(4 / 5)

It would be another trip to London where I almost missed the transport to get me there. To add to this, Alice Coote who is a fine singer, had to bow out of this afternoon concert due to knee issues. I don’t recall ever seeing her before and this cocnert was hopefully the first.

I’ve no qualms with the replacement: that of Iestyn Davies & Sergio Bucheli. This most wonderful of recitals was a pinpoint in time and geography. I’ve interviewed Iestyn in the past and have always been taken with his counter-tenor. It is so pure and light, even the newer music he works on is thrilling. Though it is his look back to the baroque that is most potent, the time when the previous form of the singing range for men reached it zenith.

This splendid set of John Dowland, Purcell and more was so intimate, the hall became a clear space of tranquillity. Arias by Purcel define the early idea of Englishness in music, their openness shine through. ‘Lord, what is a man’ was one thoughtful highlight of many. The Toccata No. 6 on lute, from a rarer heard, Giovanni Girolamo Kapsberger was incredibly touching. Bucheli had a solo and it was almost time travel to its bygone past, pianoissimo abound. Another Purcel and his ‘Sweeter than roses’ stood out, ‘O solitude, my sweetest choice’ had depth and longing in its extremity.

A contemporary turn from Nico Muhly (born 1981) with a selection of his 4 Traditonal Songs  seeing both artists each having solos. Perhaps the most profound was ‘The cruel mother’, a horrific story of infanticide, made moral threat of damnation. Certainly the most moving passage in this concert. The other extracts had skipping melodies and considerate charms. John Dowland’s ‘The Frog Galliard’ and ‘Flow, my tears’ were other swell choices in a programme that has no doubt been finely tuned, such was it’s eleventh hour offering. We don’t hear enough Dowland, its beauty is rare for the era, its listenablity an ease.

Ending with Handel and the Saul song O Lord, whose mercies numberless, gave us a fine way to wrap up, maybe more Handel in the future. The sincerity from the German born composer never wains. Iestyn proving how strong he is here and excelled, Bucheli remains a master of the lute, gentle and proud.

Listen to this concert on BBC Sounds. 

(4 / 5)

Image Credit, BBC/Andy Paradise

A return to The Proms saw a change in conductor. Sir Andrew Davis, who passed away earlier this year, saw innumerable Proms, concerts and operas under his belt internationally. His biography is extensive and the programme did a good job in detailing all this. So with his absence, we got the always delightful, yet rigorous Martyn Brabbins, a chameleon in all musical styles, for a concert that will be, well remembered.

Stravinsky’s three symphonies each have their own quirks and USP. In his Symphony in Three Movement, the BBC Symphony Orchestra thrilled with this piece. Naturally, you hear flashes of his Rite of Spring from some thirty odd years prior, aside usual charms from the Russian composer. This performance was effortless, it exuded a breeze out into the Albert Hall. I usually don’t stray from Stravinsky’s three big ballets (maybe the Violin Concert), though this later work has a lot of appeal. The bouncy strings, fermented woodwind and impactful percussion all stood out. A fine opener.

In a UK premiere, Steve Reich has gone biblical with Jacob’s Ladder. Detailing the dream Jacob has about angles and accession, this should be a vivid encounter. This was anything but. It took a real long time to get the stage set for this, two vibraphones were positioned and the piano moved more centrally, many string players having seats taken away. Reich has written the same music since the 1960s and these new works are a ghost of the past. The Synergy Vocals had a less impactful appearance, the male singers starting off rather weak, even with the microphones. This felt restrained and lacklustre, none of the vibrancy we’ve heard before. At twenty minutes, it was gracefully short and left little impact.

One of Davis’s favourite composers is Michael Tippet. His Ritual Dances taken from his bizarre opera The Midsummer Marriage are a set of transformations and preparations all in a stinging, English storm. These eccentric moments don’t quite go far enough, some charm and flair exists but I wouldn’t say I fell off my chair due to their vivacity. The brass has a great time, lots of fanfare vibes and the strings got hushed moments, aside stellar wedding like festivities. I’ve less incentive to see the whole opera though.

Brabbins took to the mic after this and gave a loving memorial to Davis. Stories of his temper and humour are well known, yet his love of music making was never brought into question. With these sweets words, it ended with Elgar and the Enigma Variations. This felt extra special, an easily approachable Elgar and one of his most cherished compositions. Most movements are the abbreviations of his friends and those close to him. It’s rare a piece is perfect, yet the Enigma might just be that. Again, very English in manner, witty and ironic, not afraid to trifle and meander. We may never know what piece Elgar used as the basis for the Enigma melody, but special performances like this makes the mystery go on.

(5 / 5)

My first encounter with Jan Lisiecki was around a decade ago at The Proms doing Schumann’s Piano Concerto. He’s matured a lot, being of teenage years back then.

In a stupendous evening at Wigmore, he presented an entire programme of preludes, spanning well over two hundred years of music history. I would rarely rush to hear Chopin, though his playing is event worthy. The Prelude in D flat is one of many famous pieces from the Polish composer, a fine start to an exquisite concert. Chopin’s sincerity beams through here, Lisiecki’s subtle hand stand out.

With no pause for applause, the first half whips through a broad pallet of delights. The two iconic preludes from Bach’s The Well Tempered Clavier Book I, were peppered well at both ends. Rachmaninov meet Lisiecki with big, beefy handwork as if a giant had written it (the composers large hands are well known). Glossy highlights from Morceaux de fantaisie and Preludes in D & G minor added to the pot, I’d say this player has some very good handling of Rachmaninoff, perhaps as sharp as his Chopin. Whilst the Szymanowski offering may have had less appeal, I found them to be satisfying, the performance as ever finely formulated.

For me the most wonderful moments came with Messiaen and Górecki, two of my favourites. Messiaen’s early Preludes are a rich cocktails of his inspirations and precursors to what would follow. Plainchant is a clear point of reference, the latter of a dove’s wing the evocative, Debussy like opener. The erratic nature wrung out of the piano, only becomes more eye bulging as Messiaen went on. Górecki’s Preludes Op. 1, were two of the four he wrote, that had a disturbing and gurgling power typical of his younger years. Tender moments are few and far between, more evident are the hellish furies and earth shattering bashing. Then at its end at break neck speed…Bach. Genius.

The second half was the entirety of Chopin’s 24 Preludes. Each of Preludes we heard in the previous half of the night are back here, even more sweet and filled with an openness. A range of emotions are present, joyous rapture, pain and regret, determination and pride. Liniecki was a total triumph, moments of contortion upon his face, the trills and cutting melodies child’s play. An encore of a Schumann Romanza only touched me more.

It’s rare to see talent like this often. His youth is also tantamount to this, with the prospect of future playing and recording highly enticing.

(4 / 5)

The BBC National Orchestra season has now officially ended in Cardiff. Whilst a showy wrap up was usually at St David’s Hall, we didn’t get it there this year due, to an ongoing cladding discrepancy. Most if not all concerts have been at Hoddinott Hall in the WMC this season and the year usually finishes with an extra concert there, though it would have ended there anyway. Are you following me?

The themes of Greek myth and a focus on the flute made up the evening. A Debussy heavy first half had the typical Prélude à l’après-midi d’un faune. Opening with the famous theme for flute, the seven odd minutes are evocative and sweetly scented. This brief ballet caused a stir at its premiere, Nijinski the dancer always up to provoke. Our national orchestra seduces us in this opening gambit, they make it looks like child’s play. Following on was the French composer’s Nocturnes, a powerhouse display of orchestration through merriment, nature and seascapes. The final movement of Sirens sees the ladies of the BBC National Orchestra of Wales give into some lovely wooing. The sailors who would wreck their ships, are lured by said sirens and there song is an exquisite offering. It is…a bit mawkish, though I cannot deny my palette for these sirens.

With the composer present on the night, Christian Mason’s Flute Concerto, dubbed ‘Thaleia’ proved to be the real highlight. With same orchestration as the previous Debussy Prélude, the story is of Thaleia, the Naiad-nymph from Mount Etna, with her exploits with the stroppy, amorous Zeus. With Gergely Madaras conducting and his wife, Noémi Győri as soloist this was a personal and powerful conjuring. Playing both flute and piccolo, Győri is a sensation in what must be a deeply challenging role written for her. Trills, flutter tongue techniques and whispering harmonics were all part of the demands. Musically strange, crammed with earthy allure and with many dramatic bouts, I was thoroughly taken with this geeky, Greek mythological inspired oddity.

Madaras, who introduced all the music on the night, for the last venture bigged up Belgiam native César Franck. The orchestra has recorded some select scores in the past, though he doesn’t always get a lot of loving. That changed with our finale: Part 3 of his oratorio Psyché. A small, patient selection of the Gents of BBC National Chorus of Wales joined the mass of ladies for a gutsy showing. This was a taster of the full, proud work and it left wanting more. Madaras, who stirred all night, was most alive here. Some sumptuous bars were compelling, I just would like to hear the full hour long work.

Review aside – Next season, we kindly request we have physical programmes back and some of the lumbering, black microphone stands be moved away from the front of the orchestra.

Here’s to more music making in the Hoddinott!

Listen out for this concert in the near future on BBC Radio 3, then BBC Sounds for 30 days.

(3 / 5)

In their official end of their season, BBC NOW would wrap things up in their trying year, with no St David’s Hall, at Hoddinott Hall. Though they usually have one last flutter in the Hoddinott before the last concert at St David’s (then off to the Proms in London), this smaller scale concerts still have a lot of punch.

A hefty Cello Concerto from Dvořák, with soloist Alisa Weilerstein was an impressive start. All the folksy, good hearted nature of the Czech composer’s homeland is here. Written both in the US (where he taught) and his home, the piece is a three-quarter hour delight. Retrospective in nature, the home sickness also messed into his past love affair with his wife’s sister, who originally never cared for Antonín. This didn’t stop him putting her favourite song in the concerto. You’ve got to really like the cello for this to truly work, though the orchestra do bring out some ringing moments. The brass felt rather loud, perhaps due to the direct acoustics of the reliable Hoddinott. It’s always looks silly for a percussionist to wait patiently and then just play one instrument…that being the triangle for this large piece. Alisa makes the solo role putty in her hand, she brought many truths and I also was taken with her passion. She didn’t shy away from broad, proud moments and subtle, tender bars were noteworthy. Not quite my favourite cello concerto, but lovely all the same.

Blue Cathedral was our post interval opener from Jennifer Higson. Inspired by imagery of a cathedral floating in the sky, this liminal space in musical form, had lots of percussion and flamboyant instrumental moments for the orchestra. Some serene, Debussy like phases flattered the audience and some little bouts of harsh dissonance cropped up as well. I found it appealing, though felt it didn’t quite find its footing in its ten odd minutes.

A real rarity followed and a problematic one at that. The joyfully energetic American conductor Ryan Bancroft has treated us to his countries great musical offerings most notably Charles Ives, with a 150th  birthday celebration this year. African American composer William Dawson saw great success with his Negro Folk Symphony in the 1930s. Though he could not bottle this popularity, he revised the work after visits to West Africa in the hope to rekindle its past success. Whilst Dvořák encouraged American composers to utilise spirituals and other music from Africa, he set the gold standard for its use. There is much flair and drama in Dawson’s symphony, the mark of slavery and faith pierce through. Its quite intense and theatrical, remarkably I was still bored by it. Even the lovely use of harp and an anvil at the conclusion didn’t win me over. Its fusion worked well enough, I just don’t think it maintained the stamina for the over thirty minutes. Whilst I have my own reservations, I cannot deny the works place in history nor it’s influence under diverse composition.

Listen to this concert on 13 June 2024 on BBC Radio 3: In Concert, then available for thirty days on BBC Sounds. 

(5 / 5)

I was keen to attend a recital with Canadian legends Gerald Finley and Angela Hewitt for an excitable programme. Finley sadly, could not make it due to a bereavement. So this raised a question…what would be done instead?

Hewitt was up to the task by taking on the Golderg Variations as a very palatable alternate concert. Prior to playing, she spoke of the promise of doing something another time with Finley. We were amazed as we were informed she has been playing the Goldberg for 50 years, come 2025. She remains the gold standard of the piece, no doubt there are a select other few living, who could earn this title today.

Some might be deterred by and hour and half of piano, yet with Hewitt its remains a privilege and a pleasure. She brings so much to Variations, the opening Aria remains one of the finest things written in the keyboard repertoire (this was originally a harpsichord vehicle). It’s the personal touches throughout the epic journey that thrive. This is my second time seeing her do this, last time I recall she brought on stage a sparkly crutch. I can’t get enough really.

The travels are broad and Bach show’s us his genius with clever transposition of the Aria, new colours, mood, visions and energies burst out. Timeless music this has always been…further study into Bach and his creations can only broaden his intrigue and admiration. Hewitt brings her own inflections and posturings, moments of stillness are latter met with flare and style. In one instance, there appeared an almost emotional breakdown, though we wouldn’t blame her. The music has a complexity that still beguiles today. The faster movements are filled with plodding panache, the slower parts have a sincere retrospection.

After the panorama of depth, we return finally to the Aria once more. This has always been one of the most rewarding moments in the keyboard world. Those who may tire throughout, should find solace here. Hewitt knows the worth of this moment and we savour it at the conclusion.  This remained a heart felt silence which felt forever in the space.

I do hope to see her play in her special anniversary next year. It would be an honour. 

[USR=3]

I would finally return to see our National Orchestra, with their homestay concerts now at their base down Cardiff Bay. St David’s Hall wont open its doors for another year at least and it’s great to see the players where they live once again.

The concert title of A Little Night Music would suggest at the very least a billing of Mozart, yet he was no where to be seen. This was a more adventurous fit with a world premiere from Irish composer Stephen McNeff with The Celestial Stranger. With poems by Walt Whitman, Dylan ThomaS and Hawian queen Lili’uokalani, with a focus on the discovery of verse by Thomas Traherne, a clergyman and mystic this was the foundation. The theme is a traveller from beyond the stars and tries to navigate our own world. Here, with the evocative tenor Gavan Ring, the songs were strange, developing more character as each went on. With nods to Britten, this setting held up as evocative and weirdly sensual. Always a pleasure to hear newly commissioned work.

Fauré was the first composer to set music to the play Pelléas et Mélisande. This alluring story sees tragedy and allusion in equal measure. Fauré recycled other pieces for the rushed play opening in London, this being the incidental music. In these sequences there is the light air he is known for, sweet and touching, very French. Debussy handled the story best with his opera, the watery scope a landmark of its era. Several composers wrote music inspired by the story, yet I’m sure Fauré is the least interesting of the lot.

It has been 150 years since the birth of Arnold Schoenberg which might see many concert goers terrified at the prospect of listening to him live. In what is a safe bet, his Verklärte Nacht or Transfigured Night is a wonderful gateway. No one would be offended by this early composition, it is later in his life he created the infamous serialism technique. Originally for sextet, this lush, larger string ensemble bring to life the verse of Richard Dehmel, seeing a couple in the forest face their troubles and realisation of commitment to one another. This is quite splendid really. The harmonies are just right, some ornaments and tricks also feature. The players here oozed a loving determination. The piece shone, vigorous conductor Jac van Steen blowing a chef’s kiss as ever at the finish, this time heart felt. Those doubting the Austrian composer’s style should consider Verklärte Nacht as a starting point. You might just be surprised.

This concert will be broadcast on BBC Radio 3 and then available on BBC Sounds in July 2024. It will also be filmed for future release in the BBC National Orchestra of Wales Digital Concert Series.