My favourite classical concerts of 2017


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


Bavarian Radio Symphony Orchestra at the Barbican review *****


Bavarian Radio Symphony Orchestra, Mariss Jansons, Yefim Bronfman (piano)

Barbican Hall, 24th November 2017

  • Beethoven – Piano Concerto No 4
  • Prokofiev – Symphony No 5

Concertgebouw, Berlin Philharmonic, Vienna Philharmonic, London Symphony, Chicago Symphony. These are the orchestras usually held up as the world’s best. The smart money though also rates the Bavarian Radio Symphony Orchestra under Mariss Jansons. I know that Mr Jansons has a way with Tchaikovsky and Shostakovich through recordings, but this was the first time I had ever seen him, or his principal orchestra, perform. That just shows what a berk I am, (I have discounted previous visits thanks to repertoire), though I suppose you could say this means I have much to look forward to. Anyway I was quite excited.

The thing is I still don’t know if I really like Prokofiev’s music. Sometimes I am really swept along by the wealth of ideas and colours. Sometimes I am baffled. A work in progress if you will. With the Beethoven however there was enough from the programme to commit. I am so glad I did. I don’t think I have ever heard a conductor who exerts so much control over the dynamics of an orchestra. Mr Jansons seems to have worked out every single detail and every one of the orchestra members knew what to do and when to do it. The lushiest of lush strings, the silkiest of silky woodwind,  the punchiest of punch brass and the most precise of precision percussion.

A bit too perfect. Maybe. I wouldn’t want to hear this sort of performance every day of the week but it worked for me in the Prokofiev. This was SP’s return to the symphonic form after a 15 year hiatus, and the first after his return to the Soviet Union. You could read it like a “celebration” of the Red Army’s victories over the German army, (it premiered in 1944), but it would seem to make as much sense as reading Shostakovich’s symphonies in the same way. It seems to me that it defies any programmatic intent. The first movement opens with a woodwind theme that gets bashed up by brass and percussion, followed by some string development and then a dissonant halt before the B flat major resolution. If this is an epic tale of overcoming the enemy it is a funny way of showing it. The scherzo which follows, with a tune SP nicked from his own Romeo and Juliet, (and which is the theme tune for a telly programme I can’t identify which irks me immensely), is one of those amazing ideas which SP seems to conjure up at will and which defines the word sardonic. Here though he plays with it, rather than discarding it too early and moving on, which is what normally annoys me. It ends with a trademark dissonance. The strings of the BRSO were bonkers fast by the end but still perfectly regimented. The Adagio kicks off with a proper stringy heart tugger then a funeral march before the finale opens with a gallop that gets pulled apart by percussion until a final, odd maybe-heroic conclusion.

It always seems to me that SP never seemed entirely comfortable with what he created and felt compelled to shake ideas back up as soon as they were realised. This is what makes it a bit too bitty for me. Yet in this performance I could hear a line through the movements and all that ADHD nervous intensity was calmed and channelled.

Same in the Beethoven, but because I know and get this, all was pleasure. Yefim Bronfman has a delicate touch for a big fella (like me), and pulled it out for the showy bits, but this was all about the orchestra which was so on the ball in this that it felt like it only lasted 5 minutes. I guess all that sitting around waiting for the soloist in the opening movement after his first tinkle meant the game was over before it started but this was definitely one of those performances where the diva did what they were told, even when they were in the box seat. A good thing. Mind you Mr Bronfman got plenty of opportunity to show his skills in his encore of Schumann’s pretty, if pointless, Arabeske.

The second movement Andante is one of my favourite Beethoven moments with the meek piano weaving its ethereal tune around the dramatic string interjection. And the final movement Rondo is, in turn, one of my favourite Beethoven fist pumpers, which surrounds an enchanting central diversion. Imagine hearing that for the first time. A joy.

Just like my first time with this orchestra. Mr Jansons, who works the podium energetically despite being near 75 and having a pacemaker, exudes enthusiasm and, I’ll warrant, pride in his achievement with this band. After the concert he was presented with a Gold Medal from the Royal Philharmonic Society. Only around 100 or so of these have been bestowed since inception in 1871, and only 1 or 2 are given out each year (mind you they were pretty generous in the first year). He joins the likes of Mitsuko Uchida, who presented it to him, and, in terms of living conductors, Dutoit, Pappano, Barenboim, Rattle, and the master IMHO, Haitink. Like I said, the smart money rates him.