vivatmusic. lossless. effervescent Bohemian cross-rhythms.theclassicalshop.chandos. 1749 Brett Dean More Schumann piano music Chamber Works from Imogen Cooper Doric String Quartet CHAN 10874 VIVAT 108 “Ringingly confident” (The Observer) “Dexterous and sensitive” (Daily Telegraph) CHAN 10873 STAY I N T H E K N OW New releases t Reviews t Special offers t Artist features www. Rossini. and more CHAN 10871 CHAN 10872 PR E MIER E R EC OR DINGS BACH IN MONTECASSINO LUCA GUGLIELMI organ Organ of Chiesa di San Nicolao. It features Fucˇík’s best-known polkas. but also more lyrical expressions. tuneful brass melodies. waltzes and marches – among which the Entry of the Gladiators. available from all good CD stores and in high-resolution download UK distribution: RSK .net (24-bit studio quality. 2 More Choral Classics from St John’s Jean-Efflam Bavouzet / BBC Philharmonic / Juanjo Mena Famous choral works by Parry.

at least) specifically to induce feelings of mushy wellbeing. I’m For more news and artist interviews visit www. l which triggered a storm of booing on the first night. I wouldn’t still be doing the job if I didn’t. the researchers claim. Harrison Birtwistle. school authorities and health services seem determined to deny music’s social. psychoneuroimmunology at present is a big name for rather small findings. as a performer. that the saliva experiment was a pretty rudimentary first step towards scientifically measuring a performance’s effect on our biological state.TheFullScore PPA Columnist off the Year The Richard Morrison column So. any evidence that gives scientific backing to the oft-stated view that ‘music is good for you’ is useful in an age when politicians. The fact remains. instead of the pristine singing we heard from Whitacre’s handpicked choristers. First. Even I. paid to attend 200 concerts and operas a year. Now. But no scientist has yet offered a convincing explanation of something so basic as why a D major chord strikes us as triumphant while a D minor chord seems tragic. regular punters and newcomers. Neuroscience today is in the same state as geographical exploration was in the 13th century. The anecdotal evidence of people taking beta-blockers and worse before performing is witness to that. Music could be a fascinating tool in this exploration because it engages so many different areas of the brain. I cannot imagine they would have found stress levels reduced by the performance. only for the general public to exclaim: ‘Well. we have scientific evidence that listening to music makes you less stressed. attending a concert reduces stress – but only if the music isn’t stressful I t must be galling for scientists to spend months painstakingly gathering evidence to prove some hypothesis. These samples were tested to detect changes in the levels of the ‘stress’ hormones cortisone and cortisol. the performance had been irritatingly untuneful. professional musicians lag far I don’t wish to belittle a man who has done so much to promote the ‘choral renaissance’ on both sides of the Atlantic. ‘No. And at one level it certainly is. The results showed a marked decrease in stress among audience members.classical-music. whereas there was a temporary increase among performers.’ He’s right (of course!). I know only too well those dread feelings before and during a concert: the butterflies in the thinking about the horrible gang-rape scene inserted by a sensation-seeking director into the Royal Opera’s recent production of Rossini’s William Tell. still feel a release of pent-up tension when I listen to glorious music-making. but his lushly harmonised pieces seem designed (to my ears. the jelly knees. say. To which you will probably retort: ‘Well. educational and therapeutic benefits. Lots of people looked as if they were exploding with anger as they left the theatre. they fill up so much space on a magazine page). If the Royal College of Music researchers had been collecting saliva samples from that audience. I love long medical words. while performing music to a paying public makes you more stressed. ‘Is space really the final frontier?’ I asked him. is a psychoneuroimmunological breakthrough (gosh. the shaky fingers. I wonder what stress levels the same audience would have registered if the repertoire had been. young people and old. Nor do professional musicians. Yet I don’t want to knock the scientific work being done at behind professional athletes when it comes to harnessing the power of science to improve the quality and minimise the harmful effects of what they do.’ he replied. the performance had been specifically designed to provoke and antagonise. We have barely begun to explore how our minds generate emotions. This. Conversely. unlike with Whitacre’s ingratiating music. One obvious weakness is that it tested the audience response to one kind of music only – choral pieces composed by Eric Whitacre (or composers writing in much the same style) and conducted by him. As far as music is concerned. Second. And third. innit?’ This thought crossed my mind when I read the findings of researchers at the Centre for Performance Science in the Royal College of Music. performers in rehearsal and performers in concert – that could be fruitfully explored in the future. the dry mouth. that’s bleedin’ obvious. Or if. however. ■ Richard Morrison is chief music critic and a columnist of The Times BBC M USIC M AG A Z I N E 21 . that’s bleedin’ obvious. ‘The human brain is. innit?’. Quite the opposite. Or if. albeit at a humble level. This is the first time that stress hormones have been measured in a public concert. Music could be a fascinating tool for exploring how our minds generate emotions the Royal College of Music and elsewhere – for three reasons. their results already suggest subtleties – differences in biological changes during performances between men and women. I once had the honour of meeting Professor Stephen Hawking. the researchers say. I don’t need a saliva test to tell me I’m stressed and nervous. Earlier experiments measuring music’s biological effects on the body were done in artificial laboratory conditions. At a concert in London they took saliva samples before and during the performance from 50 audience members (including yours truly) and a dozen of the professional singers taking part. But I’m sure they said that about physics before Isaac Newton came along.

and performance art. They turn to Pärt in order to think – or to stop thinking. There aren’t many artists alive today whose effect has that degree of depth. He is not everyone’s favourite. some are left cold by his music or are irked by their inability to place it.ARVO PÄRT COVER FEATURE ARVO PÄRT A PORTRAIT Peter Bouteneff celebrates a composer whose music has had an extraordinary impact on us all ROBERTO MASOTTI A rvo Pärt is a composer whose music transcends classifications and their usual audiences. > . a trusted companion on their journey. people facing terminal illness seek out his music as they approach their hour of death. And as countless separate accounts attest. even zealous in their devotion. They listen to him in order to create their art or to commune with their God. in choreography. finding in it a voice that understands them. But his admirers tend to be ardent. His compositions underlie scenes in countless major films.


Together with several other East European composers of the late 1950s and early ’60s. the search for which is part of his personality.’ OR BREADTH. a piece that encapsulates the essence of his music is Cantus in memoriam Benjamin Britten. His music doesn’t contain any unnecessary notes. It eliminates the selfindulgence that many performers embellish their stage presence with. Pärt’s music 24 BBC M USIC M AG A Z I N E doesn’t allow any narcissism.’ adding the qualifier ‘holy. and hipster types. He justly belongs within the canon of 20th-century classical music. He is familiar to audiences at the Proms over the past decade. The rule seems to be that dead composers are allowed to be successful and loved. it’s static. there was complete silence. At the end of the second movement. I have been able to experience this on many subsequent occasions. Pärt’s music is able to transform your soul: it has cleansing qualities. For me. The most-performed living composer in the world. or acquire his latest recordings.’ he said of that period. he became estranged from the enforced alienation of serialism: ‘The sterile democracy between the notes has killed in us every living feeling. he looms large within the classical world. One might even ask: is Arvo Pärt a classical composer? His contemporaries like Philip Glass. Steve Reich or John Luther Adams (or the composers Pärt is usually lumped together with – John Tavener and Henrik Górecki) do not cite Pärt as an influence as much as an admired friend. That said. He’s very hands on. knowing that we only had a 25-minute train journey from Victoria Station to Gatwick airport. KAUPO KIKKAS. just descending scales in different metres.’ GETTY. Using a sparse amount of material. Pärt found a new way of writing tonal music. Sigur Rós and Stars of the Lid. In their rush to place him. and this summer Credo will be featured on the final evening. 1999 STEPHEN LAYTON (choral conductor) ‘Pärt is very strict about the sound he wants. and professional singers can waltz through it. He doesn’t use modulation to juxtapose tonalities. he impressed me. sometimes to the point of disdain. We had a very practical discussion about his music. primarily early European composers. yet his reach obviously extends far and wide beyond its usual listenership and influence. the more I came to admire it. Listening to it. Pärt was enmeshed first within serialism. Many of them couldn’t name a single other contemporary classical composer but will drop everything to attend concerts featuring his work. Pärt once said in a rehearsal – and I am still trying to follow his words – “Do not try to save my music”. there are legitimate ways to make sense of Arvo Pärt within the landscape of the mid-20th century. electronic and metal artists like Björk. or playing it. BEN EALOVEGA GIDON KREMER (violinist) ‘The premiere of Tabula Rasa in Tallinn in September 1977 – with violinist Tatiana Grindenko. usually for one of two reasons. avant-garde artists. I see this music as a celebration of the Christian faith in an ongoing way from JS Bach. extending to rock stars. especially in his early period. myself and conductor Eri Klas – was magical.’ PAUL HILLIER (choral conductor) ‘When I first met Arvo Pärt in 1984. His music feels both familiar and yet still fresh. The early “tintinnabuli” works have a rigour to them. as for living composers. “Silentium”. I don’t think there’s a piece I’ve recorded for the first time by him that hasn’t had changes made from the published edition in the recording session.’ in a nod to the sacred themes of his work. All his best pieces have somewhere in them a point at which you feel a deep compassion coming out of them for the human condition. the extent of their popularity runs in inverse proportion to their ‘seriousness’. and subsequently with the search for a way out of it. as did Pärt’s fellow Estonian composers Veljo Tormis (by way of Estonian folk songs) and . The message of the composer had a strong effect on everyone present. I’ve performed his Passio many times and regard it very highly: the more I looked into how it was put together. all around the world. you feel affected by some “truth”. Yet his own musical grounding is squarely within the classical tradition. I think that’s what attracts people. One is that he is popular. György Ligeti and Krzysztof Penderecki plotted their own escapes from dodecaphony. After the success of early 12-tone compositions that included two symphonies. Yet Pärt’s audience goes well beyond classical music aficionados. a rap song samples his De Profundis. The other reason is that he doesn’t fit in to people’s conceptual narrative for the history of music. but he sees through that very easily. His music looks so simple on the page. it seems to conjure up images of the 20th-century world of conflict and sorrow. people transcending national and socioeconomic boundaries. followed by a standing ovation. Far more likely to cite his indelible mark on their work are ambient. You have to serve the message which is implanted by its creator. critics call him a ‘minimalist. Somehow Anton Webern comes to mind. and these are the ones which capture me the most. Jazz compositions have quoted Pärt’s Fratres. with a resolution that somehow says there’s something stronger than all of this which binds things together.ARVO PÄRT COVER FEATURE PErFORMING A PÄRT Peter Quinn talks to three acclaimed interpreters of Arvo Pärt’s music choral collaboration: conductor Paul Hillier and Arvo Pärt meet in London. Classical music critics have been known to be wary of Pärt’s work.

For the next eight years Pärt composed next to nothing. With that landmark composition he parted company with his peers. first of all by going silent. The purity. led him to be received into the Orthodox church whose worship life. Pärt’s early period culminated in the stunning Credo (1968). The first One might even ask: is Arvo Pärt a classical composer? is the silence itself. His engagement with early sacred music was partly a matter of being captivated with its pristine character and. Josquin. But the deeper reality of this music was also becoming clear to him: these compositions and chants emanated from devotion and worship. Arvo Pärt’s musical search. and yet we can now see that it was a period of ferment that would shape all his subsequent creative output. During that period Pärt immersed himself in Ockeghem. helping lead to the third pivotal characteristic of this period: Pärt’s journey towards committed Christian faith and his entry into the Orthodox church. together with the influence of certain pivotal persons and sacred texts. These are years of crisis during which he was unsure whether he would ever compose again. > escape from serialism: Pärt become disenchanted with the 12-tone system BBC M USIC M AG A Z I N E 6025 . and eventually in Gregorian Chant. exacerbated by political censure. Three elements of this near-decade-long crisis would make their mark on the post-1976 music for which Pärt is best known. and that meant that in order properly to receive and internalise them. and Palestrina. He had arrived at a creative dead-end. he in turn had to seek his own disposition of faith and prayer.Eino Tamberg (by way of neoclassicism). in the case of Gregorian chant. Pärt’s searches took the form of collage compositions that juxtaposed serial passages with quotations from Bach and Tchaikovsky. The second is Pärt’s discovery of early music and chant. an indication of how beautiful music used to sound before its modern sterilisation. These appearances from the past functioned something like skin grafts: a healing of the barren. and the explicitly sacred character of this music made an indelible mark. honesty. which pitted cacophonous tonerows and ferocious choral shouting against sublime passages from Bach’s Prelude in C. texts. The unchosen mutedness of creative deadlock developed into a quietude that would characterise his music. with the lyrical possibility of the uncluttered single line. Dufay.

Pärt had uncovered a method of fusing the harmonic and the melodic. 26 BBC M USIC M AG A Z I N E liturgical leanings: Pärt has been influenced by the Orthodox church and overall ethos – though not. as opposed to merely textural. but this configuration struck Pärt like thunder out of a blue sky. and it feeds all the human senses. Played separately.” And that was when Alina was born. He was awaiting a breakthrough. The most perfect realisation of the style came with the St John Passion (1977-82). These came to form a continuous thread by which he would pull himself out of his compositional stalemate. It may not sound to us like much of an innovation. Tintinnabuli speaks of loss and hope. The Orthodox faith came to me later. I should mention. Pärt began to investigate using two voices. But my musical education was formed mostly on the basis of Roman Catholic church music. As he clarifies it: ‘The liturgical life of the Orthodox Church is rich. of sorrow and consolation . From working with just a single line of music. and by his religious awakening.’ Arvo Pärt’s immersion into Gregorian chant had one further effect. That perception impelled Pärt to fill notebook after notebook with strings of melody. sounding like the little bells that give this new music its name: tintinnabuli. springing from an inner musical necessity brought about by his encounter with plainsong and other early music. One morning in 1976. And that heritage has influenced me greatly. one of the most transcendent works of 20th-century sacred music. I mentioned above the power of the single line. sometimes set to psalms or prayers. Apart from its innate inner strength. By combining the triad and the diatonic scale in a single plane. Each note of the melody – the right-hand upper line. because it was the first sun and the birds were singing. and the single voice was half of it. before discovering the simple two-part homophonic unit – a generally stepwise ‘melodic’ line accompanied by a triadic harmony – that became the basis of what he calls his ‘tintinnabuli’ style (after the Latin word tintinnabulum. The new style was announced in 1976 by the crystalline beauty of Für Alina. Pärt wrote reams of technical exercises using just a single line of music. the breathtakingly simple piano work that was the first to emerge from that discovery. with an outpouring of works including Cantus in memoriam Benjamin Britten. in which the Passion text yields the entire melodic. With plainchant offering him a way to proceed.’ At this point. clarity and KAUPO KIKKAS. and Byzantine holy men. Pärt reached a creative impasse and underwent a dramatic reorientation of style. Anything that had no properly audible. And I was going to go out with a pram with Immanuel. it would help to find and listen to a recording of Für Alina. The impulse for this was twofold. sometimes conforming to physical shapes or diagrams. “Wait! Don’t go anywhere. meaning ‘small bell’). The moment of birth that day was the discovery of the second voice. unmetered lines of notes. His wife Nora recounted the day: ‘It was the 7 February 1976. like the “Big Bang” of creation. in B minor – is accompanied by a note in the left hand from the B minor triad. Pärt came to the realisation that a melody line could be paired with a second line. what impressed the composer most about plainchant was its cohesiveness. these are pretty. Played together. ARVO PÄRT CENTRE Pärt uncovered a method of fusing harmony and melody flexibility. but through the teachings and words of early Christianity. one that would be constrained to the notes of the underlying triad. its music – has profoundly informed his life and his art. purpose no longer had a place in his work.CHIMING & TIMING Peter Quinn examines Arvo Pärt’s tintinnabuli style ringing a bell: Pärt and a ‘tintinnabulum’ FOLLOWING THE COMPOSITION of Credo (1968). they create a sonorous unity. The other half was the second voice. harmonic and rhythmic substance of the work. And Arvo says to me. and not so much through the music of the church. Tabula Rasa and Fratres following in 1977. but unremarkable.

The 90-odd works that Pärt wrote after
Alinaa are nearly all composed in stricter
or looser obedience to this basic melodyplus-triad rule. These take a wide variety
of forms and tonal colours, from the sparse
Missa Syllabicaa (1977) and austere 70-minute
masterpiece Passioo (1982), to two works that
play dramatically on the juxtaposition of
major and minor tonalities, Te Deum
m (1985)
and the Berliner Messee (1990).
Tintinnabulii is but one of the rules that
Pärt applies to his compositions; others are
generated by the shape of the underlying texts,
or by other factors. But tintinnabulii is more
than a rule. It is an ethos, such that Pärt calls
it ‘a space I sometimes wander into … where
everything unimportant falls away.’ The two
voices of tintinnabulii are at the root of what
gives Pärt’s music its inimitable character, the
particular tensions and resolutions created by
the melody-triad intervals, yet the ‘rule’ is also
endlessly adaptable in its diverse applications.
While he justly shuns the (often pejorative)
characterisation of ‘holy minimalism,’ Arvo
Pärt has made his tintinnabulii style into a
precision instrument for the reduction of all
that is extraneous. The result is music that is
intensely concentrated in its effect: everything
unimportant has fallen away. It speaks to deep
and complementary human emotions, of loss
and hope, of sorrow and consolation and, as
Pärt himself puts it, ‘sin and forgiveness’ and
‘the human and the divine.’
Indeed, the vast majority of Pärt’s post1976 music is openly sacred in its character.
Apart from some of the earlier iconic works
such as Alina, Spiegel im Spiegel,
l Fratress and
Cantus, nearly every composition is set to a
sacred text, taken from scripture or Christian
prayers and liturgies. He is an Orthodox
Christian, something explicitly represented
in his settings of texts by St Silouan the
Athonite (Silouan’s Songg and Adam’s Lament)
and from the Eastern prayer tradition (Kanon
Pokajanen, Triodion, and many others). But
he is as likely to set texts from the Latin Mass
and Roman Catholic prayers, as well as from
the Bible that is common to East and West.
The spiritual character of Pärt’s work is
received by a broad diversity of listeners with
or without their own religious affiliation.
Whether or not they care to access the
underlying texts, the music itself says enough.
It has managed to translate the words of a
particular religious tradition into a universal
language. Neither this, nor the curious world
of tintinnabuli, nor the essential and stirring
character of his music, is fully understood
by anyone. For Arvo Pärt’s devotees, he has
changed and deepened their inner lives. ■
‘Arvo Pärt: Out of Silence’ by Peter Bouteneff
is out now, published by SVS Press

Six of the finest recordings of his music

ambient session:
Tõnu Kaljuste and musicians
at the ECM recording of Adam’s
Lament in St Nicholas’ Church, Tallinn

Tabula Rasa


Gidon Kremer (violin), Tatiana Grindenko
(violin), Alfred Schnittke (prepared piano),
Lithuanian Chamber Orchestra/Saulus Sondeckis
ECM 476 3878 £14.99

Various artists
ECM 449 9582 £14.99

The ECM label, through its founder Manfred
Eicher, is in great part responsible for Pärt
reaching a broader non-classical listenership.
This inaugural ECM Pärt recording features
three of his most important and enduring
works: Fratres, Cantus, and Tabula Rasa.

Passio Domini Nostri Jesu Christi
secundum Joannem
The Hilliard Ensemble
ECM 837 1092 £14.99

When Pärt first heard the Hilliard Ensemble
perform his St John Passion under Paul
Hillier’s direction, he wept at the purity of
their intervals and the perfection of their
rendering. An ideal recording.

Te Deum
Estonian Philharmonic Chamber Choir, Tallinn
Chamber Orchestra/Tõnu Kaljuste
ECM 439 1622 £19.99

The first of several ECM
recordings with the outstanding
Estonian Philharmonic Chamber
Choir and Tallinn Chamber
Orchestra, under the direction
of conductor Tõnu
Kaljuste, features
several major
and memorable
works: Te Deum,
t Silouan’s
Song and the
Berliner Messe.

This recording is indispensable both as an
excavation to the 1976 origins of tintinnabuli,i
and as an album to hear, and get lost in,
endlessly. Just two sparse and simple
compositions here, in multiple subtlyvarying renderings. Their copious use in
film soundtracks becomes understandable,
if not entirely forgivable.

Adam’s Lament
Latvian Radio Choir, Vox Clamantis,
Riga Sinfonietta, Estonian Philharmonic
Chamber Choir & Tallinn Chamber
Orchestra/Tõnu Kaljuste ECM 476 4825 £14.99

Pärt’s most recent major work, Adam’s
t is a dramatic setting of the
eponymous text by St Silouan the Athonite, a
20th-century starets whose influence on Pärt
is incalculably large. The disc, which won a
Grammy for Best Choral Performance, closes
with two irresistible lullabies.

The Tallis Scholars
Gimmell CDGIM049 £13.99

Pärt has made an indelible mark
on contemporary choral singing.
The Tallis Scholars’
deep experience with
both Renaissance and
Russian Orthodox
music inform their
reverential – and
flawless – renderings
of one brilliant gem
after another.




The James Naughtie interview

A his 75th birthday approaches, the pianist gladly embraces the
wildly different characters of Bartók and Beethoven, Schubert and
SScriabin, even if he doesn’t always recognise his own playing…



couple of years ago Stephen
Kovacevich was driving along and
a recording of Beethoven’s Sonata
No. 27 in E minor came on the
radio. He recalled a recording he had made
of the piece and a last movement about which
he’d never been quite satisfied. This one was
much better. Who was playing? Wilhelm
Kempff, probably.
The performance ended. ‘Do you know
what? It was my own recording, and I didn’t
even recognise it,’ he tells me. ‘I wasn’t
expecting it, and there it was.’ And the lesson
is? ‘Sometimes when you anticipate, you
preclude ecstasy.’
It’s a mistake to think too much about what
to expect. Let it come to you. Some critics
fail to do it, he says, too often. There’s a nice
expletive here about someone from another
magazine, which is better omitted. ‘I’m not
going into California hippy mode to say that
everything has to be unplanned, but I do
think that we often overlook spontaneity.’
We’re talking about this battle against
expectation in his home in Hampstead, in
the room where he plays, which is draped
with Indian wall hangings and where a steady
stream of the most talented young players
come to seek the advice of one of the great
artists of our era, about to turn 75.
‘When I’m coaching someone and they
have a beautiful sense of rubato, I will praise


away from the keys: Kovacevich conducts
Starting out: Born on 17 December 1940 in
California, he made his public concert debut
age 11 in San Francisco, performing Jean
Françaix’s Concertino.
Heading abroad: At 18, he moved to London
to pursue a piano scholarship with Dame
Myra Hess before making his European
debut at Wigmore Hall in 1961.
Notable partnership: Among his most fêted
recordings is his 1978 disc of Bartók, Mozart
and Debussy piano duets with Martha
Argerich, his former partner with whom he
has a daughter, Stéphanie.
Multi-tasking: 1984 saw his first concert as
a conductor with the Houston Symphony
Orchestra. He has since conducted many of
the world’s leading orchestras.

them, but I will never, ever, praise a certain
phrase, saying “Oh you played that phrase so
wonderfully”, because next time they won’t do
it. They’ll be self-conscious, they’ll worry they
can’t do it again. Is it going to be so beautiful
the second time?
‘I can say that most of the gifted kids
between 20 and 30 have found their way to
this piano. I worked with someone who was
very gifted – could not be more gifted, really
– playing the Chopin B minor Sonata. There
was a beautiful phrase that we both liked.
Then another beautiful phrase which, on a
very high level, was tight. I said, “Please do
it again. I’m giving you no advice. But don’t
type it.” What was released was something
completely magnificent. It was inside. That
person – I won’t say who it was – trusted
me. That trust was a catalyst and it was
miraculous. If you heard that at a concert, you
would be so grateful.’
He talks with the excitement of a youngster.
On the set of his complete Philips recordings
being released to mark his birthday (recorded
between 1968 and 1985) you can hear many
such moments, and feel the warmth of that
fire. When he arrived in London at the
end of the ’50s, the young Stephen Bishop
began to give electric performances. By
the time he recorded Beethoven’s Diabelli
Variationss in 1968 he had established himself
in the repertoire that was going to build his >


His main thing is compassion. And he’s not religious (‘if there’s a god of some kind. and his feeling for music as a never-ending search for an explanation which. There was a sense of underlying connections. There’s some destiny that makes it all worthwhile. But there’s no subtext there. ‘The quintet is out of this world. I think he was fundamentally religious.roll over. ‘I was too young to know how erotic it was. but I knew it was something of that nature. ‘If you take his third period from K482 – the late E-flat major Concerto – and listen to Symphony No. you know. It is Bartók’s Second Concerto. Take the third period in his work – there’s nothing of ‘If there is a god of some kind. you know. he’s moved by the seriousness of the quest. when Rossini when to visit him he was surprised by two things: how polite he was. With his deafness you might have expected something else. of which he says he’s most proud among these recordings. that’s all. it’s deep in his own nature.’ Back to Mozart. something that can’t be revealed. No. he was moved most by Chopin. if his fascination with India. Wagner (‘I thought Beethoven was awful!’) and.’ And as we start to talk about the composers he has studied and played throughout his life. Bartók. ‘What he does that nobody else does in the same way is to be subversive to his own muse. and now we’d describe him as borderline alcoholic. As an adolescent. Terrible stomach pain. you know. however wholeheartedly you try to find it. above all. with all this interest in mystery. had led him towards meditation. It takes your breath away. We just don’t know how to talk about it. And the sonorities! Sometimes he’s off the wall. I don’t think there’s a positive message that I can feel. 39.’ He would clearly like this to be true. my God! – and Beethoven also has radiance. And with Brahms. beethoven: ‘He’s sometimes a puppy dog. 30 BBC M USIC M AG A Z I N E As for Beethoven. and how quietly he spoke. After all. he reveals his fascination for character. the interesting thing is that in No. he feels deeply European too. by the Russian Scriabin’s exoticism. A Californian by birth and style. You have to remember how much physical pain he had. But you know his love life was a mess. Beethoven hoped that there was maybe a god. having spent some years as Bishop-Kovacevich. he changed his name to reclaim his Croatian background. you know – he teases’ remarkable career: Beethoven and Brahms.’ It’s natural to ask. and we talk about the extent to which his Slavic roots draw him to the composer. ‘Radiance. is always bound to remain elusive. But there’s something secret. though not obviously in a conventional sense.’ But Schubert is different. Mozart and Schubert. apart maybe from Fou Ts’ong. I feel there’s a strong feeling there. which gripped him before he’d set foot in it. But I will say that. we are not on good terms’ this in the first or second period. The subtext is: it’s all right in the end. he teases you’) and although he has no sense of a simple answer in the search for meaning in life. It’s not out of character for him. There’s a radiance in late Mozart – the Jupiter Symphony. ‘I can’t tell. I can tell you that we’re not on good terms’) and he prefers irreverence. Listen to the minuet in the Diabellis. I think most people had a better time . But. eventually dropping Bishop (his mother’s name after her remarriage). It’s a scale. Then he’ll take the mickey. I think I play the Chopin mazurkas with a different feeling from most pianists who have no connection with central Europe. Quite mad. and the passion that it stirs up. although his last words were bleak: “Comedia finita est”. under Colin Davis. He enjoys that in Beethoven (‘he’s sometimes a puppy dog. 39 he starts with this descending scale that’s like paradise and you don’t know why. We return to the word which has cropped up a few times in our conversation.

She went to a performance in which he misread a chord – one chord.’ He recalls the psychiatrist Oliver Sachs. daughter Stéphanie and violist Lyda Chen-Argerich in 2012 GETTY making a point: than Beethoven. Backstage. I don’t know. she was absolutely sobbing. his teacher. After the performance. ‘It was beautiful beyond words. He was right. but you misread a chord. but in an interesting way. ‘I love that story. The first time I heard it – Serkin was playing – I thought he had made a slip. she said. He was unhappy with the performance. Schnabel didn’t have ten different versions of Beethoven’s Op.’ He quotes p Blake on the horror of people who don’t understand temptation. The quality of the material is vastly different. and I’m including myself. I don’t hear it. 111 Sonata that people were comparing. ‘I’ve sinned again the Holy Ghost. ‘Maestro that was wonderful. this piece is very long. for the record).’ Kovacevich says. All I know is that when Horowitz walked on the stage to play Tchaikovsky.’ I wonder if he thinks that the reason such experiences happen less now is that we’ve simply got too many recordings around us. he was I don’t know what. But sacred is sacred. I walked out and I saw the public. the rubato is probably the most beautiful that I know from anybody. he was just saying that music is sacred. What worries me is that some people may not be able to hear it. Everyone I know who hears it. My experience actually still chokes me up just to remember it. and he was shouting. knew Rachmaninov and told Kovacevich what it was like to hear him play. Myra Hess.THE JAMES NAUGHTIE INTERVIEW W FEATURE family gathering: with former partner Martha Argerich. The next day she got the biggest bouquet of flowers she’d ever seen. ‘You see?’ says Kovacevich. doesn’t kknow what to say. Above all. Mozart is completely different. and there were so many kids that I thought I had miscalculated. When you say it to some musicians they are shocked. And he ends our conversation with another. Kovacevich is back to his theme of the power of the unexpected and he tells an anecdote from India. troubled and in pain. Just stay with me. When I’m playing the late A major Sonata. and about performance. of course. No one who heard that will ever forget it.” ‘What was unbelievable afterwards was that a girl came backstage – she was about ten or 12 – and she wasn’t crying. Kovacevich is bubbling with good humour. There iis no one else who can slow up like this. people hadn’t had heard a dozen different pianists playing it. ‘It’s an unlikely connection to make. whatever the reason is. ‘He wasn’t really making a religious statement. without it being planned. And there’s something about Schubert’s accompaniments that have that in them – think of the middle A minor passage. played the Divertimento. Next time it mightn’t happen.’ People standing outside his room heard him saying it again and again. Why. “Look. You know there’s no way out. a repeated thing like that. You can hear the repeated use of ostinatoo in the accompaniment. She was so moved. l made in the 1940s: ‘It’s unsurpassed. and it’s the kind of encounter where we’re talking one minute about Beethoven’s interest in Indian philosophy and then about which Netflix series he watches on his big screen (Breaking Badd and House of Cards. ‘In my life experience. Hess was playing with Arturo Toscanini. And I said to the kids. I realise that the slow movement is the only written-out nervous breakdown in music.’ ■ BBC M USIC M AG A Z I N E 31 . and I’d say I wouldn’t have wanted him to marry my daughter. K563. even m ttoday. about music. I’m no goody goody.’ He bowed and said little. 1964 the night and. however. The late quintets and late concertos have a quality which is radiant. Don’t worry if you find some of this boring. She’d never heard anything like this before. And that’s it. classical music still isn’t that big in India. Schubert is the only one who scares me when I’m working. lots of that irreverence that he loves. We’re so judgmental. and in the second half of the concert he conducted Beethoven’s Fifth Symphony. Some things have a passion that is just ooverwhelming. going back to what he called ‘the music of consolation’ and discovering that it didn’t work every time. and they hadn’t heard it played live since 1925 – Kempff – because. It’s one of the symptoms of madness. she found him locked in his dressing room.’ His playing? ‘Dark and iincredibly subtle. It’s an astonishing passage. and understand his depth. ‘I was playing the Diabellis i there about three years ago in Mumbai. But she was in floods of tears. but I think it’s this quality of taking it on the chin that’s the same.’ d Mentioning Rachmaninov takes him to the Russian’s recording of Schumann’s Carnaval. but I think that nobody W plays with the unbelievable passion of p Horowitz or Schnabel or Rachmaninov. and so was I. ‘Maybe it’s too many CDs? Who can tell? but there is a shining that doesn’t happen as often as it used to. Maybe we hear too much. because some of it is boring. we’re talking about composers whom he’s known all his life. And here’s a thought: I think there’s an affinity between Schubert and – wait for it – Musorgsky. the kind of thing that can happen when no one expects it.’ This is all delivered more cheerfully than it might seem. remember. m bbecause it comes from the music. As a man. And where would a European or American kid do that? The culture doesn’t allow us to be overwhelmed.’ He recalls an occasion after a New Year party when some musicians stayed late into Kovacevich and Jacqueline du Pré swap notes. out of control.

tempos. the lengths keep shifting. The vertical lines are like an X-ray showing the construction of the music: proportions need to be respected. Here. weeks or even years honing their interpretations. We only hear the polished final product. I’ve emphasised Brahms’s marking semplice: as in life. 3. It always amazes . making them easy for anyone to understand. 32 BBC M USIC M AG A Z I N E 1. but the printed scores that they have learnt from often tell of the hard graft that has gone before.3 Score draws 1 What do musicians’ written markings tell us about their interpretations? We open the door on the rarely visited world of professional pencil scribblings. fingerings and Post-it Notes… ANY CONCERT PERFORMANCE only ever tells the tiniest fraction of a story. plus two from greats of the past. eight artists present their own scores. even advice from the composers themselves scribbled onto the page. By the time musicians walk on stage. complete with jottings – an intriguing look at their unique relationships with the music. Semyon Bychkov Conductor Score: Brahmss – Symphony No. Others adopt the renowned doctors’ scrawl – indecipherable to all but themselves. with fingerings. Andante (pictured above) ‘In the score. Some musicians annotate their music clearly and neatly in different coloured pens and stickers. phrase marks. rhythm clarifications. a window onto his or her interpretation. there is nothing harder to achieve. Whichever it might be. they will have spent days. second movement. the marked-up page is an insight into the musician’s mind. so in music.

but then at this crucial point it’s right in front of him. Sir Georg Solti Conductor Score: Wagner – ‘The Ride of the Valkyries’ from Die Walküre (pictured left) Charles Kaye. details of how he adopted different tempos at different times. Solti has thought of everything here: how it should be phrased. The wavy line indicates where we need to take time. at the top left of the page. I’ve no idea what conductors did before Post-it Notes – they’re unbelievably useful! If something happens in rehearsal that doesn’t work. (left) his colourful score for Wagner’s Ring 3. I remember it. Eliot wrote a pair of essays on the greatness of Shakespeare and Dante and I’m seeing a connection between the magnificence of this music and these essays. I’ve often seen a connection between the musical mazes that Reger presents. At the beginning. At the top right-hand > BBC M USIC M AG A Z I N E 33 . you hear those in the recordings.’ GETTY 4. As Solti’s eyesight became worse. The exact point at which a crescendo should begin is crucial. Solti’s executive administrator. You can even see. but I may not want to stop just then. His indications of articulation are so precise: at letter C. so it’s almost legato. Shakespeare and Dante.’ 4 2 window with his fingernails. the dynamics. saying “Let me in”. and the complexities of Hesse’s writing.’ 2. I even mention Hesse’s novel The Glass Bead Game. The kid gets up and opens the window. what these numbers mean is 1-4: the first bar of a four-bar phrase then bars 2. he’d mark his scores more and more clearly so he wouldn’t have to conduct with glasses – that’s why so many markings are in red. a dotted triplet with a slur. the tempos. while I was practising once. 1997-2007: ‘This system was unique to Solti. And so on. but not quite. There’s this moment where there’s this kid in bed and a friend who has become a vampire is scraping on the Score: Reger – Variations and Fugue on an Original Theme (pictured above) ‘All of these notes were written quite some years ago and are a record of my personal journey with this music – I can see I mention TS Eliot. the poem is all about something that he can’t quite catch in his eye but is always scraping around. The big numbers you can see everywhere – 1-4. The ‘“cf Salem’s Lot” refers to the Stephen King film. Steven Osborne Pianist Score: Ravel – ‘Scarbo’ from Gaspard de la nuit (pictured above) ‘For me “Scarbo” is very much about madness and about somebody seeing things that are not actually there. but how complete it is. this scene suddenly came into my mind.MARKED-UP SCORES FEATURE mark my words: Georg Solti annotating his score. Paul Jacobs Organist me how little information Brahms gives on the score. 3 and 4. 2. I am always trying to find things that very vividly capture the emotion of something and. 3 4 – was an old German conductor’s technique he learnt at the Liszt Academy back in Hungary to remind him of the phrasing. so I put in the note and come back to it later.

Red has always been structure. or he suggested ‘couper la tête’ – cut off the head. for instance. I’m not synaesthetic. this single note has a new intensity. and the colour system has stayed in place. And I believe in always marking up scores with positive comments. I write things that are indecipherable to others – I can even see a phone number there. I’ve written “indifference to c[lassical] m[usic]” – indifference in our society is. Ligeti wrote “espressivo” and “parlando “ ”. There are hundreds of ways to play a note very loud with accents. I think.’ corner. but in fact he insisted on the “impitoyable” and “cérémonial ” aspects. 62 No. Sometimes. 1 (pictured above) ‘My teacher Edoardo Strabbioli wrote the “Fog in London” on my score to the Chopin Sonata – he seemed to think the passage was quite impressionistic. I’ve done it ever since. This was the first piece I performed in public and my teacher and I did a lot of work on it – he was always on the look out for things that would help give it a programmatic feel. Lucy Schaufer Mezzo 6 Score: John Corigliano – The Ghosts of Versailles. James Rhodes Pianist Score: Chopin n – Piano Sonata No. I also have these naughty. music’s greatest challenge. a song cycle about all sorts of animals. but I am visual and have an almost photographic memory. Colour helps with that. These terrifying metaphors reveal a lot: his father and brother were murdered during the war. This piece is like Tibetan music: everything is ritualised. reminding me to ring someone!’ 6. however. Nocturne Op. hysterical labels. while blue has always been phrasing.’ 7. He told me it was like a ‘coup de feu’ – a gunshot. second movement (pictured left) ‘I worked on all of Ligeti’s piano pieces with him in the 1990s. make it a little more . 3. I realised that by using colour I could better understand the music. This page shows his handwriting and. Pierre-Laurent Aimard Pianist Score: Ligeti – Musica Ricercata. It’s my key to opening the lock to owning the music and getting it off the page. The last three bars of this page are marked “fff ” but he wanted “ fffff ”. Comedy and laughter always helps. Once you know this. And I ended up drawing them. I was doing the Fables de Jean de la Fontainee by André Caplet. “Fog in London” helped me use more pedal. Jonathan Dovee – Flight ‘This system goes back to Tanglewood when I was a student. It shows how a text is just a starting point. in red. his comments in my writing.musical shades: mezzo Lucy Schaufer explains her unique colour system 5 5.

’ 10.MARKED-UP SCORES FEATURE 9. they give an insight into his views about music. and the backwards arrow in the second line is about timings. Some pages have more markings. although some markings are more enigmatic. 8 ‘A few years ago. At that stage in his life he was playing with the score. and we spent an evening at his house listening to the first recorded takes of the premiere. each underlined by a wavy line. It was vile! I wanted to bring out two notes in the Nocturne’s inner texture. The music builds up to the high C.’ 10 . you hit the three equally too. Importantly. But actually it’s two bars later. as in the third line here. 2. first movement (pictured right) Pianist Alexander Melnikov: ‘Many years ago. by Krystian Zimerman. Peter Jablonski Pianist Score: Lutosławskii – ‘Largo’. towards the end of his life. “Bohze moi” – “Oh my God”. and the word “attendre” at the bottom of the page is probably a message for the page turner. the composer’s widow. I remember him in particular talking about the Largo. even throw mobile phones across the room and slam the lid of the piano down in a rage. was in the front row! Afterwards. Paul Cassidy Violist (The Brodsky Quartet) Score: Shostakovichh – String Quartet No. then after a while said in three distinct syllables. and so I took my opportunity to ask her a question: what does the “pah-pah-pah” rhythm that you constantly hear in Shostakovich’s music refer to? She paused. some more clear. in that same rat-tat-tat rhythm. and Irina. but he went mad. which is quite enigmatic. In my Lutosławski score. Sviatoslav Richter Pianist Score: Saint-Saëns – Piano Concerto No. Richter gave me his copy of the Saint-Saëns Second Piano Concerto. In the first line. some less. I was 17 and on my way to Kraków to record Tchaikovsky’s First Piano Concerto. when the Piano Concerto had just been premiered. “Nikogda”. In the left hand there is always this quaver rest. and wrote ‘“baby killer” in the score as if what I was doing was as bad as infanticide!’ 8. which is where one would have thought the emotional high point would be. We can only assume their meaning. Richter has written the words “press 8 down”. and she said “Of course!” – they all lived in constant fear of that knock. and then.’ 9 fear of three: Paul Cassidy’s marked-up score 7 mysterious… The “baby killer” inscription is Edo again – he would always do things like that. Movement III from the Piano Concerto (pictured below) ‘The first time I met Lutosławski was in 1988. so when you see the notes in the score. Polish Radio had somehow arranged for me to meet him. I use the arrows as a simple way of showing where the phrase and momentum is going. I asked if this was a reference to knocking on the door. and leafing through his handwritten score. we were having dinner together. which means “Never again”. the markings are a lot to do with direction. the syllables are accented equally. we did all of the Shostakovich string quartets in Bologna. although I think they indicate some sort of gesture he might give to those rests.

and he’s worked hard to ensure the juries have a strong international component and that the marking process is free of bias. But. Since then the competition has had its ups and downs. No doubt aware of all tthis. when Shostakovich 36 BBC M USIC M AG A Z I N E was chairman of the organising committee. And Russia itself has c changed unimaginably ssince the 1950s. violin. in four categories (piano. Adding to the competition’s mythic status is the extraordinary drama of the first ever competition in 1958.The International Tchaikovsky Competition is the most coveted of them all. the competition is outsize – in 2015. Van Cliburn. There have been great winners. cello and voice). including violinists Viktoria Mullova and Gidon Kremer. He wants to nurture the competitors. in properly Russian fashion. conductor Valery Gergiev has taken a keen G iinterest in it. He was given a tickertape victory parade in New York. It seems a good moment to ask: does the . Like Russia itself. are East-West politics still in danger of dominating it? ALEX SHAPUNOV/TCHAIKOVSKY COMPETITION W hat makes the International Tchaikovsky Competition different to any other? The name itself points to one factor: it is rooted in a composer who for many represents Russia musically. St Petersburg and Moscow. The winner in the piano category was an American. The Americans had just been beaten in the space race. with new and possibly fairer competitions springing up all round the world. Its 57-year history is also grand and tumultuous. the fact that the competition is still entirely state-funded arouses suspicions about its independence. an event of huge significance in those Cold War days. and involved 120 competitors. n not just line them up like n racehorses. The world has changed. However. Allegations of bias and corruption and a general air of lassitude and poor organisation dogged it during the 1990s. it is spread across two cities. not always been inspiring. but Van Cliburn’s victory evened the honours. The scale of the competition is another. The current culture minister Vladimir Medinsky is fond of sweeping ex cathedraa statements asserting the importance of Russian cultural values. Since the previous competition of p 22011. asks Ivan Hewett. frankly. and legendary names like violinist Leonid Kogan and cellist Mstislav Rostropovich were on the juries. the organisers have ttried to reinvigorate the iinstitution. The roster of winners has. and pianists John Ogdon and Vladimir Ashkenazy (who shared first prize in 1962) as well as Grigory Sokolov and Mihail Pletnev. judged by 53 jury members.

bass-baritone Thomas Quasthoff. First impressions of St Petersburg are like first impressions of any new city. takes a dim view of this. I like the idea of including a folk song. All that. The competition has that same quality of a shiny new packaging papered over stubborn continuities. but in general I wonder about the choice of repertoire. a goldleafed onion-domed church half-hidden by the tower blocks. The little Musorgsky Hall in the new Mariinsky theatre has an antiseptic. and also something composed post-1950. gives the whole thing a curiously antiquated air. as if we are being carried back to a Sino-Soviet cultural junket from the 1960s. plus the quaint folk songs from the Chinese competitors. and one or two sing only in Russian. like Kirill Molchanov’s The Dawns Here are Quiet. as it so proudly claims? Or is it just a forum for asserting Russian pride? To find out I go to the final rounds in person. The roster of singers is overwhelmingly Russian/Slavic and South- The music-making carries us back to a different era East Asian. the > venue for the final concerto rounds for the BBC M USIC M AG A Z I N E 37 . (left) voice winner. just in time to catch the second round of the vocal competition.’ The next day involves a trip to the Grand Hall of the St Petersburg Philharmonic. One of the very distinguished judges. whispering into iPhones in a dozen languages. (bottom) Valery Gergiev competition really find the best musical talent. Russian soprano Antonina Vesenina. ‘All this concentration on power is wrong. a giant poster reminding us of the heroes of the siege of Leningrad. particularly Chinese. French pianist Lucas Debargue. wood-lined purity. and potentially damaging. (top left) voice fourth prize winner. The other striking thing about the singers is their determination to overwhelm us with sheer fire-power. the one-time Imperial capital. Yet the music-making itself carries us back to a different era. but every candidate has to sing some Tchaikovsky. often at the expense of subtlety. Most tackle some Verdi or Gounod. which I do as a guest of the competition. ‘At this stage of their careers they should be concentrating on flexibility. like a lecture theatre. Busy PR types in chic ’60s-retro outfits glide about. The Russians fulfill this requirement by digging into long-forgotten works from the Soviet era. It’s a shame the juries could not be consulted in the selection.’ he says. But in among the overwhelming evidence of globalisation are signs of older ways. My visit begins in St Petersburg. I arrive on 27 June.TCHAIKOVSKY COMPETITION FEATURE notable successes: Moscow Critics’ prize winner. the same chain stores at the airport. Mongolian Aruinbaatar Ganbaatar. the same distracted people peering at smartphones. There is also a requirement to sing a folk song.

’ What are his plans for the next day? ‘To go to the forest. dark-green tinted main hall of the Moscow Conservatoire is packed. PR minders and avid journalists. But for me. Up the backstage staircase surges an army of TV crews. The mêlée is indescribable. 20) 2nd: Alexander Ramm (Russia. ‘I’m only 31 and I have a subscription to the Mariinsky. razor thin. 32) 4th: Clara-Jumi Kang (Germany. Everyone is agreed that Debargue and Li are the most . his omnivorous reading and the fact that he worked in a supermarket for three years. 32) and Aruinbaatar Ganbaatar (Mongolia. Down the same stairs pour the orchestral players. One girl next to me gazes up at Debargue’s pained thin face with such adoration I think she might actually pass out. 19) 3rd equal: Lukas Geniusˇas (Lithuania. and classical music’s importance. 23) 4th: Lucas Debargue (France. ‘It was HORRIBLE. and vast chandeliers hanging over the orchestra. The lovely. 28) Cello 1st prize: Andrei Ionut¸ Ionit¸a˘ (Romania. 24) Voice GETTY. as it’s time to hear the Romanian Andrei Ionut¸ Ionit¸a˘ play Dvoπák’s Cello Concerto. Everyone is astounded by the sheer facility of the 16-yearold Daniel Kharitonov. me included. 21) and Hansung Yoo (South Korea. in dishevelled black tie without the tie. 31) 4th: Pablo Ferrández-Castro (Spain. ‘I can’t bear to watch him. and to know what’s happening culturally.’ he says. He plays Tchaikovsky’s First Concerto with a fascinating nervous intensity. ALEX SHAPUNOV/TCHAIKOVSKY COMPETITION Joint 1st prize: Yulia Matochkina (Russia. 28) and Antonina Vesenina (Russia. On comes Debargue. There are more cello finals to come.’ he says. in one of Liszt’s Transcendental Studies. ‘He has absolutely no technique. social media and the competition’s own website are abuzz with speculation about possible winners. 24) and Sergey Redkin (Russia. ‘Lucas is DOWNSTAIRS!’ somebody shouts. all knees and elbows. 20) 3rd equal: Pavel Milyukov (Russia. I never find him. Up above. We learn bit-bybit about his troubled family life. the TV presenter who four days later will co-host the award ceremony. 27) 2nd: George Li (US.’ By the end of the following night all the competitors have been heard. dying for a cigarette. Naturally we are all agog to see him on the second night of the piano finals. and the semi-finals and finals of the singers’ competition. is generated by the pianists. But the real excitement. At the back. He’s very upbeat about the competition. The pianist who really piques everyone’s curiosity. 28) and Chuanyue Wang (China. as always. though. Why. 26) and Haik Kazazyan (Russia.’ Is this just a passing fashion. Back we turn. oil portraits of the great composers (Glinka among them) gaze down. and the American George Li’s charm in Mozart’s A major Piano Concerto. In the interval I meet Alexander Milich. Competitors have to measure up to Russian ideas of musicality By now. to get some peace. Alexandra Conunova (Moldova. 30) 3rd equal: Mane Galoyan (Armenia. ‘This is just not a natural way to make music. the child doesn’t even know what a down-beat is!’ But the crowd loves him. glaringly lit grandeur with outsize pillars marching down each aisle. 30) 4th equal: Dmitry Grigoriev (Russia. who finds a sweetly intimate tone in her opening recital. is the Frenchman Lucas Debargue. blinking. a Russian. his love of jazz. 27) 3rd: Alexander Buzlov (Russia. 24) Violin 1st prize: Not awarded 2nd: Yu-chien Tseng (China/Taipei. After the performance comes the media scrimmage. 27) 2nd equal: Svetlana Moskalenko (Russia. ‘It’s cool among young people to follow the competition. Immediately his big extrovert sound and eager commanding way of relating to the orchestra tell me this could be a winner. his pinkie sticking out oddly. The warmest comments for the six violin finalists are reserved for the German violinist Clara-Jumi Kang. 31). or a sign that classical arts still have a hold on the young? Or 38 BBC M USIC M AG A Z I N E is it bound up with national pride? There is no time to pursue these questions. a huge photo of Tchaikovsky presides over everything.TCHAIKOVSKY GLORY The winners in full grand master: winning pianist Dmitry Masleev west beats east: Shostakovich presents pianist Van Cliburn with the first prize in 1958 Piano 1st prize: Dmitry Masleev (Russia. It has a heavy. on the swanky earlymorning high-speed train.’ says one old-school female Russian professor of piano when it is over. in pursuit of the elusive Frenchman. next day involves heading off to Moscow for the violin and piano finals. but I do bump into him at 1am in the hotel. his late start. when he tumbles out of a lift. 29) cellists’ prize.

Debargue wins the Moscow suspect to the large body of opinion which Critics’ prize. suggestive of the primeval soup. Of the four Russians. and Kharitonov the most blisteringly impressive of all – but too thoughtlessly and naturally brilliant to be a serious contender (though some feel it is that quality that might clinch it for him). To win those. this beats everything. conception of Russianness chief one being that in Russia patriotism is not in music. coloured patterns swirl over video screens behind the stage. One can name those things: a full-blooded virtuosity allied to a tone of massive deliberation. the rejects that narrow.’ he says to the waiting finalists in the front row. and strives to live up to its name. Finally comes the prize-giving. then hieroglyphics. ‘Don’t be too excited about winning. competitors have to measure up to Russian ideas of what constitutes musicality. a proud assertion of a living tradition mongolian medal: leading back through Alexander baritone Aruinbaatar Goldenweiser to Liszt (and Ganbaatar collects his prize therefore a contempt for ‘period performance’. only hope in future years the competition So what have I learnt? Many things. and don’t be too disappointed about losing. and was as much a European as efficient and decent enough. Meanwhile strange electronic noises. . This may be the International The Tchaikovsky Competition Winners Concert Tchaikovsky Competition. The foreigners are let at Birmingham’s Symphony Hall on 28 October. That opinion but first place in the piano section goes to the is gaining ground in the new Russia. Yet we off. One can Russian Dmitry Masleev. impossibly tall and thin Russian models with bouncing hair sashay on. of which we saw not whose job it is to award the prize. As the lights fall.TCHAIKOVSKY COMPETITION FEATURE characterful of the finalists. and a focus on Russian music. resolving into cave paintings. but not the really major gongs. people agree only on two things: they are all technically impeccable. For sheer oddity. The gold medal-winners in each category need to remember Tchaikovsky was indebted (none is awarded in the violin category) are all to the West. ■ a dirty word. medals and certificates to the jury member in on sufferance. morph by degrees into the triumphant finale of Tchaikovsky’s Fifth Symphony. which raises the biggest cheer. On comes Gergiev. and sashay a trace). A winning and engagingly original Dutch cellist or German violinist or French pianist may get cheers and the Moscow Music Critics Association Award. As the prize-giving gets under way. but none sparks Russian composer – that always made him huge enthusiasm. hand flowers. to remind us that ten million people are watching the prize-giving on Medici TV. says that the West is the enemy. then Cyrillic letters. but the emphasis takes place at Cadogan Hall on 26 October and is on ‘Tchaikovsky’. in the big Tchaikovsky Concert Hall.

In Mumbai (formerly Bombay). western classical music seems to be thriving. These two classical musics can co-exist. So next year’s tenth anniversary of the founding of 40 BBC M USIC M AG A Z I N E the Symphony Orchestra of India (SOI) – the country’s first professional symphony orchestra – must be a cause for optimistic celebration. Western classical music. never much of a cultural hothouse even by the wider standards of . But that cannot be helped. It disengages the spiritual from the happenings of life. composed of concord and discord and many disconnected fragments. yet the two are contradictory in spirit. has maintained little more than a toehold since the early days of the Raj. where India’s first professional symphony orchestra is marking its tenth anniversary with pomp and ambitious plans C lassical music in an Indian context normally means that country’s enormously rich traditions of Hindustani and Carnatic music from the north and south of the subcontinent. deep and tender raga. it sings of the relationships of the human soul with the soul of things beyond. where the imposing National Centre for Performing Arts is home to the SOI.’ It’s tempting also to blame this disconnect on the British Raj. It was the Nobel Prize-winning writer – also the composer of ballad operas that blended European elements with traditional Indian music – who said: ‘For us. And the night world is our Indian music. yet it has nearly always still felt tenuous. The world by day is like European music. Rabindranath Tagore. of course. but even perhaps the greatest figure ever to try to reconcile them. They both stir us. a flowing concourse of vast harmony. one pure. that presence may have increased at least to a foothold.sounds under the stars: the Symphony Orchestra of India performs at Cross Maidan in Mumbai’s Churchgate area INDIAN TONIC John Allison heads to Mumbai. at least. when performers sometimes stopped off en route to Australia and other destinations. music has above all a transcendental significance. At times during both the country’s colonial and post-colonial history. by contrast. recognised their fundamental differences.

many of them coming from Bisengaliev’s West Kazakhstan Philharmonic Orchestra. ‘Mind you. and he jokes that he tailored most of his business travel to places that were Europe’s great musical centres. world-class performing arts centre’. western classical music seems to be thriving Xavier’s College. Khushroo Suntook. with many doctors and lawyers in its ranks. ‘Pandit’ Nehru. In such surroundings it is not hard to imagine the trail of famous musicians visiting the city. The piano was always being played. which he did in 2006 with Bhabha’s blessing and by enlisting the help of the irrepressible Kazakh violinist Marat Bisengaliev – after a chance post-concert meeting in London – as music director. ISTOCK SOI founder Khushroo Suntook and director Marat Bisengaliev colonial philistinism and better at leaving railways than orchestras. ‘we were Anglicised only to a certain extent. the chairman of the NCPA and founder of the SOI. but that suggestion is gently denied by Khushroo Suntook. That’s always a dangerous thing! They asked me what I was going to do next. as ‘two visionaries who saw India’s need for an all-encompassing. and before I could answer they said I should go and help Dr Bhabha at the NCPA. is celebrating its centenary this year. the Calcutta School of Music. which I still have.’ he adds with a twinkle. and points to the Anglophilia of the Parsis. Within walking distance – in some cases. as he spent most of his working life with the Indian conglomerate Tata. as were the 78s. Bisengaliev will be playing Saint-Saëns’s Violin Concerto No. When Bhabha died in 2007. and even it struggled to maintain any sort of consistent orchestral life after Mehli Mehta left in 1955 to join John Barbirolli’s Hallé orchestra. and the same could be said of the city now known as Kolkata. We’re a little contradiction!’ A classmate of Mehli’s son Zubin. Those who heard the Bombay Symphony Orchestra more than 60 years ago admit it was a little ad hoc and not fully professional. His biggest achievement has been to set up and run the Symphony Orchestra of India. his alma mater. who turned 80 earlier this year. But lovers of western music remain a tiny minority. including the Gateway to India (built to commemorate the landing of King George V and Queen Mary in 1911. For all its teeming chaos. the largest industrial group in the subcontinent. the SOI had to import all its musicians at the beginning. The first rebels against British rule were also Parsi. is a member of the small but prominent Parsi community that has taken the lead in all western-looking cultural matters since even before Mehli Mehta founded the Bombay Symphony Orchestra in 1935.’ Suntook is speaking in his office at the NCPA. (bottom) Nobel Prize-winning author Rabindranath Tagore orchestral heroes: GETTY. Suntook even recalls hearing Karajan conduct the Berlin Philharmonic in the great courtyard of St In Mumbai.’ Suntook describes the NCPA’s founders. ‘I heard music in the home from when I was born. concentrated entrated in the spring and autu umn. Suntook. As India’s first fully professional symphony orchestra. A lot of great musicians came to Bombay in those days. Suntook succeeded him as chairman. an energetic walk – are many of the city’s most spectacular Indo-Gothic colonial buildings. Mumbai is still the most westernised city in India. Benjamin Britten and Peter Pears went there around Christmas 1955 and enjoyed lunch with the music-loving prime minister. the UK-born Parsi conductor Zanee Dalal. now known as the Chhatrapati Shivaji Terminus. dedicated to the promotion of music education – and of course through the dynasty of Mehtas on the international musical scene. a multi-venue arts complex that was established in 1969 in a prime South Mumbai location overlooking the sparkling Arabian Sea at Nariman Point. So it is no surprise that Suntook has made it his mission to promote classical music in Mumbai and beyond. But the modern renaissance of orchestral music – more than a rebirth considering that the Symphony Orchestra of India operates on a higher level than the city has witnessed before – is down to one man. Suntook came from a distinguished legal household who counted Mahatma Gandhi as a family friend. His programm me > . but between 15 and 20 per cent are now Indian. His labours represent a late career shift. 3 undeer Charles Dutoit this autumn. ‘By the time I retired after 35 years I was very friendly with Jamshed Bhabha and his family. and the rest are a mix of Mumbai residents and a regular roster who return for the seasons. but certainly. but the seasoon’s opening concert will be under the baton of the assocciate music director. As well as less surprising visitors such as violinists Yehudi Menuhin and Isaac Stern. as first its concertmaster and then conductor – also founder of the Bombay String Quartet – he was the motivating force in musical life then.SYMPHONY ORCHESTRA OF INDIA FEATURE cultural centre: the busy Victoria Terminus. on that orchestra’s only visit to the city in 1959. where a remarkable institution. His legacy lives on through the Mumbai-based Mehli Mehta Music Foundation. and they invited me to lunch. Bhabha and JRD Tata. an occasion also marked musically by Elgar in his Crown of India) a and the Victoria Terminus.

‘We have had no p tteachers of winds and brass here. while unmistakeably English at their heart. Etiquette can come later. whose take on India was his bumptiously Empirecelebrating The Crown of India of 1911. paid a nod here and there to the culture of her adopted home. of taking it to other parts of the country. As Suntook says. To survive. In 1902. unlike in. with their absurd plots and sweet songs about death.SYMPHONY ORCHESTRA OF INDIA FEATURE mixes Smetana and Bartók with the world premiere of Zakir Hussain’s tabla concerto. all devoted to the lyric arts and donated by UK-based collector Vivian Liff.000 books and 11. LEBRECHT. ‘it’s a little arrogant to say that 42 BBC M USIC M AG A Z I N E good to have a dream. from scales derived frrom ragas to microtonal intervals. ‘It’s good in a way that we’re moving away from the coughless audience only clapping in the accepted places. Kaikhosru Shapurji Sorabji (1892-1988) had little time for romanticised re epresentations of oriental music by western composers ‘who go trotting off to the nearest musical-theatrical costumiers buying their local colour by the yard’. while about 50 per cent is given over to theatre). airy room there. visitors to the NCPA might still be astonished to see the large. Some have suggested that the huge preoccupation of families with Indian classical music may explain this. he turned d to the Sanskrit epic Mahabharata forr Amy Woodforde-Finden Four Indian Love Lyrics The wife of a surgeon in the British army in India at the end of the 19th century. Many of our teachers are from Eastern Europe. of course. GETTY. peppered with intentional ‘wrong notes’. With movements such as ‘The Snake Charmer’ and ‘Dancing Girls’. We can very easily make Bollywood-style sets. Indian dance slightly less. Gustav Holst Savitri In contrast to Elgar. g went on to become something of a hit. as Suntook says. John Foulds (1880-1939) incorporated various elements of it. Opportunities to learn orchestral instruments have been relatively rare until now. if not hugely authentic. the most famous of which. China. forms only a part of the venue’s western classical music programming.000 recordings. That Verdi Requiem featured d the h Bournemouth Symphony Chorus. It indicates that a new generation is coming in. It’s always LOOKING EAST Five British works inspired by India the plot of his 1916 opera Savitri.’ Suntook himself has a deeper operatic interest and has been an avid collector of old recordings. but. Kaikhosru Sorabji Pastich he on the Song of India An English composer of Parsi descent. a leading western authority on Indian music. chorus and chamber orchestra. ‘The popular operas that we do appeal for being similar to Bollywood. handsomely converted a few years ago to house the StuartLiff Library of 6. going on even when the orchestra is not in residence at the NCPA. he hopes. into much of his work. his abandoned opera about the god Krishna.’ Audience development is also on the agenda. Amy Woodforde-Finden composed songs that. but it is part of my h long-term aim to change tthat. Whatever the reason. Dalal is very much a public face of the orchestra. but even that is changing. she set the poems of Laurence Hope in her Four Indian Love Lyrics. Peshkar.i scored for three singers. His 1922 piano arrangement of the ‘Hindu Merchant’s Song’ o ffrom Rimsky-Korsakov’s Sadko is therefore sardonic. As Suntook says. w . Teaching himself Sanskrit so that he could read d Hindu scriptures at source. ‘Kashmiri Song’. Most of the NCPA patrons – usually described in the local press as ‘Mumbai’s posh set’ – come from a narrow stratum of Indian society. and we also o culture is richer than in our oother places’. say. Educating audiences and future orchestral players is a major part of the SOI’s work. western classical music needs this audience first. His orchestral Threee Mantras (1930) is made up of prelude es from Avatara. And the orchestra. and vocal music forms a regular part of the SOI’s programming – even the occasional fullystaged operas. which accounts for 18 per cent of all events there (Indian classical music receives the same exposure.’ ■ Cyril Scott Indian Suite Along with the likes of Granville Bantock. and delivered a smart ‘talking programme note’ before the Verdi Requiem I heard in bombay beat: conductor Mehli February conducted by Yuri Mehta in 1989 Simonov (the SOI attracts some serious names). ccertain instruments have bbeen favoured over others. spice pearls: English composers Cyril Scott and (below) Kaikhosru Sorabji John Foulds Three Mantras Married to Maud MacCarthy. his 1922 Indian Suite for solo piano is fun. Cyril Scott was one of a number of early 20th-century composers whose ‘Indian’ works were based more on the popular British conception of the country’s culture than any detailed knowledge or research. Holst chose to delve deeper into the country’s culture. r a work the SOI will be taking on its Swiss tour in January. but now at least we have concrete plans to grow music exponentially. which enjoy a strong following with local audiences. and without making generalisations by comparing India with other big Asian countries. and Bisengaliev was the driving force behind an outdoor concert earlier this year that reflects his vision of integrating the orchestra into the community and. All the same. ARENA PAL ‘It’s arrogant to say our culture is richer than in other places’ have excellent tailors. so we run it something along the lines of a Russian conservatoire. aand the majority of the SOI’s IIndian musicians are string players. in 2012 we launched tthe NCPA’s Special Music Training Programme to T nurture a new generation of Indian players. there is no avoiding the fact that western music has been lower down the agenda here.

Listen to it.Revere it. c r a f t s m a n s h i p a n d e n g i n e e r i n g t h a t d e l i v e r s a l l t h e n u a n c e a n d p a s s i o n o f l i v e p e r f o r m a n c e s b y t o d a y ’s m o s t r e n o w n e d m u s i c i a n s f r o m c l a s s i c a l to jazz to rock.COM STEINWAY HALL L O N D O N 4 4 M A RY L E B O N E L A N E . c o . L O N D O N W 1 U 2 D B F o r m o r e i n f o r m at i o n o r t o a r r a n g e a p r i vat e a p p o i n t m e n t t o v i s i t o u r L o n d o n s h o w r o o m s . Pres enting t he f irst hig h-res olut ion player piano wor t hy of t he re vere d Steinway & S ons name. T h e S t e i n w a y S p i r i o i s a m a s t e r p i e c e o f a r t i s t r y. p l e a s e c a l l 0 2 0 7 4 8 7 3 3 9 1 o r e m a i l i n f o @ s t e i n way. u k . Play it. S O O T H E Y O U R S O U L W I T H I T. STEINWAYSPIRIO.

as I did. Benjamin still endured the trappings of student life.’ In 1980 he met Pierre Boulez. go to Cambridge because. (below) George Benjamin As for singers. It’s in all those extra-curricular concerts and operas that those wannabe conductors are putting on. where the corridors echoed with Black Sabbath and Pink Floyd (from other students’ rooms). Chemistry and Law – and stupidity. In his first year. conservatoire wasn’t an alternative: ‘N No one knew how to teach my type of voice. It has become a self-fulfilling prophecy. After Messiaen they were dry in comparison.’ So. he lived in Garden Hostel. are gone. Bowman is rare in that he knew he wanted to be a singer before he went up. But he managed to compose there – Flightt and Ringed by the Flat Horizon (a Proms commission) – and studied with Alexander Goehr. on the other hand. it’s not really in the college choirs that they start to ferment their professional ambitions. you just find the best players you can. But there was no basin and the college scout used to bring a tin of water every morning for shaving. GEORGE BENJAMIN Composer and conductor G K King’s College. book a hall or chapel and organise it. a cheerless building the other sside of the college. that’s where conductors come from. And it’s unlikely the most successful organists would have emerged from anywhere else except the dusty loft of an Oxbridge college… There was a time when you could get away with handing in a cake rather than an essay to a sympathetic tutor. If you want to conduct all the Beethoven symphonies you don’t need anybody’s permission. Christopher Gillettt looks back at the glamorous university days of five eminent musicians THE MAIN REASON THAT many professional musicians went to university is that they have no idea what they want to do. but let’s hope universities continue to produce musicians who have been schooled in History. Cambridge (1978-81) Subject: Music (Double-starred First) S Already on the path to being a professional composer before he went to Cambridge. BBC M USIC M AG A Z I N E .’ Evven though he was a poor student (‘stupid and idle’) and often go ot others to write his essays. and nearly destroyed a grand piano while accompanying a film society’s showing of Lon Chaney’s Phantom of the Opera. Because it will become a dull profession if the only qualifications musicians ever aspire to are performance diplomas… JA J MES BOWMAN Countertenor Ne ew College. Oxford (1960-64).s e n O g n u o Y e h T From noisy fellow students to dodg y gas fires. choral scholar Subject: History (Fourth) Bowman’s first college room was so enormous it has since been divided into three. Of course they’re musical – they know that – but their teenage sights are often set on something completely different. Did he go to lectures? ‘Some. however. who was up to collect an honorary degree. Cambridge is a musical madhouse (as is Oxford). though with no o idea he would end up being ‘the most famous fairy in the world. Those days. those were the days: countertenor James Bowman in a record store . Wannabe conductors. apparently. he sang in choirs an nd stayed on as a lay clerk before auditioning for Britten – he was ta aught the role of Oberon in A Midsummer Night’s Dream by fellow New College lay clerk Simon Carrington (of King’s Singers fame). despite having already studied in Paris with Messiaen.

and had no interest in conducting or choir-training. no less.UNIVERSITY DAYS FEATURE ANDREW DAVIS Conductor A K King’s College. Her experience singing soprano in the chapel choir was less happy: ‘I was a bit of a disaster. choral scholar Subject: Law (2:1) Johnston was a hard-working. ‘primitive. fancy dress JENNIFER JOHNSTON Mezzo-soprano Gonville & Caius College. window seats (where he could enjoy a quiet ciggy). being a civilised and indulgent person.’ He hated taking early morning chorister practices (one of his duties) and wasn’t interested in the academic course. a piano and a harpsichord. was ‘down two flights of stairs’ and the heating. Cambridge (1963-67). Davis dipped his toes into the waters of conducting – his first big gig was Schoenberg’s Five Pieces for Orchestra. as well as ‘drinking lots of poor quality alcohol and catapulting sprouts at the portraits in Hall during Christmas dinner. and am very proud to have studied there. A phenomenal player.’ Too loud (‘I wrecked all balance’) and certain she wasn’t really a soprano.’ musical jeans: organist Thomas Trotter sports a denim look bunny times: Jennifer Johnston in. where he discovered that the gas fire was w good for toasting crumpets. though. he never had his sights on the cathedral world.’ With hindsight. interspersed with tea and cake. That was pretty awkward at times. his ‘wonderfully kind’ bedder. resident at the Odeon Leicester Square. Focussed on becoming a barrister (in which she succeeded) she knew she had to do well academically. sofas. would he do anything differently? ‘I wouldn’t change a thing. JOHN MILLAR THOMAS TROTTER Organist King’s College.’ Her bedder Betty kept a beady eye on her. presumably.’ No regrets though. JAMES CHEADLE. merely raised his eyebrows and said. “This looks vaguely familiar. Cambridge (1976-79). Before King’s he ‘fancied himself as a theatre organist. Davis moved into the substantial Organ Scholar’s rooms at King’s.’ MATTHEW LLOYD. Bell-bottoms. organ scholar Subject: Music (2:2) Organists are traditionally a tweedy lot but Trotter never looked the part. a dining table. Cambridge (1995-98). barging into her room ‘regardless of whether the bin was outside (the signal not to enter). 45 . Who inspired him? ‘Sir David Willcocks and Thurston Dart. hard-living student. His Chapel g duties kept him busier than his academic d ones: ‘I once had the temerity to submit o tto my supervisor a Palestrina counterpoint exercise which I had submitted to him the year before. He. she left the choir after a year and sang instead in lots of concerts and opera with contemporaries like Edward Gardner and John Fulljames. As a student his style was denim. Mark Elder and David Atherton. But he did have ‘palatial’ rooms with high ceilings. baked by Mrs Waller. ‘I loved Cambridge.”’ Despite strong competition from the likes of John Eliot Gardiner. The bathroom.’ Rehearsals and practice took up to six hours a day. organ scholar o Subject: Music (2:1) S class of ’67: Andrew Davis in his clean shaven days With the idea that he might become a cathedral organist somewhere.

Only the sounds of a cello and piano colour the peace of the walled garden where an abundance of pale purple wisteria clads the stone. Wolf-Ferrari initially trained as a painter. its echoes of Mendelssohn and Schubert not detracting from Onslow’s own voice. He later turned his attention to composing. It’s a haven. Admired by Berlioz and Cherubini. The Palazzetto Bru Zane is one of Venice’s treasured secrets. 16 No. Gustave Charpentier and Mendelssohn. a doubleheight salon divided by a wooden balustrade is crowned with an eye-catching fresco. he was most at home as a neo-classicist. ‘Venice is an enchantress. as Rebecca Franks finds out on a visit to a restored concert hall celebrating the French Romantics D ay-trippers flocking to Piazza San Marco. For the opening weekend.’ says the quartet’s violist Franck Chevalier. 1. The ‘Phoenix’ opera house. recordings. Gounod.’ On the quest to see Venice through the eyes of the Romantics. packed by day and empty by night. this unique lagoon city has long drawn in visitors – with many composers and musicians among them. books and put on concerts – all on a French theme.’ wrote Gounod in his 1841 memoirs. set back from the hurly-burly of the streets. 54 and 56. and is now home to a team who produce editions of rare scores. Diaghilev LOCAL HERO Ermanno Wolf-Ferrari Italy was always reluctant to claim Wolf-Ferrari (left) as one of its musical heroes. on a quiet stretch of canal. Inside. years later Wolf-Ferrari. ROMANTIC HEART Venice discovering onslow: This magical Italian city was loved by 19th-century composers. But in some ways that has always been its essence. ‘He wrote these after listening to late Beethoven quartets. but its allure was as strong for French composers as anyone else. smelly. He died in Venice in 1948 and was buried on the cemetery island of San Michele. always returning when he lived elsewhere. and although he dabbled with various styles. unlike Germany where his music was acclaimed. complicated music and wrote these more Classical quartets as an answer. three . two other buildings are necessary stops: La Fenice and the Wagner Museum. He’s a perfect Emmanuelle Bertrand performs a cello sonata past reflections: The Teatro La Fenice was rebuilt in a 19th-century style. cellist Emmanuelle Bertrand and pianist Pascal Amoyel played the yearning Cello Sonata Op. The next evening. But he was born and bred in Venice and worked there. ‘He found it difficult. following a fire in the 1990s fit for the Palazzetto Bru Zane’s mission: a forgotten French composer. The building was restored in 2009. Onslow was known for his chamber music. It’s a city filled with illustrious ghosts. 46 BBC M USIC M AG A Z I N E and Stravinsky were buried here. This rich history of 19th-century visitors explains in part why a 1695 palazzetto has been turned into an intimate concert hall that specialises in forgotten French Romantic music. Famous for his comic operas. bathed in sunshine but filled with shadowy alleys. beautiful. It’s also here that two annual festivals take place. Venice might seem an unlikely home for a philanthropic foundation that’s all about France. which he was shocked by. street-sellers brandishing selfie-sticks. while Cries of the gondoliers found their way into Tristan und Isolde Charpentier thought it ‘the most beautiful city in the world’. Wagner died in Venice. including 36 string quartets and 34 quintets. it also seduced Fauré. prolific and talented. Hahn. Grand but crumbling. And it isn’t just the city of Vivaldi and Monteverdi. particularly Il segreto di Susanna. the Quatuor Diotima showcased the String Quartets Op. musicians playing Vivaldi’s Four Seasons in concerts roundthe-clock: modern-day Venice can seem like a tourist’s playground.MUSICAL DESTINATIONS BEAUTIFUL CITY. which took him to Rome and Munich. whose traces can still be found here today. with George Onslow (1784-1853) the composer of choice for the 2015 spring concerts. ‘a pearl in a cesspool’.

com Benjamin Godard cycle Godard’s ‘Berceuse’ from his opera Jocelyn is probably all that’s remembered by him today. www. On 15 January. including La traviata.bru-zane. MICHELE CROSERA. but the Wagner museum preserves a wealth of material and boasts a view of the Grand Canal. Performers include the Hermes Quartet and the Cérès Trio. was the scene of many Rossini. where Wagner died in 1883. p www.musicapalazzo. GETTY the Palazzo Vendramin. while Wagner said that the gondoliers’ cries may have found their way into Tristan und Isolde’s Act III opening. Verdi immortalised Venice in I due foscari. Donizetti and Verdi opera premieres. Wagner’s spirit lives on: ‘I played the La lugubre gondolaa there. and in 1883 stayed in the Palazzo Vendramin.bru-zane.bru-zane. It was a hot July. We started to play and suddenly the wind made the windows fly open. the violin and piano. Wagner visited Venice six times. where he unexpectedly died in a lavishly furnished room. (left) the beautiful interior of the Palazzetto Bru Zane times ravaged by fire and rising again from the ashes. Bellini. UGO DALLA PORTA. Mozart’s Idomeneo gets the M programme underway.teatrolafenice. But over nine concerts this spring festival (9 April – 15 May 2016) reveals what he wrote for his favourite instruments.VENICE MUSICAL DESTINATIONS on the waterfront: ISTOCK. It’s not as luxurious w BBC M USIC M AG A Z I N E 47 . cellist Silvia Chiesa (below) pays homage to Charles Koechlin. cconducted by Daniele Rustioni ((January & February 2016). o La Fenice Verdi’s La traviata and Stiffelio both feature in the Venetian opera house’s 2015-16 season. www. with eight concerts exploring the French composer’s chamber music. You can choose from o Verdi’s La traviata and Rigoletto V or Rossini’s The Barber of Seville. w Musica a Palazzo M F opera up close. still with a focus on forgotten French Romantics. And. jokes cellist Emmanuelle Bertrand. the piece Liszt composed when he visited Wagner and had a premonition of his death. head to the For Palazzo Barbarigo Minotto where P sscaled-back productions are put on every day. 40 degrees. www. It was like a visit from the ghost of Wagner!’ ■ VENICE 5 MUSICAL HIGHLIGHTS Edouard Lalo cycle The focus of the Palazzetto Bru Zane’s autumn festival (17 September – 10 November) is Edouard Palazzetto Bru Zane Concerts are held here throughout the year between festivals.

the only piece that gets anything like a regular 48 BBC M USIC M AG A Z I N E ENESCU’S STYLE A multi-faceted outlook Enescu’s musical idiom represents a confluence of three distinct traditions. By 19. after graduating from the Vienna Conservatory at 12. the work is hardly characteristic of the composer. the greatest musician and the most formative influence I have truly experienced. he was even courted as a potential successor to the great Arturo Toscanini as music director of the New York Philharmonic. Enescu was astonishingly prolific in the early part of his career. composed at the beginning of the 20th century. Violinist Yehudi Menuhin. is particularly puzzling given the spectacular accolades that were bestowed upon him by some of the most influential musicians of the 20th century. the more sensual approach to harmony and timbre absorbed from his teacher Fauré (pictured below) in Paris. Enescu was also a composer whose colourful craftsmanship deserves to be much more widely appreciated today. Enescu not surprisingly wrote particularly idiomatically for both these instruments. Enescu consciously adapted baroque and classical musical gestures to his own purposes. he eventually moved onto Paris. and was no less responsive to the colour and textural sensuality explored by his contemporaries such as Debussy and Ravel. Modernist or reactionary? From the 1920s onwards Enescu wrote music that could be uncompromisingly angular and dissonant in places. where he imbibed the subtly fragrant harmonies of his principal composition teacher Fauré. > . ‘music should go from the heart to the heart’. Such a fate has certainly befallen the Romanian George Enescu. Yet he never rejected tonality and shunned the irony and sense of alienation that characterises the music of some of his modernist contemporaries. though during the two World Wars. Alfred Cortot. Then. he mastered almost every major musical genre. the Austro-German symphonic style that he encountered in Vienna. working assiduously to enhance the country’s musical life. True. For all its undoubted fluency. his music was imbued with an intense level of passion. Paris was to remain his main musical base in Western Europe for the rest of his life. Yet Enescu’s chief preoccupation was with composition. a relatively low number for someone who lived over 70 years. His reputation as an interpreter was so high that during the 1930s. who spent several years studying with him. and it was for this that he craved the most recognition. Strauss and Ravel. except in his native country where he is still very much regarded as a cultural icon. Perhaps the popularity of the First Romanian Rhapsody has also created the misapprehension that Enescu was a narrowminded Eastern European nationalist. but nowadays remain unfairly neglected and undervalued. he returned to Romania. outing in concert programmes these days is his First Romanian Rhapsody – a deliciously exuberant and brilliantly orchestrated potpourri of folk-inspired melodies. No doubt this cosmopolitanism was prompted by his exposure to two very different European traditions that were flourishing at the turn of the 19th century. boasting a consummate technique that was the envy of his close friend. He carved out a long-lasting international reputation as a violin virtuoso. As he said on his deathbed. and the exotic improvisatory Romanian folk music which he experienced as a child. Enescu was unequivocally ‘the greatest musical phenomenon since Mozart’. At the same time. Instrumentation As a supremely gifted performer on both the violin and piano. musical depth and creative originality that he achieved elsewhere. However. but his outlook was far more cosmopolitan and embraced a wider range of concerns.COMPOSER OF THE MONTH GEORGE ENESCU Romania’s multi-faceted hero One of the greatest violinists of his era. Classicism with Romanticism Throughout his compositional career. He was in essence an innovative composer profoundly inspired by the great music of the past. immersing himself in a stimulating cultural environment and becoming a lifelong admirer of the music of Brahms. and unfortunately has served to obfuscate the emotional range. Yet the sumptuous textures of his Second and Third Symphonies demonstrate a level of mastery of the orchestra that rivals Berlioz. Although his catalogue of published works amounts to only 33 opuses. says Erik Levi GETTY T he history of music is littered with countless composers that were highly praised by their contemporaries. As far as cellist Pablo Casals was concerned. Enescu’s neglect elsewhere. echoed this estimation: ‘Enescu was an extraordinary human being. he worked tirelessly to enhance musical life in Romania. however. His first port of call was Vienna. his musical idiom was profoundly influenced by the uniquely defined folk music of Romania.’ Enescu’s talents as a musician were indeed prodigal. but without resorting to pastiche or parody. where he arrived at the age of seven from the village of Liveni to study violin and composition. but was no less skilled as a pianist. but also appeared frequently in this capacity in France and the US. A proactive conductor.


1895 He moves to Paris to study at the Conservatoire.GEORGE ENESCU COMPOSER OF THE MONTH LIFE&TIMES A quick guide to the main events in the life of George Enescu THE LIFE 1881 1881 1881 George Enescu is born on 19 August in LiveniVîrnav. He lives in the city with his violin teacher. Josef Hellmesberger. GETTY. a character inspired by the historical VLAD III DRACULA A (‘the impaler’) from the region of Transylvan nia. His first published opus was the Poème Roumain. His magnum opus. LEBRECHT 1955 Enescu dies on 5 May at the Hotel Atala in central Paris. it is worth considering him in the context of his contemporary. there is also the impressive and haunting Second Violin Sonata (1899). the Second String Quartet. 1927 As well as holding teaching posts at the Ecole Normale e de Musique in Paris and Harvard university in the US. Composing the symphonic poem Vox Maris. For example. but then had to wait another five years before it was staged with some success in Paris. both composers’ prewar second symphonies respond powerfully to the late-Romantic Austro-German tradition and to the increasingly chromatic rhetorical . An instant success. the concertmaster of the Vienna Philharmoniic. Several other substantial projects. But he was unable to sustain this level of activity. the First Suite (1903) and First Symphony (1905). it N receives many further performances. First drafted in 1929. he founds the Enescu Prize to promote work by Romanian composers. He became increasingly fastidious. he starts studying at the Vienna Music Conservatory. a far-right political organisation. King Mihai I K abdicates and the a People’s Republic of P Romania is declared. e occupied him from 1910 to ’31. an ambitious Lisztian symphonic suite for orchestra first performed in Paris in 1899 to considerable acclaim. remained in an embryonic state. He is buried in the city’s Père Lachaise Cemetery. his mother a teacher. 1939 Romanian prime minister ARMAND CALINESCU U is assassinated by the Iron Guard. 1955 50 THE TIMES BBC M USIC M AG A Z I N E he had already composed four apprentice symphonies and sketched drafts for several concertos and string quartets. only three years before his death. underwent seven revisions before it finally saw the light of day in 1952. where his teachers include the compossers se MASSENET T and Fau uré. Even in this relatively early work an individual voice is already evident. a village in north-eastern Romania. the first play by the Romanianborn absurdist playwright Eugene b Io onesco. ur and Ravel is one of his h fellow students. He is the second prime minister in six years to have been killed by the group. the Polish composer Karol Szymanowski. In charting Enescu’s development towards the more angular modernist style which became his musical lingua francaa from the 1920s. 1918 After siding with the Allied forces in World War I.. plus two engaging orchestral works. a wonderfully effective portrayal of the sea that warrants direct comparison with Debussy’s La mer. His father is an estate manager. The parallels between the creative preoccupations of the two in the period that preceded and encompassed the First World War are striking. on which he began work in the early 1920s. 1897 Irish author Bram Stoker publishes Dracula. writing technically challenging works such as the Octet for strings (1900) whose range of expression and emotional intensity can be compared to Schoenberg’s Verklärte Nacht. the opera Oedipe. One important factor that affected his productivity was undoubtedly the obligation to pursue a career as a performer. t From this period. Romania acquires new territories in the peace settlement. Enescu continued to be highly active in the first decade of the 20th century. including two large-scale symphonies (Nos 4 and 5). 11950 L CANTATRICE CHAUVE (‘The bald LA ssoprano’). 1946 1912 Following the vvictory of the Romanian Communist Party in a general election. and in the imaginative orchestration which also includes a wordless chorus. conducting the Amsterdam Concertgebouw Orchestra among others. r was a similarly fraught process. refusing to release a work until he was fully satisfied with it – for example. He reigns for 33 years. At home. 1888 AGED JUST SEVEN. significantly increasing the country’s size. R He tours Europe as a conductor and violinist. Following independence three years earlier. a highly ornamented melismatic melody that betrays an almost Middle Eastern influence. Perhaps too he experienced a crisis in confidence. Carol I is declared as Romania’s king. is premiered at the Théâtre des Noctambules in Paris. he takes on the 11-yearrold YEHUDI MENUHIN as a violin pupil. France awards Enescu the ttitle of Commandeur de la Légio on d’Honneur. it was eventually published in 1954. most notably in his atmospheric assimilation of the doina. 1936 Two weeks after his opera Oedipe receives its premiere at the Grand Opera in Pariss. which inevitably deflected his attention away from composition.

José Van Dam etc. the structures in some of his large-scale movements appear rhapsodic. utilising an extremely subtle transformation of a limited number of musical ideas. BBC M USIC M AG A Z I N E 51 . given this fascinating and multi-faceted output. There is also a fascinating congruence between their respective third symphonies. So.99 José van Dam as the title role and Barbara Hendricks as Antigone excel in Enescu’s only opera. repeated at 6. but his scores are still not easily found either in libraries or music shops. too. This situation would not have arisen had Enescu enjoyed greater luck with his music publishers – undoubtedly. violinist. which includes a prominent role for chorus. The link with Szymanowski could be extended well into the 1920s. for example. This year.multiple talents: Enescu excelled as a composer. perhaps. it is the eagerly awaited British premiere of Oedipe at Royal Opera House in 2016. Mon to Fri. It requires repeated and concentrated listening before revealing its secrets. But whereas Bartók was also an ethnomusicologist rigorously transcribing indigenous music from Eastern Europe. the landscape and the natural environment of their countries. Monte Carlo Philharmonic Orchestra/ Lawrence Foster EMI 948 2752 £15. whereas in essence they are highly organised and often cyclical. Enescu never quoted exact folk tunes. The first is that much of his music is densely argued with complex linear passage work. and the work was received with great enthusiasm. that both Szymanowski and Enescu shunned the fashionable neoclassicism of the 1920s by turning for inspiration towards the traditional folk music. The idiom was so profoundly absorbed into his bloodstream that it sounded authentic and was therefore bereft of any element of modernist alienation. Enescu’s pianos quartets are a discovery well worth making. Upcoming programmes are: 31 A August – 4 SSeptember b Brahms 7-11 September Elgar 14-18 September Shostakovich 21-25 September TBC 28 September – 2 October Vanhal GEORGE ENESCU RECOMMENDED RECORDINGS Complete Violin Music Remus Azoitei (violin). his reputation would have been strongly enhanced had he been invited to sign a contract with the influential Vienna-based music publisher Universal Edition. which may well act as the catalyst for a major and much-needed reappraisal of his colossal achievement. 80 years after its first performance. this resulted in a series of works which explore these improvisatory and exotic idioms in a very individual manner. when both expended much creative energy on their operas – Szymanowski’s King Rogerr and Enescu’s Oedipe. including Bartók and Szymanowski.. why has this great composer has thus far failed to be more widely recognised? Can we simply put this down to his modest and self-effacing personality and a reluctance to advance his cause more assiduously? Or could it be a problem of dissemination? Admittedly. Piano Quartets Schubert Ensemble Chandos CHAN 10672 £13. the most famous being the Third Violin Sonata (1926) with its subtitle ‘dans le caractère populaire roumain’.99 Finely judged performances display Enescu’s brilliance as a violinist-composer. face newcomers to Enescu’s mature style. It’s notable. Symphony No. Rather he was responding nostalgically to the music he heard as a child. and in their rejection of Strauss in favour of a more perfumed mystical style with unmistakable allusions to the East. Both were composed during the war and although Enescu’s work is conceived on a much grander and more epic scale than Szymanowski’s. It’s tempting to consider Enescu as following a similar path to Bartók. Oedipe Barbara Hendricks. A second issue is that his development cannot be so easily pigeon-holed in terms of a progression from the AustroGerman and French influences of the early period to an indigenous assimilation of Romanian folk music of his later style. On the surface. Vladimir Jurowski programmed the massive Third Symphony with the London Philharmonic Orchestra at the Royal Festival Hall. they share similar stylistic traits.99 Enescu’s most colourful symphony is heard in a recording of power and flair. Rather there was a constant shift in the balance of all these elements at any one time in his life. However. an organisation that Folk was profoundly absorbed into Enescu’s bloodstream promoted a substantial proportion of the early 20th century’s major composers. Two main difficulties. and they either moved to the foreground or the background depending to a large extent on the kind of music he was currently writing.99 Folky in parts. ■ Composer of the Week is broadcast on Radio 3 at 12pm.30pm. Enescu thus far has not enjoyed the imprimatur of a leading interpreter such as conductor Sir Simon Rattle to place him more firmly on the musical map. e both based on Greek drama. not least in their extravagant orchestration. In Enescu’s case. Eduard Stan (piano) Hanssler HAEN 98035 £16. Yet there is some evidence that his cause is beginning to be taken much more seriously. 3 Tampere Philharmonic Orchestra/Hannu Lintu Ondine ODE11972 £13. Unlike Szymanowski.pianist and conductor gestures pursued by such composers as Richard Strauss. rhapsodic in others. a substantial proportion of his work is now available on disc.

light and precise as Debussy requests. these piano works conjure up a world of their own. . In ‘Reflets dans l’eau’. The best recordings of his Images do both. each volume contains three pieces exploring.99 52 DEBUSSY EXPECTED PIANISTS to follow the letter of his scores. to coin Debussy’s own phrase. THE BEST RECORDING JEAN-EFFLAM BAVOUZET GETTY ILLUSTRATION: STEVE RAWLINGS/DEBUTART CHOICE Jean-Efflam Bavouzet (piano) Chandos CHAN10497 (2008) £13. There are the evocations of water (‘Reflets dans l’eau’) and bells (‘Cloches à travers les feuilles’) that helped earn Debussy his ‘Impressionist’ label. but does give this sarabande a winning delicacy. and Friedrich Gulda only the second. but these are also joyous explorations of piano sonority and aural colour. Published in 1905 and 1907. it comes down to personal taste. Debussy turns his gaze to the East in ‘La lune qui descend sur la temple qui fut’. And he raises a smile with the quixotic carp. although it’s a tantalising disappointment that Sviatoslav Richter. as recalled by his friend and biographer Louis Laloy.’ Debussy once said. There’s cool suppleness in ‘Cloches à travers les feuilles’ and meditative calm in ‘La lune qui descend’. the surface gleams seductively. like a pool on a hot day. plays with the ‘‘fluid transparency’ of the composer himself. ‘the most recent discoveries of harmonic chemistry’. with every ripple and droplet crystal clear. Both Books have fared well on disc. BBC M USIC M AG A Z I N E w whose complete Debussy piano works iis one of the stand-out recording projects of recent times. which depicts the carp in a Japanese lacquered picture he owned. Titles suggest a picture or mood for each piece. But his inspirations are varied: in ‘Hommage à Rameau’ he honours the French Baroque. conjures up the image of a whirling spinning-top. The Frenchman.BUILDING A LIBRARY IMAGES Claude Debussy Whether gazing idly on watery reflections or taking us on a journey to the past. But for a complete recording that captures the distinctive character of each Image in excellent sound. offering a telling insight into his creative life and his remarkable two books of Imagess for piano. and for a truly classy display of pianism. Nelson Goerner and Emil Gilels only recorded the first book. while his fleet ‘Mouvement’. earning them a firm place in the keyboard repertoire. Bavouzet takes ‘Hommage à Rameau’ a shade too fast perhaps. but stays closer to home for the concluding ‘Poissons d’or’. Jean-Efflam Bavouzet (above) is the one to hear. Rebecca Frankss searches for the best recordings ‘I love pictures almost as much as music. But he also wanted more: an imaginative ear and an ability to interpret the spirit of the music. while ‘Mouvement’ is as abstract as its title suggests. and with so many excellent versions around.

and that ‘he only The great Czech pianist Ivan Moravec is renowned for his Chopin playing. without any hardness of played in half tints. AND ONE TO AVOID… A pupil of Marguerite Long. Particularly remarkable is the ancient. with her ‘Reflets dans l’eau’. But in ‘Cloches à travers les feuilles’ Moravec hits on a tempo that feels natural. If you enjoy Debussy’s Images and would like to try out similar works. There are moments of quiet beauty. w A highlights podcast is available at www. beautifully still ‘La lune qui descend’. but instead he throws Lisztian virtuosity at it.99 ‘Everyone plays my music too loudly. There’s a certain coolness to Ogawa’s emotional temperature. though never at the expense of colour or There’s a buoyant spring to his ‘Poissons d’or’.IMAGES CLAUDE DEBUSSY BUILDING A LIBRARY Y Building a Library is broadcast on BBC Radio 3 at 9. But if you can live with it. This approach destroys the lightness of ‘Mouvement’ and the playful shimmering of ‘Poissons d’Or’. The Hungarian pianist’s ‘Mouvement’ has a restless energy that stills into rapt silence. each texture. throughout he plays with poise and refinement. muffled atmosphere of ‘Cloches à travers les feuilles’.’ Noriko Ogawa isn’t afraid to play quietly in this finely-grained account of Debussy’s Images. each turning ‘Mouvement’ into a flurried blur and luxuriating in ‘Poissons d’or’. monumental quality with which he imbues ‘Hommage à Rameau’ – it’s quite different in feel to any other interpretation. while pianist Marguerite Long recalled that ‘his nuances ranged from triple pppp to forte’.’ said Debussy. indeed. and he is also wonderful in Debussy. then this is a wonderful recording. Philippe Entremont has the credentials and technique to do something special with Images. And it’s exacerbated by a tendency to keep the sustaining pedal down and by tinny sound. contrasting with the internal stillness that the music coalesces around in ‘La lune qui descend’. Nor does she short-change the louder end of the dynamic spectrum. but she also brings a colourful sparkle and imaginative flair to the music. like Chopin. and the various tempo changes seem drastic. allowing the bells to sing through the exquisitely judged layers of sound. painted on a soft canvas. liquid line and immaculate pedalling. He is elegant and nimble in ‘Mouvement’. Ivan Moravec (piano) Vox CDX5103 (1983) Available online at Presto THREE MORE GREAT RECORDINGS Zoltán Kocsis (piano) Philips Collectors Edition E4757301 (1990) Download only Zoltán Kocsis is alive to every possibility for colour and nuance. covering up its atmosphere. and her delicately etched. varying his pedaling and touch for each piece. Her approach works to the advantage of the hushed. The bells ring clear and true – the most bell-like of any pianist – but the fast tempo isn’t what Debussy asked for. which glides by languidly but precisely. Noriko Ogawa (piano) BIS BISCD1105 (2001) £13. a parallel to the darting ‘Poissons d’or’ that concludes the work. bringing to it silky tone. in particular.30am each Saturday as part of CD Review. It’s all done with such imagination that it would be a shoo-in for best recommendation but for one movement: ‘Cloches à travers les feuilles’. perhaps a degree more flexibility would have met Debussy’s tempo rubatoo marking. who studied with Debussy. Those qualities are ideal for ‘Reflets dans l’eau’. but overall it’s a tiring listen. see overleaf… BBC M USIC M AG A Z I N E 53 .

Images (oubliées) was published under its current title long after the composer’s death. simple Nuages griss (‘Grey clouds’). his Cipressii was inspired by the cypress trees in Usigliano. intriguingly. and it’s obvious that this springs from the same world as Ravel and Debussy – with virtuosic. 1910 Debussyy Images (oubliées) Eleven years before writing his first set of Griffes Three Tone-Pictures Listen to ‘The Night Winds’. Essential recording: Jean-Yves Thibaudet (piano) Decca 452 0222 £18.99 Scott Five Poems making an impression: Albert Roussel (left) and friends enjoy a hazy day in Varengeville. takes its inspiration from a WB Yeats poem. this time accompanied in the right hand by something that almost threatens to turn 54 BBC M USIC M AG A Z I N E into a melody.555856 £7.99 Roussel Rustiques Debussy’s influence can be clearly heard in the music of Albert Roussel who. paid his regards to his late compatriot with the solo piano work L’Accueil des Muses (in memoriam Debussy). where he spent many a summer. Debussy had composed a work of the same name but chose to keep it to himself. ‘Nous n’irons plus au bois’ scurries around busily before fanning out. which begins with a slow. the last of the Three Tone-Pictures. Although tthey lack the experimental zeal of tthe piano writing of Images. after initially being rejected by his publisher for not being ‘accessible’ enough. 5. The colourful ‘Retour de fête’ that rounds things off is. descriptive style that paved the way for the ‘impressionism’ of Debussy. Composer. he nonetheless fell under the spell of Debussy’s alluring style. meanwhile.99 GETTY Liszt Nuages gris As Liszt grew into old age. In contrast. he found fame as a writer of salon piano music. Perhaps an explanation for this lies in his own description. while the similarly paced ‘Sarabande’ that follows continues the contemplative feel. WHERE NEXT…? We suggest works to explore after Debussy’s Images Composed in 1920. and the shapely contours and rich colours of his beloved Tuscany gave him plenty of opportunity to wield his own impressionist musical brush. studied in Europe. in contrast. mournful sixnote G minor motif that lingers sinisterly on a pair of tied C sharp crotchets. This piece is about stillness. The Three Tone-Picturess were published in 1915 as his Op. conjures up images of life in and around the Forest of Fontainebleu and by the banks of the rivers Seine and Essential recording: Leslie De’Ath (piano) Dutton CDLX7224 (see duttonvocalion. prolific but short-lived. each a marvel of purple prose. His Five Poemss of 1912 parallel Debussy’s Imagess in their melding of art forms: Scott’s own poems. though. ‘The Lake at Evening’. occultist and homeopath. Scott’s ffree-floating rhythms and chains of parallel chords give his music its own p distinctive flavour as he evokes fields of poppies. prefaced and inspired p tthese piano miniatures. while the elusive ‘The Vale of Dreams’ and dazzling ‘The Night Winds’ stem from Edgar Allen Poe. the virtuoso fireworks of his youth gave way to a much more contemplative. Ravel and co. a model of Gallic restraint. glistening writing that calls to mind Poissons d’Orr or Ravel’s ‘Scarbo’. as the slow-moving chords of night give way to the first rays of sun and eventually the heat of the day – all is graced by a charming melody that has. a slightly Spanish lilt to it. with Lotus Landd his most enduring piece. Often described as the ‘English Debussy’. Essential recording: Paul Lewis (piano) Harmonia Mundi HMA1951845 £7. an atmospheric evocation of water lapping at the shore. Cyril Scott was certainly an original figure. A typical example is his short. Essential recording: Jordi Masó (piano) Naxos 8. ‘like peacocks spreading their tales’.IMAGES CLAUDE DEBUSSY BUILDING A LIBRARY SO. and became known as the first American Impressionist. That melody never materialises. introspection and gloom. in 1920. Essential recording: Eric Parkin (piano) Chandos CHAN 8887 (see iTunes) Castelnuovo-Tedesco Cipressi Though the Italian composer Mario Castelnuovo-Tedesco never moved in Parisian circles. saying that the work’s three pieces were ‘not for brilliantly lit salons … but rather conversations between the piano and oneself’. Essential recording: Garrick Ohlsson (piano) Hyperion CDA 67907 £13. poet. After a dreamily ebbing-and-flowing ‘Danse au bord de l’eau’. as Debussy puts it. Roussel’s 1906 Rustiques. we are lured into a ‘Promenade sentimentale en forêt’ that soon turns decidedly passionate – Roussel evidently had more than just walking in mind. The composer appears to be taking us through the course of the day.99 Next month: Mendelssohn’s ‘Italian’ Symphony . Low rumbling octaves are heard before the motif soon reappears and is repeated obsessively. The New York-born Charles Griffes. The triptych begins with the sombre and hauntingly melodic ‘Lent’. cascades of bells and the singing of the Paradise Birds.

The Californian-born Terry Riley kickstarted American minimalism with his 1964 In C. Books & DVDs rated by expert critics Recording of the Month Krystian Zimerman returns to the piano concerto Lutosławski dedicated to him Soprano Elizabeth Watts gets to the heart of Mozart in a sparkling recording of arias and overtures. Working halfway around the globe from each other. performed with the Scottish Chamber Orchestra under Christian BBC M USIC M AG A Z I N E 55 . one in sunshine and one in snow. Terry Riley and Arvo Pärt spring from different worlds – that much can be heard in their music.CONTENTS 56 Recording of the Month 58 Orchestral The late Claudio Abbado’s recording of Schubert’s Great Symphony is superlative 62 Concerto REVIEWS 110 CDs. 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. if you like. The Estonian Arvo Pärt developed a bells-inspired style all of his own – holy minimalism. entirely different from one another. You can read about new CDs of his choral works on p71 and about his life on p22. but both associated with minimalism and both still writing. turn to p76 for reviews of new Riley discs from the Kronos Quartet and piano duo Zofo. p56 66 Opera Nielsen’s comic opera Maskarade in a powerful new recording from Denmark 70 Choral & Song The all-male group Cinquecento brings a distinctive sound to Lassus 74 Chamber The Berkeley Ensemble paints an illuminating portrait of Lennox Berkeley 78 Instrumental Artur Pizarro casts fresh light on Rachmaninov as his superb piano series continues 80 Brief Notes A quick look at 16 new recordings 81 Audio zesty mozart: A guide to the best new hi-fi Elizabeth Watts’s voice dazzles 82 Jazz Maria Schneider draws on her Minnesota upbringing in a magnificent new album 84 Books A well-researched guide to Szymanowski’s sumptuous opera King Roger Minimalist milestones This year marks the 80th birthday of two hugely influential composers.

tiring at Mozart’s and comparisons resourcefulness. Caitlin Hulcup. Mozart heroines. with no flaws in technique that I can hear. Sir Charles Mackerras. the sweet thankful for what we’ve got. Idomeneo.99 ‘As well as showing Watts’s ability to weave around a wide-ranging phrase. that a delightful light concert. Rebecca . usually finding the perfect tempo in common with his and Robin Ticciati’s predecessor in perfect SCO Mozart. much of a pleasure to probably why it but Elizabeth a waste to listen to as the arias seems Watts. with the best The overtures are as Mozartians.RECORDING OF THE MONTH FURTHER LISTENING ‘perfect candour’: Elizabeth Watts is spot on as Figaro’s Susanna CHOICE Elizabeth Watts R STRAUSS The complete songs. Vol. Scottish Chamber Orchestra/Christian Baldini Linn CKD460 59:40 mins BBC Music Direct £15. “Einerlei”. apparent in the first song on the Mozart packed with character Elizabeth Watts hits new heights with this superb disc.99 ‘At its best. radiant delivery. she shows a wicked penchant for donning joke fangs in the songcycle Krämerspiegel. It would work as a straight vivid sound. 6 With Roger Vignoles (piano) Hyperion CDA 67844 67 mins BBC Music Direct £13.’ l March 2013 ARNE Artaxerxes Christopher Ainslie. if not yet (or ever) recitative to the first aria in Idomeneo. as in the soprano showpiece. its exceptional soprano. fits many of the Lieder like a glove. Still. Don Giovanni. Elizabeth Watts. or rather give us a rather at least one of her indifferent aria. That. BBC M USIC M AG A Z I N E ‘Schubert was a wise choice for a debut recital. on stage. the approach to Don Giovannii and his Stone Guest is authentically brisk but not lacking in All discs can be ordered from www. Daniel Norman. can be a tigress from La finta giardinieraa instead of when roused: try the bold rasps Pamina’s ‘Ach. we can be more than And you thought Ilia. the songs are carefully programmed and Watts’s youthful. La clemenza di Tito. If that’s how Watts started out. was just a good those thanks to the fresh approach of girl.’ January 2009 That the overtures are as much of a pleasure to listen to as the arias is thanks to the exceptional qualities of the Scottish Chamber Orchestra (SCO) under conductor Christian Baldini – never rushing.99 An interweaving of Mozart overtures and (mostly) well-known arias could be a recipe for the conventional or 56 anodyne. is She may look demure. and in supremely conductor. La finta giardiniera and Così fan tutte Elizabeth Watts (soprano). orchestra and this disc shows. and you can play it all lyric soprano is on the cusp of through at one sitting without ever becoming something greater. Even Donna Anna would butchers’) in the abbreviated be possible on CD. Andrew but this disc is neither of Trojan princess. finds David Nice MOZART MARCO BORGGREVE Arias and overtures from Le nozze di Figaro. Woodwinds are clear and characterful. here that aria is resplendently delivered by Elizabeth Watts. “The soldier tir’d” (a favourite of Victorian singers) Artaxerxess is very worthwhile. Classical Opera Company/Ian Page Linn CKD 358 137:49 mins (2 discs) BBC Music Direct £18.classical-music. ich fühls’ or Elvira’s on ‘carnefici spietati’ (‘ruthless ‘Mi tradi’.’ March 2011 SCHUBERT Lieder With Roger Vignoles (piano) RCA Red Seal 88697329322 69:30 mins Download only: prestoclassical.

they are like lockets containing miniatures of Mozart. . . . Goldsmiths. perhaps the deepest point of Così fan tutte. . . . . . . ★ What’s next for you on disc? BBC Music Direct You can now buy CDs. . . who I call the Baroque daddy. . a But I wanted to record arias that I had B done the full roles of before. . . . . In October I have a disc of Alessandro Scarlatti coming out. . . . so we’ll see how that progresses. . . i with exquisite cello obbligato. . How did it come about? T That was all Christian Baldini and the Scottish Chamber Orchestra. . . . .com/shop ● Call +44 (0)1322 297 515 ● Fax your order details to +44 (0)1689 888 800 BBC M USIC M AG A Z I N E 57 . . . . . . . . . . . . I went into Olympic training for that. . editor Ivan Hewett broadcaster. . . which is moving on to a bigger role. . . . critic. . . . editor Anthony studied music at Cambridge and was an arts administrator before working for BBC Radio 3 for some years. critic. . . . Queen’s. . Opera. University of London Erik Levi professor. .com Q&A ELIZABETH WATTS The soprano tells REBECCA FRANKS why Mozart is one of her musical idols and which roles she would like to do next A overture and aria CD is a simple but An cclever idea. . . . . . ★★★ Disappointing . All the characters on this disc are fascinating.classical-music. . mostly of programme notes. . . . . . The prices are given at the head of each review. BBC Radio 3’s CD Review David Nice writer. The Times Michael Church critic. . . . editor. . . . . editor Anna Picard writer. . they’re meant to sound like that). . . . . . . . . . It’s the best demonstration of the direction in which one of the UK’s most profoundly musical and surprising singers is heading. unforced tone and careful vocal emphasis all seem nighon perfect. . . . . . . . . Did he ever write a duffer? I’m M not sure. . Mozart writes characters brilliantly. . . . I’ve never sung Ilia on stage. . period-instrument horns (don’t worry. . . Belfast Geoffrey Smith presenter. . . ★★ Poor . . . . Sometimes you have to do even more in a recording session as you haven’t got the visuals. . critic George Pratt emeritus professor of music. . BBC Music Barry Witherden critic What qualities make a good Mozart singer? You always have to sing with a great technique. . . He is now a writer. reproduce the Classical style in a truthful way. . . . critic Daniel Jaffé writer. . . and as an unusually serious Servilia (La clemenza di Tito). researcher Helen Wallace consultant editor. . . . composer Tim Parry writer. John Allison editor. . . . . . . composer Julian Haylock writer. The Independent Christopher Cook broadcaster. . ★★★★★ Excellent . That should be quite something. . . . just perfect candour as Susanna (The Marriage of Figaro) o – she is breathtaking in the last two phrases of an unfussily begun ‘Deh vieni non tardar’ as she moves into a midsummer night’s dream – as Zerlina (Don Giovanni). Opera Jon Lusk world music journalist Andrew McGregor presenter. . . . . . . University of London Paul Rileyy journalist Michael Scott Rohan author Nick Shave journalist. It was a great odyssey going through reams of his music and picking out the best bits. . . . on a wide range of music. . . and bring through the characters. serenatas and oratorio. . . . . Radio 3 Michael Tanner critic. . . Birmingham Conservatoire Misha Donat producer. . . . . . . . . . . . . . so those d were the top priorities. prices include P&P There are three simple ways to order ● Order online at www. DVDs or Books reviewed in this issue from BBC Music Direct. . . . . . Key to symbols Star ratings are provided for both the performance itself and either the recording’s sound quality or a DVD’s presentation Outstanding . The Spectator Roger Thomas critic Kate Wakeling writer. PERFORMANCE RECORDING ★★★★★ ★★★★★ THIS MONTH’S CRITICS Our critics number many of the top music specialists whose knowledge and enthusiasm are second to none Anthony Burton Writer. . The Guardian Stephen Johnson writer. . . And I’m singing my first Countess in February with Welsh National Opera. although Fidelio is one of the finest operas. . . . . There’s a battle piece with timpani. Goldsmiths. You have to really go for it. . . He’s not like Beethoven in that ssense. . The biggest comes last: Fiordiligi’s aria ‘Per pietà’. novelist Hilary Finch writer. . . and then there w were things that were just wonderful w arias. . and are inclusive of p&p for orders placed from within the UK. . . . University of London Max Loppert critic. . . I’ve done Susanna a lot: I never tire of Figaro. . . . e with. . which I would love to do. a piece with a tambourine and a castrato aria in which I sing an 89-note run without a breath. cantatas. o Watt’s discreet ornamentation. . . . .classical-music. biographer Roger Nichols French music specialist Bayan Northcott writer. . editor Jan Smaczny professor of music. Sadly songs weren’t his forte. University of Huddersfield Anthony Pryer lecturer. ★★★★ Good . . . . . . . . . . . For her next recording. critic Erica Jeal critic. . . . . . And I find the same with Fiordiligi and Zerlina. . . . writer Jessica Duchen critic. . writer Jeremy Siepmann biographer. broadcaster George Hall writer. . available free on iTunes or at www.RECORDING OF THE MONTH REVIEWS fangs and the strings sound especially bright in the jubilant bells of the Clemenza di Titoo Overture. . . . Sunday Telegraph Nicholas Anderson Baroque specialist Terry Blain writer Kate Bolton lecturer. . . . . . . like Servilia’s ‘Per pietà’ from La a cclemenza di Tito. . . Our diva has no truck with mere prettiness. . . . . . . critic Martin Cotton recording and radio producer Christopher Dingle Professor of Music. . New York University. . I presume. . . . . . . . . . . . When I ffirst heard the Eroica I went crazy about Beethoven’s symphonies. . . . . To order CDs call BBC Music Direct +44 (0)1322 297 515. . first as a producer and then as presenter of programmes including Record Review and In Tune. It includes opera. It was S already a project before I was on board. ON THE PODCAST Hear excerpts and a discussion of this recording on the BBC Music Magazine podcast. . . translator Malcolm Hayes biographer. . . . Florence Garry Booth jazz writer & critic Geoff Brown critic. There was an element of wading as he wrote so many operas in a short time but when you find the gems they are absolutely extraordinary. BBC Radio 3 broadcaster Berta Joncus senior lecturer. . . . Watts has been researching the vocal music of Alessandro (not Domenico) Scarlatti. . . though they are both gods. . . The overtures are small portraits of the entire operas. .

At one sitting. 2’s Poco adagio are under-cherished – but the ride is exhilarating.ORCHESTRAL Giovanni Antonini and Il Giardino Armonico are lively guides to Haydn’s symphonies. 9 Orchestra Mozart/Claudio Abbado DG 479 4652 62:47 mins MARCO CASELLI NIRMAL/DG BBC Music Direct £14. Paul Riley PERFORMANCE RECORDING ★★★★ ★★★★ All discs can be ordered from www. and a long time ago. Ensemble Resonanz’s new addition spotlights a tight-knit ensemble based in the city where the symphonies were composed. live from performances given in Bologna and Bolzano in 2011 with the last orchestra he founded. he reaches extraordinary heights. In this recording. The B minor Symphony’s Prestoo is so incendiary that asbestos gloves might be in order. and either No. in my experience. which apparently consisted of some older players than is often thought. Curiously.99 The six ‘Hamburg’ Symphonies were in the vanguard of the CPE Bach revival when Christopher Hogwood and Trevor Pinnock both recorded them over 30 years ago. he urged CPE Bach to let rip without ‘considering the difficulties’. The symphonies continually ambush the ear. 9 in the UK. He takes all the repeats. The Orchestra Mozart. thrust. commissioned by Baron van Swieten – later Mozart’s ‘Baroque conscience’ in Vienna. plus a fine new Nielsen symphony cycle from John Storgårds and the BBC Philharmonic ORCHESTRAL CHOICE A true record of a lifetime Michael Tanner is thrilled by Abbado’s final Schubert Symphony No. warmth of £14. and vast thrilling climaxes which lift you out of your seat. all told. But you welcome every repeat. 9 CPE BACH Hamburg Symphonies Ensemble Resonanz/Riccardo Minasi Es-dur ES 2053 65:45 mins fresh and revealing: BBC Music Direct Claudio Abbado achieved a rare level of greatness other conductors. climactic passages where he pushes the orchestra along. was always a speciality of Claudio Abbado’s. Even Sakari Oramo recently released a set with the Ostrobothnian Chamber Orchestra (reviewed February 2015). bristling with startling leaps of the imagination that resonate powerfully with Riccardo Minasi’s visceral direction. while the protean energy of the C major’s opening movement. because you know something fresh and revealing will happen.99 This wonderful work. and they continue to fascinate. usually called No. which must leave every sensitive listener stirred to the depths. their gusto can be a little abrasive – the ‘innocentemente of the A major Symphony or the ameliorating gracefulness’ (to quote the booklet) of No. 8 in German-speaking countries. scales going off like fire-crackers in all directions. previously only reached. Every bar surges with energy. what I can only say is a huge joy in living. Abbado seems freer here SCHUBERT Symphony No. with beautifully tailored rallentandos (unmarked but always appropriate). and there are plenty. is well up to every challenge that Abbado offers them. compounds the Hamburgers’ relish for the sort of fevered edginess that it obtains throughout the set. which means all the music apart from the opening . 7 or No. PERFORMANCE RECORDING ★★★★★ ★★★★★ ON THE WEBSITE Hear extracts from this recording and the rest of this month’s choices on the BBC Music Magazine website www. Fortunately Deutsche Grammophon’s superb recording is fully able to cope with the immense volume that they often achieve. CPE didn’t disappoint. This is without doubt one of the records of a lifetime. e so it’s perhaps the longest performance that I’ve heard. whereas the diplomat deepened Mozart’s appreciation of (JS) Bachian counterpoint and Handelian decorum. Abbado’s performance surges with a huge joy in living than he usually was. Playing it safe in these rollercoaster symphonies is never an option. by a couple of 58 BBC M USIC M AG A Z I N E All told.classical-music. miraculous detail in even the fastest passages and.

99 £15. yet it is continually mesmerising.ORCHESTRAL L REVIEWS HAYDN • WF BACH REISSUES Haydn 2032. Jilek Praga PRD 250 308 (1974. Lucerne Festival Orchestra/ Andris Nelsons Accentus ACC 20325 109 mins BBC Music Direct £20. There’s a lightness of pacing. Bavarian Radio Choir. In the Alto Rhapsody. There’s also. Karelia’s brass is fired off like bullets. As this finely directed.99 Intense.99 It’s fascinating to hear Carl Nielsen’s six symphonies in quick succession. with a bland and retrogressive slow movement sandwiched between violently agitated outer movements. 1979. An enterprising feature of these recordings is their inclusion of a piece by one of Haydn’s contemporaries. muses upon and takes inspiration from sound itself. Tapiola’s string playing has exquisite subtlety. BBC Symphony Orchestra. most elusive nuancing of tone and colour. but more substantial is Gluck’s complete Don Juan n ballet featured on the first disc. r Yet the melodic line is everywhere live and lithe. His choice of repeats is generally well judged (though it’s a mistake to include the second-half repeat in the finale of No. 46. Amarus Soloists. 2 in A. relaxed New World Symphony. The Philosopherr No. One can only guess at the burden of expectation weighing on Andris Nelsons. The men of the Bavarian Radio Choir soothe her fragile prayer with the gentlest support. superbly realised under the nuanced direction of Pierre-André Valade. Vol. Symphony No. making the surprise of the minuet’s return occur twice). PERFORMANCE ★★★★ RECORDING ★★★★ JANÁ∫EK From the House of the Dead: Prelude & Suite. exploiting the refined ensemble nurtured over a decade by Abbado. and it’s good to have these still underperformed pieces so vividly played and well recorded.99 August 2014 – the first Lucerne Festival without Claudio Abbado.99 If you find Shostakovich prolix. opening up whole new vistas of colour. writes orchestral music that ravishingly explores. and a Spanish dance resonating to the sound of castanets. All this adds delight to the Lucerne Festival Orchestra’s performance of Brahms’s Serenade No. are generally more graceful. Gluck: Don Juan Il Giardino Armonico/Giovanni Antonini Alpha 670 70:00 mins BBC Music Direct £15. where weight and world-weariness demand it. The Cunning Little Vixen Suite. The earlier numbers. producing a strikingly original sonority. F67 Reviewed by Terry Blain WEINBERG Il Giardino Armonico/Giovanni Antonini Alpha 671 75:18 mins BBC Music Direct BRAHMS DVD Serenade No. 39 & 49. with period instruments playing at modern pitch. Sillages Wiek Hijmans. Ancˇerl fans may be keen but it’s otherwise unexceptional. Karelia Suite. PERFORMANCE ★★★ RECORDING ★★★ BBC M USIC M AG A Z I N E 59 . PERFORMANCE ★★★ RECORDING ★★★★ DVO∏ÁK • SMETANA Symphony No. 1: Symphonies Nos 1. including a captivating serenade for oboe and pizzicato strings. y Sara Mingardo offers a stark and sombre intensity of reponse to the isolation of the traveller in Goethe’s Harz Mountain Journey in Winter. g or ‘Storm and Stress’. Czech Philharmonic/Neumann. Prague Philharmonic Choir. Antonini’s spiky performance style. Less even in inspiration is the G minor No.99 No one could accuse Giovanni Antonini and his ensemble Il Giardino Armonico of not planning ahead: these CDs mark the start of a Haydn symphonies project whose completion is timed to coincide with the composer’s tercentenary in 2032. Not a first choice in this repertoire but interesting. Both symphonies are conducted by their dedicatees and bristle with authority. at times smooth. Mozart must have known this piece. The result is a constantly shifting texture. Christopher Dingle PERFORMANCE RECORDING ★★★★ ★★★★ Symphonies Nos 5& 10* Moscow Phil/Kondrashin.6 Gillian Keith (soprano). particularly in the finale. as a form of reference point. 1988) 75:24 mins BBC Music Direct £14. yet always shimmering. PERFORMANCE ★★★★ RECORDING ★★★★ SIBELIUS En Saga. 49. and its concluding scene with the Don tormented by the Furies in hell (Gluck later borrowed from it in the Paris version of his Orfeo) o is tremendously effective. with pungent orchestral textures.99 Moments of visionary wonder in the orchestral playing alternate with the bumps and slippages of live performance in these Czech Radio recordings. Misha Donat PERFORMANCE RECORDING ★★★★ ★★★★★ MURAIL Le partage des eaux. No. but gaining in confidence in their radical rethinking of the concept of To order CDs call BBC Music Direct +44 (0)1322 297 515. while No. the orchestra transforms the often filigree gestures of two electric guitars tuned a quarter-tone apart. The Swan of Tuonela. The same might be said of the other two works. BBC Philharmonic/ John Storgårds Chandos CHAN 10859(3) 210:38 mins (3 discs) BBC Music Direct £28. and features two exceptionally turbulent quick movements. The first two instalments include some of the dramatic works from Haydn’s so-called Sturm und Drang. while the kinetic energy and gravitational flux of the harmonies in Sillagess (1985) continually enthralls. Finlandia. Barshai* Melodiya MEL CD 10 02281 (1975) 75:32 mins BBC Music Direct £11. They all sound like manifestations of the same volatile personality. has a fragment of its minuet returning during the course of the finale. thereby anticipating Beethoven’s Fifth Symphony by several decades. explore Weinberg’s tauter idiom. e begins with a sombre Adagio. aptly nicknamed La Passione. Le partage des eauxx (1995-96) is a result of Murail’s close analysis of the sound of a wave breaking and its backwash. These three works. and to Nelsons’s mischievous animation of detail in the third movement of Symphony No 2. 2: Symphonies Nos 46. Valse triste. period of the late 1760s and early 1770s. WF Bach’s F major symphony for strings has its moments of quirky originality.99 A genial. in the unusual key of B major. having emerged from spectralism. with great power in reserve orchestrally. Alto Rhapsody. others turbulent. 2 Sara Mingardo (mezzo). that thrilling frisson of the unpredictable. is sometimes a touch overheated.99 Tristan Murail. Ensemble can be casual. 9 • Má vlast Vienna Symphony/Karel AnΩerl Wiener Symphoniker WS 008 (1958) 49:01 mins NIELSEN Symphonies Nos 1 . Nelsons ventilates Brahms’s orchestration. Hilary Finch PERFORMANCE RECORDING ★★★★★ ★★★★ HAYDN • GLUCK Haydn 2032. prices include P&P BBC Music Direct £13. provide both a fine introduction for those unfamiliar with Murail’s music and a corrective of sorts for those who only know the pieces from the first phase of his output. Seth Josel (electric guitars). Contes cruels (for electric guitar and orchestra). Vol. with the finest. Tapiola Berlin Philharmonic/Karajan Warner 2434768462 (1976) 78:56 mins BBC Music Direct £8. but there’s no denying its effectiveness. unfussily shot DVD shows. In Contes cruelss (2007). chosen to conduct the four concerts programmed by Abbado before he died. Mark Stone (baritone). analyses. and the 1958 stereo sound is boxy. but also a tautly focused heft in the slow movement. concentrated performances. 22 & 47. 46. We see his sentient hands and face incarnate and gleefully make visible the entire nerve system of the music. The closest it comes to being melodic is with what sounds like a diffuse memory of a Messiaen chorale. Some opacity of sound mutes the impact slightly. Netherlands Radio Philharmonic/ Pierre-André Valade Aeon AECD 1222 61:39 mins BBC Music Direct £15. WF Bach: Sinfonia in F. 2. long and standing ovations confirmed Nelsons’s triumph. 39. 22 uses a pair of cors anglais instead of oboes.

yet Storgårds’s offers outstanding playing and a consistent personal view. after . they burdened the long-breathed lines with something intangibly melancholy. with its alternation of plainchant-like declamation and solemn chorales. since the clarinets are so precisely synchronised. but Reich’s Music for 18 Musicianss (197476) is nearing 40. Boulez admittedly makes rather less of Dorcon and Daphnis’s character dances. the performance as a whole could have benefited from more points of repose and a wider range of colours. Since Reich’s own pioneering recording of that seminal work (on Nonesuch) there have been at least five other recordings before this one. and with the enigmatic Sixth as coda. moving sure-footedly from its opening sterility through successive crises to final affirmation. Erik Levi PERFORMANCE PICTURE & SOUND EXTRAS ★★★ ★★★★ ★★★ All discs can be ordered from www. the camerawork is refreshingly free from gimmickry. And I don’t think I’ve heard the dances by Dorcon and 60 REICH Music for 18 Musicians Ensemble Signal/Brad Lubman Harmonia Mundi HMU 907608 59:17 mins BBC Music Direct £14. but while Jordan’s flute ‘solo’ (which in fact neatly dovetails contributions by piccolo and alto flute) sounds over-deliberate and self-conscious. Jordan and his orchestra ideally combining lusciousness with vicious menace. The sense of drag and dissolution on Reich’s version in Section XI isn’t as pronounced. such as begin the Third and Fourth. The young musicians in Ensemble Signal weren’t even born when it was composed. issued to coincide with Nielsen’s 150th anniversary. sound measured and lacking in Nielsen’s reckless forward drive. Daniel Jaffé Daphnis et Chloé (complete ballet). What do we lose? Certainly some of the emotional weight of bass clarinet parts underpinning the first and last Pulses sections: where.REVIEWS ORCHESTRAL the symphony towards the Fifth. Part 1’s ‘Danse religieuse’ is animated and purposeful rather than the usual hedonistic wallow. going marginally flat in Part 2’s demanding a cappella introduction.99 £34. Gergiev follows Mahler’s second published edition by placing the slow movement immediately after the opening Allegro. and the visual impact of the huge flurry of dust that follows the striking of the two massive hammer blows is certainly a sight to behold. but relatively little subtlety. in Reich’s own recording. Boulez also has the edge when it comes to drama and sheer excitement: witness his characterisation of the young girls – feisty rather than merely decorous – or the furious pace and barbaric edge of his pirates. there’s something undeniably more funky about the dancing lines of Section VIII. Blu-ray: 703 204 151 mins BBC Music Direct (DVD) BBC Music Direct (Blu-ray) animated conducting: Philippe Jordan adds zest and character to Daphnis RAVEL Daphnis. Helen Wallace PERFORMANCE RECORDING ★★★★ ★★★★★ £25. Any reservations are dispelled by a masterly reading of the Fifth. It might be said. the strings with perfect discipline in Nielsen’s challenging outbursts. La valsee makes an apt coupling. But when the brass and timpani are loud. the argument that the Andantee provides necessary emotional respite after the trials and tribulations of the Allegro energicoo is subverted by the rather fierce manner in which Gergiev drives the final climax of the movement. and succeed in lending it a sense of free-wheeling fantasy too. The Chandos recording maintains clear internal balance throughout – although the vocal parts in the Third. John Storgårds’s approach is thoughtful. so effectively characterised: Daphnis’s in particular is genuinely ‘légère et gracieuse’ – light-footed with feline grace. That remains a prime recommendation. In much of this cycle. and the programmatic allusions to the Abraham and Isaac story are rather too obvious. as often in the earlier symphonies. These are celebrated here in a somewhat hagiographic documentary which forms an aperitif to its recent appearance at the 2014 BBC Proms. but sure enough the score is marked ‘Très lent’. Fast movements. followed by this recording (the seventh in the piece’s history): the result is a fast. Slow movements are more convincing: that of the Fourth. All that said. where they compete for the affection of Chloé. Indeed. impersonally delivered as they should be. marking the centenary of the start of the First World War. a masterpiece of the 20th century. 6 is something of a mixed bag – lots of high-octane aggression. Gergiev’s Mahler Symphony No. The famous flute solo in Part 3 may seem exceptionally slow. Boulez’s players phrase with apparent spontaneity within Ravel’s slow tempo. After the final orgiastic Bacchanale. sharply focused achievement that flies past barely touching the ground. I was not quite as carried away by this Daphniss as I have been by Pierre Boulez’s Berlin Philharmonic recording which also includes La valsee (on DG). though characterful. though they’re directed by Reich’s colleague Brad Lubman. On the whole. sound a little too far forward. e Her attempt to fuse elements of Christian. Jewish and Islamic musical idioms seems contrived. notably clarinettist John Bradbury in the Fifth. The BBC Philharmonic players respond to their principal guest conductor superbly: the woodwind with well-characterised phrasing. a sense of catharsis comes powerfully through the final recapitulation. Mahler and Panufnik World Orchestra for Peace/Valery Gergiev C Major DVD: 730 108. They prepared it for the 2014 Big Ears Festival. The concert. waves of lower pitches swimming in and out of view. As in his LSO live recording. Still. breakbeats have speeded everything up since 1976. Anthony Burton BBC PROMS: The UNESCO Concert for Peace DVD Works by R Strauss. comes across as a deeply personal episode of spiritual questioning. One cannot help but be staggered by the skill of musicians who wear its arduous repetitions so apparently effortlessly. La valse PERFORMANCE RECORDING PERFORMANCE RECORDING ★★★★ ★★★ ★★★★ ★★★★★ Orchestre et Choeurs de l’Opéra national de Paris/Philippe Jordan Erato 2564616684 68:35 mins JF LECLERCQ BBC Music Direct £14. at this faster speed we seem to lack an undertow. And Jordan’s choir.99 Philippe Jordan has clearly put much thought into his interpretation of Daphnis et Chloé. despite some wonderfully sophisticated solo playing particularly from the woodwind. I say new. Gergiev inspires his players to deliver a fervent account that is only momentarily put out of kilter by some poor ensemble near the end. Less convincing is Roxanna Panufnik’s Three Paths to Peace.99 Since its foundation by Sir Georg Solti in the mid 1990s. Whatever the structural merits of his decision. While the performance as a whole is dynamic and minutely calibrated.classical-music. this is Reich for the 21st century.99 It’s fascinating when a performance tradition of a relatively new work BBC M USIC M AG A Z I N E begins to evolve. the World Orchestra for Peace has performed a steady stream of high-profile concerts. é further refined through several staged performances. opens with the rather episodic Symphonic Fantasia from Strauss’s Die Frau ohne Schatten. is not at the superlative level of Boulez’s. they seem to overload the orchestra’s Salford studio: a contrast with the wide open spaces afforded the San Francisco Symphony in Herbert Blomstedt’s late-1980s cycle on Decca.


he conducts this with a similar ecstatic beauty. Zimerman injects both delicacy Zimerman holds the key to the Concerto’s wistful undercurrents and virtuosity into the dialogue with Simon Rattle’s orchestra. with several blank pages which Mestre has filled in from a two-piano sketch. BBC Scottish Symphony Orchestra/Martyn Brabbins Hyperion CDA 67918 76:58 mins BBC Music Direct outstanding duo: conductor Simon Rattle and pianist Krystian Zimerman LUTOSŁAWSKI Piano Concerto. as if he were laying out the notes for the first time. as probably only a Pole could do. plus Anna Vinnitskaya tackles the hidden depths of Shostakovich’s Piano Concertos CONCERTO CHOICE Refreshing dedication John Allison applauds Krystian Zimerman’s return to Lutos√awski ALBÉNIZ • GRANADOS Albéniz: Concierto fantástico. Rapsodia española. Op. Hispanic intervals. This ‘recomposition’ has mixed results: while the first movement All discs can be ordered from www. Mestre) Melani Mestre (piano). With its dense harmonies and ad libitum m explosions. however. much of which he has himself written. and on this CD he presents a concerto ‘by’ Granados. well known for his affinity with Szymanowski’s music. sometimes to a point where you’d think it was by him – particularly in the lyrical opening. but as the first movement turns declamatory it becomes clear that Albéniz didn’t have Chopin’s magic touch.99 Krystian Zimerman has recorded Lutosławski’s Piano Concerto before. the latter in a score whose status is also a matter of debate. especially with such outstanding forces as the Berlin Philharmonic. with Martyn Brabbins and the BBC Scottish Symphony Orchestra giving discreet support (Albéniz’s focus stays firmly on the soloist). Albéniz’s concerto is impregnated throughout with the influence of Chopin. Berlin Philharmonic/Simon Rattle DG 479 4518 52:22 mins BBC Music Direct £14. with its intense atmosphere. and sequence of dances. questing spirit. and who better to summon up that than the luxurious-sounding Berliners? PERFORMANCE RECORDING ★★★★★ ★★★★ ON THE WEBSITE Hear extracts from this recording and the rest of this month’s choices on the BBC Music Magazine website www. The slightly distant recorded sound is no disadvantage here. 78. he not only gave its premiere in Salzburg in 1988 but made the first recording under the composer’s baton soon afterwards. He has lived with the work ever since. But first he plays Albéniz’s Concierto fantásticoo and his Rapsodia española. Yet Rattle’s own input is distinguished. Op. 2 might . The Reveriee which follows has a tender expressiveness.CONCERTO Raphael Wallfisch plumbs the despair and nostalgia of three rarely heard concertos by Hungarians in £13. and the Scherzoo a Mendelssohnian fizz. But it is still a work of warmth. suggesting a plausible if unexpected kinship between these two great Polish masters from opposite ends of the 20th century. So there is not just room but need for another recording from him. Symphony No.classical-music. and also holds the key. and over a quarter of a century on his performances of it 62 BBC M USIC M AG A Z I N E mix complete authority with fresh. with the concluding Allegro making a fine vehicle for Mestre’s virtuosity. Granados: Concerto in C minor ‘Patético’ (arr. this belongs to an earlier Lutosławski phase. to the serious yet wistful undercurrents of this work. 2 Krystian Zimerman (piano). The first movement of Granados’s concerto (‘Patético’) only exists in fragmentary form. he’s created the second and third movements by writing symphonic arrangements of two of Granados’s solo piano pieces.99 The Spanish pianist and composer Melani Mestre is nothing if not bold. The Rapsodiaa allows Albéniz’s Spanishness to come clearly through. 70. but a little more immediacy in the live recording of Symphony No. Mestre’s playing is limpid and convincing.classical-music. even for the same label: as dedicatee.

Seiber: Tre pezzi Raphael Wallfisch (cello). that a feeling of displacement hovers over each work. recorded in Abbey Road Studios last summer. though extremely well played. Josef ≤paΩek. yet as if it were the most natural thing in the world. the doubts. Isabelle Faust’s magical performance. Similar qualities abound in their committed playing of the Doráti Concerto. It opens with a brooding and ingeniously scored Adagioo that is punctuated from time to time by menacing dissonances in the brass. Op. The Dvoπák. The most musically rewarding of these in my opinion is Mátyas Seiber’s Tre Pezzii composed in 1956. expressive and lifelike under their ageless director. particularly in the secondary material. It is not just that the recording favours the Steinway over the orchestra. 21 (the so-miscalled ‘Elvira Madigan’) has been so variously recorded that any new version needs to be special to contend. And it’s the kind of sound you can quickly begin to recognise as his – something relatively unusual these days. in fact. BBC National Orchestra of Wales/Gábor Takács-Nagy Nimbus NI 5919 77:28 mins BBC Music Direct £15. prices include P&P BBC Music Direct £11. though this is manifested in rather different ways. Serly). After this. his awareness of half-lit. 2. there is sometimes a lack of energy. German-rooted violinist Augustin Hadelich has been establishing himself as an exciting and distinctive soloist. K467. Mendelssohn’s lightness of touch. American born. There is also a certain hardness about the piano timbre.99 This is a boldly imaginative gathering of Czech works for solo violin and orchestra. 21. 23. Suk: Fantasy in G minor. He has a vivid tone.99 Over recent years. begins promisingly indeed with the Academy of St Martin in the Fields sounding deliciously crisp. Concert Rondo in A. but BBC M USIC M AG A Z I N E 63 . Academy of St Martin in the Fields/Neville Marriner ICA Classics ICAC 5135 67:27 mins DVO∏ÁK • JANÁ∫EK • SUK Dvoπák: Violin Concerto. though with the Prague Philharmonia Orchestra (on Harmonia Mundi). This one.99 Mozart’s Piano Concerto No. with a deepseated rhythmic sense and plenty of mercurial dazzle at his disposal. JanáΩek’s Concerto – with its intriguing title. bright and supple. Then the piano comes in – and with it. but with an incisively dramatic reading. And yet. Raphael Wallfisch delivers a very engaging performance of this work. Transcribing Bartók’s Viola Concerto for cello. a strategy first adopted by János Starker. produces a near-ideal interpretation. again with B∑lohlávek. Many will warm to ≤paΩek’s soft-grained tone. ably supported by Gábor TakácsNagy and an alert BBC National Orchestra of Wales. Jan Smaczny PERFORMANCE SUK & JANÁ∫EK DVO∏ÁK RECORDING ★★★★★ ★★★★ ★★★★ ★★★★ ★★★★★ MOZART Piano Concerto No. is by any standards given a handsome performance. seems to conceive the work as a grand-scale Romantic firework display. the finale. the Fantasyy is not quite long enough to count as a full blown concerto which perhaps counts against its becoming part of the standard repertoire outside the Czech lands. Piano Concerto No. Jessica Duchen PERFORMANCE RECORDING ★★★ ★★★ BARTÓK • DORÁTI • SEIBER Doráti: Cello Concerto. This makes an interesting pairing with the Mendelssohn – sharing with it not only a perfectionist concision of thought. Seiber returns to the elegiac mood of the opening with a beautifully serene and rather moving ‘Epilogue’. seems perfectly viable. Suk’s Fantasyy from 1903 is a terrific blend of storm and stress with soulful introspection. Nevertheless. Hadelich sounds more at home in the Bartók Concerto No. a reconstruction from sketches. especially in the slow movement. engaging violinist to steam through the Mendelssohn Concerto without quite nailing its point. but also a rich vein of intense sensitivity and imagination. In contrast. His expressive range traverses a satisfying sonic rainbow as the work progresses. but the material was diverted into the opera From the House of the Dead. The Wandering of a Little Soull – is. MAT HENNEK BBC Music Direct £14. rarely comes through. if somewhat lightweight. Erik Levi PERFORMANCE RECORDING orchestral accompaniment. Michael Church PERFORMANCE RECORDING ★★★★ ★★★★ BARTÓK Violin Concerto No. Bartók: Viola Concerto (arr. and he delivers the ultra-demanding solo part with unfailing precision. d Leo≥ Faltus and Milo≥ Stedron’s realisation of the work is attractive. This account. passion and charm in fruitful alternation. though here I am less persuaded by the composer’s rhapsodic and somewhat discursive musical material which invokes a variety of musical influences from Kodály and Bloch to a strong whiff of Hollywood film score in the Finale. then. Norwegian Radio Orchesta/Miguel Harth-Bedoya Avie AV 2323 62:27 mins RADOVAN SUBIN. K386 Ingrid Jacoby (piano). In a well-balanced recording. 24 Josef ≤paΩek (violin). JanáΩek: Violin Concerto ‘The wandering of a little soul’. doesn’t really sweep the listener away. so that string and woodwind detail is occasionally obscured and the overall balance is remote from anything Mozart at his fortepiano would have expected. which is an achievement in itself. JanáΩek had intended for a violin concerto in 1926. while flawless in tone. Loneliness and despair seem to be the overriding emotions in much of the Seiber and Bartók. though I wonder whether there could have been a bit more momentum and energy in the Finale. It’s perhaps not surprising. not least through his series of recordings on Avie. there is a wealth of orchestral detail to savour in the first movement. juxtaposing both playful and grotesque material which in many ways seems to point forward to Ligeti. with a tendency to schmaltz. the second and third are pale reflections of the piano pieces they are drawn from. and the somewhat heavyhanded accompaniment from the Norwegian Radio Orchestra and Harth-Bedoya does little to assist that. remains a clear front runner.2 incisively dramatic: MENDELSSOHN Josef ≤paΩek makes a strong case for JanáΩek Violin Concerto Augustin Hadelich (violin). B∑lohlávek and ≤paΩek make the best of this curiously shaped piece. K488.99 The Hungarian concertos featured on this beautifully recorded release were all written a considerable time after their respective composers had left their native country.CONCERTO REVIEWS has a brooding Romantic power reminiscent of Rachmaninov. he is not the first lively. enchanted atmospheres. which is likely to be the main event for most listeners. Wallfisch plays eloquently here. the Italian-born. with Jiπí B∑lohlávek’s wonderfully attentive To order CDs call BBC Music Direct +44 (0)1322 297 515. Hadelich manages to make this supposedly ‘difficult’ work sound as approachable and lyrical as any Romantic warhorse. The orchestra and its conductor remain efficient rather than inspiring. Rather too long to be a curtain-raiser. whereas nostalgia and romantic warmth are the main components of Doráti’s Concerto. the central ‘Capriccio’ is more fragmentary. Czech Philharmonic Orchestra/Jiπí B∑lohlávek Supraphon SU 4182-2 66:12 mins BBC Music Direct £14.

His trumpeter. 1 expresses her grief and fury at what has befallen that land.99 A disappointing set. who captures something of Shostakovich’s own edge-of-seat impetuosity while also revealing more of the work’s mischief and its moment of bleak despair (in the slow movement). In effect it’s an elegiac fantasia for piano and orchestra. PERFORMANCE ★★★★★ RECORDING ★★★★ Violin Concertos Nos 1 & 2. because Tower eschews traditional forms based on repetition and contrast in favour of a continuous opening-out from a generating cell. leaving Carlos BBC M USIC M AG A Z I N E BBC Music Direct Piano Concertos Nos 1 & 2. by keeping a relatively cool head. where the beauty of the opening orchestral theme is obscured by the intrusive sound of the piano’s passagework – yet that should only be the accompaniment. LSO/Lovro von MataΩic´. it hangs organically together.99 An ageless album. This problem is particularly acute at the start. The best part of this CD consists of three improvisations – and. For that extra inch towards perfection. and she certainly commands a firm. Montero’s playing in Rachmaninov’s Second Concerto has a zest which reminds us why Martha Argerich originally took her under her wing. In the less complex Second Concerto. Ingrid Jacoby has been much praised. 4 Arturo Benedetti Michelangeli (piano). Anthony Burton PERFORMANCE RECORDING ★★★★ ★★★★ All discs can be ordered from www. Bayan Northcott BBC Music Direct £15. perhaps. K382 as well. Violin Sonata No. it is. I can believe that these perfectly structured performances really were . with some poor coordination between Oistrakh and the orchestra in Concerto No. Anna Vinnitskaya. Op. very Russian in style. An American in Paris. even if Jacoby’s articulation of the opening solo of the tragic F sharp minor slow movement is more notable for Classical poise than Romantic affect. and is a tone poem purporting to reflect the country’s civic collapse and moral decay. is full of drama. requires a chamber-music-like responsiveness among the players.REVIEWS CONCERTO REISSUES Reviewed by Daniel Jaffé DVO∏ÁK • SCHUBERT Dvoπák: Piano Concerto. YOA Orchestra of the Americas/ Carlos Miguel Prieto Orchid Classics ORC 100047 64:29 mins BBC Music Direct £13.000-plus of her compatriots murdered each year since 2011. Philharmonia Orchestra/ Ettore Gracis Warner 0724356723825 (1957) 46:34 mins BBC Music Direct £9. PERFORMANCE ★★★ RECORDING ★★★ RAVEL • RACHMANINOV Ravel: Piano Concerto in G. compared with. charm and atmosphere. the American composer Joan Tower understands what’s needed for a concerto. Vinnitskaya and Kremerata Baltica collaborate in a particularly alert and responsive performance: the outer movements are perky and playful. Philharmonia/Alceo Galliera Warner 0724356288829 (1955-59) 72:53 mins £9. without trumpets and drums. 2 is the best performance. Sonata No. but it’s marred by soundrecording which insistently thrusts the piano into close-up. Schubert: Fantasy for Piano in C Sviatoslav Richter (piano). Violinist Cho-Liang Lin is lyrical and muscular as required. 4 outstanding with playing by turns fiery and easeful. Michael Church PERFORMANCE RECORDING 19-year-old son Maxim. the LSO clearly inspired by Previn’s idiomatic style. the composer’s own nervy recordings do less than full justice to its concentrated emotional range. and has no need to be read as programme music. Gabriela Montero’s Op. devised with Benjamin Kaplin.99 Michelangeli at the peak of his art. Rachmaninov: Piano Concerto No. Bavarian State Orchestra/Carlos Kleiber Warner 2435668952 (1963/76) 59:30 mins BBC Music Direct £9. Murray Perahia in his coupling of the same two concertos on Sony.classical-music. but in very dry sound.99 Self-exiled from Venezuela. Piano Concerto in F LSO/André Previn (piano) Warner 2435668912 (1971) 65:15 mins BBC Music Direct £9. Violin Concerto. 1. as played by two great musicians. too self-consciously so. 2 PROKOFIEV BBC Music Direct resident in Britain. Daniel Jaffé PERFORMANCE CONCERTO NO. even if conducted (as here). Ivan Rudin (piano). Ex Patriaa is dedicated to the 20. the second a Rachmaninov-style rumination. Stroke. the Rachmaninov No. with echoes of Rachmaninov and Shostakovich. and short on charm. The progress of the work isn’t easy to follow. Chamber Dance Cho-Liang Lin (violin). I would still recommend Oleg Marshev (on Danacord). PERFORMANCE ★★★★★ RECORDING ★★★★ GERSHWIN Rhapsody in Blue. gets the more nuanced performance. Improvisations Gabriela Montero (piano). PERFORMANCE ★★★★★ RECORDING ★★★★ 64 PERFORMANCE RECORDING Miguel Prieto and the YOA Orchestra of the Americas in the background. The first is a gracefully Bachian exploration. revelling in her fine technique and unstoppable creative flow.99 Dvoπák’s Piano Concerto. infectious swagger and sheer joy in this music.99 A performer herself (as an ensemble pianist). 1 OTHER PIECES RECORDING ★★★★ ★★★★★ ★★★★ ★★★★ ★★ TOWER ★★★ ★★★ Stroke. 23. ‘a portrayal of a country barely recognisable from that of my youth’. The A major Concert Rondo makes an amiable fill-up – though Perahia manages to squeeze in the betterknown D major Concert Rondo. and the third a Chopinesque cabaret number. But the ear is caught by the constantly changing colours of the soloist’s interaction with different orchestral players – and in particular by two cadenzas in which he duets on equal terms with the orchestra’s leader (uncredited anywhere in the booklet). Indeed. Kremerata Baltica/Omer Meir Wellber Alpha 203 49:45 mins MONTERO Ex Patria. The orchestra impresses also in two more recent pieces by Tower. 2 David Oistrakh (violin). makes painful listening at times but ends with a ray of hope. It bears further witness to Tower’s imaginative handling of instrumental colouring. finger-perfect technique. too. The solo part of her 1991 Violin Concerto effectively combines singing melodic lines and virtuoso challenges. reveals more of its depths as well as its teasing character. Here is the full Montero. The gentler Concerto No. Yet the First Concerto’s apparently lightweight and flippant character is deceptive: its mercurial changes of mood – fullblown Romanticism undercut by skittish non sequiturs – are tricky to pull off. and the wellloved slow movement. both singlemovement structures. and his slender tone is well balanced with the excellent Nashville Symphony. taken not as slowly as has become standard but at a flowing Andantee (moderately slow) as requested by the composer. Chamber Dancee is so named because it was written for the conductorless Orpheus Chamber Orchestra and. she says. e evoking the emotions experienced by a stroke victim.99 Shostakovich’s Piano Concertos can appear mere divertissements among his ‘major’ works. Mozart’s own first-movement cadenza for this concerto survives. she sounds somewhat relentless in K467. comes across as a more evenly matched and charismatic partner. in her over-drawn out trill in the finale which precedes a prankish snippet of ‘Rage over a lost penny’. It’s appropriately preceded by a work from pianism’s most celebrated self-exile. Nashville Symphony/Giancarlo Guerrero Naxos 8. the Ravel G major unhurried yet suavely masterful. Tarantella for two pianos Piano Concerto No.559775 57:30 mins SHOSTAKOVICH RACHMANINOV Anna Vinnitskaya (piano). every performance full of characterful playing. Yet. say. Vladimir Yampolsky (piano). Tobias Willner (trumpet). having once had the chance to challenge her improvisatory claims. The Concertino for Two Pianos and the lighthearted Tarantellaa are attractive makeweights. Richter’s Wanderer Fantasy is magisterial yet genuinely touching when intimate. written for Shostakovich’s £7. Concertino for two pianos. which emulates Mozart’s technique while somehow missing his style. conjures a seductive ease rare in Shostakovich. 1 (In Memoriam). for K467 Jacoby uses her (lengthy) own. acceptable though Tobias Willner is.

The mischievously titled Double Triple Koppell brings together two recent concertos: Koppel’s Double Concerto for Recorder. offering complex and challenging new compositions alongside more broadly accessible works. and Bent Sørensen’s Whisperingg for recorder and strings.99. GudmundsenHolmgreen. Lapland Chamber Orchestra/Clemens Schuldt OUR Recordings 6. Tine Rehling (harp). Koppel’s recorder concerto Moonchild’s Dream m (1990-91) was commissioned for a film recounting the hopes and dreams of a penurious young girl in Copenhagen. all of Scandinavian origin. Rasmussen. And once she started musical spirit. her long relationship with the BBC Music Direct: Chandos Chandos label. She brings music’s most a winning darkest John Veale’s Violin passionate resonances. sings and whispers. Anders Koppel has made his name as a renowned composer of both film and art music.99. heart-on-sleeve romance from Perhaps it’s too easy to Rachmaninov. but her not the famous one but the instinctive empathy with the other two concertos. all while remaining a member of the chart-topping psychedelic rock group Savage Rose for some 40 years. There are occasional lapses in intonation across soloists and ensemble. It’s immediately like the Barber or Korngold. Nordic Soundd presents five world premieres for recorder and string orchestra and string orchestra alone. whose own transfixing Sommasvitt (1957) for string orchestra closes the disc. in link to a special the service of a work that follows school of Russian in the tradition of Veale’s mentor violin playing through her teacher Walton.99 A KOPPEL Concerto for recorder.99 DANISH & FAROESE RECORDER CONCERTOS Works by T Koppel.99 While the mainstay of the recorder’s repertoire sits within the medievalBaroque periods.220633 67:25 mins BBC Music Direct £13. and Chandos how strongly that sound re-coupled for this release with came through. recent years have seen a growing body of new music composed for that instrument. from Bach and (British concertos) £13. GudmundsenHolmgreen. Christensen & Borup-Jørgensen Michala Petri (recorder). from Bruch to John Veale When Lydia Szymanowski. it deserves to find a new audience. 2 CDs 60 recordings. meditative and pigeonhole Mordkovitch as an virtuosic Chausson. You’d expect it in concertos by Bax. and while Koppel’s rich. the two Shostakovich Concertos./Henrik Vagn Christensen OUR Recordings 6. the concerto snarls. These three well-recorded discs. There’s Orchestra for Neeme Järvi. Rasmussen Michala Petri (recorder). Odense Symphony/Henrik Vagn Christensen Dacapo 6. recognising and celebrating its distinct timbre and ready agility. The apparent when listening to these performance has a cinematic five tribute CDs reissued by sweep that’s highly engaging. with the outstanding recorder virtuoso Michala Petri as soloist. 2. Orch. prices include P&P BBC M USIC M AG A Z I N E 65 . spiky and Oistrakh pupil and assistant – for turbulent Shostakovich Preludes. Harp and Orchestra (2009). cello & harp Michala Petri (recorder). Koppel’s music is unabashedly sumptuous and tonal. released in 1990. not just in the powerful Mordkovitch’s Bruch is here: sweetness of her sound. anyone that would be a huge Elgar’s Sospirii is last. Sunleif Rasmussen’s Territorial Songss (2008-9) explores the mingling sounds of birdsong with notable originality. Aalborg Symph. cinematic score may have been a fine match for the film’s emotive theme. Son of eminent Danish composer Herman Koppel (1908-1998). mark the recorder’s continuing appeal. 515. Standout pieces include Sunleif Rasmussen’s Winter Echoes. Eugene Hye-Knudsen (cello).com REISSUES SPECIAL russian sounds: Lydia Mordkovitch studied with Oistrakh A tribute to Lydia Mordkovitch CD Review’s Andrew McGregor explores the Russian violinist’s concerto legacy. its title said to be inspired by Axel’s ‘soft and fragile way of speaking’ and which forms a delicate and moving tribute.99 To order CDs call BBC Music Direct +44 (0)1322 297 515. which unleashes ferocious trills and flutters from the recorder in a pleasing subversion of the instrument’s dulcet reputation. as a concert piece the work borders on the saccharine. and completely Mordkovitch died unknown works like the Violin last December. It lost a significant finds Mordkovitch at her best. Comprised of a ‘longbreathed canon’ scored between soloist and orchestral sections. capturing distinct and magical soundworlds (including an arresting passage where Petri hums through the recorder) across the work’s five short movements. with both scores full of whip-smart musical adventure and demonstrating Koppel’s knack for a luscious melody. Benjamin Koppel (saxophones). or American concertos David Oistrakh. available from iTunes & www.220613 69:12 mins BBC Music Direct £13. compilation taken from three with savage wind playing from recitals: Poème – the Artistry the Royal Scottish National of Lydia Mordkovitch. Brahms to Shostakovich and CHAN10866 X (Poème) £8. and 25 years on The last tribute is a new they’re compelling performances. making for a powerful addition to the repertoire. Saxophone and Orchestra (2010) and Triple Concerto for Mezzo Saxophone.CONCERTO REVIEWS NORDIC SOUND Works by Sørensen. but the disc features a notably tender and playful performance by Petri. Dyson and Bliss. The works were each commissioned in tribute to Danish composer Axel Borup-Jørgensen (1924-2012). Clausen. Cello. its rapt shadow to escape – as it ignores intensity a poignant reminder the characterful individuality of of her generosity of sound and her playing. we Concerto (1984) by John Veale.classical-music. saxophone and orchestra. Pelle Gudmundsen-Holmgreen’s fiercely inventive recorder concerto. Triple concerto for mezzo saxophone. Chacun Son Son n (2014) offers a welcome astringence. CHAN 241-53. These and Concerto deserves to yearning were awardimprovisatory find a new audience fluency to the winning when they were start of No. Thomas Koppel (brother of Anders and also a founder member of Savage Rose) heads up the diverse Danish and Faroese Recorder Concertos (once more performed with aplomb by Petri).220609 57:01 mins CLIVE BARDA/ARENA PAL BBC Music Direct £13. Kate Wakeling NORDIC SOUND PERFORMANCE RECORDING DOUBLE TRIPLE KOPPEL PERFORMANCE RECORDING DANISH AND FAROESE PERFORMANCE RECORDING ★★★★ ★★★★ ★★★ ★★★★ ★★★★ ★★★★ Hear the BBC Music team give its verdict on Danish and Faroese Recorder Concertos on our ‘First Listen’ podcast. just look at the CHAN10864 X (Shostakovich) range of her repertoire in over £8.

a member of the family which has worked with marionettes for 150 years. The cast is not special. Eugenio Monti Colla (Ludwigsburg. and while the orchestra is perfectly decent. Michael Schønwandt conducts with great detail and sweep. is a cheerful comedy about youth and freedom.220641/6. but ultimately the effect’s a touch stately. As one of the booklet articles tells us. where it was performed in May 2014. A CD All discs can be ordered from www. NIELSEN Maskarade Stephen Milling. and the extraordinary memento morii end to the masquerade . a chance to reconsider Tara Erraught in Richard Jones’s Glyndebourne production of Der Rosenkavalier OPERA CHOICE Nielsen for the modern age Michael Scott Rohan enjoys Michael Schønwandt’s well-cast Maskarade nielsen focus: Dénise Beck and Nils Jørgen Riis in the studio could mingle anonymously. However. Ditte Højgaard Andersen. 2014) Arthaus 102207 DVD: 147 mins. Lautten Compagney Berlin/Wolfgang Katschner. set at the time of the First Crusade. The movements and interactions are devised by Eugenio Monti Colla. Both are recommendable. PERFORMANCE ★★★★★ RECORDING ★★★★★ ON THE WEBSITE Hear extracts from this recording and the rest of this month’s choices on the BBC Music Magazine website www. Marie Friederike Schöder. Gesche Geier.classical-music. The mighty bass Stephen Milling catches the ageing paterfamilias Jeronimus’s comically fallible humanity likeably. though their mouths do not always move exactly in synch with the voices. alongside more reflective moments like Act II’s twilit prelude.220642 134:56 mins (2 discs) BBC Music Direct £28. Danish National Symphony Orchestra and Choir/Michael Schønwandt Dacapo (hybrid CD/SACD) 6. but Frandsen. conductor Wolfgang Katschner doesn’t provide enough momentum to excite interest. in addition. but created on a life-size scale. however. Nils Jørgen Riis sounds somewhat mature as his son Leander.99 This production of Handel’s first London opera. But Denise Beck and Ditte Højgaard Andersen as love interests Leonora and her maid Pernille are excellent. Christian Damsgaard. Stig Fogh Andersen. It’s a co-production between the theatrical Lautten Compagney of Berlin and the Compagnia Marionettistica Carlo Colla & Figli – leading practitioners of the ancient art of puppetry. Dénise Beck. A surprisingly large number of them can be fielded on stage for the more spectacular scenes. Anne Margrethe Dahl. Yosemeh Adjei. what we see on stage is enacted entirely by puppets. set against the fashion for masquerades – masked balls at which all classes and backgrounds 66 BBC M USIC M AG A Z I N E Michael Schønwandt conducts with great detail and sweep This latest CD boasts probably the strongest cast on record so far.classical-music. Florian Götz. Musically. lacking the dancing lightness that made John Frandsen’s 1977 premiere recording so successful. The sets are traditional and often magical. both of them placed in a pit. neither the sound nor the picture are of top quality. recreating the environs of medieval Jerusalem with style and with flamboyant period (First Crusade) costumes. there’s a lot to charm. It’s a most unusual show in that while the music is delivered by live singers and an orchestra. These are not small puppets of the Punch and Judy variety. comes from the festival at Ludwigsburg. The lyrical score bounces with dance rhythms. although his voices don’t equal this. The puppets perform quite complex movements. Cornelius Uhle.OPERA Dorothea Röschmann and Michael Schade head a compelling production of Schubert’s Fierrabras. while Johan Reuter’s Wagnerian tones render the Figaro-like valet Henrik unduly dour. Niels Jørgen Riis. plus CD (2 discs): 130 mins BBC Music Direct £34. dir. there’s Schønwandt.99 Nielsen’s second and finest opera. if you want big voices and 21st-century recording. Visually. recalling Die Meistersingerr with its recurring watchman. which from 1868 onwards regularly presented marionette versions of works that had triumphed at the glamorous venue next door. Owen Willetts. adapted from an 18th-century play by Baron Ludwig Holberg. where close by to La Scala stands the Teatro Gerolamo. is livelier. there is a long and distinguished history of puppet performances of opera in Italy. Johan Reuter. as are the many character roles. plus. things are more ordinary. now remastered to HANDEL DVD Rinaldo Antonio Giovannini.

Marie-Claude Chappuis. with Patricia Risley (Evvy) and Joélle Harvey (Miranda) bringing notable command and sensitivity to their challenging roles. an issue further exposed by the work’s futuristic ambitions. and there’s a kick to Rhian Lois’s Tod Machover’s Death and the Powers is a curious mixture of the visionary and the antiquated. a ramshackle tale of Moors and Christians. Jessye Norman. Robert Davies. Eloise Irving. But it’s not enough. The disc is largely well-shot. Yet despite a deft libretto by Robert Pinsky and a fine cast. Nicholas Morton*. Benjamin Bernheim. Among the most memorable are Anthony Lewis’s 1961 version with Janet Baker in noble and mellifluous voice. mostly devoted to promoting his music. set in BBC M USIC M AG A Z I N E 67 . recaptures the spirit of the first known performance in a Chelsea boarding school for ‘young gentlewomen’. This new recording. Thanks to the slender instrumental resources. Rhian Lois*. The opera as a whole adopts a reflective stance. There’s little outward drama even when Louise Winter’s Juliana. however. historically informed versions with To order CDs call BBC Music Direct +44(0)1322 297 515. both opera and production feel unexpectedly outmoded on occasion. the biggest to date. both vocally and in its staging and acting. At times the narrative feels clunky and overwrought and the physical robots themselves are curiously trundling. with a cast of youthful. The juicy stuff actually lies in the orchestral writing (beautifully played). We learn that some time ago billionaire entrepreneur Simon Powers set about renouncing his human self to become immersed in The System: a technological advancement that will allow Powers a kind of faceless immortality. while the Sorceress and witches ham up their roles like the wicked witches of pantomime. 2014) C Major DVD: 730708. Michael Schade. The Dallas Opera Company Orchestra and Chorus/Nicole Paiement. Powers’s daughter. Matthew Buswell*. Jenni Harper. though she cannot compete in drama or gravitas with some of the great names who have tackled this role. The scope and ambition of the opera is also highly commendable.OPERA A REVIEWS version of the same performance is also included.99 £34. Diane Paulus (US. g a slightly risqué 16-minute opera adapted from a theatrical trinket by Frederick Witney. A large part of its unsatisfactoriness must be put down to its wretched libretto. Armonico Consort/Christopher Monk Signum SIGCD 417 50:45 mins BBC Music Direct £12. presses his case. But for all Hurd’s experience in setting words. derived from Henry James’s novella. record companies took scant interest in the tuneful output of Michael Hurd. Miles Golding. Julia Kleiter. Hal Cazalet. but George Vass’s team all do their best for this modest and thoughtful opera. of the British Music Society Charitable Trust. this innovative ‘robot opera’ blends live performance with on-stage robotics and a colossal video wall. through the terms of his will. Manuel Walser. Created in collaboration with the MIT Media Lab. The Night of the Wedding Owen Gilhooly. George Hall PERFORMANCE PICTURE & SOUND EXTRAS ★★★ ★★★ ★★★ HURD The Aspern Blu-ray: 730804 164 + 10 mins BBC Music Direct (DVD) BBC Music Direct (Blu-ray) £34. Miranda. Christopher Monks’s fleet direction and wispy instrumental playing enhance the allpervasive dance rhythms. Rachel Lloyd makes a graceful Dido. Robert Davies is a velvet-voiced Aeneas. a problem not aided by the disc’s somewhat jarring use of ‘robot-eyeview’ shots. Elin Manahan Thomas. Elin Manahan Thomas an agile and dulcet Belinda. Pippa Goss. a failure. dir. calls his biographer a ‘publishing scoundrel’ and collapses onto the floor. Kate Bolton PERFORMANCE RECORDING ★★★★ ★★★★ ★★★ ★★★★ SCHUBERT DVD Fierrabras PURCELL Dido and Aeneas Rachel Lloyd. of Schubert’s greatest claim to operatic success – which unfortunately is still. Hurd’s manner is light and slightly Frenchified. in both the production’s more successful technical innovation and the work’s urge to grapple with the big questions of this ‘post-human’ age. But his death brought one substantial reward: the establishment in 2007. Geoff Brown PERFORMANCE RECORDING ★★★ ★★★★ robotic ritual: Machover’s intriguing Death and the Powerss comes to Blu-ray MACHOVER DVD Death and the Powers Robert Orth. Peter Stein (Salzburg.2350 110:56 mins (2 discs) BBC Music Direct £15.99 It is hard to make a mark with a new performance of Purcell’s Dido: recordings stretch back some 80 years and range from grand-scale classic accounts figuring great operatic divas (Kirsten Flagstad. and an interesting 2009 version by the Orchestra of the Age of Enlightenment. struggles with the moral implications of Powers’s complex desire for both omnipotence and surrender. with sound and image crystal clear on the Blu-ray edition: if only the opera’s vision was as finely tuned. the piece is a damp squib. Clare McCaldin. keeper of the poet Jeffrey Aspern’s secrets. 2014) The Dallas Opera Company Blu-ray: ISBN: 8-88295 20400-2 96:33 mins opera. The premise is intriguing: an assembly of robots perform a ritual drama through a ‘memory download’ of their once-mortal forms. It’s worth hearing once. William Christie’s period-instrument reading. fresh-voiced soloists and an ingenuous approach. Simon Lepper’s piano accompaniment prances nicely.99 This is an almost perfect performance. the soundworld of the actual robots is a synthesizer cliché. Ulster Orchestra/George Vass. pleading that her father uphold humankind’s connection to ‘the body of death’. Simon Lepper* (piano)/Ronald Corp* Lyrita SRCD. which features the glorious Sarah Connolly and includes dances from Purcell’s other works to replace lost originals. with Véronique Gens adding sultry French colours and stylish embellishments. Louise Winter. There are. his prose libretto for the three-act opera The Aspern Paperss (1994). the text cuts through with perfect clarity and the singers are highly responsive to the accents and nuances of Nahum Tate’s poetry. the biographer. While Machover’s score for 19-piece orchestra features the arresting sonorities of a 21st-century Messiaen. graced by Susan Graham’s magnetic Dido. Tatiana Troyanos) to more intimate. I wish I could be more enthusiastic about this latest offering. dir. Markus Werba. Kate Wakeling PERFORMANCE PICTURE & SOUND lighter voices like Emma Kirkby or Emily Van Evera. in the end. Joélle Harvey. prices include P&P Georg Zeppenfeld. A leaner voice than Owen Gilhooly’s baritone might have given us pleasanter listening as Jordan. too often generates vocal lines heavily corseted and coloured grey. Vienna Philharmonic/ Ingo Emanuelle Haïm’s dynamic 2003 account. Patricia Risley. Roderick Morris. At least there’s a loud pistol shot in The Night of the Wedding. strong lead performances.99 In his lifetime. who tell a tale of human sensibility versus machinic objectivity. often suffused with a wistful melancholy distantly suggesting the moodier film scores of Bernard Herrmann.

Andreas Burkhart. with assurance. Ferdinand von Bothmer. nothing can. Charlemagne is taken by the young and magnificent bass-baritone Georg Zeppenfeld. even if it is not an ideal one. Martin Mitterrutzner. in German and English. Stein and his designers’ aim seems to have been to make it all look as beautiful as possible. to give composer Leonardo Vinci rich opportunities for heroic show. Jörg Schörner. Then in 1722 he attempted his first serious opera. This is the youthful work of an inexperienced composer. its brash exuberance alternating with continuo realisations as delicate as they are original.99 It’s only in Act II of Der Rosenkavalier that we learn the age of the boy we first meet as dawn breaks in the Marschallin’s bedroom in a coital flurry of trilling flutes. Graun. Although dramatically convincing. With Vinci’s score effectively setting performers in competition with each other through alternating arias. Scott Conner. All three countertenors are virtuosos. and costumes are white. but the others are early works and rarely get performed. the work alternates between hearty hunting choruses. Not that there is much to interest one.99 Unless you are a specialist in early Romantic opera. This is yet another work cursed with spoken dialogue. For a while he capitalised on this success. deepen his characterisation – for instance bringing out the latent narcissism of ‘Quell’amor che poco accende’. with only patchy moments of interest.99 £34. Costume (Nicki Gillibrand) and decor (Paul Steinberg) filter 18th-century design through a 20th-century lens. Lars Woldt. but Dorothea Röschmann gets even more. Bavarian Radio Choir and Orchestra/ Ulf Schirmer CPO 777 727-2 142:34 mins (2 discs) DVD Der Rosenkavalier Tara Erraught. writing comic operas in Neapolitan dialect. her pageboy Mohammed (Daniel FrancisSwaby). to set it now. actually sets the opera in that period. Caesar’s rival). Teodora Gheorghiu. beautiful Marschallin. Mattheson. or silver (chain-mail). then at the start of his career. of which Der Freischützz is the most popular. His embellishments. Berta Joncus PERFORMANCE RECORDING ★★★★ ★★★★★ £28. Benjamin Bernheim sings Edingard. moving. Detlef Roth. Telemann. I’m afraid that it tends to confirm my view that there are no neglected masterpieces. But the orchestral performance is handsome and lithe. But that is only one of its peculiarities.REVIEWS OPERA the time of Charlemagne. and insists that for this opera to have any credibility it has to be seen as set long ago: this despite the enormous temptation. and Caesar’s love of Cato’s daughter. takes the laurels. They both deservedly get huge applause. Simon Pauly. Catone in Uticaa requires stamina all round. Ochs and the Marshallin. lemonyellow couch that stretches across the set. Orlandini. nuanced and complex these impersonations are. and it sounds it. love and arranged marriages among the casteconscious Viennese aristocracy is as sour as it is sweet. Jones sets the Marschallin up with another young lover-in-waiting. rearing French horns and tangled strings. There is more to this production than a handful of ungallant reviews allowed. Still Royal’s parting phrase ‘Ja. as a Freud-like figure sits behind her. Cato’s daughter) and Max Emanuel Cencic (Arbace. The heroine is dumb. This new recording showcases today’s top countertenors: Franco Fagioli (Caesar). Jones’s staging may be too sharp for some BBC M USIC M AG A Z I N E Silvana Michaela Kaune. puppyish portrayal of the 17-year-old Octavian to Teodora Gheorghiu’s diminutive Sophie. Andrej Dunaev. director Riccardo Minaso heats up this sense of rivalry – the variations get wilder. The plot doesn’t admit of much intelligible action. by Michael Schade. and given that it lasts for almost two and a half hours. If this doesn’t put Fierrabrass securely on the map. Michael Tanner PERFORMANCE RECORDING ★★★★★ ★★★★★ BACKGROUND TO… L Leonardo V Vinci GETTY ((1690-1730) V Vinci entered Naple’s N Conservatory in C 11708. Patience is however rewarded by this largely superb premiere recording. with accents borrowed from Futurism and Bauhaus. There is a large cast of grotesque extras added to the myriad of minor roles. Strauss’s 1911 comedy of sex. black.99 This rewarding album is the result of Ann Hallenberg’s investigations into All discs can be ordered from www. anyway. the decision to pit a lead tenor against castratos was novel. London Philharmonic Orchestra/Robin Ticciati. Ines Krapp. and is confined to gesturing until the last scene of the opera. Yet the focus remains on Octavian. Farfallino and Minelli. Kate Royal’s brittle. Actually he wrote several more. but Fagioli. Gwynne Howell. I must congratulate them on still producing ample booklets with the full sung text. In Richard Jones’s 2014 Glyndebourne production. 68 people’s tastes. especially as its characters inevitably have the tendency to fall in love with a member of the hostile other religion. Michael Kraus. In an engaging interview he dismisses the contemporary vogue for setting everything in the nearpresent as rubbish. Vince Yi. Publio Cornelio Scipione. besides astonishing the ear. Robert Wörles. the yearning more palpable. Kate Royal. The sets are fairly simple but delightful and ideal for the actors. leaving non-German speakers in the dark. Valer Sabadus (Marzia. and excursions into Italian-style coloratura. Blu-ray: OA BD 7168D 191 + 22 mins WEBER BBC Music Direct VINCI Catone in Utica Juan Sancho. folk-ish songs. tenor Juan Sancho as Cato strains some top notes and belabours the more fiendish diminutions. curled up on the long. and Fierrabras himself. dir. you are likely to think that Weber wrote three operas. He began his celebrated collaboration with the librettist Metastasio in 1726. In François Roussillon’s video production you can appreciate how candid. Librettist Metastasio.classical-music. Such was his talent that h within ithi th three years he had become one of the Conservatory’s teachers. fittingly for Caesar. There are minor quibbles with Gheorghiu’s diction and Robin Ticciati’s impetuous tempos. Tareq Nazmi. and whenever she is singing the whole thing does get more intense. Sophie. which met with success. Franco Fagioli. So CPO is doing yet another service in issuing this full recording. clocking in at almost four hours. 2014) Opus Arte DVD: OA 1170D. and even Lars Woldt’s fantastically oafish. After a rather good Overture. ja’ cuts like a knife: no lover can heal the loneliness she details in her monologue at the end of Act I. which is not printed. so one only hears a stagey narrator or the odd character speaking. Michael Tanner PERFORMANCE RECORDING ★★★ ★★★★ AGRIPPINA Works by Perti. Peter Stein. Sammartini and Legrenzi Ann Hallenberg (mezzo-soprano). Anna Picard PERFORMANCE RECORDING EXTRAS ★★★★ ★★★★★ ★★★★ R STRAUSS BBC Music Direct (DVD) BBC Music Direct (Blu-ray) £28. fluffy-cheeked. The band contributes enormously . Christopher Gillett. One marvels at the reams of nonsense which the gifted singers have learned to speak and sing. Valer Sabadus. prematurely bald Baron Ochs. Rut Nothelfer (cello). having his comic opera Lo cecato fauzo staged at the Teatro Fiorentini in Naples. Miranda Keys. occasionally. Il Pomo d’Oro/ Riccardo Minasi Decca 478 8194 233:42 mins (3 discs) BBC Music Direct £49.99 Catone in Uticaa (1728) was written in Rome for four stars: the tenor Panacci (Cato) and the three castratos Carestini. son of the Moorish prince. an important role. Handel. Though this all-male casting was dictated by a 1588 Papal decree. cleverly used a story about Cato’s defiance of Caesar. Il Pomo d’Oro/Riccardo Minasi Deutsche Harmonia Mundi 88875055982 74:54 mins BBC Music Direct £15. Max Emanuel Cencic. Marko Cilic. since it deals with Muslims and Christians. but what there is is persuasive and even. One of the most striking things about this production is that its director. In a twist on the conventional sentimental ending. that sourness is emphasised by the youth of the cast from Tara Erraught’s wide-eyed. He made his successful debut as an opera composer in 1719. Richard Jones (Glyndebourne. Helene Schneiderman. well performed under Ulf Schirmer. taking notes. Indeed.

including that for Mendelssohn’s 1834 Infelice!. The less flowing lines of Stravinsky’s Jocasta expose a distinct beat in the voice. but three Agrippinas are mustered here. Strauss and Mariotte Dagmar Pecková (mezzo-soprano). the Italian word for the type of Classical concert monodrama exampled here. of which Graun’s ‘Mi paventi’ with horns provides a dazzling example. Ivana Veberová (soprano). Saint-Saëns. è strano … Sempre Libera’ from Verdi’s La traviata. the orchestra’s woodwind ones no less than the named fortepianist (Mozart) and violinist (Mendelssohn).! its confusing title. Persson gets the character right too: a young woman overwhelmed by passion. prices include P&P ★★★ ★★★★ £15. which in 2012 presented this team of German soprano. of which Mozart wrote a gratifyingly large number. Gounod. their anti-heroines linked by themes of sin and forgiveness – the latter. If the voice sometimes lacks weight. Régine Crespin and Janet Baker in Beethoven or Baker and Edda Moser in Mendelssohn may find her lightweight. Pecková. from earlier and later. One unifying programme factor is that all the texts. and. Most of the music is new to disc. Haydn and Mendelssohn Christiane Karg (soprano). Wagner. Offenbach. It might be kinder to remain silent about her ‘E strano. The instrumental support provided by Il Pomo d’Oro under its director Riccardo Minasi is generally crisp and alert with fine contributions from the oboes. as she also does with Mariotte’s Salome. Conductor Aleksandar Markovic´ and the Slovak Philharmonic Orchestra provide much more than routine accompaniments. Cherubini and Stravinsky. and images of Pecková got up as 1950s Hollywood-style temptresses – pomegranates and all. sister of Caligula and mother of Nero. fluent alike in bravura. Karg. This album ranges from Wagner and Strauss to French coevals such as Massenet.. Two of them are daughters from two of three marriages of consul Marcus Vipsanius Agrippa. but her hollow-toned. Max Loppert PERFORMANCE RECORDING ancient Roman history. Among other delights are pieces by Handel’s gifted Italian contemporary Porpora and two generously proportioned arias from Britannicoo by Frederick the Great’s Kapellmeister. haunting Klytaemnestra is the finest performance here. and Wagner’s Kundry some squally moments under pressure. she is nimble in the early 19th-century repertoire. Especially alluring is ‘Ogni vento’ in waltz metre.99 Throughout a stellar career – literally: she has an asteroid named after her – Czech mezzo Dagmar Pecková’s voice has evolved from strong and stylish Mozartian into a richly powerful instrument whose darkly sensuous hues are ideally suited to the lusher late Romantics. English conductor and British period band in Amoretti. singing decent French. Hallenberg is on scintillating form. Nicholas Anderson PERFORMANCE RECORDING ★★★★★ ★★★★★ with some fine playing by the woodwind and a melting horn solo at the start of Bellini’s aria for Juliet. as Massenet’s verbose Mary Magdalene demonstrates. is in fact the plural of scena. Stravinsky. Daniel Harding and the Swedish Radio Symphony Orchestra are genuine partners in this recital To order CDs call BBC Music Direct +44(0)1322 297 515. perhaps in this period of Roman history – with arias by six of the ten composers featured in Hallenberg’s recital. and his orchestral interludes are notably dynamic and fresh. Christopher Cook PERFORMANCE RECORDING SINFUL WOMEN Works by Massenet. and many will recognise the three chosen arias from Handel’s early opera Agrippina.. Miah Persson (soprano). Scene!. but suffers from cloudy.OPERA A REVIEWS three agrippinas: Ann Hallenberg portrays these striking women vocal and instrumental. Not one. with Arcangelo in perfectly weighted period-instrument support. Michael Scott Rohan PERFORMANCE RECORDING ★★★★ ★★★★ BBC M USIC M AG A Z I N E 69 . Alina Pogostkina (violin) Berlin Classics 0300646BC 64:08 mins BBC Music Direct £15. but not for the man that she is about to marry. Swedish Radio Symphony Orhcestra/Daniel Harding BIS BIS-2112 (hybrid CD/SACD) 66:16 mins BBC Music Direct £13. delivers every item with acute sensitivity to mood and verbal nuance. Many sing the role of Violetta. listeners used to the more substantial instruments of (say) Maria Callas. a Gluck-Grétry-Mozart potpourri. And a third is that the chosen words inspired each composer to his most generously lyrical vein of musical characterisation: this is a recording of continual riches. but few have the measure of its vocal challenges. while the third and best known was the infamous daughter of the younger of the abovementioned. has reassembled it for another greatly rewarding disc. though. a splendidly accomplished artist. Indeed Juliet’s Act I number ‘Eccomi in lieta vesta … Oh! Quante volte’ from Bellini’s I Capuleti e i Montecchi is one of the better tracks on this new recital disc. Malcolm Martineau (piano). Cherubini. Carl Heinrich Graun. with a well-judged final cadenza.! were drawn from Metastasio’s opera seriaa librettos. And ‘Le jour sous le soleil béni’ from Messager’s Madame Chrysanthème whets the appetite for a deeply underrated composer. e contemporary with Strauss’s. But on its own terms. Bizet. She gets the lion’s share of the music – not the happiest figure of speech. unfocused tone and unsteadiness. Mozart. the disc gives uninterrupted pleasure. Less impressive are the booklet’s superficial and poorly translated notes. A word must be said for the expert obbligato soloists.99 Miah Persson is a personable singer with a loyal following on both sides of the Atlantic. Messager and Verdi SCENE! Concert arias by Beethoven. Here we have a selection of concert arias no less imaginatively devised and stylishly delivered. Slovak Philharmonic Chorus. Her voice is lean in terms of tonal ‘flesh’. is amply passionate.99 The record label Berlin Classics. though Persson does find an emotional depth in Michaela missed by other singers when she searches for Don José in the mountains in Act III of Carmen. more elegantly Wildean but far less powerful. Puccini. Another is that each depicts a Classical heroine in situations of tragedy. As Massenet’s Hérodiade and in particular SaintSaëns’s Delilah Pecková is seriously seductive. Arcangelo/ Jonathan Cohen. makes it easy on the ears at least. Bellini. Meyerbeer. and cantilena. Delibes. usually less interesting. displayed in each case with remarkable ingenuity of form. emotional suffering or romantic turmoil. though keen followers of Italian opera seriaa may have encountered Telemann’s ‘Rimembranza crudel’ from Germanicus. Elsewhere it’s more about singing than character. Slovak Philharmonic Orchestra/ Aleksander Markovic´ Supraphon SU 4181-2 67:59 mins ★★★★ ★★★★★ BBC Music Direct SEMPRE LIBERA Works by Donizetti. Peter Mikulás (bass). though the instrumental accompaniment is insufficiently light-footed. Medea’s aria (Cherubini).

it’s Stravinsky who haunts the score. Pungent pizzicato rhythms. Words cut easily through the texture. the joyful ‘Deus. Birtwistle unleashes all his powers as a stage composer onto Stephen Plaice’s text. canticum novum’ and the intimate yet florid ‘Fallax gratia’. qui sedes With just one voice to a . Deus. and relish the rhetorical expressivity of ‘In me transierunt irae tuae’. throwing into high relief the contrasts and colourful word painting that characterise Lassus’s style. as is the moment when radiant trumpets call the Angel back. As an all-male ensemble. qui sedes super thronum.classical-music. Missa super Dixit Joseph. as Paul Griffiths observes in his insightful notes. with the life-and-death struggle of the Angel and Jacob at its heart. fragmentation and integration. from afar. The London Sinfonietta. subtly enhanced by the glowing acoustic of Kloster Pernegg. Here they unveil some less familiar works of one of the great names in Renaissance music. the composer is ‘ £13. London Sinfonietta/David Atherton NMC Recordings NMC D211 53:36 mins BBC Music Direct making it personal: Cinquecento turn their small number to advantage LASSUS Confitemini Domino. canticum novum. Among familiar works are the influential ‘Deus. Veni dilecte mi. Austria. Jacob himself (a committed but occasionally strained Jeffrey LloydRoberts) and the Angel (a charismatic Andrew Watts). Birtwistle’s All discs can be ordered from www. with The Sixteen’s – rich and velvet toned. pleading for a sign: a menacing pulse in the bass. thinking in broken images’ who arrives at ‘a new understanding of my confusion’. Orlandus Lassus. Jeffrey Lloyd-Roberts (tenor). their sound is robust and plangent: compare their version of ‘Timor et tremor’. JS Bach’s own church.CHORAL & SONG David Atherton and the London Sinfoniettaa give Birtwistle ‘both soul and a zinging edge’. says Kate Bolton BIRTWISTLE Angel Fighter. including the Song of Songs poem ‘Veni dilecte mi’. Wilten Boys’ Choir and Bavarian Radio Choir offer fine new recordings of Arvo Pärt. including percussion. Fallax gratia. But. from the first bassoon duo. PERFORMANCE RECORDING ★★★★★ ★★★★★ ON THE WEBSITE Hear extracts from this recording and the rest of this month’s choices on the BBC Music Magazine website www. gradually approaching. under David Atherton. Rarities include the parody 70 BBC M USIC M AG A Z I N E Mass Dixit Josephh along with a selection of Lassus’s more obscure motets. It’s enthralling stuff. lend it both soul and a zinging edge.classical-music. which ends in the angel’s blessing and a hard-won passage of churning. In Broken Images. quam amara est memoria tua’ in almost madrigalian fashion. In Broken Images. BBC Singers. visceral trumpets. and.99 The vocal ensemble Cinquecento has previously focused on shadowy composers like Chatelet Regnart. The singers point up the bittersweet discords of ‘O mors. the angel is heard incanting. spar against each other in a complex play of collision. after Robert Graves.99 Birtwistle’s cantata Angel Fighter was written for St Thomas Leipzig. Schoendorff and Vaet. polyphonic lines are sharply etched and perfectly weighted throughout. groaning lower brass and winds shrilling overhead drive the three-way confrontation between taunting chorus. Jacob is left alone. words cut easily through the texture super thronum’ and the intensely expressive ‘Timor et tremor’. rhythms are bouyant and full of momentum. and Hyperion’s lustrous recording. and Pavol Breslik and Mauro Peter offer alternative views of Schubert’s Die schöne Müllerin CHORAL & SONG CHOICE Cinquecento on colourful form This small group bring madrigalian power to Lassus. The chorus’s accusations exhausted. Four clear orchestral sections (as in Gabrieli’s multi-choir canzonas). Deus. Virelai (Sus une fontayne) Andrew Watts (countertenor). In me transierunt irae tuae. etc Bernd Oliver Fröhlich (tenor). rhythmic blues. Some listeners may miss the more opulent sound of a full choir. using the whole building to create a thrilling dramatisation of the Bible story. Cinquecento Hyperion CDA 68064 66:26 mins BBC Music Direct £13. With just one voice to a part. In between comes the fight. for instance. but nonetheless the group has a surprising resonance.

Erik Levi This is the third release from the Royal Academy of Music’s series showcasing Schoenberg’s vision of chamber-music arrangements of contemporary works made for his Society for Private Musical Performances in Vienna. string orchestra and an aeolian harp or ‘wind’ harp (heard here on tape recorder).99 Royal Academy of Music Soloists Ensemble/Trevor Pinnock Linn CKD 481 (hybrid CD/SACD) 61:29 mins BBC Music Direct £15. given the limitations of his largely intimate late-Romantic style. his focus is on Max Kowalski. His own arrangement of Mahler’s Lieder eines fahrenden gesellenn reveals that Schoenberg minutely understood the older composer’s core sensibility. Kowalski’s main claim to fame rests with a cycle of 12 songs entitled Pierrot Lunairee which forms the centrepiece of the disc. blending echoes of early European polyphony with homophonic passages based on Gregorian Chant. Op. mesmeric breathing of the harmonium. Helen Wallace PERFORMANCE RECORDING ★★★★★ ★★★★ MAHLER Lieder eines fahrenden gesellen (arr.99 The album Te Deum m offers powerful performances of four mid-period works by Pärt for choir and orchestra. composed for voices and organ in honour of the 90th Catholic Day in Berlin and subsequently rearranged for choir and string orchestra in 1992 BBC M USIC M AG A Z I N E 71 . creates recessions of instrumental mist. Ironically. In between comes an arrangement of an arranger-supreme. prepared piano. Nevertheless.99 Few singers have been more committed to espousing the cause of unfairly neglected German Lieder than the Austrian baritone Wolfgang Holzmair. Katie Bray’s mezzo here catches Zemlinsky’s dark and impassioned response to the Romantic archaism of Maeterlinck’s verse. however. and the warm. The collection ranges from the plaintive Magnificat of 1985 to two spirited world premiere recordings. sweet with avian flute and violin. Holzmair delivers all the music with great commitment. e recreated in a chamber version by another Schoenberg pupil. 42. The one drawback. Te Deum m is teamed with the Berliner Messee (Berlin Mass) of 1990. It’s doubly welcome because this CD focuses on the familial and musical crosscurrents and cross-fertilisations flowing around Schoenberg himself. close. Kate Wakeling PÄRT PERFORMANCE RECORDING Babel ★★★★ ★★★★ Wilten Boys’ Choir/Johannes Stecher Col legno WWE 1CD 20427 57:26 mins BBC Music Direct £15. but was so highly esteemed in this regard that many prominent recitalists of the day featured his work in their programmes. and nudges the composer’s voice even further into the future in his inspired use of the vibraphone. Thérèse Lindquist (piano) Bridge 9431 61:13 mins PAUL COWAN BBC Music Direct £15. is an occasional unreliability of pitch mainly in the upper register. a largely self-taught composer who lived in Frankfurt up to 1933 before being victimised by the Nazis and subsequently moving to Britain. preferring instead to exploit the grotesque imagery of the poetry within strictly tonal parameters. Op. with a single D triad standing as the harmonic basis of the entire work. Busoni’s unsettling Berceuse elegaique. all handled with skill and confidence by the Wilten Boys’ Choir. where the setting of Matthew w 21: 6 (‘out of the mouth of babes and sucklings thou hast perfected praise?’) is all the more affecting for the young voices here performing. urgent works amid Pärt’s otherwise controlled musical expression. In this recital. Hilary Finch PERFORMANCE RECORDING PERFORMANCE RECORDING ★★★ ★★★★ ★★★★ ★★★★ heavenly sounds: Andrew Watts is the ‘Angel’ in Birtwistle profoundly gentle musical sensibility and his remarkable capacity to build restrained yet beguiling harmonies from the simplest of materials. But. Wagner: Siegfried Idyll Wolfgang Holzmair (baritone). 13 (arr. Kowalski wrote songs in his spare time. composed some years after Kowalski had left Germany. Munich Radio Orchestra/Peter Dijkstra BR Klassik 900511 67:06 mins BBC Music Direct £13. something that would no doubt have been ironed out in studio recording conditions. in contrast to his far more illustrious contemporary. the disc’s title work is a bold 30-minute piece for three choirs. Yet such claims belie the complex musical and political process that saw Pärt arrive at his ‘tintinnabulatory’ approach amid the iron strictures of communist Estonia. Schoenberg) ZEMLINSKY Sechs gesänge. Erwin Stein. fine-grained and lyrical baritone of Gareth Brynmor John tunes in to Schoenberg’s pungent and resinous arrangement. not least for demonstrating Kowalski’s instinctive grasp of word setting and his capacity to encompass a surprisingly varied and resourceful range of emotions. and nicely captured in this warm. recorded live in Munich in 2011. As one might expect. Composed in 1985. the music is certainly worth hearing. the same year as Schoenberg’s iconic work. The disc otherwise captures Pärt’s To order CDs call BBC Music Direct +44 (0)1322 297 515. beautifully poised in Trevor Pinnock’s direction of the excellent RAM Soloists Ensemble. Christopher Austin prefers to use the accordion for his own wonderfully imaginative and idiomatic arrangement of the six Maeterlinck settings of Schoenberg’s pupil and brother-in-law. but is rendered with warmth and maturity (although the sleeve notes do not say by whom). Composed to celebrate the 60th anniversary of Pope Benedict’s ordination.99 Commentators can be quick to dismiss Pärt’s music as too simple or sentimental. his set was composed in 1913. Among the other items on the disc. including Drei Hirtenkinder aus Fátimaa (2015). This fine collection of choral works gathers together a rich array of Pärt’s works for voice. The disc is also notable in being the first recording of Pärt’s vocal music performed by children’s voices. The work exemplifies the intensity and delicacy of the composer’s signature restraint. A successful lawyer. Wallfahrstlied. featuring a number of surprisingly strident. He succeeds in balancing the intimacy and the opulence of Zemlinsky’s particular flavour of Expressionism. bittersweet in the dark. prices include P&P PÄRT Te Deum. Berlin Mass. yet clear recording. taking infinite care to put across the exact sentiment and mood of each poem. Christopher Austin) KOWALSKI BUSONI • WAGNER Lieder Busoni: Berceuse élégiaque. Zemlinsky. Kowalski is no musical iconoclast. the most interesting to my mind are the harmonically adventurous Rilke settings. After the Victory Bavarian Radio Choir.CHORAL & SONG REVIEWS vivid orchestration of a medieval Virelai is an inspired sign-off. and is here performed with sensitivity and poise. the syrupy Vater unserr for boy soprano and piano still baffles.

Solar Plexus of Modernism (a documentary) Mitsuko Uchida (piano). with fine young tenors and excellent pianists. Viola Tunnard. Helmut Deutsch (piano) Wigmore Hall Live WHLive 0075 62:17 mins BBC Music Direct £10. And in the marvellous ‘Trockne Blumen’ Peter and Deutsch build to an overpowering climax. not sung. There is no undue fuss about the words. Drei Gesänge. Anthony McGill (clarinet). and moments such as the alarming one when the fair maid announces ‘It’s going to rain: I’m off home’ are realised with a sense of drama which Breslik seems somewhat casual about. Deutsch (piano) Harmonia Mundi HMA 1951780 (2002) 75:45 mins BBC Music Direct £10. Michael Tanner BRESLIK PERFORMANCE RECORDING PETER PERFORMANCE RECORDING ★★★★ ★★★★ ★★★★★ ★★★★ TOMÁSEK Gedichte von Goethe. The documentary does a decent enough job sketching the work’s creation. D795 £14. and for all its charm it doesn’t seem to plumb its depths. with the voice just touching the pitches before moving away. Go to the recording from the Wigmore Hall. however. and you are on a different level of interpretation. Marina Piccini (flute).REVIEWS CHORAL & SONG REISSUES Reviewed by George Hall DVO∏ÁK Songs Bernarda Fink (mezzo). Butterworth. vividly performed by a line-up led by Mitsuko Uchida at the 2011 Salzburg Festival. PERFORMANCE ★★★★ RECORDING ★★★★ (the edition heard here). Ireland etc John Shirley-Quirk (bass-baritone). Vignoles (piano) Harmonia Mundi HMG 501824 (2004) 68:46 mins BBC Music Direct £10. Nono and Lawrence Schoenberg. Vaughan Williams. In this DVD. though. PERFORMANCE ★★★★★ RECORDING ★★★★ 72 BBC M USIC M AG A Z I N E SCHOENBERG DVD Pierrot Lunaire. Ernest Lush (piano) Heritage HTGCD 290/1 (1960-61) 125 mins (2 discs) BBC Music Direct £14. It sets this release at a significant disadvantage to those by such vocalists as Christine Schäfer.99 A wide-ranging collection of English song that shows the mastery of the great bass-baritone. Given the title. Schubert. some material on influence of Pierrot Lunairee on subsequent modern music would have been welcome. Op.99 This generous selection of Korngold’s songs testifies to his immense lyric gift and technical skills. Sechs böhmische Lieder. She projects the surreal intensity of the texts. is pretty faithful to Schoenberg’s rhythms and manages to be on pitch for the few notes he asks to be actually sung. Roger Vignoles (piano) Hyperion CDA 67966 61:22 mins BBC Music Direct £13. But Breslik’s is a full-throated tenor. 92 Renata Pokupic´ (mezzo-soprano). skilfully marshalled by conductor Peter Dijkstra and smartly captured in this impressive live recording. dazzling Wallfahrtslied for male voices and orchestra. He brings enormous freshness and vitality to the work. Anja Silja and Jane Manning. rudely cut off by raucous applause. Schoenberg set the words to wideranging phrases of exact pitches. and one concentrates on the meaning of each verse more than usual. The work alternates between the meditative and the vividly animated. English Song Anthology Janet Baker (mezzo-soprano). but insisted these should be spoken. already Baker’s art is one to reckon with. and then bring the cycle to an hypnotic close with the final song. Pavol Breslik is a Czech singer who has appeared several times with distinction at Covent Garden. and her voice unique.99 (2 discs) Early recorded recitals of Lieder and English song are complemented by Brahms broadcasts from the same period.99 It was ‘return to sender’ as far as poor Schubert’s settings of his poetry were All discs can be ordered from www. though I was more struck by the warmth and youthfulness of his tone on this recording than I have been in the theatre. so that strophic songs which can strike one as monotonous are wholly captivating. film by Leutzendorff & Meyer Belvedere 10130 39:32 + 52 mins BBC Music Direct £24.99 Mauro Peter (tenor). Martin Isepp. Kate Wakeling PERFORMANCE RECORDING a sense of drama: Mauro Peter does full justice to Schubert ★★★★ ★★★★ KORNGOLD Lieder Henschel (baritone). Eric Parkin (piano) etc Heritage HTGCD 283/4 (1960s) 124 mins BBC Music Direct £14. and in Amir Katz he has a reliable accompanist. but the individuality of the songs is more striking. she is not only wide of the relative rise and fall of Schoenberg’s notation but frequently contradicts his . and performers have striven to reconcile these requirements ever since. Barbara Sukowa (sprechgesang). Bayan Northcott PERFORMANCE PICTURE & SOUND EXTRAS ★★★ ★★★★ ★★★ SCHUBERT Die schöne Müllerin. Op. The Bavarian Radio Choir gives authoritative accounts of these subtly complex works. the reciter is the distinguished actress Barbara Sukowa. fully displayed by Dietrich Henschel and his fine accompanist Helmut Deutsch. Mark Steinberg (violin). working with some of the finest accompanists of his time. PERFORMANCE ★★★★★ RECORDING ★★★★ JANET BAKER Lieder by Schumann. Clemens Hagen (cello). Dopo la vittoriaa and the brooding. with the Swiss tenor Mauro Peter and his immensely experienced partner Helmut Deutsch. Amir Katz (piano) Orfeo C 737 151 A 68:15 mins BBC Music Direct Die schöne Müllerin. Moeran. includes evocative early film footage of Berlin and reminiscences by Nuria Schoenberg. an extrovert’s reading of the cycle. PERFORMANCE ★★★★★ RECORDING ★★★★★ ENGLISH SONG Works by Purcell. while Roger Vignoles gives thoughtful accompaniments.classical-music. It is. But elsewhere. Brahms.99 Both these recordings of Schubert’s first song-cycle are overwhelmingly beautiful.99 It was Stravinsky who described Schoenberg’s settings of poems from Albert Giraud’s Pierrot Lunaire as ‘the solar plexus as well as the mind of early 20th century music’ – though he admitted it was more the unprecedented range of contrapuntal textures and colours that Schoenberg drew from his five players than the vocal part that impressed him when he first heard the work in 1912. but is mainly given over to interviews with the performers on the work. The disc also offers full-blooded renderings of the buoyant cantata for solo voices. 71.99 The rich and complex colours of Bernarda Fink’s mezzo well suit the late-Romantic emotional world of Dvoπák’s songs. D795 Pavol Breslik (tenor).

Monte. Kate Bolton PERFORMANCE RECORDING ★★★ ★★★★ . Florio. Balbi. Vecchi & Zerto The King’s Singers Signum SIGCD 414 72:46 mins BBC Music Direct £12. Macque. Porta. This is a rare opportunity to judge for yourself if Tomásek is indeed unjustly neglected. Marenzio. Palestrina. these setting seem more substantial. including Giovanni Gabrieli. but also of music theory and composition. The performances are certainly slicker than the rival recording by the Gruppo Vocale Arsi & Tesi but the end result verges on the clinical. p Tomásek was T Prague’s leading P tteacher not only of that instrument. Stabile.99 First published in Venice in 1592. Eremita. and for Rastlose Liebe. Hilary Finch PERFORMANCE RECORDING ★★★★ ★★★★ IL TRIONFO DI DORI Italian madrigals by Anerio. The main challenge any ensemble faces in presenting this collection is that the musical. are uneven in quality. and Renata Pokupic’s winey mezzo. ensemble and intonation are well-nigh flawless. Bozzi. Massaino. clean sound – dominated by countertenors David Hurley and Timothy WayneWright – is limited in its colour palette and the effect grows monotonous on extended listening. which includes 15 of his 41 Goethe settings. e Tomásek lacks the sheer melodic impetus of Schubert. Cavaccio. alas. ranging from elusive figures like Ippolito Baccusi and Ludovico Balbi to some of the most celebrated names of the day. Yet their consistently shiny. Sabino. that rounds of each piece. Bertani. daughter of Oceanus. Baccusi. Gastoldi. Preti. often salonesque. However it was his song writing and subsequent association with Goethe which secured his greatest fame. Leoni. Asola. In many ways. Striggio. His pupils included the future music critic and champion of Brahms. piano writing is palpably enjoyed by Roger Vignoles. more inventive musically – though Tomásek’s settings of Goethe’s Heidenroslein n and Wanderers BACKGROUND TO… V Václav T Tomásek ((1774-1850) A self-taught pianist. And there is no real frisson factor in his galloping Erlkönig. Croce. for instance. the stylised pastoral idiom and the endlessly repeating refrain. declaring that his Mignon songs showed true understanding of his poetry. Nachtliedd certainly bear comparison with those of Schubert. Václav Jan Krtitel Tomásek. Il Trionfo di Dorii is a collection of 29 madrigals by 29 different composers. Tomásek’s response to a poem’s metre and inflection can be a little earthbound – his Mignon setting of Singet nicht in Trauertönen (here called Die Nacht) t compares unfavourably. G Gabrieli. Intended as a sort of commemorative wedding album for the Venetian nobleman Leonardo Sanudo. whose slightly accented German and rolled ‘r’s has an apt flavour and timbre. included in a nonetheless generous and revelatory recital of his Lieder. with the poignancy of Hugo Wolf’s setting. Costa. Bonini. Technically. Colombani. as represented here. Eduard Hanslick. poetic and emotional range of the madrigals is inevitably restricted. Tomásek was one of 51 composers approached by the publisher Anton Diabelli to write a variation on a waltz theme (the theme which provoked Beethoven into composing one of his greatest works). At times. Our backdrop is an Arcadian idyll where ‘gentle nymphs and loving shepherds’ sing the praises of the divine Dori. His setting of Mailiedd hasn’t quite the spontaneous lift-off and exuberance of Beethoven’s. Across the waters. the collection praises his young wife Elisabetta Giustinian. Tomásek’s Kennst du das Landd – praised highly by Goethe – is not. Marenzio and Palestrina. Giovannelli. ‘Viva la bella Dori’. idealised as the graceful mythological seanymph Dori. the set inspired Thomas Morley to produce his more famous equivalent in praise of Queen Elizabeth I: The Triumphs of Oriana. given their adulatory purpose. but Goethe warmed to his Czech contemporary. highly polished finish: diction is razor-sharp. But his delightful. g Tomásek’s settings then. The King’s Singers turn out their characteristic. especially for the six Bohemian songs.CHORAL & SONG REVIEWS concerned.

com/shop . Violinist Lucy Russell and harpsichordist John Butt play the five-movement ‘last thoughts’ version including a wonderfully muscular and exuberant account of the solo harpsichord central Allegro.classical-music. John Butt (harpsichord) Linn CKD 433 85:05 mins (2 discs) BBC Music Direct wit and polish: the Berkeley Ensemble do their namesake proud L BERKELEY Pièce for wind trio. String Trio. In Memoriam Igor Stravinsky (Canon for string quartet). notably in the two works from his Paris years. while the tiny. and one of the abiding strengths of this new recording is its enthusiastic willingness to embrace and celebrate the diversity. Introduction and Allegro for double bass and piano. and the recorded balance doesn’t always feel consistent in an otherwise beautifully clean recording. The slow movement of the Sextet of 1955 has an austere beauty that suggests Shostakovich. the recording warm and clear. The playing is superb throughout. In the Piècee for wind trio of 1929 he pays friendly homage The Piècee pays friendly homage to Berkeley’s friend Poulenc to his friend Poulenc with some naughty pastiche of 18th-century figures. 19. There’s great fun too in the 1971 Introduction and Allegro for double bass and piano. but by the time of the String Trio of 1943 Berkeley had absorbed any influence into a personal style that recognises tonality while playing subtle games with it. splendidly contrasted with the good-humoured jig that follows. BWV 1014-1019 Lucy Russell (violin). and Berkeley’s biographer Tony Scotland provides elegant. boasting an occasional burst of jazz. Op. and the A major’s dolcee is as deliciously coy as a twosome on their first date – the trills executed with fluttering delicacy and the momentary minor key cloud exquisitely inflected. recorded here for the first time. Whenever Bach set out to create a collection of pieces he invariably contrived the maximum variety imaginable. 47. or the quicksilver brilliance of the E major’s Prelude it’s not entirely surprising that Bach’s Sonatas for Violin and Harpsichord have tended to live in the shadow of their cousins for solo unaccompanied violin BWV 1001-6. But what a wealth of music those duo sonatas encompass! Indeed they must have meant a lot to their composer since Bach was still tinkering with the last of the six at the end of his life. Sonatine for clarinet and piano Berkeley Ensemble Resonus Classics RES 10149 59:48 mins www. violinist Ulf Wallin and pianist Roland Pöntinen n prove a dream team in Liszt. Op. with a particular gift for lyrical passages that flower from nowhere. and the Kronos Quartet celebrate the 80th birthday of minimalist pioneer Terry Riley CHAMBER CHOICE Lennox Berkeley’s Gallic muse Roger Nichols applauds the Berkeley Ensemble’s stylish album JS BACH Sonatas Nos 1-6. elegiac In Memoriam m for Stravinsky of the same year is a marvel of economy and grace.resonusclassics.CHAMBER Clarinettist Lorenzo Coppola joins pianist Andreas Staier to perform Brahms on instruments approved by the composer. illuminating notes. but don’t hesitate: All discs can be ordered from www. Three pieces for solo viola. and their meeting of musical minds leaves no detail undercharacterised. PERFORMANCE RECORDING ★★★★★ ★★★★★ ON THE WEBSITE Hear extracts from this recording and the rest of this month’s choices on the BBC Music Magazine website www. Sextet. The Clarinet 74 BBC M USIC M AG A Z I N E Sonatine of 1928 is a curious mixture of English pastoral and bitonal Honegger – not wholly This very enjoyable album shows some sides of Lennox Berkeley’s music that are familiar and some that are not. but with a surprisingly powerful quasi-sarabande as the slow movement and some rude energy in the finale.99 Given the monumentality of the D minor Partita’s concluding Chaconne. How insouciantly the violin steals in above Butt’s fluid introduction to the B minor £20.classical-music. The rapport between Russell and Butt is riveting. Very occasionally a hint of strain threatens Russell’s tone.

Recording quirks remain in the Goetz. moreover. Roland Pöntinen (piano) BIS BIS-2085 (hybrid CD/SACD) 60:02 mins BBC Music Direct £13. Brahms himself admired the tone of early Steinway pianos and Andreas Staier duly plays an 1875 American model – a cleartoned. Zweite Elegie. Without exception. Rhapsodie Hongroise XII. t and indeed the Goetz itself). For a clear and convincing account. and partly by an extended ending which. S 131bis. darkened so often by the double-bass (the instrumentation follows Schubert’s Trout Quintet. certainly invites us to listen afresh.572165 67:23 mins BBC Music Direct £7. Another jewel among the transcriptions is the song ‘Die Zelle in Nonnenwerth’. his searching account of the Op. and makes you grieve for the works lost when the composer died early from tuberculosis. Balance favours HINDEMITH String Quartets Nos 1 & 4 Amar Quartet Naxos 8. gloss-free tone. Bayan Northcott PERFORMANCE RECORDING LISZT ★★★★ ★★★★ the strings rather than the piano. Meanwhile. insight and lifeenhancing joy. The musicians. Op. gypsy-vibrato delivery here is a miscue – the music itself is simply not about that aspect of Liszt’s style. the player who originally inspired these sonatas. though. S382bis. the Hindemith Institute awarded the title to today’s Swiss-based players on account of their deep engagement with his music. The only sizeable original creation here is the early Grand Duo concertant. so not surprisingly there are echoes of Brahms in its lateRomantic language.99 The Amar Quartet plays Hindemith with all the proprietorial authority one would expect from such a brand. speech-like mode of continuity rather than the smooth. Paul Riley PERFORMANCE RECORDING fresh and insightful: Lucy Russell plays riveting and characterful Bach ★★★★★ ★★★★ to the Amars’ subtle warmth. he resembled Stravinsky in that this process often amounted to the creation of something effectively new. Andrew Manze and Richard Egarr. have largely peeled off from Hamburg’s NDR Symphony Orchestra. Japanese-born pianist Yoko Kikuchi adds an international tincture of her own. and while much of it consists of his arrangements of existing works. Sechs Klavierstücke. La lugubre gondola. t a swaggering virtuoso showpiece. haunts the memory long afterwards. This latest recording sounds like an attempt to recapture some of that initial strangeness. prices include P&P Grand Duo concertant. 1 is his Opus Two. and show all the stylistic progress that implies. the long musical perspective of the ageing and lonely master-composer’s arrangement has a mesmerising poignancy. It’s paired with another C minor quintet. not that I could possibly complain when the cello springs into delightful song during the third movement’s variations. 118 Lorenzo Coppola (clarinet). S 129. Clarinettist Lorenzo Coppola plays a modern copy of a Bärmann Ottensteiner instrument – the already somewhat outmoded make favoured by Richard Mühlfeld.CHAMBER R REVIEWS for sheer freshness. Coppola reminds us that Mühlfeld was praised by Joachim for his ‘art of declamation’ and that Brahms’s instrumental writing is full of short slurs. but not here thanks To order CDs call BBC Music Direct +44 (0)1322 297 515. Yoko Kikuchi (piano) Es-dur ES 2056 55:38 mins BBC Music Direct £14. is subtly transformed in his violin and piano arrangement – partly by the sombre loveliness of the added violin line. Geoff Brown PERFORMANCE RECORDING GOETZ ★★ ★★ Piano Quintet VAUGHAN WILLIAMS Piano Quintet Fabergé Quintet. The String Quartet No. S 379a. with beautifully alert and supportive accompaniments from Pöntinen. But the name was revived 20 years ago when. especially in the F minor Sonata. The recorded sound offers an ideal blend of clarity and warmth. this newcomer goes to the top of the class alongside Rachel Podger and Trevor Pinnock. and they are superbly attuned to the unsentimental melancholy of the beautiful middle movement. you’re better served elsewhere.99 Liszt’s output involving solo violin was quite substantial. Seek out the Nash Ensemble on Hyperion for the most convincing account of this imperfect but interesting melting-pot piece.99 If you wished to investigate Vaughan Williams the European. Ulf Wallin’s Hungarian-style. yet the players buckle down with more panache. the other performances by this Swedish duo are superlative: Wallin offers a stream of full-throated. dating from 1921. The great Fourth Quartet. and it is a long work lasting just over 40 minutes. Brahmsian torrents open his 1903 Piano Quintet and many of the passages that follow. S 132. recherché and difficult to follow many of its early listeners found it. with much motivic interplay. Andreas Staier (piano) Harmonia Mundi HMC 902187 62:15 mins BBC Music Direct £14. The warm and resonant studio acoustic doesn’t illuminate Vaughan Williams’s rather clotted palette. Hindemith’s seven quartets were written between 1915 and 1945. 118 pieces culminates in a reading of the wistful final Intermezzoo of the most mysterious intensity. Romance oubliée. that tragic and wonderful pianistic vision of Liszt’s old age. Kikuchi’s piano tone is nothing special. This third and final volume in their Naxos series of the complete Hindemith string quartets proves again how worthy they are of the honour. and searchingly expressive elsewhere. Malcolm Hayes PERFORMANCE RECORDING ★★★★ ★★★★★ BBC M USIC M AG A Z I N E 75 . the composer put it away after its premiere and it was not heard again until 1986. La lugubre gondola. originally composed while Liszt was on holiday on an island in the Rhine. brilliant in the Grand Duo. S 134bis Ulf Wallin (violin). eventoned ‘autumnal’ flow of many modern performances. In an interesting note. The restless changefulness in colour and mood that these players find. this CD might tempt you. It might cloy in a lesser performance. who played viola in it under the leadership of Licco Amar. The two instruments blend so well that clarinet phrases can sometimes seem to emerge from the piano timbre and dissolve back into it again. Die Zelle in Nonnenwerth. And while Staier may be more associated with the harpsichord and fortepiano repertoire. suggesting a kind of varied. Epithalam. well-balanced instrument mercifully free from the booming bass sound of modern models that can make Brahms’s piano writing sound so bottom-heavy. The first Amar Quartet was founded back in 1921 by Hindemith. a genuinely German work from 1874 by Hermann Goetz. the music is stronger too. John Allison PERFORMANCE RECORDING ★★★★ ★★★★ BRAHMS Clarinet Sonatas Nos 1 & 2. Tautly constructed. S 128. to mark the composer’s centenary. vanishing into silence at the end of this programme.99 Johannes Brahms’s late chamber music is now so familiar and central to the repertoire that it is easy to forget how elliptical. finds Hindemith already in possession of his full powers: these players ensure that the opening ‘Fugato’ is never dry.

Riley’s two greatest influences are Indian classical music. but also in the Kronos Quartet’s new approach to string playing. One Love. r and new arrangements of string quartet pieces. w His i earliest li t masterwork. Half-Wolf Dances Mad in Moonlight. Cry of a Lady. That creative freedom informs his keyboard output. Lacrymosa – Remembering Kevin. Lacrymosa – Remembering Kevin n (1998). as he has done here with Simone’s Lullaby. at 80. y Etude from the Old Countryy and Jaztine. Miles Davis. The first of these is undoubtedly going to be controversial since Berger gives us what purports to be the Brahms E minor Sonata in its original conception as a four-movement work. Beethoven.REVIEWS CHAMBER R RILEY Etude from the Old Country. Brahms. luminous interplay. and find a pleasing fluency in the rhapsodic twists and turns of Jaztine.nonesuch. he has accepted the opinion of several musicologists that the movement Brahms suppressed from the work was in fact the Adagio which later featured in the F major Cello Sonata Op. t In C (1964). played with zest and warmth by period instrument ensemble and recorded with real presence.99 Julius Berger has evidently thought long and hard about the most effective way with which to connect Bach’s music to some central works in the cello repertory. Berger has another surprise up his sleeve by featuring the original and texturally rather different version of the first movement of Beethoven’s A major Cello Sonata. Charles Of all David Harrington’s many achievements. Zofo (Eva-Maria Zimmermann and Keisuke Nakagoshi) have brought together a collection of his works for four hands. makes perfect musical sense. g a hit of pure serotonin. there are some beautifully stylised transcriptions of Bach’s chorale preludes and cantata arias. 99. PERFORMANCE ★★★ RECORDING ★★★ KROMMER Wind Sextets Nachtmusique/Eric Hoeprich (clarinet) Glossa GCDC80604 (2001) 64:05 mins BBC Music Direct £11. and this (partially) new disc. Simone’s Lullaby. 76 PERFORMANCE RECORDING ★★★★★ ★★★★★ BBC Music Direct INSPIRED BY BACH BBC Music Direct Sunrise of the Planetary Dream Collector. himself citing John Coltrane. Schachtner. here transposed down a semitone. projective readings. The beguiling Cadenza on a Night Plain n again lends each player the freedom and space to sing. t The comparison with the Kronos recordings of these is not a happy one: lithe liveliness is replaced by prosaic heaviness and weirdly slow tempos. Tokyo Quartet. Daniil Shafran (cello). Erik Levi PERFORMANCE RECORDING ★★★★★ ★★★★ £18.99 Terry Riley. One Earth. Who am I to argue if Riley says Zofo ‘are mesmerising in the vast scope of their musicality’? Recorded here in Pure Audio Blu-ray. Arpeggione Sonata Borodin Quartet. and opened the form to non-Western traditions. 76. which inspired so many other composers. Kodály £20. Nonesuch has issued a five-disc set of this ‘Kronos’ legacy. but it’s often at the expense of more subtle voicing and balance: one longs for a less hard-edged touch. Two particular highlights are the compelling and strongly delineated performance of Reger’s somewhat knotty A minor Sonata and a warmly expressive account of Kodály’s arrangement of a Prelude and Fugue in D minor. To achieve this. The spacious acoustic emphasises the insistent brightness of the leader’s tone and his sometimes mannered phrasing. Cadenza on the Night Plain Kronos Quartet. Op. etc and heft to the sound. Quartettsatz. Bach arr. Helen Wallace PERFORMANCE RECORDING ★★★ ★★★★ Zofo (piano) Dorian Sono Luminus DSL-92189 67:36 mins (CD plus Blu-ray audio version) BBC Music Direct BACKGROUND TO… GETTY Terry Riley (b1935) R Riley is widely ccredited as tthe founder of Minimalism in M music. Felix Gottlieb (piano) Alto ALC 1294 (1978/82) 69:34 mins BBC Music Direct £8. which he imbibed as a student of the Indian classical singer Pandit Pran Nath. bassy richness mourner. Oliver Kern (piano) Nimbus NI 6302 131:13 mins (2 discs) RILEY REISSUES HAYDN Works by JS Bach. still wakes every morning to improvise at the piano. even if the composer subsequently rejected the idea.99 A vivacious and affectionate Trout from the great Richter and the Borodins. limping dirge. Bill Evans. Patrick Cohen (piano) Harmonia Mundi HMG 508298-99 114 mins (1990) (2 discs) BBC Music Direct £13. One People. PERFORMANCE ★★★★ RECORDING ★★★★ SCHUBERT Trout Quintet. and the heady collision of string delicacy against gutteral melismas and hardedged vocalisation of Le Mystère des Voix Bulgares in Cry of a Lady (1990).99 (2 discs) Wonderfully inventive music. keening and swooping into a dance of elastic. PERFORMANCE ★★★ RECORDING ★★★★ HAYDN Piano Trios Nos 32-37 Eric Höbarth (violin). Georg Hörtnagel (bass). but the recording favours the period piano over the strings and Patrick Cohen’s often choppy touch inhibits expressive flow. builds from almost nothing to a dark.99 (3 discs) Big. and how. written in memory of violist Hank Dutt’s partner. These scores were created by an alchemical mix of Riley and the Kronos. while newly released One Earth. G Song. They achieve more depth and variety in the loping pianissimoo sections of Cinco de Mayo. short on intimacy. One People. In the m 11950s he was experimenting e with tape . persuading Terry Riley that he was a string quartet composer must rank near the top. there’s certainly a high polish. Sviatoslav Richter (piano). and jazz. best illustrated in newlyreleased Sunrise of the Planetary Dream Collectorr (1980): as it uncurls. Once you get over the shock of the Minuet not following the opening Allegro. it achieves a tragic Pärt-like monumentalism. Christophe Coin (cello). In honour of Riley’s 80th birthday. and Gil Evans as being musicians he particularly admires. PERFORMANCE ★★★★ RECORDING ★★★ All discs can be ordered from www. initiated by the musicians at a time of their choice and repeated a random number of times.classical-music. Tango Doble Ladiado. all of which bear some fascinating and unexpected thematic links to the more extended works. Le mystère des voix bulgares Nonesuch 549523 72:09 mins www.99 Amiable if not very individual Classical serenade stuff by Mozart contemporary Franz Krommer. Not only did it result in 27 groundbreaking quartets. works through the use of melodic cells. e the final part of the epic Sun Rings (2002) reminds us just how powerful Riley’s response to 9/11 was. scalic G Song. G Song. Its presence is fully justified by the intriguing thematic connection that exists between the melancholic melody that dominates the development section in the Beethoven and the aria ‘Es ist vollbracht’ from the St John Passion. Featuring ravishing cello as chief BBC M USIC M AG A Z I N E Reviewed by Bayan Northcott Late String Quartets Op. a seductive appetiser. Throughout both discs. Helen Wallace £15. There’s the sassy. the subtle flow of rhythmic impulse feels entirely spontaneous. Jaztine. including G Songg and Half-Wolf Dances Mad in Moonlight. One Love. the appearance at this juncture of the Adagio. including re-releases of three albums. 77/1 & 2 Alban Berg Quartet Warner 2564612345 (1993) 198:42 mins Julius Berger (cello). including the exuberant Cinco de Mayoo and sections from The Heaven Ladder. The solution he has come up with is both imaginative and thought-provoking. which is continually morphing as he revises and rearranges pieces. There is a touch of the gypsy in the spontaneous cello playing of Daniil Shafran in the Arpeggione. Reger.


3 set of Cinq morçeaux de fantaisiee bears witness to such an unexpected kinship. the Elegie. 22. 5 of her Beethoven cycle. however. 23. Unlike Liszt’s. with insufficient variety of tone and timbre. and his Mozart arrangements fit neatly onto a single CD. Toccata Classics has identified a project that’s been crying out to be done. Alkan’s complete transcriptions make a manageable project. 10 Preludes. e and we only really get a sense of differentiated solo and tutti passages in the finale. says Erik Levi ALKAN Transcriptions. Vol. 3. So far. leaps and challenges of articulation. Vol. demonstrate the notorious difficulty of transcribing string quartets for the piano (Liszt tried with Beethoven’s quartets but was forced to admit defeat). Op.classical-music. not only revelling in the expressive beauty of Rachmaninov’s invention. for example. which makes it hard for the piano to sing. In the Concerto. Variations on a Theme of Chopin. José Raúl López has enough on his plate negotiating the notes. but also managing to draw out lots of interesting inner melodic voices in the more densely scored passages. The result is rather literal and unimaginative. the second volume of his survey of the Russian composer’s piano music.99 It’s unusual to glean so many echoes of Debussy while listening to Rachmaninov. Yet this recording sets a low £13. in these performances we are too aware of the technical demands. K464. with many awkward stretches. e Connections to French music are perhaps more overt in the Preludes. Pizarro’s impeccable technique ensures that such mercurial showpieces as the ‘Polichinelle’ from Op.INSTRUMENTAL Angela Hewitt gives lucid. Tim Parry PERFORMANCE RECORDING ★★ ★★★ All discs can be ordered from www.99 In typically enterprising fashion. Pizarro’s playing is absolutely exquisite. the ‘Romanze’ is neither dolcee nor cantabile. PERFORMANCE RECORDING ★★★★★ ★★★★ ON THE WEBSITE Hear extracts from this recording and the rest of this month’s choices on the BBC Music Magazine website www. the rich timbral chords in the wellknown C sharp minor Prelude sound rather different. Unfortunately. Op. 3 or the A major Presto Chopin variation are dispatched with dazzling lightness of touch. Pizarro imbues the G major and the 78 BBC M USIC M AG A Z I N E unexpected kinship: Artur Pizarro highlights affinities with Debussy G sharp minor Preludes from Op. e a piece that to all intents Pizarro’s playing is exquisite in the reflective Preludes and purposes follows very much in the footsteps of Tchaikovsky. Certainly. almost Ravelian elegance and delicacy. Op. and violinist Tamsin Waley-Cohen performs an intriguing programme of contemporary music INSTRUMENTAL CHOICE Rachmaninov’s hidden voices Artur Pizarro casts a new light on some well-loved music. 32. The only minor drawback in this marvellously recorded set is a slight reluctance to let rip in the more exuberant works such as the bold and demonstrative B flat major Prelude from Op. Take. It likewise features typically Alkanesque cadenzas.classical-music. Even the Op. In other more reflective Preludes. Op. Morçeaux de fantaisie. The mainstay of the programme is the Piano Concerto No. placing these colours in sharp contrast to the dark and despondent gloom that clouds the B minor. Yet this is exactly what Artur Pizarro conjures up in this. well-considered accounts in Vol. 32 with a luminous. The problems are exacerbated by the airless recorded sound. 1: Mozart José Raúl López (piano) Toccata TOCC 0240 67:47 mins BBC Music Direct RACHMANINOV Piano works. so good. and delivered it with sensible programming. K466. being delivered with the same degree of mystical grandeur that is normally encountered in Debussy’s La cathédrale engloutie. although not as audacious as the one he supplied for the Beethoven (which at one point introduces the finale of Beethoven’s Fifth Symphony in cataclysmic counterpoint). The variations from the A major String Quartet. 2: 13 Preludes. a companion to Alkan’s arrangement of the first movement of Beethoven’s C minor Concerto. Here. Pizarro bathes its introverted Slavic melancholy in a kind of impressionist haze through his subtle use of the pedal. 23 Artur Pizarro (piano) Odradek ODRCD 316 133:48 mins (2 discs) BBC Music Direct £19. which inhibits his ability to extend and shape phrases. Likewise. 20 in D .

Guglielmi’s Italian perspective intrigues.99 Vivaldi’s seismic impact on Bach is well known. Paul Riley PERFORMANCE RECORDING ★★★ ★★★★ BEETHOVEN Piano sonatas. we get ‘radiant’ Beethoven. ‘Light and Shadows’. W Kuijken (viola da gamba). but even here the ‘and yet’ factor soon intrudes. Duettos Nos 1-4. 1 Adagioo slower than Claudio Arrau’s – but nothing drags: everything adds up. Yet his crystalline. 31 in A flat. but he’s not an instinctive Beethovenian. But how. Benjamin’s include a restless canon and a lullaby.INSTRUMENTAL L REVIEWS JS BACH Bach in Montecassino: Chorale Preludes. 21 & 23 Vladimir Horowitz (piano) Minuet 428405 (1956/59) 72:16 mins Tom Poster (piano) Edition Classics EDN 1060 72:47 mins Horowitz’s first ever stereo recordings of 1959 supplemented by his 1956 Waldstein. BWV 753 & BWV 668a. expressive warmth. though. notably in Op. 5: No. PERFORMANCE ★★★★ RECORDING ★★★ PACHELBEL Hexachordum Apollinis Huguette Grémy-Chauliac (harpsichord) Solstice FYCD 874 (1978) 59:10 mins BBC Music Direct £15. all dispatched with crisp authoritative lucidity. so alive to the first movement’s punchy vivacity. Bartók. I soon longed for something more than coolly lucid expertise: for more Beethovenian impetuosity. 1. Op. ‘fragmentary’ and ‘luminous’. Ponseele (oboe) Accent ACC 24308 (1991) 147:03 mins BBC Music Direct £19. Beethoven’s Pastorall Sonata flows gently. and there’s passion and musical imagination throughout. A Bach harvest was donated to it by Friedrich Wilhelm Rust who was gratified to find a piece by the Thomaskantor on the organ’s music desk when he visited in 1766. 2 No. from the angry to the tenuous and tentative. a work that lives in the flickering half-lights of the forest. and like John Butt she bookends the set with elaborate ciaconas. Rebecca Franks PERFORMANCE RECORDING To order CDs call BBC Music Direct +44 (0)1322 297 515. 15 (Pastoral). and a light touch that complements the lovely lilt of the finale. and the narrative cogency is fitful. too. 110. urbane eloquence of Marcel Ponseele’s oboe which steals the show. necessarily judicious in a generous though intimate acoustic. PERFORMANCE ★★★★ RECORDING ★★★★ BBC M USIC M AG A Z I N E 79 . as is his pedaling. Max Loppert PERFORMANCE RECORDING ★★★ ★★★★ SOLI Solo violin works by Benjamin. BWV 802-805 etc Luca Guglielmi (organ) Vivat VIVAT 108 69:12 mins BBC Music Direct £14. No. how much more than two-part inventions the Four Duetti of Clavierübung III sound. Slow-movement timings may look surprisingly spacious on paper – her Op. Thoughtfully programmed. Schumann’s pianist wife Clara reportedly found some of it too painful to play. Included.99 (2 discs) Tortelier’s second recording of the Bach was made in Temple Church where his readings inhabit a similarly hallowed spaciousness. The programme’s focus is the great monastery of Montecassino. the spirit of the dance often tamed by a soulfully Romantic lyricism. There’s a relentless drive also to the Fugue on the Magnificat which shows off the instrument’s majestic ‘organo pleno’.99 Here is a stimulatingly wellcontrasted programme. For all his finesse and nuance. and the ‘Hunting Song’ bounds to life. I’m not so sure about Tamsin Waley-Cohen’s slow tempo in the first movement: what starts out being improvisatory can morph into caution. 2/2. The nine movements of Waldszenen infuse nature with a sometimesunsettling spirit. Op. 2. in turn. No. 110 Angela Hewitt (piano) Hyperion CDA 68086 76:08 mins BBC Music Direct £13. Op. and. tenderness balanced with sparkling fingerwork in the first movement. A version of the Chromatic Fantasia is dispatched with such breezy panache that it sounds entirely at home on the organ – if a tad unrelenting.99 Grémy-Chauliac’s is the only harpsichord version of Pachelbel’s salute to variation form currently available. finely poised and flowing. But JanáΩek’s brief Christ the Lord is Born n emerges from the gloom. with its unique con brioo dash and zest. is not conveyed in Poster’s playing so much as his poise and admirable attention to detail. silvery tone suits the strange ‘Vogel als Prophet’ and ‘Verrufene Stelle’. Martin Cotton PERFORMANCE RECORDING ★★★★ ★★★★★ LIGHT AND SHADOWS REISSUES Reviewed byy Paul Riley JS BACH Cello Suites Nos 1-6 Paul Tortelier (cello) Warner 2435628782 (1982) 145:02 mins BBC Music Direct £13.99 (2 discs) Kuijken and Van Heyghen mix nimble vivacity with a rather business-like purposefulness in this usefully completist compendium. and Solomon’s incomparably profound 1956 Op.99 HANDEL Solo Sonatas for transverse flute. is a prelude and fugue – better known (in modified form) as the opening to the second Book of the ‘48’ – from the library of Padre Martini of Bologna. Each sonata benefits from Angela Hewitt’s beautifully clean-cut pianistic command. the leader of the Juilliard Quartet. Van Heyghen (recorder).99 The opening of the Bartók Sonata is powerful and arresting. one of Carter’s Laudss remembers Aaron Copland. and Murray Perahia. 78. 10 No. the fiendish multiple stops and alternations between bowed and plucked notes assured in tone and precise in intonation. and there needs to be an even wider range of colour to reflect Bartók’s imaginative writing. how it must have sounded too. Alice Castello. ‘dark’ Chopin and Schumann’s Waldszenen. PERFORMANCE ★★ RECORDING ★★ BBC Music Direct £14. Poster’s dynamics are carefully graded. Vol. Schumann: Waldszenen. as described by the eloquent booklet notes. 2 No. PERFORMANCE ★★★ RECORDING ★★★★ BEETHOVEN Beethoven: Piano Sonata No. more rhapsodic. In each sonata. Chopin’s Funeral Marchh Sonata also seems to skirt the edges of the wild darkness. 10 No. JanáΩek: Christ the Lord is Born Piano Sonatas Nos 10. I feel Poster somehow tames the music’s elusive spirit. Could the Andante and Scherzoo have been let off the leash a little more? Murray Perahia certainly gives them more character: a beautiful surface isn’t always enough. Still. Chopin: Piano Sonata No. the rest of the CD shows composers at the top of their game in a series of shorter pieces. the finale’s graveyard wind blows without chill. Op.99 In this thoughtfully programmed album. clad in fruity registrations. In Op. which span a wide range of moods. Apart from Penderecki’s empty. 24 in F sharp. thanks to an instrument built in the year before Bach’s death and located in the Church of San Nicolao. the other. was Bach received in Italy? Luca Guglielmi’s disc gives a lively snapshot of what at least might have been heard. No. 2 in A. The pick of these Hyperion performances is probably Op. his Largo appassionato so full of unforced tenderness. prices include P&P ★★★★ ★★★★ BBC Music Direct £9. 2 it was to Stephen Kovacevich. He found more performance energy though. 78. over-long Cadenza. should be blamed on recording resonance rather than performer overkill. recorder and oboe B Kuijken (transverse flute). in which every score marking is placed within a precisely articulated interpretative overview. however. that I turned for those missing ‘extra dimensions’. Carter & Kurtág Tamsin Waley-Cohen (violin) Signum SIGCD 416 76:33 mins BBC Music Direct £12. 5 in C minor. Waley-Cohen is at her most persuasive in Kurtág’s masterful Six Miniatures. 2. while the final Prestoo restores the microtones which Yehudi Menuhin edited out of the first printed edition. emotional engagement. but it’s the plangent. complete with a brief passage of jazzy syncopation. The occasional pile-driver sforzando. there is contrast between the aggressive ‘Fuga’ and the more yielding and intimate ‘Melodia’. and. Likewise to Artur Schnabel’s ancient Op. An air of studied self-consciousness prevails. 10/ 1. Penderecki. That sense of light and shade.

Julian Haylock (JH) To order CDs call BBC Music Direct +44 (0)1322 297 515.99 Intriguing salon pieces from Busoni’s childhood. desperately playing catch-up with the European mainstream. Mendelssohn. Purcell etc The Choir of Queen’s College. Op. Czerny and Hummel in fine form. Payer. J Banks (accordion).99 Philippe Graffin works his magic on these post-Wagnerian scores. scored for two unequally sized orchestras. variable recordings. Harvey and Rózsa Dimitri Ashkenazy (clarinet) Orlando Records OR0012 £13. a strong piece with touches of klezmer and Jewish lamentation.99 A remarkably small oeuvre. Op. Adagio symphonique in B. Karg-Elert’s rhapsodic Sonata and much besides. Fantasia in E . excellent sound. Ravel and above all Granados. Benary. (MC) ★★★★ 80 Pier Paolo Vincenzi (piano) Brilliant 94836 £10.99 In tutti sections these performances of pieces setting mainly Psalm texts can sound impressive. Brahms’s Clarinet Quintet is dubiously rewritten with accordion and cimbalom. 12 Paine Symphony No. Stensvold’s interpretations are reliably free of Buyer beware! On the strength of its gypsy affinities. Nystedt. but as played here always charming and felicitous: the earliest pieces are entirely Chopinesque. Oedipus Tyrannus-Prelude etc Philippe Graffin (violin).99 Concerto grosso meets the symphony in Spohr’s irrepressible Seventh. (AB) ★★★ D’Indy Orchestral music.99 Kalkbrenner contributed to Diabelli’s waltz compendium.99 The VPO al fresco at Schönbrunn Palace.99 This invaluable traversal of D’Indy’s orchestral music continues with the inventive Wallenstein. 20. J Pissaride (santouri) Zum Roten Igel ZRI www. 103 Zigeunerlieder are the main item here. focus sags a little. elsewhere there’s some entertaining music-making. songs and vocal quartets.99 An intelligently constructed recital. Grieg. 2.559748 £7. and from much later an ornate Elegy with piano and a nimble Concertino with orchestra. Quartetto di Roma and various musicians Brilliant Classics 94978 £10. Sibelius and Lumbye Rudolf Buchbinder (piano). and Schubert turning in a miniature masterpiece. Les patineurs execute dizzying glissandos. with a Scandinavian focus. Op. Sinding. (TB) ★★★ Brahms Vocal Quartets.zrimusic. (TB) ★★★ Night Thoughts Works by Bennett. Anthony Burton (AB). Vienna Philharmonic/Zubin Mehta Sony 88875075722 £14. Markus Bellheim (piano) MDG 947 1867-6 www. prices include P&P . M Baillie (violin). (AB) ★★★ Håvard Stensvold (bass-baritone). although these sonatas are well played they never transcend their own derivativeness. Uneven.99 Pure. 6 Iceland Symphony/Rumon Gamba Chandos CHSA5157 £13. with Liszt. Lucas Blondeel (piano) Genuin GEN 15372 £13. Op. KargElert. 17. Royal Flemish PO/Martyn Brabbins Hyperion CDA 68005 £13. 4 Luigi Gerosa (piano) Dynamic CDS 7707 £13. Kalkbrenner. (JH) ★★★★★ Spohr Symphonies Nos 7 & 9. (JH) ★★★★ Kalkbrenner Piano Sonatas. if somewhat plain and dour in places. (TB) ★★★ Reviewers: Terry Blain (TB). ending with a haunting Scottish lament. (JH) ★★★★ Weinberg Clarinet Sonatas Annelien Van Wauwe (clarinet). (TB) ++++ Complete variations on a waltz by Diabelli 51 Composers including Czerny.573235 £7. Alessandra Gentile (piano). (AB) ★★★ Sommernachtskonzert 2015 Works by Strauss. nor the transcription of Prokofiev’s breezy Sonata for flute (or violin). Buchbinder’s Grieg Concerto is missable.BRIEF NOTES Your quick listening guide to more new releases.99 Beethoven’s 33 come with refinement but no fire. though more Lieder could have been included. then we hear echoes of Satie. Nielsen. (MC) ★★★★ BBC M USIC M AG A Z I N E Ulster Orchestra/JoAnn Falletta Naxos 8. including Brahms’s Clarinet Quintet. showing Brahms at his most uninhibited and zestful. Grieg.mdg. Tutino. (MC) ★★★★ Liszt Meyerbeer opera transcriptions Sergio Gallo (piano) Naxos 8. Gibbons. M Sharp (cello). supported to the hilt by Martyn Brabbins. Byrd. Kam. John Knowles Paine emerges in these devoted performances as a gifted master in his own right. Vol. When one or two voice-parts only are singing.99 Close-up recordings of solos including Bennett’s well-crafted Sonatina. Diligent playing. Colourful performances. Tor Espen Aspaas (piano) Lawo LWC1079 £13. Erinnerung an Marienbad NDR Radiophilharmonie/Griffiths CPO 777 746-2 £13. colourless clarinet tone doesn’t flatter Weinberg’s 1945 Sonata. 1 Norddeutscher Figuralchor/Jörg Straube. Tomkins. Schubert. (MC) ★★★★ For the Wings of a Dove Works by Stanford. (JH) ★★★★ Falla Complete piano music Juan Carlos Rodriguez (piano) Paladino PMR 0062 £13. but his music was designed to showcase his own virtuosity. the other 50 are surprisingly The Op. detailed notes.99 Far more than an American footnote in Romanticism. delectable Suite in Ancient Style and heartfelt cello Lied. Rieger and Beethoven Mit Vierzig Jahren Brahms songs Jongen Violin Concerto in B minor. and seamlessly interleaved with enthusiastically played gypsy and klezmer numbers. bringing vividly to life music that has for too long lain on the outer fringes of the repertoire. (AB) ★★ JoAnn Falletta conducts John Knowles Paine Busoni Complete clarinet music Davide Bandieri (clarinet).99 Gallo makes a good case for Liszt’s honouring of the operatic originals: the nuns rise spookily from their graves. however. and symphonies by Spohr and Paine Brahms Clarinet Quintet romantic revival: B Harlan (clarinet). while the Ninth captures the spirit of the seasons with magical enchantment. Cambridge/Silas Wollston Orchid Classics ORC 100046 £13. Vol. Michael Church (MC).

giving your music a level of detail that’s detectable when compared with bog standard interconnect cables. When iPods were still the he talk of the town and the iPhone was barely out of o long shorts. the Performance 40s are the equal of cables costing two to three times more. If you u do. the Astell & Kern Jr has been cut back and is available for a much more palatable price of £399. de enon. the Performance 40 cables will let you squeeze those last ounces of quality from your hi-fi set-up without breaking the bank. It’s an attractive box of tricks and sonically it’s engaging. If the bigger Denon models are quite aggressively tuned with a heavy bass frequency leaning. a price that pits them directly against PSB’s sublime M4U2 travelling headphones. they are just not quite as vivid or dynamiic. t PORTABLE HEADPHONES Denon AH-MM400 £300 Denon’s AH-MM400 (below) travelling companions slot neatly into its Music Maniac range of headphones and add some muchneeded portability to the company’s selection of high-end g p products. Just plug in the compact BluCon adaptor (available in walnut. The M4U2s just give tthe music source a little e more ++++ perfect finish: the Astell & Kern Jr brings out masses of musiccal detail INTERCONNECT CABLES QED Performance 40 from £39. power it up and it automatically searches for devices to link to. Despite having a fairly basic frequency ++++ BLUETOOTH HI-FI ADAPTOR Tivoli BluCon £49 If you are a hi-fi aficionado. the AH-MM400s are tuned for a less brash musical audience. from £ chances are that you have a number of bits of kit in your hi-fi arsenal that will be lacking Bluetooth. astellnkern. There was a need for a hard drive-based highresolution audio player that Astell & Kern set aboutt filling.AUDIO Our audio expert Michael Brookk takes a look at the best new audio and d video equipment to help you get the most out of recorded classical musicc CHOICE HIGH-RESOLUTION AUDIO PLAYER Astell & Kern Jr £399 Astell & Kern was born out of the popular iriver brand. Cable manufacturer QED has undergone a complete range redesign to celebrate its 40th To order CDs callll BB BC Music i Di Directt + 44 (0) 0)13 13222 2977 515. Once you have set it up on your phone or tablet device. these products b were extremely good. lauded byy the critics but with eye-watering price tags. These represent excellent value for money. Although they are not exactly on the cheap side. the Astell & Kern Jr gen nuinely sings. Fast forward a few years y and a gap in the portab ble audio market appeared d. Keenly priced at a reasonable £50. once yyou have a high-end se et-up. Lauded by the critics. This means there is now a high high-resolution resolution portable music player that many of us can afford.5mm jack connection to your chosen ++++ BBC M USIC M AG A Z I N E 81 . This is where the Tivoli BluCon (below) steps in. picking out m masses of previously unheard detail. While the transformation is never going to be as marked as replacing low-end speakers with high performance models. however. armourhome. Asttell & Kern’s first forays into the market were tremendo ously capable players but the e £1. As with anything in hi-fi. prices include P&P anniversary and this includes the Performance 40 interconnect cables (above). tivoliaudio. The AH-MM400s T are e an excellent set of headphones – as we e’ve come to exp pect f om Denon – but fro this price range is a hotly contested on ne and d you would be very wiise to audition th he PS SB M4U2s as welll. you need high-end d audio sources to go with h it or your equipmentt will spend its life pickin ng out deficiencies in com mpressed music. you’re ready to stream music. black or white). Once you have put together your perfect hi-fi system – including a playback device and speakers – you’ll need to make sure you don’t skimp on the cables that connect it all Again. Capable of the same high-resolution playback as its forebears. which m makes them pleasing enough.95 One of the forgotten upgrades of a great audio system is the for 3m.95 for 0. the BluCon offers a simple ++ +++++ The AH-MM400s sit a little awkwardly at £300. This is a useful bit of equipment that will modernise your ageing but capable hi-fi system. iriver created a numberr of very promising iPod challengers in various forms.6m lengths. In direcct comparison to the PSB M4U U2s. The new Astell & Kern Jr model aims to change that. Most modern docks incorporate Bluetooth wireless streaming but in many cases older hi-fi gear won’t have this capability. The Astell & Kern Jr’s performan nce is phenomenal – provvided the source material is good enough – but you’ll also need to make sure yyou have a suitably competent set of headphones to makke the most of that sumpttuous performance. up to £64. but the draw of Apple-bran nded products meant they remained a niche intere est. cherry.000-plus prices put o off swathes of would-be buyers. it does its job to a high standard.

thanks to the close harmony teamwork of frontmen Smith and Peers – on trumpet and flugelhorn. Trumpeter Martin Smith has a knack for foot-tapping melodies and the disc’s opener ‘The Pogo’. has all the makings of a jazz hit. loosely anchored around a 1960s hard bop Knowledge Porridgee comes from Liverpool-based band The Weave. she’s celebrated as a composer. whether it’s celtic percussion. The Bad Plus team up with Joshua Redman. stirring classics from the Arkestra’s repertoire and newer material together and redelivering the band’s unique ability to perform the most avant-garde pieces as if they were folk music (which in the Ra universe they essentially are) while at the same time investing near-conventional swing with an ethereal strangeness. Reid Anderson (bass). Steve Wilson (saxophones) etc ArtistShare AS0137 77:27 mins GETTY. breezy vibraphone. Scott Robinson. But there’s intensity too. plus Liverpool’s The Weave JAZZ CHOICE Fields of dreams Garry Booth enjoys Maria Schneider’s latest album. Anthony Peers (trumpet/ flugelhorn).com 82 BBC M USIC M AG A Z I N E £19. the Sun Ra Arkestraa in Istanbul. Today. That said. Rich Perry. density and intensity. as if the music’s lineage was a gift from some exotic alien culture. Donny McCaslin. complete with her favourite soloists. Given the classic.artistshare. sees the return of the leader’s long-standing 18-piece orchestra. It’s a magnificent piece of pastoral work.99 The much-acclaimed Bad Plus was part of that early 21st-century piano trio renaissance that also included EST and paved the way for the likes of Phronesis and Trichotomy. with its catchy trumpet hook and arrestingly rhythmic piano.JAZZ A long-awaited Maria Schneider disc. with the tender timbre of alto clarinet as a solo If the late Gil Evans could see Maria Schneider now. all the pieces are by members of the band. Istanbul Marshall Allen (saxophone. and if you are a fan you certainly won’t be disappointed by this album. This live set from Istanbul is an excellent example. inspired by the landscape of Minnesota SUN RA ARKESTRA Under the direction of Marshall Allen Live at Babylon. sometimes coming perilously close to bombast. Barry Witherden PERFORMANCE RECORDING ★★★★ ★★★★ THE WEAVE Knowledge Porridge Martin Smith. A sumptuously illustrated booklet seals the deal. As ever. flute) etc In and Out Records IORCDDVD771229 CD 78 mins & DVD 104 mins (2 discs) BBC Music Direct thinking big: Maria Schneider’s music evokes wide open spaces MARIA SCHNEIDER ORCHESTRA The Thompson Fields Maria Schneider (conductor). She augments the brass for example. with an upbeat. these in-house compositions are clever. Garry Booth PERFORMANCE RECORDING +++++ +++++ Hear an excerpt of this recording at www. Roger Thomas PERFORMANCE RECORDING ★★★★★ ★★★★ THE BAD PLUS The Bad Plus • Joshua Redman Joshua Redman (sax). an accordion breathes a cool breeze into the harmonies. Ethan Iverson (piano) etc Nonesuch 548920 60 mins BBC Music Direct £15. The Thompson Fields. full of surreal surprises and a jostling mixture of styles. it is somewhat disappointing to hear him locked into this rather claustrophobic context. BRIENE LERMITTE Available from www. Neil McKim PERFORMANCE RECORDING ★★★★★ ★★★★★ . Much of the splash they made seemed to be prompted by their penchant for including rock songs in their repertoire. The band’s previous release went largely under the radar but this excellent follow-up deserves a wide reception. they all do what they do immaculately and with great panache. made up from a core of players who have held long-standing jazz residencies in the city. boundary-free improvisation that Redman has consistently shown himself capable of. Rob Stringer (piano) etc RufusalbinoRecords 02 54 mins Available from www.99 The music of the sprawling big band founded by the late Sun Ra still manages to imply that his model of this joyful noise we call jazz – and its potential for development – was and remains the right one and that everyone else has simply got it wrong. celebratory feel. with more hotly improvised solos breaking into the through-composed dynamic. Anthony Ormesher (guitar). laid-back swing.theweave. Development is largely confined to ramping up the volume. Here. an extended work inspired by memories of her upbringing in rural Minnesota. Effortlessly woven around this are many influences. And those years of paying dues have clearly paid off. The group’s playlist is inventive. The CD and DVD programmes overlap but aren’t identical and the DVD sound is less congested.classical-music. arranger and bandleader sans frontiers. brash rhythmic shades of tango or a twinkling waltz. complex and technically impressive. Schneider making some inspired choices to evoke the flora and fauna of the Midwest’s wide open landscapes. The legendary big band arranger hired Schneider out of college as his copyist 30 years ago. her music winning Grammy awards in both the classical and jazz categories. I highly recommend this joint version. so although there is also a CD-only variant. but my problem is that they don’t really seem to go anywhere.

crowned by a darkly lyrical ‘’Round Midnight’. encompassing the trumpeter’s odyssey from hard bop to free bop to fusion – the stylistic gamut that not only transformed jazz. His bands are constellations. and his diverse festival visits over the next 20 years. many hitherto unreleased. By 1966 and ’67. Vol. Davis stole the show with confident. keyboardist Herbie Hancock. These live recordings. though the last number. presenter of Geoffrey Smith’s Jazz. but that summer the trumpeter made a prophetic appearance at the Newport Jazz Festival.JAZZ REVIEWS JAZZ STARTER COLLECTION miles above: Davis experiments with electronics in 1969 No. signing with Columbia Records. are celebrated in a special Newport weekend and a four-CD set of live festival recordings. in a passionate quartet segment by Miles Davis. beginning with his encounter with pianist Monk. Dave Holland and Jack DeJohnette. and ready to move into the top flight – which he duly did. with a spur-of-themoment freedom that was the hallmark of Miles’s supergroup of saxist Wayne Shorter. plus saxists Gerry Mulligan and Zoot Sims. swinging solos. 183 Miles Davis IV Geoffrey Smith. no longer blighted by drugs. 4 Columbia/Legacy 88875081952 £19. But in 1969 the rock electronics of Bitches Brew were well in place. but plunged it into controversy. Miles Davis at Newport 1955-1975: The Bootleg Series Vol. Miles’s Newport breakthrough. the intensity is more elliptical. A lastminute addition to an ad hoc band including Thelonious Monk. chart the spellbinding progress of a uniquely charismatic personality.99 . betrays the failing health that would sideline him for five years. wah-wahs and overlays. Chick Corea. looks at two decades of the trumpeter at Newport The year 1955 may not seem an obvious Miles Davis anniversary. followed in 1958 by a set from his sextet with John Coltrane and Bill Evans. His star turn gave notice that he was back on track. CD CHOICE Miles Davis at Newport 1955-1975 The Bootleg. from ’75. one of the most influential musicians of his time. And from 1971-75. 4 comprises eight sessions. These four discs provide an invaluable overview of Miles’s single-minded quest to realise his sound. Davis is all thick electric textures. and launching the trajectory which would make him an icon of jazz and rock. both on his horn and in his starry ensembles. bassist Ron Carter and drummer Tony Williams.

as a technological ‘dinosaur’. Wightman writes with a deep love of the opera. at 75. who still composes using a pencil. paper. 172pp (hb) www. but the detail he provides on some key early productions is certainly valuable. we get only a partial sense of the composer himself pulling back after King Rogerr and rejecting Dionysian excess in favour of the Apollonian clarity found in his late-period. Mediterranean period. and leaves it entirely up to his readers to try and figure out why. But it’s at the aesthetic level. But this collection of informal Q&As does. ★★★★ www. and 84 BBC M USIC M AG A Z I N E much of what he says will surely be convincing to anyone still sceptical about the voluptuous style found here at the climax of Szymanowski’s middle. including business minds such as Michael Torke. for example. An early 20th-century opera that has long held a place in the affections of connoisseurs AKG IMAGES Alistair Wightman writes with a deep love of the opera rather than on stage. Ellen Taaffe Zwilich says that her awareness of what MIDI lacks has made her more aware of what it is she appreciates about the human performance: ‘breathing. King Roger has lately received quite a surge in productions around the world. Raines finds this disparity ‘fascinating’ and ‘important’. all of the kinaesthetic elements’. pulse-like rubato. as it says. where technology impacts our understanding of beauty. there are numerous musical examples in the analysis chapter. Alistair Wightman has published extensively on Szymanowski and is also author of the only Englishlanguage monograph on Karł r owicz. a straight-edged rule. The central theme of this book is how digital technology is more relevant to some. plus a new. impeccably researched book on Mahler’s infamous wife COMPOSITION IN THE DIGITAL WORLD: Conversations with 21st-Century American Composers Robert Raines BOOKS CHOICE Oxford University Press ISBN 978-0-19-935703-1. he covers everything from the composer’s fascination with the 12th-century ruler of Norman Sicily to the partly destroyed homoerotic novel Efebos by the librettist (and cousin of the composer) Jarosław Iwaszkiewicz. and it assumes some knowledge of Szymanowski’s wider output and stylistic adventures: when it comes to context. Others express how the writing and editing of music is so much easier using computer software: ‘No publisher is going to give the time of day to young composers who don’t submit their music as computer files.oup. than to others. Valuable for marshalling so much material on King Rogerr in relatively few pages.’ says Christopher Rouse. such as Joan Tower who describes herself. In chapters charting Szymanowski’s interest in the theatre. that the relationship between music and technological innovation becomes most interesting. and refers to jazz as a form of ‘popular’ music doesn’t bode well for a book that claims to have its finger on the pulse of new American composition. mountain-inspired music. this book is an inspiring read. in the 1970s. and Reich reflects on how the new technology is integral to his conception of a work. to many less familiar names – are responding to the digital age.BOOKS Leading American composers discuss the impact of digital Published to coincide with Covent Garden’s recent first production of King Roger. the composition of King Rogerr and the opera’s ideology. he would do manually with . Nick Shave ★★★ All discs can be ordered from An introduction that tells you it’s now ‘hip’ to be a composer.bbcmusicmagazine. 386pp (hb) A companion fit for a King John Allison welcomes a short guide to Szymanowski’s King Roger dionysian excess: Szymanowski’s opera King Roger as first staged in Duisburg in 1928 SZYMANOWSKI’S KING ROGER: The opera and its origins Alistair Wightman Toccata Press ISBN 978-0-907689-38-6. r this welcome study of Szymanowski’s only full-length opera – if so compact a three-act work can be considered ‘full-length’ – would have been timely in any recent season. Naturally. Whether he is justified in his generally unfavourable skimming over of these recent stagings in his book’s concluding performance history survey boils down to personal taste. offer a snapshot of how US concert hall composers – from the well-established such as Steve Reich. allowing him to realise sounds on computers that. to ‘radical innovators’ such as Eric Whitacre. Some express their concerns about the decline of the recording industry as music is made available free online.

aged just 35. prices include P&P JUNE 2015 JULY 2015 AUGUST 2015 We celebrate the 25th anniversary of the Three Tenors. have certainly whetted the appetite for some sort of grand consummation – a word of which Alma herself would certainly have approved. show him to have been a fine pianist. his revelations include the extent of Alma’s increasingly politicised anti-Semitism. the sheer breadth of his source material makes one’s head spin. he would go on to Eton and Oxford. UP TO 30% OFF FOR S SUBSCRIBER TO ORDER CALL 0844 844 0260 BACK ISSUE PRICES SUBSCRIBERS NON-SUBSCRIBERS ■ ■ ■ ■ UK – £4.15 £6. makes available Kelly’s personal diaries covering the war years up to his death on 13 November 1916. yet Gustav Mahler’s own biographer.25 BBC M USIC M AG A Z I N E 85 .20 £23. Beethoven and Shostakovich ■ We’re sorry. ever freshly and lucidly. Kelly has a claim to fame other than his music.15 £ Alma’s obsessivecompulsive search for self-esteem and domination certainly drove every aspect of her behaviour. her no less dysfunctional and dissatisfied marriage to Mahler. on the Greek island of Skyros in April 1915. George Hall ★★★ To order CDs call BBC Music Direct 01322 297 515. Kelly had wide cultural interests and knew many distinguished artists. Subscribers can save up to 30% when ordering both together. plus Poulenc’s Organ Concerto on the free cover CD Join us for our complete guide to this year’s BBC Proms. the poet Rupert Brooke.40 £7.’ More a silver than a golden one. Others have not been so well remembered. writers and politicians as well as musicians.60 per copy Rest of world – £7. her successive seductions and humiliations of Alexander Zemlinsky. Born into a wealthy Sydney family. 360pp (hb) www. And Berg’s dedication of his Violin Concerto to her daughter Manon Gropius takes on a rather different tint when one learns of the murky mix of transferred eroticism and racist politicking behind Alma’s own stylisation of Manon as an ‘angel’. and her destructive meddling in the relationships between Schoenberg and Kandinsky and Schoenberg and Thomas Mann. It was following the death of one of his close friends. KELLY’S WAR: The Great War Diary of Frederick Kelly 1914-1916 Ed. her first kiss with Klimt. praises Oliver Hilmes’s study as both well-informed and objective. plus a cover CD of Tchaikovsky’s Fourth Symphony We meet pianist Benjamin Grosvenor in an exclusive interview. Fifty years after Alma’s death. e as well as his own works. thereafter he devoted his energies entirely to music. Hilmes is perhaps just too ready to drop Alma into the Freudian-hysteric box into which so many ambitious women of her period were consigned. Indeed.upne. The climax and endpoint of his rowing career came in 1908. his exquisite Elegyy for string orchestra. On the other hand. There’s not a huge amount about music in this volume – British army officers had other things to think about – but what there is will add to the growing interest in this worthwhile figure. when he was part of the Gold Medal-winning British team.00 ▼ NON-SUBSCRIBERS LOCATION UK Europe Rest of World MAGAZINE & CD HOLDER £16. Four biographies of Alma Mahler in the last two decades (all by women).60 per copy SLIPCASE PRICES ▼ SUBSCRIBERS LOCATION UK Europe Rest of World MAGAZINE & CD HOLDER Save 30% MAGAZINE HOLDER Save 20% CD HOLDER Save 20% £11. Hilary Finchh ★★★★ MALEVOLENT MUSE: The Life of Alma Mahler Oliver Hilmes Northeastern University Press ISBN 978-1-55553-789-0.60 per copy Europe – £6. So what’s new? Nothing very edifying.00 £9. who also died during the devastating Somme conflict. where he became a star rower. Oliver Hilmes has researched his subject as meticulously as he did his biography of Cosima Wagner.blinkpublishing.50 £10. He tells.80 £8.20 £6. Jon Cooksey & Graham McKechnie Blink Publishing ISBN The title may seem parti pris. that Kelly produced one of his most important pieces. Oskar Kokoschka. but issues of BBC Music published more than 12 months ago are no longer available. Walter Gropius and Franz Werfel. Impromptu performances in bars and barracks of works including Ravel’s fiendish Ondine. edited by two historians with an interest in the First World War and in Among countless individuals killed during World War I were notable composers such as the Englishman George Butterworth. This new volume. and Antony Beaumont’s invaluable selection and translation of her diaries. Anna.75 MAGAZINE HOLDER £8.00 £16. 352pp (hb) www.50 CD HOLDER £8.50 £14. BBC Music Magazinee and CD slipcases are perfect for storing your collection.08 per copy ■ ■ UK – £5.00 £11.00 £9.BOOKS REVIEWS BACK ISSUES Hilmes can only conclude that her ‘life’s achievement consisted of the composition of her own legend. Largely through Hilmes’s fastidious examination of unpublished letters and particularly telling interviews with Werfel’s biographer and with Alma’s and Gustav’s daughter. including the Australian-born Frederick Kelly. His war diaries show him somehow finding time for composition and piano playing even in the terrible battle-zones where he was deployed: he spent 1915 in Gallipoli. Henry-Louis de la Grange.00 £11. the known narrative of Alma’s dysfunctional childhood. alas.50 £20. plus a CD of Britten. the process of tarnishing is now well underway.28 per copy Rest of world – £6.48 per copy Europe – £5.

a work by fellow-Dane Per Nørgå INTERNATIONAL 1 LEEDS PIANO COMPETITION Town Hall & University Great Hall. the Cowbridge Festival has just gained violinist Nicola Benedetti as Leeds is contemplating the unthinkable. 6COWBRIDGE FESTIVAL Holy Trinity Church. 16 September Tel: +44 (0)121 345 0600 Web: www. Mahler’s Fourth Symphony follows Beethoven’s Piano Concerto No. Cowbridge. and there’s more Beethoven in the third when Imogen Cooper performs Piano Concerto No. The concert also includes Prefaced by a Birmingham performance on 8 September. tenor Toby Spence and baritone Roderick Williams. 15. including mezzo Magdalena Kozˇená.uk Birmingham is winning points for authenticity with its Nielsen 150 festivities. The BBC Proms Youth Choir is joined by top soloists.classical-music. while clarinettist . Mouton. 26 August – 13 September Tel: +44 (0)113 224 3801 Web: www. Simon Rattle and the Vienna Philharmonic bring The Dream of Gerontius to the penultimate night of the Proms. After 54 years at the helm. 7. London. DANISH 4 ROYAL ORCHESTRA Symphony Hall. In the second. David Skinner’s vocal consort Alamire explores works associated with the sometime Coinciding with the release of its latest disc Anne Boleyn’s Songbook: Music & Passions of 86 BBC M USIC M AG A Z I N E a Tudor Queen. 11 September Tel: 0845 401 5040 (UK only) Web: www. The first pairs Mozart’s C minor Piano Concerto. Brumel and Compère. PHILHARMONIC 2 VIENNA & SIMON RATTLE Royal Albert With medieval Holy Trinity Church at its hub. 17-25 September Tel: +44 (0)1446 773824 Web: cowbridgemusicfestival. plus a guide to Richard Strauss’s Salome For detailed concert listings visit www.thsh. the chairman and artistic director Dame Fanny Waterman is retiring from the Piano Competition she co-founded in Conductor Bernard Haitink launches the London Symphony Orchestra’s 2015/16 series with no fewer than three programmes – two of them featuring the pianist Murray Perahia. Birmingham. 3 ALAMIRE Wanamaker Theatre. including motets by Josquin. 1 between Purcell and Brahms. 13 & 14 September Tel: +44 (0)20 7401 9919 Web: K491 with a Haitink speciality: Bruckner’s Symphony In the meantime Cellophony and pianist Alexandra Dariescu are Vale of Glamorgan bound. 4.leedspiano. Vale of Glamorgan. Leeds. London. London. Michael Boder is conducting the orchestra in which Nielsen served as a violinist – the Royal Danish – in a performance of the composer’s Fifth Symphony. russian flavour: violinist James Ehnes performs Glazunov’s Violin Concerto (Choice 12) SYMPHONY 5 LONDON ORCHESTRA Barbican. as well as solo items for lute and harp.barbican. In between. mezzo Petra Lang tackles Schoenberg’s expressionist monodrama and her piano trio will add a Schubert and Brahms postscript to the festival in November. 20 & 23 September Tel: +44 (0)20 7638 8891 Web: www. Musorgsky and Chopin.LIVE CHOICE 20 UNMISSABLE EVENTS FOR SEPTEMBER 2015 BBC Music Magazine’s choice of the best September concerts and operas. Before the final stages of the competition get underway – where this year’s winning successor to Radu Lupu (1969) and Murray Perahia (1972) will be declared – the competition’s ‘global ambassador’ Lang Lang is joining 2012 winner Federico Colli (left) on 9 September for a recital of Mozart.

there is new music by Charlotte Bray. American pianist Jeremy Denk is in residence with Britten Sinfonia for an ear-catching conversation between JS Bach and Stravinsky. while the largely Nordic finale (on 20 Sep) begins with the composer’s Andante Festivo. 20 September Tel: +44 (0)131 473 2000 Web: www. Juanjo Mena conducts an exuberant 20thcentury classic which Bernstein stepped in to premiere when Serge Koussevitzky was indisposed: Messiaen’s Turangalîla Symphony. The musical conversation continues in Norwich (25 Sep) and Cambridge (27 Sep). This closing concert features the Royal Northern Sinfonia under its new music director Lars Vogt and will include Erkki-Sven Tüür’s Insula Deserta and – with Vogt swapping baton for keyboard – the Grieg Piano Concerto.000 concerts and associated events planned for the new season. 7 BBC PHILHARMONIC Bridgewater Hall. BEN EALOVEGA NORTHERN 8ROYAL SINFONIA St Mary’s. Glasgow. 24 September Tel: +44 (0)141 353 8000 Web: www.lammermuirfestival. He teams up with the quartet for Schubert’s C major Quintet on the opening night and. the Sacconi Quartet (pictured overleaf) premiere a new string quartet by jazz pianist and composer Gwilym Simcock. whose gut strings lend > BBC M USIC M AG A Z I N E 87 . In this concert it’s set beside the Glazunov Violin Concerto as Donald Runnicles embarks on his last season as the BBC Scottish Symphony’s principal conductor.bridgewater-hall. Another festival highlight is violinist Alina Ibragimova’s Chiaroscuro Quartet. The festival opens with Sibelius’s Rakastava (on 11 Sep).uk The Navarra Quartet is very much in evidence for cellist Guy Johnston’s fourth chamberfest at Elizabethan Hatfield House. 9 FLORIAN BOESCH Wigmore Fresh from his BBC Proms debut. Op. The soloist is James Ehnes (left) Haddington. 19 September Tel: +44 (0)161 907 9000 Web: www. with Ben Gernon conducting the Scottish Chamber Orchestra. 10 MITSUKO UCHIDA The Concert Hall. it embarks on a two-season journey through the complete Schubert songs. 22 September Tel: +44 (0)20 7935 2141 Web: www. framed by Nielsen’s G minor Quartet and Sibelius’s Voces Intimae. 11. D1a to Das Lied im Grünen. Pianist Mitsuko Uchida spent her formative teenage years studying at Vienna’s Academy for There have been various attempts at completing the torso of Mahler’s unfinished Tenth Symphony.turnersims. Wigmore Hall is thinking bigger than ever. and. 24 September Tel: +44 (0)118 960 6060 Web: www. Julian Bliss discloses his jazz side as well as appearing alongside soprano Ailish Tynan. ahead of another Uchida favourite: Schumann’s F sharp minor Sonata. before the Choir of King’s College Cambridge calls ‘last orders’ with Mozart’s With nearly 1. 25 September Tel: +44 (0)1206 729356 Web: www. so it’s no surprise that the music of the First and Second Viennese Schools has remained at the centre of her musical Roman River Festival has braved its first commission. 11 BRITTEN SINFONIA Turner Sims. 1 and music by Schubert and Mozart. flanked by Mahler and Strauss. Colchester.wigmore-hall.romanrivermusic. Austrian baritone Florian Boesch sets the ball rolling with Graham Johnson at the piano and an early to late survey. SARAH Here. Southampton. and the BBC Philharmonic is devoting 18 concerts in its forthcoming season to his memory. London. 14 SACCONI QUARTET Firstsite. Op. but for many the modestly titled ‘performing edition’ by Deryck Cooke remains the most convincing.readingarts. stretching from Lebenstraum. Both are represented in this recital which HATFIELD HOUSE 13 CHAMBER MUSIC FESTIVAL Hatfield House. it is the turn of Schoenberg’s Verklärte Sibelius’s 150th anniversary is high on the agenda at Lammermuir. SCOTTISH 12 BBC SYMPHONY ORCHESTRA City Halls. D917. 24 September Tel: +44 (0)23 8059 5151 Web: www.SEPTEMBER 2015 LIVE EVENTS includes Berg’s Piano Sonata. 24-27 September Tel: +44 (0)1707 273129 Web: hatfieldhousemusicfestival. On the festival’s penultimate evening. Reading. plus solo dance-inspired It’s 25 years since Leonard Bernstein died. Dumbarton Oaks and two of Bach’s keyboard concertos are interleaved with Bach arrangements by Stravinsky and Webern. Hatfield.

Poole. 27 September Tel: 0844 875 9915 (UK only) Web: www. Haydn and Beethoven on 19 September.lighthousepoole. Very loosely taken from V tthe biblical account of tthe execution of John the Baptist (Jokanaa (Jokanaan).co. London. Mark Wigglesworth. Soprano Lise Lindstrom is the lead and baritone James Rutherford is John the Baptist.hexham-abbey. from 27 September Tel: +44 (0)29 2063 6464 Web: www. ‘I like him otherwise. Lighthouse. After Ravel’s Mother Goose Suite. The instrument takes centre stage. Christoph von Dohnányi brought the previous Philharmonia season to an end conducting Beethoven’s Seventh and returns for the Ninth. refused to perform ‘Salome’s Dance’ or kiss the severed head. but with this he will do himself a great deal of The composer employs some inventive devices. EMILIE BAILEY ■ The orchestration of Salome is 3. ■ The opera met with controversy. in return for dancing erotically for Herod. and when Salome awaits Jokanaan’s execution.wno. the play and opera’s story instead creates a lustful fantasy. left). with 105 players used to sustain the atmosphere of frenzied tension. after he n ssaw a performance in 1902. Herbert Asquith.eno. where Herod’s teenage stepdaughter Salome desires to kiss the severed head of Jokanaan. Belfast City Organist Colm Carey mans the console for Poulenc’s Organ Concerto and Saint-Saëns’s organ-infused Symphony No. And now the Bournemouth Symphony is following suit. to discuss if the opera could be performed. . Soprano Patricia Racette sings the role of the hapless Katerina It’s quite a year for orchestral anniversaries. London. ■ Soprano Marie Wittich. Belfast. To close the 2015 Hexham Abbey Festival excerpts from Rachmaninov’s All Night Vigill and the Liturgy of St John Chrysostom are being woven together with works by Tchaikovsky. Northumberland. ■ In For a century and a half. The severed head had to be replaced with a platter covered with a cloth. the first Salome. Cardiff. His successor. Beecham eventually performed it with certain caveats. an eerie effect is produced by four double basses ‘pinching’ the strings while bowing. the Ulster Hall has cherished its Mulholland Organ. takes up the reins with an iconic Russian opera from the Soviet era: Shostakovich’s Lady Macbeth of Andris Nelsons made concert performances of opera a highlight of his time as music director of the CBSO. conductor Sir Thomas Beecham met the prime minister. Countertenor Lawrence Zazzo is the warrior knight. the Royal Scottish National Orchestra turns 125. The Royal Liverpool Philharmonic continues to celebrate its 175th birthday.’ Strauss was able to build a lavish villa on the proceeds of this ‘harm’.SEPTEMBER 2015 LIVE EVENTS QUICK GUIDE TO… RICHARD STRAUSS’S SALOME Five essential facts about a work being performed this month festive four: The Sacconi Quartet head to the Roman River Festival (Choice 14) period instrument expertise to Mozart. twice Wales Millennium Nigel Short’s vocal ensemble Tenebrae has a long-standing interest in Russian sacred choral music which they revisited for the first release on their own Bene Arte label last ‘Music and Madness’ provides the thematic peg for Welsh National Opera’s autumn trinity of Bellini’s I Puritani. GETTY. The Kaiser said of Strauss.southbankcentre. as principal conductor Rafael Payare steers his Ulster Orchestra through an all-French programme. adding the promise of ‘universal brotherhood’ to Martin Helmchen’s account of the Schumann Piano Concerto. ‘I’m a respectable woman’ she protested… See Choice 20 88 BBC M USIC M AG A Z I N E 18 PHILHARMONIA AT 70 Ulster Hall. 16 TENEBRAE 19 ORLANDO MACBETH 17 LADY OF MTSENSK 20 STRAUSS’S SALOME 15 ULSTER ORCHESTRA Hexham Abbey. In ‘Salome’s Dance’ the orchestra imitates Herod’s quickening heartbeat. and the Philharmonia hangs out the bunting to mark its 70th season. Southbank Centre. The Catholic church condemned the work and Kaiser Wilhelm II only allowed it to be performed if it included a star of Bethlehem. Coliseum.i Handel’s Orlando and Sondheim’s Sweeney Todd. 26 September Tel: +44 (0)1434 652477 Web: www. 30 September Tel: 0844 406 8666 (UK only) Web: www. Chesnokov and Kalinnikov. from 26 September Tel: +44 (0)20 7845 9300 Web: www. 25 September Tel: +44 (0)28 9033 4455 Web: www. as Kirill Karabits flexes his operatic muscles over Richard Strauss’s 1905 adaptation of Oscar Wilde’s Salome (see box. fatal attraction: Maria Nemeth as Salome ■ Salome is an opera in one act which Richard Strauss a ((left) based on Oscar Wilde’s notorious Conductor Edward Gardner bid farewell to his role as English National Opera’s music director with Tchaikovsky’s Queen of Spades. Handel’s respray of Ariosto’s Orlando Furioso is updated to the outbreak of World War II in Harry Fehr’s staging which returns Concerto Italiano’s Rinaldo Alessandrini to the pit.

transforming the visitor experience and securing its future for generations to come. 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. a team. We have a plan. by email s.Dame Mitsuko Uchida “The best acoustic for chamber music in Europe” . 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. This major capital project will extend and upgrade St George’s. 6QHWNƂNKVUTGOKVCUCYQTNFENCUUEQPEGTVJCNN5V)GQTIGoUKUn$WKNFKPIC5QWPF Future’ with the construction of a contemporary garden pavilion extension designed by architectural practice Patel Taylor. “St George’s Bristol is my old friend. Warm . intimate and with an enthusiastic audience.farley@stgeorgesbristol.Sir Simon Rattle The existing auditorium For further partnership details please contact Simon Farley on +44(0)117 929 4929 x205. This is truly a great combination.” . architect of the British Museum. Artist’s impression of how the new building will link to the existing building 2CTVPGTUJKRQRRQTVWPKVKGUJCXGDGGPETGCVGFCVCTCPIGQHNGXGNUYKVJDGPGƂVU extending to naming rights of the complete new extension in perpetuity. well designed back stage and front of house facilities.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. 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. so delivering a permanent record of major philanthropic support to this iconic world class venue. What it lacks are or visit

The oratorio. so the result will be eagerly awaited. Performances include Anna Meredith’s Chorale for MRI scanner and string quartet and Radio 3 presenter Andrew McGregor is undergoing a brain scan of his own to measure his response to different types of music. Why Music? Weekend. Radio 3 is joining forces with it for the first time. 25-27 September LEEDS INTERNATIONAL PIANO COMPETITION As the 18th triennial Leeds International Piano Competition reaches its final stage. Radio 3 will be on hand to catch all the action. from its use as a medicine to its ability to scare. including Murray Perahia and Sunwook Kim. tenor Toby Spence and the Proms Youth Choir.30pm . 7. This year sees 79 competitors from 20 countries whittled down to just six for the final at Leeds Town Hall. Leeds has launched the careers of many of today’s finest players. during his own time with the City of Birmingham Symphony Orchestra. 13 September. Leeds International Piano Competition finals. as Simon Rattle conducts the Vienna Philharmonic in Elgar’s The Dream of Gerontius. pianist James Rhodes and music psychologist Victoria Williamson – Why Music? will explore 90 BBC M USIC M AG A Z I N E many aspects of music. now 95. picks out three great moments to tune into in September WHY MUSIC? WEEKEND London’s Wellcome Collection is a world centre for exhibitions and research into the links between science and the arts. Prom 75. Proms 2015. Rattle made a landmark recording there in 1987. The Clerks. was first performed in Birmingham in 1900.30pm ELGAR’S THE DREAM OF GERONTIUS The BBC Proms may be in its final stages but it’s saving some of the best for last. based on the poem by John Henry Newman. With a host of musicians and experts on board – including members of the Aurora Orchestra. 7. plus highlights of classical music programmes on television a dream sing: mezzo Magdalena Kozˇená performs Elgar on 11 September CONTROLLER’S CHOICE Alan Davey. soothe or thrill. He is joined by mezzo Magdalena Kozˇená (above). in a weekend that looks at connections between music and human behaviour. The 2015 competition is particularly significant as it is the last time Dame Fanny Waterman. the controller of Radio 3. 11 September.RADIO & TV LISTINGS Each issue we provide full listings for BBC Radio 3 introduced by the station’s controller Alan Davey. is part of the judging panel.

l Mason Nearer. 2 in FF. St Petersburg Philharmonic/Yuri Temirkanov 10.45-11pm The Essay Music on the Brink (rpt) 5 SATURDAY 7-9am Breakfastt with Martin Handley 9am-12. 1 in C minorr Jamie Barton (mezzo-soprano). John Wilson Orchestra/John Wilson 8-9pm Jazz Record Requests 9pm-12 midnight Proms 2015 Prom 688 JS Bach Suite No. Lehár The Land of Smiles –‘Dein ist mein ganzes Herz’. BWV 1012.30-6.30pm Proms 65 (rpt) 3. Johnson Victory Stride.30am-1pm As Tuesday 1 Sep 1-2pm Lunchtime Concert 2-3. Choir of the Enlightenment. P Grainger) Love walked in. (arr. Gershwin (arr.30-7.30pm The Choir 5.15-11pm Proms 2015 Proms 76 Last Night of the Proms Eleanor Alberga Arise.30pm Composer of the Weekk Brahms (rpt) 7.30am-1pm As Tuesday 1 Sep 1-2pm Lunchtime Concert 2-4. Turandot – ‘Nessun dorma’.30-10.30pm Prom 45 (rpt) 4. Guy Barker The Lanterne 12 SATURDAY about schmidt: conductor Semyon Bychkov champions the Austrian composer (10 September) of Lightt (BBC commission. Morton Gould Boogie Woogie Étude.30-10pm Proms 2015 Proms 75 Elgar The Dream of Gerontius. to Thee. Shostakovich Piano Concerto No.30pm Proms 54 (rpt) 4.45-11pm Proms Poetry Competition 9 WEDNESDAY 6.30pm In Tune 6. Sargent) Rule. Skip Sempé.15-11. pairing music and spoken word inspired by the night. 6 in D.15pm Proms 2015 Prom 72 Nielsen Springtime on Funen.30-9pm Proms 2015 Prom 64 Nielsen Aladdin – excerpts. David Goode (organ). Tiffin Boys’ Choir.45pm Matthew Sweet’s Palace of Great War Varieties (rpt) – popular culture in World War I 10.i Rachmaninov Piano Concerto.45-7. London Philharmonic Orchestra/Vladimir Jurowski 10-10.30am-1pm As Monday 7 Sep 1-2pm Lunchtime Concert 2-4. Mahler Symphony No. BBC Symphony Chorus. Scottish crime writer 1-2pm Proms 2015 Proms Chamber Music 7 (rpt) 2-3pm The Early Music Show 3-4pm Choral Evensong 4-6.30-6. B Tommy Andersson Pann (BBC commission: world premiere). BBC Philharmonic/Maxime Tortelier 7-9am Breakfast 9am-12.15pm Proms Composer Portrait 4 B Tommy Andersson 10.45pm Proms 2015 Prom 65 Handel – arias from operas.30-4. Manon Lescaut – ‘Donna non vidi mai’. plus the suite from his only film score.15-11.30-7.45-11pm The Essayy (rpt) 11pm-1am World on 3 Schedules may be subject to alteration.30pm Prom 46 (rpt) 4.30pm Composer of the Weekk Elgar (rpt) CHOICE 7. r Mitsuko Uchida (piano). 8 in C minor. Grieg Peer Gynt – ‘Morning’. Klara Ek (soprano). (arr.15-11pm God and the Great Warr (rpt) HARALD HOFFMANN/DG.30-6. BWV 1010.30-7. Maida Vale Singers.15pm Prom 47 (rpt) 6. Schoenberg Piano Concerto. Crouch End Festival Chorus. Suite No. world premiere). y Candide. BBC Symphony Chorus. Julia Fischer (violin).45-11pm The Essayy Music on the Brink (rpt) – capital cities at the brink of World War I 2 WEDNESDAY 6.15-1pm New Generation Artists 1-2pm Lunchtime Concert 2-4pm Saturday Classics 4-5pm Sound of Cinema 5-6pm Jazz Record Requests 6-7. Royal Scottish National Orchestra/Peter Oundjian 10. Copland Old American Songss – ‘I bought me a cat’.30-6.30pm In Tune 6. Elgar) Jerusalem.15-7.SEPTEMBER 2015 RADIO & TV LISTINGS 11 FRIDAY SEPTEMBER’S RADIO 3 LISTINGS 6.30pm In Tune 6. Vienna Phil/ Semyon Bychkov (above) 9.30-10.30-6.15-11. including West Side Story.30-6. Marsh Jesus. Violin Concerto. BBC Concert Orchestra/Keith Lockhart 10. 4. Malin Christensson (soprano). 1 in D (‘Land of Hope and Glory’). Benjamin Grosvenor (piano). BWV 1009. Southend Boys’ Choir. Britten) The National Anthem. Alice Coote (mezzo). 2. Music from Bernstein’s Broadway musicals. Southend Girls’ Choir.30-10pm Proms 2015 Prom 66 Beethoven Fidelio – overture. Orff Carmina burana.30-9. BBC SO/Andrew Litton 10.30-7. e Alto Rhapsody. Suite No. Shostakovich Symphony No. London Philharmonic Choir. Jarvis Cocker (presenter). 1600 Pennsylvannia Avenuee and Wonderful Town. Olivier Fortin (harpsichord) 2-4pm Saturday Classics 4-5.30-6. 1 in B. 3.30-10.45pm-12. 3. 5.30am-1pm As Tuesday 1 Sep 1-2pm Lunchtime Concert 2-4.30-7. BBC Singers.30am-1pm As Monday 7 Sep 1-2pm Lunchtime Concert 2-4.30pm In Tune 6.30-4. and cantatas. Works for harpsichord including Rameau. Roderick Williams (baritone). r RimskyKorsakov Scheherazade. Tiffin Girls’ Choir. y Wood Fantasia on British Sea Songs – ‘Jack’s The Lad’ (Hornpipe) and ‘Home Sweet Home’. y Triumphlied. Benjamin Appl (baritone).30-6. Olena Tokar (soprano).15pm CD Review w– Building a Library 12. Lover of My Soul.30pm Proms 2015 Proms 73 Brahms Symphony No. BBC Singers. Arlene Sierra Butterflies Remember a Mountain. Julian Ovenden (vocalists).30pm In Tune 6. 27 in B flat K595. world premiere). Neal Davies (bassbaritone).15pm Jazz Line-Up 7. Schmidt Symphony No. St Petersburg PO/Yuri Temirkanov 10. BBC Proms Youth Choir.30pm In Tune 6.30-9am Breakfast with Clemency Burton-Hill 9am-12 noon Essential Classics 12 noon-1pm Composer of the Weekk Elgar (rpt) 1-2pm Proms 2015 Proms Chamber Music 8 Brahms Piano Trio No.45pm Proms 2015 Proms 74 Wireless Nights Prom with Jarvis Cocker. Webster In the Sweet By and By. Nikolai Lugansky (piano). Jonas Kaufmann (tenor).30pm Composer of the Week 7. 1. SHEILA ROCK 3 THURSDAY 6. BBC National Orchestra of Wales/ Thomas Søndergård 9-10. Op. Arne (arr. Vienna Philharmonic/Sir Simon Rattle 10-10. Britannia!. Yo-Yo Ma (cello) 12 midnight-1am Geoffrey Smith’s Jazz 6 SUNDAY 7-9am Breakfastt with Martin Handley 9am-12 noon Sunday Morning 12 noon-1pm Private Passions Val McDermid. Alison Balsom (trumpet).30pm Jazz Line-Up 5.45pm Gavrilo Princip’s Footprintt (rpt) – a look at the legacy of the 1914 assassination of Archduke Ferdinand 10.30pm In Tune 6.15pm Proms 2015 Prom 70 Tchaikovsky Francesca da Rimini.30pm Composer of the Weekk Elgar (rpt) 7. for up-to-date listings see Radio Times 1 TUESDAY 6.30-9am Breakfastt with Petroc Trelawny 9am-12 noon Essential Classics 12 noon-1pm Composer of the Weekk Brahms (rpt) 1-2pm Lunchtime Concert 2-4. Toby Spence (tenor).30pm Choral Evensong 4.30pm Words and Music 7. Henning Kraggerud (violin). C Hazell) The Sound of Music – medley. Igor Levit (piano). Magdalena Kožená (mezzo-soprano).30am-1pm As Monday 7 Sep 1-2pm Lunchtime Concert 2-4. d Symphony No. Thorpe Davie) Auld Lang Syne. Radio 4 show Wireless Nightss becomes a live concert experience. Ives Symphony No.30-6. Elgar ‘Enigma’ Variations. BWV 1008. 2.45m Words and Music 6. The Benedetti Elschenbroich Grynyuk Trio 2-4. 7 Suite No.30-10. BBC Symphony Orchestra/Marin Alsop 11pm-12 midnightt Hear and Now 12 midnight-1am Geoffrey Smith’s Jazz 13 SUNDAY 7-9am Breakfast 9am-12 noon Sunday Morning 12 noon-1pm Private Passions Kathryn Tickell (rpt).15-11pm Caucasian Roots 1 (rpt) 10 THURSDAY 6.30pm Sunday Feature CHOICE BBC M USIC M AG A Z I N E 91 > .15pm CD Review w– Building a Library 12.30pm Composer of the Weekk Elgar (rpt) 7. Benjamin Appl (baritone). Tchaikovsky Violin Concerto.30pm In Tune 6.30-7. Athena! (BBC commission.15pm Proms 2015 Prom 63 Messiaen Hymne. On the Town.15pm Proms 2015 Prom 69 Saint-Saëns Danse macabre.45pm Drama on 3 (rpt) The Oresteiaa by Aeschylus 3/3 11.30pm Prom 51 (rpt) 4.15-1pm New Generation Artists 1-2pm Lunchtime Concert from the 2015 Schwetzingen Festival. t Louise Dearman.30am New Generation Artists 7 MONDAY 6. The English Concert/Harry Bicket 4 FRIDAY 6. Elgar Pomp and Circumstance March No.30am-1pm As Monday 7 Sep 1-2pm Lunchtime Concert 2-3. Rodgers (arr. Puccini Tosca – ‘Recondita armonia’. BWV 1007. Ben Johnson (tenor). 4. y Zeuner Ye Christian Heralds. My God.30-8pm Proms 2015 Prom 67 Bernstein – stage and screen.30am Jazz on 3 presented by Jez Nelson 8 TUESDAY 6.30-6pm In Tune 6-7pm Composer of the Week Elgar (rpt) 7-9. 2 in C minor.30pm Choral Evensong 4.15pm Caucasian Roots 2 (rpt) 10. Parry (orch. BWV 1011. Bruckner Symphony No 7 in EE. 4 in G. Arvo Pärt Credo. Northumbrian pipes player 1-2pm Lunchtime Concert 2-3pm The Early Music Show 3-4pm Choral Evensong 4-5.30-7. Danielle de Niese (soprano).30pm Proms 55 (rpt) 4.30pm Prom 49 (rpt) 4. 8. Suite No. Trad.45pm Proms Plus Late 8 10. William Wolfram (piano).30pm Prom 44 (rpt) 4. Suite No.30pm Proms 2015 Proms Saturday Matinee 4 (rpt) 3. Charles Mutter (violin).45pm Proms 2015 Prom 71 Rimsky-Korsakov The Legend g of the Invisible Cityy of Kitezh – Symphonic Pictures.15-11pm Proms Plus Late 11pm-12. On the Waterfront. Orchestra of the Age of Enlightenment/Marin Alsop 10-10. R Strauss Till Eulenspiegels lustige Streiche.30pm Composer of the Weekk Elgar (rpt) 7. No.30-10pm Proms 2015 Prom 62 Brahms Academic Festival Overture. D’Anglebert and Couperin.30-10. Mozart Piano Concerto No. Thomas Walker (tenor).30pm Composer of the Week Brahms (rpt) 7.

3. An expert panel answers questions about the weekend QUIZ ANSWERS from p120 7.30pm In Tune 6. Brahms Gesang der Parzen. y Premonition. Arne Nordheim Den Første Sommerfugl. Mozart Symphony No. Gilbert & Sullivan HMS Pinafore. Broadcast as part of Radio 3’s Indian season 1-2pm Lunchtime Concert 2-3pm The Early Music Show 3-4pm Choral Evensong 4-5.45pm Free Thinking 10.30am-1pm As Monday 14 September 1-2pm Lunchtime Concert 2-4.45pm The Verb 10. London.30-7. Konstantin Wolff (bass). Professor Marcus Du Sautoy looks at how composers. London.30am-1pm As Monday 14 September 1-2pm Lunchtime Concert 2-4. perfect poulenc: BEN EALOVEGA. Orchestra of the Age of Enlightenment/Geraint Bowen 10.45-11pm The Essay 17 THURSDAY 6.30am Jazz on 3 22 TUESDAY 6.30pm Afternoon on 3 4.30pm Drama on 3 ≈ . Byrd Infelix ego.30pm Composer of the Week k (rpt) 7.30pm In Tune 6. below). d R Strauss Ein Heldenleben.30pm Radio 3 Live In Concertt from Maida Vale.30pm Afternoon on 3 4.45-11pm The Essay 19 SATURDAY 7-9am Breakfast with Martin Handley 9am-12.30-10pm Radio 3 In Concert from the Royal Air Force Museum.30am-1pm As Monday 21 September 92 BBC M USIC M AG A Z I N E 1-2pm Lunchtime Concert 2-4.30pm Afternoon on 3 4.30-6. have used patterns of mathematics and nature in their works 1-2pm Music Matters Tom Service explores how music can be used to manipulate the mind 2-4pm Saturday Classics from the Henry Wellcome Auditorium – a look at how mental illness has influenced great composers 4-5pm Words and Music a selection of prose and poetry looking at the power of music 5-6pm Question time from the Henry Wellcome Auditorium.45pm Free Thinking 10.45-11pm The Essay 18 FRIDAY 6. Glazunov Albumblatt. including works by Elgar.45-11pm The Essay 11pm-12.15-1pm Music Matters 1-2pm Lunchtime Concert 2-4pm Saturday Classics music 4-5pm Sound of Cinema 5-6pm Jazz Record Requests 6-7. Brahms Symphony No 1. ‘Nightclub’.30pm In Tune 6.30-1pm Playing With Patterns chamber concert from the Wellcome Reading Room. Edinburgh International Festival. Schicksalslied.30pm Choral Evensong 4.30-10pm Radio 3 Live In Concert from the Barbican.30-6. Stucky) Funeral Music for Queen Mary. Karen Cargill (mezzo-soprano).30pm-12 midnightt Hear and Now 12 midnight-1am Geoffrey Smith’s Jazz 20 SUNDAY 7-9am Breakfastt with Martin Handley 9am-12 noon Sunday Morning 12 noon-1pm Private Passions – Amitav Ghosh.30-6. Edinburgh.30pm In Tune 6. Tchaikovsky Francesca da Rimini.30pm Composer of the Weekk (rpt) 7. Edinburgh International Festival.30-7. Imogen Cooper (piano). Avanti Urania!! Piazzolla Histoire du Tango – ‘Café’.45pm Radio 3 in Concertt from the Three Choirs Festival. Edinburgh. Christopher Bell (chorus master). Toby Spence (Ralph Rackstraw).30pm Composer of the Weekk Shostakovich (rpt) 7. Op.30pm Afternoon on 3 4. Barbara Kozelj (mezzo-soprano).30pm-12 midnight Late Junction live from the Wellcome Trust. BBC Symphony Orchestra/ Sakari Oramo 10-10. Anna Caterina Antonacci (soprano.30-7. BBC Singers 10-10. JS Bach St Matthew Passion. Asian theatre in Britain.15pm CD Review – Building a Library Beethoven Symphony No.30-10.30pm Composer of the Weekk (rpt) 7. Toy Soldiers’ March. Edinburgh International Festival. Introduction to Why Music?. 40. A jealous maiden. Edinburgh International Festival. Edinburgh. Christopher Bell (chorus master).30pm Jazz Line-Up 7.30pm In Tune 6. Poulenc La voix humaine. Lang Lang (piano). London – an exploration through music of what makes us human.45-11pm The Essay 25 FRIDAY CHOICE WHY MUSIC? RADIO 3 RESIDENCY AT THE WELLCOME COLLECTION 6. Stravinsky Petrushka (1947).30pm Afternoon on 3 4. The 2.45pm Free Thinking 10. t Puccini Storiella d’amore. including a theme of synaesthesia 9am-11.30-10pm Radio 3 In Concert from Usher Hall. y Beethoven Piano Concerto No. ADRIANE WHITE soprano Anna Caterina Antonacci sings La voix humaine on 14 September Christopher Bell (chorus master). Matthew Brook (Christus). Canto d’anime.30pm Composer of the Week k Shostakovich (rpt) 7. James Oxley (Evangelist).30pm Afternoon on 3 4. Gabriel Jackson Ave dei patris filia. Rex Lawson (pianola). Miah Persson (soprano).45pm Words and Music 6.30-6. John Mark Ainsley (Rt Hon Sir Joseph Porter. BBC Scottish SO/ Donald Runnicles 10-10.30pm Choral Evensong 4. Jeremy Ovenden (tenor).30pm In Tune from the Henry Wellcome Auditorium. Hilary Summers (Little Buttercup) etc. Eric Whitacre Leonardo Dreams of His Flying Machine. 1.30-6.30pm The Choir 5. Coverage of the finals (see p90) 10-11.45-7. Taverner Leroy Kyrie. Edinburgh Festival Chorus.45pm Free Thinking 10. The BBC Symphony Chorus.30-4.45-11pm The Essay 23 WEDNESDAY 6. London.30pm Afternoon on 3 4. Sean Rafferty is joined by guests including pianist James Rhodes 6.30pm In Tune 6.30am-1pm As Monday 21 September 1-2pm Lunchtime Concert 2-4. Hereford Cathedral. Broadcast as part of Radio 3’s Indian season 7. Edinburgh Festival Chorus. 38 ‘Prague’.30pm Drama on 3 21 MONDAY 6.30-6.30-7. KCB). from Bach to Messiaen. Three Cathedral Choirs. Requiem.30pm Afternoon on 3 4.30pm Composer of the Weekk Shostakovich (rpt) 7. Edinburgh International Festival opening concert.45-11pm The Essay 11pm-12.30-6. sobbing bitterly. Budapest Festival Orchestra/Iván Fischer 10-10.30-4.30pm Between the Ears 10.45-11pm The Essay 24 THURSDAY 6.45pm Radio 3 Live in Concertt from St John’s Smith Square.30pm Composer of the Week k Shostakovich (rpt) 7. Bartók Piano Concerto No.30pm In Tune 6. Sole e amore.30pm Sunday Feature. Tallis Scholars/Peter Phillips 10. A special concert to mark this month’s 75th anniversary of the Battle of Britain and the history of aviation. London Symphony Orchestra/ Bernard Haitink 10-10.30am-1pm As Monday 14 September 1-2pm Lunchtime Concert 2-3. 2.l Shostakovich Regeneration.30-6. BBC CO/Michael Seal 11pm-1am World on 3 A look at links between domestic and work songs from around the world 11.30-9pm Radio 3 In Concert from the European Broadcasting Union (tbc) 9-11.30-10pm Radio 3 In Concert from Usher Hall. Philharmonia Orchestra/Esa-Pekka Salonen 10-10.000th concert of the Tallis Scholars. Sheppard Missa Cantate.30-6.30-9. Brahms Liebeslieder Waltzer (orch. Berlioz Grande messe des morts. E l’uccellino.30-7. Kathryn Stott (piano) 2-4.45pm Free Thinking 10. 4 12.30-10. Donald Sulzen (piano) 2-4.30am Late Junction 16 WEDNESDAY 6.30am Jazz on 3 15 TUESDAY 6.30pm Afternoon on 3 3. Elizabeth Watts (Josephine).45pm Free Thinking 10. Gabriel Jackson Airplane Cantata.30-7. Mahler Symphony No.30-9am Breakfast with Petroc Trelawny 9am-12 noon Essential Classics 12 noon-1pm Composer of the Weekk (tbc) 1-2pm Lunchtime Concert 2-4.30-7.30pm In Tune 6.30pm Why Music? Author Philip Ball asks why music is such a universal human trait 7. Edward Cowie Three Spitfire Motetss (world premiere).45-11pm The Essay 11pm-12. with compositions inspired by organs in the human body 26 SATURDAY 7-9am Breakfast with Martin Handley at the Wellcome café.30-10pm Opera on 3 from Usher Hall.30-10pm Leeds International Piano Competition. Philharmonia Orchestra/ Esa-Pekka Salonen 10-10. Andrew Foster-Williams (Captain Corcoran).30-9am Breakfastt with Petroc Trelawny 9am-12 noon Essential Classics 12 noon-1pm Composer of the Week 1-2pm Lunchtime Concert from Wigmore Hall. Brahms).30-7. ? a collaboration between Radio 3 and the Wellcome Collection. looking at links between music and behaviour. Tine Thing Helseth (trumpet). Edinburgh.30-10pm Radio 3 In Concert from Usher Hall.30-6. Kreisler Miniature Viennese March.30pm In Tune 6.30pm Composer of the Weekk Shostakovich (rpt) 7.30pm Afternoon on 3 3. London.30am-1pm As Monday 21 September 1-2pm Lunchtime Concert 2-3. Bengali Indian author. Edinburgh. Elizabeth Watts (soprano) etc.30pm The Listening Brain – Andrew McGregor looks at his own brain scan to discover how he responds to music 11.30-7.30-9am Breakfastt with Clemency Burton-Hill 9am-12 noon Essential Classics 12 noon-1pm Composer of the Weekk Shostakovich 1-2pm Lunchtime Concert from Wigmore Hall. Scottish Opera/ Richard Egarr 10-10. Trinity Boys Choir. Edinburgh Festival Chorus.30-7. Tribue Domine.30pm Composer of the Weekk (rpt) 7.30-6. Maxwell Davis and Judith Davis.30am-1pm As Monday 14 September 1-2pm Lunchtime Concert 2-4.30-10pm Radio 3 Live In Concertt from the Barbican. London.30-10pm Radio 3 In Concert from Usher Hall. Ye sacred muses.SEPTEMBER 2015 RADIO & TV LISTINGS 14 MONDAY 6. Purcell (arr.

Prom 76 is broadcast live on BBC Two (first half) and BBC One (second half).45pm Radio 3 Live in Concertt (tbc) 10. The Proms close with favourites from Arne and Elgar. 9 and are joined by Maria João Pires for Mozart’s Piano Concerto No.30-10pm Radio 3 Live In Concert (tbc) 10-11. Mahler Symphony No. Charlie Parker 6.30pm Jazz Line-Up live from the Wellcome Trust. times tbc ROMEO AND JULIET In 1965 the choreographer Kenneth MacMillan’s London staging of Prokofiev’s Romeo and Juliet caused a sensation when Margot Fonteyn and Rudolf Nureyev appeared as leads.30-6.30am-1pm Sunday Morning Chamber concert from the Wellcome Reading Room.30-10pm Radio 3 Live In Concert (tba) 10-10. Golf. Op. Papa.30-7. The NATO phonetic alphabet (Romeo/Juliet.30-7. 40.30am Jazz on 3 Presented by Jez Nelson 29 TUESDAY 6. head to the website or sign up to our weekly newsletter to be sent information about the week's classical programmes directly to your inbox. India 6-7. Anthony Marwood (violin). So to plan your weekly listening and viewing.30-7. including tenor saxophone and the Baroque viola d’amore.30pm Afternoon on 3 4.30-10pm Radio 3 In Concert from Usher Hall. professor of physics 2-4pm The Singing Ape – the origins of music-making.30pm The Descent Of Language Early music ensemble The Clerks perform in the Wellcome Reading Room 6. An exploration of music in the natural world. Romeo and Juliet 2.30-10.30pm In Tune 6. Oscar Wilde 4.30pm Composer of the Weekk Johann Baptist Vanhal (rpt) 7. James Ehnes (violin). Mike) . Lawrence Power (viola). TV and iPlayer. 22 November 7.30am Late Junction 30 WEDNESDAY 6. 23 BBC Four. Simon CrawfordPhillips (piano) 2-4.30-6.30pm Afternoon on 3 4.45-11pm The Essay 11pm-12. Presented by Tom Service. presented by Sara MohrPietsch. (see p90) 12 midnight-1am Geoffrey Smith’s Jazz SEPTEMBER TV HIGHLIGHTS THE LAST NIGHT OF THE PROMS 2015 Conductor Marin Alsop (above) is making a very welcome return to this year’s Last of the Proms after grabbing the headlines in 2013 for being the first woman to ever conduct the worldfamous final event of the season. Martinu˚ Three Madrigals for violin and viola. Op. And Arvo Pärt’s 80th anniversary is marked with his sublime Credo. Echo and Narcissus 9. presented from the Wellcome Café by Tom Service 2-3pm Sounds of Nature from the Henry Wellcome Auditorium.45pm Free Thinking 10.30-4.SEPTEMBER 2015 RADIO & TV LISTINGS xwho WEEKLY TV AND RADIO HIGHLIGHTS On our website each week we pick the best of the classical music programmes on radio. A concert with members of the Aurora Orchestra and featuring a performance of Anna Meredith’s Chorale.30pm Round up A look back at the Why Music?? Weekend 7. time tbc BBC M USIC M AG A Z I N E 93 8. 6 Sept.30pm Choral Evensong 4. 28 MONDAY 6. alongside Mahler’s Second BBC Four. BBC Four 10 September. with a talk by music psychologist Victoria Williamson 1-2pm Private Passions – Frank Wilczek.30pm In Tune 6. in what is expected to be one this year’s most intimate and breathtaking Late Night Proms.30pm JS BACH’S CELLO SUITES American cellist Yo-Yo Ma has a long association with JS Bach’s Cello Suites (see Music That Changed Me.45-11pm The Essay 11pm-12. Rebecca Clarke Dumka (Duo Concertante for violin and viola with piano).30am-1pm As Monday 28 September 1-2pm Lunchtime Concert 2-3. Brahms Trio in E flat.45pm Free Thinking 10. 4 Sept. Oscar.30pm Composer of the Week Johann Baptist Vanhal (rpt) 7.30-7. 10 in F sharp minorr (version by Deryck Cooke). 12 September. Mike Leigh 10. 2 to pieces by Gershwin and Morton Gould. time tbc Prom 24 Donald Runnicles conducts the world premiere of James MacMillan’s Fourth Symphony. Pianist Benjamin Grosvenor – BBC Music Magazine’s August cover artist – performs an eclectic mix of works. Golf 5. Proms 2015 Prom 68. November. The evening gets underway with the world premiere of Eleanor Alberga’s Arise Athena before the soloists. p99) and is performing all six – without an interval – at the Royal Albert Hall this summer. Echo. time tbc OTHER GREAT SEPTEMBER HIGHLIGHTS Prom 50 Pianist András Schiff tackles JS Bach’s masterful Goldberg Variations BBC Four.30-6. looking at musical memory 9-11. including tenor Jonas Kaufmann and soprano Danielle de Niese take centre stage. Glazunov Concerto for Violin in A minor. time tbc Prom 57 Conductor Bernard Haitink and the Chamber Orchestra of Europe perform Schubert’s Greatt Symphony No. Charlie. Edinburgh.30-10pm Music and Medicine Live from the Wellcome Café – Claudia Hammond and guests discuss music’s effect on mental and physical health 10pm-12 midnightt Hear and Now w live from the Wellcome Trust. BBC Scottish Symphony Orchestra/Donald Runnicles 10-10. from the Wellcome Café 11.30am Late Junction QUIZ ANSWERS from p96 27 SUNDAY 7-9am Breakfast with Martin Handley.30pm In Tune 6. from Shostakovich’s Piano Concerto No.30pm Drama on 3 last orders: 1.30-9am Breakfast with Petroc Trelawny 9am-12 noon Essential Classics 12 noon-1pm Composer p of Marin Alsop raises the baton for the finale of this year’s Proms the Weekk Johann Baptist Vanhal 1-2pm Lunchtime Concert from Wigmore Hall. London.30pm Composer of the Week Johann Baptist Vanhal (rpt) 7. The ballet was premiered in 1938 and Prokofiev makes use of some unusual instrumentation.30pm Afternoon on 3 3. plus ‘Auld Lang Syne’. 9. presented by Tom Service 5-6. India. from the Wellcome Café.30am Feeling Music – an exploration of the emotional power of music. 28 September. Papa 3.45-11pm The Essay 11pm-12.30am-1pm As Monday 28 September 1-2pm Lunchtime Concert 2-4. 82. 3 Sept. Sky Arts 2. presented by Julian Joseph 7. This autumn sees Covent Garden return to this iconic production.

This Dutton Epoch survey presents six varied scores – all splendid discoveries – from across Hadley’s career in mostly world premiere recordings. DELIUS & MILFORD BENJAMIN BRITTEN RALPH VAUGHAN WILLIAMS Violin Concerto op. his music promoted by many leading conductors and orchestras.15 A London Symphony (1920 version) Concerto for Two Pianos Philippe Graffin (violin) PHILHARMONIA ORCHESTRA Nicholas Collon (conductor) John Lenehan (piano) Leon McCawley (piano) ROYAL SCOTTISH NATIONAL ORCHESTRA Martin Yates (conductor) W CDLX 7322 FREDERICK DELIUS Violin Concerto Philippe Graffin (violin) ROBIN MILFORD The Darkling Thrush Philippe Graffin (violin) ROYAL SCOTTISH NATIONAL ORCHESTRA David Lloyd-Jones (conductor) W CDLX 7320 6IOLINIST 0HILIPPE 'RAFlN COUPLES HIS RECORDING OF "RITTENS BITTERSWEET 6IOLIN #ONCERTO WITH $ELIUSS6IOLIN#ONCERTO. VAUGHAN WILLIAMS. BRITTEN. John Alden Carpenter (1876-1951) was a descendant of the very John Alden Carpenter who CTTKXGFCV2N[OQWVJ /CUUCEJWUGVVU QPVJG/C[ƀQYGT*GYCUQPGQHVJGGCTNKGUVVQKPEQTRQTCVG LC\\ CPF . who bring verve and panache to the popular Concertino for piano and orchestra and the world premiere recording of Carpenter’s later Patterns for piano and orchestra.CVKP5RCPKUJƀCXQWTGF őRQRWNCTŒ OWUKE KPVQ JKU UEQTGU +P JKU FC[ JG GPLQ[GF C remarkable success. Also presented here is the delightful jazz-ballet Krazy Kat and Carpenter’s Leopold Stokowski commission. He developed his art from music founded in that of the German late romantic composers.American world premiere recordings* Henry Kimball Hadley John Alden Carpenter Salome – tone poem Scherzo Diabolique* San Francisco* Othello Overture* The Enchanted Castle* Cleopatra’s Night* Concertino for piano and orchestra Patterns for piano and orchestra* Krazy Kat Carmel Concerto* * WORLD PREMIERE RECORDINGS Keith Lockhart (conductor) Michael Chertock (piano) * WORLD PREMIERE RECORDINGS CDLX 7321 X Rebecca Miller (conductor) CDLX 7319 X Henry Kimball Hadley (1871-1937) was one of the leading American composers of the inter-war years and before. his musical car-ride Scherzo Diabolique being the Short Ride in a Fast Machine of its time. the beautiful Carmel Concerto. This Dutton Epoch release features brilliant American pianist Michael Chertock and conductor Keith Lockhart. but he subsequently searched for the roots of a distinctive American style.




King most wonderful Jongen Prélude Élégiaque op.2 Thalben-Ball Elegy for Organ Thalben-Ball DUU)LVKHU. Jesu dulcis memoria .THISGLORIOUSLY ATMOSPHERICPIECEPROVESTOBEAWORTHWHILEDISCOVERYTHATALLENTHUSIASTSFORINTER WAR%NGLISH ORCHESTRALMUSICWILLWANTTOEXPLORE SIR HENRY WALFORD DAVIES Sir Henry Walford Davies Solemn Melody for Cello & Organ.47 no. Solemn Melody for Organ Reverie for Organ & Two Voices O Jesu.20 no.QWHUOXGHLQ&&KRUDOHIRU2UJDQ)XJXHLQ%ÀDW Memorial Melody in C.1 Darke Chorale Fantasia on Darwell’s 148th Ye Holy Angels Bright op.




1: Arthur Pendragon Piano Concerto no. 12–14 June 2006 CDLX 7179 X For full release details visit | Many titles in the Dutton Epoch series are available on iTunes Dutton Epoch | PO Box 609 | Watford WD18 7YA | T: 01923 803 001 | The BBC Concert Orchestra and BBC Radio 3 logos are trademarks of the BBC and are used under licence. Glasgow. .1 Pilgrim for Double String Orchestra John McCabe (piano) BBC Scottish Symphony Orchestra Christopher Austin (conductor) Recorded at City DELETEDFROMTHEVERSIONGENERALLYPLAYED BACK IN THE CATALOGUE JOHN McCABE ARTHUR PENDRAGON Ballet Suite no.duttonvocalion.

Gordon Crosse and Piers Hellawell. Champs Hill Records is proud to support young performers and ensembles as they develop their professional careers. Champs Hill Records Available on CD or for download from all good record shops & online. and mix with some of the best British composing talents of today and the result is the Bach 2 the Future Follow Champs Hill Records .co. inspired by the solo violin music of J S Bach. a private 160-seat concert hall in the West Sussex countryside.BACK 2 THE FUTURE FENELLA HUMPHREYS violin Take one talented young British violinist. has become a venue of choice for recitals and chamber music. First release includes new works by Cheryl FrancesHoad. recordings and live broadcasts. The Music Room at Champs Hill. or direct from: www.champshillrecords. David and Mary Bowerman founded Champs Hill Records – an independent label dedicated to recordings made at the hall. young artists and under-represented repertoire – five years ago. Brahms: The Violin Sonatas Sadie Fields violin Jeremy Young piano Liszt | Scriabin | Medtner Poom Prommachart piano CHRCD079 CHRCD102 CHRCD104 CHRCD097 CHRCD092 “a golden tone in all registers with the utmost sensitivity to where every phrase is moving…” The Strad Love’s Old Sweet Song Kathryn Rudge mezzo-soprano James Baillieu piano Pictures at an Exhibition Federico Colli piano Over the last 15 years.

Please write ‘Do Not Contact’ if you prefer not to receive such information by post or phone. Prokofiev (1935) and Leonard Bernstein (1957) among many others? 2. 285 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. Stoke-on-Trent Immediate Media Company LE94 0AA to arrive by 26 August (solution in our December 2015 issue). written in 1891? 9. Who in 1999 directed Topsy-Turvy. Crossword 285. this pioneering saxophonist (below) died at the age of just 34 in 1955.1) Your name & address THE QUIZ ‘Bravo!’ if you can get full marks in this month’s quiz… 1.7) 5 Sort out odd place for conductor to stand (7) 9 Source of Last Night item in alto’s calendar (5) 10 Things like lullabies contralto alternatively recalled in song.oup. Nicknamed ‘Bird’.3.3. taking one word from each of the previous nine answers. Telling the story of the doomed love affair between the daughter of a high priest and a British army officer. Please write your email address on your postcard if you prefer to receive such information by e-mail. revolutionary. PO Box 501. publisher of BBC Music Magazine. with perfumed exterior (10) 13 Proms artist: ‘I boast I mostly affect foremost in audience’ (10) 16 Same detail in C appears in variation (9) 17 Bloke mostly facing Bartókian figure (8) 18 1940s pop group variously sink snooker shots (8) 21 Openings to include a bit of music for TV detective (6) 22 Composer’s French pastime overlooking last and final character (6) 24 Predicted lyric for singing would fit between beginning and end of ballad (5) 26 Orchestra not allowed to perform on the radio? (4) JUNE SOLUTION NO. Which nickname was bestowed on Joseph Haydn by his musicians at the Esterházy Court in recognition of his benevolent nature? PICTURE THIS 5. Delibes’s opera Lakmé is set in which country? 8. possibly (9) 11 Raise tone of fellows beginning to tire after August (7) 12 Stringed instrument and nothing more for silent performer (5) 14 Musical composer’s inability to write. 282 JUNE WINNER V Jones. about to get flowers? (2. what is the theme running through this month’s quiz? See p93 for answers 96 BBC M USIC M AG A Z I N E . Who is he? 8 Russian composer. Richard Strauss’s 1905 opera Salome was based on whose play of the same name. Described by Mahler as ‘one of the greatest masterpieces of our time’. Which Shakespeare play inspired works by Berlioz (1839).3) 27 Popular page in Proms guide? Arranged for more to be sent round road (5-4) 28 A lot of good fortune around Puccini’s birthplace (5) 29 See 1 across 30 Played cymbal and exhibited passion? (7) DOWN 1 Stringed instrument and wind instrument missing forte (4) 2 Incessant vibrato provides examples (9) 3 Shostakovich premiere arranged to be placed after end of concerto (6) 4 Master of Musick briefly linked to the clergy? (6) 5 Elevated spot for containing old location of Fiddler? (4-4) 6 Cabaret composer’s form of hedonism (8) 7 Programmed premieres of Debussy and Ravel for a quiet time (1. vulgar. and also the birthdays of composer Benjamin Britten and pianist Stephen Hough? 7. Which date in the calendar marks the feast day of St Cecilia. as it involves no risk of accident’? 10. may contact you with details of our products and services or to undertake research. the award-winning film about Gilbert and Sullivan starring Allan Corduner and Jim Broadbent? 4. Leicester. possibly (4.September prize crossword No. being resolute about musical work (4. Send your answers to: BBC Music Magazine. Crossword set by Paul Henderson ACROSS 1/29 Pianist in five Prom concertos – and five soli almost seen. In which Ovid-inspired opera by Gluck (1779) are Cupid’s attempts to bring the two eponymous characters together hindered by one of them having already fallen in love with himself? 3. Tchaikovsky (1880). a very keen player himself. initially under duress. 6. Which sport did Elgar. Finally. describe in 1904 as ‘the best form of exercise for writing men. having forgotten line (4) 15 University piano is used in Wagner operas. patron saint of music.3) 25 Stay for Late Prom. prompting rebellion (8) 19 A bass makes mark: refuses to participate? (8) 20 Proms pianist with some hidden knowledge (4) 23 I note

Tower House. played by the BBC Symphony Orchestra How closely are the worlds of music and maths related? Professor Marcus du Sautoyy explains all Hard lessons Sandy Tolan n tells how Palestinian children have been defying the odds in their war-torn region by aspiring to learn and perform music together Gustav Mahler The Austrian who sought to bring the whole world into his music is Composer of the Month Competition terms and conditions Winners will be the senders of the first correct entries drawn at GERT MOTHES South Africa BBC Music Service. Not for resale. In the event of any material being used inadvertently. MSS. for any other purpose than for contacting competition winners. e-mail: service@jacklin. Shelton CT 06484-6238. Inc. acknowledgement will be made in a future issue. the conductor is enjoying a golden era. Selmer. The judge’s decision is final and no correspondence will be entered into. Entrants agree to take part in any publicity related to these subscribe@jacklin. POSTMASTER: Send address changes to BBC MUSIC. except employees of Immediate Media Company Limited. TN 38375-0669. 2. West Midlands. UK. The prizes shall be as stated and no cash alternatives will be offered.. Private Bag 6.40 Rest of World £74 UK. SC and additional mailing Jan-Dec 2014 37. 0046 For sales prices: Tel (+27) 011 265 4303. Every effort has been made to secure permission for copyright material. Bristol BS1 3BN.40 Europe/Eire £65 US $99 Canada $131. CENTURION. Sittingbourne. Rest of World) e-mail: bbcmusic@servicehelpline. Competitions are open to UK residents only. the promoter and their agents. Fairfax Street. e PO Box 279.NEXT MONTH in BBC Music Magazine Volume 23 US/Canada BBC Music Magazine. Suite 945. PO Box 669. Proof of postage is not proof of GETTY. No purchase necessary. 12 BBC Music Magazine (ISSN 0966-7180) (USPS 018-168) is published 13 times a year by Immediate Media Company Bristol Limited under licence from BBC Worldwide. © Immediate Media Company Bristol Limited. 2015 Riccardo CHAILLY Printed by William Gibbons & Sons Ltd. 9th Floor. This magazine can be recycled. WV13 3XT. Entrants’ personal details will not be used by Immediate Media Company Views expressed are not necessarily those of the publisher. Jacklin Enterprises. Periodicals postage paid at Seneca. Only one entry per competition per person. or where it proved impossible to trace the copyright owner. Please remove any gifts. BBC M USIC M AG A Z I N E 97 . Fax (+27) 011 314 2984. Rest of World BBC Music Magazine. UK Orders/enquiries/back issues 0844 844 0252 (UK) or +44 (0)1795 414749 (Europe. for use in newspapers and packaging. TN 38375-0669 Toll-free order line: 1-866 461 4730 e-mail: music@magcs. 898993548RT In Leipzig and at La Scala. Willenhall. GST Registration No. Charles Searson meets him Distributed in the US by Circulation Specialists. All rights reserved. samples or wrapping and dispose of it at your local collection point. e PO Box 669. 2 Corporate Drive. Kent ME9 8DF. Immediate Media Company Ltd is working to ensure that all of its paper is sourced from well-managed forests. All entrants are deemed to have accepted the rules (see opposite) and agreed to be bound by them. Subscriptions and back numbers On sale from 26 August 2015 (UK) Sums and songs Online subscriptions www.530 Edvard Grieg Music from Peer Gynt plus Stenhammar’s Symphony No. ISSN 0966-7180.classical-music. publisher of BBC Music Magazine. Subscription prices for one year (13 issues): UK £62. Immediate Media Company Limited accepts no responsibility for entries lost or damaged in the post. photographs and artwork are accepted on the basis that BBC Music Magazinee and its agents do not accept liability for loss or damage to same. Unauthorised reproduction in whole or part is prohibited without written permission.


99 BBC M USIC M AG A Z I N E 99 . and then. Petra and then to Aqaba where I was asked to play something for King Hussein. He playing it with Eugene Ormandy in 1961. It achieves a complete world view. October releases a new album with When I was 12. he has made more than 90 by landscape designer Julie Moir Messervy.MUSIC THAT CHANGED ME Yo-Yo Ma cellist STEPHEN DANELIAN I have been playing the suites for solo cello byy JS BACH for 55 years. and have such an things are. Here we were in this post-Soviet world. I read major third: life and hope. I recall the first time I sat down to the Prelude from Suite No. It requires a it and I went to the Berlin Wall. the basic building blocks of music – and of our digital world – and Bach’s observation of nature through the prism of human experience. In a month I would get through one movement. with all these countries p oof which we knew so little… The Silk Road project was born. That falling third is carried in one’s my own energy. BOBBY MCFERRIN changed my life. and expressed on a wider platform. But you can’t in n with the improvisation: I explained that I didn’t do that. Bach is central to an understanding of music. I went to Israel. It was where the edges of these two ssystems combined that the SILK ROAD ENSEMBLE E came into being. 100 Beaux Arts Trio Philips 475 7571 £10. 1. One of the most wonderful and founded the Silk Road Project. The idea that passionate patience to wait for that seismic music could speak to people in a world where change. Much later in my life I was forced to think more deeply and laterallyy a lifelong appreciation: about these works: what was their ‘Bach is central to an meaning. when the Mediterranean had bbeen joined to the Pacific via a trade route oof cultural exchange. the Dixie Chicks. JJerusalem. and in allowed me to watch Bach’s mind at work. I had been in Jordan at a conference. forced me to do 40 minutes of improvisation. I met with the Middle Eastern H Youth Orchestra and we exchanged ideas. near the end. beyond which m I could see another musical ecosystem. It took me to the edge of my lawn. at Tanglewood.99 Shostakovich Cello Concerto No. encompassing a Arc of Life (Sony). whole life. ■ R IInterview by Helen Wallace YO-YO MA MUSIC CHOICE JS Bach The Cello Suites Yo-Yo Ma (cello) Sony 82876787512 £12. a rich. The Silk Road Ensemble Sony 88883757732 £ On things was Mark Morris’s choreography to 5 September he plays JS Bach’s six solo the Prelude in C major. I spent a year living pianist Kathryn Stott: Songs from the with SCHUBERT’s E flat Trio. and to thinkk YO-YO MA WAS BORN in Paris in about the specific emotional characters of each 1955. worthwhile pursuit for a child. I heard the recording of Mstislav Rostropovich recognised Russia would win with this voice. for the Sixth Suite. Op. taking it all in. I was wildly excited the Leningradd Symphony on the radio: he by SHOSTAKOVICH’s First Cello Concerto. He played for John F Kennedy suite. A world-renowned Atom Egoyan. collaborated with jazz singer Torville and Dean. comes the radiant Shostakovich had just come out in 1974. In that Preludee you find endless permutations of regularity and irregularity. however difficult they could believe nothing. day by day. why do they affect so many understanding of music’ people so powerfully? I began to read Albert Schweitzer on Bach. we humans do have the power to impact – that was so powerful. I wanted to see how this music could be when he was just seven years old. learning two bars a day. Solomon Volkov’s book on ear. that German soldier surrended when he heard As a student at college. the ‘Music Garden’ in Toronto performer. I needed to find death. an infinite variety. an all-encompassing intelligence. Yo-Yo Ma (cello) Sony 88697556512 (See prestoclassical. No wonder change things – it’s in all of us. It reminds me that. That was a giant step: I ccould have fallen flat on my face. In the second movement we hear Schubert’s response to Beethoven’s imitate: when I learned it. Philadelphia Orchestra/ Eugene Ormandy Regis RRC1385 (see iTunes) Hush Bobby McFerrin (vocals). a gigantic force of nature. aged four. So I approached studied at the Juilliard School and six different artists: we had a film by director Harvard University. He said he wanted me to join and I responded to his energy. from the depth of mourning to transcendence. who created an ice dance Bobby McFerrin. 1 Mstislav Rostropovich (cello). Y I realised I wanted to explore a slower gglobal age. Falling down stairs: it cello suites at the BBC Proms. and recordings.99 Schubert Piano Trio in E A Playlist Without Borders Yo-Yo Ma (cello). It It was the height of the Cold War: he was was Leonard Bernstein’s 70th birthday concert like a hurricane.