Sunday, 17 February 2019

Berlioz, Haitink, Mahler and other livestreams

Listening links and livestreams (click on blue bold for link)

Berlioz : La Damnation de Faust - François-Xavier Roth nous propose sa vision de "La Damnation de Faust" avec les forces de son orchestre Les Siècles. From L'Opea de Versailles. Condensed but intense HIGHLY RECOMMENDED  Very good soloists - Mathias Vidal, Anna Caterina Antonacci, Nicolas Courjal. Though it's too early to tell, this might be one of the highlights of this Berlioz anniversary year.

Berlioz : L'Enfance du Christ, Andrew Davis, BBC NOW HERE. This coincides with the release of Davis's recording of the piece with the Melbourne Symphony Orchestra, which I haven't yet heard, but the combination of BBC NOW, the National Chorus of Wales and these soloists (Sarah Connolly, Andrew Staples (divine), Roderick Williams) would be pretty hard to top.

Berlioz Requiem, Lutoslawski - Pablo Heras-Casado  from the Philharmoniue de Paris from 20th February

Mahler : Symphony no 8 - Gergiev, Munich Philharmonic, Philharmonie de Paris  Gergiev's  unpredictable, and his Mahler often disappoints tho' his recent Mahler 4 and Das Lied von der Erde were surprisingly good.  Any Mahler 8 is worth hearing. This one thankfully wasn't over the top and hysterical.  It was good enough, and better than quite a lot. Luckily I didn't get to hear him do it in St Paul's Cathedral ten years ago where my friends said the naves sucked the life out of it .

Bernard Haitink : Beethoven 9,  Symphonieorchester des Bayerischen Rundfunks live from 22nd February on BR Klassik. Red Letter Day

Bernard Haitink at 90, LSO, Barbican  : Bruckner 4 amd Mozart from 10th March.  I'll be at the Mahler 4 programme on 12th March, which isn't being broadcast. There are still a few tickets for the repeat on 14th March. Grab them - Anna Lucia Richter the soloist is worth hearing

Berlioz Bits - Lélio, Waverley. La Mort de Cléopatra Pascal Rophé, BBC Scottish Symphony Orchestra, live from Glasgow

Mahler Das Lied von der Erde - Sakari Oramo BBC SO - Elizabeth Kullmann and Stuart Skelton, who should be good. From 22nd February

Friday, 15 February 2019

Mirga Gražinytė-Tyla : Peer Gynt and other choral stars

Edvard Grieg's Peer Gynt a choral blockbuster ?  Mirga Gražinytė-Tyla conducted Grieg's full incidental music to Ibsen's play with the City of Birmingham Symphony Orchestra, showing how the choral sections make a difference to the way the drama is received.  Peer Gynt is so well-known through extracts that the original context is lost.  Not a fjord in sight, except in a metaphorical sense. Peer Gynt isn't a hero. Ibsen's original as a Leseopera, an opera to be read and meditated upon, not "just" entertainment. He satirized aspects of Norwegian mentality in the period when the country was a colony of Denmark.  Peer's adventures are fraught with danger, supernatural as well as physical, The innate tension between moments of beauty and wildness creates a dynamic which is fundamental to interpretation.

Gražinytė-Tyla's approach brought out the power that lies beneath the surface : a vivid reading, bristling with energy.  Not for nothing does Grieg's wedding procession end with ferocious chords. Peer disrupts proceedings and gets kicked out for fighting.  Thus the first chorus with its almost primitive savagery : the subconscious being released.  Congratulations to the CBSO chorus (chorus master Julian Wilkins) showing their metttle. Indeed, this whole programme focusssed on choral music though no doubt the media will think in more simplistic nationalist terms. Thius does matter, since Gražinytė-Tyla has a choral background and is in an ideal position to build on CBSO's reputation for choral music of all kinds.

Having established the drama, Gražinytė-Tyla could focus on the interplay between expansive lyricism and more unusual forms, from the "barbarism" of the Hall of the Troll King to the exoticism of the Arabian dances.  In the Abduction of the Bride, the chorus led into Ingrid's Lament with soloist Klara Ek, and the Death of Åse prepared the way for Solveig's Song : both expressions of love and loss.  In Peer's Homecoming, the CBSO played with strong definition so the obvious imagery (a ship on the sea) seemed enhanced by forces beyond Nature. The Whitsun hymn, sung right afterwards, indicates that this conflation of inner and outer worlds is no accident, but central to meaning. Peer lives in the world of the imagination, feckless until he comes to appreciate true values.  Thus the finale, when Klara Ek, the soloist, the chorus and orchestra come together in glorious balance.

The programme began with neither conductor nor orchestra but with the City of Birmingham Youth Chorus in Esa-Pekka Salonen's Dona Nobis Pacem (2010) a five minute a capella miniature. Salonen plays with chords and textures, the three words of the text repeated in undulating cadence, the last notes held until they dissolve in silence.  Because it's so minimal, careful modulation like this is of the essence.  The freshness of these young voices connected well to Einojuhani Rautavaara's Cantus Arcticus: Concerto for Birds and Orchestra, where recorded bird song replaces chorus.  The orchestra reacts and responds, gradually coming into its own : long, searching lines, suggesting distance, flutes singing together as if they were birds.  A cello sings, its melody enhanced by the cries of birds.  For a moment, the orchestra falls silent, "listening" to birdsong before embarking on long, surging lines that expand, flutes in full flight, low voiced winds adding depth, until the music disappears beyond audibility.  These two pieces combine extremely well.  In both cases the performers must be listeners, sensitive to the subtlest nuance.

Back to more conventionally choral chorus with Jean Sibelius's Rakastava (The Lover), op 14 (1912).  More thoughtful programming from Gražinytė-Tyla, the minimal accompaniment reflecting the delicacy in Salonen and Rautavaara. The men's voices dominate at first - the cycle was originally scored for unaccompanied male voice -  but the women's voices enter with brighter, brisker figures until both reach parity.  Yet again the value of sensitive singing, hushed but precise.  Sibelius En Saga op 9  (1892) was also played well, (great solo moments !), Gražinytė-Tyla conducting with the clarity that brings out structure and detail. 

Thursday, 14 February 2019

Nefoedd (Heaven) - Welsh Art Songs from Tŷ Cerdd

Nefoedd (Heaven) - a collection of Welsh songs with Sioned Terry and Brian Ellsbury from Tŷ Cerdd.  Twentieth century Welsh song is undergoing a surge of interest, which should come as no suprise, after Tŷ Cerdd's groundbreaking Morfydd Owen : Portrait of a  Lost Icon, (please read more here). Those new to the repertoire will also find much to delight in. 

The first songs in this collection form a miniature cycle.  Y Gog Lwdlas (The Grey Cuckoo) is a traditional Welsh text arranged by Mervyn Roberts (1906-1990), setting the context for My Welsh Home by W S Gwynn Williams (1896-1978), a ballad of a hill farm, the rustic mood extended by Williams's I Hear a Shepherd's Pibgorn, this time set as a lively jig. This set is held together by another traditional song Y Deryn Du (The Black Bird) in a particularly lovely arrangement by Dilys Elwyn-Edwards (1918-2012). Two songs in Welsh, evoking the purity of unspoiled Nature, glorying in the beauty of this unique language, framing two songs in English. Germans would use the term "Sensucht" : I don't know what the Welsh equivalent might be, but these songs capture that sense of of idealized longing, more elevated than mere nostalgia.

Three songs by Joseph Parry (1841-1903) show how Welsh song could be adapted to mainstream European tradition.  Parry started life as a coal miner, emigrated to America, and ended up Professor of Music at Aberystwyth and Cardiff.  He wrote Blodwen, the first opera in Welsh.  These songs,Gwraig Y Morwr (The Sailor’s Wife), Lady Maelor’s Aria - The Valiant Sir Howell, and My Wife, are ballads, similar to the parlour songs of Victorian times, and would have been enjoyed by Welsh speaking performers and audiences.  Ivor Novello (1893-1951)  studied at Oxford, but found fame and fortune in music theatre and popular song.  His The Land of Might-Have-Been (1924) may be included here because it bears a decided resemblance to Morfydd Owen's The Land of Hush-a-Bye (which can be heard on the
Tŷ Cerdd recording Morfydd Owen : Portrait of a  Lost Icon). Owen and Novello had several London connections in common, so it is possible that Novello had at some stage heard Owen's song, which, to my mind at least, is far stronger.  Thomas Osborne Roberts (1879-1948) represents yet another strand in Welsh tradition.  An organist, and participant at Eisteddfordau,  through his first wife, an opera singer, he moved in wide circles, and was respected by Vaughan Williams and Bantock.  He wrote hymns like Y Nefoedd (The Heavens) and songs like Min y Mor (By the Sea) where the piano part ripples and the voice part rolls like gentle waves.  

The highlights of this collection are the four songs by Meirion Williams (1901-1976) which prove  that Welsh song can reach the heights of sophisticated art song. In Pan Ddaw'r Nos (When the Night Comes), the voice and piano parts interact with great delicacy, creating a languidly sensual nocturne, despite the religious undertones of the poem. Y Blodau ger y Drws (The blossoms by my door) lilts sensuously and Yr Hwyr (The Evening) is restrained, the piano underlining the vocal line to great effect.  In Gwynfdd (Paradise) to a poem Crwys by William Williams (1875-1968) , the voice part is almost ecstatic, caressing the distinctive sounds of the Welsh language. The "blessed realm of Paradise", lies not in far off lands, but "within my heart for e'er to keep, like roses fair before mine eyes". 

Wednesday, 13 February 2019

Not Elvis :a puzzle in a photo

That's not a guitar, but a type of Chinese ukulele - itinerant street musician, 1950's.The other urious thingabout this photo is that the guy is wearing a silk gown and cap, like a gentleman, whereas travelling musicians wore simple working man clothing. mNo wonder the crowd freeaked out - usually they took street singers for granted. So we have a puzzle in a picture. In the 1920's, the US and Canada passed las to exclude Chinese settlement, and in Hispanic America  Chinese people weredepirted wholesale,even if they'd settled many generations and were part Hispanic.  Unless we learm from history, we repeat it. Whoever this man is and why he's dressed up effectively in a costume, we will never know, but we need to think why he was doing this.

Sunday, 10 February 2019

Music to Smoke Opium by - Luís de Freitas-Branco Paraísos Artificiais

Luís de Freitas-Branco (1890-1955) Paraísos Artificiais 1910, a symphonic poem inspired by Thomas de Quincey's Confessions of an English Opium Eater.  Swirling lines flow, lit by harps. shapes shifting in and out of focus as if shrouded by smoke. A woodwind theme arises, seductive and sweet like narcotic perfume. The strings surge, breathing expansively. The andante section sparkles with single note flurries (plucked strings, like lutes) with just a hint of exotic temple bells.  But danger intrudes. Darker themes swell up, angular chords, haunted by brooding, somnolent figures. Nonethelss the flute melody meanders on, poised and unpertured by the horn calls of alarm, and the piece dissolves in relative calm.  It's a sophisticated work, as witty as it is subtle, an imaginative work for a composer aged just 19, especially when you consider that Debussy La Mer had premiered barely five years before, and the innovations of the early 20th century were still to come. . 

Freitas-Branco canme from an aristocratic fasmily, wealthy enough that he and his brother Pedro, who became Portgal's most famous conductor, could study music in Paris and Berlin. But in 1908, the King of Portugal and his heir were assassinated, throwing the country into turmoil.  Freitas-Branco had to find his identity in new territory, like so many others in Europe during that period, often searching exotic forms for a way ahead.  Freitas-Branco had an advantage in that his country had five hundred years of non-European form to reference.  He would have known of the Portuguese Orientalists  such as Camillo Pessanha, who lived in Macau, wrote poems about Chinese music and smoked opium on a regular basis (when modernized Chinese disdained it).     

Many years ago, the specialist label Portugalsom Strauss carried a catalogue of several hundred titles, ranging from early music and baroque to mid 20th century works.  Much of this work is equal to much that was happening elsewhere in Euriope, so it’s a real shame it's hardly knoiwn outside Portugal.  Both Luís and Pedro de Freitas-Branco were represented by lots of different discs.  Naxos has relicensed a small fraction of the Portugalsom catalogiue, but it's high time that more of it were made available, and in better recordings and performance. Lucky for me, I was working then where I could accumulate a few, though I didn't have the money or time to get in as deeply as I wished.

Friday, 8 February 2019

The Wit of HIP : J E Gardiner, LSO Schumann series, Barbican

John Eliot Gardiner conducted the London Symphony Orchestra in the third concert of their Schumann series at the Barbican Hall, London.  A coherent programme - Carl Maria von Weber Overture to Euryanthe, Mendelssohn Concerto for violin and piano (Isabelle Faust and Kristian Bezuidenhout) building up to Schumann Symphony no 3 (The "Rhenish"). This is what "historically informed performance " means: understanding music as music, in context and on its own terms.  Respecting the composer as far as possible, not smothering him with a fire blanket of audience expectations.  Nothing wrong with expectations formed in the 1950's and 60's for something to put on the brand new turntable. But there's so much more to music than that. Gardiner shows how fresh and vital Weber, Mendelsssohn and Schumann can sound, nearly 200 years after they were "new".

Weber's Overture to Euryanthe began with vivid attack. The early Romantics were fearless, exploring audacious new ideas.  There's nothing timid about the opera Euryanthe. Indeed its bizarre plot makes it almost impossible to stage (fire-breathing dragons, long before Wagner). All the more reason we must appreciate the technical limitations with which Weber created the drama. Natural horns : reminding us of a time when people hunted in order to eat, where Nature represented danger. That the strings have to try harder is the whole point !  The solo violin melody reminds us how vulnerable mortals are against the unknown, yet bravely they persist. That also justifies the practice of getting the musicians to stand while playing. It's not novelty. The sound is subtler and more human.  Modern audiences need to get over being conditioned to very late performance practice and much larger forces and respect what went into the music in the first place. Conductors stand throughout a performance, and if Gardiner, who is 75, can do it, most players can. The greater freedom of movement comes through in greater freedom of expression, and greater engagement between members of the ensemble, who seem to listen to each other more than they might do otherwise.

That aesthetic of chamber communality also informs Mendelssohn 's Double Concerto for Piano, Violin, and Strings in D minor, MWV O4 (1823), where the LSO were joined by Isabelle Faust and Kristian Bezuidenhout.  Mendelssohn was just fourteen when he wrote this, but its restraint connects to his background and to the influence of his grand-aunt Sarah Levy, a musician whose recitals championed the music of Bach.  Bezuidenhout played a pianoforte from 1837 by Sébastien Érard, with leather hammers covered in felt. "There is a textural topography to these instruments" said Bezuidenhout in an interview before the concert, which is well worth listening to on the replay of the livestream here, because he demostrates with examples. "Every register has a characteristic voice....moving from bass to tenor, and above, where the piano sounds similar to the harp".  Mendelssohn worked so closely with the instrument that Bezuidenhout believes that it shaped his compositional processes, allowing him to experiment with what the instrument could offer.  Hearing the Érard did make a diffrence. Textures were lighter and livelier, colours brighter and more nuanced.  Faust's playing (a 1724 Stradivarius) picked up on the greater freedom and vivacity,  which in turn extended to the orchestra.  Altogether a unique experience, further proof that well-informed performance practice can be revelation.

A vigorous Schumann Symphony No. 3 in E-flat major, Op. 97,(1850). Given the central position of song in Schumann's ouevre, his sensitivity to poetry and visual images and his very personal identification with the Rhine, it is wise not to underestimate the programmatic aspects of this symphony, even though this might not appeal to modern assumptions about what a symphony should be.  Indeed, one could suggest that Schumann's Third inhabits a place from which we can consider his search for new forms of music theatre, evolving from oratorio Das Paradies und die Peri  (Op 59, 1843) (please read more here) to Genoveva (1848)  (read more here)  an opera that is more Weber than Wagner.  Is Schumann 3 music theatre in symphonic form ?  Hearing it in the context of Weber and Mendelsson, who didn't write opera but wrote incidental music of genius,  we can hear how the drama in this symphony affects interpretation.

Gardiner's period approach reflects German Romantic music theatre before the revolution that was Richard Wagner.  Here the colours glowed, evoking the magic of the worlds of Weber, Mendelssohn and Singspiel tradition.  Not all magic is malevolent,. This last of Schumann's symphonies was inspired by an interlude of great happiness, when Robert and Clara took a holiday along the Rhine, both of them acutely aware of its symbolism and place in  Schumann's songs, such as "Berg’ und Burgen schaun herunter" from Liederkreis op 24, and the verse, from Heine :

"Freundlich grüssend und verheißend
Lockt hinab des Stromes Pracht;
Doch ich kenn’ ihn, oben gleißend,
Birgt sein Innres Tod und Nacht.!"

Gardiner and the LSO articulated the sparkling figures in the opening movement so they flowed , like a river, sunny but with darker undercurrents hinted at in the strong chords in the second theme, and the quieter passages in its wake. This coloured the second movement, suggesting the scherzo qualities behind the surface. There are echoes of folk dance, evoking the vigour of peasant life, but Schumann doesn't tarry. Bassoons, horns and trumpets called forth, the movement ending on an elusive note.  The movement marked "Nicht schnell" was gracefully poised: as an intermezzo it connects the happiness of the Lebhaft movement with what is to come. The solemn pace of the fourth movement marked "Feierlich" may describe a ceremony the Schumanns witnessed in Cologne Cathedral, but its musical antecednts can be traced to other sources, such as the song "Im Rhein, im heiligen Strome" from Dichterliebe.  The size of the cathedral, and the reverberations within it are suggested by the figures (trombones, trumpets, bassoons) which stretch out as if filling vast spaces. With Gardiner's clear textures the motif suggesting a cathedral organ was very distinct.  Whateverv the movement may or may not mean, the muffled horns and brass fanfares evoke a power that is very far from the insouciant quasi-folk tunes that have gone before.  Yet Schumann concludes not with gloom but with a reprise of the sunny Lebhaft, the emphatic chords even stronger than before, this time lit up by a glorious fanfare, the brass shining above the strings below. The very image of the Rhine surging past towering mountains.

On Sunday 10th February, Gardiner and the LSO will do their last concert in this Barbican Schumann series, with Schumann's Symphony no 1 and the Manfred Overture (tickets here)  To read about their first concert, with Schumann Symphony no 2 in C major op 61 (1847) and the Overture to Genoveva with Berlioz Les nuits d'été, please read HERE.

Stéphanie D'Oustrac Sirènes - Berlioz, Wagner and Liszt

Stéphanie D'Oustrac Sirènes, with Pascal Jourdan, songs by Berlioz, Liszt and Wagner, from Harmonia Mundi. After D'Oustrac's striking success as Cassandre in Berlioz Les Troyens (Please read more here), this will reach audiences less familiar with her core repertoire in the baroque and grand opéra.  Berlioz's Les nuits d'été and La mort d’Ophélie,  Wagner's Wesendonck Lieder and the Lieder of Franz Liszt are very well known, but the finesse of D'Oustrac's timbre lends a lucid gloss which makes them feel fresh and pure.

D'Oustrac's Sirènes is also valuable because it demonstrates different approaches to the art of song for voice and piano. Berlioz's Les Nuits d'été op 7, to poems by Théophile Gautier, initially completed in 1841, was exactly contemporary with the works of Schumann's Liederjahre  Later, Berlioz would expand the accompaniment for orchestra, effectively creating a new genre, orchestral art song, which would be developed later in the century by composers like Mahler and Hugo Wolf.  Nonetheless, even in the original form for voice and piano, these songs are highly individual, quite distinct from the songs of Schumann and Mendelssohn.  "I only wish people to know that [these works] exist", wrote Berlioz, "that they are not shoddy music . . . and that one must be a consummate musician and singer and pianist to give a faithful rendering of these little compositions, that they have nothing to do with the form and style of Schubert’s songs"

These mélodies of Berlioz are characterized by elegance and restraint. In "Villanelle", for example, the repeating patterns in the piano part might evoke Schubert, but there's an effervescent gaiety in them that is matched by graceful flow of the vocal line.  In "Le spectre de la rose", the more languid pace allows the voice to curve sensuously.  Berlioz clearly understood the carnal undertones in Gautier's poetry.  The piano part is gentle, but persistent, like an embrace. When D'Oustrac's tone deepens with the phrase "Ô toi qui de ma mort fus cause", one can almost sense the  perfume rising from the petals of the doomed rose. Although Les Nuits d'été is not a song cycle in the strictest sense of the term, recurring themes of love, and death and perpetual change give it a coherence which is particularly clear when it is performed with the intimate focus that a single singer and pianist can achieve.  The three songs, "Sur les lagunes : Lamento", "Absence" and"Au cimetière: Clair de lune", form a unit, sombre with the stillness of the tomb, which is then broken by "L'île inconnue" where the ebullient high spirits of "Villanelle" return. Les Nuits d'été begins with promise of Spring and new  life, and ends with adventure. "La voile enfle son aile, La brise va souffler.", D'Oustrac breathing buoyancy into the word "souffler". Though Heine inspired Mendelssohn and Schumann with dreams of the East, Gautier and Berlioz are tapping into an even deeper vein in the French aesthetic : ideas of freedom, change and new frontiers in exotic settings.  D'Oustrac and Jourdan extend Les Nuits d'été by following it with Berlioz's La mort d’Ophélie, from Tristia op 18, a setting of a ballade by Ernest Legouvé, who, like Berlioz himself, adapted Shakespeare for French theatre.  Ophélie, who dies for love, floats upon a torrent, depicted in the rippling piano part.  "Mais cette étrange mélodie passa rapide comme un son". Though the voice imitates a lament, this is not so much a song of mourning but a transformation through music.  The stream carries "la pauvre insensée, Laissant à peine commencée Sa mélodieuse chanson.

This recording is titled Sirènes, tying Berlioz's songs together with Richard Wagner's Wesendonck Lieder, both inspired, in part, by women who awoke strong emotions.  Sirens, who attract but aren't necessarily positive, though they generated great art.  With full orchestration, the Wesendonck Lieder showcase Wagnerian flamboyance. But, as with Les Nuits d'été , voice and piano versions  concentrate focus on a more intimate scale.  Even more pertinently, this highlights Wagner's place in the context of the Lieder of his time, and in relation to Schumann and Franz Liszt.  "Der Engel" is gentle,  and  the dramatic declamation of "Stehe Still !" more human scale.  D'Oustrac and Jourdan are particularly impressive in "Im Treibhaus", the sensitivity of their expression reflecting the intense inwardness that makes Lieder as powerful a genre as opera.  

One of the most iconic siren figures of 19th century Romanticism was the Loreley. This recording begins with one of the most beautiful Loreley songs of all,  Liszts's Die Loreley S273/2, a setting of Heine's poem.  D'Oustrac's silvery timbre illuminates the song, accentuating its mystery.  She and Jourdan include another other Liszt setting of Heine, Im Rhein im schönen Strome, S272/3 and four settings of Goethe, of which Über allen Gipfeln ist Ruh S306/2 works particularly well with D'Oustrac's lucid style. 

Wednesday, 6 February 2019

Janáček Kát’a Kabanová Royal Opera House

Janáček Kát’a Kabanová in a new production by Richard Jones, conducted by Edward Gardner at the Royal Opera House reviewed by Claire Seymour in Opera Today :

"How important is ‘context’, in opera? Or, ‘symbol’? How does one balance the realism of a broad social milieu with the expressionistic intensity of an individual’s psychological torment and fracture?

I’m not sure that Richard Jones’s new production of Leoš Janáček’s Kát’a Kabanová addresses, or solves, these questions, but it certainly made me reflect upon them."......"Having stirred up so many questions, how fortunate Jones is to have American soprano Amanda Majeski to push them from our mind. In her house and role debut, Majeski gives such heartfelt commitment to the role of Kát’a that one worries how she can come back down from the emotional peaks and precipices that she scales in her performance".

Sunday, 3 February 2019

Klaus Mäkelä at Bergen Philharmonic - why you need to know

Klaus Mäkelä, photo : Harrison Parrott

The Bergen Philharmonic Orchestra conducted by Klaus Mäkelä, livestreamed from Norway, with   Beethoven Piano Concerto No. 5 "Emperor" with Javier Perianes, and Dmitri Shostakovich Symphony No. 10.  The Bergeners are always worth listening to and you really can't get enough of Beethoven, but the surprise here was Klaus Mäkelä. Who? you might ask.  I hadn't heard of him til this Bergen concert and was surprised to find out how good he is.  But even more shocked to learn his age. 

Born in 1996, he's still only 22 yet he's Principal Guest Conductor at the Swedish Radio Symphony Orchestra and has just been appointed Chief and Artistic Advisor of the Oslo Philharmonic Orchestra.  So have a listen to the link here. Weather conditions seem to have messed up the video, but the audio is clear.  He conducted Shostakovich 10 at Gothenberg a few months ago, and has the measure of it.  A very stylish, refined reading, which is OK. Shostakovich does not need to be craggy and violent. It's the music that counts, not the persona.  From what I've been reading Mäkelä himself is pretty stylish, too - likes sharp suits asnd is clearly fashion-aware.  That alone should enrage the kind of listeners who on principle are determined to hate anyone young, successful and non-butch macho, which says more about their own insecurities than about those whom they hate. This guy has potential.  It's hard to tell from one concert but he seems to have the gloss of Nézet-Séguin, but greater depth and a willingess to take informed risks.  Management is Harrison Parrott, who have a lot lined up for him in the near future.

Saturday, 2 February 2019

Berlioz Les Troyens, Paris - How to kill an opera

Hector Berlioz Les Troyens with Philippe Jordan conducting the Opéra National de Paris.  Since Les Troyens headlined the inauguration of Opéra Bastille 30 years ago, we mightb have expected something special of this new production. It should have been a triumph, with such a good conductor and some of the best singers in the business. But it wasn't.  Anyone can trot out superficial clichés  about so-called modern productions, but it's far more important to understand why a production works, or doesn't.

The starting point as always is the opera, and the ideas behind it.  Berlioz captured the expansive, extravagant spirit of his time. France was resurgent, colonizing Africa and Asia, obliterating the  defeat of Napoleon with new confidence. Paris was being rebuilt on a grand scale.  Yet Berlioz, never a shrinking violet, intuited the hubris that comes with imperial glory.  Les Troyens is flamboyant, but its backdrop is catastrophe.  Empires are annihilated, nations forced into exile. Berlioz's orchestration reflects this turbulence, with blazing highs and apocalyptic darkness. Though Didon and Enée enjoy an interlude of heady bliss, that happiness is doomed.  That idea of glory cursed by hubris remians powerfully potent today - perhaps even more so now, given what's happening in the world.   Perhaps audiences don't want to be reminded about war in Syria (and Lebanon, where Tyre was) and of the hundreds of thousands of refugees in the Mediterranean, many escaping from the area that was Carthage. Fair enough.  There's no more reason that a production should be set in period costume. In any case, Berlioz wasn't doing history enactment, and the audiences of his time were conditioned to the past as allegory, Classical Antiquity rather than Antiquity Realism. Berlioz's music was audacious, possibly the most advanced and adventurous of its time.  Shock and awe were part of his aesthetic. Les Troyens doesn't have to be pretty - cosiness is decidedly not its message - but at least it should engage the mind.

Dmitri Tcherniakov productions don't generally appeal to me because he tends to decorate rather than engage with what ideas might be in an opera. His Glinka Ruslan and Lyudmila  for the Bolshoi was as inert as a Fabergé egg, (read more here), his Lady Macbeth of Mtsensk for ENO put Shostakovich on mute (more here), his La Traviata for La Scala died in the womb (here) and his Rimsky-Korsakov's Invisible City of Kitezh missed the magic so fundamental to the opera (please read Amsterdam's invisible, risible Kitezh here).   But I loved his Bizet Carmen at the Aix-en-Provence Festival in 2017.   The drama in Carmen isn't the kitsch surface so much as the way the characters act out their motivations to extremes.  Thus Carmen as transaction analysis is not only feasible, but full of insight. Perhaps Tcherniakov was trying to recap that Carmen with Les Troyens, but frankly, he needs to work with a good dramaturge. 

Tcherniakov sets the Troy part of Les Troyens as a fairly typical tin-pot dictatorship, which is not wrong in principle, but there is a lot more to Berlioz's Troy than this. Cassandre is the central character, not Priam and his court, and she is cursed because she can prophesy the future. Stéphanie d'Oustrac was stunning, stealing the show by her vocal presence and instinctive feel for creating character.  I was riveted : she's a force of nature.  But all Tcherniakov had to offer her was a yellow suit , standing out from the blue shades around her, and when the Greeks burst in they hardly seem to figure.  Anyone who didn't get the Horse in David McVicar's Les Troyens for the Royal Opera House should be forced to watch Tcherniakov til they squirm. There is no reason to assume, like the Trojans and Tcherniakov do, that the impending disaster is all in Cassandre's mind. 

D'Oustrac's Cassandre was matched by Stéphane Degout's equally impressive Chorèbe, sung with such depth and conviction that he made the role come alive, so vivid and human :  what a pity that Chorèbe has to die in the First Act !  Luxury casting : D'Oustrac and Dégout interacted so  well, and with such verve that their performance would be memorable on its own terms. 

Carthage here is an anonymous office space, which worked fine in Tcherniakov's Carmen, because it evoked the displaced ennui behind the desperation of Carmen and her companions.  But as the libretto makes clear,  Didon's Carthage is a happy place, where people have built constructive lives.  Didon is a much loved success : she's given others asylum, she's not "in" an asylum, needing help.  Unless you think that being kind to refugees is madness. Had the performances of Brandon Jovanovich and Ekaterina Sementchuk  been on the same level as D'Oustrac and Dégout, one might forgive the banal staging,. Jovanovich and Sementchuk weren't bad, but didn't quite rise to the heights, either.  A rather depressing Royal Hunt and Storm, saved by Jordan's incisive conducting, splendidly luminous in the love scene, and demonic in the storm.  So rewarding, in fact, you could enjoy this Les Troyens as an orchestral exercise.  

Very well cast minor roles -  Véronique Gens as Hécube and Paata Burchulzade as Priam, who can still create character, Thomas Dear as The Ghost of Hector, Aude Extrémo as Anna, Cyrille Dubois as Iopas,Michèle Losier as a very fetching Ascagne, Christian van Horn as Narbal.   At the end D'Oustrac, Dégout, Gens, Burchulzade and Dear return as ghosts, raising the staging from the grave.   With this conductor, this orchestra and most of this cast, this Les Troyens could have been brilliant, but  let's hope we won't have to wait another 30 years for a better production. This staging might be fine in some provincial house,  but Paris is not the place for it.

Thursday, 31 January 2019

For Schubert's Birthday : Abendlied für die Entfernte

Schubert's Birthday today !  I'd planned to mark the occasion at the Wigmore Hall, but Julia Kleiter cancelled (get well soon !) and the prospect of driving up snow covered hills late at night was too much to contemplate. But for me, every day is Schubert's Birthday. So here's a gift in his honour, the song Abendlied für die Entfernte D856 (1825) to a poem by August Wilhelm Schlegel. 

Hinaus mein Blick! hinaus ins Tal! 

Da wohnt noch Lebensfülle; 

Da labe dich im Mondenstrahl 

Und an der heil'gen Stille.

Da horch nun ungestört, mein Herz, 

Da horch den leisen Klängen, 

Die, wie von fern, zu Wonn' und Schmerz 

(Gaze into the distance, gaze towards the valley, There lives yet the fullness of life,. Be revived by the rays of the moon,  in the holiness of peace.   My heart : listen undisturbed to gentle sounds that, as if from afar,  evoke joy and sorrow )

Wenn Ahnung und Erinnerung 

Vor unserm Blick sich gatten, 

Dann mildert sich zur Dämmerung 

Der Seele tiefster Schatten

Ach, dürften wir mit Träumen nicht 

Die Wirklichkeit verweben, 

Wie arm an Farbe, Glanz und Licht 

Wärst du, o Menschenleben! 

(When apprehension and memories gather before our sight,  growing misty in the twilight of the soul's deepest shadows. Ah, if we didn't weave dreamns with reality, how lacking in colour,  gloss and light would life be ?)

So hoffet treulich und beharrt 

Das Herz bis hin zum Grabe; 

Mit Lieb' umfaßt's die Gegenwart, 

Und dünkt sich reich an Habe, 

Die Habe, die es selbst sich schafft, 

Mag ihm kein Schicksal rauben; 

Es lebt und webt in Wärm' und Kraft

Durch Zuversicht und Glauben. 

(So the Heart is filled with hope, faithfully and with determination unto the grave, embracing bthe present with love, counting the blessings it has endowed itself which fate cannot take away. It lives and moves with warmth and diligence through confidence and faith)

Und wär in Nacht und Nebeldampf 

Auch Alles rings erstorben, 

Dies Herz hat längst für jeden Kampf 

Sich einen Schild erworben.

Mit hohem Trotz im Ungemach 

Trägt es, was ihm beschieden. 

So schlummr' ich ein, so werd' ich wach, 

In Lust nicht, doch in Frieden. 

(And if, in night and fog swirl around, and death intervenes, this Heart has long found, for every battle, a shield of defiance to ward off defeat. So I fall asleep, and will awake, not in pleasure but in peace) 

The strophic setting and sturdy piano accompaniment enhances meaning, for it emphasizes the sense of steady determination through which the Heart , the protagonist defies the inevitable fate that is death.  Because the Heart has heard " leisen Klängen" he has lived well and loved life so well that this fate sustains him and gives him peace even when he's lost the world, and only has distant horizons to gaze upon.  Schlegel's poem is deeply contemplative : a philosophy of life that overcomes mortality.   Thus we can gaze upon the statue of Schubert, on his 123rd birthday, as it stands, no doubt covered in snow this bitter winter,  and understand the significance of the text. 

Wednesday, 30 January 2019

Hubert Parry chamber works : Hyperion

From Hyperion, Hubert Parry chamber pieces with the Leonore Piano Trio,  revealing an aspect of the composer's output that is relatively neglected, given the prominence of his choral and orchestral works.  This recording also highlights the influences Parry absorbed from a fairly early stage in his career, connecting his work to contemporary trends in wider European music circles.
The Partita  in D minor for violin and piano was conceived in early 1877, when Parry was on holiday in Cannes. He was invited to play (as a pianist) in a series of  concerts organized by Edward Guerini, an Italian violinist.  They performed a suite for violin and piano, based on a piece which Parry had written in 1872-3.  In 1886, it was revived as the Partita heard in a recital organized by Edward Dannreuther, who had taught Parry in the 1870's, and was very well connected in European music circles, introducing Parry to new influences.. Dannreuther hosted concerts at this home in 12 Orme Square, Bayswater, featuring the works of Brahms, Saint-Saëns, Greig, Richard Strauss, Tchaikovsky and Dvořák. Dannreuther's son Hubert was named after Parry, who was his co-godfather, the other being no other than Richard Wagner, another close friend, who stayed with the Dannreuthers when he was in London. Edward's other children were suitably christened Sigmund, Tristan, Wolfram and Isolde. Hubert Dannreuther became a naval commander and was one of the few to survive the sinking of HMS Invincible at the Battle of Jutland in 1916,  which Parry commemorated in his The Chivalry of the Sea - a Naval Ode.  (Please read more HERE) ,

The version of the Partita heard on this recording is the version published in 1890.  It bears the influence of French baroque style,  flavoured with late 19th century pianism. The first movement, marked maestoso, is a  dialogue between violin (Benjamin Nabarro) and piano (Tim Horton), a curtain raiser for the courtly allemande, where the piano provides foundation for a lively violin line.  The courante is so vibrant that the music seems to levitate, violin and piano in equilibrium  The relative restraint of the sarabande is followed by two bourées fantastique brightened by dotted rhythms and a passepied en rondo.

Dannreuther (later to become Professor of Piano at the Royal College of Music), was pianist for Parry's Piano Trio no 1 in  E minor at its first hearing at Orme Square in 1878.  Parry handles form with poise, balancing the instruments to great effect.  An  appassionato leads into an animated scherzo, contrasting with the particularly lovely  adagio, where the cello line (Gemma Rosefield) flows gracefully, and the trio comes together again in the allegro giocoso.

Exclusive to this recording is Parry's Piano Trio no 3 in G major, unpublished in his lifetime, edited and prepared for performance by Jeremy Dibble. The opening movement, displays the confidence of a composer who has found his identity, "dominated by an abundance of more extended, self-developing thematic material whose muscular diactonicism is especially characteristic of the composer", as Dibble writes.  The lyrical freedom of the capriccio shows equal assurance. Of the lento, Dibble writes, "There is much to remind us here of the inventive, commodious sonata processes which Parry had discovered in so many of his instrumental slow movements, the affecting phrases of the first subject, the composer's passionate use of suspensions, and the typically restive rhythmical momentum of the fluid secondary material". The final movement, marked allegro con fuoco, is unhurried but steady.

Monday, 28 January 2019

Luminous Mahler Symphony no 3 : François-Xavier Roth, Gürzenich-Orchester Köln

Gustav Mahler Symphony no 3 with François-Xavier Roth and the Gürzenich-Orchester Köln, now at last on CD, released by Harmonia Mundi, after the highly acclaimed live performance streamed a few months ago. The Gürzenich Orchestra gave the world premiere of this symphony in Cologne on 9th June 1902, conducted by Mahler himself, who also conducted the premiere of his Fifth Symphony with the orchestra, in October 1904.  Though its personnel have changed, the repertoire remains close to the orchestra's core. François-Xavier Roth follows in the footsteps of Michael Gielen, who conducted the Gürzenich Orchestra and conducted Mahler with the innovative SWR Sinfonieorchester Baden-Baden und Freiburg, where Roth was the final Chief Conductor.

The lucidity of this performance should come as no surprise, especially to those who have been following Roth and the Gürzenich-Orchester Köln over the last few years, and not just in Mahler, though their recording of Mahler's Symphony no 5  is highly recommended.  The first movement of Mahler's Symphony no 3 is huge, almost a symphony in itself.   Roth grasps its internal structure, bringing out its formidable architecture. The opening theme is strongly shaped, creating the pattern of "peaks" (trumpets and trombones) and "valleys" which are very well defined, muffled trumpets and solo trumpet calling out into the distance, the strings and winds adding sweetness.  Roth emphasises the pattern with very quiet, muffled percussion, before the next sequence, where the trombones call, heralding the way ahead. This deliberation respects the marking "Kräftig. Entschieden" but also contributes to the interpretation of the symphony as a whole. From steady discipline, the symphony progresses : the apotheosis at its conclusion is reached only by a process, which includes struggle as well as moments of loveliness.  As if the goal were in sight, the pace speeds up towards the end of the first movement : turbulent excitement, hurtling forwards, winds, trumpets and trombones leading into the next phase,buoyed up   by cheerful, almost swaggering woodwinds.  If Mahler's entire output can be heard as one great symphony, its basic ideas repeated and developed, the first movement of  the Third Symphony is a microcosm in itself.  Mahler's original title for this movement was "Pan Awakes, Summer Marches In". Even without the label, it's clear from this performasnce what he meant : vigour and freshness.

The second part of Mahler's Symphony no 3 begins with a movement "tempo di minuetto", a dance between two partners, extending the pattern in the first movement, but also evoking the idea of dialogue that rises so often in Mahler, even up to the Adagio from what would have been his Tenth Symphony.  The dance element brings out the best in Roth, given his background in French repertoire, so strongly influenced by the patterns of dance and precision.  Elegance does count in Mahler and highlights the subtlety in his orchestration.  This pays off too in the third movement, where details like the quote from the Wunderhorn song Ablösung im Sommer ("Kuckuck ist tod!") aren't there simply for decoration.  In the song, summer is not over, though the cuckoo is dead, since the Nightingale takes over and "singt und springt, ist allzeit froh, Wenn andre Vögel schweigen".  As in so much of Mahler's work, death is not an end but a stage in a process, where death is defeated by new forms of life.  Thus the flutes and piccolos, giving context  to the posthorn. This is heard from offstage, invisible but powerful.  Does it suggest distance, or memory or future hope ?  The "kuckkuck ist tod"  figure returns, cheekily and leads the orchestra into another dance, whipped almost into frenzy, before the posthorn calls again, and the pace descends, like twilight into night.   Yet again, the resurgent pattern returns, with a finale of energetic affirmation, not defeat.

From brooding near silence (basses and celli), Sara Mingado, the alto, emerges, singing a text from Nietzsche's Also sprach Zarathustra: "O Mensch! Gib Acht!", her voice illuminated by motifs on violin and clarinet, which here sound non-western, which is quite approrpiate : this is no mainstream "Christian" symphony.  Something is gestating.  The misterioso of the fourth movement gives way to the joyous fifth movement, significantly scored for youthful, fresh-sounding voices. Mingardo is now haloed by the Women's choir of Schola Heidelberg and the youth choir of the Kölner Dom. The words "Bimm bamm" supposedly evoke the sound of bells marking celebration.

The forward thrust of the journey in the first movement is now drawing to resolution.  In the final movement, marked "Ruhevoll", lines stretch, as if reaching into distance: strings now dominant, winds adding depth, brass responding.  Exquisite playing from the Gürzenich-Orchester Köln : the refinement feeling almost luminous.  Here, too, the structure involves a series of stages, observed more carefully by Roth than by conductors who push too much towards the ending.  As in the first movement, purposeful progression matters, for the reward is worth the journey.  The tuba announces one transition, a flute another.  Very natural-sounding trumpets recall the Alpine landscape aspects of the symphony,  bringing echoes of past memories - and of the posthorn - together with hopes for the future.  Unity at last, the different sections of the orchestra in concert (literally) with each other.   Thus the deep feeling that grows ever more secure as the movement proceeds, culminating in the coda where the timpani pound, not so much MGM glitz but with the depth and conviction of a strong heartbeat.

Friday, 25 January 2019

Armas Järnefelt : Song of the Scarlet Flower

Armas Järnefelt : Song of the Scarlet Flower, (Sängen om den eldröda blomman) from Ondine, marks the centenary of the filmn of the same name, and serves as a reminder of the importance of Nordic countries in the history of cinema. It is also a chance to hear the music of Armas Järnefelt , the long-term conductor of the Royal Swedish Opera, and a member of the Järnefelt family who played an important role in the development of Finnish nationalism. Järnefelt's father was General August Järnefelt,  who promoted the Finnish langauge. His brother Eero was a painter, and his sister Aino  married Jean Sibelius.

In the first decades of cinema, Scandinavian and Finnish film makers were in the vanguard, paving the way for masters like Viktor Sjöström, Carl Th. Dreyer and later Ingmar Bergman. Song of the Scarlet Flower, directed by Maurice Stiller (1883-1928) was a milestone in Nordic cinema history. Released in April 1919, it was an instant sensation, a box office success that was screened in 40 countries.   It was an ambitious project, the first full-length Swedish film to have music written specially for it.   Though Järnefelt was primarily a conductor, he had trained with Busoni and Massenet and composed, especially in the early years of his career.  Ondine has a set of Järnefelt songs in its catalogue, and  BIS has recorded some of his orchestral works, conducted by Jaakko Kuusisto, who conducts this new recording with the Gävle Symphony Orchestra, who made the seminal recording of Järnefelt's music in 1996, which includes two sections from The Song of the Scarlet Flower.  The score used here is reconstructed from what remains of Järnefelt's original score, discovered in 1988, augmented by Jaakko Kuusisto and Jani Kyllönen.
Järnefelt's experience as a conductor of opera gave him insight into the role of music in drama, but writing for film is very different from writing music as music.  "I had to build it up metre by metre, bit by bit" he said, "I received a list of the principaql scenes of the film and their durations, but that information proved to be quite wrong, as the film was screened at a much faster pace,and I was horrified to discover how poorly music and image went together.  I was obliged to shorten the score. Never in my life had I had to write music in such a way that I was forced to conform to the tempo of events - I, who am used to setting the tempo myself.  In the end, it all worked out". The film has been restored and was screened in 2017 but is not yet on DVD.

Based on a novel by Johannes Linnankoski, Song of the Scarlet Flower follows the adventures of a young man, Olof, a rebel  who joins a band of loggers, travelling the river from forests to mills.  He chases women, ruining one who becomes a prostitute in the city , but mends his ways and marries well.  The screenplay is set out in seven acts, as was common at the time. The first section "The First Flush of Spring" suggests youth and promise.  Expansive themes (shimmering strings) alternate with lively woodwinds. A vigorous leitmotiv emerges: possibly the young man heading into the world, folkloric references (violin imitating fiddle) evoking the countryside.  In "The Mother's Glance" a jolly mood gives way to a plaintive song for solo violin,  darker notes introduced by woodwinds, over repetitive angular rhythms.  The leitmotiv introduces "Learning Life", develops into cheeky dance and returns again with even more force.  This chapter apparently illlustrates a scene where   Oluf shoots the rapids. The central movement "A Young Man's Daring-do" is brief, but pensive, violin and woodwinds in duet.

With "Kyllikki" folkloric charm meets the "Olof" leitmotiv. Olof and Kyllikki want to marry but her father objects. Thus the brisk conclusion, with outbursts of timpani, the violins reiterating the leitmotif.  "In The Town" is a nocturne, pizzicato suggesting the ticking of a clock.  He's still chasing women as the waltz reference suggests.  But Olof meets his past, in the person of Gazelle, whom he seduced and abandoned. A chill descends. The pizzicato becomes so quiet that it feels haunted.  Suddenly the orchestra bursts forth - angular, discordant figures suggest Olof's horror and guilt.  Rumbling figures suggest Gazelle's suicide. When the Olof motif returns, it's quieter, chastened.  "The Pilgrimage" is introduced by high-pitched winds suggesting horn calls, and a hymn theme (chamber organ) suggests the churchyard where Olof's parents lie dead.   The hymn expands into a serene but affirmative section which may represent values Olof lost when he ran away.  It now shows him a way forward.  Bells ring out !  Having inherited his parents' wealth, Olof claims Kyllikki, and they marry.

Plenty more on this site about early film and music in film. Please explore and also see :
Victor Sjöström's Körkarlen (The Phantom Carriage)
Rasmus Breistein's Brudeferden  i Hardanger,  (Bride oif Hardanger)
Carl Th Dreyer Vampyr
Feminist Finnish Jenůfa, Anna-Liisa 1922
and of course German, French, Chinese and other early film and experimental movies. Plus composers like Hanns Eisler

Wednesday, 23 January 2019

Gergiev Marathon : Russians and Mahler, Elbphilharmonie

Where does Valery Gergiev get his energy ?  Two livestreams back to back from the Elbphilharmonie, both programmes hefty. Mahler Symphony no 4 together with Das Lied von der Erde - a combination most conductors wouldn't dare essay on the same night, let alone after the previous night's all-Russian concert - Stravinsky, Rimsky-Korsakov and Shostakovich Symphony no 4.  The players of the Munich Philharmonic Orchestra must be exhausted.  Yet Gergiev looks calm and refreshed.

He has done Stravinsky's Funeral Song, (Chante funèbre) op 5, so often that it's almost his trademark. Please read my piece Lost No More about his premiere of the piece in St Petersburg in 2016 with the Mariinsky Orchestra. As he did then, he paired it with Rimsky-Korsakov's suite from The Legend of the Invisible City of Kitezh and the Maiden Fevroniya.  This combination is important, given the connection between Rimsky-Korsakov and the young Stravinsky. Towards the end of Funeral Song, (Chante funèbre)  we might detect the last, long chords of The Legend of the Invisible City of Kitezh.  While Stravinsky spoke fondly of the Funeral Song, it's a transitional work rather  than a stand alone major work, so it does need to be programmed as intelligently as Gergiev does.  The Legend of the Invisible City of Kitezh is a much more sophisticated piece, its colours at once delicate and luscious. It's a Gergiev favourite, too, and  this performance was very good indeed.  This time, though, his main focus was Shostakovich Symphony no 4 in C minor op 43. Again, this is something Gergiev could conduct in his sleep if he wished but here he shaped it with the clarity it needs. Some conductors get away with clumsiness in Shostakovich because some audiences like noise and butchness.  But Gergiev delineated the more elusive passages, bringing out the finesse that lurks behind the surface brutalism.  If there is hidden meaning in this symphony, those wayward wind and horn passages might represent free spirits uncowed by the larger forces around them.

The real surprise, for me anyway, was the quality of Gergiev's Mahler on this occasion. To say he's hit or miss with Mahler is an understatement.  One of the most horrible Mahler 4's I've heard was Gergiev, but here he was good, alert to the vulnerability that is  so much part of this symphony, which sometimes makes it feeel threatening to some.  In the first movement, he captured the jaunty sleigh ride well, so it felt purposeful rather than random jollies.  Life is a sleigh ride, full of thrills, but eventually we all die, which is why it connects to the last movement.  Great restraint in the other movements too : the moment should not end too soon.  The soloist, Genia Kühmeier, stood behind the orchestra. The acoustic of the Elbphilharmonie seems to favour singers by spreading sound around them rather than blasting from behind. She was sensual rather than otherworldly but that's perfectly appropriate, given the joy the child takes in earthly pleasures.

Following Mahler 4 with Das Lied von der Erde takes guts, maybe foolhardy guts,  but Gergiev and the Müncheners pulled it off.  Skill there, plus stamina.  Some very good moments, especially the winds, with a decidedly "oriental" touch at times.  Andreas Schager sang the tenor part, Tanja Ariane Baumgartner the alto.  Schager's a very good Wagnerian, a born "stage animal" who inhabited the part psychologically, as good opera singers do.  If his voice sounded stressed at times, it didn't matter. The protagonist is supposed to be stressed, so terrified of death that he drinks himself into oblivion.  One of the best Das Lied von der Erde tenors ever was Peter Schreier whose edgy earnestness conveyed the full horror of his predicament.  Good balance between Schager and Baumgartner, her serenity an answer to his fears. 

Monday, 21 January 2019

Designs revealed - new concert hall for London

Design concepts revealed for the new concert hall for London.   Main auditirium will seat 2000 in a wood-lined performance space. not unliike the Philharmonie de Paris and the Elbphilharmonie. Striking designs ! See more here and here. The bad news is that the £288 million it may cost will have to be raised from private donations.   Since the arts are an important part of the economy, you'd think responsible governemts would chip in ? But no, they happily shell out £14 million for ferries that don't exist but can be ordered like takeout pizza. So why not get funds off venture capitalists who profit by selling the pound short thanks to Brexit ?

Saturday, 19 January 2019

George Antheil re-assessed : John Storgårds

To dismiss the music of George Antheil, without understanding its context, is unfair. John Storgårds makes a good case for Antheil with this recording, the second in his series for Chandos, with the BBC Philharmonic Orchestra.  Antheil (1900-1969) moved to Paris in 1922, when it was the centre of the avant garde.  Everyone who could flocked to Paris, and its explosion of creative innovation, in art, literature, music, dance, cinema and social change. Antheil's Ballet mécanique remains an icon, its principles influencing the rest of his career.  Antheil's score, built around 16 synchronized player pianos, with sirens and aeroplane propellers for special effects, reflects in music concepts of modernity inspired by Futurism and mechanical activity.  Multiple processes happen independently, yet move together, as in a machine. Just as in the paintings of Ferdinand Léger, with whom Antheil worked, the passage of time is fragmented, frozen in motion, springing suddenly to life. Man Ray's cinematography operated like a kaleidoscope, fractured images forming and reforming in new patterns. It caused a sensation in Paris, but new York wasn't ready for it. After the rise of Hitler,  Antheil returned to the United States, where like so many other modernist exiles, he had to make a living writing for the movies. 

It's against this background that Antheil's music needs to be heard.  His symphonies no 3 "American" and no 6 "After Delacroix" are true symphonies, not film music, but show the influence of techniques used in Ballet mécanique and in cinema.  Antheil's Symphony no 3 "American" is a travelogue, a collage of impressions inspired by Antheil's travels across America.  The first movement opens with an expansive fanfare. If it is a portrait of New York City, its energy might reflect the buzz of urban life, brief snatches of melody rising beneath its vigorous zig zag patterns. The andante movement apparently describes New Orleans : quieter, and more nostalgic, with darker undercurrents and a subtle suggestion of brass bands, culminating in a Marcia for high winds.  The heart of the symphony, though, lies in the third movement, a scherzo with the title "The Golden Spike". This comes from a score for a film about the Union Pacific Railway which Antheil was working on for  Cecil B De Mille, but the producer, alarmed about the strong nature of Antheil's music, re-assigned the work to the studio music department.  After this, Antheil worked mainly for independents, like  Ben Hecht, and smaller companies where he could write what he wanted, and cult classics like Dementia also known as Daughter of Horror (please read my review of that here) "I've saved a few flops in my time", he said, with more than a trace of irony.  

George Antheil in Hollywood, 1946

The starting point for Antheil's Symphony no 6 "After Delacroix" is Delacroix's painting "Liberty Leading the People" which shows Liberty leading the revolution of 1830.  Marianne (the symbol of France) is bare breasted - exposed and in danger - but fearless.  Strong chords loom up,  followed by rushing rippling figures.  But Antheil isn't illustrating.  Explicit quotes from The Battle Cry of Freedom, indicate that his concerns were closer to home, while remembering his roots in the "revolution" of Paris in the 1920's.  The symphony was premiered by Pierre Monteux in 1949, but received with incomprehension.  It was mauled by critics for sounding like Shostakovich, a rather unpleasant slur in McCarthyite times, given that Antheil had been writing revolutionary music long before Shostakovich, who wasn't in any case a party apparatchik. Why do modern critics still repeat reactionary clichés without listening or knowing the composer ? The other two movements don't sound remotely like Shostakovich.   The larghetto is moody and opaque, a curving, almost penitential line gradually morphing into  waywardness then continuing at a steady pace.  The last movement moves swiftly, subtle shifts of tempo building up to a riotous finale that ends with an exuberant flourish. 

Antheil's "American" credentials are authentic. In Archipelago (1935) a rhumba, he experiments with Latin American forms, splicing them together in highly individual collage. In Hot-Time Dance (1948), he packs multiple changing moods into a four minute epigram.  Antheil's Spectre of the Rose Waltz comes from his music for the film Specter of the Rose, made by Ben 1946.  The movie is way too intellectual to have been a box office hit. It compresses Berlioz, Carl Maria von Weber, Stravinsky, Nijinsky and Diaghilev into a tightly scripted plot that blends expresssionist horror with scathing wit. (Please read more about it here)  Again, there is a subtext, in that Antheil knew Stravinsky in Paris and could poke fun, while respecting Stravinsky as a composer.  Antheil's Spectre of the Rose Waltz spins round like a waltz, romantic on the surface, but solidly structured.   Far less populist and popular than many composers around him, Antheil's reputation is undergoing reassessment.  He's much closer to Edgard Varèse, George Gershwin, Charles Ives and Elliott Carter than to Aaron Copland, and deserves being taken seriously.  Thanks to John Storgårds and other conductors like Ingo Metzmacher, who also has him in his repertoire, George Antheil's time is coming.  there's lots about Antheil (and about experimental cinema) on this site - please explore !

Thursday, 17 January 2019

Clara Schumann 200th Anniversary Festival, St John's Smith Square

Clara  Schumann 200th Anniversary Festival at St. John's Smith Square, London,  22nd - 24th February  : "a weekend of music and discussion on Clara Schumann – pianist, composer, wife, mother, friend, and muse.".  Clara  was a pioneer - one of the first "celebrity pianists" like Chopin or Liszt.  She toured Europe, drawing  large audiences wherever she went, so much in demand that she was effectively the breadwinner in the family. She organized her own schedule, bookings and what  today we'd call "management". And all this at  a time when women were expected to eschew public activity, and middle class married women in particular were supposed to stay at home. She certainly had enough children to keep her occupied, and Robert must have been hell to live with at times.

All the more reason to honour her, not merely as the wife of a great composer. Without her, Robert might not have produced the masterpieces of his Liederjahr, and much else.  Indeed, Robert and Clara as a pair were social pioneers, too, since Robert  supported her career and independence. Not many men were so progressive.  He also encouraged her to branch out as a composer. The Festival begins on Friday 22nd with a recital featuring Clara's complete works for voice and piano with Sophie Karthäuser, Alessandro Fisher and pianist Eugene Asti, who recorded the songs for Hyperion.  The recital,is preceeded by a talk by Natasha Loges, who is an excellent speaker : definitely recommended.  On Saturday 23rd Eugene Asti will lead a masterclass in Clara's songs for singer-pianist duos  from Oxford Lieder Young Artists. This should be high quality, a notch above many masterclasses. This scheme is an offshoot of the OxfordLiedervFestival, organized by Sholto Kynoch, with which Asti, Natasha and Stephen Loges have been connected for many years. 

Two further concerts on Saturday 23rd February.  "The Old Masters", (a term used by Clara to refer to the likes of Bach and Handel) juxtaposes Bach’s Prelude and Fugue No. 3 in C sharp BWV848 (a staple piece from Clara’s recital repertoire) with three of Clara’s own works from 1845, all performed by Gamal Khamis. The concert ends with another piece that nods towards the Baroque – Brahms’ Handel Variations Op. 24 (dedicated to Clara), performed by Mishka Rushdie Momen. In their early years of marriage, Robert and Clara devoted
considerable time to the study of fugue and counterpoint, notably Bach’s complete Well-Tempered Clavier which Robert referred to as his “daily bread”.  The evening recital, titled "Clara and Robert" concludes with familiar numbers from Robert’s Myrthen, which he presented to Clara as a gift on their wedding day, and some Rückert settings from Clara and Robert’s joint opus. This progarmme includes Clara’s early Variations on a Theme by Robert Schumann Op. 20. The second half of this concert follows a similar vein; Beethoven’s song cycle An die
ferne Geliebte
Op. 98
, with its longing for a distant loved one, precedes Robert’s Fantasy in C which includes a brief quotation from the Beethoven cycle, undoubtedly penned with Clara in mind.

Three concerts on Sunday 24th February.  The first,  starting at 11 am, is "Clara and Brahms" and features Clara’s Piano Trio in G minor Op. 17 (her only piano trio) togetherwith one of her personal favourites – Brahms’ dramatic and turbulent Piano Trio in C minor Op. 101. Both works will be performed by the Busch Trio.  Felix Mendelssohn and his close friendship with the Schumanns (and Brahms) is celebrated in The Mendelssohn Connection in the afternnon. The tight-knit nature of this friendship group is reflected by the opening works – 2 Brahms settings of poetry by Felix Schumann (son of Clara and Robert, who they named after Felix Mendelssohn). The rest of the programme consists solely of works by Felix Mendelssohn – a selection of Lieder; his Lieder ohne Worte Book 5 Op. 62 for solo piano (dedicated to Clara), with its well-known Ein Frühlingslied; and, to conclude, the stunning Piano Four Hands in A MWV T 4 ‘Allegro Brilliant’ Op. 92, which Clara and Felix played together in Leipzig.Mhairi Lawson (soprano) joins Asti, Momen and Khamis.

The final concert begins with two pieces as a memento of Clara's friendship with the violinist Joseph Joachim: firstly, Clara’s own 3
, one of her more frequently performed works nowadays; and secondly, the F-A-E Sonata which the composers dedicated to Joseph. This piece was first played through at a friendly get together by Clara and Joseph at Clara’s home. Both works will be performed by members of the Busch Trio. The Clara Schumann Festival ends with Brahms’ Vier ernste Gesänge, written towards the end of his life. The songs were first played to a group of close friends at a private gathering immediately after Clara’s funeral. After the cycle was published, Brahms sent a copy to Clara’s daughter Marie Schumann. Accompanying the score was a letter in which Brahms wrote: “…You will not be able to play through these songs just now because the words would be too affecting. But I beg you to regard them… as a true memorial to your beloved mother.” Brahms passed away 11 months after Clara. Stephen Loges sings, accompanied by Eugene Asti, with Omri Epstein and Mathieu van Bellen (violin).

Tickets available HERE, for individual recitals or weekend pass.