Isabelle Faust and Kristian Bezuidenhout at St Luke’s Old St review *****

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Isabelle Faust (violin), Kristian Bezuidenhout (harpsichord)

LSO St Luke’s Old St

JS Bach

  • Sonata no 3 for violin and harpsichord in E major BWV 1016
  • Partita no 2 for solo violin in D minor BWV 1004
  • Sonata no 1 for violin and harpsichord in B minor BWV 1014
  • Toccata for harpsichord in D minor BWV 913
  • Sonata no 6 for violin and harpsichord in G major BWV 1019

The second instalment in Isabelle Faust and Kristian Bezuidenhout’s rendition of the six JSB violin sonatas BMV 1014-1019 following on from the Wigmore Hall in April. (Isabelle Faust and Kristian Bezuidenhout at Wigmore Hall review ****). Once again they allowed themselves a solo each, but this time some more JSB, in keeping with the Bach Weekend theme, which also celebrated the 75th birthday of the venerable Sir John Eliot Gardiner.

This time I was joined by Bach groupie MSBD. Early start. 11am on a Saturday. I wish every day started this way though.

At times JSB is truly sublime. More so that any other composer. You might find it in the cantatas, others in the masses or passions, or maybe the keyboard, instrumental ensemble works or the cello suites. Not for one moment could I disagree with you but, for me, the apotheosis of JSB’s genius lies in the violin sonatas and partitas, solo and accompanied. Great art induces a state of rapture. Not the nonsense exclusive coach trip into the sky that some befuddled Christians cling on to, but the state of grace, individual or collective, that you can feel inside your whole being when dancing in a club, or breathless and motionless in the theatre, or when your ear sends pure sound to your brain at a concert or when you get lost in a painting. It doesn’t happen much, just as well as that might overwhelm, but it is part of what makes life worth living. I appreciate that this might be a terribly old-fashioned way to think about art but I dare you to tell me I am wrong.

Anyway it happened here. In the final movement of the Partita. The immense Ciaconna. Amongst Bach’s finest creations as the programme says. They’re not wrong. It gets me most times but here, OMG, Isabelle Faust, her violin, St Luke’s, my ears, my brain, the audience, and of course, old JSB all came together as one. This old buffer did his best to hold back a tear. It is so simple, just a basic four bar pattern, (apparently “the harmonisation of a descending tetrachord” – thanks again programme notes). But JSB is able to do so much with it including a huge mood shift about two thirds of the way in. This is when you might just believe that JSB reconciles himself to the early death of first wife Maria – he was to meet Anna just a year later.

The accompanied sonatas came close to their solo cousins. I have banged on before about just how expressive Isabelle Faust is when it comes Baroque violin. She’s pretty handy too when it comes to the rest of the canon. Listen to her recordings of the Beethoven, Bartok and Berg concertos if you don’t believe me. She can even persuade me with her historically-informed interpretations of that Mozart chap. But Bach is where she enters a different realm. She applies an astringent, almost abstract, rigour which just blows me away. And KB, who has a gentler conversation with his harpsichord, is the perfect accompanist. IF doesn’t muck it up with unnecessary and unwarranted vibrato, and both the left and right hand lines for KB are clear and not jangly. This leaves plenty of room for the sonatas to breathe and, in the superb space that is St Luke’s, with the sun streaming in from outside ….. well you can see where I’m coming from.

JSB continued to revisit and buff up the six sonatas throughout his life. Maybe that’s why the old boy perfected his art here. In the early decades of the C18 the trio texture was considered the compositional ideal for chamber music, creating a perfect synthesis of linear counterpoint, full-sounding harmony and cantabile melody, (thanks once more programme notes). Put this trio principle into the hands of the man who got closer to the ideal of perfect harmony than anyone else in the history of Western music, with the melodies driven by the finest of instruments the violin, then obvs it was going to work. JSB created trio works for flute, viola da gamba (which I like) and organ but they don’t come close.

Listen to No 1, BMW 1014. It kicks off with a 5 part texture with double stopping and a 3 part effect on the harpsichord. The two quick movements, (the first 5 sonatas stick to the old skool sonate di chiesa four movement set up with No 6 breaking free into 5 movements), have each of the three lines chipping in together, the perfect realisation of the trio principle with the third movement switching to violin and harpsichord right hand weaving around a left hand bass. No 3 BMW 1016 kicks off with a slow movement where both players can show off their skills, followed by a bouncy fugue, a powerful lament in C sharp minor before rounding off with an extraordinary gallop where the violinist can really show off. No 6 BMW 1019, is very different, with a central solo harpsichord movement flanked by two jolly giant Allegro opener/closers (real faves) and two slow, simple (-ish) shuffles in a kind of canonic form.

Other than the aforementioned divine Ciaconna the Partita No 2 consists of 4 dance movements, an Allemanda, a Corrente, a Sarabanda (which foreshadows the Ciaconna) and a Giga. We have Leopold, Prince of Anhalt-Kothen’s Calvinism to thank for JSB’s discovery of all things boogie as he wasn’t confined to elaborate Church music in the Prince’s employment. (We also have the genius Antonio Vivaldi to thank for the twin graces of rhythm and repetition that underpin JSB’s unique ear for inventive sonority).

Other than the Sarabanda thsee dance movements are all monophonic in structure so easy to understand and have a dominant rhythm from which the violin goes off on ever more exciting harmonic excursions. It was a massive hit when first published and performed and remains so to this day. It really is very easy to see (and hear) why. You do not need to have any interest or understanding of classical music to get this. You just need ears and a pulse. So whatever your musical bag, I implore you to listen to it. IT WILL MAKE YOUR LIFE BETTER. I promise.

KB had a little less time to shine though not by much as he picked the most extensive of the six toccatas, BMW 910-916. The D minor 913 was composed when JSB was just 20 as he went AWOL from his job and walked the 450kms to Lubeck to hear Dieterich Buxtehude play. So next time you complain about how tricky it is to get to the Barbican think on JSB’s devotion. It opens with a typical Baroque improvisation, (typical for others that is), followed by a couple of JSB trademark fugues linked by a bridge which shifts tempo and ending with a tierce de Picardie, a major chord at the end of a minor key piece, which JSB was partial too. After the Partita and the first two sonatas this harpsichord piece shifted the mood before the final, jolliest, No 6 sonata. Smart programming and smart playing, (I only know these toccatas from the never surpassed Glen Gould on piano).

So there you have it. This will definitely be a top 10 2018 concert for me and I am pretty sure for MSBD, though I have lined up a few more for his delectation. And I wonder if, by the end of my musical education, I end up realising that no-one topped Bach. It is beginning to feel that way.

 

Christoph Sietzen and the Wave Quartet at the Concertgebouw review ****

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Christoph Sietzen, Wave Quartet (Bogdan Bacanu, Vladi Petrov, Emiko Uchiyama, Christoph Sietzen)

Het Concert-Gebouw, Recital Hall, 16th May 2018

  • Emmanuel Séjourné – Attraction for marimba, vibraphone and tape
  • Iannis Xenakis – Part B (from ‘Rebonds’) for percussion
  • J.S. Bach/Brahms – Chaconne (from Second Partita in D, BWV 1004) (arr. B. Bacanu) for marimba
  • Stewart Copeland – Sheriff of Luxembourg for marimba, percussion and tape
  • Ivan Boumans – The Cloth, op. 140 (encore) for percussion
  • Josh Groban – The Wandering Kind (arr. E. Uchiyama) for marimbas
  • J.S. Bach – Allegro (from Concerto in C, BWV 1061a) (arr. B. Bacanu) for marimbas
  • Astor Piazzolla – La muerte del ángel (arr. E. Uchiyama) for marimbas
  • Astor Piazzolla – Oblivion (arr. E. Uchiyama) for marimbas
  • Reentko Dirks – Danza non Danza (arr. The Wave Quartet) for marimbas
  • Astor Piazzolla – Milonga del ángel (arr. E. Uchiyama) for marimbas
  • Astor Piazzolla – Libertango (arr. E. Uchiyama) for marimbas
  • Rodrigo Sanchez / Gabriela Quintero – Tamacun (arr. E. Uchiyama) for marimbas
  • Rodrigo Sanchez / Gabriela Quintero – Juan Loco (arr. The Wave Quartet) (encore) for marimbas

OK so I confess I was a captive buyer for this. This was what was on in the Concertgebouw on the night I was there. There were a few other tourists in the same boat, and a healthy contingent of local Amsterdammers. Which, even in the smaller, though still resplendent recital hall, made up a full house. The recital hall, in full blown neo-classical style, is topped by a rotunda with the names of the Romantic greats immortalised, and some not-so-greats as well.

Anyway whilst I didn’t know the percussionist Christoph Sietzen, and the crack marimba team of which he is a member, the Wave Quartet, this programme intrigued. In particular the Xenakis, who is near the top of my further investigation list, the Bach and the Piazzolla. The programme consisted of the first five pieces for solo percussion with Mr Sietzen and then the pieces for the entire quartet, largely arranged by Ms Uchiyama. Bogdan Bacanu, who might just be the most accomplished marimba player ever, and certainly its greatest advocate, was a child prodigy and went on to teach the other three members, amongst others, in Linz and Salzburg I believe. He is also responsible for the Bach arrangements, which are completely faithful to the originals.

Remember there are a lot of works by Bach that weren’t necessarily written for specific instruments but its a fairly safe supposition that he didn’t have a percussion instrument in mind when he set down the pieces here. On the other hand the marimba, which is by some way the most expressive and dynamically sophisticated of the percussion stable, ranging across 4 or 5 octaves, even if its timbre is so particular, isn’t too far away from the harpsichord in terms of effect. It is, as we see here, becoming increasing popular in contemporary classical music and the technical proficiency of playing has come on in leaps and bounds in part thanks to Mr Bacanu.

The first piece was by Emmanuel Sejourne who is the pre-eminent composer for marimba and vibraphone and a world renowned player. It was originally written for violin and marimba but here Mr Sietzen substituted violin with a vibraphone. I have to say it was impressive though I might have preferred to here it later on once I had adjusted to the marimba sounds. Even so it is breathtaking to hear what is possible for these instruments.

Xenakis composed two pieces for solo percussion, this piece Rebonds, and Psappha. It isn’t much of a surprise given the composer’s mastery of rhythm and structure but it is genuinely mind-boggling in its complexity. There are two movements in Rebonds. Mr Sietzen only played Part B, a shame as I would love to have heard Part A as well. It is scored for two bongos, one tumba, one tom-tom, one bass drum and a set of five wood blocks or wooden slats. Xenakis leaves some decisions on the score to the performer, all part of the mathematics of his music, (remember he was architect, engineer and mathematician as well as composer and not averse to shunting the laws of physics into his work). Xenakis is so far beyond what I understand in music but, trust me, the intensity of the rhythms here, despite the abstraction, still provokes a basic, primal reaction which needs no maths degree. You will laugh at me, but if you have listened through a John Bonham drum solo in Moby Dick (Google it kids), you will understand, though this is way more sophisticated than Bonzo thrashing away.

I took the opportunity to listen to Psappha. Amazing.

You will likely know the Bach Chaconne from the Violin Partita No 2 which Brahms amongst others transcribed for the piano left hand. (There is a YouTube performance by Danile Trifonov no less if you are interested and if you want the violin original please listen to Rachel Podger’s recording). I am not going to pretend that this marimba version matches that but it is still absolutely the same beautiful piece of music and shows astonishing virtuosity.

The Stewart Copeland piece, which was commissioned for Mr Sietzen, was a little less convincing by comparison to what else was on offer in this recital but was pleasant enough. Mr Copeland, for you youngsters who regard this as ancient history, was the drummer for popular English beat combo The Police in the 1980s, whose cod-reggae sound should never have worked, and never have been as popular, but it did, and it was. Mr Copeland has gone on to write film and game soundtracks and some classical compositions including this. Prior to the Police he was manager and drummer for Curved Air for those of you with an unhealthy interest in progressive jazz-rock. (Never ever get into conversation with me about Soft Machine).

After Mr Sietzen’s marvellous show of musical, and physical, prowess in the first half we might have expected something more sedate after the interval. No way Jose. (That being a reference to the Latin fuelled energy of the last few pieces). The Wave Quartet were decked out in bright red shirts, think Kraftwerk circa Man Machine without the black skinny ties and Fascist undertones.

There are many areas of music which are a complete mystery to me. I had never heard of Josh Groban before. Apparently he is a big noise though in the popera world. I can happily maintain my aloof indifference on the basis of this piece.

The second Bach piece is arranged from the first movement Allegro two harpsichord version of the Concerto BWV 1061 for the same instruments. So each of the four marimbas players with their two mallets (called knobs) in each hand is effectively one hand of the score. Given that the harpsichord notes can’t really sustain there is sound logic (literally) to transcribe to marimbas. It works, though I am not sure I would turn to this again in a hurry. I can’t deny Mr Bacanu’s dedication in adapting Bach in this way. I see the Wave Quartet have recorded the other harpsichord concerto arrangements with orchestra.

Astor Piazzolla was the genius Argentine who meshed the tango, the Baroque and jazz into a fresh and exciting musical world in the 1950s and 1960s. I can see exactly why the Wave Quartet would want to play these pieces. You will definitely know the Libertango. (I first heard in I’ve Seen That Face Before by Grace Jones). You will think you know the other pieces. The arrangements didn’t seem too complex which meant the Wave Quartet could pull of all sorts of flourishes. They were having a ball and so was the audience. The Reentko Dirks and Sanchez/Quintero pieces, originally for guitar, have similar heritage, with the final Juan Loco seeing young Vladi Petrov showing off on a simple beat box drum. Cheesy but undeniably joyous.

There you have it. A celebration of just what percussion can do and a salutary reminder not to get bogged down in serious classical music.

 

 

Bach: The Late Concertos from the Feinstein Ensemble at Kings Place review ****

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The Feinstein Ensemble, Catherine Mason, Miki Takahashi, Sarah Moffatt (violins), Robin Bigwood (harpsichord), Martin Feinstein (flute, director)

Kings Place, 13th April 2018

JS Bach

  • Triple Concerto in A minor for flute, violin & harpsichord BWV 1044
  • Concerto in D minor for violin (reconstructed from BWV 1052)
  • Concerto in F for harpsichord & two recorders BWV 1057
  • Concerto in D for three violins (reconstructed from BWV 1064)

More Bach. Once again in the company of MSBD. Can you listen to too much JSB. Of course not. Mind you, you would have to if you ever wanted to get through all that he composed. Good luck with all those cantatas, chorales, songs, preludes, fugues, suites and toccatas. I will keep chipping away at the works for keyboards but, if I am honest, I think the solo string works and the concertos are enough to keep me satisfied.

Here we get a quartet of slightly less often performed concertos, composed in his maturity, when JSB was directing performances at the Collegium Musicum. That’s when he wasn’t occupied with composing music for his day jobs at four Leipzig churches. Three of the works are triple concertos, one reconfigured for 3 violins as opposed to 3 harpsichords and one single concerto for violin which was superseded by the harpsichord.

The first piece the Concerto in A minor for flute, violin and harpsichord in fact started life as two separate organ works, and is configured for the same orchestra as the Fifth Brandenburg even down to just having the three soloists play in the middle, slow movement (based on the organ sonata BWV 527). Moreover the harpsichord gets its own cadenza. the outer movement material is drawn from the Prelude and Fugue for A minor for harpsichord BWV 894 from 1717, and it is a lot less bright in mood that the Fifth Brandenburg. The outer two movements, marked allegro and presto, are complex even by JSB standards and. together, turn this into his longest concerto work. This was a big noise for just nine period instruments.

The harpsichord concerto in D minor BWV 1052 probably started out as a violin concerto, as we hear it here, witness the string-crossing formations in the first movement. This is unusual for having all three movements in minor keys. JSB’s use of riternello is most marked here.

The Concerto in F for harpsichord and two recorders is a subtle reworking of the Fourth Brandenburg in G major, with the solo violin part cleverly rewritten for the harpsichord and with the two recorders really coming to the fore.

As with the solo violin concerto the triple violin concerto in D was lost and only survived in the later harpsichord form. This has been reconstructed for the violins based on alterations made to the surviving score and it is a spectacular tour de force. Some of JSB’s stuff for multiple harpsichords can induce ear confusion I admit but not this work.  Hearing the melody lines played on shared violins, (above an often shared bass line), makes the work so much clearer.

Martin Feinstein, and his squad of crack Baroque musicians, are regulars at this venue, and he assembled a series of programmes here, alongside this, to celebrate the regular “Bach Weekend”. I am no flute expert but I would say Mr Feinstein knows where he is at on the pipes and his performance, alongside I think Catherine Manson on violin and Robin Bigwood on harpsichord, was thrilling, after a couple of minutes to get in the zone. Ms Manson took the lead for the solo violin concerto, with Emily Bloom joining Mr Feinstein for the recorder concerto. Ms Manson was joined by Miki Takahashi and Sarah Moffatt for the triple violin which was probably the highlight for me, although the two recorders ran it close, largely because I know the tunes.

The thing with JSB, as with Beethoven, is that the perfect logic and structure of the music makes you feel like you have heard it before and you know what is coming next. As it happens,, with JSB plundering his own back catalogue in this concertos, it is quite possible you have heard it before, but that is not what I mean. The instantaneous emotional joy is interlinked to the sustained intellectual pleasure. I still don’t really know what I am listening to in purely musical terms, all that counterpoint, harmonic and motivic organisation. I am though extremely grateful to all those Bach scholars, starting off with that nice Mr Felix Mendelssohn, who have got us to where we are now.

And to JSB himself for knowing that all those notes could, together, make these sounds. No Bach, no tonal system. No Bach, no modern instruments. No Bach, no instrumental solos.  Well maybe not entirely true, but his was the great leap forward in Western music. So kids, when you are listening to whatever Spotify chucks at you, and moving to the beat, you have JSB to thank.

 

 

 

 

 

Isabelle Faust and Kristian Bezuidenhout at Wigmore Hall review ****

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Isabelle Faust (violin), Kristian Bezuidenhout (harpsichord)

Wigmore Hall, 9th April 2018

  • JS Bach – Violin Sonatas 4, 5 and 2, BWV 1017, 1018 and 1015,
  • Johan Jacob Froberger Suite No 12 in C minor for harpsichord,
  • Biber – Violin Sonata No 5 in E minor, Mystery Sonatas Passacaglia in G minor “Guardian Angel”

JS Bach tick. Heinrich Ignaz Franz von Biber tick. Not just the Passacaglia from the Mystery Sonatas, which seems to appear on every Baroque violinists concert programmes right now, but one from the “other” 1681 set of sonatas. And then this chap Froberger which also turned into a qualified tick. All from the violin of Isabelle Faust, always a resounding tick, and harpsichord of Kristian Bezuidenhout, likewise.

This partnership has recently recorded the Bach Violin sonatas using some top draw instruments and the reviews are very positive. On the strength of this performance I have bought the CD. I am also signed up, in tandem with MSBD, for the second instalment of the other sonatas at St Luke’s on 16th June. I see there are a few tickets left. Snap ’em up I say.

The first couple of minutes of the opening Sonata No 4 weren’t perfect, harpsichord right hand just a bit forceful compared to left and the violin, but balance was quickly achieved and from there on we, and they, never looked back. These works are not right at the top of the Bach instrumental pile, crowded out by the solo works and the concertos and suites, but, IMHO, there is no reason why they shouldn’t be. And this sublime partnership is making that case convincingly. Son CPE certainly thought they were amongst Dad’s best works, They are not revolutionary in structure adhering to the familiar baroque sonata di chiesa pattern of four slow-fast-slow-fast movements, but they are some of the first to have a fully written out keyboard part rather than a bassline with some indications of harmonies to be filled in above it. This means the right hand can match the melodies of the violin whilst the left hand trots out the bassline. This gives the texture of a trio sonata which is most clearly heard in No 4.

No 4 kicks off with a lilting siciliano, follows with a three line fugue, then an adagio with triplets in the keyboard right hand alongside a dotted violin rhythm, then another fugue with some syncopation and cross-rhythms. No 5 starts with a largo where the violin gradually adds melody to the three part invention of the keyboard, unrelated at first and then conjoined, like a cantata aria apparently. The fast movements are fugues again, the second slow movement, arpeggios from keyboard with double stopping accompaniment from violin. No 2 is strictly 3 part, beginning with another gentle dance imitating the contemporary ‘galant” manner, followed by another fugue which sandwiches some flashy violin, then a canon, then another fugue. Now I confess I am not entirely sure what all this means but once I have recording in hand, or ear, I will try to work it out. That is the fun of art music; you know you like it, you can then spend years working out why you do and what it is.

Now apparently our man Froberger was the leading keyboard composer of the mid C17, born in Stuttgart, and working for 20 years as an organists for the Hapsburg emperors in gilded Vienna, though like all these chaps he got about a bit. Free movement across Europe you see. His compositions unite the Italian, German and French traditions, the French broken style still be based on lute technique (and a bit dull to my ears). This is one of his suites based on dances grouped by key, here C. It begins with an allemande in the form of a lament, then cheers up a bit with gigue, courante and sarabande. Still can’t quite remember the differences but this passed the time pleasantly enough. Seems JJ Froberger was a bit of a noodle forbidding publication of his compositions in his lifetime. The right to be forgotten, though now he must be a wet dream for Baroque keyboard scholars.

In contrast the Biber sonata was, yet again, a revelation. This is part of a set of 8, published in 1681, and is a barnstormer with extreme upper register shrills, very fast runs and bonkers double stopping. The work is continuous starting with a fantasia-like intro, then into an exquisite set of variations over a ground bass, then a show off presto and ending with another beautiful set of variations. Maybe this fellow isn’t quite up there with JSB and Vivaldi but he is in the vicinity and it’s a mystery to me why he isn’t more popular. A CD of this set of sonatas has literally just dropped through the letter box. I’m on it.

Biber didn’t tour much, despite his astounding technique, preferring to publish his ground breaking works for violinists and let the punters work it out for themselves. I like the sound of that. He spent most of his working life in Salzburg, after doing a runner from an employer in Bohemia. I suspect you would be hard pressed to find a bar of chocolate with his mug on it in Salzburg though unlike you know who. He married well and his surviving kids were musically gifted. In addition to the violin pieces apparently he also wrote plenty of large scale sacred music, though I haven’t seen any being performed, maybe they are a bit too labour intensive. I will find out and let you know.

Needless to say Ms Faust’s rendition of this sonata was electric, in atmosphere not technology of course. Biber may have been ahead of his time, until the Italians overtook him, but he wasn’t that advanced. I really hope she programmes more of these solo violin pieces in future and that some promoters will be brave enough to let one of the sublime baroque violinists performing today to have a crack at the Mystery Sonatas in full.

Rachel Podger and VOCES8 at Kings Place review ****

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Rachel Podger, VOCES8 – A Guardian Angel

Kings Place, 28th March 2018

  • Orlando Gibbons – Drop, drop slow tears
  • Plainchant – Pater Noster
  • Heinrich Ignaz Franz Biber – Rosary Sonata No 16 Passacaglia “A Guardian Angel”
  • Jonathan Dove – into thy hands
  • Nicola Matteis – Passaggio rotto, Fantasia, Movimento incognito (from Other Ayrs, Preludes, Allemandes, Sarabandes
  • Mendelssohn – Denn er hat seinen engeln befohlen uber dir
  • Rachmaninov – Bogoroditse Dyevo
  • Tallis – O nata lux
  • James Macmillan – Domine non secundum peccata nostra
  • Thomas Tomkins – When David heard
  • Bach – Partita for flute in A minor BWV 1013
  • Monteverdi – Adoramus te. Christe
  • Orlando Gibbons – Hosanna to the Son of David
  • Giovanni Gabrielli – Angelus Domini descendit
  • Owain Park – Antiphon for the Angels

Blimey. It took almost as long to write out the programme as to listen to some of these pieces.

What do we have here then? Well the undisputed queen of the Baroque violin, (OK maybe not given Isabelle Faust, Monica Huggett, Elizabeth Wallfisch and no doubt a few more I don’t know), has teamed up with the English vocal group VOCES8 to create a programme of violin and vocal works from across the ages all themed around “A Guardian Angel”. Some of these pieces appear on Ms Podger’s 2013 CD of the same name. Rachel Podger creates a big, clear sound with vigorous rhythm which makes it a joy to follow the line of the music. Yet when virtuosity is required, (not so much on this evening), she doesn’t hold back.

Angels being angels in Christian religion they turn up a fair bit in music notably Renaissance, Baroque and the modern composers who seek inspiration from their forbears. Here we have pieces for solo violin, (or flute transposed for violin in the case of the Bach sonata which formed the backbone to the second half), for choir alone and for a combination of the two. Angels watching over you is obviously anathema to my carefully constructed rationalist self-image though maybe all this music and my penchant for early Renaissance art and architecture might cumulatively start to rub off. I was reminded of the world (other-world?) that Annie Baker explored in her latest play John (John at the National Theatre review *****).

The plainchant with the choir perched in the balcony was as meditative as you like and was followed by the Baroque violinists party piece de jour from Biber which seems to be following me around everywhere. It’s title provided the stepping off point for Ms Podger. If you don’t know it, and the genuinely ground-breaking Sonatas that precede it you should. It still sounds cutting edge today. It doesn’t skimp on the bass notes which is probably when it floats my boat. Ms Podger’s recording is the best place to start.

I can take or leave the Mendelssohn, Rachmaninov and Dove pieces though VOCES8 were more convincing than I expected, the Matteis violin extracts were immediately invigorating in that typical Italian baroque way and the MacMillan piece was as spare (echoes of Part) as you might expect from this committed composer. The Tallis was my favourite with Ms Podger’s violin taking the highest line as the Jesus to the choir’s Elijah and Moses and alongside Andrea Halsey’s spellbinding soprano. Her voice is about as good as you will ever hear (says some-one who knows absolutely nothing about singing!!).

The biggest surprise of all was the Thomas Tomkins. New to me, I will need to seek this out. The Bach was obviously wonderful, Ms Podger has made this her own and proved that it could as easily been scored for violin as flute. The Monteverdi, Gibbons and Gabrielli pieces were relatively short but very welcome. Owain Park’s new work was commissioned especially for this collaboration and amalgamates texts by St Ambrose and Hildegard von Bingen sticking to the angel theme. Like so many commissions for choirs it is immediately attractive, it is a real thrill hearing accessible music for the fisr time.

Throughout the concert we had well constructed antiphonal exchanges between violinist and pure toned choir which brought out the best of the exceptional acoustic at Hall One of Kings Place. No clapping between the pieces, a rapt audience, (no phone glows as far as I could see), and discreet but appropriate lighting all combined to maintain the magic.

I can’t pretend I understand the music that was put in front of me. I can’t read music and I am steadfastly failing to learn its language. If you are like me, and I reckon there are a lot of you who are, (obviously I say this in full knowledge of the fact that no-one reads this), then I cannot recommend the combination of Early and/or Baroque music and voices highly enough. Food for brain, heart and soul (not that there is one, but like I say earlier, faith may yet surprise me).

 

 

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

 

Peter Wispelwey (cellist) at Kings Place review ****

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Peter Wispelwey, cello

Cello Unwrapped: Bach Through Time Concert III. Kings Place Hall 1, 8th December 2017

  • JS Bach – Cello Suite No 1 in G, BWV 1007
  • Benjamin Britten – Cello Suite No 3, Op 87
  • Gyorgy Ligeti – Sonata for solo cello
  • JS Bach – Cello Suite No 3 in C, BWV 1009

If I had to pick my favourite venue in London for classical music it would probably be King’s Place. The design is lovely. The acoustic is perfect, especially upstairs. The welcome is warm. (I lost a book there once. They found the book and then they found me). The programming is interesting. In particular the year long seasons which artfully pull together chamber music across a genre or theme. This year, Cello Unwrapped; in the last couple of years, the Baroque and Minimalism. Next year, Time Unwrapped, a more ambitious conceit which is chock full of interesting programmes. To be fair it has helped that the last three years have focussed on particular favourites of mine in terms of period and instrument but, even so, I heartily recommend Kings Place to anyone who isn’t already a regular. Bear in mind too that I am only really a consumer of the classical events: there is plenty of other stuff, music, comedy, spoken word, going on there as well. Finally they make a decent cup of tea in the caff upstairs, the loos are spotless, and there is usually some free art to soak in before, after or during the interval. And, in the summer, there is a pleasant saunter available along the canal.

Now I appreciate that the very best chamber music is likely to be found elsewhere in London, specifically the Wigmore Hall. The Wigmore certainly has its charms, but the legroom isn’t up to much and, if you intend to spend a fair time in her formidable company, you had better get used to seeing the back of other peoples’ heads. I am partial to Cadogan Hall but the repertoire is mostly orchestral and requires careful sifting. St John’s Smith Square delivers some stirring stuff for Early Music, Baroque and Contemporary enthusiasts like the Tourist but there is no hiding the fact that it is a Church, atmosphere therefore trumping sound and comfort. Mind you it is a beautiful lump of Baroque, fancy enough to satisfy, but not so fancy as to make one queasy. Thomas Archer’s buildings have taken a bit of a hammering in London, (go see St Paul’s Deptford if you don’t believe me), so it is good that this, maybe his best, looks so perky. I am also very, very partial to Milton Court Concert Hall, largely for the same reasons as Kings Place, and St Luke’s Old Street, where the interior has been brilliantly re-crafted by architects Levitt Bernstein. But, in both cases, the number of concerts which match the Tourist’s tastes, is constrained.

I digress. It was the programme here that attracted me as I confess no knowledge of Ms Wispelwey before this evening. Bach obvs, it being impossible to hear the cello suites too many times in a lifetime, but also the Britten which echoes old JSB, and the Ligeti, which, in its own way, is also an homage to the old boy. Ligeti is rapidly becoming my favourite mid/late C20 Modernist. It’s great this “finding out about new music” lark.

Apparently Britten intended to emulate Bach and compose six cello suites but this, unfortunately, was the last, written in 1972. His last operas, Owen Wingrave and Death in Venice, and then his failing heart, got in the way. Shame. I prize Britten’s chamber pieces above all of the rest of his glorious music. Obviously more personal but deeper, spikier and, if it is possible, cleverer. There are times, though, when Britten’s genius can be too satisfying, like a musical Vermeer, You just want him to cut loose. In some of the knottier passages of the chamber music this is what you get.

Actually scrub all the above. The reason why BB is the greatest English composer since Byrd, (sorry Purcell and Elgar fans), is the operas, of course. You can keep your Italian melodramas: give me Billy Budd, The Turn of the Screw or Curlew River, (yep opera doesn’t have to be full orchestra and divas belting out love arias, in fact it is better when it isn’t), any day of the week. The whole must always be greater than the sum of the operatic parts in my book, and singing cannot smother drama.

Now this last suite has some deceptively simple ideas but the overall effect is still one of immense variety of expression. A four note motive is set against a repeated bass in one of Britten’s favoured mournful Passacaglias, with repeated pizzicato, which precedes the 3 Russian folk songs arranged by Tchaikovsky and the Orthodox hymn the Kontakion chant, which act as the conclusion. Remember this was written for, and first performed by his friend, the great Russia cellist Mistislav Rostroprovich, after hearing his performance of the Bach suites. After BB’s death Mr Rostroprovich couldn’t bear to play this piece.

Earlier in the piece we have a very quick, unsettling Moto Pertpetuo which appears to invert the motif and a stately Fuga which sets it against the main line, and suggests the counterpoint which JSB famously conjures up in his suites. Elsewhere we hear a Dialogo, marked allegretto, which flips across two staves, a Barcarola, which echoes the famous Prelude from JSB’s No 1 Suite which opened this recital, a jittery Marcia, and a strange Canto. Mr Wispelwey, in very droll fashion, introduces the piece by, er, introducing each of the short movements, which provided both bearings and an insight into Britten’s compositional process. All in all, a very satisfying rendition of one of BB’s finest works, IMHO.

The Ligeti sonata is made up of two movements, both written relatively early in his career, 1948 and 1953. The first, Dialogo, a slow movement, was written for a cellist who GL fancied. It is based on Hungarian folksong, (always a rich source of inspiration for the great man), and alternates from high to low ranges, apparently representing a conversation between a man and a woman. The Second movement is a Capriccio is a rapid Moto Perpetuo that, in places, would be tricky enough on a violin, let alone cello. It’s brilliant. Like the Britten the debt to JSB isn’t hidden, notably in the manic string crossing, as ears and mind rush to keep up with the musical invention. The thing about Ligeti for me is that his music always seems to be having a laugh. None of this thorny intellectualism that can so often block your path into contemporary music. There is a celebration of Ligeti’s music at the South Bank in May. Yea. I am signed up.

No need for me to rabbit on about the Bach in detail. You will know these pieces. They are, in essence, just dances. But what dances. If you don’t know them then you should. No point living a life without the best of Bach. Make it your New Year’s resolution.

I shall be looking out again for Mr Wispelwey’s recitals. He made these technically demanding pieces look easy, (well maybe not that easy), and has a very direct style which made it relatively straightforward to follow the line of the music. He has a winning charisma, and a natty shirt/waistcoat combo, but when it all got seriously emotional on stage, we were rapt. He knows the Bach suites like the back, front and sides of his hands, he has recorded them three times. I just bought the last recording, played on a Baroque cello, tuned at a lower pitch (392 vs 440 normally). Apparently he plays fast and loose with the usual tempo interpretations. Can’t wait to find out what it sounds like.