Nicola Benedetti and the Academy of Ancient Music at the Barbican review ****

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Academy of Ancient Music, Nicola Benedetti (violin), Richard Egarr (director and harpsichord)

Barbican Hall, 31st May 2018

  • Antonio Vivaldi – Concerto for Violin in D major RV 208 “Il Grosso Mogul”
  • Antonio Vivaldi – Concerto for Harpsichord RV 780
  • Mystery Composer – Sinfonia in D first movement
  • Georg Philipp Telemann – Concerto for Violin in A major TWV 51:A4 “The Frogs”
  • Georg Philipp Telemann – Alster Overture-Suite TWV 55:F11
  • Georg Philipp Telemann – Concerto for Four Violins in C major TWV 40:203
  • Antonio Vivaldi – Concerto in F major RV 569

Time to take BUD to a purely orchestral evening, no voices, albeit in the ostensibly easy on the ear form of the two Baroque masters Vivaldi and Telemann. In the company of KCK who was, rightly, keen to hear the prodigious talent of Nicholas Benedetti. And all of us trusting to the capable hands of Richard Egarr and the Academy of Ancient Music.

Now to accommodate Ms Benedetti some virtuoso music was required. Even by the Red Priest’s breathless standards the D Major Concerto “Il Grosso Mogul” fits that particular bill with its two written out cadenzas in the outer fast movements. I think this showed NB off to best effect with a sharper delineation between soloist and ripieno than some of the subsequent pieces in this well programmed concert, especially in the stunning slow movement. No-one knows where the name grosso mogul comes from but JS Bach was sufficiently impressed to arrange it for organ, BWV 594.

RV 780 is Vivaldi’s only concerto for harpsichord, though only because he noted on the front page of the score that it could be, having originally specified violin and cello. This meant that there was a greater balance across the register than with the double violin peers which AV often wrote and this is what allows for the harpsichord arrangement. Richard Egarr has painstakingly recreated the solo passages, largely with arpeggios and broken chords, which made for fine decoration though I am not sure the Barbican Hall cavern showed this off as well as a smaller more sympathetic space might.

Before the first Telemann piece, the Frogs, Mr Egarr and the AAM had a bit of fun by playing the first movement of a Sinfonia in D by an unnamed composer who we were invited to identify. No answer given but it was plainly Italian so maybe Sammartini (GB) for the simple reason that he churned out a ton of them.

The Frogs is structured in the Italianate three movement fashion, not the Germanic four, and does everything you expect Telemann to do. It is laced with humour, is effortlessly easy on the ears and doesn’t let the soloist hog too much of the limelight. With plenty of riternello and suspension, it made a fine partner to the opening Vivaldi. Not bad for someone, GPT, who never set foot in Italy. The eponymous frog sound on the NB’s first entry is apparently created trough the use of bariolage, the rapid alternation of the same note between fingered and open strings (which Vivaldi was also partial to). There you go. NB was grace personified here, as she was throughout, stepping back into the band when required.

GPT churned out a fair few of his programmatic overture-suites, 600 to be exact, and it is pretty easy to see why the toffs he wrote them for lapped them up. This particular one takes as its inspiration the River Alster which joins the Elbe in Hamburg where GPT was director of its five main churches from 1721 until his death in 1767. (GPT stayed in Paris for a few months during this tenure where he was exposed to the French operatic style – with its dances –  which he incorporated into these suites). In this particular example he serves up an intro followed by eight subsequent movements each of which does exactly what it says on the tin. The “echo” of the third movement, oboes serenely imitating swans in the fifth, the chromatic crows and frogs of the seventh, the lyricism of the strings in the eighth, “Pan at rest” and the joyous winds and horns in the finale as the nymphs and shepherds leave the party. It is “lightweight” I suppose but when it is this much fun who cares.

GPT’s next contribution was one of a set of four concertos each for four violins. And nothing else. No continuo. No other instrumentation. Moreover it is in four movements – slow/fast/slow/fast – like the sonata di chiesa of old. There is plenty going on through its total ten minutes or so and all four violinists get time to shine, Ms Benedetti being joined by three excellent AAM regulars, I wish I could tell you who. Sorry.

The final piece was Vivaldi’s F major RV 569 which has pairs of horns and oboes, and a bassoon, added to the continuo and violins. Here NB took the lead in the outer two fast movements though the horns and wind also have a lot to say. The middle slow movement is the very model of brevity, even by Vivaldi’s economical standards, lasting just 20 bars. I loved it. Mind you I love every note of every concerto that AV ever wrote for violin (and most other instruments). I would it suspect take a lifetime of devotion and an acute and scholarly ear to “know” every one of AV’s five hundred-odd concertos. No matter. With music this immediate it doesn’t matter. Indeed Ms Benedetti encored with a chaconne-like slow movement from a Vivaldi concerto I think but no idea which.

Overworked in his lifetime I reckon, despite his devotion to the education of the orphans in the Ospedale in Venice, underpaid, never given a proper contract, and buried as a pauper in Vienna where he went to get a job when he fell out of fashion. Then ignored for one hundred and fifty years. Always a bit poorly as well. And a ginger, though you wouldn’t know from the stinky wig he is wearing above.

Still no Vivaldi, no Bach. And imagine how much poorer Western art music would have been without Johann Sebastian. GP Telemann, for me, is now quite as satisfying, though BUD and KCK probably disagreed on the night, but he is musical elegance, flair and invention personified. And his music, like Haydn’s later on, will make you happy. As, on every outing, do the AAM. The venue may not be ideal for the intimacy of Baroque even at this scale, but I hope the AAM were able to turn a few quid here because of that. Well deserved.

 

 

 

 

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.

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

 

Bach and Telemann: Academy of Ancient Music at Milton Court review *****

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Academy of Ancient Music, Bojan Cicic (director and violin), Rachel Brown (flute and recorder), Rachel Beckett (recorder), Alistair Ross (harpsichord) 

Bach and Telemann: Reversed Fortunes, Milton Court Concert Hall, 7th December 2017

I see I am now close to being a Academy of Ancient Music groupie. Not in a sinister way, that would be very strange. Just that I seem to pitch up to most of their London concerts. Unsurprising given their repertoire I suppose. And what a joy it always is to hear them play. This was no different. And I had a new chum in MSBD to join me.

Now the theme here was to contrast the contrasting fortunes of a certain Johann Sebastian Bach and Georg Philipp Telemann. They were mates in the 1720s, 30s and 40s, with GPT becoming CPE Bach’s godfather, and both successively securing the reputation of the Collegium in Leipzig. Back in the day though Telemann (pictured above), with his suave, easy listening modelled on his French contemporaries, was by far the more popular composer, with JSB and his knotty, brainy counterpoint, and strong Lutheran faith, some way behind. As we all know JSB’s music languished for centuries, now some might say his is the daddy of all Western art music. Meanwhile whilst Telemann maintains a cherished place in the baroque world of the Baroque enthusiast, he is not much performed beyond this.

The influence of Vivaldi’s vast concerto output was much greater on JSB, and is clearly visible in the Brandenburg’s especially when played one to a part as here. In particular in the Fifth with its single tutti violin, though it is the solo harpsichord cadenza, the first ever of its type, that is the most memorable part of the concerto. Alistair Ross didn’t hold back once the harpsichord emerged from the string ritornello and his rubato was unleashed. A bit showier than Steven Devine in the last BC5 I heard in SJSS with the OAE. However, I think the Brandenburg 4 here with Rachel Brown and Rachel Beckett on the recorders was the highlight. Once the two Rachels got into the swing of it there was no stopping them, propped up by Bojan Cicic masterful violin playing, and by the end those recorders produced as sweet a sound as you could imagine (not always the case for the period recorder).

Having said that I think the most satisfying piece of the evening was the Telemann Concerto for flute and recorder. He wasn’t the only one to pair the “old” and the “new” wind instruments, Quantz was on to this, but he clearly mastered it. Written in 1712, the Concerto has some very attractive galant homophonic playing from the two instruments looking forward to the Classical. Elsewhere the soloists chase the lines from one to the other against very attractive dances, including nods to the eastern European folk tunes that he studied. The French influence on GPT is more apparent in the Overture suite, (he wrote over two hundred of these), with its simple dance rhythms and story based on Don Quixote. There is plenty of easy on the ear comic effect, (listen out for donkeys), and lots of colour. It is all so pleasant (though if I was critical maybe a tad too pleasant).

So another fine concert from the AAM who really seemed to be enjoying themselves. As I think did MSBD. In fact I know he did as he said so. I shall miss the AAM Messiah in the Barbican Hall and their intriguing Haydn and Dussek programme in April, but will be back here for the 15th February Pergolesi, Corelli and Handel gig, and for the 31st May concert in the Hall with Nicola Benedetti. Unmissable I reckon.

“Italy in England”, Academy of Ancient Music at Milton Court review ****

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Academy of Ancient Music, Bojan Cicic (director and violin), Frank de Bruine (oboe)

Italy in England: When Handel Met Corelli, Milton Court Concert Hall, 19th October 2017

  • Corelli – Concerto Grosso in D major Op. 6 No. 4
  • Handel – Concerto for Oboe No. 3 in G minor
  • Geminiani – Concerto Grosso Op. 5 No. 3 (after Corelli)
  • Sammartini – Sinfonia in G major
  • Avison – Concerto Grosso in D minor No 3 ‘The garden of harmony’ (after Scarlatti)
  • Sammartini – Concerto for Oboe in E flat major
  • Handel – Concerto Grosso Op. 6 No. 5

We don’t know too much about Arcangelo Corelli (1653-1713). From the late 1670’s through to his death though he was a big noise in Rome, heralding a great leap forward in violin playing and an instrumental (ha ha) influence on the sonata and concerto form. Unless you are a Baroque nutjob, (there are more of them than you might think), you may only be peripherally aware of him. Yet you will certainly have heard snatches of his most famous composition the Op 6 12 Concerto grossi. Odds are if you hear Baroque music on a telly or film soundtrack, (and it isn’t Vivaldi Four Seasons or a blast of Handel), then it will be Corelli.

If you are just an occasional dipper-in to the Baroque canon, or just fancy some nice background stuff, get your hands on a recording of his Op 6. You won’t regret it. Here he is. Poodle wig and all. Fine looking fellow.

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By the late C17 Italy was the bees knees for all things musical, (as it had been in art for a couple of centuries), albeit with stiff competition from the French. Europe was stuffed with on trend Italian musicians and performers. Printed music was now ubiquitous assuming you mixed in the right circles. This concert from the consistently brilliant Academy of Ancient Music under its new(ish) leader Bojan Cicic sought to show how the the Italian Concerto grosso form, perfected by Corelli, and here his compatriots Geminiani and the Sammartini brothers, influenced composers in England, especially the mighty GF Handel. Both Geminiani and the elder Sammartini, Giuseppe, an oboist, ended up living in London, jus as Handel did. Handel had travelled to Italy from 1706 through to 1710  to learn from both Corelli and the other great master (of the keyboard especially) Scarlatti.

The Concerto grosso, as its probably not too complicated to surmise, is a piece of music where a small group of soloists, maybe a couple of violins and another instrument, called the concertino, pass the ideas between themselves and a larger orchestra, the ripieno. Simples. Mind you this is the Baroque so the orchestra is still pretty tiny by later standards. It is the forerunner of the single instrument concerto with orchestra we see today and which developed in the later Classical period. Vivaldi set the ball rolling with his acres of beautiful single violin (and other single instrument) concerti though the musical patterns are similar to his mates elsewhere in Italy.

Here, in addition to the violin led concerti on show from Corelli himself (the very jolly No 4), Geminiani, based on material from one of Corelli’s works, and Handel (No 5 from his own Op 6), we also had the same from Charles Avison, new to me, but I gather a big favourite of the cogniscenti. This was based on some of Scarlatti’s harpsichord sonatas and was really absorbing. The oboe of Frank de Bruine joined the AAM in two other concerti and we had a sinfonia from the younger Sammartini Giovanni, a form that would develop further into the Classical period. Like the Avison I really enjoyed this and will investigate further.

Now I deft anyone now to get perked up by these pieces. They are dramatic, with vibrant rhythms, the typical motoric underpinning from cello and double bass, the continuo underpinning of the harpsichord, and the immediately catchy tunes from the other strings. It is dead easy to follow, the movements are short and sweet and the tempi unwaveringly fast-slow-fast.

The playing of the experienced AAM was pretty much faultless. We even had a moment of high drama (sort of) as Frank de Bruine had to simultaneously play and re-order his music in the Sammartini piece. I could listen to hours of this stuff, especially in this hall. Can’t wait for the next fix.

Monteverdi Vespers at the Barbican Hall review *****

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The Academy of Ancient Music, Choir of the AAM, Robert Howarth, Louise Alder, Rowan Pierce, Thomas Hobbs, Charles Daniels

Barbican Hall, 23rd June 2017

It was the Academy of Ancient Music and its choir performing Monteverdi’s 1610 Vespers. It was bound to get 5 stars.

If you have spent your life blissfully unaware of Monteverdi’s Vespers then I implore you to take a listen. I can see that a few people have accidentally stumbled upon this blog, normally when looking for reviews of plays that proper critics and bloggers haven’t bothered to see. So they had no choice but to read my nonsense. If you are one of these people and you happen to open this post by mistake, PLEASE PLEASE PLEASE find a way to listen to the Vespers of 1610.

I don’t care what bag of music you are into. I don’t care if you think classical music is a load of nonsense. This is different. I promise. It does go on a bit I admit. Hour and a half. But it is broken up it to lots of different chunks. And it is divine. In both the sacred and secular sense.

Now if you or I wanted a new job we would ask around. Probably scan the press, specialist and general. Contact an agency or if you are an important sort, tap a headhunter. You would dust off the CV and hawk it around. Not our Claudio though. When he wanted to escape from his overbearing employer the Duke of Mantua, feeling overworked and under-appreciated, he wrote this and sent it off to the movers and shakers in the rest of Italy (though it wasn’t Italy then of course) with a particular eye on a job with the cashed up Pope. He was well known largely for his madrigals, where he was the bees knees, the Ed Sheeran of his day. But he wanted a more prestigious position where he could churn out more weighty stuff – like what happens to all talented pop stars when they “want to be taken seriously”. In the end he got the top gig at St Mark’s in Venice.

This explains why Monteverdi mixed up the various styles of church music, some taken from tunes he had already written, to create this Vespers. The title says it all: “To the Most Holy Virgin: a Mass for four voices, for Church chorus, and Vespers to be sung by several voices, with a few sacred songs”. All of the elements of the standard Catholic Vespers are there but interspersed with other elements which make for a masterly mash-up. The piece is unique for its time in the way it looks back to the Renaissance with plainchant melodies anchoring the structures in the five psalms, the hymn (Ave maris stella) and the choruses of the Magnificat, that make up the Vespers. Yet it also looks forward into the Baroque of Bach, and even some proto-Classical homophony, in the four “concertos” and sonata which are more “secular” in sound despite still praising the Virgin Mary to the hilt. All of the contrasting textures, both for voices and instruments, also show why Monteverdi effectively invented opera.

The performance by the AAM and chorus under the guiding hand of Robert Howarth at the harpsichord was excellent I think. Of the soloists we, (BUD wasn’t going to be allowed to miss this one), were most taken with Thomas Hobbes (tenor) and Louise Alder (soprano) but it almost seems churlish to say so. The twenty strong choir was on top form and the AAM (which is made up of some of the finest period music interpreters anyone) was magnificent.

Now you will find smartarses who reject this way of performing the Vespers – several voices to a part, two tenors and two sopranos, step out soloists, “echo’ effects meaning soloists whizzing around the building and so on – but trust me, they can safely be ignored. A perfect Vespers might need a Cathedral and candlelight rather than the Barbican stage but the music is just so amazing that I strongly recommend that you just add this to your bucket list and get on with ticking off. I cast iron guarantee you won’t regret it.