My first venture to St John Smith Square remained a dazzling afternoon concert from flutist Anna Kondrashina, with Pavel Timofeyevsky as the finest accompanist.
The spirit of the flute lived in this fine hour of music. Be it their new arrangements of old classics or some of the finest pieces in the flute and piano repertoire, everything worked so well. Clara Schumann got a lot of love with her Three Romances originally for violin and piano. She simply has to be better seen as one of the early Romantics, her husband Robert established well in that regard. The piece was very touching, Anna making it her own with its resplendence and insight. More Clara!
The Concert Fantasy on Rimsky-Korsakov’s ‘Golden Cockeral’ from Efrem Zimbalist held up as a sparkling delight from the Russian composer’s last opera. Very Russian sounding in nature, fine melodies and sonorities lingered around the space, Pavel on piano also getting a lot out of the score with dramatic flair, proving the composer’s clever orchestration even in just the piano reduction.
Erwin Schulhoff, a German Jew who’s life ended in a concentration camp, has one of the more interesting works in this canon: his Sonata for flute and piano. There was a lot of Stravinsky going on in this, denser moments haunted. This was a new discovery for me and I found it highly alluring and profound, the context of Schulhoff’s fate not leaving my head. Anna again, proved her mastery of the flute, you feel like these are sacred moments, the sweetness of her musicianship are always bright.
A well needed bit of cheering up was from Gershwin and his Three Preludes. Thanks to these arrangements, you fell as if they were written for flute originally. These spritely, considerate jazz delights never faltered in their tones, Anna even mimicking a drum kit in the second movements. An encore of Bach was a stunning offering we didn’t deserve, since we had been treated to an already stellar concert.
Bach is the greatest composer once declared Richard Wagner. Whilst few would dispute this in music circles, we wonder just how clever old Johan really was. Well known for his tricks and games in his own work, it’s taken centuries to truly penetrate just how dense his ideas really are.
Through all this comes a concert form Academy of Ancient Music, who have made attempts to do a post-mortem on The Musical Offering, a piece he wrote during his time with Frederich the Great of Prussia, a well established musician in his own right. The King wrote a theme now known as the Royal Theme, which was then expect by Bach to transform into a world of music.
Director and harpsichord player Laurence Cummings command the evening, address the audience as well as all things musical. The concert was framed by two sonatas, one for viola da gamba, the other for flute. These are wonderful additions to the offering, the soloists excelled here, as the lights were dimmed in the hall and a few, mock candles graced the stage. Though the concert featured a lot of The Musical Offering, it at times felt like The Musical Education. I love Bach, though can only really look at these as mere trifles. The clever use of the king’s theme is evident for most of the movements, yet is mutated in other instances.
I, as an amateur musician tried to learn the Crab Canon, one of the many parts. I found it two hard as one melody on one hand is then inverted for the other, a quite pleasing trick when played together. The canons which do feature are always rousing, even for how old they are. There is always something stimulating about them and you could never deny his brilliance. The musicians seemed to enjoy the music, even if a lot of this was fragmented and slight. The pre show talk did also go into a lot of context for Bach’s schemes, thought even that could have been longer.
Academy of Ancient Music’s next concert is Locke’s Suite from The Tempest & Purcell’s Ode to Saint Cecilia in Cambridge and London, 8 & 9 March 2023.
My last encounter with the Arditti Quartet was less than memorable, though I’d never let that hold them down. In a birthday celebration for its founder, Irvine Ariditti, Wigmore Hall had done all but put out the bunting.
Their world premiers were an exciting prospect for this concert, first with Roger Reynolds and his imAge for solo violin. I like the smart format of the name of the piece though I held it in contempt a bit, its harshness seemingly defining the work. It did find some footing in its liberal look at the violin, Irvine proving he’s the man for the job, an esteemed musician who can do anything really.
Unsuk Chin from South Korea gave us the next new work: Gran Cadenza, Irvine being joined by Ashot Sarkissjan for this weird ping pong feat. Chin is a fascinating composer, though this was a bit dull, her intense nature not really present either.The real treat was Xenakis’ Ikhoor, for the full quartet who gave a stupendous outing of this chilling piece. If you cant get Xenakis you’d be wise to avoid a piece like this, its unwavering brittleness is a joy for some.
Sven-Ingo Koch and his new piece: String Quartet No. 3 offered insight and a more subtle encounter, the third movement being noteworthy for its nuanced tenderness. This final premiere proved how versatile Irving and the quartet can be, yet the type of music is unrelentingly contemporary and heavy. Irvine’s wife Hilda Paredes took the Mexican poetry of Pedro Serrano and transformed it into a blazing triumph. Their step-son Jake Arditti joined forces as a sweet, soulful countertenor, some bizarre moments for him including whispering and a finger over the mouth to imply insanity (if that makes sense?). The fine, pastoral verse was well met, with the soft quartet writing as well.
An English singer who’s star has only risen is that of Elizabeth Watts. Seen at budding competitions prior, she now excels Mozart on stage and French repertoire, amongst other things. Starting with Debussy at her Wigmore Hall concert, here French sounds great in his Ariettes oubliées. Who else but Debussy could have written these? They are saturated in his watery gleam, the French way of course. Also of not is Watts acting, proving she can command both spears with ease, facial expressions change at break neck speed.
In Wagner’s Wesendonck Lieder, we see this charity she has, the German mode much more direct and formal, nature and romance as ever its trappings. We an brought exquisite voice to these songs, Im Treibhaus and Träume (both later recycled in his Tristan and Isolde). More intense emotions are wrought here and also bleed in the next set of Richard Strauss, who took a lot from this problematic composer. Highlights here were Cäcilie and of course, Morgen both equally sublime songs.. Simon Lepper on piano does not let down, a real roaring accompaniment never with a shadow of a doubt the wrong person to collaborate with Watts.
It would be the Czech language that would wrap things up. As if her talents were not enough Watts then showed off in Czech hopefully taught well to master the tricky language. Bohuslav Martinů who had an affair with younger composer Vítězslava Kaprálová, who showed much promised, dying at a very young age. Her songs start off with the love of the Czech nation for folk music and wit, Martinů contuses this with his own deeply rooted love of everything folk about his country and it’s borders. Love, longing and just plain old fun permeate these songs, I love how frank and witty the translations were in the programme as well.
A puffy English song led us away, with little doubt over the power of this fine singer and always wonderful accomplice.
Tomáš Hanus at the helm of Welsh National Opera has brought unforgettable performances. Be it the extensive operas of Janáček or the deeply moving youth work of Brundibár, the love of his homeland has never been questioned. The homeland in question is the Czech Republic and in a special concert of a Sunday afternoon, Cardiff was treated to the entirety of Má Vlast by native Bedřich Smetana. Truly a love letter to all things Czech, landscapes are meshed with myth and history. This fine orchestral jewel holds up as one of the Romance period’s best musical moments, the composer went deaf during its writing.
It is the duo of plush harps that set us off on this pristine journey through time and place. Filled with innovation, the work proves the composer’s talent in usage of folk melodies and orchestration. The second movement by far the most beloved: Vltava or The Moldau is the voyage of the river from its source to traverse across it’s fair nation. This is always a highlight and has featured in the film The Tree of Life and the animation of Don Hertzfeldt. The melody is borrowed from a catalogue of sources, though the whole movement is essentially perfect.
The next four movements add depth, joy and fascination. If I could read sheet music proper I would love to stick my nose in it. The towering feeling of the following music, goes into the history and myths of the country, Šárka and Blaník remain proof of the dense points of reference. You can most certainly hear Janáček in Z českých luhů a hájů or From Bohemia’s Woods and Fields
The final, sixth moment Blaník, remained a sonic experience, Army of knights led by St. Wenceslas sleep in the cave of the movement’s name was a riot, the brass and timpani coming into their own though through the entire work. Everyone excelled here..
Hanus lives and breaths the work, at moment he didn’t conduct and simply bowed his head. Unafraid to tell the brass to be just slightly quieter through a raised, considerate hand, a plea of pianissimo. Wild gesticulation and feverish physicality are his trademarks. He makes this Welsh orchestra just that little bit more Czech. I have never heard this piece throughout its entirety live and I think its time we did more so.
What also must be said at this time: Let’s keep the classics on at St David’s. They remain its home.
From it’s humble start, Opera’r Ddraig have risen upward to stage familiar classics in spaces around Cardiff and on tour. Though with Bhekizizwe comes a much more diverse and contemporary scope for the company.
Dr Robert Fokkens from South Africa, now based at Cardiff Uni has composed the score and the libretto is penned by Mkhululi Mabija. We follow a young South African man Bhekizizwe Shange on his way to further education in both Pretoria and then London. With family, life and love interests adding to the story, he must find his way in the white mans world, proving himself as good as any of them. A partner of his in London would deliver a baby, much to the distain of the family of the girl, realising the child would be mixed race.
The near eccentric nature of the music, is usual Fokkens territory, his recent piano premier at the Vale of Glamorgan Festival also proof of this. There was dischord, there was harmony, though most alive in the piercing moments of drama in the second half of the evening, dance club music and a pounding drum solo from Michael Hearty. I’ve yet to see a bow scrapped across a cymbal more times then here as well. I questioned how approachable the music would be, some in the audience declared this was their first opera. I dare say, it worked well and the interval was an added rest for all players involved. Fokkens also conducted every soberly, keeping the ensemble in a fine symmetry.
The story itself is quite bare, our lead boy seems to just knock about the places he is meant to go, perhaps the fact this is a monodrama with no other voices proves the static. With the upmost pride, the evening mostly belongs to baritone Themba Mvula. In the many dress-up moments for his teachers, family and maybe in-laws, he embodies them with swagger and humour. Mvula’s voice is perfect in any register and he often excelled in soaring moments, even if the rowdy band might have drowned him out at times. There are some very touching moments and the bits of wit are well needed, the lists of things not to do in England was a highlight, dressing up with the buttoned up, dicky bow torso mannequin of his professor. He made the story more interesting then on face value and I was really quite taken with him. One to watch!
At it’s heart the piece was about home, race and love. The quest for all these things in a world of hate and judgment.
Martin James Bartlett, Photo credit: Paul Marc Mitchell
(3 / 5)
It would prove to be an expectedly light affair with that of the Sinfonia of London, along with maestro John Wilson who excels in all he does. He is happy to bring the lighter side of classical to many an audience and we cant blame him for it.
What surprised me most about these players was the laid back approach. It all felt like one big jolly, the percussionists during their many rest periods had faces of children back in assembly. And two players in the back of the violins are clearly loved up. Wilson would even loose his baton during the second half of the evening, all in keeping with the strange air of the night.
Walton and his Scapino makes a great concert opener and the Sinfonia clearly had a lot of time with the piece with practice. It was the timbre of the whole thing, the jolting, romp like feel for these few minutes which flew by. Very charming and we craved more. Following on was the first Ravel of the night: Valses Nobles et Sentimentales. I find his music to be the equivalent of a bath bomb, light and fizzy, though swiftly leaving you with nothing of interest other than coloured water. The pieces displays strands and sinew, evocative of impressionism of the era. This is a piece which doesn’t command attention and you can drift of in thought.
Of major appeal was Gershwin’s Rhapsody in Blue with soloist Martin James Bartlett. Playing with impish vigour, Barlett didn’t let up in it’s commanding jazz storm. It’s safe territory though back in its day, remaining groundbreaking for allowing popular music to be injected into classical. As ever the delight, this standard Gershwin delighted and we’d simply love to hear Barlett tackle his more meaty piano Concerto in F.
Upon hearing Debussy’s La Mer once again, I’ve found it to finally have appeal and intrigue. Maybe it’s the allusive nature of the score which is gradually waffling over me. Here the Sinfonia came into their own, the entire three movements inspired by the sea engulfed St David’s Hall, their shimmering, blazing delivery held up as a highlight of the night. What did annoy was the eye rolling choice of Ravel’s Boléro. The piece has reached meme level now, a joke even in his own day, met with boos and hisses. Wilson declared this to the the Welsh premier of the original version of the ballet score and not the later orchestral version.
There is little evidence of this being a premier proper and Wilson just seemed to have said this. The pieces in the it’s original guise is even more interminable, two snare drum players take turns with the tempo, a boring tennis match as we hear the same melody again and again. I’m all for minimalism but this takes the mickey. I was stunned by the amount of people stood on their feet after, though I will applause the players for a light, mostly French affair. They shall return in February with the glamour of MGM films…
The Cardiff Classical 2022-23 continues with its latest concert at St David’s Hall, featuring one of the finest symphonies by one of the greatest Romantic composers. German conductor Markus Stenz leads the BBC National Orchestra of Wales through Gustav Mahler’s 9th Symphony, the last completed symphonic work before his death in 1911.
The 9th is something of a culmination of Mahler’s lifelong fascination with death, which we can trace from the ‘Polka with Introductory Funeral March’ which he composed aged seven. That doesn’t mean Mahler was aware of his unravelling mortal coil when composing the 9th, although – like Beethoven and Schubert before him – he died without completing his 10th symphony. After losing his daughter and being diagnosed with severe health issues himself, Mahler moved his family to their summer residence on the Austro-Italian border, to grieve and to recuperate. The gorgeous natural surroundings of Toblach were one of the key inspirations behind his final work, and its fascination with nature can be heard in every note, from the earthy second movement to the volcanic eruptions of the third.
Conductor Markus Stenz
And, as conductor Markus Stenz mentioned in the excellent pre-show talk with Jonathan James, you have to be personal with Mahler – the success of any performance is about what you put into it. It’s no surprise, then, that performances of any Mahler piece can vary significantly in timing and style (including those conducted by the man himself!) To play any piece of music is to be in dialogue with the composer – and Stenz’s connection with Mahler is positively subatomic. He received a German Critics’ Award for his recording of Mahler’s 5th with the Gürzenich Orchestra, and conducted Mahler’s 2nd with the City of Birmingham Symphony Orchestra earlier this year.
Markus Stenz and the NOW in rehearsal. Photo credit: Yusef Bastawy
Stenz, who studied with Bernstein and who has performed on three continents this season already, is a characterful and expressive leader who embodies every emotion of Mahler’s vivid tapestry. The Orchestra is on fine form, and there are myriad ‘Mahler Moments’ to be enjoyed here, including a slew of terrific solos by the NOW’s finest, from lead violin Lesley Hatfield to principal percussionist Chris Stock (who, before the concert began, was presented with the Royal Philharmonic Society award for his charitable work in Patagonia).
Markuz Stenz and the NOW take a bow. Photo credit: Yusef Bastawy
While many Mahler symphonies journey from darkness into light, the 9th goes from the living to the otherworldly, with Stenz and the NOW seguing seamlessly from the frenetic bombast of the Big Bang to the emotional serenity of the closing Adagissimo. These fading refrains, according to Adorno, marked the first steps into modernity. Having begun with a universe bursting into being, the symphony culminates in a peaceful acceptance of mortality; a beautiful controlled stillness, like lying in the grass looking up at the stars. While death is inevitable, Mahler crafts beauty in its last breath – and Stenz and the string section’s delicacy and restraint are positively unearthly here, as together they conjure heaven in the Hall.
James Murphy, CEO of the Royal Philharmonic Society, presents Chris Stock with the society’s orchestral award. Photo credit: Yusef Bastawy
Stenz returns to Mahler (Adagio from Symphony No. 10) in January with the Philharmonia Zürich, after conducting the Hungarian State Opera Orchestra through Wagner’s Operas in December. He will tour across Europe and America through next year, conducting pieces from Beethoven and Bruckner to Tchaikovsky and Liszt. The BBC National Orchestra of Wales continue their spellbinding 2022-23 season with Stravinsky, Ravel and Boulanger, conducted by Sofi Jeannin, at BBC Hoddinott Hall at the end of November before playing a succession of Christmas concerts in Cardiff and Swansea.
The sight of the WNO Orchestra is rare since we mostly see them in the pit of the Wales Millennium Centre. Chances to see them full throttle at St David’s Hall are always a pleasure and under the brilliant baton of music director Tomáš Hanus, this concert given the fitting moniker of ‘Czech Mates’.
Half of the programme for this concert would be smattering chunks from operas, yet a deeper divine into he orchestras repertoire were present. The Four Sea Interludes from Peter Grimes by Britten was done with subtlety and fury. It only makes you crave a full performance of Britten’s masterwork, not seen with WNO for what must be decades. There shimmering allure of the North Sea, church goers and the battering of a rampant storm all feature here, filled with nuance.
Dvořák and his Biblical Songs followed, with a pleasing turn from Jana Kurucová, a Slovakian mezzo who brought the spirit of the composer into the space. There was a hushed feeling to these setting of a selection of Psalms, ‘Thou art my hiding place’ and a setting of ‘The Lord is my shepherd’ as examples. Though I wasn’t as taken with them as I expected, I found Jana to be a rich singer who added a fine feature to this concert.
Wagner would arrive after the interval, the Prelude & Liebestod from his epic opera Tristan und Isolde. The seething erotic tension in both extracts (the start and end of an opera a good four hours in length) burst out, the orchestra poised in space in spacing and phrasing. They excel at Wagner, Wales having an extensive history with the highly problematic composer. The famous, reedy Tristan chord heard once again as it all wraps up, begins ‘modern music’ in many ways, yet brings us back to start of the prelude. Clever, as ever.
Janáček is proudly put on by Tomos every opportunity he can get, his native composer always offering wacky and inspired musical offerings that are usually a highlight on the opera stage and concert hall. His Sinfonietta, opens and closes with the soaring addition of a mass of additional brass, leading on to eccentric string writing, a declaration to the folk music of his land and a catchy rambunctious nature hard to ignore. Tomos seems to float when with Janáček and we in Cardiff always welcome its magic.
In an afternoon of light delights the sibling brilliance of Agata & Wojciech Szymczewski delighted the audience at the Royal Welsh. This was very much the definition of the ‘Polish miniature’, fairly light music though not without the weight of it’s country’s history and culture.
The Legend and Kujawiak of Wieniawski is pretty famous, certainly the most familiar music on the programme. I still remain unsure about the true value of Chopin (this will land me in trouble), though hearing his Mazurka in A minor remained a pleasure. To see this brother and sister play feels like an honour, Agata on violin remains such a force the instrument seems to capture to her every whim. It is as if she was born to play the violin and every second with her proves her gusto and passion for her nation’s music. On piano, Wojciech also offers some fabulous insights, his accompaniment never wains in his intimacy with his sister. Though these pieces are very much chances to show off the violin proper, Wojciech makes a perfect companion for the journey.
New discoveries in the Polish repertoire would see work by Bacewicz and Adam Wroński, which delighted in openness and charming nature of the writing. The air is very Polish, some whispers of the country’s great folk music culture passed through. The essence of the fiddle lived in this brief concert. The Cradle Song of Szymanowski proved a much more ‘modern’ affair, the traditions still invited and present, though the drabness of it’s features might turn some off. Still, it had a beauty of its own, distilled and abstract, a piece that’s demands some effort and attention.
We’d welcome back these siblings anytime to Cardiff.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(4 / 5)
(3 / 5)
