Mortal Voices: Academy of Ancient Music at Milton Court review ****

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Academy of Ancient Music, Christian Curnyn (director and harpsichord), Keri Fuge (soprano), Tim Mead (counter-tenor)

Milton Court Concert Hall, 15th February 2018

  • Corelli – Concerto grosso Op 6 No 1 in D major
  • Handel – Cantata HWV 230 “Ah! Che troppo inequali”
  • Handel – Cantata HWV 82 “Il Duello Amoroso”
  • Pergolesi Stabat Mater

As usual after BUD and I had chewed over the big economic, social, philosophical and political questions of the day, and reminded each other just how clever we are, as well as scoffed on some tasty, if evil, fare at the redoubtable Bad Egg in Moorgate, there was minimal time for a preview of the evening’s entertainment. Which meant that BUD got the shock of his life when Tim Mead opened his mouth in the second of the Handel cantatas in the programme. He wasn’t expecting a counter-tenor. Especially from a man who could easily pass as the next James Bond given his rugged good looks and sartorial elegance.

My what a voice though. Now if you are a fully paid up, Baroque, (especially Baroque opera), and, increasingly, Contemporary classical, music enthusiast, you are going to come across a fair few counter-tenors. I think I have heard voices with more power and range than Mr Mead’s but not as much clarity and brilliance. This was apparent in the “Il Duello Amoroso”, a decidedly dodgy tale of unrequited love between a shepherd and a goddess, where the counter-tenor and soprano voices sparred elegantly. It really came to the fore however in Pergolesi’s wham-bam, smash hit Stabat Mater.

Pergolesi didn’t get up to much musically. Dying at 26 from TB didn’t help, and, if I am honest, the bits of his output I’ve heard, (or have recordings of), beyond the Stabat Mater aren’t that memorable. Churning out lightweight, comic operas, for your ADHD aristocratic patrons is not, unsurprisingly, a recipe for a lasting musical legacy. When he hit upon this medieval Latin setting of the Christian staple of Mary lamenting her son’s suffering on the cross, he struck gold though. Just a shame it was only completed a few days before he popped his clogs. Still thanks to Bach, and others, the score was widely disseminated in the C18 and has never gone out of fashion.

That’s because, musically and lyrically, he doesn’t hang around. The 12 verses make a virtue of brevity. None is more than 5 minutes long and the whole comes in at 40 minutes. There is loads of contrast, audible human touches and plainly programmatic twists where text and music are perfectly matched, and the fusion, for that is what it is, of Baroque and early Classical, means it is easy, and very affecting, on the ear. Others have had a stab at setting the Stabat Mater, Vivald and Haydn, come to mind, but this tops the lot.

Obviously the AAM, especially the strings, nailed the score, and gave plenty of space for the two excellent soloists to capture the drama and pathos of the setting. Whether individual aria or in duet both singers seemed to really care about the music and text. Forget the religious mumbo-jumbo, this is the moving story of a Mum’s grief. Best bit. The Fac ut portem Christi mortem from Tim Mead alone. Very moving.

I was less convinced by the Handel. That’s just me and Handel though. It is always a pleasant experience listening to GFH but it never really involves me.  Even 4 hours of his operas. I hope to get lifted up and swept along but always end up earthbound. Even, whisper it, in a Messiah. He’s a flash Harry make no mistake, and all those voices, here, there and everywhere, is proper WOW, but it all feels a bit devoid of emotion. A man can only have so much bouncing bass and celebratory trumpet action. Anyway I was happy enough to go with the pleasant enough flow in these two cantatas.

The programme kicked off with Corelli’s Op 6 No 1 Concerto Grosso. You cannot go wrong with that. The 12 Concerto Grossi are like a Corelli greatest hits collection. There will always be some stunning concertante work, the two violins and the darker cello, beefed up by the ripieno players, the rest of the band. This concerto has some brutally fast semiquavers stuff for the solo cello and his violin mates and some lovely lyrical, slower dances to kick off the first couple of movements. There is plenty of room to blag which Bojan Cicic, (he really is a top violinist), Rebecca Livermore and Joseph Crouch took full advantage of. The whole band though seems to delight in playing together. That is why, even if I am not absolutely sure of all the musical ingredients, I will try to see all their London concerts.

I recommend you try to do the same, especially if you are new to the Baroque. And I also heartily recommend you dip into recordings of Pergolesi’s Stabat Mater and Corelli’s Concertos if you haven’t already. You won’t regret it.

Gundog at the Royal Court Theatre review ***

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Gundog

Royal Court Jerwood Theatre Upstairs, 15th February 2018

Always a tricky business knowing what to pick out when booking in advance for productions at the Royal Court. Obviously if it is a big name playwright, or someone with previous form, probably best to get in there sharpish and buy blind. For newer writers it is a trickier proposition. Even I can’t justify/manage pitching up at everything they stage but waiting until productions open, or worse still, reviews trickle in, is a losing strategy given the generally high quality of the offer from the world’s greatest “writers’ theatre”.

Now I really liked the sound of Simon Longman’s debut major play Gundog. The blurb suggested a meditation on the rigours of rural life, the passing of time and the impact of a stranger. With maybe the prospect of a twist. Which, broadly, is exactly what it was. Without the twist. We were presented with a stage of mud, lots of mud. (I have seen a few of these indoor fields now: Joe Hill-Gibbons’s Midsummer Nights Dream at the Young Vic and Pina Bausch’s Rite of Spring at Sadler Wells – la di dah. In this case I spent maybe a little too long contemplating how long it took, and who got roped into helping, to get the earth up and down the Royal Court stairs/lifts).

Loud bang, A flash of light and we are presented with a dead lamb, (not real so keep calm animal lovers). On stage are garrulous Anna, holding a shotgun, taciturn Becky, and Guy, who is plainly “not from round there”. Turns out Anna and Becky are sisters who run the failing family sheep farm and migrant Guy Tree, (“no-one can pronounce my real name”), has wandered into their world. He stays to help out. For a few years. Mum died way back. Dad, unseen, is mired in deep depression, mourning for his wife. Grandad is losing his marbles, though with flashes of lucid pathos. The less than prodigal son Ben returns after having conspicuously failed to secure his fortune. He’s even had his shoes nicked.

Time passes. In the first and third acts, forwards. In the second act, backwards. Each act ends with the death of an animal, the final and fourth act with a torrential storm. Disease ravages the flock, perhaps caused by Ben’s ineptitude, and the already precarious economics of the farm unravels. The sisters take to rustling. This is a miserable existence make no mistake. Dad takes his own life. Ben has tried and failed to escape, Becky has no choice, consumed, as she is, by the business of running the farm, Anna sees no point in any other life, she has given up on school, and Guy has nowhere else to go. Certainly not the idyllic arcadia we urban softies might dream about.

Lighting courtesy of Lee Curran, sound from Peter Rice, Chloe Lamford’s aforementioned set and Vicky Featherstone’s direction all work to emphasise this static, invariable world. Mr Longman’s dialogue, which is laced with dark humour, and the structure of the play feels very accurate. Perhaps too accurate for without any shift in tone or plot there are times when this became a little wearing. The idea is laudable, the execution powerful. Just a little too, er, still.

Ria Zmitrowicz as Anna once again caught the eye as she did in Alistair McDowall’s wonderful play X at the RC a couple of years ago. I look forward to seeing Rochenda Sandall again based on this understated portrayal of Becky. Alec Secareanu is a talented Romanian actor who, unsurprisingly, convinced as Guy. Alan Williams was as dependable as ever as grandad Mick and I know just how good Alex Austin, who played Ben, can be from his performance in Thebes Land at the Arcola, though in this he pushes a little at the histrionic.

Definitely worth seeing but maybe Simon Longman’s play is just a little bit too enclosed, as it were. The malleability of time and the power of nature are absorbing themes to explore, (look no further than the stage adaption of the mythic Picnic at Hanging Rock brought to the Barbican by Aussies Malthouse and Black Swan State Theatre). The precariousness and grind of rural existence is also a more than legitimate subject for artistic exploration. Mind you this was more satisfactorily captured by Hope Dickson Leach’s recent debut film The Levelling, which also had its own, mysterious plot (The Levelling film review *****). Still Simon Longman is clearly a writer with real credibility so I await his next move with considerable interest.

 

SCO Winds at Wigmore Hall review ****

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Scottish Chamber Orchestra Wind Soloists

Wigmore Hall, 12th February 2018

  • Beethoven – Sextet in E flat, Op 71
  • Poulenc – Sonata for clarinet and bassoon
  • Beethoven – Octet in E flat, Op 103

A rare opportunity for completists to hear performances of Beethoven’s Sextet and Octet written for wind instruments. Now there is enough wind repertoire, (as it were), to keep a few ensembles ticking over on the side but, generally, if you like this sort of stuff, you have to keep a beady eye open and/or hear student performances. There doesn’t seem to be a widely available recording of these works, (there is one from the Chamber Orchestra of Europe but tricky to track down it seems). So to see the specialists from the Scottish Chamber Orchestra turn up at Wigmore Hall, with a new recording in tow, was an appetising prospect, at least for the Tourist.

The Sextet may be numbered Op 71 but it is a very early work from 1796 when the grumpy one was just getting going. He dismissed it later on but he was wrong, as, apart from a few dodgy songs, (never quite mastered that surprisingly), he never wrote a dull note. Scored for two each of clarinets, bassoon and horns, it may not approach the beauty and complexity of the Octet but there is more than enough to sink your teeth (or ears) into here. There is a fascinating syncopation early on from the clarinets in the opening Adagio and a simple four note motif from clarinets and bassoons emerges in the ensuing Allegro, with a second theme coming from first clarinet, before development and recapitulation brings in the bassoons and, properly, the horns. The bassoons then do most of the lifting in the lovely Adagio in B flat major, with horns coming in for the following Menuetto. The final movement is a classic(al) Beethoven foot tapping Rondo, with a march like theme with some horn blasts at the end. It’s not rocket science, it obeys all the rules but it is still inventive given the instrumentation. And the band coped admirably with a poorly chap in the audience. halfway through

I am always momentarily intrigued by Poulenc’s music but it never really turns into much more than this I am afraid. I know you are supposed to get fired up by his choral/vocal/operatic works but it all feels a bit of a trial and suffused with Catholic guilt. And the piano stuff is a bit lightweight. He did though deliver some boppy tunes for wind instruments in his chamber works, including this Sonata for Clarinet and Bassoon, here delivered, I think, by Peter Whelan and Maximiliano Martin. Given the two instruments and Poulenc’s style there is nothing very profound going on here and indeed the audience gets to snigger at the end of the second and final movements. There are echoes of Mozartian divertimenti, Stravinsky’s appropriation of the Classical and some jazzy touches. So correct boxes ticked and some interest in the returning downwards lines in first and second movements. And the boys seemed to be having a good time.

Now the Octet really is a fascinating piece. Published as Op 103, (so near the Hammerklavier for example), it was actually written in 1792, before the Sextet and when Ludwig was only 22. Scored for two each of oboe, clarinet, bassoon and horns it might have been started in Bonn when LvB was circling around the Elector of Cologne. It was finished when he was studying under Haydn, though subsequently revised a bit with the last Presto finale replacing the original ending Rondino WoO25, (which might have been nicely squeezed in to this programme – just saying). He even took it and turned it into the String Quintet in E flat Op 4 to get it a proper audience. It is a remarkably assured piece with the sort of invention you expect in much later Beethoven chamber pieces. The opening motif is given a proper working out in the opening Allegro in a myriad of ways, the following Andante is one of those languid, sing-songy Beethoven melodies that insinuates itself effortlessly into your head. Then he writes a Scherzo. It may be labelled a Menuetto but Scherzo it is, with the influence of mentor Haydn apparent but with some uncanny foreshadowing of the kind of barnstormers Ludwig would create later on, albeit still fairly polite. The final rondo gives the horns their time to shine (though they get fulsome opportunity earlier on) and is a properly upbeat ending.

So there you have it. Music written for instruments favoured by German and Austrian courts from a time when Beethoven had to play the game and before he went all serious artist, look-at-me. But even this is so much more than the kind of burbling, bubbling, babbling wind pieces that these toffs at the time loved. A pleasure to hear, made more pleasurable by these expert interpreters. Chalk up another CD sale ladies and gentlemen of the SCO.

Colder Than Here at Guildhall School Milton Court Studio review *****

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Colder Than Here

Milton Court Studio, 13th February 2018

Another visit to see the final year actors at the Guildhall School take on a fascinating contemporary play. Another excellent production laced with outstanding performances. Even better than the production of Edward Bond’s Saved, (Saved at Guildhall School Milton Court Studio review ****) which I had not expected.

Now playwright Laura Wade is best known to you culture vultures from her play Posh, later remade as the film The Riot Club directed by Lone Scherfig (who is an excellent director BTW). It is a not so thinly veiled parody of the infamous Bullingdon Club at Oxford University, the proving ground for rich, obnoxious toffs and, I fear people, many of your leaders. If you are only a casual theatre-goer put this on your list. I guarantee you will love it. That is why it has been so frequently revived since its Royal Court premiere in 2010.

I can’t vouch for any of Laura Wade’s other work with the exception of her adaptation of Sarah Water’s novel Tipping the Velvet, directed by the wonderful Lyndsey Turner at the Lyric Hammersmith. Now there is no easy way to say this but I did initially fell a little self-conscious when I rocked up to this as a solo, 50 year old fat bloke amongst such a glamorous audience. Once I had relaxed into it however I enjoyed the entertainment. The music-hall setting worked well, the musical arrangements were jolly, there was plenty of eye-catching capers, the cast attacked the text with gusto, especially Sally Messham, (seen recently in the Orange Tree/Paines Plough/Theatre Clywd triple bill), and Laura Davies, (the best actor in Rose Kingston’s recent revival of Rules for Living – Rules For Living review at the Rose Theatre Kingston ***). It was, as others observed, maybe a bit tame and less gritty in tone than Sarah Water’s book but a pleasure nonetheless.

So this then was an opportunity to see one of Ms Wade’s highly regarded earlier plays. And what a fine play it is. Down-to-earth, (no pun intended), Myra has terminal bone cancer. She determines to have a green burial and ropes husband Alec, and two daughters, headstrong Jenna and more measured Harriet, into her plan. As Myra says “you’s got to keep busy if you’re off work with dying”. That’s about it. Yet Laura Wade’s writing is so exact and light of touch that we learn a lot about, and laugh a lot with, this normal family having to deal with death. Frankie Bradshaw’s set is a commonplace front room flanked by copper piping which extends to the video design of K. Yolland. This serves as the backdrop for the six scenes where the family, in various combinations, visits potential natural burial sites.

Myra’s matter-of-fact approach to the end of her life, Alec’s refusal to talk directly about it and his frustrations with bureaucracy, Jenna’s drama-queen, boyfriend troubles and the eventual breakdown of Harriet’s composure, all reveal that their displacement and coping mechanisms are fragile. We can feel the sorrow beneath the comedy but the play never feels sentimental or mawkish.

So plenty for the four actors to get their teeth into. I was particularly impressed by the two sisters played by Phoebe Marshall and Mhairi Gayer. To be fair they probably have the best of the play in the scenes where they visit potential burial sites together. Phoebe Marshall cleverly shows us that Jenna’s truculent exterior is thin disguise for a sweeter interior. Mhairi Gayer, who was outstanding as Anya in the Guildhall’s Cherry Orchard last year (The Cherry Orchard at Milton Court Theatre review ***), was utterly convincing as Harriet. I expect an illustrious career lies ahead of her. Tallulah Bond and Jonny Lavelle had a bit more work to do playing characters twice their age but both delivered admirably. Director Lisa Blair precisely captured the tone of the play.

Now you can see plenty of contemporary and new plays in our great subsidised or, when the reputations justify it, commercial theatres where the whole turns out to be less than the sum of the parts. Ambition trumps execution. So it really was a pleasure to see this very fine, gentle play, which still has much to say, performed with such care and attention. Even down to, with the odd wobble, the West Midlands accents. And all for a tenner. Brilliant.

 

 

 

Saved at Guildhall School Milton Court Studio review ****

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Saved

Milton Court Studio, 10th February 2018

Now one of the manifold pleasures of being a layabout theatre addict is the ability to pitch up midweek to one of the invariably excellent performances served up by the students at London’s prestigious drama schools. Outstanding talent, likely to go on to glittering careers, matched by similarly gifted technicians and creatives and often guided by big name directors and designers. The auditoria at the Guildhall and RADA are some of the best in London, state of the art, comfortable, with perfect sight lines, and tickets are a bargain.

What’e not to like. Well as one, slightly confused, old boy at one performance I attended remarked afterwards, “they’re a bit young aren’t they”. Even if we accept the literal truth of this it rarely matters, with audaciousness often trumping inexperience. Best of all it often gives the curious theatre-goer a chance to see “classic” plays which maybe don’t often get an airing for one reason or another.

That certainly describes Saved. Edward Bond’s (in)famous 1965 play. The play premiered at the Royal Court Theatre to a private audience, as writer and director, William Gaskell, refused to make the cuts demanded by the Lord Chamberlain’s Office to secure a licence. The Lord Chamberlain decided to prosecute. The theatrical world was outraged, and, despite those involved in the production pleading guilty and getting fined, the absurdity of this censorship eventually helped to hasten the demise of this licensing system in 1968. The play was then immediately revived at the Royal Court, but was rarely performed thereafter, (in large part because Mr Bond rejects most professional requests to perform it), until Sean Holmes, (of course given his pedigree with provocative theatre), took it on in 2011 at the Lyric Hammersmith.

Autodidact Edward Bond, (there he is above), brought all the violence he had seen through the war years, and in his working-class upbringing, to bear on Saved, his second full length play. Indeed violence is the theme that runs through much of his work and his influence on later generations of British playwrights is patent. Saved is set in the South London of the 1960’s, socially, culturally and economically impoverished. This is no “kitchen-sink” period piece though. In some way it could have been written yesterday with a few tweaks to the language, (it being a fairly hackneyed, “gor-blimey”, argot with fairly pedestrian swearing).

Len and Pam hook up. They go boating, where Pam meets Fred, who she falls for even though he is a prize sh*t. Len has moved in with Pam and her parents, Mary and Harry. Theirs is not a happy marriage. Pam has a child by Fred, though neither turn out to be naturally suited to parenthood it’s fair to say. Fred goes fishing, watched by Len. Fred’s mates turn up ,as does Pam with the baby. She leaves the baby. Goading each other on, the gang taunts, and then stones, the baby in its pram. When Pam returns she doesn’t realise her child is dead. Fred is jailed for his part in the crime. When he gets out Pam begs him to come back to her. Len and Mary flirt. There is a huge row. Len fixes a broken chair: offering some hope of redemption at the end.

It may sound like bleak, visceral stuff. The central scene which so offended the critics at the public premiere is brutally shocking. As shocking as I have seen on stage. Violence may permeate contemporary culture, but theatre makes it more “real”. To the gang the baby is no more than a “thing”, such is their poverty of empathy. Despite this extreme, the play seems to me to present some real truths about an alienated society and the psychological damage it inflicts on people. No need to chuck drink, drugs, crime, consumerism, media into the mix. The essence of the relationships, fuelled by anger, resentment, bitterness, jealousy, boredom and frustration, rang true to me without foregrounding these addictions. The violence simmering under the surface of humanity colours each scene, each line, each interaction. The tone is not moralising, hectoring or judgemental. These are delicate, damaged, hopeless people. The final, wordless scene, is almost as affecting as the central, brutal scene.

Edward Bond’s plays were increasingly ignored from the 1980s, in part reflecting his own dissatisfaction with contemporary theatre practice. His most recent plays have been largely confined to the Big Brum company in Birmingham in this country, though his work is more widely performed in Europe, especially France. This is a shame, if that is the right word for drama suffused with violence. I would love to see, Early Morning, the surreal satire that followed Saved, or his other “classic”, Bingo, which puts a violent twist on Shakespeare’s later years. In fact, on the basis of Saved, I would try any of his work now that I have read about it.

He does though allow students to take on his work regularly. Which gave this accomplished cast an opportunity they all grasped with both hands. Toheeb Jimoh as Len had something of the observer about him, complicit in his manipulation by Pam, Fred and Mary. Shalifa Kaddu’s Pam was riveting, initially confident, crushed by Fred’s rejection, finally consumed by anger. I was also extremely impressed by Ellie Rawnsley as Mary, who effortlessly captured the brassy bearing and rancour of a character twice her age. Similarly Alex James-Cox, with very little dialogue until his heart to heart with Len near the end, shows Harry as a careworn, shuffling man clinging to routine to fill the void of his life and marriage. Joe Bolland, who played Fred, was perhaps the most assured. This is a powerful, brilliantly constructed play, make no mistake, and this cast, under experienced director John Haidar, did it real justice.

 

Stravinsky from the LPO at the Royal Festival Hall review ****

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London Philharmonic Orchestra, Vladimir Jurowski, Alexander Ghindin (piano)

Royal Festival Hall, 7th February 2018

  • Igor Stravinsky – Scherzo fantastique, Op 3
  • Igor Stravinsky – Funeral Song, Op 5
  • Nikolai Rimsky-Korsakov – Piano Concerto in C sharp minor, Op 30
  • Igor Stravinsky – The Firebird (original version)

My favourite concert of last year was Sir Simon Rattle and the LSO’s take on the three, culture changing Stravinsky ballets. Just stunning. (My favourite classical concerts of 2017).

Suffice to say that whilst Sir SR’s Petrushka and Rite of Spring were, (predictably), barnstorming it was The Firebird which really made me sit up, listen and think. Firstly because it was the original full ballet score which I do not listen to often enough. (I have recordings by Rattle/CBSO, Dutoit/Montreal SO, Abbado/LSO and Salonen/Philharmonia so its not as if I have an excuse). Secondly because he, and the LSO, were able to show how much of even the Firebird looks forward to the subsequent two ballets and the announcement to the world of Stravinsky’s own, revelatory voice, as well as back to mentor Rimsky-Korsakov’s orchestral colouration. And thirdly because it was just so good, even in the more restrained, colourful first half which was glorious.

Now the LPO are engaged on a year long survey of Stravinsky’s orchestral works (Changing Faces: Stravinsky’s Journey) with Vladimir Jurowski and other conductors, (as did Esa-Pekka Salonen and the Philharmonia in 2016), though many of the headline concerts are mixed up with all sorts of other repertoire. The intention is to show just how profound Stravinsky’s influence has been on the direction of classical music, as well as showing how varied were his own influences. To be an artist who is better than all who came before is a miracle. To be an artist who changes the entire direction of his/her art, whilst still acknowledging the past is mind-blowing. That is what the boy Igor did. Composers are still wrestling with his legacy. So you can’t have too much of Igor’s music I reckon. Especially when each time you listen something new pops up.

Still he had to start somewhere and Mr Jurowski and his band chose to kick off this evening with Scherzo fantastique, which along with Fireworks (Op4) and the Symphony in E flat major (Op 1), is the starting point of Stravinsky’s career. The influence of Rimsky-Korsakov, the other nationalist Russians in and around the Five and the folk-art primitivism which was prevalent pre-, (and even post-Revolution), can be clearly heard, of course. There is something more at work here in terms of ideas though, albeit still melodic, not rhythmic and avowedly late Romantic. After dissing all this “juvenilia” Stravinsky in the 1960s did eventually accept that it wasn’t half bad.

Funeral Song is a proper step forward though. This is getting performed all over the place since it was rediscovered in some broom cupboard in St Petersburg in 2015. Indeed this very band and conductor programmed it with their thunderous Shostakovich Eleventh at last year’s Proms (London Philharmonic Orchestra at the Royal Albert Hall review ****). It was composed in 1908 as a tribute to Rimsky-Korsakov and Stravinsky remembered it as being more advanced in terms of chromatic harmony than any of his previous works. He was right on that score (geddit). The idea is that each of the instruments file past the master’s coffin, though often in ear-catching dialogue. It is a much darker piece than the earlier works and when it gets going there is an undeniable Wagnerian bombast to it which he just about gets away with. Anyway the point is that here some of the sound-world of the Firebird is creeping out for the first time.

Before we heard the LPO take on the Firebird we were treated to N R-K’s Piano Concerto, and treat it was. Now it is pretty easy to get sniffy about all these C19 Russian sound painters. I think I might have done. All this folk tune authenticity is exciting on first hearing but I find the novelty soon wears off. Which means I haven’t really bothered with this part of the repertoire. The chances of coming across this concerto were pretty slim as I gather it is rarely performed. It is a compact piece, one movement running to just 14 minutes though with three distinct sections, fast/slow/fast with a slow opener. For me that was its attraction but I can see that, for soloist and maybe audience, there is not enough grand gesture here to take on the canonic piano concertos. Rachmaninov is your best comparator but where Sergei would have spun out these ideas to 45 minutes, N R-K keeps it tight, with essentially just one theme, based, you guessed it, on a folk tune. The tune was sanctioned by the daddy of Russian nationalistic music Mily Balakirev who apparently gave this the thumbs up, though he became more critical of N R-K’s later work, thinking it veered into the “academic” and “Germanic”. There are plenty of flashy cascades a la Lizst which soloist Alexander Ghindin revelled in and the LPO accompaniment, especially from the woodwinds, was very persuasive. Mr Ghindin encored with the Dance russe from Petrushka to give us another take, though this felt a bit heavy-handed to me, (the playing not the linking). Maybe he had a plane to catch.

This was a clever piece to set up Mr Jurowski and the LPO’s take on The Firebird. Now when they get it right, this band and its conductor can match the best I have heard. It doesn’t always work, sometimes the line gets lost a bit, but tonight it did. Here was Stravinsky’s first real masterpiece, the debt to N R-K still audible, but with all the stunning innovation, which took Diaghilev’s breath away on first hearing, highlighted. From those growling double basses in the intro, though the shimmering strings in that magic garden, the riot of woodwind colour as our Bird takes flight, off stage brass action as Ivan bombs da house and monstrous tuba and percussion as Kastchei’s rave takes off, all sections were given a chance to shine. If I had to pick out specific contributions, well, Juliette Bausor’s flute was terrific, as well as David Pyatt and the other horns, the tuba of Lee Tsarmaklis and the piccolos of Stewart McIlwham and Lindsey Ellis.

I see I have signed up to a number of LPO concerts that have a sprinkling of Stravinsky in the mix. Whether they are part of this Changing Faces season is not entirely clear to me. No matter. You can’t get enough Igor after all.

 

 

My favourite classical concerts of 2017

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Right I know it is a bit late in the day but I wanted to make a list of the concerts I enjoyed most from last year. So everything that got a 5* review based on my entirely subjective criteria is ordered below. Top is Sir Simon and the LSO with their Stravinsky ballets. Like it was going to be anything else.

Anyway no preamble. No waffle. Barely any punctuation. Part record, part boast. Comments welcome.

  • LSO, Simon Rattle – Stravinsky, The Firebird (original ballet), Petrushka (1947 version), The Rite of Spring – Barbican Hall – 24th September
  • Colin Currie Group, Synergy Vocals – Reich Tehillim, Drumming – Royal Festival Hall – 5th May
  • Isabelle Faust, Akademie fur Alte Musik Berlin, Bernhard Forck – JS Bach Suite No 2 in A Minor BWV 1067a, Violin Concerto in E Major BWV 1042, Violin Concerto in A Minor BWV 1041, Concerto for Two Violins in D Minor BWV 1043, CPE Bach String Symphony in B Minor W 182/5 – Wigmore Hall – 29th June
  • Jack Quartet – Iannis Xenakis, Ergma for string quartet, Embellie for solo viola, Mikka ‘S’ for solo violin, Kottos for solo cello, Hunem-Iduhey for violin and cello, ST/4 –1, 080262 for string quartet – Wigmore Hall – 25th February
  • Britten Sinfonia, Thomas Ades – Gerald Barry Chevaux de Frise, Beethoven Symphony No 3 in E Flat Major Eroica – Barbican Hall – 6th June 2017
  • Nederlands Kamerkoor,Peter Dijkstra – Sacred and Profane – Britten Hymn to St Cecilia, Gabriel Jackson Ave Regina caelorum, Berio Cries of London, Lars Johan Werle Orpheus, Canzone 126 di Francesca Petraraca, Britten Sacred and Profane – Cadogan Hall – 8th March
  • Tim Gill cello, Fali Pavri piano, Sound Intermedia – Webern 3 kleine Stücke, Op. 11, Messiaen ‘Louange à l’Éternite du Jesus Christ’ (‘Praise to the eternity of Jesus’) from Quartet for the End of Time, Henze Serenade for solo cello, Arvo Pärt Fratres, Xenakis Kottos for solo cello, Jonathan Harvey Ricercare una melodia for solo cello and electronics, Thomas Ades ‘L’eaux’ from Lieux retrouvés, Anna Clyne Paint Box for cello and tape, Harrison Birtwistle Wie Eine Fuga from Bogenstrich – Kings Place – 6th May
  • Britten Sinfonia, Thomas Ades, Mark Stone – Gerald Barry Beethoven, Beethoven Symphonies Nos 1 and 2 – Barbican Hall – 2nd June
  • Academy of Ancient Music, Robert Howarth – Monteverdi Vespers 1610 – Barbican Hall – 23rd June
  • Academy of St Martin-in-the-Fields, Murray Perahia – Beethoven Coriolan Overture, Piano Concertos No 2 in B flat major and No 4 in G major – Barbican – 20th February
  • London Sinfonietta and students, Lucy Shaufer, Kings Place Choir – Luciano Berio, Lepi Yuro, E si fussi pisci, Duetti: Aldo, Naturale, Duetti: Various, Divertimento, Chamber Music, Sequenza II harp, Autre fois, Lied clarinet, Air, Berceuse for Gyorgy Kurtag, Sequenza I flute, Musica Leggera, O King – Kings Place – 4th November
  • Maurizio Pollini – Schoenberg 3 Pieces for piano, Op.11, 6 Little pieces for piano, Op.19, Beethoven, Piano Sonata in C minor, Op.13 (Pathétique), Piano Sonata in F sharp, Op.78 (à Thérèse), Piano Sonata in F minor, Op.57 (Appassionata) – RFH – 14th March
  • Britten Sinfonia, Thomas Ades, Gerald Barry – Beethoven Septet Op 20, Piano Trio Op 70/2. Gerald Barry Five Chorales from the Intelligence Park – Milton Court Concert Hall – 30th May
  • Bavarian Radio Symphony Orchestra, Mariss Jansons, Yefim Bronfman – Beethoven Piano Concerto No 4, Prokofiev Symphony No 5 – Barbican Hall – 24th November
  • Britten Sinfonia, Helen Grime – Purcell Fantasia upon one note, Oliver Knussen, George Benjamin, Colin Matthew, A Purcell Garland, Helen Grime Into the Faded Air, A Cold Spring, Knussen Cantata, Ades Court Studies from The Tempest, Britten Sinfonietta, Stravinsky Dumbarton Oaks – Milton Court Hall – 20th September