THE WORLDS BEST-SELLING CLASSICAL MUSIC MAGAZINE

Fu insi
ll r de
ad se
110 reviews by world experts of the best new CDs, DVDs and books

io e p
lis 94
tin
gs
Maria
CALLAS
The real-life triumphs and
tragedies of operas greatest diva
PLUS!
Beethoven
Symphonies
We name the finest
complete recordings

John Ogdon
My life with a piano legend,
by Brenda Ogdon Lucas

ALSO IN THIS ISSUE

Hidden treasures
BBC Music goes on the hunt for
neglected piano masterpieces
A nightingale sang
From Mozart to Messiaen
how birdsong has inspired music
Richard Morrison
Judith Weir, Master of the Queens Music Andrzej Panufnik
WeAllegris
explore theMiserere
life and music
Rory Bremner of Polands heroic exile
The comedian on his favourite music Bergs Violin Concerto
Martin
Strausss DonFrst
Quixote
Recording of the Month Jamesand
Naughtie meets the
many more
A blistering account of Bruckner Nine brilliant Swedish clarinettist
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 SEPTEMBER 2014 THE MONTH IN MUSIC

THE MONTH IN MUSIC

The recordings, concerts, broadcasts and websites exciting us this September

ON AIR Passionate Prom

A major success in Berlin back in 2010,
director Peter Sellarss groundbreaking
staging of JS Bachs St Matthew Passion
is coming to the Proms on 6 September.
With the Berlin Philharmonic conducted
by Sir Simon Rattle, tenor Mark Padmore
as The Evangelist and baritone Christian
Gerhaher as Christ, the cast could hardly
be starrier. See p94

ON STAGE Joyce to the world

Joyce DiDonato will have become more
than familiar with the Barbicans unique
charms by next April as the subject of the
London venues annual Artist Spotlight
programme, the mezzo is due to appear
there no fewer than five times this season.
She begins on appropriately bel canto
form, with Rossini, Bellini and co., on
25 September. See p92

ON DISC First Rite

What did Stravinskys (pictured with
Nijinsky as Petrouchka) Rite of Spring sound
like at its premiere? Conductor Franois-
Xavier Roth and his team have put together
a recording to explore that very question.
Theyve restored the score back to its 1913
version and brought together an orchestra
of period instruments such as would have
been heard by the Paris audience. See p62

ONLINE Karajan at large

Launched in 2008, the Berlin
Philharmonics acclaimed Digital
Concert Hall is expanding to include
a comprehensive catalogue of videos
featuring conductor Herbert von
Karajan. Marking 25 years since the
maestros death, the archive will include
performances and films from his 50-year
GETTY

career. See www.digitalconcerthall.com

vk.com/englishlibrary
 page 40:
Brenda Ogdon
on life with her
husband, John

page 34:
our hunt for
neglected piano
masterpieces

page 24:
the tragic life and
incredible singing
of Maria Callas

CONTENTS
EVERY MONTH 52 Composer of the Month FEATURES
Adrian Thomas charts the life and stunning
3 A Month in Music music of Polish exile, Andrzej Panufnik 24 Maria Callas
What were all looking forward to in September Michael Tanner examines the legendary Greek
54 Building a Library sopranos supreme singing career, unique voice
6 Letters Erik Levi embarks on an adventure to find the and desperately unhappy personal life
best complete set of Beethoven Symphonies
10 The Full Score 34 Treasure hunt
The latest news from the classical music world 88 Audio What piano masterpieces lurk in a charity shop
A guide to the best new hi-fi, plus expert advice near you? The BBC Music Magazine team goes on
23 Richard Morrison the hunt for unplayed and unloved piano works
What should we exepct from the new Master 90 Live Events
of the Queens Music, Judith Weir? 40 John Ogdon
94 Radio & TV Pianist Brenda Lucas Ogdon looks back at
30 James Naughtie meets life on the road with her virtuoso husband
Clarinettist Martin Frst 98 Crossword and Quiz
44 Feathered friends
48 Musical Destinations 100 Music that Changed Me Elizabeth Davis grabs her binoculars and studies
Neil McKim visits Monaco Comedian and impressionist Rory Bremner the history of birdsong in classical music

4 BBC M USIC M AG A Z I N E
vk.com/englishlibrary
 Su e p8 stic
Se anta
bs for offe
f

cri o r
THIS MONTHS SEPTEMBER REVIEWS

be ur
CONTRIBUTORS The important new recordings,

!
DVDs and books reviewed
Michael Tanner
Music critic and philosophy tutor
During Callass
greatest years I was
too fond of Wagner
to afford Italian
Welcome
opera too. And I There were a few ways my
expected her career
to last longer than it
interest in playing the piano
did, so for her acting I have to rely on and the violin was kept alive
DVDs. But Id rather hear her sing a role when I was young. One was
than see anyone else act it. Page 24 to visit the local music shop
Brenda Lucas Ogdon and buy new scores of well-
Pianist known classic masterpieces by
I was married to 60 Recording Beethoven and Dvok which
virtuoso pianist we knew would be of the very
John Ogdon for of the Month top quality; while another was to head to a junk shop in Lye
29 years from 1960
until his untimely
Bruckner to scour row upon row of decades-old second-hand music.
death in 1989. Symphony No. 9 Wed end up taking piles of the stuff home and spend
After his win at the an amusing few hours playing through it all. It was a bit
International Tchaikovsky Competition like panning for gold most of it was dreadful, some of it
we had the most exciting whirlwind 62 Orchestral
life touring the world. Page 40 tolerable, but once or twice (and I mean just once or twice)
66 Concerto a piece would jump out at us as being really rather fine.
Elizabeth Davis 68 Opera So we had a thought here at BBC Music Magazine.
Music journalist 70 Choral & Song Wouldnt it be fun to revisit those old shops (the one in Lye
Growing up in the 74 Chamber has been demolished to make way for a junction) and see
Peak District gave
78 Instrumental if there are still some gems to be rediscovered? For several
me a real love of
birdwatching. So it 83 Brief Notes
has been a delight
to spend time in the 84 Jazz One or twice, a piece would jump
company of fellow
ornithologists Messiaen, Dvok,
86 Books out at us as being really rather fine
Sibelius and co. to explore how birds
influenced their music. Page 44 months, the editorial team set about buying old scores
in anticipation of a play-through by pianist, composer
and BBC Music columnist David Owen Norris, who
VISIT CLASSICAL-MUSIC.COM FOR THE would ultimately decide which of our musty pieces was a
LATEST FROM THE MUSIC WORLD masterpiece waiting to be rediscovered. Turn to p34
to find out which score won, and do visit our website at
www.classical-music.com to hear some of our finds. And
if you think you have a neglected masterpiece yourself at
home, let us know and well share your finds next issue.
I do hope you enjoy this months CD featuring three of
the very great sopranos: Lucia Popp, Elisabeth Sderstrm
and, of course, Maria Callas, our cover star this issue.
Those who missed last months issue will have noticed
a change to our packaging, from a plastic jewel case to a
cardboard sleeve. We still want to hear from you to find out
n Download a free track every week from one of the best
what you think; email us at music@classical-music.com or,
reviewed recordings from a recent issue better still, fill in the online form at www.classical-music.
com/cdfeedback-2014. As I wrote here last month, the
COVER: GETTY THIS PAGE: ROB SCOTT, GETTY

n Read the latest classical music news

n Listen to clips from BBC Music Magazines choice recordings new-look CD is still a trial.
n Listen to the fortnightly BBC Music Magazine podcast While Im on the subject of CDs, Im delighted to say
n Discover more about the lives of the great composers that BBC Music Direct is back, so once again you can buy
n Plus: the official chart, interviews, competitions, radio and TV
every recording mentioned in the magazine.
highlights, a preview of our monthly cover CD and much more!

The licence to publish this magazine was acquired from BBC Worldwide by Immediate Media Company
on 1 November 2011. We remain committed to making a magazine of the highest editorial quality, one
that complies with BBC editorial and commercial guidelines and connects with BBC programmes. Oliver Condy Editor

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 LETTERS
Write to: The editor, BBC Music Magazine, Tower House, Fairfax Street,
Bristol, BS1 3BN or email: music@classical-music.com

SCORE DRAW be left to the musicians themselves,

LETTER OF THE MONTH
quiet please!: Bromley librarys longcase clock and (below) John Cage
SILENCE IN NOTTINGHAM
A visit to Wikipedia will tell you Cages thinking
behind the composition of his 4'33'', but offers
no reason why it lasts precisely 4 minutes 33
seconds. But now I think I have discovered a
possible explanation: it could be a paean albeit
it a very quiet one in praise of Nottingham.
In the main reading room of Bromley House
Library is a large grandfather clock, on whose face
it states that Clocks at Nottingham are slower
than at Greenwich 4 mins. 33 secs. and slower than St Pauls London
4 mins. 10 secs. So I wonder: did John Cage ever visit Nottingham
and its delightful library? When one
enters Bromley House, the door
shuts out the bustle and noise of the
city centre, leaving a Zen-like calm
one can easily believe Cage did this
and that in inspired his most famous
work. Unless readers can suggest
Every month the editor will other places he might have visited on
award a SolarDAB 2 Roberts Longitude 4'33''W?
GETTY, ARTHUR LINEKER
The thought of not having my
score with me on stage fills me
with horror (Letters, August). It is
an essential part of my uniform,
an aide memoire, a guide to what
is going on, and a reminder of
important, special instructions.
However, no good choir member
should have his/her head in his
copy throughout the performance
it is vital to watch the conductor.
Unlike actors, we normally only
put on one public performance of a
work at a time. Other performances
of the same work at different times
would probably be conducted by
different conductors each with
his own individual interpretation,
which would be noted in our
copies. On the rare occasions that
I have seen a choir performing
without their scores, I wonder how
many extra hours must have been
spent memorising the work. So
many, that I think I would have
become thoroughly sick of it.
Jean Price, Lincoln
MOMENTARY MAGIC
Words are mere signs meaning is
attributed by their users. Likewise,
musical notation is attributed
by what cannot be printed, the
actual sound; its appreciation
varies on each performing
occasion and reflecting experience
and multifarious associations.
Performances without score,
as splendid and benchmarked
as they may be, lack the risk of
the momentary flash of fresh
illumination from contact with the
in response. I tend to under-
rehearse concerts I conduct to allow
room for that factor, and I have
miscalculated only once in 75 years.
Jeffery Babb, Hay on Wye
RAVELS DEATH
In response to Jonathan Nobles
paragraph about Ravel in his
article Malady Makers (August),
I must point out firstly that the
nurse who attended Ravel on his
final hospitalisation spoke not to
the singer Madeleine Grey, but
to the eminent French sexologist
Dr Grard Zwang (still alive in
his mid-80s) who in 2008 edited
Greys memoirs. It was not
therefore a casual chat to a member
of the public, but a focussed
conversation with a senior medical
colleague. Nor do I understand
Mr Nobles use of the word
motive. The nurse, Mme
Boisselet, was surely just relating
what she remembered, and I
see no reason why she should
have invented her claim: Zwang
specifically states that, 15 years after
Ravels death, she was still full of
compassion for this great man.
It is simply not the case that
Ravels clinical picture is well-
documented, and is clearly that of
pre-senile dementia. Readers may
like to enter the phrase Shadows
and darkness in the brain of a
genius into Google to access a
detailed 2012 article of that name
from the Medical Science Monitor,
by three Italian researchers who
suggest that the composer was

radio (retail value 80 see

www.robertsradio.co.uk) to the
writer of the best letter received.
The editor reserves the right to
shorten letters for publication.
Michael Browne, Nottingham
THE EDITOR REPLIES: Its an
interesting theory. Can anyone
else shed any light on it?
score, and realised in the moment
of performance. The soloist
recreates in performance, but the
conductors reliance upon others
limits his attempts to do so: it can
suffering from co-morbidity of
superimposed components (ie, he
had more than one thing wrong
with him at the same time). They
discuss among other things the

6 BBC M USIC M AG A Z I N E
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possible contribution of whiplash
after his 1932 taxi accident. Ravels
final illness remains very much a
subject for speculation.
of repertoire.So, for instance,
opera DVDs are now in the Opera
section. You will spot DVD reviews
from this symbol: DVD
wondering what I would do in the
afternoon. I saw the postman had
been and, as I noticed the August
NEED TO GET IN TOUCH?
BBC Music Magazine lying on the

Roger Nichols, Herefordshire
JOLLY LONG
According to your August issue, the
answer to the question regarding
what is generally regarded to be
the longest symphony ever written
is Havergal Brians Gothic
Symphony. There may be other
contenders but there are two
English composers who may
have outdone Brian. As far as I
know, Derek Bourgeoiss 42nd
Symphony adds an extra half hour
to the timing, at about two and a
half hours. That work is positively
brief, however, compared with
Sorabjis Jami Symphony, which I
understand would take about four
and a half hours to perform.
Paul Pascoe, Shrewsbury
NOBLE AMNESTY
I was interested to read of the
launch of an instrument amnesty
by pianist James Rhodes (August). I
well remember a similar amnesty led
by Youth Music in 2001 in which,
I believe, over 6,500 instruments
were donated in six weeks. As
head of a local authority music
service at the time I remember how
grateful we were for the additional
instruments we put to good use in
our schools. I remember that the
BBC was involved too, linking the
appeal to BBC Music Live?
Rob Nash, via email
WOT NO DVDS?
What happened? I searched the
July issue thoroughly but, alas,
no DVD review section. This is
the first time in years that I have
not found this part of the issue.
I trust this was an oversight. Or
maybe there were no new DVDs
to consider? Please tell me that this
section will be included in future.
Mort Slakoff, Florida, US
THE EDITOR REPLIES: We are still
reviewing DVDs, but instead of
placing DVD reviews in their own
section, they are now alongside
other reviews of the same type
GLOOM LIFTER
I recently woke up one Saturday to
a black sky and torrential rain, got
dressed, took the dogs for a walk
and got soaked. I then had a very
boring morning. Come midday,
what did I do ? I took the dogs for a
walk and got soaked. While drying
them I felt an element of gloom
YOUR VIEWS ONLINE
A few of your reactions to the latest music news on our
website (classical-music.com), and on Facebook and Twitter
When, on our website (classical-
music.com), we recently asked
you to tell us of the pieces
that first inspired you to listen
to classical music, we were
inundated with responses.
Here are just some of them:
I am sitting alone in the dark
near the back of an empty
auditorium. Before me is a
brightly lit stage on which
there are two young women
in costume, one sitting at a
keyboard instrument, the other
standing beside it. The first
begins to play and sing a melody,
while the other repeats each
phrase, copying down the words.
I am utterly captivated. That was
in 1948 when I was 10 years old.
The music was the duettino
Che soave zeffiretto between
the Countess and Susanna,
towards the end of Act III of
Mozarts The Marriage of Figaro.
Ian Birch, via email
I played piano and church organ
informally as a child, but was
never exposed to classical music
until college. The piece that
changed my life at about age
23 was Vaughan Williamss
The Lark Ascending.
D Scott Obrosky, Pittsburgh, US
When I was about 12 I fell in
love with Handels Hallelujah
Chorus. I was at a grocery
vk.com/englishlibrary
floor, the gloom faded. I settled
down with the dogs and listened
to a brilliant CD of Beethoven,
Schubert and Haydn played
superbly by Louis Schwizgebel
and read more news, had a few
surprises and smiled at the gems
waiting to be read in the magazine.
The BBC is so often my saviour.
Denis Brewer, Thetford
store when I found an album of
highlights for $1 (cond. Walter
Susskind). I was excited to be
able to get not only my favorite
chorus but For Unto Us as well.
Rev Peter Schiefelbein, via email
The first recording of classical
music I ever heard was The Blue
Danube by Strauss. It was on a
Shippams paste advert, and I
couldnt believe it was a cartoon
of two fish dancing! The piece of
music that actually turned me
onto classical music was Ronald
Binges Elizabethan Serenade, a
recording by Ron Goodwin that
was being played on the radio,
and I had to ask my mum what it
was. I went out and got it (on a
single, no less), and I have loved
classical music ever since.
Steve Hamilton, Totnes
For all of your replies, go to our
feature at classical-music.com
english fare:
Ron Goodwin
and fetching suit
Subscriptions and back issues
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EDITORIAL
Editor Oliver Condy
Deputy editor Jeremy Pound
Production editor Neil McKim
Reviews editor Rebecca Franks
Digital editor & staff writer
Rosie Pentreath
Cover CD editor Alice Pearson
Listings editor Paul Riley
Consultant editor Helen Wallace
Contributing editor Nick Shave
Art editor Dav Ludford
Designer Victoria Simpson
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Office assistant Polly Bartlett
Thanks to Anya Hancock; Camellia Johnson
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PRODUCTION
Production director Sarah Powell
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Emily Mounter
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PUBLISHING
Publisher Andrew Davies
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BBC WORLDWIDE MAGAZINES UNIT
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Jenny Potter
UK Publishing coordinator Eva Abramik
EDITORIAL ADVISORY BOARD
Peter Alward, Tess Alps, Graham Dixon,
Roger Wright
This magazine is published by
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under licence from BBC Worldwide
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 TheFullScore
OUR PICK OF THE MONTHS NEWS, VIEWS AND INTERVIEWS
Weir is Master of the Queens Music
Scottish composer announced as the first woman to hold the prestigious royal post
in with the new:
Judith Weir seen here
with current incumbent
Sir Peter Maxwell Davies
C
omposer Judith Weir has been
named as the new Master of
the Queens Music. In one of
the musical worlds worst-kept secrets,
and after a number of publications had
already written articles accepting the
appointment as a done deal, the Scot was
finally able to confirm her new post on
22 July. On the same day, the BBC Singers
also announced that Weir will be their
new associate composer.
Weir, 60, will be taking over her royal
role from Sir Peter Maxwell Davies, who
has been Master of the Queens Music
ARENA PAL
since 2004. In terms of adaptability, she
would appear to be the ideal fit. One of
10 BBC M USIC M AG A Z I N E
the most versatile composers working
in the UK today, her list of works ranges
from songs for children to full-scale
operas, while her music is inspired by
What Weir will be required
to do in her new position
remains to be seen
all manner of sources, from Scottish
folk to Chinese tales from the Yuan
dynasty a Judith Weir composition is,
nonetheless, always distinctly a Judith
Weir composition.
It is Weirs operas that, above all, have
attracted the most attention in recent
For more news and artist interviews visit www.classical-music.com
vk.com/englishlibrary
Royal notes
Masters of the Queens
(or Kings) Music since 1900
Walter Parratt (left)
(1893-1924)
Edward Elgar (1924-34)
Walford Davies (1934-41)
Arnold Bax (1942-53)
Arthur Bliss (1953-75)
Malcolm Williamson (1975-2003)
Peter Maxwell Davies (2004-14)
years, though not always favourably.
After the premiere of her Blond Eckbert
at English National Opera in 1994, The
Sunday Times wrote that with her
three-out-of-three success rate, Judith
Weir must be considered one of the most
successful British opera composers since
Britten. However, the assault of negative
reviews that met her 2012 opera Miss
Fortune was capped by The Independent,
which described it as an embarrassment.
What Weir will be required to do in
her new role remains to be seen. Though
one would expect her to write music for
major royal occasions, her predecessor
was not always called on to do so the
absence of new music by Maxwell Davies
at the wedding of the Duke and Duchess
of Cambridge in 2011 raised eyebrows.
The post itself was created by Charles I
in 1626 and has been held by several
of Britains best-known composers,
including Boyce, Elgar and Bax. The
position used to be for life but has now
been made a ten-year appointment,
with the intention of enabling a greater
number of composers to enjoy its
opportunities. See Comment, p23
 TheFullScore

Arts Council cuts cause ENO rethink

Opera company promises to ring the changes as funding is slashed
English National Opera has said that it an attempt to attract new audiences,
is developing a new business plan after and ENO artistic director John Berry has
Arts Council England announced a 4.8m said that this will enable the company to
slash in its annual funding. The cut, create an exciting and sustainable future.
which will see the amount ENO receives Overall, a National Portfolio of 670
go down from 17.2m to 12.4m, was the arts organisations will share annual ACE
most noticeable headline to emerge from grants totalling 340m per year. ACE
this years ACE funding announcements, added that it would prioritise companies
which otherwise left musical that actively research potential audiences
organisations and acknowledged
relatively unscathed. ENO has struggled to reach that it should
While the Royal box office targets and play an active
Opera House also achieve long-term stability role in supporting
saw a reduction the relationship
in the money it will receive, the cut between touring companies and
from 25.6m to 24.8m annually is venues. Outside London, funding has
comparatively insignificant. been increased in response to calls for a
An ACE statement announced that fairer balance of arts funding between
ENO had struggled to reach box office the capital and the rest of England.
targets and to achieve long-term Meanwhile, ACE also praised a series of
stability, despite an indisputably cinema screenings of live and recorded
ambitious quality of work. The company performances of opera and ballet, changing role:
will receive a one-off transitional- including from ENO and the Royal Opera ENO expects to start
funding payment of 7.6m as it moves House, as demonstrating considerable staging musicals
towards staging modern musicals in potential for garnering new audiences.

RISING STAR Great artists of tomorrow

conductor if you have to. And even now I
Alexandre Bloch am still conducting some concerts as a kind
conductor of guest conductor.
Bloch started out studying cello and
Since winning the Donatella Flick LSO composition, something that has helped him as
Conducting Competition in 2012, Alexandre a young conductor. When opening a Stravinsky
Blochs career has gone from one highlight score, say, I understand the musical language
to another. And how. A week after the LSO much more quickly because Ive tried to compose
competition, I was asked to stand in for Mariss like him before. He was inspired to take up
Jansons conducting the conducting when he met the
Royal Concertgebouw With the LSO, you late Jean-Marc Cochereau,
in Strauss! says the
Frenchman, now 29.
dont have very much who became his first teacher
before he enrolled in Paris
Bloch worked as assistant time to rehearse Conservatoire. That gave
conductor of the London me a lot of experience with
Symphony Orchestra after winning the prize, professional people. The main thing was to learn
and has already made debuts with the BBC not to have to talk for too long in a rehearsal to
National Orchestra of Wales, the Royal Liverpool be more efficient. That really helped me with french flair: Bloch, the LSOs assistant conductor
Philharmonic Orchestra and the Orchestre the LSO you dont have very much time at all to
National de Lyon, to name just three. The LSO rehearse and you have to show what you want orchestra but of the repertoire thats the thing
assistant conductor role is not like any other as much as possible in your hands and through that really needs time. With programmes of
GETTY, SEBASTIAN ENE

assistant conductorship, he explains. You have your gestures. Berg, Mendelssohn and Mozart coming up, and
a little bit more freedom to work elsewhere Now, he says, the main challenge is to get the Brahms and Strauss behind him, that experience
alongside it, which is nice. But youre welcome to podium hours in. The most difficult thing is to is being racked up nicely.
any LSO rehearsal, and you can step in for a late get experience, not of conducting a professional Interview by Rosie Pentreath

For more news and artist interviews visit www.classical-music.com

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BBC Music Recording news
THE OFFICIAL CLASSICAL CHART
The UKs best-selling specialist classical releases chart success:
Nicola Benedettis
Chart for week ending 12 July
Scottish album is a hit

HNEW 1 Bruckner Symphony No. 9

Lucerne Festival Orchestra/Claudio
Abbado Deutsche Grammaphon 479 3441
The late Abbados superb take on Bruckners
Ninth is our Recording of the Month (see p60)

2
_

Voice of the Turtle Dove

The Sixteen/Harry Christophers
Coro COR16119
The Dove has finally flown from above, as The
Sixteen descend from top spot in the charts

3 Karl Jenkins Motets

Polyphony/Stephen Layton
DG 479 3232
Laytons meticulously honed choir brings its
expertise to the popular Welsh composer British Recordbreaker
Nicola Benedetti has become the first solo British violinist
4 Rodrigo Concierto de Aranjuez
_

Milo Karadaglic; LPO/Nzet-Sguin in nearly two decades to enter the Official Album Chart Top
Mercury Classics 481 0811 20. Benedettis album Homecoming: A Scottish Fantasy took
The Montenegrins classy take on this much- the top spot in the Classical Artists chart, and also entered
loved Concerto remains a firm favourite No. 19 in the pop chart. The recording twins Bruchs Scottish
Fantasy with Scottish folk music; she plays with the BBC

HNEW 5 Haydn Symphonies Nos 92, 93, 97 & 99

LSO/Colin Davis
LSO Live LSO 0702
Scottish Symphony Orchestra under Rory Macdonald for the
former and with Julie Fowlis, Phil Cunningham and Aly Bain
for the latter. The Scot follows in the footsteps of Vanessa-
Sir Colin Daviss enduring mastery of Haydn is Mae, whose The Violin Player entered the Top 20 in 1995,
revealed in superlative live LSO performances and Nigel Kennedy, whose Vivaldi Four Seasons did likewise
in 1989. Well be reviewing Homecoming next month.
HNEW 6 Prokofiev Violin Sonatas
Alina Ibragimova (violin), Steven
Osborne (piano) Hyperion CDA 67514 Music to flute all tastes
Alina Ibragimova turns to Prokofiev in a All 71 of James Galways recordings
polished partnership with Steven Osborne for RCA Red Seal are being brought
together in a new box-set, out on
_

7 Walton Symphony No. 1; Violin Concerto

Tasmin Little; BBC SO/Edward Gardner
Chandos CHSA 5136
Sony this October. The Irish flautist,
who spoke to James Naughtie in
last months issue, celebrates his
Our June Recording of the Month sees Tasmin 75th birthday this year. Galways
Little and Edward Gardner on blistering form musically diverse career has seen
him both play with the Berlin
HNEW 8 Schubert Nachtviolen Lieder
Christian Gerhaher (baritone), Gerold
Huber (piano) Sony Classical 88883712172
Philharmonic for seven years, and
take to the stage with the Chieftains. Its all showcased
by this box-set, with the recordings ranging from Flute
Gerhaher applies his immaculate baritone voice Concertos by JS Bach to Sonatas by Franck and Prokofiev,
to an imaginatively chosen Schubert song recital and from Broadway and Hollywood hits to folk favourites.
_

9 Elgar Symphony No. 2

Staatskapelle Berlin/Daniel Barenboim
Decca 478 6677
One of todays finest Elgar conductors fires
on all cylinders in this pulsating performance
HNEW 10 In Praise of St Columba
Gonville and Caius Choir/
Geoffrey Webber Delphian DCD34137
Caius choir pays homage to the Irish saint with
deftly chosen music from across the centuries
Visit our website at www.classical-music.com for
weekly chart updates, and download the regular
Radio 3 specialist chart podcast from iTunes
Double signing for Erato
Nathalie Stutzmann and Jean Rondeau have been signed
by the Erato label. Stutzmanns raw energy, stunning vocal
acrobatics and great prowess as a conductor won her
Vivaldi disc on DG a nomination for the 2012 BBC Music
Magazine Awards. The French musician enjoys parallel
careers as a contralto and conductor, and in 2009 set up
her own ensemble, Orfeo 55. Her first album, Heroes from
the Shadows, is out this October, featuring music by Handel.
Jean Rondeau, a 21-year-old French harpsichordist, made
his mark winning First Prize at the Bruges International
Harpsichord Competition. His first recording for Erato will
focus on the music of JS Bach.

For more news and artist interviews visit www.classical-music.com

12 BBC M USIC M AG A Z I N E
vk.com/englishlibrary

__ REWIND Artists talk about their past recordings
THIS MONTH
HARRY CHRISTOPHERS
Harry Christophers is conductor of The Sixteen,
the choral group he founded in 1979. Over its 35
years, the choir has gone onto enjoy worldwide
fame. In 2001, The Sixteen launched its own
label, Coro, on which it is releasing a new
recording of Handels Jephtha this month.
My finest moment
Handel Messiah
Carolyn Sampson, Catherine Wyn-Rogers,
Mark Padmore, Christopher Purves;
The Sixteen/Harry Christophers
Coro COR16062
Messiah was the first major work I conducted,
and Ive recorded it twice. What was so lovely
about this recording, in 2007, was that I brought
back as soloists three alumni of The Sixteen
Carolyn Sampson, Mark Padmore and Christopher
Purves and so it had a real family feel. Handels
a composer Ive always loved and felt Ive had
something to say about, but my approach to him
changed radically when I conducted Ariodante
at the Coliseum in the 1990s the process of
MARK NIXON, SIMON FOWLER, MARCO BORGGREVE
getting into the operas characters made me
feel I ought to be relating this to practically
every vocal work of Handels, as he never really
stopped being a man of opera. And so this
recording was the
culmination of years
of not just performing
Messiah, but performing
it with a very special
group of musicians that
have grown with me.
For more news and artist interviews visit www.classical-music.com
My fondest
memory
Purcell
The Fairy Queen
Ann Murray, Lorna
Anderson, Gillian
Fisher, John Mark
Ainsley, Michael
Chance, Richard Suart, Ian Partridge,
Michael George; The Sixteen/Christophers
Coro COR16005
My recording of Purcells Fairy Queen took place
back in October 1990. We recorded it over a
week in Orford Parish Church in Suffolk and the
bliss of that was taking the orchestra, choir and
soloists out of London and their concerns at
home to somewhere where there was nothing
at all to distract them. Its a small church that
has a really clean acoustic and is very idyllic (and
helped by a superb pub next door). Socially and
musically, everything was wonderful and led
to fantastic music-making. We had the likes of
countertenor Michael Chance in a terrific cast
that was capped off by Ann Murray singing The
Plaint. What is so great about Purcells music
is that it needs quality soloists who can really
deliver but, as Ann proved, they dont need to be
from the early music brigade of singers.
Id like another go at
JS Bach St John Passion
Patrizia Kwella, David James, Ian
Partridge, David Wilson-Johnson, Michael
George, William Kendall; The Sixteen
Choir & Orchestra/Christophers
Chandos CHAN 0507
We made this recording over three live concerts
at St Johns Smith Square in 1989. Id previously
recorded Messiah live for Hyperion and it worked
really well, but Bach doesnt work so well in
live concerts. Here, it
wasnt so much to do
with the performance
itself as the venue.
St Johns Smith Square
was packed out, and
when it gets full the
acoustic gets pretty dry
and lacks warmth. We
then had a two-hour patch-up session after the
concerts, principally because there had been
so much peripheral noise which was not easy
to filter out, but that of course was done in an
empty hall. And so Chandos had then to add
acoustic to 99 per cent of the disc at the editing
stage, and that to me is terribly noticeable.
Id also like another go at it because the older
one gets, the more one sees in JS Bach. Next
time, Id like to do it as a studio recording in
St Augustines Church in Kilburn, London.
vk.com/englishlibrary
TheFullScore
STUDIOSECRETS
We reveal whos recording
what, and where
what a knight:
Christophe Rousset
records chivalrous Lully
Lullys Amadis, his 1684 opera
based on a chivalric romance, has
been recorded by Les Talens Lyriques
and Christophe Rousset for Apart.
They headed to the Opra Royal de
Versailles for the recording, which
includes singers Cyril Auvity, Judith
van Wanroij and Benot Arnould.
The Royal Concertgebouw has
been spending time with Bruckner.
The Amsterdam orchestra has
recorded the Fifth Symphony under
Nikolaus Harnoncourt and Nos 6 & 7
with Mariss Jansons. Both discs will
be out on RCO Live.
The first volume of the
Bournemouth Symphony Orchestra
and Kirill Karabitss Prokofiev cycle
was our Orchestral choice in June.
Now theyve recorded the second
volume for Onyx the First and
Second Symphonies, the Sinfonietta
and Autumn Sketches also at the
Lighthouse in Poole.
The Philharmonia Baroque
Orchestra and conductor Nicholas
McGegan have been at the First
Congregational Church, Berkeley,
California for their latest disc. Haydn
is on the menu again, in the form of
Symphonies Nos 57, 67 & 68, and itll
be out on the orchestras own label.
Grieg Unheard is a project thats
been recorded both in Griegs living
room at Troldhaugen and at the
Norwegian Opera, for Simax Classics.
Reza Aghamir, who has roots in
both classical music and hiphop, has
gathered together opera singers to
perform 13 of Griegs songs.
BBC M USIC M AG A Z I N E 13
 STRADIVARIfestival
Musical Enchantment in Cremona
14 September - 12 October 2014
Graphic design Fabio Toninelli

stradivarifestival.it

Fondazione Museo del Violino Antonio Stradivari Cremona - Soci Fondatori In collaborazione con

Media partners Local and Technical Partners

vk.com/englishlibrary
 #47 CROTCHETS DISCOVERING MUSIC
AND QUAVERS
AMERICANS CALL IT a quarter-
note a straight translation of the
admirably clear German Viertelnote.
For the French, its a noire black
which is nothing less than the truth. We
call it a crotchet, which, depending on
your point of view, is either charmingly
eccentric or just plain perverse. Does
etymology help here? Not really. The
terms direct ancestor is the French
crochet, meaning a little hook. But
the note we call a crotchet doesnt look
like a hook: it looks more like a tadpole
with a vertically descending or ascending
tail. The note that does look like a
hook, to which the French (with their
infallible sense of the mot juste) give the
name croche, we call a quaver which
according to the OED means tremble or
shake. All right, quavers (eighth-notes) are
twice as fast as crotchets (quarter-notes), but
the musical equivalent of the palsy? In music,
it seems, terminological inexactitude is a
peculiarly English vice.
King Gregory crowned
annointed: the Kings Singers new tenor
After a couple of months of to-ing and
fro-ing, the Kings Singers have revealed
that Julian Gregory will be joining them
as their new tenor. Benedict Hymas had
originally been named as the man to replace
Paul Phoenix, who is leaving after 17 years
with the vocal sextet, but, citing personal
ILLUSTRATION: ADAM HOWLING
reasons, he later decided against taking
up the appointment. Gregory, a former
chorister and choral scholar at St Johns
College, Cambridge, is midway through
studies at the Royal Academy of Music.
His first task in the new post will a tour
of Europe and the US. Sounds tough
For more news and artist interviews visit www.classical-music.com
Stephen Johnson gets to grips with
classical musics technical terms
However, none of this should distract us
from the fact that the crotchet, and the system
of rhythm/pitch notation to which it belongs,
is a stunningly practical invention. The
semibreve, or again more sensibly whole-note,
became the basic unit during the Baroque era,
at around the time bar lines were introduced
APP REVIEW
Every issue we explore a recent digital product
Red Hot + Bach Free
Red Hots new app explores the music of
JS Bach through classic and contemporary
recordings. It has three sections: Play,
Perform and Discover. Play allows you
to stream movements from established
recordings by pianist Glenn Gould, cellist
Yo-Yo Ma and others, plus new versions
of well-known Bach pieces in a range of
vk.com/englishlibrary
to help synchronise vocal parts in
choral music. Gradually, the semibreve-
based system replaced the old-style
notation based on the breve double
the length of the semibreve (logic at
last!), but literally meaning short
(then again). The semibreve symbol
is a hollow horizontal oval. Add a tail
and it becomes a half-note or minim, a
term derived from smallest (I know),
and twice as fast as a semibreve. Blacken
it and you have a crotchet/quarter-note:
twice as fast again. Give the tail a hook
and it becomes a quaver/eighth-note; two
tails makes it a semiquaver, and so on. Its
simple to recognise and easy to learn
there really isnt much excuse for failing
to master at least the rhythmic element.
Granted, the pitch dimension is harder.
Perhaps the trick, for newcomers, is to
learn those precise American/German
terms first, then their whimsical English
equivalents a bit like learning phonetic
spelling in school before wrestling with the
real thing. But Id hate to lose the crotchet, a
word which can also signify a fanciful device,
a disposition of troops, or an elderly bachelors
bizarre habits. One can have too much logic.
styles, from classical and jazz
to electronica. And, while the
music is playing, you can respond
visually to the sound with an
inbuilt drawing tool. Perform
has another selection of tracks,
this time with a control that
changes the balance between
different parts, although
because these arent labelled,
its difficult to know which part
is being brought out. Discover,
on the other hand, is the apps
strongest feature. It includes
An Illustrated Life of JS Bach, a
concise and entertaining introduction
to the composer, and a video of the
Kronos Quartet recording Bach onto
wax cylinder, 78 disc, analogue tape and
digital format in Thomas Edisons studio.
In all, Red Hot + Bach stands out for its
bold design and innovative approach to
thinking about Bachs music in a modern
context. Rosie Pentreath HHH
BBC M USIC M AG A Z I N E 15
 L'ITALIANA
IN ALGERI
ROSSINI
Pesaro
Pesaros new offering in
2013 was an off-the-wall
production of Rossinis
popular comedy presented
as a Swinging Sixties,
James Bond adventure,
set in the desert oil fields
of the North African coast.
ON DVD & BLU-RAY

DER FLIEGENDE
HOLLNDER
WAGNER
Bayreuth Festival
Last years revival of Jan
Philipp Glogers controver-
sial 2012 production was
greeted with huge acclaim.
The production stars
Samuel Youn, Ricarda
Merbeth, and Franz-Josef
Selig. Christian Thielemann
conducts who is arguably
the greatest Wagnerian
conductor of today.
ON DVD & BLU-RAY

THE TEMPEST
SHAKESPEARE
Shakespeares Globe
The Tempest is
Shakespeares late
great masterpiece of
forgiveness, generosity
and enlightenment.
Jeremy Herrins production
includes Olivier Award
winner Roger Allam
(Falstaff in Henry IV
parts 1 & 2) as Prospero.
ON DVD

MACBETH
SHAKESPEARE
Shakespeares Globe
From its mesmerising
first moments to the last
fulfilment of the witches
prophecy, Shakespeares
gripping account of the
profoundest engagement
with the forces of evil
enthrals the imagination.
This production employs
Renaissance costumes
and staging.
ON DVD

opusarte.com FOLLOW US ON
vk.com/englishlibrary
 A new beat in Brussels
modern man:
Stphane Denve has
plans for Brussels
The Brussels Philharmonic has announced that Stphane
Denve is to be its new chief conductor, a role that will also
see the Frenchman become the first ever director of the
orchestras Centre for Future Orchestral Repertoire. Denve,
who made a point of commissioning and performing
new repertoire during his successful seven seasons as
music director of the Royal Scottish National Orchestra,
unsurprisingly has similar intentions in the Belgian capital.
I will programme at least one 21st-century piece in each
of my concerts with the Brussels Philharmonic, he says.
But always in conjunction with past repertoire: we wont
become a specialist modern music ensemble.
TWITTER ROOM
Whos saying what on the micro-blogging site
@ConcertPianist Im probably the only
person who likes the change in the
weather today #practisingallsummer
#wetnwindy
Not everyone likes the hot weather, as
pianist Jonathan Plowright explains
@dandyriver I cant hear myself over
the hedge trimmer next door and thats while playing
loud Rachmaninoff. I hope the guys wearing earplugs.
One presumes that pianist Danny Driver, meanwhile,
has put pianissimo bars on hold for a while
@CordeliaPiano I had a scary dream that the frosting on
my carrot cake went soggy overnight in the fridge, and
now have been totally awake since 5am
Eek. Trauma of a different kind for another pianist,
Cordelia Williams
@MaestroDCR mmmmmmm.......Mozart and Mahler!
Short but sweet from conductor Donald Runnicles, who
is in M heaven
@sumijo2011 Please score! I need
to sleep!!! #holland vs #Argentina
#WorldCup2014
GENEVIVE CARON
As the dullest football match of all
time grinds on, soprano Sumi Jo says
what everyone else is thinking
vk.com/englishlibrary
Notes from the piano stool
David Owen Norris
T
he Waynflete Singers of
Winchester gave me a good time
in Tewkesbury Abbey. From time
to time, conductor Andrew Lumsden very
kindly lets me stand in front of his choir,
and this summer we explored Sir Hubert
Parrys part-songs: Eight Four-Part Songs,
drawing on Elizabethan sources more
familiar from Quilter or Warlock, as well
as Arthur Benson, the Land of Hope and
Glory man, and Robert Bridges, the poet laureate who suggested to
Parry that a bit of William Blake might make a decent song; plus the
Six Modern Lyrics set as Part-Songs.
Parry has a trick of suddenly halving or doubling his basic pulse,
which reflects the varying pace of good reading. And he thoroughly
revised the punctuation and capitalisation of his sources a clue, I
think, to where we should breathe. Some choirs are so proud of their
breath control that they only breathe when they absolutely must which
means that their words run on without forming themselves into those
smaller groups that would aid our understanding if only they were
allowed to with much greater ease than a sentence like this one. Parry
Parry was amazed at Tennysons dull
sing-song recitation, which he felt
flew in the face of metrical subtlety
knew the great truth that a comma does not, necessarily, obscure the
meaning. So we worked out a revolutionary rule: If in doubt, breathe.
The most interesting thing of all was Parrys elaborate harmonic
language a dominant 7th in A double-flat major makes an
appearance at one point! which he uses to mirror the tensions of
the poetrys syntax. It seems to me that these harmonic procedures
demand unusually flexible speeds to match.
The earliest few part-songs in the British Library are from around
1800. Four-part songs crop up in the 1840s, and partsongs from the
1860s. The portmanteau word suggests that 19th-century composers
sought to incorporate the interpretative freedom of the solitary singer
of a song into choral music, just as pianist-composers like Liszt and
Mendelssohn sought to introduce their pianistic freedoms into their
orchestral music. Part-songs came into being to deploy the arsenal of
Romantic harmony in the service of prosody, I reckon.
At our concert, Laura Ponsonby, Parrys great-granddaughter, read
from the composers diaries. One of her selections concerned a meeting
with Tennyson, where Parry was amazed at Tennysons dull sing-song
recitation, which he felt flew in the face of the metrical subtlety to
be found in the verse. That reinforced my ideas about variable speed
and metre, but the highlight of the reading was Tennysons remark:
Browning is musical, but his verse is not: while I am wholly unmusical,
and yet I know my verse is musical. Worth a second thought n
David Owen Norris is a pianist, composer and radio presenter
BBC M USIC M AG A Z I N E 17
TheFullScore

MUSIC TO MY EARS
What the classical world has been listening to this month
popular sounds:
Italian composer
Francesco Paolo Tosti
CARLO RIZZI conductor
Early on in my career, I substituted for
Klaus Tennstedt in a programme of
Mahler with the London Philharmonic
Orchestra, as he was ill. I was curious
to listen to his live Mahler symphony
recordings, and began with No. 4. And I got really
hooked into it! I love the way he conducts Mahler
its very understated in a way, but really fantastic.
Of all his Mahler recordings, I particularly like the
Fifth and Sixth Symphonies.
QWhen I was growing up in Italy, the pianist
Elisabeth Leonskaja didnt perform much in my
country I grew up listening to Pollini much more.
But later on, when I was recording for Teldec, I got a
copy of the Chopin Nocturnes
she did for the same label.
Pollini is fantastic, but Leonskaja
really flows. A lot of pianists
make a real show of the little
embellishments in Chopin but
she just makes them part of the
musical journey.
QI worked with the Peruvian
tenor Ernesto Palacio a number of times, and really
admired his musicality. Just before he retired, he
recorded Romanze, a disc of songs by Francesco
Paolo Tosti, performed not just with piano but also
in simple orchestrations too. I love it. Some of these
pieces can be a little on the popular song side if
OUR CHOICES
The BBC Music teams
current favourites
Oliver Condy
Editor
Last month
I spent an
enjoyable few
days at the Batumi Music
Festival on the Georgian
coast of the Black Sea, and
was introduced to the work
of Georgian composer Ravaz
Lagidze (1921-1981). Sachidao,
a frenetic two-minute piece
with clear nods to Georgian
folk music, celebrates
wrestling something of
a national sport and was
performed with relish at the
opening concert, much to the
audiences delight.
Jeremy Pound
Deputy editor
Taking part in a
recent farewell
evensong
for Edward Higginbottom,
retiring director of music
at New College, Oxford,
saw me unleashing my
wayward baritone on
Howellss St Pauls setting
of the Magnificat and Nunc
Dimittis. In preparation for
the big day, I listened to
Trinity College, Cambridges
recording superbly paced
and immaculately balanced,
its sends a shiver down the
spine every time.
Rebecca Franks
Reviews editor
I first got
to know
Schuberts
Fantasy in F minor for piano
duet at school, when I
learned to play it (more or
less) with a friend. The music
is tempestuous, lyrical and
heartbreakingly beautiful.
I recently heard pianists
Beatrice Rana and Adam
Laloum perform it they
brought out details in the
music Id not heard before
and made complete sense of
the pieces architecture.
youre not careful, but if theyre done well, theyre
really beautiful, and Ernesto does them fantastically.
QI will admit that Im very ignorant of any music
other than classical. However, my son is a good
guitarist and very hot on pop music. When I told
him that pop is too simple, he got me to listen to
The Beatles. I have to say that they are great.
The likes of Yesterday and Eleanor Rigby are
phenomenal songs, but the one that is really
interesting is Michelle harmonically and
melodically it is wonderfully complex.
Carlo Rizzi conducts Rossinis William Tell at Welsh
National Opera from 12 September
PUMEZA MATSHIKIZA soprano
I really love listening to Handels Care
Selve, sung by the soprano Eide
Norena. I dont know much about
Norena other than that she was born
in Norway around 1880 I dont think
she was that well known even in her own time but
I really like the purity of her voice and her breath
control is just incredible. I myself havent sung much
Handel myself other than a few arias, but hes a
composer that I want to go back to.
QI have known the music of the South African
singer Miriam Makeba right from when I was young.
Her song Malaika is not in fact South African, but is
in Swahili which is more of an east African language.
However, almost wherever you go in Africa, everyone
knows it its a song that unites Africa. It introduced
me to a new language and I like the lyrics. It basically
tells of someone who cannot afford the dowry to get
married, and is quite a sweet song.
QAt I home, I have very nice headphones, and I put
them on to listen to Led Zeppelins When the levee
breaks, which is about the floods in Mississippi. I like
to listen to it loud and to hear absolutely everything,
but I know that not everyone likes rock music! What
I like most about it is the
instrumentation, and how it
all gels together. Im not sure
Id say I like Robert Plants
singing voice, but this song
is all about the whole band.
QWhen I was growing up I
heard Zulu mbaqanga music
such as Mfaz Omnyamas
Kuke KwagijimIveni the whole time, but didnt
really give it my whole attention, as I was more into
choral music. However, when I came to London, I

For more news and artist interviews visit www.classical-music.com

18 BBC M USIC M AG A Z I N E
vk.com/englishlibrary
 bass guitar!:
Tubular Bellss
started to listen to it and it took me back. The music OUR CHOICES Mike Oldfield
uses guitar, accordion and a little bit of percussion
and is like a kind of dance music its very lively. The BBC Music teams
Pumeza Matshikizas debut CD on Decca, Voice of current favourites
Hope, will be reviewed next month Neil McKim
Production
BENJAMIN HULETT tenor editor
Ive been
enjoying
A disc I listen to regularly is JS Bachs a new release by pianist
Christmas Oratorio, conducted by Jacques Loussier, famous for
John Eliot Gardiner and with soloists his jazz trio versions of Bach.
Almost 80, he has released
including Anthony Rolfe Johnson, My Personal Favorites, which
Anne Sofie von Otter and the like. includes many classics,
Anything with Rolfe Johnsons voice in it will draw including his take on the Air
me in and keep me listening I love the tone, the on a G String. Loussiers fluid
playing gives a subtle swing
honesty and the sheer beauty which he always to Bachs music without ever
manages to achieve. The recitatives here in which he cheapening it a rare skill that
sings about the birth of Jesus are incredibly moving. not many pianists have been
QMike Oldfields Tubular Bells is a disc I listen to in able to emulate since.
the car, quite often on the way back from having just
Rosie
performed. The structure and pacing of the piece are Pentreath my top choice. So often the Miserere is a piece where
terrific and theres always some humour in it, even Staff writer its overall majesty can be overlooked as the focus
if its not intentional! Its a piece that never fails On hearing becomes all about the sopranos top C, but here that
of violinist note is sung so easily that it seems almost irrelevant.
to relax and excite me I dont know whether I
and conductor Lorin
can get away with saying this, but Id even say its Maazels death this week, I QOn Oscar Petersons Jam Montreux 77, the
one of the best modern symphonies! dug out his recording with structure and the interior detail of all the moving
QIve been involved the Vienna Philharmonic parts are astonishing. Theres an incredible stride
in performances and of one of my favourite bass piano solo from the man himself, where hes
symphonies, Dvoks Eighth,
recordings of Allegris written in 1889. From the
essentially playing with four hands. When you listen,
Miserere with nearly gorgeous opening to the theres a moment where he gets faster and theres a
every choir Ive been in, ravishing melodies of the frisson as you think hes going to drop the ball but
but The Tallis Scholars third movement and that he never does. Wherever I am, I can put this on and it
phenomenally dramatic finale,
1980 recording, coupled Maazels is a detailed, rich and
takes me to a different place.
with Palestrinas Missa energetic reading. Benjamin Hulett sings on the Bach Choirs new
Papae Marcelli, remains recording of Howellss Stabat Mater (Naxos)

AND MUSIC TO YOUR EARS world of enigmatic utterances. In a

You tell us what youve been enjoying on disc and in the concert hall
Lorenz Rychner,
Colorado, US
Georg Katzers String
Quartet No. 4 impresses
me with its complex
rhythms, even during slow passages.
Its a work that requires adventurous
bowing and plucking techniques, and
alternates ensemble passages with
parts in conversational opposition
GETTY, ARENA PAL, TESSA TRAEGER, KLAUS RUDOLPH
Another stunning performance is Alisa
Weilersteins emotionally charged
Elgar Cello Concerto. I doubt I have
been so moved before by an account
of this work. The combined forces
of Weilerstein, Barenboim and the
Staatskapelle Berlin deliver sublime
music-making.
Anssi Korhonen,
piece such as Nuages Gris, we hear
an artist daring to enter new creative
territory in a medium where it may
have been thought there was nothing
left to express. Andrea Bonattas
playing on the 1873 Bayreuth
instrument is soul-searching.
complex: Alan Green, Essex
Im typing this listening
German composer
to Sundays Radio 3
Georg Katzer Early Music Show on

and even alienation from each other
never a dull moment! My recording
is well played by the Sonar Quartett, a
group I didnt know previously.
John C Parkin,
Sheffield
Jonas Kaufmanns
recording of Schuberts
Winterreise is now for
me the benchmark one. Kaufmann
makes this masterpiece his own in
a reading which is vocal perfection.
Helsinki, Finland
Ive been renewing
my acquaintance with
the four symphonies
of Joonas Kokkonen (1921-96), a
profoundly humane composer whose
music was written by a human being
for fellow human beings. His music
grows organically, developing very
limited thematic material into its
logical conclusion through maximum
expressiveness. His work is served
admirably by both the Finnish Radio
Symphony Orchestra under Sakari
Oramo and the Lahti Symphony
Orchestra under Osmo Vnsk and
Ulf Sderblom.
Raymond Ali, Glasgow
On a recent trip to
Istanbul, I listened in
my hotel room to the
late piano works of
Liszt. The composer eschews keyboard
pyrotechnics to draw us into an eerie
iPlayer. Robert Fayrfaxs
incredibly peaceful music makes
the act of trying to juggle the next
ten days worth of student lessons,
rehearsals and performances in the
band for High School Musical at a local
college, plus a solo classical guitar
performance (after everything else
is done!), no less complicated but
far less stressful.
Tell us what concerts or recordings
youve been enjoying by emailing us at
musictomyears@classical-music.com

For more news and artist interviews visit www.classical-music.com 19

vk.com/englishlibrary BBC M USIC M AG A Z I N E
 TheFullScore
NEWSINBRIEF
views for you: controversial Tamar Iveri
DESDEMONA DUMPED
Soprano Tamar Iveri would seem to
have brought her career to a crashing
halt by publishing inflammatory
homophobic comments on her
Facebook page. The Georgian, who
was set to appear as Desdemona
in Opera Australias production of
Verdis Otello, was promptly sacked
after referring to gays as sewage.
She has since kept a low profile.
PERLMAN APPEAL
Itzhak Perlman has appeared in
a video to campaign for polio
vaccinations to be made universally
available. The US-Israeli violinist,
who was left semi-paralysed by
the disease as a four year-old,
issued his plea following the World
Health Organisations warning that
increased migration from countries
without the vaccination could lead
to a new outbreak worldwide.
PRAEMIUM PRT
Arvo Prt has won the 2014 Praemium
Imperiale for music, Japans most
prestigious honour for the arts. The
Estonian composers award sees
him not only enjoy a cheque for 15m
yen (85,000) but also join a list of
recipients that includes tenor Plcido
Domingo, pianist Martha Argerich
and fellow composers Luciano Berio
and Gyrgy Ligeti.
WELCOME BOOST
ROB MOORE ILLUSTRATION: JONTY CLARK
The UK government has announced
that it is to add an extra 18m of
funding to the countrys 123 music
hubs. The hubs, which were set up
in 2012, aim to give children a better
opportunity to take part in choirs
and orchestras and also to learn an
instrument for the first time.
20 BBC M USIC M AG A Z I N E
Lets bass the music and dance
Rhythm is heard best in the low notes, says research
Why do so few double bass players other way round, interestingly). So
become conductors? Serge Koussevitzky does this mean that orchestral players
did so, as did Zubin Mehta, but compared should be casting their gaze basswards
to the hordes of pianists and violinists for rhythmic guidance? Are charismatic
that have leapt up onto the podium, bassists such as the Concertgebouws
the bassist-maestro is a relatively rare Dominic Seldis or the Orchestra of the
phenomenon. And yet new research has Age of Enlightenments Chi-chi Nwanoku
shown that we are in fact more inclined set to be the baton stars of
to follow a rhythm in the bass clef than the future? Could be
we are in the treble when
monitoring brain signals
while music is played,
scientists at McMaster
University in Canada
have found that
we flinch more
consistently on
hearing a rhythmic
inaccuracy in low
notes than we do
with those higher
up the stave
(with inaccuracy
of pitch,
it is the
AFTER HOURS
Musicians and their hobbies and out of concentration, and so on. I started
playing the game in around 1990 when, after
MATTHEW ROSE watching The Open incessantly on TV, I took
Bass myself off to the golf course and havent
left ever since! Im quite large, so I give it a
GOLF good whack, but if I was ever to take my
Playing golf fits rather nicely into my schedule game to a higher level I think I would have
as an opera singer. While Im away doing a to work on my short game.
production, there are a lot of days
in between performances where
I can get in a round. Recently in
Bordeaux, for instance, I managed
to play golf two or three times
a week. Wherever you go in the
world, you can find a nice course
to play on, and there are also like-
minded people in opera I play with
Bryn Terfel, in particular, is a very
keen golfer. On a number of levels,
one can find similarities between
opera and golf: the way you use
bass pitch:
your body is not too dissimilar, a
Matthew Rose tees off
round of golf takes about the same from Covent Garden
time as an opera, youre going in
For more news and artist interviews visit www.classical-music.com
vk.com/englishlibrary
 e
Farewell to

master musician:
Lorin Maazel
pictured in 1961

LORIN MAAZEL Born 1930 Conductor

Lorin Maazel was one of the most influential conductors of
his generation. In the US, his home country, he will be chiefly
remembered for his time as music director of the Cleveland, the
Pittsburgh Symphony and the New York Philharmonic orchestras,
while his posts abroad included those of chief conductor of the
Vienna State Opera and the Bavarian Radio Symphony Orchestra.
In Britain, he enjoyed a close association with the Philharmonia.
Picking up the baton at a very young age, by 11 Maazel was already
conducting orchestras it was Arturo Toscanini, no less, who
secured him his first conducting position at 12. His first important
post came when he was made chief conductor of Deutsche
Oper Berlin in 1965, and over the following decades, his forceful
personality ensured he was rarely out of the limelight in 2008
he gained great praise, and no little publicity, for taking the New
York Philharmonic on a tour to Pyongyang, North Korea. As well as
his conducting career, he was also a brilliant violinist (playing with
both the Fine Arts Quartet and in the Pittsburgh Symphony), an
occasional composer, and, in later years, the director of the annual
Castleton Festival at his estate in Virginia.

CHARLIE HADEN Born 1937 Jazz bassist

Showpiece double bass theatrics were not something one would
associate with Charlie Haden his was a more lyrical, melodic
style, designed to accompany rather than compete against
whomever he was playing with. Brought up in Iowa to a musical
family, Haden made his name playing with saxophonist Ornette
Coleman, but in later years it was for his work with pianist Keith
Jarrett that he became chiefly recognised the pair released their
last album, Last Dance, earlier this year. The name of Hadens own
band, Liberation Music Orchestra, was no accident as one of
jazzs most politically outspoken figures, he was arrested for his
performance of Song for Che in fascist Portugal in 1971.

Also remembered
Roderick Franks (born 1956) was professor of trumpet at the
Royal Academy of Music and a trumpeter (and former principal)
with the London Symphony Orchestra, an ensemble he joined in
1988. He was tragically killed in a road accident on 20 July.
GETTY

vk.com/englishlibrary
The Richard Hickox
Legacy Series
Richard Hickox was a great champion of neglected music in general, and of
British music in particular. His sudden death in November 2008 robbed the world
of a most vital and industrious musician, whose discographical legacy remains
a treasure trove of the recorded catalogue. This commemorative series, now
in its third year and numbering seventeen releases, looks back at some of the
highlights of his long-standing conducting career with Chandos Records.
To see the full Richard Hickox Legacy Series visit www.chandos.net

New Releases
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Elijah The Apostles
Ever since its triumphant Long overshadowed by The
premiere, Mendelssohns Dream of Gerontius, the oratorio
Elijah has remained one of the The Apostles is now recognised
best-loved choral works in the as containing some of Elgars
repertoire. Sir Willard White heads finest music. Especially inspired
an all-star cast under Richard is the dramatic portrayal of Mary
Hickox, a choral director of the Magdalene and Judas, here sung by
highest stature throughout his Alfreda Hodgson and Robert Lloyd
career, who conducts the London in a recording that also features an
Symphony Chorus and Orchestra outstanding performance from a
in this re-mastered recording. young Bryn Terfel.
CHAN 241-48 CHAN 241-49

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Walton Britten
Troilus and Cressida The Rape of Lucretia
This essential recording of Richard Hickox was renowned
Waltons Troilus and Cressida is during his lifetime for his
widely recognised as the finest advocacy of Brittens stage
available. Arthur Davies and works and here conducts the
Judith Howarth are superb as the chamber opera The Rape of
title characters in this adaptation Lucretia, a compact masterpiece
of Chaucers classic tale of of vivid atmosphere and
love. The re-mastered recording expressive intensity. Jean Rigby
follows the concise 1976 revision delivers a gripping performance
but restores the part of Cressida in the title role, alongside an
to its original soprano register. excellent supporting cast.
CHAN 241-50 CHAN 241-51

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vk.com/englishlibrary

The Richard Morrison column
What should we expect
from Judith Weir, Master
of the Queens Music?
D
espite the unregal nature
of the announcement
dribbling out as a
press rumour a fortnight before
Buckingham Palace officially
proclaimed it we now know
that the 60-year-old Judith Weir
is the new Master of the Queens
Music. Master? She is the first
woman to hold the post in 389
years. One might have hoped that
a less masculine title would be
conferred on her, though I accept
that Mistress has unfortunate
connotations, particularly when
attached to anybody in the Royal
Household. Why not Composer
Laureate, to match the equally
ancient post of Poet Laureate (also
now held for the first time by a
woman, Carol Ann Duffy)?
A more pertinent question,
however, is why we perpetuate
this Jacobean-era sinecure in an
era when, apart from the Prince
of Wales, the Royal Family
isnt exactly distinguished by
its love of classical music. Ten
years ago I would have answered
gawd knows. Most of the 20
worthies who have held the role
in the past four centuries were
complete nonentities though
I dare say that, somewhere in
the gentle groves of academe,
there are scholars doing doctoral
dissertations on the music of
Nicholas Staggins or William
Cusins. But even the famous
figures who held the post didnt
write much of distinction because
of the royal connection.
Elgars great ceremonial music,
for instance, was composed well
For more news and artist interviews visit www.classical-music.com
PPA Columnist of the Year
before he took up the role in 1924.
And the tenure of the Australian
alcoholic Malcolm Williamson,
from 1975 to 2003, was a disaster.
His chaotic personal life led to
him missing many deadlines
including, most embarrassingly,
the completion of a symphony to
mark the Queens Silver Jubilee
in 1977, which didnt improve his
relations with the royal family.
Yet when Sir Peter Maxwell
Davies took up the post, ten years
ago, all this appeared to change.
It seemed a most incongruous
appointment. In his youth, Max
Weir pledges to encourage
everyone in the UK who
sings, plays or writes music
was a republican, a firebrand,
fiercely anti-establishment and
fond of shocking genteel ears with
savage dissonances. A composer
less well suited to churning out
bland fanfares and anodyne
anthems for royal weddings
was hard to imagine.
But Max took to the role with
relish and changed it. Yes,
he turned out his fair share of
ceremonial music, though he was
notably overlooked by Prince
William and Kate Middleton
when they (or more likely, Prince
Charles) commissioned music for
their wedding in 2011. But he also
used his clout as Master of the
Queens Music to make hard-
hitting speeches, particularly on
vk.com/englishlibrary
TheFullScore
the theme of music in education.
To have a voice speaking out on
this vital matter from the heart of
the Establishment was refreshing,
even if it doesnt seem to have
had much effect on successive
education ministers.
So the job that Weir now inherits
has two distinct elements. One is
composition; the other is boldly
championing music. How well
equipped is she to fulfil those roles?
As a composer she has certainly
forged a style that is not quite like
anyone elses. We were in the same
year studying music at university,
and even then she was a brave and
lonely voice, sticking resolutely to
a quirky and eclectic tonality when
all the other budding composers in
the faculty thought that complex
Boulez-style serialism was the way
forward. She was right; they were
wrong but it took decades for
that to become apparent.
She has subsequently had
major successes. Her bitter-sweet
1987 masterpiece, A Night at the
Chinese Opera, is possibly the most
performed British opera since
Brittens. But she has also suffered
one or two awful flops, notably
her 2012 Covent Garden opera
Miss Fortune (or Misfortune, as
some press wags dubbed it). On the
whole, though, she is a composer
who writes humanely, sanely and
imaginatively for a great variety of
ensembles. She will fulfil that part
of her brief well.
Whether she will emulate
Max and speak out about music
education or the other pressing
issues is harder to say. She has had
much experience of working with
children and in the community,
and holds strong egalitarian
principles. But she is a more
reserved character than Max, who
always seemed to take an impish
delight in causing a rumpus even
when, in the past few years, he was
also bravely battling leukaemia.
I hope that Weir does speak
her mind, loudly and clearly. The
position of Master of the Queens
Music may be an anachronistic
hangover from the era when the
monarch was, along with the
Church, the most important
employer of musicians. But
anachronisms have their uses if
they promote civilised behaviour.
Max did that superbly. When she
was announced as his successor,
Weir pledged to encourage
everyone in the UK who sings,
plays or writes music, and to hear
as many of them as possible in
action over the next ten years.
Thats a great resolution. And if
she can occasionally drag a few
royals and politicians along to some
concerts with her, there will be a
distinct danger of Britains amateur
and professional musicians starting
to feel appreciated. n
Richard Morrison is chief music
critic and columnist of The Times
BBC M USIC M AG A Z I N E 23
 w

vk.com/englishlibrary w
wwwwwwwwwwwww MARIA CALLAS COVER FEATURE

RIA CALLA
MA S

PRIMA
DONNA
Her voice may have divided audiences,
but the Greek soprano never failed
to compel with powerfully Vivid
performances. Michael Tanner explores
the life and legacy of ARGUABLY the
greatest opera singer ever to have lived

M
aria Callas was born in New York on
2 December 1923 to Greek immigrant
parents, and died on 16 September 1977 in
the depressing luxury of an apartment in the
16th arrondissement of Paris. For many people, she was the
greatest singer of whom we have record or records. For some
others she is overrated, had an ugly voice, went into decline
very shortly after her brief period of glory, and as an actress
(as preserved on video) was mannered, even grotesque.
Everything about her is controversial, and to try to produce
general pause: a balanced account of her, as an artist or woman, is to
Maria Callas takes misunderstand what kind of phenomenon she was,
>
GETTY

a break at the
Venice Lido in 1950 and remains today.

wwwwwwwwwwwww vk.com/englishlibrary BBC M USIC M AG A Z I N E 25

CALLASS PARENTS were ill-suited, her
father an easy-going pharmacist, her mother
a pulverisingly ambitious woman hoping to
make something of her life through having
brilliant children. Maria was a replacement
for a boy who had died very young, and
Evangelia, her mother, was so horrified
she was a girl that she wouldnt look at her
or touch her for some time after her birth.
Maria grew up fat and short-sighted. In 1937
she, her mother and older sister returned
to Greece, leaving a relieved man behind.
Maria was driven by Evangelia to sing as
much as possible, was given lessons by noted
professionals, and ill-educated in most
respects developed a precocious voice. Her
main teacher was Elvira De Hidalgo, a light-
voiced soprano from the age of Caruso, who
recounts how Callas would arrive early and
stay for everyone elses lessons as well as her
own. Callas made her debut during World
War II, singing as Beethovens Fidelio and in
MascagnisCavalleria rusticana. As soon as she
could, she travelled abroad for auditions, and
made her international debut in Ponchiellis
La Gioconda in the Arena of Verona in 1947.

IN HER OWN WORDS

The sopranos memorable quotes
Sure, shes got a beautiful voice,
but whos interested?
Maria Callas makes her views on her fellow
soprano, the Italian Renata Tebaldi (below),
abundantly clear.
If I could make my enemies go on
their bended knees before me, I can
and I will and I MUST!
Callas in defiant form during a TV interview
about her abandoning a state gala
performance of Norma in Rome in 1958.
We are now in a time when Szell is
considered a master. How small he
was next to Furtwngler! To me,
Furtwngler was Beethoven.
Poor old George Szell the Hungarian-
American conductor gets short shrift
next to his German counterpart.
To me, the music of Mozart is At that stage she was considered a heavy- alternating one of the great bel canto roles with
mostly rather boring. voiced artist, and went on to perform Isolde, Brnnhilde, an unheard-of feat.
During masterclasses in New York Brnnhilde in Die Walkre, and Kundry Soon Callass extraordinary timbre, the
in 1972, Callas throws her musical in Parsifal, all in Italian, though often with flexibility of her voice and the fanatical
cards on the table. partners singing in other languages: Geliebte! dedication of her performances were creating
Rivals? What rivals? Carissimo! is the kind of exchange youd a sensation, one which happily coincided with
If there were any doubts about hear between lovers. But the elderly conductor the arrival of long-playing records, which
Callass self-confidence, this Tullio Serafin, that great nurturer of talent, made the recording of operas under ideal
quote from an undated US persuaded her to learn and perform the role studio conditions possible. The number of
radio interview lays
of Elvira in Bellinis I puritani when the complete operas that Callas recorded for EMI
them to rest.
original soprano fell ill and, protesting in the 1950s and early 1960s is prodigious,
it was impossible, Callas did it, and until the last ones they were under the

vk.com/englishlibrary

tragic heroine:
Callas prepares for her
role as Violetta in Verdis
La traviata, in 1955
omnipotent control of the great producer
Walter Legge, who incidentally described
Callas as having a superhuman inferiority
complex. Her energy during the next few
years was prodigious. 1955, for example, her
annus mirabilis, began with six performances
of Giordanos Andrea Chnier at La Scala
Milan, interspersed with four of Cherubinis
Medea in Rome; she then went on to ten La
CORBIS, GETTY
Sonnambulas (Bernsteins debut as operatic
conductor) and five performances of Rossinis
Il turco in Italia all were new roles for her. >
MARIA CALLAS COVER FEATURE
WHAT DID CALLAS ACHIEVE?
How did the singer change the world of opera?
supporting role:
with husband Giovanni
Meneghini after her
performance of Norma at
the New York Met in 1956
CALLAS WAS A VERSATILE
artist, but her single greatest
feat was to revivify what had
long seemed a dead operatic
form: bel canto opera as written
in Italy in the first half of the
19th century Rossini, Bellini,
Donizetti. A handful of their
operas had remained in the
repertoire, but they
were treated as vehicles
for vocal acrobatics, Her puccini
with no sense that recordings are more
coloratura could be
used expressively. effective than anyones
With her very first
commercial recording, in 1949, the great aria
near the end of Bellinis I puritani in which
Elvira laments the loss of love, Callas showed
with startling immediacy what depths it
could plumb: she uses her voice very much as
Casals used his cello in the Bach Suites, and
with similar revolutionary effect.
Even the handful of specialists in that
period of opera were at first bewildered, but
then, with her supreme performances of
Norma, with which she made her debut at
Covent Garden and which was her favourite
and most often-performed role, she forced
audiences to recognise how much there is in
that masterpiece which had been used for
so long as a mere pyrotechnic vehicle. She
brought these statuesque singing dolls to
vivid life, and operas such as Donizettis Anna
Bolena and Poliuto, and Bellinis Il pirata and
La sonnambula, thought to be unrevivable
footnotes to operatic history, re-entered the
repertoire, though no one since has infused
vk.com/englishlibrary
them with the vigour and
pathos which were Callass
inimitable qualities.
Callas specialised in wronged
or doomed women, passionate
creatures in love with the
wrong man, or summoning
their forces and performing
heroic deeds at the cost of
their lives. Since that
was what she was, the
identity of performer
and character was
complete. And even her
technical limitations
she had, people
often said, three voices with difficulties in
linking them, and a curious veiled sound
sometimes, suggesting that she was singing
into a bottle were put to good use in her
heyday. She was able to apply the principles
of bel canto singing to operas that came later
Verdi, Puccini, Giordano and so on and to
make them exciting through the delicacy and
long lines of her singing, so that the element
of crude ranting which was common in
performing them were replaced by rhythmic
precision, purity of line and avoidance of
exaggeration. That is especially evident in her
Puccini recordings, which is why they are more
effective than anyones, even though they
are less sensuously beautiful than some, and
less explosive than others. She always studied
the libretto before she looked at the music,
because she thought opera should be sung
drama: hence also her intense concentration
on acting. No successor has followed her in all
these respects, though many have tried.
BBC M USIC M AG A Z I N E 27
 DIVA DIVISION
Why does Maria Callass
voice split opinion?
dramatic: Callas in Tosca at the ROH in 1964
CALLASS VOICE is quite unlike any that
had been heard up to that time, at any
rate in the 50 years of recording. She has
had many imitators, such as Elena Suliotis
and Sylvia Sass, who can be momentarily
mistaken for her. But no one sustains that
peculiar sound, which it is impossible to
say is beautiful in itself, in a way that, say,
Flagstads or Caballs or Christa Ludwigs
was. Two or three notes from them would
be exquisite; from Callas they might strike
you as ugly indeed, she was perhaps the
first singer who wasnt afraid to sound ugly
in order to communicate the truth of feeling.
Of course there was also the involuntary
ugliness of her flapping high notes, which
became acute in her later years. Her aim
was to achieve the kind of beauty that isnt
sensuous, but moves you because
it seems to resonate with emotions
which you would be unable to express
yourself, at least with the vividness and
depth that Callas does. Her voice is no
more beautiful than a Shakespearean
tragedy, and that is what makes her
indispensable to many and repulsive
to others, who want something restful
and soothing.
Then at the end of May she gave some of her
most stupendous performances in La traviata,
conducted by Giulini and directed by
Visconti, a landmark in operatic production.
During the summer she made a recital record
and classic studio recordings of Madama
Butterfly, Aida and Rigoletto, with a radio
broadcast of Bellinis Norma, her favourite
and most performed opera. And the summer
closed with two sensational performances in
28 BBC M USIC M AG A Z I N E
curtain call: Callas and tenor
Giuseppe Di Stefano at their
farewell concert at Londons
Royal Festival Hall in 1973
Berlin of Lucia di Lammermoor, with Karajan
conducting fortunately preserved as perhaps
the absolute pinnacle of Callass art. She
popped across to Chicago for two each of
I puritani and Il trovatore, and three of
Madama Butterfly; and brought the year to
a close with six performances of Norma at
THERE were mutterings
that her voice was
showing signs of wear
La Scala. In 1956 she was even busier. Driven
hardly seems to be the word. Since we have
almost all the productions on record, first on
pirate recordings, then assimilated into the
EMI catalogue, we can judge that her voice
was in magnificent shape throughout this
marathon. Probably no singer has ever sung so
many vastly varying roles in so short a space,
and certainly not with such intensity and
disciplined abandon.
There were already mutterings, even from
some of her dedicated fans, who by this time
were legion, that her voice was showing signs
of wear. But the Chinese proverb He who
vk.com/englishlibrary
rides a tiger can never get off applied with
horrible force: always conscious of being
surrounded by people who wished her ill,
Callas had the choice of showing them that
she was invincible or admitting that she had
reached her peak. She naturally chose the
former, and had two more brilliant years. All
this time she was being supported by
her rich husband, Giovanni Meneghini
dull, much older than she was, but
a fighter for high fees and a buffer
against the world. Unfortunately, after
the sensational loss of weight which
Callas achieved in 1954, by what
means is still hotly debated down
30 kilos to a slim Audrey-Hepburn figure
she decided she wanted to take her place in
international high society, and was shallow
enough, once she made the entre, to enjoy
it, posing with princes and other celebrities
of the time. Worst of all, she met the Greek
shipping magnate Aristotle Onassis, and he
decided, despite being married, to get Callas
at all costs. He even endured two and a half
operatic performances by her, then asked
her why on earth she bothered. She and her
husband went on a Mediterranean cruise on
Onassiss luxury yacht, and by the time it
ended, Meneghini was a cuckold. There were

lengthy divorce proceedings; there is no doubt
that Callas was passionately in love, possibly
for the first time, with Onassis. But in 1963,
after they had been lovers for four years, John
F Kennedy was assassinated, and Onassis was
now free to pursue Jackie, who had become
the worlds most famous woman. She married
him for his money, and Callas was left lonely
and distraught.
With no one person to back her, as there
had always been, and with failing confidence
and appalling nerves, she almost gave up
performing complete operas, and took to
glamorous recitals, of which many survive,
both in audio sound and on DVD. They are
marvellous occasions, and give us a powerful
insight into her genius. For instance, during
the Prelude to Act V of Verdis Don Carlo,
with restrained gestures and amazing use of
her huge eyes, she creates the whole tragic
atmosphere of that great opera, and then
sings Verdis finest aria, Tu che le vanit to
eviscerating effect. And she does the same in
each item in a long programme. By 1963 the
only complete operas she was singing were
Norma, often said to be the most taxing of
all for the singer of the title role, and Tosca,
which she gave to hysterical acclaim in Covent
GETTY
Garden, Paris and New York, her last operatic
MARIA CALLAS COVER FEATURE
MARIA CALLAS REMASTERED
Michael Tanner surveys Warner Classicss new 69-CD set
THIS SUMPTUOUS BOX SET contains all
the studio recordings Callas made between
1949 (three arias for the Italian company
Cetra) and 1969, when her last aria recordings
were painstakingly and painfully assembled
by EMI. All these recordings have been
re-issued countless times by EMI and, when
copyright expired, by anyone who felt like it.
Almost always I have found that the original
LPs sounded better than the re-processed
later versions, on LP and then on CD. With
this box we at last have the definitive takes
on all these records, and can rest assured
they will never sound better. The engineers
have gone back to the original sources where
possible, and using the latest technology
have produced spectacular, natural-sounding
versions, with voices and orchestra in ideal
balance. The sets of operas and recitals are
packaged in an uniquely accessible way, and
texts are on a single CD-ROM (unfortunately).
appearance being on 5 July 1965 in London,
at the age of 41.
Tragic, that overworked word, is the only
way to characterise the 12 years that lay ahead.
Even recording sessions of arias terrified her,
and though she made some discs, they were
not published, mainly, until after her death.
Sometimes they were as impressive as they had
ever been. She sang Aidas great aria Ritorna
vincitor! in a rage and a single take, having just
listened to Rgine Crespins recording of it and
been outraged by its placidity, and it has all
the qualities of her singing in her peak years.
There were many plans for her to return to
the stage, but she always pulled out, dreading
the battle with herself. She made a not very retired to her Paris apartment and became a
successful film of Medea with director Pier
Paolo Pasolini as a spoken drama. Neither he
nor she knew the difference between cinematic
and operatic acting. She tried producing an
opera, but since she was, as she always had
been, almost blind, she was unable to mobilise
large forces. But she did give a successful series
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But a very big but none of the live
performances which were recorded over
the course of Callass career is included
here. That means that we get her least
impressive La traviata, miss her finest Lucia
di Lammermoor, and dont get many operas
that she didnt make studio recordings of,
such as Verdis Macbeth and I Vespri Siciliani,
two great Gluck operas, and so on more
material, in fact, than is available here. So,
while giving this set the warmest possible
welcome, and expressing gratitude for the
dedication with which it has been produced,
I can only, rather sheepishly, urge the Warner
engineers, as they now are, to assemble what
would be, all told, an even more electrifying
and moving set of all the other recordings
Callas made. Many of them are already
available on EMI, and they could be subject
to comparable treatment to the treasures
found on this already highly impressive set.
of master classes in New York, in which she
sang snatches of the arias the students were
presenting. Finally, in 1973 Giuseppe Di
Stefano, her one-time regular stage partner,
and now her lover, persuaded her to undertake
a world tour. They sang operatic arias and
duets, but with piano accompaniment only. Di
Stefano took his usual casual approach, Callas
was beside herself with terror. The results can
be seen and heard in some DVDs, on YouTube
and on private CDs. Often they are painful,
Callas too frightened to give much attention
to interpretation. Even so, there are moments,
but that is all they are.
At the end of the tour, in Sapporo, she
recluse. Onassis had died, and although they
had long separated Callas was devastated. She
got up at about noon on 16 September, and
collapsed, was given some coffee, then died
of a heart attack. Everyone who cares about
opera knows where they were and what they
were doing when they heard the news. n
BBC M USIC M AG A Z I N E 29
THE JAMES NAUGHTIE INTERVIEW FEATURE
The James Naughtie interview
MARTIN FRST
For the acclaimed Swedish clarinettist, becoming a conductor is all
about exploring and utilising the movement of the body. And, he
explains, he expects his orchestral players to move along with him
I
m sitting in an airy flat in
Stockholm, watching an
extraordinary video. It shows a
conductor and orchestra, lit up
as if the Northern Lights themselves
are flashing somewhere above them,
and he appears to be taking up a
series of yoga positions, all over the
place. And the orchestra is divided
down the middle, the players leaning
away from the middle, so the effect is
like the parting of the Red Sea.
The clarinettist Martin Frst is
playing the video for me, and he is
the conductor on the screen. We are
talking about where his career takes
him next, and the sight of what he
did with the Stockholm Philharmonic a few
weeks ago is the best way of trying to explain.
We settle down for a conversation. There
will be time to speak about his recent Brahms
recording for BIS the Quintet, in which he
plays with four old friends, is ravishing and
melancholy but its clear that what excites
him are the possibilities for the future. Hes
established as one of the great soloists of our
time, so the question is: what next?
We start with Dollhouse, the name he
gave to his experiment in Stockholm to turn
the conductor into someone else, performing
music by both old and new composers. The
orchestra was overwhelmed, he explains,
BBC M USIC M AG A Z I N E
30
PHOTOGR A PH Y JOH N M I L L A R
were simple: follow me. They got the
idea of it in about a minute. Because
it makes sense.
The first piece was one that he
developed with his brother, a viola
player, which they called De-tangled
as if it was an attempt to get rid of
some of the encumbrances that
sometimes hold a performance back.
I started with a simple idea: who is
leading whom? In an orchestra, its
the big question.
And so developed the idea of the
moving parts:
Martin Frst explains the
conductor as puppet, sometimes
concept of conductography responding to the music, sometimes
taking on the role as the master of
ceremonies. Frst found that the
not because of what I did, but because of the players in front of him picked up his rhythms,
responsibility I gave them. Its very different and his spirit, quite naturally. The moment
from conducting when you say Never mind when he asked them to divide is extraordinary
what you think, just count and go with me. to watch, and he explains his thinking.
Its not like that at all, and of course the There is a moment in the piece when the
musicians love it. music goes up and then falls back. I have
He had spent time with a choreographer to separate violins on each side. And on an
prepare, and had even learned the rudiments up-bow I get them to lean away, outwards. Its
of tap-dancing, because the performance like a flower opening out. Then when I rise up
begins with the beat tapped out by his and fall down again, its a fantastic view, as if
feet. And then he worked at becoming a the whole orchestra is opening up. They stay
marionette without strings, his arms like this for a few moments. They freeze. The
sometimes up and sometimes down, his body audience is looking at me because I am totally
loose and then extended, his movements like a alone, and then suddenly the orchestra starts
dancers. And the instructions to the orchestra to play again. Wonderful. >
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THE JAMES NAUGHTIE INTERVIEW FEATURE
Watching the video and wondering what
it must have felt like in the hall it seems
an utterly natural process, as if inhibitions
have been stripped away. The players are
passionate, behaving more as if they are in a
chamber group than in the 60-strong band,
and their instinctive musicianship is allowed
to pour out. The performance is unbuttoned,
without ever losing its cohesion. A remarkable
sight and sound.
When we were preparing this, he
continues, I gave them a quote from a novel
that I like very much: Lets make contact at
any cost. I use this quote going into the first
piece because that is what it is about. The
marionette needs to make contact. After ten
minutes they are in a completely different
world. I start with the tap shoes. The tap has
a function like a percussion instrument.
When I tap that is a sign to the orchestra, and
we begin. Then the movement never stops.
Performances like Dollhouse are
increasingly going to be part of his life. He
now has partnerships with six orchestras,
where new ideas will be tried, and his
conversation makes it obvious that as well as
a touring schedule that will continue to take
him round the world with the core clarinet
repertoire, the experiment will develop. He
starts a residency at Wigmore Hall in London
this autumn and audiences there can expect
innovation in his chamber work too, because
he seems anxious not to stand still.
He took the longest break from the touring
circuit this summer that he has allowed
himself for nearly a decade, prompted by a
shoulder inflammation that troubled him for
a few weeks, and you sense that the experience
has made him even keener on finding
new pathways. It is too easy to fall into a
routine and just keep doing what you have
learned to do, he says. Last season I did the
Mozart Concerto 35 times. I was going from
Australia, then to play with the Gewandhaus
32 BBC M USIC M AG A Z I N E
man of ideas:
It is too easy to
fall into a routine
We should always
be aware of what is
happening around us
in Europe, then to New York and I have to
admit that there times when I was worried.
Will I play it tonight at the standards I want?
I was nervous because I was playing it again
and again, and the fear is that it may not be
alive enough. That is terrifying.
He speaks of orchestral players who
may feel condemned to a too familiar and
repetitive repertoire. Even in big, famous
orchestras, sometimes I think they go to sleep
sitting in the eighth row, if you know what
I mean. I can see why. So, he says, everyone
needs shaking up. Wake them up. Shake
them up. This is good for anyone. I do it for
myself, because I know I need to.
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Frst is in his early forties now, with a
young family, and it is easy to see him tackling
the classic fear of early middle age: the danger
of staleness, even boredom. There is no
danger of the great classical repertoire losing
its hold on him he speaks of the Brahms
recording, for example, with the enthusiasm
of a student coming across the works for the
first time but he believes that the freshness
comes from the adventure of new projects.
Paradoxically, they remind you where you
started out. We are sometimes educating
ourselves out of creativity. We should always
be aware of what is happening around us
and going back to our sources. Reminding
ourselves of why we are musicians. Thats
more important in our business than almost
any other business I think.
For him, the reminder comes from new
ideas. I cant necessarily see a goal in this
process I am just enjoying the work. For
2015-16, Im starting a project over three
years that I call Genesis. I have a different
plan each year with six different orchestras,
and its going to be a development for each
of them. Now, they might do better concerts
with a great maestro I know my limits as a
conductor but I think they will develop a
lot. Thats good. And it will be enjoyable.
Where this will lead isnt clear yet, but the
Dollhouse is the clue. Frst enjoys talking to
audiences about pieces theyre going to hear
Some people hate that, but others think
it changes the whole concert. I agree with
them! and he wants to create a charged
atmosphere in every hall. The combination
that you get when you are playing chamber
music is so interesting to me. It doesnt matter
how big the orchestra is, you can always feel
the same experience if you work. What I can
feel is that I am learning quickly. You see how
much you get back from the audience. Playing
the Mozart, so familiar, you feel them sitting
them on the edge of their chairs waiting to see

what will happen and that is what music is
about. You just have to keep working at it.
He remains a soloist, and not a conductor,
but the exploration of the who is leading
whom? question will always fascinate him.
When he conducts, he will always have his
clarinet with him. I have an advantage of
having an instrument in my hand. Its like
having a magic stick. You can always play
and do things make a sound, show them
something. You can talk about how to
speak with an instrument, or how to use the
breathing in the wind section. Like this... He
seems about to start some breathing exercises,
by instinct. I might say to them Why dont
you be brave enough to use your breathing for
this? It helps, if you are that kind of player.
home swede home:
Frst takes a breather on
Stockholms harbourfront
That is why his Dollhouse experiment
moved him so much. The difference is that I
was so excited by the whole thing that I could
say to the orchestra You will love this. Just
wait. See what it is. Give it a try. It changes
your relationship with the players, because
it is about very subtle communication. Why
should we turn music into something else?
Because thats how it should work.
When he first introduced the players of
the Stockholm Philharmonic to the idea, he
had to explain that he had been consulting
a choreographer. I told the orchestra that
everything I did with my body was a sign to
them. The start of it was moving and
twisting in front of them and immediately,
of course, they were reacting. I made small
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signs, and they responded to every one. It
became a swaying organism, because youre
interpreting the music with movement, not
simply by beating time. He tries to coin a
word for it as we speak: conductography?
OK, so maybe not.
The significance of Frsts ideas is in the
challenge it makes to orchestras. I suggest
to him that if he tries to get the venerable
gentlemen of the Vienna Philharmonic to
sway outwards and to turn themselves into
an opening flower, or asks them to watch him
turn himself into a marionette, he might find
it hard going. He acknowledges this with a
laugh and a wave of his hand. Frst will still
play with them, of course, in a familiar stage
setting, but along with others he may try to
take an intrepid path.
He has the advantage that his musicianship
is recognised around the world. His Mozart
and Brahms discs are revelations of works that
are so familiar, and he is championing the
work of many contemporary composers (like
the young Swede Anders Hillborg, who wrote
a concerto for him). With his Wigmore Hall
Now I can step
forward and do more
adventurous things
relationship, UK audiences are going to have
the chance to join his exploration.
And audiences can expect to hear him
speak. Why not? For him, its a natural part of
his performing life. I have tried all my life to
do this to play the clarinet and make music,
and to try to do it as best as I can. Ive put my
whole life into this. And at the same time I
wanted to do the research, to find out where
are we going. Now its maybe more important,
because now I can step forward and play more
modern solo pieces, do more adventurous
things like showing how the human body
and the orchestra can move together, make
music as one.
Were back to the marionette, and we
never did spend much time with Brahms.
But it hardly seems to matter. Frsts
accomplishments are evident to anyone who
has seem him on the concert platform, or in
the 22 recordings with BIS in which he has
covered the classical repertoire and started to
move beyond it. The next phase may be just
as exciting in a different way. As a matter of
discipline he wants to shake himself up, and
that goes for orchestras and audiences too. n
Martin Frsts new recording of the Brahms
Clarinet Quintet and Trio is reviewed on p75
BBC M USIC M AG A Z I N E 33
T he Victorian and early 20th-century periods were boom times for the piano.
Without records, radio or television, music was the staple of British middle-
class evening entertainment. And there was never any lack of material to play,
as countless composers cashed in with works that most budding amateurs could play. From
Sydney Smith to the exotic-sounding Theodore Bonheur, sitting-room music cabinets were
crammed full of new music some of it good, most of it execrable. And, as the piano was
inevitably sidelined, so those scores gradually made their way out of our homes and into
church bazaars, summer fetes, charity shops and, eventually, obscurity.
Should this really be allowed to happen? Of course it shouldnt. So we set ourselves
the task of hunting through said bazaars, fetes and charity shops to see if, among the
forgettable ballads and second-rate waltzes, we might find a masterpiece or two, ripe
for rediscovery. Many a happy hour was spent digging deeply down into old crates and
leafing through musty shelves as each of the BBC Music Magazine editorial team tried to
find his or her long-lost gems.
Then, one fine day in July, we gathered around the Steinway concert grand at St Georges,
Bristol, each of us with our two chosen works. But were they any good? That would be for
pianist David Owen Norris to say, as he played through them and gave his judgment

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 NEGLECTED PIANO SCORES FEATURE

Hidden
TREASURES
Britains antiques and charity shops
are choc-a-bloc with pieces of piano
music that were once loved but now lie
forgotten. Could it be that somewhere
there lurks a masterpiece waiting to be
discovered? The BBC Music Magazine
team set itself that very task
O T O GR A PH Y
PH

Mr
the search is on: RO BI N DAV I D S C OT T
BBC Musics editor
Oliver Condy at one of
Bristols Oxfam shops

THE CONTENDERS
Oliver Condy Editor
Work: Edgar Barratt Deirdre
(A Celtic Farewell) (1928)
Bought at: Oxfam, Cotham, Bristol
Price: 1.50
Languishing at the bottom of a cardboard box
in a charity shop, this pieces old-fashioned,
sentimental title promised at least something
deeply personal. You should, of course, never
judge a score by its cover, but a play-through at
home suggested Id bought myself something
quite appealing. Deirdres dramatic, gloomy
opening presumably paints a picture of
the misty highlands before the clouds melt
away to reveal a poignant, harmonically rich
passage with plenty of scrunchy suspensions.
Scottish pianist and composer Edgar Barratt
(accompanist, too, to the once-celebrated
soprano Emma Albani and composer of the
also once-celebrated Coronach) clearly knows
how to tug at the heart strings and, it seems to
me, does so with skill and a keen melodic ear.
David Owen Norriss verdict:
I think that Edgar Barratt must have been
quite a good concert pianist this is beautifully
written for the piano and the sounds he creates
are just marvellous. As it says on the back of
the music, this is for pianists who love to hear
their instruments sing. Its very interesting
harmonically, very grateful to play, and very
grateful to listen to.
Work: Boris Levenson Lyric Poem from
Two Tone Poems, Op. 55 (1921)
Bought at: St Nicholas Market, Bristol
Price: 1.25
Boris Levenson was born in 1884 in what
is now Ukraine and went on to study with
Rimsky-Korsakov. Yet, somehow, his music
seems to have become popular in Britain, his
piano works published by the then respected
company Keith Prowse, and a concert of his
works staged in London in 1920. Levensons
Two Tone Poems, discovered at the bottom
of a large crate of mouldy music, unplayed
and unloved for decades, have hints of the
composers Slavic roots. The Lyric Poem opens
with a sombre introduction followed by a >

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faster moving section that
features an underlying
barcarolle-like figuration.
It then builds in volume
and texture, culminating
in a fairly basic,
unsophisticated cadenza
and a recapitulation of the
opening theme in simpler
form. Its an arresting
piece well within the reach
of most amateur players.
David Owen
Norriss verdict:
These are ambitious pieces with not much to be
ambitious about. Levenson seems to have one
idea, but he doesnt know what to do with it. His
middle sections dont do anything interesting,
and his great outburst and cadenza are equally
unimaginative. Sorry, but I dont think I d
ever play that. And certainly if I heard anybody
playing it, I d switch off.

Jeremy Pound Deputy editor

Work: Frederic Mullen First Scandinavian
Suite (1896)
Bought at: British Red Cross
Bookshop, Cheltenham
Price: 75p
Frederic Mullen? Who he? was my reaction
on picking out this six-movement suite,
written in 1896. A Google search later, and
I find that this is one of various pseudonyms
of Charles Rawlings, the British composer
of exotic-sounding works such as Slavonia
and Egyptiana. I head straight for the First
Scandinavian Suites third movement which,
a note at the foot of the page tells me, is also
issued separately under the title of Moderato
Cantabile Price 3/-. Its the most playable
of the six, though none are tricky, and Im
taken with its lyrical triplets in the right hand.
Charles Rawlings was probably as English as
a cucumber sandwich, but his Scandinavian
Suite sounds passably Nordic to me.
David Owen Norriss verdict:
The composer here has definitely been listening
to Grieg, as you can tell by the parallel fifths,
but the music is rather more French in its
harmony. Its nice, though I think I can see
why Frederic Mullen didnt catch on. He starts
well, but its not original enough, and he also
cant decide whether he wants to write a French
Scandinavian Suite or just a Scandinavian one.
In music, integrity of style is so important.
Work: Rezso Sugr Hungarian
Childrens Songs (1973)
Bought at: Oxfam Bookshop, Cheltenham
Price: 2.49
I have to thank my wife, Kim, for finding this
little gem and pointing me in its direction.
As I already know, and love, a couple of
Hungarian childrens songs as arranged by
Kodly, I immediately suspected Id enjoy
this too. Rezso Sugr , I have since found out,
was a pupil of Kodly, and you can hear the
latters influence as soon as you sit down
and play these works. And, yes, I can play
them, as they are fairly manageable even for
a galumphing pianist such as myself. There
are 25 in all, ranging from slow and sombre
to fast and percussive several really do
sound quintessentially Hungarian. Within
them, there are some wonderful harmonic
twists and turns and some superbly jaunty
rhythms, all accompanied by rather fine
colour illustrations.
David Owen Norriss verdict:
What a find! These are, I think, childrens
songs played on the piano rather than pieces
specifically for children. I think adult learners
would also find them very useful. The composer
takes real care to teach all sorts of important
things even technicalities such as subtleties of
fingering and of rhythm and syncopation but
the quality of the music is also excellent. Its folky
Hungarian folky so its rhythmically alert
and harmonically unexpected to our English ears,
which many people would find fascinating.
Rebecca Franks Reviews editor
Work: Leonard Butler Monastique:
Tintern Abbey (1921)
Bought at: Oxfam Bookshop, Bristol
Price: 1.20
The title is what first attracted me to
this three-page piece: not so much the
Monastique part but the Tintern Abbey.
I first visited the Abbey a few years ago,
and its atmospheric ruins and the beautiful
surrounding countryside instantly appealed.
My high hopes for this little portrait happily
werent dashed when I played it. It has a
charming theme, some juicy harmonies, and
its neatly constructed in a satisfying arch,
starting mp religioso, building up to a ff
deciso, pesante, grandioso passage, before
subsiding. History doesnt relate whether
Leonard Butler (1869-1943) visited Tintern

36 BBC M USIC M AG A Z I N E
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the jury is out:
the BBC Music team
await David Owen
Norriss verdict
in fact theres very little information about the
Dorking-born composers life to go on but
as a piano teacher at the Guildhall School
of Music and an organist at two London
churches, he clearly knew how to write a
playable, rewarding piano miniature.
David Owen Norriss verdict:
This is a very good piece, well laid out for the
piano. The hands go into different registers so
the textures vary. Its a good shape and it builds
to a terrific climax Elgar himself would have
been pleased with it. And it uses quite modern,
chromatic, post-Wagnerian harmony. Its an
educational piece and its something one could
be proud to have mastered. This piece does more
than it promises.
Work: Henry Geehl Rve dune
Columbine: Morceau gracieuse (undated)
Bought at: Beware of the
Leopard bookshop, Bristol
Price: 1.00
This graceful piece has a whimsical air
about it that makes it rather fun to play. It
falls neatly under the fingers, and there are
plenty of chances for some playful rubato.
Henry Geehl was a name that sounded half-
familiar: further research revealed that he
wrote the song For You Alone, popularised
by Enrico Caruso (the only English-language
item recorded by the Italian tenor), and that
as well as being a composer, he was a pianist,
conductor, arranger, editor, brass band
specialist and even tried his hand at film
scores. This wasnt the only Columbine piece
he wrote. In 1922, Geehl composed Rponse
Its pretty good,
but I cant imagine
playing it for fun
de Pierrette, and in 1917 he wrote a suite about
Harlequin and Columbine. But while his
interest in the Commedia dellarte might
have been in step with the likes of Stravinsky
and Schoenberg, Rve dune Columbine
firmly turns its back on neo-classicism
and expressionism to embrace a far more
nostalgic idiom.
David Owen Norriss verdict:
Its always interesting to think what a piece is
for. I think this is probably not for concerts but
for people who play the piano quite well to enjoy
themselves. And they would enjoy this a lot. Its
not hugely difficult but it has a lot of interesting
things: different keys, interesting rhythms,
surprising chords, tunes in the left hand. Its
roguish and coquettish you can imagine the
Columbine winking. I can imagine that Mr
Geehl had a lot of takers when he published it.
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NEGLECTED PIANO SCORES FEATURE
nice cover, but:
David has some
fun with our rather
poorer selections
Rosie Pentreath Staff writer
Work: Allan Thewlis Under the Stars
(1927)
Bought at: Oxfam Music & Books, Bristol
Price: 99p
The fact that a Google search could reveal
nothing whatsoever about the composer
Allan Thewlis, or his piece Under The Stars,
indicated that I was on to something quite
obscure when I uncovered this. All I could
discern immediately from the score was that it
was published in Todmorden by King Stuart
& Co in 1927, but at 99p it was worth a punt.
Playing through it revealed a lilting Victorian
waltz, too repetitive to offer any real surprises,
but charming all the same. I found it wasnt
spectacular in terms of harmony either: I can
imagine this piece was played in the confines
of the living room rather than the concert hall.
David Owen Norriss verdict:
Im intrigued that this was published in
Todmorden and Im wondering if its an early
form of vanity publishing perhaps what Mr
Thewlis really wanted to do was to impress his
girlfriend. Its pretty good, but I cant imagine
playing it for fun. It needs a few different
textures and the composers fatal miscalculation
is to signal when he is about to turn right thats
good in driving, but not always good in music!
Work: Roy Agnew Toccata (1933)
Bought at: Oxfam Music & Books, Bristol
Price: 1.50
When I came across this Toccata, the first
thing that struck me was how difficult it
looked. I had a stab at the right hand, which
was packed with semi-quaver runs and
unexpected melodic twists, and the left hand
separately, but couldnt wait to hear it played
properly by David. Researching Roy Agnew, >
BBC M USIC M AG A Z I N E 37
NEGLECTED PIANO SCORES FEATURE
I discovered that he was born in
Sydney in 1891 and worked in both
Britain and Australia. It turns out
that he was one of few Australian
composers of the early 20th
century to be fairly well-known in
his day. He wrote some orchestral
works, numerous piano pieces and
several songs. The 1933 Toccata is
dedicated to his wife Kathleen, the
daughter of Australian politician
Edward OConnor.
David Owen Norriss verdict:
This piece lulls you into a false sense
of security. Its relatively simple at the
beginning, but then becomes quite
hard with some unexpected harmonies
hes fond of combining whole-tone scales with
successive seventh chords, and hes very good
at writing three beats in the left hand while
keeping four beats going in the right! It has been
published by Chester in a recognised piano series,
and is well worth learning.
Neil McKim Production editor
Work: Wilfrid Sanderson Brise dt (1908)
Bought at: Dorothy House
Hospice Shop, Bath
Price: 50p
I found this work in tatty pieces and was
immediately drawn to it by its summery title
and the obscurity of its composer, Wilfrid
Sanderson (1878-1935). But Sanderson
did have his moments in the sun he was
appointed assistant organist at Westminster
Abbey in 1895 and sang in the Abbey
choir for the coronation of King Edward
VII in 1902. His song Drake goes West
(1910) was featured in the BBCs early radio
broadcasts. The opening section of Brise d t
(Summer Breeze) is intriguing, as the tune is
played in the left hand with a fast sextuplet
accompaniment in the right. Although this
1908 piece was missing its cover and final
page, a little Sellotape worked wonders
David Owen Norriss verdict:
Its quite a successful cynical rip-off isnt it? Its a
very skilful re-write of Sindings Rustle of Spring
and Sanderson has borrowed the ear-catching
arpeggiation. But he has also listened to Ccile
Chaminades Feuilles dautomne. Hes taken two
big hits of the day but failed to score a hit himself.
Its a good piece but why dont we know it?
Presumably because it was published by Gould
and not by Peters. We should find the last page!
Work: Percy Fletcher Sylvan Scenes (1921)
Bought at: Oxfam Bookshop, Bristol
Price: 99p
I came across this woodland work rooting
around a charity shop while on my lunch
hour. Split into four parts, Sylvan Scenes has
38 BBC M USIC M AG A Z I N E
testing notes: for organ was a notable success of
Norris plays reviews ed
his. A bit of research reveals that
Rebecca Frankss choice
Sylvan Scenes was initially written
as a light orchestral suite, before
being arranged by Fletcher himself
for piano.
David Owen Norriss verdict:
This feels quite orchestral. It reminds
me of those endless suites by Eric
Coates which are all for orchestra
but have piano versions too. Its the
sort of thing that was composed for
the lighter evenings at promenade
concerts and for municipal orchestras
at the seaside. Of its type its rather
good. Its a little bit routine but in
1921 that was, frankly, the latest
intriguing names that suggest all manner disco beat! Its the sort of thing that would sell on
of leafy antics. And I particularly liked the CD if it was recorded for orchestra. Q
sound of Cupids Carnival. The note-heavy
music is laden with directions, demanding Have you got any neglected scores, for piano
lingering and hurrying Percy Fletcher or otherwise, that you believe should be heard
(1879-1932) clearly had a very busy woodland once more? Tell us about them and well share
in mind. The composer was an organist who your discoveries in future issues. Email us at
also made his living as music director in the music@classical-music.com or write to us at
London theatre world. The Festival Toccata the address found on the Letters page (p6).
AND DAVID OWEN NORRISS WINNER IS
Rezso Sugr (1919-88)
By some way the most recent
of the composers to emerge in
top scores: dep ed Jeremy Pound with his winning Sugr our hunt, Rezso Sugr was born
in Budapest and went on to
AN HONOURABLE MENTION should go to
forge his career there. In 1937,
Edgar Barratts Deirdre its very nicely written for he attended the Hungarian
piano and is the sort of piece that feels good to play. capitals Franz Liszt Academy of
My runner-up is Roy Agnews Toccata, which is a Music, where he studied under
very interesting piece and one Im going to learn. But Kodly, the composer, folk-
it is really hard, too difficult to sight-read properly, collector and music education
and so I wonder how many of BBC Musics readers pioneer. Sugr himself went
would enjoy playing it. Anyone who plays the piano a on to teach composition, first
bit, however, would enjoy my winner: Rezso Sugrs at the Bla Bartk Secondary
Hungarian Childrens Songs. Sugr has clearly got School of Music and then the
Liszt Academy itself. Little of
a very fine ear as an arranger, and I would rather play
his music has been recorded,
these pieces than most of Bartks Microcosmos they though his oratorio Savonarola
are much more attractive, and have a real quality and and heroic song Hunyadi are
standard of care. We should start a campaign to get both worth investigating.
people to go out, find them and play them!
n Head to our website at www.classical-music.com to hear David Owen Norris perform
extracts from many of our piano discoveries on the Steinway at St Georges Bristol
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DISCUSSION
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JOHN OGDON FEATURE

moments of greatness:
(clockwise from top left) John Ogdon
appears in publicity for TV biopic
Virtuoso (1989), with his wife Brenda
Lucas Ogdon and actors Alfred Molina
and Alison Steadman; his solo debut
at the Royal Festival Hall in 1962;
working in Abbey Road Studios with
Brenda in 1972; with friends in 1971,
including pianist Radu Lupu

My life with a genius

When the British pianist John Ogdon died 25 years ago, the world lost one
of its most astonishingly gifted, if darkly troubled, musicians. His wife,
Brenda Lucas Ogdon, shares some memorable moments from their life together

O
ne day in the mid-1950s, when
I was practising in a room at
the Royal Manchester College
of Music (RMCM), I was
disturbed by a knock on the door. A second
later, John Ogdon walked into the room.
I asked him what he wanted, and he said
Nothing particularly. Just to have a talk.
And so we did. But then, after several minutes
he sat down at the piano and got out the
orchestral score of a Mahler Symphony. At
which point, he proceeded to astonish me by
playing through the first movement by sight-
transposing nine or ten staves down to two, on
one piano. It was an awe-inspiring experience.
I was watching genius at work.
John and I became friends at the RMCM,
and his graduation performance there in 1957
Brahmss First Piano Concerto, conducted
by Sir John Barbirolli, no less remains one
of the highlights of my life. The sheer level of
Johns virtuosity and tremendous musicality
was quite overpowering, a breathtaking
experience for the entire audience. As was
the important recital he gave at Londons
Wigmore Hall two years later, in September
1959. The programme Bach, Beethoven,
Brahms, Balakirev, Busoni and Liszt
was very ambitious, but the reviews were
outstanding and unanimous in their praise.
I was there and was incredibly proud.
By July 1960, we were married. With
hindsight, it is astonishing how we found the

40 BBC M USIC M AG A Z I N E
vk.com/englishlibrary

time. Both professional pianists, we were busy
giving concerts all over north-west England
and, in Johns case, far beyond. In April, he
gave his second Wigmore Hall recital again,
I went to London to hear him and witness
once more his tremendous success while
early in July, he had been invited to appear
at the Spoleto Festival in Italy before giving
a long and difficult programme at the
Cheltenham Festival later in the same month.
I, meanwhile, gave a solo recital for the Park
Lane Group on 17 July. This, to put things in
context, was six days before our marriage itself!
Tying the knot we may have been, but our lives
were controlled by Mrs Emmie Tillett, owner
of the legendary Ibbs and Tillett Agency.
GETTY, CLIVE BARDA/ARENA PAL, REX FEATURES
If ever a musical clash of Titans was
destined to happen, this was it. John was strong
and determined in those early days it was a
bit like living with a human dynamo and at
some point, the irresistible force that was John
Ogdon was bound to crash into the immovable
object that was the redoubtable Emmie Tillett.
And so it proved in 1961, when the subject
of the following years Moscow International
Tchaikovsky Piano Competition was raised.
John was determined to enter that competition,
but concerts during May 1962 had already
been contracted taking part in Moscow
meant that those concerts would have to be
cancelled. John suggested to Mrs Tillett that
they could be re-scheduled but she, of course,
was having none of it.
John was determined
it was like living with
a human dynamo
The outcome? In May 1962, John departed
for Moscow, for what would prove to be a truly
historic moment in his career. Even midway
through the competition, however, his packed
concert schedule showed no let-up after he
had made it through the second round, he
returned to London to play the Tchaikovsky
Concerto with the London Philharmonic
Orchestra at the Royal Festival Hall, to where
I travelled down from Manchester to be with
vk.com/englishlibrary
dropping off:
a piano delivery at Ogdons
house in Regents Park in 1972
him. He had, of course, by now used up his
return ticket to Moscow and so had to find
another fare to return to the Soviet capital.
It was a journey worth paying for. Over the
half-century since it happened, many words
have described Johns amazing joint first prize
with Vladimir Ashkenazy. Perhaps, though,
some of the most memorable came from the
Soviet president Nikita Khrushchev, who
said to John when he presented the Prize, Ah,
John, I would like to pull your beard but I
am afraid that I might create an international
incident. Or, more personally, there are those
from John himself when he telephoned me
from Moscow: I did it for you darling.
Johns career took off and Mrs Tillett was
able to arrange engagements for John in many
countries, not least his first major tour in the
US where his Carnegie Hall recital met with
glowing reviews. He is a towering, deep,
original and compelling musical personality,
wrote Alan Rich in the Herald Tribune, and
his horizons should be without limit.
When it came to travelling abroad, the
horizons were already proving limitless we
went absolutely everywhere. One particularly
memorable trip was 1964s superbly organised
tour of Australia, in which we were given
several two-piano recitals to play together and,
in addition to Johns solo concerts, I was given
four solo concerto engagements myself. We
went on from there to New Zealand.
Not everything went with such well-oiled
precision, though. Take, for instance, the
occasion in 1966 when John and I went on
tour with conductor John Pritchard and the
LPO to Austria and Germany. This tour was
very tightly scheduled and soon everyone was
worn out. John was playing the Tchaikovsky >
BBC M USIC M AG A Z I N E 41
JOHN OGDON FEATURE
JOHN OGDON (1937-89)
competition triumph:
(from right) Ogdon in
Moscow, with Khrushchev
and Ashkenazy in 1962
A life in brief
1937 John Ogdon is born on 27 January in
Mansfield, Nottingham
1953 After Manchester Grammar School,
he attends the Royal Manchester College
of Music (RMCM)
1959 He makes his Wigmore Hall debut,
followed soon after by his first appearance
at the BBC Proms
1962 He wins joint first prize, with Vladimir
Ashkenazy, at the International Tchaikovsky
Competition in Moscow (above)
1971 In preparation for the composers
centenary, he makes acclaimed recordings
of Scriabins Piano Sonatas
1976 On top of his full concert schedule, he
takes up a teaching post at the University
of Bloomington in the US
1984 The year after suffering a nervous
breakdown, he makes his return to the
stage and plays at the opening concert at
the new Royal Concert Hall in Nottingham
1988 He records Sorabjis four-hour Opus
Clavicembalisticum, one of a small number
of works he considers really worth playing
1989 He dies of pneumonia, aged 52
Concerto and the conductor decided that,
when we reached Freiburg, a rehearsal was
unnecessary. That proved a big mistake when
in the evening, after the overture, the piano
was rolled on stage. John walked on to the
platform, smiled and bowed to the audience
and turned to lift the lid off the keyboard.
The piano lid did not move. John tried
again. Still no movement. He made an
energetic third attempt but realised, as did
the audience, that the piano was locked. The
audience started to titter but John was not
amused. Cue pandemonium back stage until
finally, somewhere deep in the basement, a
dozing old man was discovered, with a bunch
GETTY, REX FEATURES
of keys attached to his belt. He was hurried out
on stage to a roar of applause and unlocked the
offending lid. John strode back to an ovation,
but he just sat down, still scowling. Those first
42 BBC M USIC M AG A Z I N E
heavy chords of the Tchaikovsky Concerto
almost shattered the instrument with their
force, and he followed them with some of
his most dazzling playing. Afterwards the
audience went wild, stamping and yelling.
Unsurprisingly, John was also invited back
to play in the Soviet Union several times. In
1971, we went to Moscow to start what would
be an extensive tour and our interpreter, Nina,
told us that the first concert would be in Lvov,
near the Polish border. And then we saw the
aircraft: an old propeller plane of a make
Afterwards, the
audience went wild,
stamping and yelling
unknown to us or, indeed, anybody from the
West. Incredulity turned into amazement
when we saw our travelling companions
mainly peasants dressed in black, bringing
into the cabin everything that they possessed.
Babies, live chickens with their legs tied,
cheeses, fruits, sausages and cases were piled
along the aisle as though this was some kind
of travelling warehouse.
After three hours we landed in Lvov. A
representative of Gosconcert met us at the
airport, greeting us distractedly and launching
into a stream of loud Russian aimed at Nina.
This heated exchange went on a bit before
Nina turned round to us and said We have
no concert here in Lvov. With wires crossed
between Moscow and Lvov, there had been
confusion over the recital date. Remarkably,
John was quite ambivalent about it.
vk.com/englishlibrary
fond memories:
Odgon at home with his wife
Brenda in 1989, his final year
As well as the occasional mishaps, there were
also laughs along the way. In 1969, John had
an engagement with the Israel Philharmonic
and conductor Sir Georg Solti. On the morning
they were due to play, an official-looking note
was shoved under the door of Johns hotel room:
By order of the Chief Rabbi, all beards are to
be shaved off on this Most Holy of Days. An
alarmed John was going to ring the reception
desk for confirmation when he suddenly
remembered the date: 1 April
John knew who the culprit was and he
thought that he would have a bit of fun. The
concerto that night was the Liszt E flat. When,
in the concert, the cadenza arrived, John left
Liszt behind and went instead into the cadenza
from Tchaikovskys First Concerto, causing the
Maestro to swing round, pale with alarm. He
need not have worried, for when the time came,
John segued effortlessly back into the Liszt.
Afterwards, Solti was not only very good about
it, but dined out on it several times.
And one of the nicest things to happen to
John? That came in the form of an invitation
by the Soviet government to join in celebrations
for the launch of Glasnost and Perestroika in
1988. This was a wonderful party given by
President Gorbachev, who entertained many
famous artists, movie stars, musicians, writers
et al in Moscow. John and I went as guests of
the Soviets and enjoyed the most marvellous
week. We met some very interesting people
there, including Johns hero Gregory Peck,
Captain Ahab from Moby Dick.
The following year, 1989, John sadly
died from an un-diagnosed diabetic coma,
pneumonia and septicaemia. The world had
lost a great musician. n
John Ogdon: The Complete RCA Album
Collection is out now (Sony 88843039072)
For information on Steinway & Sons pianos or to arrange a private appointment to visit our London showrooms,
please call 0207 487 3391 or email info@steinway.co.uk

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FEATHERED FRIENDS
Composers from Beethoven to Bartk have been inspired by birdsong and
captured its warbles in some of their greatest masterpieces. Elizabeth Davis
packs her binoculars for a stroll through the aviary of Western music
IL LUS T R AT ION PAU L W E A R I NG/C E N T R A L I L LUST R AT ION
O
n 4 June 1787, a solemn funeral
procession took place in the
Mozart household. Veiled
mourners sang hymns and
Wolfgang Amadeus Mozart himself recited
a poem hed written for the occasion. The
service was for the composers pet starling.
Mozart had bought the bird three years
earlier and had marked the purchase in his
expense book by scribbling down the melody
the starling was singing in the shop. That
melody went on to become the opening
tune of the last movement of Mozarts Piano
Concerto in G major K453.
Taking inspiration from the bird world
wasnt new: Vivaldis Spring from The
Four Seasons is alive with birdsong and there
are even medieval roundels which feature
imitation cuckoo calls. Over the centuries,
the likes of Beethoven, Saint-Sans, Mahler
and Messiaen have delighted their audiences
by drawing on the rich soundworld of birds.
Today, sadly, youre more likely to hear
Deliuss cuckoo and Vaughan Williamss lark
than to catch the sound of the real thing.
Birdsong was, for centuries, a common
cultural touchstone and unlike those two
other frames of reference, the Bible and
classical mythology it didnt require a huge
amount of learning. Composers of the past
could use birdsong as shorthand for a wealth
of shared stories, myths and experiences: to
include a birds song in your music was to
summon a host of images to the listeners
mind. An owl could stand for death, for
example, while the lapwing (and its iconic
pee-wit call) was a symbol of treachery and
the nightingales song was heard as a lament.
But composers have also used birdsong for
melodic inspiration: the goldfinchs trills can
be mimicked by a piccolo, the bass-boom of
the bittern finds a natural echo in the rich
sounds of the double bass and the woody call
of the collared dove begs to be captured by the
rich tones of a clarinet.
So its hardly surprising that the great
composers were fluent in the language of their
Birdsong was, for
centuries, a common
cultural touchstone
local birds a widely shared knowledge that
is, alas, much rarer today.
One of the most iconic birdsong-inspired
motifs doesnt sound like birdsong at all.
In Sibeliuss Fifth Symphony, the final
movement opens with fast semi-quavers on
the violins before a majestic horn melody
glides onto the scene. It was this theme that
Sibelius called his swan hymn and the birds, but in the world of music it is common-
melody is an echo of the brash two-note call
of the whooper swans he heard flying over
his home, a sound evocative of the Finnish
landscape. Today at ten to eleven I saw 16
swans, he wrote in his diary. One of my
greatest experiences! God, how beautiful!
They circled above me for a long time.
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BIRDSONG IN MUSIC FEATURE
For Dvok, too, birdsong helped conjure a
sense of place. In 1892, he was working at the
National Conservatory of Music in New York
and had been tasked with helping American
composers find a nationalistic style. As well
as references to blues and spirituals, Dvok
turned to the rich sounds of North American
songbirds for his American String Quartet.
When he was out walking in Iowa he heard
the distinctive high and fast chirrup of the
scarlet tanager, a bright red bird (the female
is yellow) native to the eastern half of North
America. Here was ready-made American
music, and sure enough the birds song made
its way into the third movement of what has
become one of the composers best-loved
chamber works.
There are plenty more examples: Bartks
Third Piano Concerto is inflected with
birdsong, including the four-note staccato
call of the eastern towhee, and the song of
Rimsky-Korsakovs pet bullfinch (a mellow,
mournful three-note call) appears in his opera
The Snow Maiden.
Sadly, though, some of the birds that have
inspired more music than most are now
disappearing. The cuckoo, for instance, is
now on the red list of globally threatened
or-garden. Delius celebrates its call in On
Hearing the First Cuckoo in Spring, Beethoven
features the birds iconic song in the second
movement of his Pastoral Symphony
(alongside the nightingale and quail), Mahler
uses the sound in his First Symphony and
Humperdincks Hansel and Gretel hear >
BBC M USIC M AG A Z I N E 45
BIRDSONG IN MUSIC FEATURE
CALLS OF THE WILD
A quick guide to birdsong spotting
Blackbird
An easy one to start with: this may be one
of the commonest birds in the UK but it has
one of the most beautiful songs and was a
favourite of Messiaens. Blackbirds are the
town criers of the bird world and are often
heard singing at dusk usually from a high
perch warning their avian neighbours
that night is approaching. They
are found in woodland, gardens,
parks and hedgerows.
Skylark
The skylarks (right)
most famous musical
appearance is in Vaughan
Williamss The Lark Ascending, but
that piece is as much inspired by the
birds aerial display as its call. The bird
does have a captivating song, though,
which the RSPBs Handbook of British
Birds describes as a long pleasant liquid
warbling. Another bird to have suffered
a decline recently, the skylark likes open
countryside including lowland farmland
and can be found across the UK.
Nightingale
Youre unlikely to see a nightingale as they
are small brown birds that like to hide
in bushes. So, instead, listen out for its
distinctive song, heard between April and
June and most obvious at night (though
also during the day). For the best chance of
hearing this famous songster, try woodland
reserves in the south and southeast of
England. The Minsmere reserve in Suffolk,
for example, attracts them every year.
Cuckoo
Sadly, the UK population of cuckoos (below)
has declined by 60 per cent in recent years,
so this famous bird is trickier to hear in
the wild than its ubiquity in music might
suggest. To be in with the best chance,
youll need to head to nature reserves in
the south and east of England, such as Kent,
Norfolk and Dartmoor, during the summer
(it spends the winter in Africa).
Curlew
The curlews haunting call (from which it
THINKSTOCK, GETTY
gets its onomatopoeic name)
helps create the atmospheric
sound of the UKs estuaries
and marshes. If youre in the right
place at the right time (June-Sept),
curlews are easy to spot: they like
the coasts of Norfolk and Suffolk
(their call appears in pieces by
Britten, a Suffolk native), estuaries in
Cornwall and wetlands in Derbyshire.
Find a large, undisturbed body of water
and this elegant wader will come to you.
See www.RSPB.org.uk for more info
46 BBC M USIC M AG A Z I N E
the call as they wander
through the woods. The
rich, melodious song of
the nightingale (a bird
which has also suffered
a decline) is another
regular visitor to classical
music: it can be spotted in
Ravels opera Lenfant et
les sortilges, Stravinskys
Le rossignol and, using
a recording of the real
thing, in Respighis The
Pines of Rome.
The nightingale also
stars in a work of a very
different kind by probably the greatest
composer-birdwatcher who ever lived. On a
freezing January evening in 1941 the inmates
of prisoner of war camp Stalag VIII A in
Silesia gathered to hear a piece by a fellow
prisoner. The first notes were an imitation
of the song of the blackbird, played by the
clarinet. Then a nightingale appeared, its
song mimicked by the violin. The piece was
the Quatuor pour la fin du temps and the
composer was Oliver Messiaen (1908-92)
If I practise
Messiaen, I get birds
congregating outside
who would go on to transcribe painstakingly
the songs of 77 different birds in his series of
13 piano pieces, the Catalogue doiseaux. The
Quatuor, however, conceived in the horror
of the prisoner of war camp, was the first
piece in which the composer named specific
birdsongs he used.
Pianist Peter Hill worked with Messiaen in
the 1980s and remembers a man passionate
about ornithology: We worked on some
pieces from the Catalogue doiseaux and he
was very eager for me to understand the
ornithology of the music, says Hill. He
would go and fetch little dictionaries of
birds and do imitations of them, and I found
myself talking to a man who was completely
crazy about birds and birdsong.
Hill himself has recorded much of the
composers piano works and has had first-
hand experience of the accuracy of Messiaens
transcriptions. If Im practising Messiaens
bird pieces, I get birds congregating outside,
and indeed when I recorded the Catalogue
in a church in Hampstead, we had to keep
stopping because of the accompaniment
of birdsong.
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Many of the birds that
Messiaen so carefully
observed have been
driven to the fringes of
our lives: few listeners
now will be able to judge
whether the composers
transcriptions are accurate
for themselves. But
Peter Hill doesnt
think that matters:
Messiaen gave each bird
tweet music: a specialised role in his
French composer music and he heard them
Olivier Messiaen
through his own musical
sensibilities. Although
he believed and always said that he was being
completely faithful to the birdsong, one has to
understand that the birdsong is translated into
Messiaens language.
No composer since has incorporated birds
into their music so completely, but Messiaen
did open the music worlds eyes to how rich a
source of inspiration birdsong could be. One
composer who has made use of it frequently
in his work is the felicitously named Jonathan
Dove. His choral work Who Killed Cock Robin?
is a musical showcase of melodies inspired by
different birdsongs, from the twitter of the
sparrow to the mournful call of the owl.
Many of the occasions when Ive used
birdsong have been for dramatic purposes in
my opera The Adventures of Pinocchio, theres
a parrot, a pigeon and a woodpecker and they
all play a part in the story. But I also enjoy
all of the opportunities for music that birds
give: the patterns, the jazzy rhythms, the
repetition. I hear a dancing aspect in birdsong
which is quite different from the extraordinary
outpourings that Messiaen identified.
Messiaens transcriptions are filtered
through his unique personality because,
when a composer uses birdsong, he isnt only
observing the bird but, in the way he musically
describes its song, he is revealing something of
himself. Dove is only too aware that theres
a generation of music-lovers who are taking
Saint-Sanss word for it when the Frenchman
mimics the call of the cuckoo in his Carnival of
the Animals. I think Ive heard a cuckoo once
in real life, Dove admits, but of course Ive
heard Saint-Sanss cuckoo and Beethovens
cuckoo a lot. In those birdsong moments, the
idea is that youre stepping out of the concert
hall its like the roof suddenly opens and the
natural world has come in. If the audience
has never heard a cuckoo and has just learnt
to recognise the sound from other pieces of
music, that effect will be lost. n
Peter Hills recording of Messiaens La Fauvette
Passerinette (The Subalpine Warbler), a work he
rediscovered last year, is out on Delphian in Oct.

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The performers here cherish every note of
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vk.com/englishlibrary
 MUSICAL DESTINATIONS
MUSIC IN THE
FAST LANE
Monaco
Set in one of the worlds most glamorous locations, the
Printemps des Arts de Monte-Carlo offers a mix of traditional
and unexpected repertoire, as Neil McKim discovers
M
ention the name Monaco and
sparkling images of French
Riviera high-life will spring to
mind, complete with luxury yachts and
Formula One cars, plus maybe a spot of
high-roller gambling. Shake these ingredients
together and you have the perfect backdrop
for James Bond films, or a real-life getaway
for Hollywood stars such as Grace Kelly,
who married Monacos Prince Rainier III
in 1956. A supporter of the arts, she helped
set in motion the idea of an annual music
festival, and in 1984 the Printemps des Arts
de Monte-Carlo was born.
The annual Printemps des Arts de Monte-
Carlo festival, which takes place over a series
LOCAL HERO
Jules Massenet
Just outside the Monacan royal familys
special entrance to the Opra de Monte-
Carlo is a grand statue of the French opera
composer Jules Massenet (1842-1912, below).
In the years preceding World War One, when
Monte Carlo became a favourite venue for
opera productions, premieres of Massenets
works were a regular feature.
These began with Le jongleur de
Notre-Dame (1902), followed
by Chrubin (1905) and Don
Quichotte (1910) during his
lifetime, with more after
his death. Thanks to his
local fame, the name
Massenet is also a
stage on Monacos
Formula One circuit.
of weekends in March and April, makes
use of the stunning locations spanning the
2km-width of this tiny sovereign city-state.
The most famous of these is the opera house,
located in the Monte Carlo district, along
with the 1,000-seat Auditorium Rainier III
and the Oceanographic Museum, where
concerts take place surrounded by all manner
of vintage marine curiosities. Built in 1878,
the Opra de Monte-Carlo was designed by
Charles Garnier (also famous for the Paris
Opra). And the interior is breathtaking, with
We try and present
composers who are
rarely performed names over musicians, he notes, although this
has not dissuaded a host of world-class talent
its huge chandeliers and pillars, sea views, from coming, such as Valery Gergiev in 2013.
and vast gold painted ceiling. As you might For the 30th anniversary earlier this year,
Monnet commissioned 30 three-minute
expect, the building is adorned with names
of musical visitors of the past, including pieces by modern composers including
Massenet (see left), Verdi, and Diaghilev, who a witty piece for saxophone, cello and
brought the Ballet Russes here in 1911. accordion by French composer Franck
The current artistic director of the Bedrossian that opened a double-bill of
Printemps des Arts de Monte-Carlo is French Haydn Symphonies (Nos 101 and 104)
contemporary composer Marc Monnet performed by the Orchestre Philharmonique
who has also worked with IRCAM, the de Monte-Carlo. These new works were
experimental music centre founded in Paris by performed by young musicians, another
Boulez. Monnet has been at the helm of the aspect Monnet is eager to promote. A Young
Talent concert saw a collaboration with
festival for 11 years and has a strong sense of
musical tradition but is also keen to open musicians from the National Conservatory
the publics ears to contemporary of Music and Dance in Paris, with violinist
music. He also plays down the star Constance Ronzatti tackling Berios tricky
quality of visiting musicians. You Sequenza VIII. Monnets aim is a spirit of
will see in the programme that I collaboration, with both audiences and
always make a point of composer visiting musicians, to promote and discover
vk.com/englishlibrary
 MONACO MUSICAL DESTINATIONS

a musical feast:
Viennas Vegetable Orchestra
perform in the grand setting of
the Opra de Monte-Carlo (right)

high society:
luxurious transport in
the harbour; (left) Prince
Rainier III and Princess Grace
visit the opera house in 1979

new music. We also try to present composers MONACO 5 MUSICAL HIGHLIGHTS

works that are rarely performed, he says,
citing examples by Haydn and Scriabin. And,
in the past he has even whisked audiences
away by steam train to a surprise concert.
The audience is then open-minded and
free to new ideas, he suggests. The festivals
Friends support this collaboration by mixing
with the musicians. The artists like this;
they are often alone in a hotel and this gives
them a chance to see real people, says their
GETTY, THINKSTOCK, ALAIN HANEL, FELIX BROEDE
Printemps des Arts Ballet Russes. The opera house
de Monte-Carlo hosts regular performances
For five extended weekends, by Les Ballets de Monte-Carlo.
the music festival brings world- balletsdemontecarlo.com
class performers to Monaco and Orchestre Philharmonique
welcomes music tour operators. de Monte-Carlo
Expect a mix of the great and Monacos main orchestra
the unexpected, as director performs at the Auditorium
Marc Monnet devises his 2015
Rainier III and the Grimaldi
programme (20 March-12 April). Forum centre. In September it

printempsdesarts.mc is performing Rachmaninovs

president Jean Dastakian.
The 30-year anniversary gala concert also
tied together strands from Monnets tenure.
In between the Zemlinsky Quartet playing
Janeks String Quartet No. 1 and the
Orchestre Philharmonique de Monte-Carlo
playing Rossini, there were surprises aplenty,
including Viennas Vegetable Orchestra, with
flutes made of carrots and percussion from
celery. Food for musical thought n
Opra de Monte-Carlo Piano Concerto No. 2 with
In its opulent opera house Evgeny Kissin (left).
setting, the Opra de Monte-Carlo runs its www.opmc.mc
spectacular annual season. An upcoming Summer Concerts series
highlight is Tchaikovskys Iolanta starring The Orchestre Philharmonique de Monte-Carlo
soprano Anna Netrebko. www.opera.mc runs Summer Concerts at the Princes Palace in
Les Ballets de Monte-Carlo July. This is a chance to visit its inner courtyard.
Ballet has historical links in Monaco, going A recent highlight was a visit by the Labque
back to the early 20th century with the sisters. www.opmc.mc/la-saison

vk.com/englishlibrary BBC M USIC M AG A Z I N E 49

 COMPOSER OF THE MONTH
ANDRZEJ PANUFNIK
Polands great exile
Adrian Thomas tells how Panufnik, born 100 years ago this month, escaped the
creative shackles of his Polish homeland to forge a distinctive new voice abroad
I
n 1947, two years after all of his music
had been destroyed in a fire, a 32-year-old
composer stood on Londons Waterloo
Bridge during a brief visit from Poland.
Andrzej Panufniks reaction to what met his
eyes unwittingly anticipated the pattern of the
rest of his personal and creative life. He had
been to England in 1939, and in vastly altered
circumstances in 1954 he would permanently
exile himself here. He would return to Poland
only once, a year before his death in 1991.
The view from the bridge in the early hours
of that March night included the water of
the Thames dark clouds a brilliant full
moon. From this visual impression Panufnik
went on to compose Lullaby (1947), whose
musical texture consists of three overlapping
layers, each isolated in its own sequence. The
Thames is represented by pulsating harps,
the clouds by quarter-tonal strings, the
moon by a Polish folk tune passed from one
solo string instrument to another. Separate
though they are, these layers alchemically
combine to create one of Panufniks most
bewitching scores. Such technical, material
and programmatic features would return time
and again during his career.
In fact, they were already in evidence in the
wartime Tragic Overture (1942), based on a
four-note motif akin (although not identical)
to the BACH motif (B flat-A-C-B natural).
Its insistent rhythm (almost certainly based
on the BBC wartime call-sign, itself drawn
from the opening motif of Beethovens Fifth
Symphony), the dramatic use of sequences
and the counterpointing of the motif at
different speeds give the Tragic Overture an
uncommon urgency that mere technical
description cannot convey.
The orchestral Nocturne (1947) and his
first acknowledged symphony Sinfonia rustica
GETTY
(1948) are more fluidly, if still assiduously
50 BBC M USIC M AG A Z I N E
PANUFNIKS STYLE
Designs
Panufnik planned his
musical structures
like an architect. From
the relatively simple
Sinfonia rustica, whose
layout is similar to that
of Bartks (left) Music
for Strings, Percussion
and Celesta, to the
complexity of Universal Prayer, his highly
patterned compositions fill out ingenious
skeletal frameworks.
Orchestration
Apart from his ten surviving and three
abandoned symphonies, there is a large array
of pieces that are testament to Panufniks
orchestral imagination. He has favourite
textures, often contrasting the main
orchestral families, but there are instances of
smaller forces, such as unpitched percussion,
solo strings or solo piano.
Major-Minor
Running through his music is a particular
harmonic-melodic fingerprint, drawn
from Polish folk idioms. This is Panufniks
fondness for bittersweet major-minor
chords, most typically a first-inversion major
triad topped by the minor third, eg (reading
from the bottom) F sharp-A-D-F natural,
which sometimes falls down to the D.
Programmes
There are only a few totally abstract
works in Panufniks output. He invested
his remarkably consistent and objectified
musical language with a variety of different
emotional states. While a few works have
relatively specific programmes, the majority
demonstrate his broader pursuit of an
elegiac view of the world and his wish to
cleanse it of iniquities.
vk.com/englishlibrary
constructed. Nocturne is one of Panufniks
most evocative and stylistically advanced
works. As he tellingly wrote, I completely
detached myself from the tragic memory of
the past years. I was escaping reality. That
tragic memory included the occupation and
destruction of Warsaw by German forces
during World War II, subsequent invasion of
the city by the Soviet Union and, of course,
that loss of all his music in the aftermath of
the Warsaw Uprising.
Panufnik was soon aware, however, that
reality was catching up with him and his
fellow Polish composers. The prescriptive
cultural policies of the Polish one-party State
that came into being at the end of 1948 had
a detrimental effect on their creative spirit.
Decadent Western culture (Schoenberg,
Stravinsky, jazz, dissonance = formalism) was
to be avoided in favour of good old-fashioned
melody and simple harmony (realism). Works
that did not fit with the governments view
of music for the masses could be banned.
Panufnik recalled that the minister of culture
declared in 1949 that the innocuous Sinfonia
rustica has ceased to exist.
By playing with composers minds as well
as with their works, the ministry of culture
sowed uncertainty and dismay. Sinfonia
rustica influenced, like the much later
Third String Quartet Wycinanki (1990), by
the multi-coloured, symmetrically designed
paper cut-outs made by Polish peasants was
no real threat to the system. Indeed, despite
its disappearance, Sinfonia rustica was
performed on several occasions in Poland in
the early 1950s, sometimes under Panufniks
baton. It was also broadcast on Polish Radio
and the score published by the State Music
Publisher, PWM.
The inconsistencies in regulating socialist
realism played havoc with Polish composers >
 ANDRZEJ PANUFNIK COMPOSER OF THE MONTH

ILLUSTRATION: RISKO

vk.com/englishlibrary BBC M USIC M AG A Z I N E 51

ANDRZEJ PANUFNIK COMPOSER OF THE MONTH

confidence, and in Panufniks case they

took a heavy toll. So-called listening
sessions were organised for new pieces, and
LIFE&TIMES
Panufniks Symphony of Peace (1951) was one A quick guide to the main events in the life of Andrzej Panufnik
of many works that failed to satisfy the critics
completely. And yet its title and associated THE LIFE 1914 THE TIMES
texts were politically charged, and it was used
as propaganda both at home and abroad. This
contributed to Panufniks growing unease at
1915
Having advanced almost as far as Krakow
being used by the State, much as Shostakovich at the start of WWI, Imperial Russian forces
was being trotted out by the USSR. retreat through Polish territory, looting and
Panufniks situation was worse in this respect destroying as they go.
than that of his fellow members of the Polish
Composers Union and, despite material 1926
privileges that came with his prominence, he Eight years into
Polands existence
looked for a way to escape his creative and
as an independent
personal traumas. country, statesman
Conducting provided his way out. A fact
largely forgotten today, Panufnik in the early
1914 JZEF PISUDSKI
Panufnik is born on 24 Sept in WARSAW. His stages a coup dtat.
post-war years became not only the most mother is a violinist and his father a violin He takes steps to
progressive Polish composer but also one of maker. Early on, he chooses music over his stabilise the country
the countrys best-known conductors. He other love, aeronautics. and enlarge its army.
even conducted the premiere of his Heroic
Overture (1952) at that years Olympic Games 1936 1940
in Helsinki. In July 1954, he took advantage After graduating from the The occupying Nazi regime issues its Polish
Warsaw Conservatory decrees, stating that Polish labourers
of a conducting engagement in the West, in
he is called up for working and living conditions should be
Zurich, as his opportunity to flee Poland. All NATIONAL SERVICE, worse than their German counterparts.
he took with him were his scores. but fails his medical.
If Panufnik expected a fully supportive He spends the next year 1952
environment when he arrived in London, writing film music. Overseen by Stalin, the Constitution of the
he was soon disappointed. After the initial Polish Peoples Republic is passed, legalising
press excitement about his defection from 1945 Communist legislature and practices based
behind the Iron Curtain, he found himself In the aftermath of the WARSAW on the Soviet model.
more or less abandoned to fend for himself UPRISING, a fire destroys much of
(with the exception of help from one or two his music. After the War, he helps 1968
re-establish the In front of 100,000 festival spectators at
British promoters and composers, including
Krakow and Warsaw a Warsaw stadium, Ryszard Siwiec burns
Vaughan Williams). As he ruefully put it in Philharmonics. himself to death in protest at Polands
his autobiography Composing Myself (1987): involvement
I had leapt from my Polish position of No. 1954 of the Soviet
One to No One at All in England. After six years of Soviet invasion of
Once again, his conducting came to socialist realism being Czechoslovakia.
the rescue, and he took the position of imposed in Poland,
musical director of the City of Birmingham he dramatically 1973
Symphony Orchestra in 1957, but resigned defects in protest at Dubbed a circus
two years later to concentrate on composition. Communist control of clown on TV by
creative artists. football manager
This move was accelerated by his desire to
Brian Clough,
escape the limelight and its pressures, and he
withdrew into a private world of composing
1961 goalkeeper JAN
Having settled in the UK, where he briefly TOMASZEWSKI helps Poland knock
and, soon, to a new marriage and the arms of serves as principal conductor of the CBSO, England out of the World Cup.
a close family life. he adopts British citizenship.
The first major sign of his renewed 1981
confidence was the Third Symphony, 1977 Polish film director
Sinfonia sacra (1963), which remains his Fellow Polish composers campaign for Andrzej Wajda
most performed and recorded symphony, his music to be performed at the Warsaw gains his third
commemorating the 1000th anniversary of Autumn Festival, ending a 23-year ban. Oscar nomination,
this time for his
Christianity in Poland. While the communist
government in Poland did all it could to
1990 MAN OF IRON,
With democracy restored to Poland, he whose central
thwart any Christian celebration on Polish makes a return to the city of his birth. character is clearly
soil, Panufnik was free of such constraints. Knighted soon after in the UK, he dies on based on Solidarity
He would take good advantage of his liberty 27 October, aged 77. leader Lech Waesa.
again, as in his Bassoon Concerto (1985),
1990
GETTY

written in memory of the Polish priest Jerzy

52 BBC M USIC M AG A Z I N E
vk.com/englishlibrary
 Popieuszko, who had been murdered by
the secret police the previous year.
More particularly, Sinfonia sacra
demonstrates Panufniks skill at
constructing a large-scale form that
guides the listener through a symphonic
narrative. Here, three Visions separately
explore the first three intervals from
Polands most famous battle hymn, the
medieval modal chant Bogurodzica,
before bringing them all together in the
full melody in the concluding Hymn.
Panufniks need for structural
frameworks may seem to be the driving
force in his music. He used phrases such as
an extremely rigid design (Sinfonia sacra)
and stern discipline (Universal Prayer,
1969). His now-famous graphic designs
for many of his works are testimony to
his passion for symmetry, geometry and
symbolism of the natural world. These
include the number six that permeates
Sinfonia di sfere (1975), the tree structure of
Arbor cosmica (1983) and the rainbow arcs of
Sinfonia di speranza (1986). Such structural
devices are paralleled, in the last 20 years
or so years of his life, by his obsession with
small intervallic cells, most commonly the
three-note cell F-B-E, with its tritone, perfect
fifth and semitone. These he fashioned into
sequential chains of motifs that rise and fall,
coming in and out of focus, as if examining a
cut diamond under an eyeglass.
Sometimes the results can be starkly
ascetic, as in the Seventh Symphony
Metasinfonia (1978), but his music is never less
than exquisitely designed. This is apparent,
for example, in Universal Prayer, a setting
of Alexander Pope whose dictum Order is
Heavns first Law seems tailor-made for
Panufnik. On the other hand, Panufnik
maintained that he aimed for deep emotional
impact, and his perennial search for balance
between technique and expression is reflected
in the commentaries on individual works that
he published under the heading, Impulse and
Design in my Music (1974). For some listeners,
it may be the shorter, more overtly descriptive
works that are most immediate: Autumn
Music (1962, written in memory of a friend) or
Katyn Epitaph (1967, written to commemorate
the wartime slaughter by Russian forces of
15,000 Polish POWs).
For others, the larger orchestral works
are most impressive, including several
non-programmatic concertos plus the later
symphonies: Sinfonia di sfere (No. 5), Sinfonia
mistica (1977, No. 6), Sinfonia votiva (1981,
No. 8), Sinfonia di speranza (No. 9) and the
untitled No. 10 (1988). There is a quality
ARENA PAL
of tensile meditation that inhabits these
scores, with their interlocked sections of
homecoming:
Panufnik conducting in
Warsaw in 1990
quasi-militaristic violence, striving rhythmic
sequences and delicate or sustained melodic
lines. In the works from Sinfonia votiva
onwards, culminating in the Cello Concerto
written for Mstislav Rostropovich (1991),
there is even a hint of neo-Romanticism.
In 1977, Polish authorities gave
permission for Panufniks music to be
featured in measured doses at the annual
Warsaw Autumn international festival
Panufniks music
is never less than
exquisitely designed
of contemporary music. Panufnik was the
principal guest in 1990: eleven of his works
were performed and he himself conducted
Harmony (1989). Democracy had been restored
to Poland the previous year, and only at that
point could Panufnik contemplate returning to
the country he had fled 36 years earlier. It was
his only visit, but one that meant everything to
a composer for whom his country had always
been central to his creativity.
In this his centenary year, one might
be forgiven for observing that his adopted
country, as well as Poland, has somewhat
short-changed him at the time of writing,
only five of his ten symphonies (Nos 2-5 and
10) have been programmed anywhere at all.
This is in stark contrast to the rich tapestry
woven around the centenary last year of his
compatriot and friend Witold Lutosawski.
The clue may lie in part in Panufniks
reclusive nature. In a way, this has led to
an unduly low level of public recognition.
Although he was an experienced conductor,
vk.com/englishlibrary
he rarely took to the stage or occupied
the recording studio during the last 30
years of his life, unlike Lutosawski,
who was the pre-eminent proponent of
his music during the same period. As a
result, there are only just over a dozen
recordings of Panufniks music under
his own baton.
Along the way, record companies have
only periodically waved the flag, but
there are signs of an upturn. Panufniks
chamber music is now better represented
in the catalogue than it once was and
German label CPO has completed
its eight-CD series of Panufniks
complete symphonic works under the
enthusiastic direction of conductor
ukasz Borowicz. At least on record, the
breadth and depth of Panufniks legacy
may now be properly measured. Q
Composer of the Week
is broadcast on Radio 3
at 12pm, Mon to Fri,
repeated at 6.30pm, Upcoming programmes are:
1-5 September Dvok
8-12 September Rameau
15-19 September Donizetti
22-26 September Andrzej Panufnik
ANDRZEJ PANUFNIK
RECOMMENDED RECORDINGS
Sinfonia sacra etc
Tampere Phil/John Storgrds
Ondine ODE 1101-5 12.99
An excellent sampler,
including the Heroic
Overture, Sinfonia sacra and
Sinfonia di sfere.
Bassoon Concerto etc
Robert Thompson (bassoon);
BBC SO/Andrzej Panufnik
Heritage HTGCD 266 10.99
Panufnik conducts his own
Bassoon Concerto alongside
one of two recordings he
made of Sinfonia di speranza.
Cello Concerto
Mstislav Rostropovich
(cello); LSO/Hugh Wolff
NMC D010S 10.99
A short CD single featuring
Panufniks last major work,
the Cello Concerto, played by
its notable dedicatee.
Complete Symphonic
Works, Vol. 1
Polish Radio SO/Borowicz
CPO 777 4972 12.99
The first disc of this eight-
CD series features six works
including Tragic Overture,
Nocturne and Katyn Epitaph.
BBC M USIC M AG A Z I N E 53
 BUILDING A LIBRARY

THE SYMPHONIES
Ludwig van Beethoven
From the light, and lively opening of the First to the famous
Ode to Joy of the Ninth, Erik Levi listens to complete
sets of Beethovens Symphonies, and selects the best

N
o composer changed the symphony more radically than Beethoven.
Whilst his First (1801) pays its respects to the 18th-century classical
tradition of Haydn and Mozart, each of the eight successive
symphonies follows a unique trajectory heralding a new era: composers were
no longer subservient to their court patrons and could assert their right to
individual expression. So its little wonder that Beethovens colossal symphonic
legacy both inspired and intimidated later 19th-century composers. From
the moment these works entered the repertory, conductors viewed the
performance of a Beethoven cycle as a litmus test of their achievements. Battle
lines as to the ideal interpretation of the symphonies were established at an
early stage between Mendelssohn, whose performances were mercurial and
precise, and Wagners more fluid and nuanced approaches. This dichotomy is
mirrored in current approaches with opposed views of the music emanating
from Riccardo Chailly on one hand and Christian Thielemann on the other.

THE BEST RECORDING RICCARDO CHAILLY

CHOICE WITH WORKS OF SUCH contrasting character and
such an extended recording history, suggesting a
cycle that is recommendable on all accounts becomes
almost impossible. Any serious collector will not only
want to own several versions, but also savour some
NIKOLAJ ZNAIDER ILLUSTRATION: STEVE RAWLINGS/DEBUTART
captivated by Riccardo Chaillys (below) 2011 cycle
with the Gewandhaus Orchestra. Captured in superb
sound by Decca, these are highly-charged volatile
performances, owing much of their clarity and
precision to recent approaches by period instrument

inspired recordings of individual symphonies for
example, Carlos Kleibers legendary
account of the Fifth. At the same time, in
comparing currently available cycles on
a symphony-by-symphony basis and in
Riccardo Chailly a highly competitive market, it becomes
(conductor) evident that some cycles achieve a
Leipzig Gewandhaus greater level of consistency than others.
Orchestra (2011) While certainly not subscribing
Decca 478 3492 44.99 to the notion that the most recent
recordings must of necessity be the
best, I found myself most completely
ensembles and played here with breathtaking
brilliance by one of the finest orchestras
in the world. Chailly can be too
impetuous for his own good in some
of the faster movements, where an
occasional bit of poise might provide
necessary emotional relief, and its
unfortunate that the bass soloist in
his opening entry to the Finale of the
Ninth momentarily loses his bearings.
But these seem minor flaws given the
engrossing nature of the set as whole.

54 BBC M USIC M AG A Z I N E
vk.com/englishlibrary

THREE MORE GREAT RECORDINGS
Wilhelm Furtwngler
(conductor)
Vienna Philharmonic and
Stockholm Philharmonic
orchestras (1948-54)
EMI 567 4962 28.99
Its a testament to Furtwnglers genius that
recordings made over 60 years ago and in
sometimes recessed mono sound remain
mainstays of the catalogue. The qualities that
the conductor brings to Beethoven are legion,
not least a wonderful fluidity in the shaping
of the melodic line which takes full account
of the tonal conflicts that lie at the heart
of Beethovens thinking. In terms of tempo
fluctuation, Furtwngler might seem much
If you enjoy Beethovens Symphonies and would like to try out similar works, see overleaf
THE SYMPHONIES LUDWIG VAN BEETHOVEN BUILDING A LIBRARY
more wilful than many other interpreters,
but the musical insights can be visionary. No
interpreter, even modern-day admirers such
as Daniel Barenboim and Thielemann, come
close to projecting the transformation from
minor to major at the outset of the Finale of
the Fifth with the same awesome impact.
Sir John Eliot Gardiner
(conductor)
Orchestre Rvolutionnaire
et Romantique (1994)
DG 477 8643 32.99
From the 1970s onwards, historically
informed performances on period
instruments have stimulated listeners to
vk.com/englishlibrary
Building a Library is broadcast on
BBC Radio 3 at 9.30am each Saturday as
part of CD Review. A highlights podcast is
available at www.bbc.co.uk/radio3
hear different things in Beethovens music.
Leaner textures serve to intensify Beethovens
orchestration, bringing new and vivid colours
to familiar works. Any suggestion, however,
that a resort to earlier notions of performance
practice results in interpretations that are dry
and inflexible is way off the mark, for the
approaches are just as varied as on modern
instruments. For example, those who prefer a
more fluid subtly nuanced view of Beethoven
will warm to Frans Brggens recent set on
Glossa which offers some wonderful insights.
Nonetheless, theres a palpable sense of
commitment and imagination in John Eliot
Gardiners invigorating 1990s recordings that
has you at the edge of your seat.
Osmo Vnsk (conductor)
Minnesota Orchestra
(2004-8)
BIS SACD 1825/6 28.99
There are two particular
strengths in Osmo Vnsks beautifully
engineered SACD recordings made between
2004 and 2008. First, the Finnish conductor
manages to capture the essence of Beethovens
thinking through his painstaking attention
to inner details. Second, he has established a
sense of partnership with a first-rate orchestra
and secures urgent and incisive playing. In
general, Vnsk has more interesting things
to say about the earlier symphonies, where
the performances are strongly characterised
and fleet of foot. But the set is a superb
achievement, illustrating the point that
great Beethoven performances are not the
exclusive province of the central European
orchestral tradition.
AND ONE TO AVOID
Although Daniel
Barenboim and
the West-Eastern
Divan Orchestra
gave compelling
performances at the
2012 Proms, this set
does not quite ignite the same spark as
those concerts. Despite the orchestras
energy and enthusiasm, it doesnt possess
the subtlety of timbre and precision of
ensemble one finds in other versions.
Another issue is Barenboims propensity
towards heaviness which can make some
of the interpretations sound stolid.
BBC M USIC M AG A Z I N E 55
THE SYMPHONIES LUDWIG VAN BEETHOVEN BUILDING A LIBRARY
We suggest works to explore after Beethovens Symphonies
Haydn London Symphonies
The first tutor Beethoven had when he
arrived in Vienna in 1792 was Joseph
Haydn, Austrias symphonist supreme.
Of Haydns 104 symphonies, few are
duds, but its the 12 London Symphonies
(Nos 93-104), composed during the
composers two visits to the city in the
1790s, that really take the orchestra
to its very limits in terms of colour
and the forces required the final six
use clarinets for the first time, paving
the way for Beethoven to develop his
own orchestral palate yet further. The
opening of Haydns Symphony No. 104
is much like the famous opening of
Beethovens Third, the Eroica, with
those huge chords preceding an uneasy
melody laden with a strong sense of
Beethovenian foreboding.
Essential recording: Concertgebouw/
Sir Colin Davis Decca 442 6142 9.99
and 442 6112 (2 CDs each) 9.99
Cherubini Symphony in D major
Beethoven was well aware of Luigi
Cherubinis music he is known to have
had the score of the Italians opera Les Deux
Journes close to hand while writing Fidelio.
And like Beethovens Ninth, Cherubinis
only Symphony was also the result of a
commission from the Royal Philharmonic
Society. Of all of Beethovens Symphonies,
it is the bonhomie of the Pastoral Sixth, in
fact, that Cherubinis buoyant work matches
most closely particularly so in the opening
movement where, after a Largo introduction
has invited us to take a deep, relaxing breath,
we move friskily along at an Allegro pace,
accompanied by trilling flutes and exuberant
horns. All rather lovely.
Essential recording: Orchestra Sinfonica
di Sanremo/Piero Bellugi
Naxos 8.557908 6.99
Weber Symphony No. 1
Weber certainly knew which side his
bread was buttered on. When composing a
symphony for a wealthy duke who happens
to be letting you live on his estate, it doesnt
hurt to write a particularly prominent part
for his own instrument, the oboe. One
presumes that the duke was pleased, even
if Weber himself was later dismissive of his
efforts but that may simply be in tacit
recognition of how, four years earlier (1804),
Beethoven had upped the symphonic bar to
56 BBC M USIC M AG A Z I N E
SO, WHERE NEXT?
gallic chap:
un-French sounding
George Onslow
an unreachable level with his Eroica Third.
We, though, can be more generous, and the
bullish horn fanfares that introduce Webers
last movement bring to mind those of the
Eroica finale itself.
Essential recording: BBC Philharmonic/
Juanjo Mena Chandos CHAN 10748 12.99
Reicha Symphony No. 3
If only Anton Reicha hadnt refused to have
his works published, his name might have
gone on to feature a little more prominently
in classical musical history. Cest la vie, as this
Czech-born Frenchman might have said.
As it is, a number of those works are well
worth investigating, not least his Symphony
No. 3 from 1808. Ominous opening chords
lead to a first movement that treads gingerly
before eventually bursting into life, a little
like the beginning of Beethovens Fourth.
After that, admittedly, Reicha goes on to
remind us that, however much Beethoven
was pushing the boundaries of the symphony,
some of his contemporaries still had their
thoughts firmly in the era of Mozart and
Haydn. Its an enjoyable listen nonetheless.
Essential recording: Beethoven Academie/
Jan Caeyers Auvidis V4834 (see amazon.co.uk)
Onslow Symphony No. 2
Born in Clermont-Ferrand to an English
father and a French mother, George Onslow
vk.com/englishlibrary
has occasionally been referred to in
his home country as The French
Beethoven. OK, so that may be
taking the praise of his talents a little
too far, but he did at least have an
admirer in Beethoven himself. Onslow
composed four symphonies in all,
the Second of which, from 1832, is
the most obviously Beethovenian in
character. Beginning with a stormy
Allegro vivace first movement in D
minor, Onslows Second follows
a similar dark-to-light path as
Beethovens Fifth Symphony. And
while Onslow cant match the blazing
triumph of Beethovens finale, he
does at least round off his work with a
movement that is as jauntily jolly as it is
infectiously catchy.
Essential recording: Radio-Philharmonie-
Hannover des NDR/Johannes Goritzki
CPO 999 7382 12.99
Brahms Symphony No. 1
Brahms completed his Symphony No. 1
in 1876, over half a century after the
premiere of Beethovens Ninth. The Brahms
premieres conductor, Hans von Blow,
referred to the work as Beethovens Tenth,
because of similarities between the last
movements: the placing of the chorale-like
theme of Brahmss finale undoubtedly harks
back to Beethovens Ode to Joy. Brahms
took at least 14 years to complete his debut
symphony. You dont know what it means
to the likes of us when we hear [Beethovens]
footsteps behind us, he remarked, possibly
a little preciously. Thankfully, he eventually
managed to leave those footsteps behind him,
and three further symphonic masterpieces
soon followed.
Essential recording: Orchestre
Rvolutionnaire et Romantique/
Sir John Eliot Gardiner SDG SDG702 12.99
Next month:
Poulencs Organ Concerto
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 CONTENTS

REVIEWS
60 Recording of the Month
62 Orchestral
Les Sicles recreates the
premiere of Stravinskys
The Rite of Spring
110 CDs, Books & DVDs rated by expert critics
66 Concerto
James MacMillan conducts
an outstanding trio of soloists Recording of the Month
in his chamber concertos Bruckners Ninth Symphony is given a magisterial performance
by the Lucerne Festival Orchestra and Claudio Abbado, in what
68 Opera was to be the late conductors final concert, p60
An indispensable DVD of
Strausss Elektra, starring
soprano Evelyn Herlitzius

70 Choral & Song

Tenor Julian Prgardiens
debut album is an impressive
recital of Romantic song

74 Chamber
Fresh performances of Felix
and Fanny Mendelssohns
complete String Quartets

78 Instrumental
The 17th-century lyra viol
gets its moment in the
modern-day spotlight

83 Brief Notes
A quick look at 16 new recordings, including
music by Respighi, Godard and Stanford
one of the greats:
84 Jazz Claudio Abbado with
his superb orchestra
A two-disc set showcases
the many talents of
saxophonist Tim Garland
The genius of Tchaikovsky
86 Books When it comes to Tchaikovsky and the piano, its probably those massive
A valuable and provocative chords opening the First Piano Concerto that spring to mind. But he was also
history of world music, with a fine miniaturist, as skilled at saying a lot with a little as Schumann or Janek.
a top line-up of contributors October from his The Seasons, for instance, is a haunting piano piece that
seems to sing of the bitter-sweetness of life as much as the passing of summer.
Its been a treat to hear two wonderful pianists Pavel Kolesnikov and Alexander Paley turn
to the complete Seasons on disc this month (see p79). And if youd like to hear the big tunes
of the First Concerto, turn to p67 to read about two new performances, featuring pianists
Ingolf Wunder and Simon Trpeski. Rebecca Franks Reviews Editor
PETER FISCHLI/DG

Our Recording of the Month features in one of the BBC Music Magazine podcasts
free from iTunes or www.classical-music.com

vk.com/englishlibrary BBC M USIC M AG A Z I N E 59

 RECORDING OF THE MONTH
CHOICE
a great maestro:
Claudio Abbado
leaves the stage after
conducting in Lucerne
A Brucknerian farewell
Claudio Abbados final concert was remarkable, says Stephen Johnson
BRUCKNER
Symphony No. 9
Lucerne Festival Orchestra/
Claudio Abbado
PETER FISCHLI, MARCO BORGGREVE
Deutsche Grammophon
479 3441 63:09 mins
BBC Music Direct 14.99
Sometimes a reviewer has to take a
big step backwards and try to forget
the flood of associations that comes
with a disc. It was pure accident
that conductor Claudio Abbado
60 BBC M USIC M AG A Z I N E
ended what was to be his own last
concert at the 2013 Lucerne Festival
with Bruckners final, unfinished
symphony, whose great Adagio
Bruckner himself referred to as his
farewell to life. But of course, as
soon as one knows
that, expectations
soar. Yet one of Abbado balances
the remarkable all the musics
features of this
Bruckner Ninth is paradoxical qualities the
the way it dismisses
preconceptions almost as soon as
the horns start intoning the quietly
portentous opening theme. Abbados
feeling for the way the music unfolds, visions of tender, sometimes exquisite
despite all the seeming dislocations
and diversions, his understanding
vk.com/englishlibrary
of the course of Bruckners final
passionate pilgrimage, is as
authoritative as Gnter Wands,
yet quite different in spirit. Like
Wand he has the ability to allow
just enough flexibility in the basic
pulse to prevent
it from becoming
metronomic, but
without distorting
sense of the
musics underlying
flow. However
where Wands Bruckner stares
climactically into the abyss, Abbado
frames the nightmare vistas with
consolation. This Bruckners faith
may shake at times, ambiguities and
FURTHER LISTENING
Lucerne Festival/Abbado
MAHLER
Symphony No. 9
Accentus Music ACC20214 (DVD) 95 mins
BBC Music Direct 20.99
This captures
much of the
peerless tone-
colour, shape, drive
and above all those
hushed dynamics of
that performance,
awarded what feels like an infinite
silence at the end. Abbados pacing
is unrivalled. June 2011
BRUCKNER
Symphony No. 4
Lucerne Festival 7640125 120455
63:34 mins
Available from www.lucernefestival.ch
The Lucerne
Festival Orchestra is
a body of players so
distinguished that
there may never have
been so fine a collective instrument.
This Bruckners Romantic
Symphony was given at Suntory
Hall in Tokyo, and shows everyone
on top form. October 2007
MAHLER
Symphony No. 3
Medici Arts 2056338 102 mins
BBC Music Direct 28.99
From an
unusually noble
unison horn
summons at the
start to the glow
of the final bars,
Claudio Abbado
never forces the expressivity of
the super-band Lucerne Festival
Orchestra; yet every colour and
texture shines through.
September 2008
dissonances may remain unresolved
at the end, but ultimately the bedrock
is still firm.
Remarkable too is the way
Abbado balances sophistication and
simplicity, sensuous ripeness and
innocent clarity, the monumental
and the childlike all the paradoxical
qualities implied by the adjective
Brucknerian. Even at its most
darkly imposing, the Scherzo
remembers Bruckners roots in Upper
Austrian dance music. The sound
 RECORDING OF THE MONTH REVIEWS

of the Lucerne Festival Orchestra is
beautiful without being too plush,
powerful without being oppressive.
Again and again individual voices
stand out in the texture there
is some especially fine solo oboe
playing here. More than anything
else however, Abbado convinces
that Bruckners Ninth Symphony
is complete as it stands in its three
movements that the triumphant
Hymn of Praise Bruckner planned
to end the symphony would have
been superfluous even if he had
managed to write it down. After
hearing a performance like this
its tempting to conclude that
Providence really did intervene after
all, thereby preventing Bruckner
from spoiling what is in itself a near- THIS MONTHS CRITICS
perfect experience.
On top of all this, the recording is Our critics number many of the top music specialists
excellent. Two dates are given in the whose knowledge and enthusiasm are second to none
booklet notes: Abbados last concert
(26 August), and another from five
days earlier, which Im presuming George Hall writer, editor, translator
was used for editorial patching. As an editor, George has worked for
Whatever, the experience is seamless. Decca and the BBC, and has written for
This is a Bruckner Ninth I could publications including The Guardian,
recommend happily to anyone. The Observer and The Independent on
PERFORMANCE HHHHH Sunday. Currently the UK correspondent
RECORDING HHHHH of Opera News, he is also a contributor to the Penguin
Opera Guide and the New Oxford Companion to Music.
ON THE PODCAST
Hear excerpts and a discussion
of this recording on the BBC Music John Allison biographer, Tim Parry
Magazine podcast, available free on
editor, Opera; critic, composer writer, editor
iTunes or at www.classical-music.com
Sunday Telegraph Julian Haylock Anna Picard
Nicholas Anderson writer, editor writer, critic
Baroque specialist Ivan Hewett George Pratt

Q&A
Terry Blain writer broadcaster, critic emeritus professor
Kate Bolton Daniel Jaff of music, University
lecturer, New York writer, critic of Huddersfield
University, Florence Erica Jeal critic, Anthony Pryer
GUSTAVO GIMENO Garry Booth jazz
writer & critic
The Guardian
Stephen Johnson
lecturer, Goldsmiths
College, London
The Spanish conductor talks to REBECCA FRANKS Geoff Brown writer, BBC Radio 3 Paul Riley journalist
critic, The Times broadcaster Michael Scott
about his experience working as Claudio Abbados assistant Anthony Burton Berta Joncus Rohan author,
writer, editor senior lecturer, editor
Can you tell us about being Michael Church University of London Nick Shave
assistant to Abbado last year? critic, The Erik Levi professor, contributing editor,
As you can imagine, when you Independent University of London BBC Music
first work with someone like Christopher Cook Max Loppert Jeremy Siepmann
Abbado, its intimidating. Youre broadcaster, critic critic, Opera biographer, editor
working with a legend. But its Martin Cotton Jon Lusk Jan Smaczny
such a wonderful experience. producer world music professor of music,
Assisting means practically Christopher Dingle journalist Queens, Belfast
everything you can imagine: Professor of Music, Andrew McGregor Geoffrey Smith
from making sure all the Birmingham presenter, BBC presenter, Radio 3
dynamics, articulation and so Conservatoire Radio 3s CD Review Michael Tanner
forth in the musicians scores Misha Donat David Nice critic, The Spectator
are clear, to sitting together producer, writer writer, biographer Roger Thomas critic
with scores listening to CDs. Jessica Duchen Roger Nichols Helen Wallace
Sometimes I would conduct critic, novelist French music consultant editor,
in rehearsal while he listened Hilary Finch specialist BBC Music
from the audience seats. We critic, The Times Bayan Northcott Barry Witherden
did that with Bruckner Nine. It Malcolm Hayes composer, writer critic
was valuable for him as your
ear can be more critical when
youre not conducting you have more space and are more relaxed. Key to symbols Star ratings are provided for both the
performance itself and either the recordings sound
How would you describe his conception of Bruckners Ninth? quality or a DVDs presentation
It was a very natural and organic approach. He would talk about how Outstanding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HHHHH
he was going to conduct, but it was when he stood in front of an Excellent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HHHH
orchestra that he would have the clear answer. He was very concerned Good . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HHH
about finding the right tempos, but for me it was also special to see Disappointing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HH
him beating in quite broad movements, without always subdividing the Poor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H
beats. He was always listening. It created movement in a slow organic
way and thats something he could do better than anyone else.
BBC Music Direct You can now buy CDs, DVDs or Books
Did he ever contemplate conducting the four-movement version of reviewed in this issue from BBC Music Direct. The prices
Bruckners Ninth Symphony? are given at the head of each review, and are inclusive
I never heard a word about it. A number of times he said, I like this of p&p for orders placed from within the UK.
programme. He was talking about Schuberts Unfinished Symphony There are three simple ways to order
paired with Bruckners Ninth. He would say it with his typical smile l Order online at www.classical-music.com/shop
like a kid. He was full of joy just thinking about it. That was it. Not one
l Call +44 (0)1689 888 888 and ask for BBC Music Direct
word about the completion of the last movement. The Bruckner feels
l Fax your order details to +44 (0)1689 888 800
complete. We both said the same. Let it exist the way it is. Its wonderful.

vk.com/englishlibrary BBC M USIC M AG A Z I N E 61

 ORCHESTRAL
Simon Rattle offers a compelling Schumann Symphony cycle on the Berlin Philharmonics new
label; Valery Gergiev unleashes Shostakovich; plus a scintillating Sibelius disc from Osmo Vnsk
A revelatory Rite of Spring
Daniel Jaff is bowled over by Les Sicles period instrument approach
STRAVINSKY
The Rite of Spring; Petrushka
Les Sicles/Franois-Xavier Roth
Musicales Actes Sud ASM 15 68:54 mins
BBC Music Direct 15.99
Prior to The Rite of Springs
publication, several of the original
scores details were altered to
mitigate its perceived difficulties.
Here, now, is a chance to hear
the Rite close to how Stravinsky
originally conceived it for its 1913
premiere in Paris an enticing
prospect in itself: more than
that, this is an exciting, visceral
performance, culminating in a
ferocious final dance.
62 BBC M USIC M AG A Z I N E
ORCHESTRAL CHOICE
Professional orchestras today
can perform the Rite virtually
on autopilot; so last year, the
ballets centenary, it made sense
for Franois-Xavier Roth and his
orchestra Les Sicles to attempt
Stravinskys more challenging
original score, as rehearsed by Pierre
This is an exciting,
visceral performance
of The Rite of Spring
Monteux for the Rites premiere.
There are some obvious differences:
two passages are pitched an octave
lower than in the standard version;
and in the opening pages of the
sacrificial dance, strings ambitiously
alternate pizzicato with bowed
notes. Most striking, though, is
the revelation of hearing the Rite
played by the instruments of its
vk.com/englishlibrary
Symphony in E flat; Macbeth:
time-traveller:
Franois-Xavier Roth
heads back to 1913
time. The austere soundworld of the
beginning, with timbres conjured
as it were from a past civilisation,
is utterly unlike anything else
from that era. Even using brass
instruments not as powerful as the
American-style monsters that are
standard today proves an advantage,
as they balance more readily with
strings and woodwind, allowing far
more evocative detail to be heard.
Petrushka seems, if anything,
even more lively, perhaps because
the technical demands are not
quite so great, though its ebullient
character surely helps too.
PERFORMANCE HHHHH
RECORDING HHHHH
ON THE WEBSITE
Hear extracts from this recording
and the rest of this months choices on
the BBC Music Magazine website
www.classical-music.com
BLOCH
Two Interludes; Three Jewish
Poems; In Memoriam
Royal Philharmonic
Orchestra/Dalia Atlas
Naxos 8.573290 (1996) 68:02 mins
BBC Music Direct 6.99
The earliest offerings in this useful
survey of lesser-known orchestral
works by Bloch, originally released
on the ASV label in 1996, are
two symphonic interludes from
the opera Macbeth. Cast in an
idiom that owes much to Richard
Strauss and Debussy, they provide
a richly scored and vivid depiction
of some of the central episodes in
Shakespeares drama. More typical
of the composer are the Three Jewish
Pieces, completed a year before the
outbreak of World War One. As
in the Macbeth Interludes, Blochs
orchestration is opulent, but the
oriental colouring and the passionate
intensity of the orchestral climaxes,
especially in the final piece Cortge
funbre, anticipate his best-known
work, Schelomo.
The other compositions date from
the last period in Blochs life when
he was living in relative isolation on
the Oregon coast. Although theres
an element of nostalgia hovering
over the slow movement of the
Symphony in E flat, composed in
the mid 1950s, much of the music is
austere, surprisingly chromatic and
somewhat impersonal. Atlas delivers
a softer-grained and more accessible
approach to the score than Andrey
Boreyko and the Malm Symphony
Orchestra on BIS, although the
latter release benefits from greater
transparency of sound. Elsewhere,
the Royal Philharmonic Orchestra
responds enthusiastically to Atlass
conducting with playing of warmth
and considerable finesse. Erik Levi
PERFORMANCE HHHH
RECORDING HHHH

BRUCKNER
DVD Symphony No. 8 in C minor
Staatskapelle Dresden/
Christian Thielemann
DVD: Unitel Classica 716108;
Blu-ray: 716204 89:00 mins
BBC Music Direct (DVD) 25.99
BBC Music Direct (Blu-ray) 34.99
During the last half century,
Bruckners Eighth Symphony has
gone from being a rarity to being
for many people, including me
the greatest of all symphonies. Its
now available in a scarcely credible
number of recordings, both audio
and on DVD. This latest, in both
DVD and Blu-ray formats, is in
staggeringly fine sound and displays
the superb Dresden Staatskapelle,
of which Christian Thielemann is
the chief conductor. Without doubt,
and this DVD offers further proof,
this is one of the worlds leading
orchestras. Listening twice and I
must say that I could see and hear
very little difference between the two
formats I was not only stunned by
the immense climaxes, with their
impressive burnished brass, but also
delighted by the individual qualities
that members of the orchestra elicit
from their instruments. As with all
the finest orchestras, you can see
they are listening to one another,
intent on making music together.
The fly in the ointment, for
me, is Thielemann. You cant help
being impressed by his control of
his forces, but as with Karajan,
with whom he worked as an
assistant in his last years, you wish
he wasnt so evidently managing
everything that happens. He
admires Wilhelm Furtwngler and
Hans Knappertsbusch, but he is the
antithesis of both of them, different
as they are from one another. Each
of those masters still arrests you
when you listen to their recordings;
you cant help but be struck by
the freshness and at least apparent
spontaneity of their performances.
With Thielemann, on the other
hand, everything seems to be set
in stone, as if this performance
were a stupefying unveiling of
something that is already finished
in every detail. Yet as soon as you
start listening, you cant help but
find it irresistible.
Michael Tanner
PERFORMANCE HHH
RECORDING HHHHH
HONEGGER
Symphonies Nos 2 & 4
Sinfonieorchester Basel/
Dennis Russell Davies
Sinfonieorchester Basel SOB 04
56:47 mins
Available at sinfonieorchesterbasel.ch
Honeggers Second Symphony
belongs to the Beethovenian
tradition of a struggle towards the
light in this case the specific light
of a hoped-for Allied victory after the
horrors of the German Occupation of
Paris. Although he could, as a Swiss
national, have sat out the conflict in
his home country, Honegger chose
to remain in Paris, the city that had
given him his training and career.
The sombre opening and the grey
(or grey-green) tints of the central
Adagio therefore speak of his own
contemporary experience. The Basel
Symphony Orchestra manages to
find variety within the overall gloom,
but, even so, the hopeful finale
always comes as a huge relief, as the
key of D major gradually asserts
itself. For the climactic chorale,
Honegger gave the option of a solo
trumpet to double the violins.
Optional it may be, but even so it has
to blaze out triumphantly. Here the
rapture is somewhat dampened.
In 1946 Honegger felt entitled to
escape the postwar privations of Paris
for Switzerland and the affection of
close friends. The Fourth Symphony,
vk.com/englishlibrary
ORCHESTRAL REVIEWS
vibrant tones:
Austrian conductor
Sascha Goetzel
written that year, follows in the
footsteps of Haydn and Mozart and
this performance revels in the clear
shaping of ideas, and no less in the
virtuoso counterpoint culminating
in the last movement in five themes
played simultaneously. Textures, too,
are well characterised, from punchy
Stravinskyan chords to delightful
birdsong and Russell Davies avoids
the trap of letting the dynamics of
the finale rise too soon. Roger Nichols
PERFORMANCE HHHH
RECORDING HHHH
MESSIAEN
Turangalla-Symphonie
Angela Hewitt (piano); Valrie
Hartmann-Claverie (ondes Martenot);
Finnish Radio Symphony Orchestra/
Hannu Lintu
Ondine ODE 1251-5 75:08 mins
BBC Music Direct 12.99
It is hard to be indifferent to
Messiaens Turangalla-Symphonie.
This ten-movement rambunctious
celebration of overwhelming love
has far too much going for it: an
exotic combination of big juicy
tunes, advanced compositional
number-crunching and a huge
palette of orchestral colour. As a work
of extremes, it can also be hard to
capture it in the studio.
There is no doubt about the
finesse, mastery of playing or effort
from the Finnish Radio Symphony
Orchestra under Hannu Lintu,
nor are there any quibbles about
Angela Hewitts ability to negotiate
the fiendishly difficult solo piano
part. The impression, though, is
that the carnal frenzy of Joie du
sang des toiles barely leaves a
hair out of place across the vast
ensemble, while the final movement
is decidedly genteel. By contrast,
the relatively brisk stroll through
the sixth movements enchanted
garden lacks stillness.
This new hybrid SACD is not the
first surround-sound Turangalla,
but the multi-channel versions
by Riccardo Chailly and Andr
Previn are currently unavailable.
It is frustrating, then, that, while
the sound is often admirably clear,
there are moments of odd balance
that disrupt the sense of a natural
acoustic, notably the piano almost
drowning the entire ensemble in the
ninth movement. Unfortunately,
thats the wrong kind of extreme.
Christopher Dingle
PERFORMANCE HHH
RECORDING HHH
RIMSKY-KORSAKOV
Scheherazade
BALAKIREV
Islamey; plus works by Erkin
and Ippolitov-Ivanov
Borusan Istanbul Phil/Sascha Goetzel
Onyx 4124 77:13 mins
BBC Music Direct 14.99
If you doubted the need for another
recording of Rimsky-Korsakovs
oriental spectacular, this disc should
change your mind. The Istanbul
teams playing has something of
the gutsiness of the old Armenian
Philharmonic Orchestra recordings
under Loris Tjeknavorian, but with
a greater sophistication of orchestral
colour and a firm guiding hand from
principal conductor Sascha Goetzel.
Youll be gripped from the first
resonant trombone proclamation of
bloodthirsty Sultan Shahriar right
through to the final victory of his
resourceful Scheherazade, leader
Pelin Halkaci Akin superlative to the
last. Hes even accompanied in the
Sultanas recitatives not by the usual
harp, but by a Qanun, an oriental
lute, played by the consummate
Hakan Gngr, who slips in two
pertinent short improvisations after
the first and third movements. The
solos in the Tale of the Kalendar
Prince are characterful, too, crowned
by a magical first flautist, and the
BBC M USIC M AG A Z I N E 63
REVIEWS ORCHESTRAL

articulation of the finales whirl
REISSUES in one of the greatest symphonic
Reviewed by Terry Blain movements of its kind would be
impressive even from one of the
R STRAUSS worlds accepted top orchestras.
Operatic Orchestral Music
I didnt really notice the discreet
Rotterdam Philharmonic/Jeffrey Tate overlay of oriental percussion here,
Warner 825646365449 (1992) 76:57 mins and I wish there had been a bit more
BBC Music Direct 5.99 tampering with Lyapunovs so-so
Tates is a mercifully arrangement of Balakirevs piano
elegant, light- fantasy Islamey Casellas version
textured approach to is better. But again the substitution
Strauss, which helps of a ney or oriental flute for the cor
digest a potentially anglais in the first of the Ippolitov-
daunting menu of operatic offcuts, Ivanov movements is inspired and the
and points up much charm and Procession of the Sirdar swaggers,
subtlety in the music. better perhaps than Turkish
PERFORMANCE HHHH
RECORDING HHHH
composer Erkins 1943 dance-
rhapsody Kocekce. Sound is natural
and rich throughout. David Nice
SIBELIUS
PERFORMANCE HHHHH
Suites from Pellas et Mlisande,
RECORDING HHHHH
King Christian II & Swanwhite
Iceland Symphony/Petri Sakari
Chandos CHAN 1082 X (1993) 79:38 mins
BBC Music Direct 8.99
Lushly and
atmospherically
recorded, these
are committed,
idiomatic SCHUMANN
performances, but occasionally
Symphonies Nos 1-4
let down by less than top-notch
Berlin Philharmonic/Simon Rattle
orchestral playing.
Berliner Philharmoniker Recordings BPHR
PERFORMANCE HHHH 140011 175:00 mins (2 discs, 1 blu-ray disc)
RECORDING HHHHH See berliner-philharmoniker.de/en
BRUCKNER
Simon Rattles Schumann cycle
Symphony No. 3
differs from nearly all others in that
Deutsches Symphonie-Orchester
Berlin/Kent Nagano he opts for the rarely heard original
Harmonia Mundi HMA 1951817 (2004) version of the D minor Symphony
68:42 mins No. 4 in place of the familiar revised
BBC Music Direct 8.99 score. Schumann composed it in
Stongly played and 1841, hard on the heels of the Spring
lucidly conducted, Symphony No. 1, but he returned
this is a persuasive to it a full decade later, rewriting
performance of the some of the transitions between
earliest version of sections, adding repeats to the
Bruckners Third Symphony. If you outer movements, and recasting
need that edition, heres a good way the finales main theme. Some of
to get it. the changes benefitted the music,
PERFORMANCE HHHH but unfortunately Schumann
RECORDING HHHH also reinforced the scoring with
BERLIOZ instrumental doublings, making
the outer movements sound unduly
Romo et Juliette; Harold en Italie;
Le carnaval romain*
thick. Brahms made no secret of his
Ludwig, Snchal, Ghiaurov, Les solistes preference for the more transparent
des choeurs de lORTF; Vienna Phil/ original and nor does Rattle in a
Maazel; Cleveland Orchestra/Maazel* video interview and his insistence
Eloquence 480 6621 (1974-78) 143:56 mins on publishing it led to a serious rift
BBC Music Direct 14.99
between him and Clara Schumann,
A desirable Romo, who regarded her husbands last
sparkily conducted thoughts as sacrosanct.
by Maazel with a These are predictably fine
glorious contribution performances, with well-judged
from Christa
tempos throughout, and moments
Ludwig, and ripe Decca analogue
engineering. Harold and Carnaval such as the pianissimo fugato in the
are enjoyable, if less distinctive. slow movement of Symphony No. 2
PERFORMANCE HHHH are spellbinding. The same works
RECORDING HHHH slow introduction has an admirable
sense of mystery, and the Allegros
central development section always
a problematic passage is superbly
shaped. One or two of Rattles
interpretative touches sound a little
self-conscious: the big ritardando in
the expressive string passage from the
first trio in the scherzo of No. 2, for
instance, and a similar indulgence
in the reprise of the scherzo in the
Fourth Symphony. But these are
small points. A bonus Blu-ray disc
with both high-quality audio and
video performances, plus video
interviews, and a free download of
the Symphonies in studio master
quality, makes the set an attractive
proposition. Misha Donat
PERFORMANCE HHHHH
RECORDING HHHH
SHOSTAKOVICH
Symphonies Nos 4-6
Mariinsky Orchestra/Valery Gergiev
Mariinsky MAR0545 135:06 mins (2 discs)
BBC Music Direct 20.99
It is only about 12 years since Valery
Gergiev and his Mariinsky musicians
last recorded these symphonies. In
that time, however, the Mariinsky
has acquired a purpose-built concert
hall: its acoustic advantage is
immediately evident in the Fourth
Symphonys thunderous opening, but
also with a rich bloom and resonance
to its sound which outclasses the
admirable Philips recording made
in the Mariinsky Theatre.
The Fourth and Fifth Symphonies
also benefit from Gergievs recent
experience of conducting Mahler,
informing the Mariinskys playing
of Shostakovichs Mahler-inspired
woodwind and string writing. The
Fourth, recorded under studio
conditions, receives a very ferocious
yet well delineated account. The
Fifth, recorded over three live
concerts, sounds a little less polished,
Gergievs ponderous tempo for
its opening recalling the style of
yesteryear Beethoven performances.
But perhaps thats the point: this is,
after all, Shostakovichs ostensive
essay in neo-classicism, and by
the movements end, with its eerie
scoring of which the celesta is simply
its icing, one feels one has travelled
a long way from that apparently
conventional start. Still, the Largo
is rather matter of fact, belying its
reputation as the movement that
reduced its first audience to tears.
But then one can hear how the
Sixths opening slow movement
revisits that Largos mournful world
before entering the apparently
quite unrelated carnival world of
the second and third movements.
Gergievs relatively manic pace
in these latter movements creates
a suitably febrile atmosphere.
Daniel Jaff
PERFORMANCE (NO. 5) HHHH
(NOS 4 & 6) HHHHH
RECORDING HHHHH
SIBELIUS
Lemminkinen Suite;
The Wood Nymph (Skogsret)
Lahti Symphony Orchestra/
Osmo Vnsk
BIS BIS-1745 (hybrid CD/SACD) 69:37 mins
BBC Music Direct 12.99
Most of this issue The Swan
of Tuonela, Lemminkinens
Return and Skogsret was first
released a few years ago, and these
recordings have been remastered
for this new compilation. The
remastered sound is superbly in
line with the labels reputation. So
are the performances: for me, this
is the finest Lemminkinen Suite
since Thomas Jensens unforgettable
1952 recording with the Danish
State Radio Symphony Orchestra
(Danacord DACOCD 697-698).
Compared to Jensens mesmerising
command of pace, atmosphere, and
charged emotion, Vnsks approach
is more tight-reined. He pays
scrupulous attention to Sibeliuss
tempo markings: at first I wondered
whether the central dance section
of Lemminkinen and the Maidens
of the Island felt surprisingly quick,
but thats what the score asks for,
and the result scintillates.
Vnsk and the Lahti orchestra
generate spellbinding intensity both
in the The Swan of Tuonela (with
wonderful, uncredited solo cor
anglais playing) and in the turbulent
outer sections of Lemminkinen
in Tuonela. Here they also find a
remarkable, keening quality for the
lament of the heros mother; and a
brilliantly judged, not-too-quick
tempo for Lemminkinens Return
unleashes thrilling momentum.
Compared to this four-movement
early Sibelius masterpiece, Skogsret
is not the same class: the opening and
closing sections find the composer
railroading through some indifferent
material, although the lyrical
centrepiece, with its cello solo, is
more impressive. Malcolm Hayes
PERFORMANCE HHHHH
RECORDING HHHHH

64 BBC M USIC M AG A Z I N E
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 CONCERTO
Look out for Ingolf Wunders standout performance of Tchaikovskys First Piano Concerto;
magnificent new James MacMillan; plus Finlands great modernist Tauno Marttinen on disc
Made for MacMillan
Terry Blain applauds a collection of the Scottish composers concertos
virtuosic violin:
Linus Roth impresses
in From Ayrshire
MACMILLAN
From Ayrshire; Tuireadh; Kiss
on Wood; ...as others see us...
Linus Roth (violin); Julius Berger (cello);
Lars Wouters van der Oudeweijer
(clarinet); Netherlands Radio Chamber
Philharmonic/James MacMillan
Challenge Classics CC72638 60:56 mins
BBC Music Direct 14.99
The third volume in Challenges
absorbing James MacMillan
series contains pieces written for
soloist and chamber orchestra.
From Ayrshire was originally for
Nicola Benedetti, but is played
here with burnished lyricism by
German violinist Linus Roth, who
66 BBC M USIC M AG A Z I N E
CONCERTO CHOICE
scorches the brief, fast-reel second
movement with virtuosity.
Dutch clarinettist Lars Wouters
van den Oudeweijer also proves
himself a committed soloist in
Tuireadh (Lament in Gaelic),
a 20-minute commemoration
of the Piper Alpha North Sea
Its hard to imagine any
of these performances
being bettered
oil-rig disaster. Here the orchestras
role is more prominent, and
MacMillan elicits a magnificent
response from the Netherlands
string players, oscillating violently
from hushed meditations to wild,
slashing interjections and keening
glissandos. Similar intensity
informs Kiss on Wood, where Julius
vk.com/englishlibrary
Bergers solo cello is wonderfully
rapt and concentrated.
...as others see us... (the title is from
a Robert Burns poem), MacMillans
very own pictures at an exhibition,
is a more playful piece, comprising
six short musical portraits. The
dashings of marimba over a high
violin line in John Wilmot
(depicting a mischievous monkey),
and the merry irruptions of a foxtrot
in T.S. Eliot are typical of the
many sharply imagined sonorities.
Its hard to imagine any of these
performances being bettered.
PERFORMANCE HHHHH
RECORDING HHHHH
ON THE WEBSITE
Hear extracts from this recording
and the rest of this months choices on
the BBC Music Magazine website
www.classical-music.com
JS BACH
Concertos for two harpsichords: in
C minor, BWV 1060; in C, BWV 1061;
in C minor, BWV 1062; Orchestral
Suite No. 1 in C, BWV 1066
Masaaki & Masato Suzuki
(harpsichords); Bach Collegium Japan
BIS BIS-2051 (hybrid CD/SACD) 71:08 mins
BBC Music Direct 12.99
The two C minor harpsichord
concertos here are familiar: one
is Bachs arrangement of his two-
violin concerto, and the other is
his arrangement of a lost one for
(its thought) violin and oboe. The
thrill of pulsing Italianate allegros
and the inspired texture of Bachs
counterpoint create a heady and
exuberant mix. The aria-like middle
movements, ornaments extending
the short-lived harpsichords
resonance, flow with charming
lyricism. Suzukis father and
son play with almost uncanny
unanimity, although the liner photo
shows them in line-astern formation
rather than within eye-contact.
The ensemble is hard to record.
Fistfuls of harpsichord attacks played
with lively articulation accompanied
by quite closely recorded strings
can seem unrelentingly busy, and
an intrusively hard tone leaps out in
places from first violin. Despite one-
to-a-part strings, balance is an issue
the harpsichords seem to be placed
audibly behind the accompaniment.
I enjoyed most the C major
Concerto, BWV 1061, initially
just for harpsichords. Bachs later
addition of string parts is minimal
and structural, emphasising
cadences, while the final fugue is
a masterpiece of both composition
and performance.
Masaaki Suzukis transcription
of the first Orchestral Suite, if hard
to justify by any sort of precedent,
works very well. The dance
movements especially are a refreshing
element in the disc as a whole, and
REVIEWS CONCERTO
most characterfully played. The
Courante bounds along in dotted
notes ingales with a powerful
metrical ambiguity at the cadences
is it in 3/4 time or 6/8? The second
Gavotte is transparent enough for
Bachs witty horn calls to permeate
the texture. Overall, this recording
comes highly recommended.
George Pratt
PERFORMANCE HHHH
RECORDING HHHH
MARTTINEN
Violin Concerto; Piano
Concerto No. 1; Phantasy for
Cello & Orchestra*
Philippe Graffin (violin); Ralph van
Raat (piano); Turku Philharmonic
Orchestra/Ari Rasilainen; Marko
Ylnen (cello); Tampere Philharmonic
Orchestra/Hannu Lintu*
Cobra Records COBRA 0041 55:03 mins
BBC Music Direct 15.99
Born in Helsinki, the Finnish
composer Tauno Marttinen
(1912-2008) lived even longer
than his great countryman
Sibelius, which is fortunate as he
only seems to have found his feet as
a composer in midlife. What helped
Marttinen plant himself musically
was his discovery of Schoenbergian
serialism, soon adapted into
something entirely personal.
The stylistic range is wide:
Marttinen speaks with a
modernist-expressionist accent
one moment, shamelessly echoes
high Romanticism the next. But
the surprise isnt so much in the
eclecticism as in the speed with
which the music vaults over stylistic
hurdles. The Violin Concerto
in particular is delightfully
unpredictable, with an atmospheric
slow movement perhaps not quite
like the breath of God, as Marttinen
puts it, but certainly otherworldly.
A darker seriousness emerges in the
Phantasy for Cello and Orchestra,
but here again Marttinens very
winning combination of playfulness
and open-hearted Romanticism
mean that the ear is always being
led in surprising directions.
Between these sits the Concerto
classico, a title almost certainly
conceived with a twinkle in the
eye. Brahms is invoked, apparently
without irony, then the strings are
twisted and, historically speaking,
we dont know where we are. It
makes for a strangely refreshing
experience. The performances sound
perceptive and suitably zestful,
and the recordings are warm and
clear. Stephen Johnson
PERFORMANCE HHHH
RECORDING HHHH
TCHAIKOVSKY
Piano Concerto No. 1
CHOPIN
Piano Concerto No. 1
Ingolf Wunder (piano);
St Petersburg Philharmonic
Orchestra/Vladimir Ashkenazy
Deutsche Grammophon 479 0670
72:40 mins
BBC Music Direct 14.99
To describe Ingolf Wunders
performances as couched in a kind
of neo-Mozartian aesthetic isnt to
criticise but to applaud them. For
both composers, Mozart was their
presiding musical deity (Tchaikovsky
described Mozart as a musical
Christ). This is not a question of
clipped wings or quasi-18th-century
etiquette. These are warm-blooded,
big-boned, panoramic accounts,
richly and subtly expressive without
displaying a hint of bombast or
manipulative self-indulgence. They
are remarkably alike in their natural
balance and their symphonic
demonstration of unity achieved
through diversity.
Though the pianist gets the
lions share of the material in both
works, Vladimir Ashkenazy is very
much more than an accomplished
and insightful accompanist. He is
a fully fledged, generous partner,
weaving the variegated orchestral
strands into a polyphonic tapestry
of timbres, perfectly suited to offset
and enhance the very different
sounds of the piano.
Wunder, meanwhile, easily
distracts us, when its appropriate,
from the essentially percussive
nature of his instrument, not least
when he uses his power, depth of
sound and breadth of phrasing to
meet the orchestra on its own terms
as in the first movement of the
Tchaikovsky. Indeed this is one of
the most subtly and illuminatingly
coloured accounts of this work
Ive encountered. In the Chopin,
where maximum suppleness is a
prerequisite, I felt sometimes a
certain squareness in Wunders
rhythmic articulation, and a certain
opacity of tone, not ideally suited
to the Mozartian translucency of
Chopins textures, especially in the
vk.com/englishlibrary
first movement. Still, these are both
outstanding performances. REISSUES
Jeremy Siepmann Reviewed by Rebecca Franks
PERFORMANCE
(TCHAIKOVSKY) HHHHH MOZART
(CHOPIN) HHHH Piano Concertos Nos 22 & 27
RECORDING HHHHH Rudolf Buchbinder (piano); Academy of
St Martin in the Fields/Neville Marriner
Warner 6155302 (1991) 63:07 mins
BBC Music Direct 6.99
Good humour seems
to bubble effortlessly
out of Buchbinders
Piano Concerto
TCHAIKOVSKY No. 22, though
he makes less of an impression in
Piano Concertos Nos 1 & 2 No. 27. Stylish contributions from
Simon Trpeski (piano); Royal Liverpool
the ASMF and Neville Marriner.
Philharmonic Orchestra/Vasily Petrenko
Onyx 4135 70:52 mins
PERFORMANCE HHHH
HHHH
BBC Music Direct 14.99 RECORDING
GRIEG
Simon Trpeski, Vasily Petrenko and
Peer Gynt Suites; Piano Concerto;
the RLPO have followed up their Seven Lyric Pieces
acclaimed Rachmaninov recordings Ronan OHora; RPO/Ermler; Judd
by moving on to Tchaikovsky. They Alto ALC 1218 (1993, 1995) 79:42 mins
offer solid, propulsive accounts of BBC Music Direct 6.99
both of these sprawling warhorses. Ronan OHora
Theres no room for sentimentality, gives a nimble yet
happily; but theres little room for substantial account
an individual stamp, either. of Griegs Piano
In the Concerto No. 2, seldom Concerto, balancing
heard, this is less of an issue. Trpeski tenderness with virtuosity. The Peer
begins like a racehorse out of the Gynt Suites are more uneven, but
starting gate, and there are moments the Lyric Pieces are movingly done.
when even his crisply muscular touch PERFORMANCE HHHH
and strength of articulation cant stop RECORDING HHHH
him sounding a little flustered. Still,
overall he sounds less impetuous and BARTK
more poised than Denis Matsuev in Piano Concertos Nos 1-3
his recent recording with Gergiev Gza Anda (piano); Berlin Radio
Symphony Orchestra/Ferenc Fricsay
and the Mariinsky Orchestra. Alto ALC 1246 (1961-62) 77:17 mins
In the slow movement, violinist BBC Music Direct 6.99
James Clark and cellist Jonathan The troubadour
Aasgaard take over in a richly of the keyboard
woven duet, Clark indulging in offers steel-fingered,
some old-school portamento. The characterful readings
finale is a romp, with the characterful of Bartks First and
clarinet suddenly very forward in a Second Concertos and atmospheric
mix that doesnt leave much space magic in the Third.
around the soloist. PERFORMANCE HHHH
With the First Concerto, RECORDING HHH
Trpeski enters a crowded field.
He cultivates cool ardour that cuts CHOPIN SCHUMANN
through the musics grandiloquence, Chopin: Piano Concerto No. 2;
but, as so often, the tricky first Schumann: Piano Concerto
movement emerges as a string of Claudio Arrau (piano); Bavarian Radio
Symphony/Pradella; North German
catchy episodes rather than a joined-
Radio Symphony/Kubelk
up whole. Petrenko is always of a West Hill Radio Archives WHRA-6050
mind with his soloist, and shapes (1960, 1962) 65:16 mins
some powerful long crescendos, but BBC Music Direct 12.99
lets the orchestra veer dangerously Impassioned, full-
close to bombast, and there is the bodied playing in the
occasional fortissimo moment where Chopin, though the
the tuning might have justified one piano and orchestra
more take. Erica Jeal sound far apart.
PERFORMANCE HHH Pure poetry in the Schumann is
RECORDING HHH sometimes marred by boomy sound
Hear the BBC Music team give and out-of-tune wind playing.
its verdict on this CD on our PERFORMANCE HHHH
First Listen podcast, available from RECORDING HHH
iTunes & www.classical-music.com
BBC M USIC M AG A Z I N E 67
 OPERA
Plcido Domingo plays the father to Anna Netrebkos Joan in Verdis
Giovanna dArco; Bejun Mehta proves commanding in the title role of
Glucks Orfeo; plus hair-raising Strauss from Aix-en-Provence
A colossal and complex Elektra
David Nice admires Patrice Chreaus electrifying Strauss production
vocally tireless:
Evelyn Herlitzius in
the title role of Elektra
STRAUSS
DVD Elektra
Evelyn Herlitzius, Waltraud Meier,
Adrianne Pieczonka, Mikhail Petrenko,
Tom Randle; Orchestre de Paris/Esa-
Pekka Salonen; dir. Patrice Chreau
(Aix-en-Provence, 2013)
Bel Air Classiques DVD: BAC110;
Blu-ray: BAC410 110 + 23 mins
BBC Music Direct (DVD) 14.99
BBC Music Direct (Blu-ray) 39.99
Patrice Chreaus Bayreuth
centenary Ring remains a
monument of production history,
VICTOR PASCAL
and this Elektra, staged at the
Aix-en-Provence Festival only
months before his untimely but
BBC M USIC M AG A Z I N E
68
OPERA CHOICE
long-expected death, is another.
What festival director Bernard
Foccroulle calls Chreaus mad
energy courses through Strauss and
Hofmannsthals masterpiece.
Has Elektra ever had a more
committed or strong-voiced team?
Evelyn Herlitzius as the vengeful
daughter is vocally tireless, fuller
Elektra has never had
such a committed and
strong-voiced team
in her top notes than the other
Elektra of the moment, Christine
Goerke, and possessed of a vital
force. Chreau exacts a similarly
intense, realistic performance
from Adrianne Pieczonka as
Chrysothemis. Waltraud Meier is a
glamorous Clytemnestra, a mother
who shows complicated feelings
for her confused offspring. Her top
vk.com/englishlibrary
vocal form is shared by Roberta
Alexander as the sympathetic Fifth
Maid, an old retainer possibly
Elektras nurse among servants
who, as regular onlookers, heighten
the tension. With Chreau veterans
Donald McIntyre and Franz
Mazura in other smaller roles, the
recognition scene is shatteringly
moving. Other crucial elements
in a total theatrical experience are
Richard Peduzzis colossal set and
Esa-Pekka Salonens conducting,
which is visceral throughout. This
is one of the truly indispensable
opera DVDs.
PERFORMANCE HHHHH
PICTURE & SOUND HHHHH
EXTRAS HHHH
ON THE WEBSITE
Hear extracts from this recording
and the rest of this months choices on
the BBC Music Magazine website
www.classical-music.com
GLUCK
DVD Orfeo ed Euridice
Bejun Mehta, Eva Liebau, Regula
Mhlemann; Collegium 1704/Vclav
Luks; dir. Ondej Havelka (esky Krumlov
Castle, 2013)
Arthaus Musik DVD: 102 184;
Blu-ray: 108 103 75 mins
BBC Music Direct (DVD) 28.99
BBC Music Direct (Blu-ray) 34.99
This latest Orfeo ed Euridice DVD,
while adding to the large number
already available, comes across
as distinctly different from its
predecessors. In one way or another,
all of those impose a particularised
production slant on the simplicity
and bareness of Gluck and
Calzabigis musical and dramatic
language, too often at considerable
cost to just those revolutionary
artistic qualities.
Ondrej Havelkas film for
which his Orfeo, Bejun Mehta,
functioned as artistic advisor
takes as its location the splendid
Bohemian castle of esk Krumlov,
a UNESCO Heritage site famed for
its restored, completely equipped
17th-century theatre. In fact, the
magical theatre-interior and stage
serve only for scenes on Earth and
in the Elysian Fields; hell, and the
journey back from it, unfold in
and across the castles dark, richly
atmospheric basement, staircases
and passages. Cast and chorus
wear period costume; the dance or
pantomime numbers are treated in
a simple period way in attractive
sympathy with the stylistic tenets
of Vclav Lukss musical forces and
keenly alert conducting.
At its best, indeed, in the
unadorned unfolding of hell
and then heaven, the experience
strikes fire in a manner crucially
lacking in other filmed Orfeos.
Unfortunately, not even this one
comes free of curious directorial
glosses such as the leading man
nervously readying himself for
performance during the overture,
moments of bizarre tension between
Orfeo and fellow mourners, an
abrupt final separation for the
supposedly reconciled lovers
revealing Havelkas intention
(according to the box blurb) of
combining period details with
modern psychological interpretation.
And Mehtas facial expressiveness,
on which the direction so heavily

depends, proves conspicuously
limited. But since he is a superbly
commanding, passionate interpreter
of Glucks vocal lines, and since his
cast colleagues give accounts of their
music no less sensitive, the powerful
impact of the whole survives those
passing flaws. Max Loppert
PERFORMANCE HHHH
PICTURE & SOUND HHHH
GRTRY
Guillaume Tell
Marc Laho, Anne-Catherine Gillet,
Lionel Lhote, Liesbeth Devos, Natacha
Kowalski, Patrick Delcour, Stefan
Cifolelli, Roger Joakim; Orchestre et
Choeurs de lOpra royal de Wallonie/
Claudio Scimone
Musique en Wallonie MEW 1370 85 mins
BBC Music Direct 14.99
Among minor opera composers
inspiring disproportionately strong
affection, the Belgian Andr Grtry
(1741-1813) stands out. Lige-born
and Rome-trained, a dominant
figure in Parisian popular opera for
nearly 50 years, he proved crucially
important in the development of
opra-comique (in which sung
numbers alternate with speech).
He managed to retain popularity
throughout unstable times, from
Marie-Antoinettes era, via the
revolution, into that of Napoleon.
The prime reasons for his longevity
were his innate melodic abundance
and lifelong determination to infuse
sincerity and naturalness into French
opera. In orchestral and harmonic
terms his scores can seem primitive,
yet in, say, Zmire et Azor (1771) and
Richard Coeur-de-Lion (1784), his
best-remembered works, a genius for
vocal lines at once memorably simple
and theatrically apt unfailingly
brings the drama to life.
In principle, the Grtry
discography should have been
enriched by Guillaume Tell (1791,
No. 51 on a work list of 68, preceding
Rossinis mighty masterpiece by
nearly three decades). Lacking
Zmires radiant lyricism, it comes
across as compact, fast-moving
and expertly judged in marrying
limited resources and spectacle, with
atmospheric variety and orchestral
writing more ambitious than one
associates with Grtry. In practice,
this live Opra de Wallonie recording
exposes prominent performance
weaknesses persistently lax
ensemble under the veteran Claudio
Scimone and a bizarre insistence on
having spoken passages delivered
in a manner of ridiculous send-
up. Notwithstanding a capable
francophone cast led by the tenor
Marc Laho (Tell), soprano Anne-
Catherine Gillet (his wife) and
baritone Lionel Lhote (the villain
Gessler), the overall impression is
disappointingly patchy. Max Loppert
PERFORMANCE HH
RECORDING HHH
ROYER
Pyrrhus
Guillemette Laurens, Emmanuelle
de Negri, Jeffrey Thompson, Alain
Buet; Les Enfants dApollon/
Michael Greenberg
Alpha 953 142:06 mins (2 discs)
BBC Music Direct 24.99
Royer was a key figure in French
music in the first half of the 18th
century, renowned chiefly as an
organist and harpsichordist. He was
also master of music at the Paris
Opera where he participated in the
premiere of Rameaus Hippolyte et
Aricie as well as staging his own full-
scale opera, Pyrrhus. In spite of some
outstanding singers, Pyrrhus was a
failure with the public: the general
feeling was that while the music was
of considerable beauty, the libretto
was poor with one contemporary
describing it as harsh and cold. August 2013, this new set centres
Royers music is certainly elegant
and pleasingly melodic. Cast firmly
in the manner of Lully, it benefits
from a broader instrumental
palette and at times, notably the
prelude to the third act, some ear-
catching counterpoint. In fact, the
third act, set in the underworld,
contains some of the operas most
arresting music. Particularly
impressive are the dramatically
volatile exchanges between
Pyrrhus, sung with commanding
tone by Alain Buet, Polyxne
and Eriphile, characterised with
convincing dramatic involvement
by Emmanuelle de Negri and
Guillemette Laurens respectively.
The singers are also well supported
by some fine wind playing. In
general, the orchestral performance
is expert and suitably expressive; the
drama also moves at a convincing
pace, notably in the affecting final
pages. Unfortunately, much that is
excellent is compromised by some
rather raw choral and vocal singing
in the Prologue. Furthermore, one
cant help feeling that the whole
vk.com/englishlibrary
REVIEWS OPERA
disc would benefit from a slightly
more forward recorded sound. REISSUES
Jan Smaczny
Reviewed by George Hall
PERFORMANCE HHH
RECORDING HHH FERNANDO CORENA
Mozart: Arias Cimarosa:
Il maestro di cappella
Corena (bass); Orchestra dellAccademia
di Santa Cecilia; LOrchestre de la Suisse
Romande/Peter Maag
Decca 480 8146 (1952) 77:50 mins
BBC Music Direct 10.99
Fernando Corena
VERDI offers a characterful
Giovanna dArco voice in the
Francesco Meli, Plcido Domingo, Mozartian extracts
Anna Netrebko, Johannes Dunz, he performs in these
Roberto Tagliavini; Vienna Philharmonic 1950s recordings, as well as in the
Chorus; Munich Radio Orchestra/
Paolo Carignani
comic intermezzo by Cimarosa.
Deutsche Grammophon 479 2712
PERFORMANCE HHHH
66:44 mins (2 discs) RECORDING HHHH
BBC Music Direct 24.99
THE A-Z OF
Verdis seventh opera (1845), on MOZART OPERA
the Joan of Arc story, reads strangely Bottone, Ek, Grimson, Gritton, Leese,
in plot terms to those familiar with Burggraaf, Johnston, Clayton, Staples,
other versions of the historical Stone, Rose; Classical Opera/Page
original: here Joan dies not at the Signum SIGCD373 (2007) 64:32 mins
stake but in battle. A relationship BBC Music Direct 14.99
between the saint and the French This sampler disc
king is also posited though its runs from Mozarts
clearly more of an attachment on first stage work to his
his side than on hers. Lastly, the last, with a highlight
most complex role is that of Joans from each performed
father, the old shepherd Giacomo, with skill and grace under the able
direction of Ian Page.
who, assuming his daughter to be
PERFORMANCE HHHH
in touch with the Devil, brings her
RECORDING HHHH
down from her position of glory
at the French court to that of a PURCELL
putative witch, facing the prospect
The Fairy Queen
of execution. Argenta, Dawson, Desrochers, Gens,
Recorded live in Salzburg in Piau, Fouchecourt, Corras, et al;
Les Arts Florissants/William Christie
on this latter character, sung by Harmonia Mundi HMG 501308.09
veteran tenor-turned-baritone (1989) 128:42 mins
BBC Music Direct 14.99 (2 discs)
Plcido Domingo, who sounds
entirely at home in his new vocal Purcells semi-opera
category; his voice now fibrous sounds fresh in this
in quality, he is also engaged recording under
dramatically. At his side, Anna Christie, with
Netrebkos soprano has expanded to spirited playing
embrace the stirring warrior-maiden from Les Arts Florissants and vivid
singing from the large cast.
possibilities of the title role, though
PERFORMANCE HHHHH
her fleshy, lavish tone is somewhat
RECORDING HHHH
indiscriminately deployed. Shes not
always note-specific, as Montserrat BEETHOVEN
Caball was in a 1972 EMI recording
Leonore
of the opera in which Domingo Moser, Cassilly, Adam, Donath;
sang the tenor role. Here Francesco Rundfunkchor Leipzig; Staatskapelle
Melis healthy and characteristically Dresden/Blomstedt
Italianate tenor creates a credibly Brilliant 94868 (1977) 155:39 mins
weak but volatile Carlo. BBC Music Direct 10.99 (2 discs)
Conductor Paolo Carignani paces The original version
the score skilfully and demonstrates (1805) of Beethovens
a good sense of style, discovering opera, including
more subtleties in the piece than music dropped from
it is usually given credit for; by no the final version we
means Verdis finest early opera, it know as Fidelio (1814); Blomstedt
is nevertheless well worth hearing. provides weight and vigour.
George Hall PERFORMANCE HHHHH
PERFORMANCE HHHH RECORDING HHHH
RECORDING HHHH
BBC M USIC M AG A Z I N E 69
 CHORAL & SONG
The Sixteen and Harry Christophers continue to explore Palestrinas choral works; Philippe
Herreweghe directs music by JS Bach at his most inventive; plus Valery Gergievs variable Brahms
Songs of unrequited love
Hilary Finch is impressed by Julian Prgardiens debut recital
family business :
German tenor Julian
Prgardien follows in
his fathers footsteps
AN DIE GELIEBTE
Songs by Beethoven, Richard
Strauss, Weber and Wolf
Julian Prgardien (tenor);
Christoph Schnackertz (piano)
Myrios Classics MYR012
(hybrid CD/SACD) 60:10 mins
BBC Music Direct 14.99
Yes, hes Christoph Prgardiens
son: 30 years old, and a tenor too,
his voice sweeter and silkier than
his fathers, but characterised by
that same delectable enunciation
MARCO BORGGREVE
and high intelligence. And this
is his first and highly auspicious
Lied album. Its a painstakingly
researched and meticulously
70 BBC M USIC M AG A Z I N E
CHORAL & SONG CHOICE
prepared recital focusing on the sort
of unrequited love that flourished in
the days of the Romantic poets.
Prgardiens starting point is
Beethovens An die ferne Geliebte:
the very first through-composed
song-cycle. The tenors voice is
gently hushed, and the music
winsomely embellished here and
Julian Prgardiens
voice is characterised
by high intelligence
the sound completely naturally.
there. I particularly like the lack of
that grandiloquent drawing back at
the end which is so unconvincing
yet so often heard. Prgardien then
offers a rarely heard series of songs
by Weber. A theme with delectable
variations sets caricatures of four
lovers whose emotions epitomise the
vk.com/englishlibrary
four temperaments all irresistibly
characterised here.
And, in another delightful
pairing, Strausss flower songs, the
Mdchenblumen more often sung
by a soprano, and revealing fresh
nuances of timbre and harmony in
their original tenor version meet
six Mrike settings by Wolf. Both
Prgardien and his excellent pianist
Christoph Schnackertz, exquisitely
capture the quicksilver, volatile
spirit of Wolfs responses. And the
recording disperses and distributes
PERFORMANCE HHHHH
RECORDING HHHHH
ON THE WEBSITE
Hear extracts from this recording
and the rest of this months choices on
the BBC Music Magazine website
www.classical-music.com
JS BACH
Cantatas BWV 48, BWV 73, BWV 44
& BWV 109; plus Schelle: Komm,
Jesu, komm
Dorothee Mields (soprano), Damien
Guillon (alto), Thomas Hobbs (tenor),
Peter Kooij (bass); Collegium Vocale
Gent/Philippe Herreweghe
Outhere LPH 012 68:30 mins
BBC Music Direct 15.99
This is Philippe Herreweghes second
disc of cantatas from Bachs first year
in Leipzig. I greatly enjoyed the first
(LPH 012) and the music here is no
less extraordinarily inventive and
innovative. Some recording issues,
too, are happily ironed out; soloists
come from the three-to-a-part choir,
but theres more differentiation now
between single voices and the full
ensemble BWV 109 contrasts
soloists singing introductory phrases,
with a chorus thats distinctively
more sonorous. Herreweghe is highly
expressive, emphasising, for instance,
the opening phrasing of BWV 48,
a violin figure repeated three times
then expanded, to complete its
gentle, pleading statement.
Excellent soloists reflect their
choral sensitivity, never assertive,
but fluent, supple and admirably
matched with accompanying
instruments. Bachs imagination was
on fire in 1723-24: in the tenor aria
Vergiebt mir (BWV 48). He writes
successive bars of two-beat time
within a three-beat time signature,
creating a metric uncertainty which
simply cant be resolved without
sight of the notation. Thomas
Hobbss delight in it is palpable.
Peter Kooijs prayerful Herr, so du
willt (BWV 73) is wrapped in string
textures which then a moment of
magic mutate to quietly rocking
pizzicato. Formally too Bach breaks
convention: BWV 44 opens not with
chorus but with a tenor/bass duet,
with oboes and continuo framing it
with a trio. Recitative interrupts the
opening chorus of BWV 73.

At times soloists could be a pace
more forward, and the overall stereo
span is narrow. But otherwise the
recording serves these outstanding
performers extremely well. Five solo
voices sing Schelles Komm Jesu
komm as an exquisitely peaceful
bonus. George Pratt
PERFORMANCE HHHHH
RECORDING HHHH
BRAHMS
German Requiem
Sally Matthews (soprano), Christopher
Maltman (baritone); London Symphony
Chorus; LSO/Valery Gergiev
LSO Live LSO0748 (hybrid CD/SACD)
64:07 mins
BBC Music Direct 10.99
As so often with Valery Gergiev these
days, reactions to this performance
vary intensely as it unfolds. The dark,
veiled strings at the opening (Brahms
with a slight Russian Orthodox
accent?) are very impressive. So too
is the sense of the first movement
rising and falling steadily like a
great arch. But the sentiments in the
second movement, For all flesh is as
grass, instead of inspiring suitably
sombre or sinister thoughts, seem
to have acted as a damper on the
collective spirit. A kind of Sabbath
torpor settles on the music, not to
be dispelled until the closing words
of consolation, where the voltage
suddenly shoots upwards again.
The lively tempos and articulation
for the fugues in the third and
sixth movements do add muscle to
Brahmss counterpoint, but then
on the other hand the central How
lovely are thy dwellings feels too
nervously hurried to convey any sense
of lilting loveliness.
The chorus are generally good, but
they do sound momentarily caught
out by Gergievs tempo at the start
of the souls of the righteous fugue
in the third movement. In the final
movement there are a few slight
lapses in intonation, and chorus
and strings ensemble falters in the
recapitulation. As for the soloists,
Christopher Maltman is on fine
stirring form, but Sally Matthewss
intense vibrato doesnt offer a lot of
comfort in the fifth movement.
And while the recording copes
reasonably well with the notorious
Barbican acoustic, theres still a sense
of airlessness in big, complex choral-
orchestral passages. Stephen Johnson
PERFORMANCE HHH
RECORDING HHH
buxtehude expert:
Ton Koopman directs
a sparkling recording
BUXTEHUDE
Vocal Works Vol. 8: Wachet auf,
ruft uns die Stimme, BuxWV 101;
O clemens, o mitis, BuxWV 82;
Gen Himmel zu dem Vater mein,
BuxWV 32 etc
Bettina Pahn, Dorothee Wohlgemuth,
Miriam Feuersinger (sopranos),
Maarten Engeltjes (alto), Tilman
Lichdi (tenor), Klaus Mertens (bass);
Amsterdam Baroque Orchestra & Choir/
Ton Koopman
Challenge CC72257 135:01 mins (2 discs)
BBC Music Direct 24.99
Ton Koopman has a habit of
turning endings into beginnings.
When he and his Amsterdam forces
completed their Bach cantata cycle
they reassigned their completist gaze
to Buxtehude, and since 2005 have
been working their way through the
opera omnia to this final recording.
Whatever follows, the Buxtehude
project is arguably Koopmans
most important achievement:
groundbreaking, ear-opening,
comprehensive, scholarly, answering
questions, raising others. But above
all its sounded like a labour of love.
And still the discoveries flow. The
first disc of this volume ends with
a recently disinterred Canon that
hypnotically chases its own tail,
followed by an animated gigue,
both fragments from lost music
for a Lubeck wedding. Theres
an energised Lauda anima mea
Dominum that suggests a nod to
vk.com/englishlibrary
CHORAL & SONG REVIEWS
Monteverdis Madrigals of War,
and a richly scored six-voice Gott
hilf mir that depicts the lapping
of the flood waters with a quiet
yet telling menace. For all that
Buxtehudes vocal writing is pre-
eminently singable, its nonetheless
his instrumental palette that grabs
the ear with a pair of violettas here,
a buzzing dulcian there. And its the
sheer effortless sparkle and freshness
of the playing that continually
ambushes the listener as Koopman
coaxes sectional gear changes that
always exude a suave inevitability.
Perhaps Bettina Pahn isnt the most
winsome of sopranos in her upper
register, but the ever-dependable
Klaus Mertens and Tilman Lichdi
on elegant form do not disappoint.
Bravo Buxtehude and thank you
Ton Koopman! Paul Riley
PERFORMANCE HHHH
RECORDING HHHHH
BBC Music Direct
DONIZETTI
Aristea
Andrea Lauren Brown, Sara Hershkowitz
(sopranos), Caroline Adler (alto), Cornel
Frey, Robert Sellier (tenors), Andreas
Burkhart (bass); Bavarian State Opera
Chorus; Simon Mayr Chorus and
Ensemble/Franz Hauk
Naxos 8.573360 59:15 mins
BBC Music Direct 6.99
You would need to be an unusually
advanced Donizetti addict they
do exist to have heard of this short
work, let alone to have heard it.
That being the case, it is vexing of
Naxos only to produce desultory
notes about it, and to send listeners
to their computers if they want the
cantatas libretto (though that is
provided in Italian only, and with
confusing changes of characters
names) and more information
about the derivation of the plot, and
even, in any detail, what the plot is.
Perhaps it doesnt matter. Its one
of those mistaken-identity affairs
with long-lost children brought up
in a shepherds hut. Since it lasts
very slightly under an hour its most
enjoyably heard as a series of arias and
ensembles. It has a curious structure,
beginning with a series of soprano
arias, moving onto several male
arias, and then, in the second and
vastly more enjoyable half, a series of
quartets, which are really fun.
Enthusiasm keeps the thing
afloat. I found the three sopranos,
one a travesti role, virtually
indistinguishable from one another,
and none of them has a remarkable
voice, though they are serviceable.
They sound much better singing
together, and better still when the
tenors and the bass join in. The
conductor, Franz Hauk, seems to
warm to his task as he goes along.
The fully accompanied pieces are
separated by string-accompanied
recitatives, which carry the plot a bit
further. Michael Tanner
PERFORMANCE HHH
RECORDING HHHH
HANDEL
The Triumph of Time & Truth
Sophie Bevan, Mary Bevan (sopranos),
Tim Mead (countertenor),Ed Lyon
(tenor), William Berger (bass); Ludus
Baroque/Richard Neville-Towle
Delphian DCD34135 154:43 mins (2 discs)
24.99
In 1757 Handel revisited a work he
had written 50 years earlier to lyrics
by Cardinal Benedetto Pamphilj.
A lifetime separated the elderly
composer from the caro sassone who
had dazzled Pamphilj, composing
Il trionfo del tempo e del disinganno
alongside psalm settings, cantatas
and serenatas for the chapels, gardens
and private theatres of the Roman
aristocracy. The Triumph of Time
and Truth was a plumper, sturdier,
Anglicised version of a lean and
brilliant original, upholstered with
the descriptive choral writing that
had provided Handel with a second
BBC M USIC M AG A Z I N E 71
REVIEWS CHORAL & SONG
career when London tired of Italian
opera. His lyricist was Thomas
Morell, librettist of Judas Maccabeus,
Theodora and Jephtha, and, most
pertinently for this allegory,
adviser to William Hogarth in the
preparation of Hogarths Analysis of
Beauty (1753).
Historians have questioned how
active a part Handel played in The
Triumph but Hogarths principles
of fitness, variety, simplicity and
intricacy are audible. Richard
Neville-Towles spirited recording
with Ludus Baroque captures
these qualities, and though Beauty
(Sophie Bevan) turns from the
gaudy temptations of Pleasure (Ed
Lyon) and Deceit (Mary Bevan)
more meekly than her delirious
Roman counterpart, she is no frump.
Both Bevans sing with lustrous
tone, natural agility and exquisite
decorations, Lyon and William
Berger (Time) with taut elegance
and Tim Mead (Counsel) with
immaculate poise. Though Neville-
Towles tempos sometimes waver, this
is a performance of great warmth,
with infectious solos from Jan
Waterfield on harpsichord and organ,
characterful strings, oboes, recorders,
bassoons and corni da caccia, and a
pleasingly natural, expressive choir.
Anna Picard
PERFORMANCE HHHH
RECORDING HHHH
MAHLER, GUSTAV
Rckert-Lieder; Lieder eines
fahrenden Gesellen; Urlicht
MAHLER, ALMA
Five Songs
Karen Cargill (mezzo-soprano);
Simon Lepper (piano)
Linn Records CKD453 53 mins
BBC Music Direct 14.99
Once again, Alma is outnumbered
by Gustav. But the five songs offered
here show exactly why Mahler saw
his wife as a real rival, stopped her
composing, then used publication
of these very works to lure her back
from her affair with Walter Gropius.
The opening chords of Die
stille Stadt immediately display
exploratory, unsettling harmonic
and emotional territory which Alma
was hungry to explore. And Karen
Cargills beautifully integrated,
smoky mezzo reveals the full stature
of these songs, just as Simon Lepper
relishes their fearless piano writing.
In meines Vaters Garten glitters like
72 BBC M USIC M AG A Z I N E
a Klimt dream of spring and into its
blossom intrudes that shadowy and
prophetic presence of a world at war
as so often in Mahlers own songs.
For them, Cargills and Leppers
performances are painstaking if,
sometimes, a little less courageous.
In the song they place first of the
Rckert Songs, Lepper is a bee with
wings somewhat overladen with
pollen and throughout Id have
preferred a piano presence a little
more delicately engineered. Cargill,
on the other hand, could dare a
fiercer ardour at the midnight hour.
The Lieder eines fahrenden Gesellen
welcome the bright flare at the top
of Cargills mezzo; and here both she
and Lepper really do grab the music
by the throat, to more rewarding
effect. Hilary Finch
PERFORMANCE HHH
RECORDING HHH
MOZART
Opera and concert arias: includes
Aer tranquillo; Giunse alfin il
momento... Deh vieni, non tardar;
Chio mi scordi di te?... Non temer
amato bene; Misera dove son!
...Ah, non son io che parlo
Karina Gauvin (soprano); Les Violons du
Roy/Bernard Labadie; Benedetto Lupo
(piano); Andr Moisan (basset horn)
Atma ACD2 2636 63 mins
BBC Music Direct 15.99
This random assortment of
Mozartian sweetmeats is low-calorie
lightweight in every respect. There
are just 10 tracks (two of them the
overtures to Lucio Silla and La
clemenza di Tito); and the playing
of the Quebec-based ensemble, Les
Violons du Roy, is lightly sprung,
light-textured, and with nothing ever
over-pointed or over-urged.
The Canadian Baroque specialist
Karin Gauvin is also a true
soprano-lite. With only the lightest
diaphragm support at the extremes
of her register, she has barely enough
heft for Amintas aria Aer tranquillo
from Il re pastore (originally a castrato
showpiece), or for Coss Come
scoglio. Shes happier as Despina,
and as Susanna in a Deh vieni in
which the voice is hushed like a
lightly wafted evening breeze.
Benedetto Lupo is a sweet-toned
pianist in the leisurely paced concert
aria Non temer, amato bene, and
Andr Moisans basset horn is an
eloquent partner for Gauvin as
Vitellia in a none too impassioned
Non pi di fiori from La clemenza di
vk.com/englishlibrary
spanish masters:
Ensemble Plus Ultra
celebrates El Greco
Tito. At the end of it all, the listeners
fancy has certainly been tickled; yet
one leaves feeling short-changed.
Hilary Finch
PERFORMANCE HH
RECORDING HHH
PALESTRINA
Dum complerentur;
Loquebantur variis linguis;
Veni Creator Spiritus; Iam Christus
astra ascenderat; Missa Iam
Christus Astra Ascenderat; Song of
Songs: Nos 13, 14, & 15
The Sixteen/Harry Christophers
Coro COR16124 63:52 mins
BBC Music Direct 14.99
Palestrina wrote over 104 masses
and hundreds of other works for
church services and informal private
devotions. This means that there is
no way Harry Christophers is going
to run out of pieces for this important
exploratory series of recordings of a
composer more known by reputation
than through acquaintance with his
full musical range. We have already
had discs from The Sixteen of works
devoted to the Virgin Mary, Advent,
Easter and Christmas, and now we
get some rare items for Pentecost
including the never-previously-
recorded Missa Iam Christus Astra
as well as a selection of pieces from
the erotic Song of Songs. and enterprising vocal group has
It is these last items that come
across best. The subtle ebb and
flow of the speed in Vox dilecti,
for example, exactly matches the
quickening emotions at the sound
of the voice of the beloved, and the
ascending musical motives at the call
for her to rise up and come hither are
beautifully handled by the singers in
Surge propera. The Iam Christus Mass
is fine in a generalised choral kind of
way, but the plainsong on which it is
based is a tricky, meandering melody
which creates problems of shaping
and direction, and the reverberant
acoustic and relatively large numbers
in the choir add to what is already a
rather amorphous impression. Again,
the references to mighty sounds and
winds in Dum complerentur invite
some nuanced dramatic effects,
but we end up with little more than
anonymous briskness. Anthony Pryer
PERFORMANCE HHH
RECORDING HHH
AMOROSI PENSIERI
Songs for the Habsburg Court by
De Monte, Guyot, Vaet & Regnart
Cinquecento
Hyperion CDA 68053 60:31 mins
BBC Music Direct 12.99
For ten years now this accomplished

been revealing the riches of the music
performed at the Habsburg Court in
the 16th century. Here we have four
composers born in the Netherlands
or nearby (Monte in Mechelen, Vaet
in Kortrijk, Guyot in Lige and
Regnart in Douai) who found their
way to the court and brought with
them an astonishing variety of styles
and genres.
The most accomplished composer
among them is Philippe de Monte
whose mix of styles bears testimony
to his well-travelled life. The
immaculately written motet-like
textures of Sortez Regretz bring
out the best in the singers who
give us clean textures and superb
tuning. They are less at ease with
his madrigal compositions for
example Con che soavit with its
many references to kisses and
tenderness really needs to be slightly
more theatrical and impassioned.
The Guyot pieces are competently
performed but his slightly
anonymous, over-fussy works are
difficult to add contours to, though
the singers make the most of the
false harmonic relations in Larbre
damour. Cinquecento are most at
home in the songs by Jacob Regnart
especially those with German texts.
They give a beautiful performance
of the little rustic ditty Ein Lieb,
and they trip through Venus du und
dein Kind delightfully. The sound
recording is excellent, clear and
focused, though perhaps very slightly
dry. Anthony Pryer
PERFORMANCE HHHH
RECORDING HHHHH
FROM SPAIN
TO ETERNITY
Works by Guerrero, Lobo,
Morales & Tejeda
Ensemble Plus Ultra
Archiv Produktion 479 2610 70:39 mins
BBC Music Direct 15.99
To mark the 400th anniversary of
the death of El Greco, Ensemble
Plus Ultra presents a gallery of sacred
vocal works by composers associated
with the painters adoptive city,
Toledo. Among its many treasures are
Alonso Lobos transcendent motet
Versa est in luctum, written for the
obsequies of Philip II of Spain its
profoundly mournful sentiments
imbued with a sense of raw, private
grief, in contrast with the many
larger-scale choral performances
and the Lamentation Expandit Sion
manus suas by Morales, the plangent,
arching lines of which are hauntingly
shaped in this account. A setting of
King Davids lament on the death
of his son Absalom by little-known
composer Alonso de Tejeda plumbs
the depths of human grief in its
tenebrous colours and madrigalesque
dissonances, starkly highlighted by
individual voices here.
The veil of mourning lifts for
the centrepiece of the disc, Lobos
five-voice Missa Prudentes virgines.
Thanks to the ensembles modest
resources, the contrapuntal brilliance
of the Mass shines through, notably
in the complex canonic Hosannas,
where the delivery is clean and agile,
the texture never muddied by the
wash of sound produced by a large
choir (though the lower voices are
a shade distant in the balance).
The effect is still opulent: texts are
painted with a vivid dynamic range
and (dare I say it?) the occasional
expressive vibrato a far-cry from
what has been denigrated as the
white-washed tone of English vocal
ensembles. The results intimate
yet intense are a fitting reflection
of Counter-Reformation ethos,
epitomised in the turbulent works of
El Greco. Kate Bolton
PERFORMANCE HHHHH
RECORDING HHHH
LAID BARE: Love Songs
Songs by Levi, Meredith, Bryars,
Wallen, Fujikura, Andrew, Rihanna,
Leadbelly, Erasure et al
Juice Vocal Ensemble
Nonclassical NONCLSS016 61 mins
BBC Music Direct 10.99
The all-female vocal trio Juice is
something special. Not for them the
easy satisfactions offered by groups
like Trio Mediaeval, who revel in the
natural tendency of solo female voices
to sound ethereally beautiful and
spiritual. As this CD demonstrates
these three are feisty, and will take on
anything. Among the collection of
love songs are some newly composed
pieces, and some surprising choices
of older ones in new arrangements,
including a blues song of Leadbellys
and a single by Rihanna.
Not that Juice are averse to a bit
of radiantly euphonious beauty,
as Gavin Bryarss Io Amai Sempre
proves. At the opposite pole is Phillip
Neil Martins setting of a Sanskrit
text, where alto Kerry Andrew
strikes a weirdly husky note, as if
vk.com/englishlibrary
CHORAL & SONG REVIEWS
some ancient weed-encrusted totem
has found its voice. Mica Levis REISSUES
Never Adore has two voices in quasi- Reviewed by Michael Scott Rohan
medieval hocket, while the upper
voice spins a melody. Like several of WOLF
the other songs this one also appears Mrike-Lieder; Spanisches Liederbuch;
in an interesting remix, with added Goethe-Lieder
electronics. Most startling is Dai Banse (soprano), Henschel (baritone);
Fujikuras Away We Play, which harks Rundfunkchor Berlin; Deutsches
back to those early electronic pieces Symphonie-Orchester Berlin/Nagano
Harmonia Mundi HMG 501837 69:25 mins
where sounds were played backwards. BBC Music Direct 10.99
Not every song works equally well,
but taken as a whole the variety Wolfs own
and virtuosity are astonishing, and orchestrations,
in these splendid
rewarding. Ivan Hewett
performances, are
PERFORMANCE HHHH
startling. They
RECORDING HHHH transform his songs into quasi-
Wagnerian music dramas.
PERFORMANCE HHHHH
RECORDING HHHHH
CHOPIN
Les 19 Mlodies
Ewa Podles (mezzo-soprano),
LAMENTO Abdel Rahman El Bacha (piano)
Forlane 16795 50:29 mins
Works by Carissimi, Frescobaldi, BBC Music Direct 10.99
Kapsberger, Monteverdi,
Provenzale, Rossi & Strozzi Chopins Polish songs
Romina Basso (mezzo soprano); are probably his
Latinitas Nostra least-known works.
Naive V5390 60:04 mins Podless feeling for
BBC Music Direct 14.99 them is evident, shes
The Baroque lament marries the idiomatic and well accompanied
timeless themes of love and loss but her vast contralto tends to
in impassioned musical settings overpower these delicate pieces.
intended to showcase the vocal and PERFORMANCE HHHH
thespian skills of a tragic hero or RECORDING HHHH
heroine. This programme includes SHOSTAKOVICH
the celebrated Lamento dArianna
Suite on Verses by Michelangelo
by Monteverdi and Carissimis Buonarroti; Three Romances, Op. 46a;
expressive setting of the final words Six Romances, Op. 21
of Mary, Queen of Scots, along with Kotscherga (bass), Babykin
less well-known works: the plangent (bass), Kasatchuk (tenor); WDR
Lagrime mie by Barbara Strozzi, Sinfonieorchester Kln/M Jurowski
Brilliant 94649 58:08 mins
and Luigi Rossis urgent, grief-filled
BBC Music Direct 8.99
outpouring by Queen Christine
of Sweden after the violent death These song suites
of her husband. The declamatory span Shostakovichs
idiom requires an actor as much as a career, from
early Romantic
singer, and Romina Basso certainly
melancholy to
fits the bill. She weeps, sighs, rages Michelangelos darkly passionate
and pleads, wringing high drama verses. These are idiomatic, if not
from these emotive texts a veritable definitive interpretations.
Maria Callas of Baroque music. PERFORMANCE HHH
A cast of extras lightens the tone RECORDING HHHH
in a playful Neapolitan curiosity
which parodies Rossis lament a SCHUBERT
hilarious Italian Baroque equivalent An den Mond Lieder
of Gilbert and Sullivan. In the roles Henschel (baritone), Deutsch (piano)
of two maidens (or damigelle), Harmonia Mundi HMG 501822 76:02 mins
Paul Zachariades and Nikos BBC Music Direct 10.99
Spanatis bray like a pair of comic Schuberts recurring
pantomime dames, though their themes of death,
theatrics en travesti would be more night and wandering
successful on stage. Throughout, the shape a thoughtful,
instrumentalists of Latinitas Nostra expressive and
weave lovely webs of sound and draw beautiful recital by this baritone
on a range of thrilling musical effects and accompanist.
to heighten the drama. Kate Bolton PERFORMANCE HHHH
PERFORMANCE HHHH RECORDING HHHH
RECORDING HHHH
BBC M USIC M AG A Z I N E 73

Martha Argerich is joined by Mischa Maisky and friends in Lugano with compelling results;
Martin Frst sheds fresh light on Brahms; plus superb Zemlinksy from the Escher Quartet
When Felix met Fanny
Roger Nichols applauds the musicianship in an all-Mendelssohn recital
MENDELSSOHN,
FELIX
String Quartets Nos 1-6; String
Quartet in E flat minor, Op. post.;
Four Pieces for String Quartet,
Op. 81; Fugues for String Quartet
MENDELSSOHN,
FANNY
String Quartet in E flat major
Benyounes, Idomeneo, Sacconi,
Navarra, Castalian, Piatti, Badke,
Wu, Cavaleri and Artea String Quartets
Champs Hill Records CHRCD085
258:31 mins (4 discs)
BBC Music Direct 25.99
After sounding off with various
grumpy remarks over the years about
players who treat Mendelssohns
music as a playground for romantic
74 BBC M USIC M AG A Z I N E
CHAMBER
CHAMBER CHOICE
effects, distorting rhythms and
inventing tempos, it has been a
true delight for me to find ten
groups of young string players who
take the composers notes seriously.
They prove that such fidelity does
not inevitably lead to performances
that are stilted or unimpassioned.
It can be argued that the value of
Mendelssohn at his
best: full of energy,
passion and wit
any musical work is related to the
number of persuasive interpretations
it can carry. If so, then David and
Mary Bowerman, the founders
of Champs Hill Records, deserve
our gratitude for setting up a
format that allows these quartets,
showing Mendelssohn at his best,
to reveal their multifarious qualities:
energy, passion, tenderness, wit
and civilised authority.
vk.com/englishlibrary
infinite variety:
The Cavaleri Quartet play
Mendelssohn with passion
Not everything is perfect. In
the first movement of the D major
Quartet a few of the semiquavers
are obscured by the volume, and in
the Allegretto of Fannys Quartet
theres an uneasy tempo fluctuation
just before the reprise. I wonder
also about the wisdom of including
the 12 Fugues from 1821, and
of playing them more or less mf
throughout; if one is going to play
them, then surely some dynamics
have to be invented? But these are
small points. Overall, I can only
applaud the musicianship of these
excellently recorded performances,
which give us Mendelssohn in his
infinite variety.
PERFORMANCE HHHHH
RECORDING HHHHH
ON THE WEBSITE
Hear extracts from this recording
and the rest of this months choices on
the BBC Music Magazine website
www.classical-music.com
BARTK
Contrasts, BB 116;
Sonatina, BB 102a; 44 Duos
for two violins, BB 104
James Ehnes (violin); Michael Collins
(clarinet); Amy Schwartz Moretti
(violin); Andrew Armstrong (piano)
Chandos CHAN 10820 68:34 mins
BBC Music Direct 12.99
Although Bartks 44 Duos for
two violins may have initially
been conceived as a sequence of
teaching pieces, such is the quality
of musical invention in these
unpretentious miniatures that they
prove as satisfying for listeners as for
performers. Certainly James Ehnes
and Amy Schwartz Moretti make the
best possible case for experiencing the
entire cycle in one whole sweep. They
maximise the amount of colour that
can be squeezed out of the simplest
two-part writing and sustain vibrant
musical dialogue throughout. More
importantly, both artists manage to
encapsulate an amazing variety of
moods. Particularly impressive is the
pathos and melancholy projected
in the Cradle Song and Wedding
Song in Book One and the sensuality
and exoticism of the Arabian Song
from the Book Four.
Prior to the Duos, Ehnes and
Andrew Armstrong deliver a
charming account of the Piano
Sonatina in an effective transcription
for violin and piano by Andr
Gertler. But the major work in this
fine disc is Contrasts, composed for
Joseph Szigeti and Benny Goodman
in the late 1930s. Here Ehnes and
Armstrong are joined by Michael
Collins, a superbly responsive
partner making light work of the
outrageously virtuosic cadenza
in the first movement and daring
violinist and pianist to maintain
immaculate ensemble, even in the
fast and furious stretto passages in
the closing section of the Finale.
Indeed, such is the brilliance and

sensitivity of the playing that I hope
these performers can be coaxed
back into the studio to record
other 20th-century works for this
instrumental combination, such as
Bergs Adagio or Khachaturians Trio.
Erik Levi
PERFORMANCE HHHHH
RECORDING HHHHH
BEETHOVEN
String Trio in E flat, Op. 3;
Serenade in D, Op. 8
Trio Zimmermann
BIS BIS-2087 (hybrid CD/SACD)
67:55 mins
BBC Music Direct 12.99
Before Beethoven composed his
triptych of String Trios Op. 9, he
wrote two multi-movement works
for the same ensemble one of them
essentially a divertimento, the other
a serenade. The blueprint for the
six-movement String Trio, Op. 3 was
Mozarts great trio Divertimento
K563, but Beethovens is a highly
individual work and beautifully
scored for the medium.
Its hard to say the same for the
Op. 8 Serenade a piece of pure
entertainment-music, its true,
but one thats awkwardly written
in mock-orchestral style and with
rather undistinguished material.
That doesnt stop Frank Peter
Zimmermann and his colleagues
from having fun with it: in the
minuet, they cant decide whether
the grace notes should be played
short or long, so they do them one
way the first time, and another on
the repeat; and in the penultimate
variation movement they very
effectively treat the minor-mode
variation as an agitato.
The nervous energy and
lightning-quick changes of mood
of the opening movement in the
Op. 3 Trio are brilliantly conveyed,
though theres a small error of
judgement near the close, where
Beethoven concocts a false ending
before the music unexpectedly
starts up again. Zimmermann and
his colleagues make heavy weather
of the joke by creating a pompous
mock-ending, and elongating the
pause that follows. But these are
supremely polished accounts, and
they make an altogether worthy
companion disc to the same artists
award-winning recording of the
Op. 9 series. Misha Donat
HHHHH
GETTY
PERFORMANCE
RECORDING HHHHH
BRAHMS
Clarinet Quintet in B minor;
Clarinet Trio In A minor;
Brahms transcribed by Frst:
Die Mainacht, Op. 43 No. 2;
Mdchenlied, Op. 107 No. 5;
Immer leiser wird mein Schlummer,
Op. 105 No. 2; Wie Melodien zieht
es mir, Op. 105 No. 1; Vergebliches
Stndchen, Op. 84 No. 4;
Feldensamkeit, Op. 86 No. 2
Martin Frst (clarinet), Janine Jansen
(violin), Boris Brovtsyn (violin), Maxim
Rysanov (viola), Torleif Theden (cello),
Roland Pntinen (piano)
BIS BIS2063 (hybrid CD/SACD) 78 mins
BBC Music Direct 20.99
From the autumn of Brahmss
life comes music ideal for Indian
summer evening listening. And the
instrument associated most with
Brahmss last years is, of course, the
clarinet. Here, the Swedish virtuoso
Martin Frst joins the violinist
Janine Jansen and her friends for a
mellow but invigorating Clarinet
Quintet, and a Clarinet Trio
(Op. 114) previously recorded by BIS
in 2005 just in case you think it
sounds familiar.
The clarinet rises from the
opening bars of the Quintet like
woodsmoke. Frost revels in the
deep-plush velvet of his chalumeau
regions and, indeed, sustains this
timbre throughout the instruments
register. Despite this chosen voice,
and the almost orchestral resonance
of the two violins, viola and cello,
the ensemble creates cutting-edge
rhythmic urgency, and a sense of
real momentum. And theres a nice
sense of angst and anger as well as the
elegiac in the slow movement, and in
the variations of the finale.
In between the Quintet and a
powerful, big-boned performance
of the Trio (in which cellist Torleif
Theden and Frst prove to be
wonderfully complementary voices),
come Frosts own six irresistible
transcriptions for clarinet and
piano (Roland Pntinen) of Brahms
songs. I welcomed the folksy,
bluesy Mdchenlied, and the witty
serenade, Vergebliches Stndchen
for the greater variety of tone and
colour they offer Frosts playing in
contrast to the thick double cream
he pours over songs such as Immer
leiser and Wie Melodien.
Hilary Finch
PERFORMANCE ++++
++++
RECORDING
Frst speaks to James Naughtie, p30
vk.com/englishlibrary
CHAMBER REVIEWS
REISSUES SPECIAL
cello icon:
Jnos Starker plays
unmissable Dvok
A thoughtful virtuoso
CD Reviews Andrew McGregor welcomes a box-set
celebrating the Hungarian cellist Jnos Starker
Jnos Starkers The earliest Mercury recording
death last year is a must: the Dvok Concerto
robbed us of one with the LSO and Antal Dorti,
of the great Starkers fellow Hungarian who
players and had brought him to America. This
teachers of the was a special relationship, and
cello, and one of the most with pungent orchestral playing,
recorded. His Mercury Living and the strength and breadth of
Presence recordings (Mercury 478 the slow movement, it is surely
6754) are from the 1960s when, to the finest of Starkers three
these ears at least, he was at the Dvoks recordings. Those 1962
height of his powers his London sessions also produced
thoughtful virtuosity is pulled Bruchs Kol Nidrei with Dorti, and
into sharp focus here. the Schumann and Lalo Concertos
If youre concerned that a with Stanisaw Skrowaczewski.
cellist who idolised Pablo Casals Two years later Starker reunited
will sound dated with Dorti to
in solo JS Bach, A highlight is Jnos record the Saint-
think again.
Starkers carefully
Starker and Gyrgy Sans Concerto
it is memorable
considered Sebok in Brahms for the urgency
approach to of his attack.
studio recordings technical The other highlight is Starker
exactness, structure, beauty and Sebk in Romantic sonatas,
of sound and narrow vibrato particularly in Brahms. Despite a
produces effortless eloquence recording unfairly biased towards
in Bach. The sound is intensely the cellist these Sonatas have a
projected, never strained, and powerfully projected passion that
more relaxed in the later Bach belies their age. And a 1963 recital
sessions after Starker swapped is memorable for vital accounts
the Lord Aylesford Stradivari for of Bartks Rhapsody No. 1 and
a Goffriller cello. He recorded the Martins Rossini Variations.
Bach Suites five times, but these Starker wrote that he left the
Mercury sessions could still be the recording studio as though hed
finest. The Bach viola da gamba given testimony under oath, and
Sonatas with pianist Gyrgy hearing his musical evidence 50
Sebok arent as compelling, and years on, it still feels like the truth.
the same applies to the CD of Mercury 478 6754; 10 CDs
Baroque Italian sonatas. BBC Music Direct 49.99
BBC M USIC M AG A Z I N E 75
 REVIEWS CHAMBER
DUTILLEUX
Sarabande et cortge; Sonatina for
flute and piano; Sonata for oboe
and piano; Piano Sonata
Soloists of the Accademia Nazionale
di Santa Cecilia; Akan Makita (piano)
Brilliant 94738 52:22 mins
BBC Music Direct 8.99
For years Dutilleux viewed the
works he composed before the Piano
Sonata of 1948 as apprentice pieces,
and was especially stern about the
last movement of the Oboe Sonata
written, he said, in a hurry as a
conservatoire test piece. Curiously,
the liner notes do not mention that
the flute and bassoon pieces on
this disc were also destined for the
conservatoire, as was the Choral,
cadence et fugato for trombone, not
included here. But finally Dutilleux
relented, and we neednt feel guilty
about enjoying the charm and
virtuosity of these pieces, in which
his individual harmonic sense is
already in evidence.
All the players have the dexterity
required, and the oboe and bassoon
pieces come off superbly. But the
test pieces also took into account
timbre, and the flautists shrill top Bs
near the start interrupt the pastoral
atmosphere. My main quibble,
though, is with Akan Makitas
rubato in the Piano Sonata, especially
at the ends of phrases something
Dutilleux hated. Makita also plays
the first movement too slowly, adding
more than a minute to the version by
the composers wife Genevive Joy,
for whom the Sonata was written.
Roger Nichols
PERFORMANCE (OBOE, BASSOON
WORKS) HHHHH
(FLUTE SONATINE) HHHH
PIANO SONATA HHH
RECORDING HHHH
PURCELL
Ten Sonatas in Four Parts:
in A minor; D minor; G minor;
C major; F major; D major; B minor;
G minor; E flat major; G minor
The Kings Consort
Vivat VIVAT 106 77:56 mins
BBC Music Direct 14.99
LAURA ROSE
The Kings Consort consolidated
its reputation with pioneering
recordings of Purcells complete
76 BBC M USIC M AG A Z I N E
sacred music, odes and secular songs.
So, at one level, its not surprising
that somewhat belatedly Robert
King has turned his attention
to the sonatas Purcells widow
published in a print bonanza aimed
at stabilising her financial position.
But one wonders whether theres a
touch of sibling rivalry, too. During
the Consorts temporary limbo, a
trio from its offshoot Retrospect
Ensemble released a widely
acclaimed set of the same sonatas
(reviewed July 2009). It proved an
auspicious debut exuding a sweet
and sensuous youthfulness. Kings
reply is at once more bracing and
rough-hewn, given a recorded sound
up-close and detailed but lacking
the spacious bloom Linn conferred
on the Retrospect Ensemble. Hes
ingeniously rethought Mrs Purcells
arbitrary ordering, and ends with
the magnificent chaconne-driven
G minor Sonata Z807, using the
so-called Golden Sonata as a central
pivot with sonatas in rising fourths
before it, and descending thirds after.
Its a cogent call, creating a satisfying
set. Paul Riley
PERFORMANCE HHHH
RECORDING HHHH
ZEMLINSKY
String Quartets Nos 1 & 2
Escher String Quartet
Naxos 8.573088 74:00 mins
BBC Music Direct 6.99
It was almost 40 years after his
death before Zemlinskys Four
vk.com/englishlibrary
old-world charm:
exuberant Zemlinsky
from the Escher Quartet
Quartets became better known.
That was thanks to the pioneering
DG recordings by the LaSalle
Quartet, now currently available
on Brilliant Classics. Since then,
a number of ensembles have also
taken these remarkable works into
their repertory, most notably the
Artis Quartet of Vienna whose
Nimbus cycle compares favourably
with that of the LaSalles. Yet these
new recordings of the First and
Second from the Escher Quartet are
every bit the equal of both earlier
versions, and enjoy the benefit of
superior sound.
The Eschers maximise the
expressive qualities in the Brahmsian
First Quartet, delivering exuberant
playing in the outer movements,
savouring the old-world charm
and Mendelssohnian lightness
of the Allegretto and bringing
requisite weight and poignancy
to the slow movement. Even more
involving is their blistering account
of the Second. This emotionally
tortured work, hovering uneasily
between passages of stable and
dislocated tonalities, is conceived
as an extended single movement
in the manner of Schoenbergs
First Quartet. Negotiating a clear
sense of direction through its
highly complex structure poses
a considerable challenge, but the
Eschers take the music by the scruff
of its neck, playing with tremendous
virtuosity and subtlety of nuance.
Recorded in first-class sound,
they hold the listener spellbound
from first bar to last. Overall,
this recording is a tremendous
achievement by any standards.
Erik Levi
PERFORMANCE HHHHH
RECORDING HHHHH
MARTHA ARGERICH
AND FRIENDS:
Live from Lugano 2013
Chamber and orchestral works by
Beethoven, Ravel, Respighi, Liszt
and Shostakovich
Argerich, Montero, Zilberstein,
Piemontesi, J Margulis, Marton, Tomasi,
Griguoli, Stella (pianos); Maisky, G
Capuon, Debrus (cellos); R Capuon,
Baranov, A Margulis, Guttman (violins);
Chen (viola); Fagone (double bass); Rutz
(flute); Giuffredi (clarinet); Di Trapani
(percussion); Orchestra della Svizzera
Italiana/Hubert Soudant
Warner 2564631220 186:56 mins (3 discs)
BBC Music Direct 14.99
Few, if any, fixtures in the classical
recording calendar are more reliably
rewarding, or more out-and-out
enjoyable, than the annual selection
from the Progetto Martha Argerich
in Lugano. The festival has class
written all over it and exudes more
joy and humour than any
comparable event known to me.
Argerich herself leads off
here, in Beethovens First Piano
Concerto, displaying suppleness,
rhythmic power, structural majesty
and intimacy of inflection. This
performance has Classical poise
and unforced vitality, enhanced by
an opera buffa humour all the more
amusing for its impeccable elegance.
These virtues continue to
reign, where appropriate, in the
G minor Cello Sonata that follows.
Colleagues for decades, Argerich
and Mischa Maisky read each other
like a much-loved book. Their
harmony, in every sense, results in
conversation of extraordinary
intimacy and exhilarating
spontaneity. This richly justifies
the famous description of chamber
music as the music of friends.
Humour and joie de vivre recede
somewhat on the second CD of this
three-disc set, but the intermittently
attractive Respighi Violin Sonata is
very seductively done. Meanwhile,
the prevailing darkness of the
Shostakovich D minor Cello Sonata
is leavened with a grim wit not easily
experienced as humour.
After outstanding performances
of the Ravel Violin Sonata and of
the Debussy Petite Suite on the
third CD come two laugh-aloud
demonstrations of the sheer,
contagious fun that so-called classical
music can provide, and the humour
rests as much with the performers as
with the music. Argerich and Lilya
 CHAMBER REVIEWS

Zilbersteins inspired caricature of

incompetent pianists (in the Saint- REISSUES
Sans) is hilarious indeed the
Reviewed by Christopher Dingle
performance overall is unsurpassed
in my experience. Jeremy Siepmann BEETHOVEN
PERFORMANCE HHHHH Quartet in F, Op. 59 No. 1
RECORDING HHHHH
LUTOSAWSKI
String Quartet
Alban Berg Quartet
Hanssler CD 93.72 (1978) 59:38 mins
BBC Music Direct 9.99
This live Op. 59
No. 1 has a touch
more humanity than
1919 VIOLA SONATAS the Quartets studio
Clarke: Viola Sonata; Hindemith: version, but it is
Viola Sonata; Bloch: Suite the atmospheric Lutosawski that
Barbara Buntrock (viola); makes this worth investigating.
Daniel Heide (piano) PERFORMANCE HHH
Avi-Music 8553304 68:25 mins RECORDING HHHH
BBC Music Direct 15.99
The proliferation of musical styles ENESCU
and isms that emerged following Complete works for violin and piano
the Great War was virtually Azoitei (violin), Stan (piano)
unprecedented. Until the 1920s it Hnssler CD 98.035 (2005-06) 130:34 mins
was still just about possible to pigeon- BBC Music Direct 16.99
hole composers into generic groups, These wonderful
but from now on the increasing two discs underline
tendency was towards diverging Enescus pedigree
independence of creative voice. as a composer, with
How far this process had already Azoitei and Stan
gained pace can be gathered from the showing innate understanding not
three viola masterworks on this fine just of the large-scale works, but
new disc, all composed in 1919 yet also the rarely-heard miniatures.
markedly different in tone. PERFORMANCE HHHH
Interestingly, the Clarke and RECORDING HHHH
Hindemith Sonatas tied for first TCHAIKOVSKY
place in a competition financed by
String Quartets Nos 1-3;
the American patron of chamber Souvenir de Florence
music, Elizabeth Sprague Coolidge Gabrieli String Quartet;
(Bloch also entered his Suite, which Academy of St Martin in the Fields
missed out on the top prize). Clarkes Eloquence 480 7426 (1969, 1977) 128:53 mins
Sonata wears its Romantic credentials BBC Music Direct 14.99 (2 discs)
with pride, closing with a long slow The Gabrielis survey
movement inspired by the sensually of Tchaikovskys
evocative poetry of Alfred de Musset. String Quartets is
Barbra Buntrock and Daniel Heide more lyrical than
capture the musics chromaticised/ dramatic, while
whole-tone stream of consciousness a slow-burning string-ensemble
to perfection, inflecting its glowing performance of Souvenir de Florence
phrases with a velvety suppleness. makes a useful filler.
Unconventionally structured in PERFORMANCE HHH
three movements that flow into one RECORDING HHH
another, Hindemiths Sonata fuses
FAUR
the last vestiges of Romantic impulse
Piano Quintets, Opp. 89 & 115;
with a post-war aesthetic that sought
Piano Quartets, Opp. 15 & 45
to contain outward shows of motion Eymar (piano); Kehr, Neuhaus (violins),
within a neo-classical framework. By Sichermann (viola), Braunholz (cello)
comparison, Blochs four-movement Brilliant 94859 (1966) 121:05 mins
Suite takes Debussys probingly BBC Music Direct 9.99 (2 discs)
experimental middle-period as its While they may
creative springboard. At times Heide not convey every
creates the uncanny impression nuance, these elegant
of merely breathing on the keys, accounts of Faurs
creating the ideal soundworld Piano Quartets and
for Buntrock, who maintains her Quintets nonetheless capture the
golden sound at all dynamic levels spirit of these works even in the
throughout the instruments range. elusive Op. 115.
Julian Haylock PERFORMANCE HHH
PERFORMANCE HHHHH RECORDING HHH
RECORDING HHHHH

vk.com/englishlibrary
 INSTRUMENTAL
Ton Koopman pulls out all the stops for CPE Bachs tercentenary; Jonathan Biss intersperses
Schumannns Fantasiestcke with Jancek; plus moving memories of Arthur Rubinstein
Piggies and Lancashire Pipes
Kate Bolton admires the expressive range of this lyra viol anthology
TICKLE THE MINIKIN
17th-century lyra viol music by
Jenkins, Mace, Esto, Steffkins,
Ives and Coleman
Robert Smith (viola da gamba)
Resonus RES10132 64:34 mins
Download only: resonusclassics.com
This beguiling trove of pieces comes
from a mysterious 17th-century
manuscript which, judging from the
quality and intricacy of the music,
must have belonged to a skilled
and discerning player of the lyra
viol. Essentially a bass viol with a
flatter bridge to facilitate chordal
78 BBC M USIC M AG A Z I N E
INSTRUMENTAL CHOICE
playing, this arcane instrument is a
wonderfully versatile one-man-band
with myriad playing techniques,
musical styles, and chameleon
tunings that imitate the harp or
lute, bandora or bagpipes. An
eloquent companion for long, lonely
Robert Smith is
an outstandingly
flexible interpreter
evenings, the lyra viol could sing
and dance, converse and reflect,
sparkle and lament.
The anthology includes works
by popular viol composers John
Jenkins and Thomas Mace
alongside neglected names such as
John Esto and Dietrich Steffkins.
Suites of dances, both elegant and
vk.com/englishlibrary
eloquent sounds:
Robert Smith delights
on viola da gamba
folksy, give way to plaintive airs
and evocatively named character
pieces with exotic tunings: Kate
of Hardie, Piggies of Rumsey and
Lancashire Pipes, complete with
bagpipe drone effects. Such a
gamut of styles demands terrific
flexibility, and Robert Smith is an
outstanding interpreter, casting
eloquent melodies and long-
breathed contrapuntal lines. The
airy acoustic captures the resonance
of his instrument in a recording that
delights and surprises.
PERFORMANCE HHHHH
RECORDING HHHHH
ON THE WEBSITE
Hear extracts from this recording
and the rest of this months choices on
the BBC Music Magazine website
www.classical-music.com
CPE BACH
Sonata in A minor, Wq 70/4;
Sonata in F, Wq 70/3; Sonata in
G minor, Wq 70/6; Sonata in D,
Wq 70/5; Sonata in B flat, Wq 70/2;
Sonata in D minor, Wq 69
Ton Koopman (organ)
Challenge Classics CC72260
77:34 mins
BBC Music Direct 14.99
Trust Ton Koopman to go the
extra mile for the CPE Bach
tercentenary. His recording of the six
organ sonatas published after CPEs
death deploys an instrument with a
pedigree second to none. Restored
to its original disposition in 2007,
the Amalia organ in Berlins Kirche
zur Frohen Botschaft was originally
built in 1755 for the organ-loving
sister of Frederick the Great the
same year in which Bach wrote four
of the sonatas, destined, according
to his friend Forkel, for the Princess.
Indeed, CPE himself claimed
that Wq 70 No. 2 was written for
this instrument. Its hard not to
conclude, then, that most of the
vivacious music on Koopmans
disc is played on the instrument
for which it was written though
with considerably more panache
than Princess Anna Amalia would
have been able to muster. (Forkel
waspishly remarked that she could
not play the pedals or anything
difficult!) Koopman follows CPEs
lead in exploring the organs colours
with impish relish. He celebrates
the musics antiphonal playfulness
and chicly coutured pathos, tackles
the fast movements with punchy
muscularity (the D majors Allegro
di molto is irresistibly bullish), and
dispatches the A minors finale with
dapper glee. Effortlessly idiomatic
and precise, this playing is a stand-
out tercentenary tribute.
Paul Riley
PERFORMANCE HHHH
RECORDING HHHHH

JS BACH
Suites Nos 2, 3 & 6,
BWV 1008, 1009 & 1012
Maxim Rysanov (viola)
BIS BIS-2033 (hybrid CD/SACD) 64:49 mins
BBC Music Direct 12.99
No apologies are needed for playing
Bach Cello Suites on the viola. The
composer himself transcribed the
Fifth Suite for lute, and viola editions
date back to 1916. Recent theory
even suggests that Bach may have
written them for the violoncello da
spalla, played on the arm. Tuning
for cello and viola differs only in
the octave between them. And
while Maxim Rysanov loses some
of the tonal weight, the gravitas, of
the third Sarabande, for example,
theres a refreshing lightness in his
lively, detached playing of the second
Courante and the lute-like broken
chords of the same suites Minuet.
Technically Rysanov is virtually
faultless, allowing him added
expressivity as he indulges in small
but telling rhythmic nuances. One
curious stylistic quirk: he starts
some trills on their written note,
discarding the frisson of dissonance
where, as modern scholarship argues,
they should begin on the note above.
The Sixth Suite is his tour de force,
in which he plays music intended
BACKGROUND TO
Thomas
Mace
c.1612-1706
Not a lot is
known about
the early life of
Thomas Mace,
save that he was
born in Cambridge or York. In 1635
he took up a post in Trinity College
Choir, Cambridge. A lutenist,
composer, singer and teacher,
Mace was also a writer on music.
His 1676 book Musicks Monument
explores psalmody, viol playing,
and, in the volumes longest
section, The Lute made Easie. It
includes lute music by Mace, as
well as a practical guide to playing
and maintaining a lute. In later
life he started to lose his hearing,
which motivated him to create
the Dyphone, an unusual and
loud lute-theorbo hybrid.
for five strings on his four-string
viola. Other violists transpose down
a fifth, adjusting any notes that fall
off the bottom string. Rysanov plays
in the original key, maintaining an
almost perfect dance-pulse even
through the multi-stopped chords
of the final gigue.
Excellent SACD sound places
the solo instrument in the glorious
acoustic of a large Swedish church.
George Pratt
PERFORMANCE HHHH
RECORDING HHHHH
MUSORGSKY
Pictures at an Exhibition
SCHUMANN
Carnaval
Kirill Gerstein (piano)
Myrios Classics MYR013 63:08 mins
BBC Music Direct 14.99
The excellence of Kirill Gersteins
previous solo disc featuring
Schumann, Knussen and Liszts
B minor Sonata suggested that the
two works on this new album would
perfectly match his abilities. With
that in mind, his uncertain pacing of
the opening Promenade to Pictures
might suggest Musorgsky himself,
a little worse for drink, making
his way into the gallery; even the
deliberate and lurching Gnomus
hints at Musorgskys empathy with
the misshapen nutcracker design.
But Gersteins playing continues
with this metrical uncertainty, and
one becomes increasingly aware of
the lack of atmosphere and drama.
Catacombae and the following
Con mortuis in lingua mortua have
no chilling sense of mortality, and
Baba Yaga conveys no menace. In a
rival BIS recording, Freddy Kempfs
light-fingered handling of the
technical challenges of Gnomus and
Baba Yaga, if anything, unleashes all
the more the danger and ferocity of
those monsters.
The Schumann is more of a
curates egg: admirable qualities (a
genuinely sotto voce Eusebius, and
a charming Reconnaissance, with
its steadily rattling semi-quavers) are
juxtaposed with some heavy-handed
playing (Coquette or Papillons). Bisss programming. But those
It takes Carnaval time to take flight.
Gersteins playing too often seems
effortful, with rubato apparently
unrelated to an underlying metre
or rhythm, and his characterisation
is fitful: Arlequin, for instance, is
neither Vivo nor nimble, but instead
vk.com/englishlibrary
REVIEWS INSTRUMENTAL
tentative and deliberate. However,
the final hurtling Pause and con-
cluding March make a pleasing
conclusion. Daniel Jaff
PERFORMANCE (MUSORGSKY) HH
(SCHUMANN) HHH
RECORDING HHHHH
SCHUMANN
Fantasiestcke;
Davidsbndlertnze;
Gesnge der Frhe
JANEK
On an Overgrown Path, Book 1
Jonathan Biss (piano)
Wigmore Hall Live
WHLive0068 79:03 mins
BBC Music Direct 10.99
Its something of a coincidence
that barely a month after Hyperion
released Marc-Andr Hamelins
outstanding disc of Schumann and
Janceks On an Overgrown Path
(Recording of the Month, July 2014)
Wigmore Hall Live has offered a
similar conjunction of works by
these composers.
Jonathan Bisss fine recital,
recorded in May 2013, includes
two of Schumanns more expansive
cycles, in contrast to the intimate
Kinderszenen and Waldszenen in
Hamelins programme. The most
notable difference here, however,
lies with Bisss daring idea of
interspersing selected pieces from
the Jancek within the framework
of the Fantasiestcke. One obvious
disadvantage is that we hear only
five out of the ten pieces from Book
One of On an Overgrown Path. On
the other hand, the juxtaposition of
two different styles works remarkably
well, particularly as Bisss selection
ensures that the narrative structure
of the Schumann is never disrupted
by the presence of an interloper.
The segue from Schumanns
Warum? to Janceks Listek of the 2012 Honens Prize, Pavel
odvanut is particularly magical,
sounding as if the two composers are
in some kind of private communion
with each other.
Of course, those wishing to
hear the Schumann without such
incursions might be frustrated by
who reject this recital will miss out
on some really sensitive playing
that captures the ebb and flow of
Schumanns impulsive musical
argument most convincingly.
Even more compelling is Bisss
account of Davidsbndlertnze which
takes us on a roller-coaster journey of
contrasting emotions, from humour
and tenderness to passion and
pure exhilaration.
Erik Levi
PERFORMANCE (FANTASIESTCKE,
JANEK) HHHH
DAVIDSBNDLERTNZE HHHHH
RECORDING HHHH
TCHAIKOVSKY
Grande Sonate in G, Op. 37;
The Seasons, Op. 37b
Alexander Paley (piano)
Apart AP087 90:56 mins (2 discs)
BBC Music Direct 24.99
TCHAIKOVSKY
The Seasons, Op. 37b;
Six Morceaux, Op. 19
Pavel Kolesnikov (piano)
Hyperion CDA 68028 75:31 mins
BBC Music Direct 12.99
Given the ubiquity of Tchaikovskys
orchestral music, it always seems
surprising that his piano music is
not played more often. The Seasons
a more accurate title would be
The Months is the best known
of his more substantial works.
It offers a series of 12 vignettes
akin to Schumanns cycles such as
Kinderszenen and Waldszenen one
for each month, quoting a few lines
from a pertinent poem. It was a
commission from the editor of the
journal Nuvellist and one piece per
month was printed in each issue
through 1876 (note to BBC Music
Magazine editor: now, theres an
idea?). These are delicate, intimate
pieces, many of which display
sterling quality: the heat-hazed June
(Barcarolle) and haunting October
(Chant dautomne) in particular are
small-scale masterpieces.
Tchaikovsky piano CDs are like
buses, of course, and here come
two at once. The youthful winner
Kolesnikov from Novosibirsk, pairs
The Seasons with the composers Six
morceaux, Op. 19 on his recording
for Hyperion. Some of the latter
are bigger morsels than others:
the set finishes with a substantial
Theme and Variations that is full
of character, sparkle and invention.
Kolesnikovs interpretation of The
Seasons is deeply poetic and sensitive,
almost sepia-toned in its probing
nostalgia, each piece exquisitely
shaped and songful. He prefaces
his account in the booklet with a
touching note about his search for
BBC M USIC M AG A Z I N E 79
REVIEWS INSTRUMENTAL
his own roots. I have a small quibble,
though, with the slightly dry sound
and the audible pedal.
The Moldovan-born pianist
Alexander Paley offers a two-CD
set on the Apart label in which
the second work is Tchaikovskys
Grande Sonate, Op. 37 a big sibling
to The Seasons, and one similarly
too rare in performance. Here,
Tchaikovsky is in near-symphonic
mode, creating an enormously
demanding four-movement work
(incidentally, the sonata is dedicated
to Liszts pupil Karl Klindworth,
who taught at the Moscow
Conservatoire and, later, became
foster-father to a young English
girl named Winifred, whom he
introduced to Siegfried Wagner).
Like many composers who were
at their finest in orchestral pieces,
Tchaikovsky seems to fall into the
trap of trying to squeeze almost too
much into one instrument, resulting
in a sense of overambition that
sometimes means the music becomes
too loud for too long; Paleys pacing
could perhaps be more measured,
but it is difficult to blame him
entirely. He is a bigger-boned, bigger-
toned pianist than Kolesnikov and
certainly has the virtuoso flair to
make the music leap off the page
in a convincing bid to earn it a
place in the standard repertoire.
Jessica Duchen
PERFORMANCE
(KOLESNIKOV) HHHHH
RECORDING HHH
PERFORMANCE (PALEY) HHHH
RECORDING HHHH
DANCE OF SHADOWS
Ysae: Sonata in A minor;
Piazzolla: Tango No. 2; Silvestrov:
Postlude; Schnittke: A Paganini;
Tabakova: Spinning a Yarn
Roman Mints (violin)
Quartz QTZ 2103 57:40 mins
BBC Music Direct 13.99
Moscow-born Roman Mints
imparts a vital emotional narrative
to Ysaes Obsession-led Second IF YOU COULD
Sonata, making the music so
much his own that he occasionally
diverges from the original as if held
in its thrall. In order to recreate its
shadowy stream-of-consciousness,
in which recollections of Bach are
intermingled with the Dies Irae (Day
of Wrath) chant, he subtly changes
perspective within the sound-field,
enhancing the sensation of drifting in
and out of musical focus. The spatial
80 BBC M USIC M AG A Z I N E
big-toned:
Alexaner Paley
plays Tchaikovsky
dimension is employed still more
startlingly in Schnittkes A Paganini,
in which the ghostly reminiscences of
the Italians caprices become echoes.
The sense of a musical alter-ego
is further enhanced by Dobrinka
Tabakovas Spinning a Yarn, which
involves the simultaneous use of
a kolesnaya lira (a form of Russian
hurdy gurdy), and a haunting
rethink of Piazzollas Tango-Etude
that creates the uncanny impression
of being extemporised as it goes
along. For Valentin Silvestrovs
Postlude, Mints appears to emerge
from a more distant point on the
aural horizon, so that it is experienced
as though through a heat haze. So
startling (and captivating) are the
results as to make more mainstream
approaches feel tongue-tied
by comparison. Julian Haylock
PERFORMANCE HHHH
RECORDING HHHHH
Sonata No. 4 is captivating in its
READ MY MIND
Works by JS Bach/Carpenter,
Bernstein, Dupr, Rachmaninov
Piazzolla, Lightfoot, Scriabin,
Carpenter, Bacharach and Cohen
Cameron Carpenter (organ)
Sony 88883796882 1 CD & 1 DVD: 72:27
mins (CD); 48:30 mins (DVD)
BBC Music Direct 15.99
I doubt there are many who could
accomplish technically what
vk.com/englishlibrary
Cameron Carpenter does with his
International Touring Organ, a
five-manual digital instrument of
staggering complexity, custom-built
for him by American organ firm
Marshall & Ogletree. Its given
its first outing here. Carpenters
technique is astonishing, as shown
in this albums accompanying DVD
film, an engaging piece of theatre
where he shows off his remarkable
pedal facility by playing the theme
to Chopins Minute Waltz with his
feet. And in Bernsteins Overture
to Candide and Carpenters own
Music for an Imaginary Film, his
embellishments, manual changes
and tonal variety prove him to be
one of the instruments undisputed
technical masters and entertainers.
But what of the CD itself, which
mixes repertoire written for the
traditional pipe instrument with
music from the theatre organ
scene? Carpenters reasons for
choosing the music are, he says,
that they each offer a different
taste of ecstasy. And the recor-
ding does add up to a satisfying
musical experience mostly. His
arrangement of Scriabins Piano
straightforwardness, and John
imaginative transformation, and
although his jazzing up of the first
movement from Bachs First Cello
Suite may not appeal to all, its
done with considerable skill and
panache. His Dupr Variations
sur un Nol is awe-inspiring and
its almost impossible not to grin
along to the astonishing displays of
virtuosity in Back in babys arms.
Bachs Trio Sonata No. 6, however,
is rather metronomic. Stripped of the
organs multitude of sonic effects, I
would have liked to have heard less
of Marshall & Ogletree and rather
more of Cameron Carpenter.
Oliver Condy
PERFORMANCE HHHH
RECORDING HHHHH
DVD RUBINSTEIN
REMEBERED
Narr. John Rubinstein; with Henryk
Cyz, Witold Rowicki, Warsaw
Philharmonic Orchestra & New
Symphony Orchestra of London
et al; dir. Peter Rosen
RCA Red Seal 88843013269 57:30 mins
BBC Music Direct 8.99
In Poland, the song Sto Lat!
(equivalent to Happy Birthday)
declares: May you live 100 years.
When Arthur Rubinstein returned
to his native odz in 1975, packed
audiences greeted him with ovations -
and this very song. He nearly obeyed,
dying in 1982 only five years short
of that target.
The story goes that after a
failed suicide attempt in his youth,
Rubinstein walked out into a Paris
street and fell in love with life. His
irrepressible joie de vivre, the direct,
natural quality of his musicianship,
his charm and his sparkle as a
raconteur, seems never to have
deserted him thereafter. This film,
including plenty of footage of the
man himself, offers a tantalising taste
of the way Rubinsteins entire way
of being could warm the heart.
Made in 1987 to mark the great
pianists centenary, this is a very
personal memoir, fronted by his
son, the conductor John Rubinstein.
Where Rubinsteins personal life is
concerned, the story is, inevitably,
partial and somewhat mythologised.
But the special nature of his playing
is captured gloriously, with Daniel
Barenboim paying tribute to his
Rubinstein revealing that he felt he
knew his father best from hearing
him playing, since that was where
he most revealed his deepest self.
The picture quality looks older
than it is, though the sound is good.
In short, a moving documentary
that no pianophile will want to
be without. Jessica Duchen
FILM HHHH
PICTURE & SOUND HHH
 2014/15 Concert Season at Southbank Centres Royal Festival Hall

Highlights include

Rachmanino: Inside Out

Tickets 9-65
Book 3-4 concerts and
receive a 10% discount
lpo.org.uk 020 7840 4242
southbankcentre.co.uk 0844 847 9920
Transaction fees apply:
1.75 online, 2.75 by phone
11 concerts including the complete symphonies and piano concertos,
the opera The Miserly Knight, the choral masterpiece The Bells, rare
performances of the cantata Spring and orchestral songs as well
as a selection of other much-loved and rare orchestral works from
Rachmanino and his contemporaries.
Premieres and new commissions from Magnus Lindberg,
Harrison Birtwistle, Julian Anderson and James Horner.
Vladimir Jurowski conducts Prokoev, Shostakovich, Rachmanino,
Stravinsky, Verdi and Wagner.
Guest appearances from Yannick Nzet-Sguin, Menahem Pressler,
Barbara Hannigan, Marin Alsop, Katia and Marielle Labque, Osmo Vnsk,
Maria Joo Pires and many more
Begins Wednesday 24 September
Full season listings at lpo.org.uk

Concerts & Events

201415

Saffron
Hall
Experience breathtaking performances
at East Anglias award-winning new venue
London Philharmonic Orchestra Maxim Vengerov Barbara Hannigan
Iestyn Davies Nicola Benedetti Paul Lewis Michael Morpurgo
The Sixteen Ian Bostridge Czech Philharmonic Orchestra
Colin Currie Britten Sinfonia

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Book now: 0845 548 7650 www.saffronhall.com
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CONTACT DETAILS
classical music a party to remember oresalla doluptaqui
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et somewhere, copy text in here please
WEBSITE vallettabaroquefestival.com.mt
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Vallettaofficab orporrum
International ipsum Festival.
Baroque TELEPHONE 000 0000 0000
WEBSITE visitmalta.com
estibus ciumqui ut maxim ut Logo EMAIL admin@somewhere.com WEBSITE somewhere.com
hilignisqui ditiusa eraerit quia nim
vk.com/englishlibrary
XXXXXXXXX 2013 H&A 51
 BRIEF NOTES
Your quick listening guide to more new releases, including Rio-inspired
CDs from Viktoria Mullova and Natalie Dessay, and concertos by Godard
Godard Piano Concertos Nos 1-2
Tasmanian SO/Shelley (piano)
Hyperion CDA68043 12.99
Barely remembered
now, for the Berceuse
from his opera Jocelyn,
Godard proves ideal
rediscovery material in
Hyperions invaluable Romantic Piano
Concerto series: a bravura romp in
the hands of Shelley. (JA) ++++
Gunst Piano music
Susanne Lang (piano)
Oehms Classics OC 899 10.99
Gunst composed
highly perfumed piano
works in the manner of
Scriabin before fleeing
from Russia to France
after 1917. This skilfully performed
recital brings to light some
fascinating music. (EL) ++++
Mor Concerto for Two Cellos;
Cello Concerto; Prelude in E
Pter Szab, Ildik Szab (cello); Chandos CHAN 10814 12.99
Miskolc SO/Zsolt Hamar
Hungaroton HCD 32728 13.99
Mor wrote copious
amounts of cello
works, championed
by Casals, in a pleasant
late-Romantic style.
Despite dedicated playing from
the Szabs, the music seems a bit
pedestrian. (EL) ++++
Respighi Impressioni brasiliane;
La boutique fantastique
Orchstre Philharmonique Royal de
Lige/John Neschling
BIS BIS-2050 12.99
Boldly projected
performances of a
useful coupling. A little
lacking in grace and
subtlety in La boutique,
and recorded in a rather blowsy
acoustic, making strings sound fuzzy
in tutti. (TB) +++
D Scarlatti Sonatas
PASCAL ASSAILLY-BANQUE DE FRANCE
Janne Rtty (classical accordion)
Ondine ODE 1232-2 12.99
Rttys solo accordion
breathes new life
into 16 sonatas. The
monochrome originals
glow with colours of
wind ensemble, voice and keyboard,
superbly bringing out Scarlattis
nimble wit. (RA) +++++
cello debut:
Edgar Moreau
makes an impact
Scharwenka Concertos Nos 1-4
Alexander Markovich (piano);
Estonian National SO/Neeme Jrvi
Greg Morris (organ)
All Scharwenkas Piano
Concertos together
for the first time,
this ricochets with
musical rewards.
Echoes from Chopin to Rachmaninov
are all brought out in Markovichs
prodigious pianism. (JA) ++++
Stanford Mass in G Parry
Songs of Farewell ONeill Flyht
The Choir of Exeter College, Oxford;
Stapeldon Sinfonia/George de Voil
EM Records EMR CD021 20.99
The Exeter choir
makes a firm
impression here in
a richly expressive,
fresh-voiced rendition
of Parrys Songs of Farewell. The
Stanford Mass is a CD premiere, but
less successfully recorded. (TB) +++
Stravinsky Chant du Rossignol;
Quatre tudes Prokofiev Piano
Sonata No. 8; Four Etudes
Veronika Bhmov (piano)
Supraphon SU 4148-2 15.99
Bhmova makes light
work of the technical
difficulties in the piano
transcription of Chant
du Rossignol, but is
less effective in communicating
the tragic dimensions of Prokofievs
Eighth Sonata. (EL) ++++
vk.com/englishlibrary
Whitlock Organ Sonata Alain
Litanies Dupr Cortge et litanie
Franck Choral No. 3
Signum Classics SIGCD379 14.99
The first recording of
the renovated Temple
Church organ features
Whitlocks Sonata in
C minor: imposing
and enervating in equal measure,
it dominates Greg Morriss finely
played programme. (JA) +++
Williamson Organ music
Tom Winpenny (organ)
Toccata Classics TOCC 0246 12.99
Williamson composed
flashy, Messiaenesque
music that comes
to life again in
Winpennys virtuosic
playing. Vision of Christ-Phoenix and
the monumental Symphony are
highlights. (JA) ++++
Brazil Works by Jobim, Piazzolla,
Sting, Stevie Wonder, Valle etc
Quatuor Ebne; Kent, Lavilliers
(voice); Tomlinson (saxophone);
Cinelu, Hry (percussion)
Erato 632043 12.99
Pulsating cocktail of
music from Piazzolla to
Sting; classical quartet,
smooth jazz, Brazilian
rhythms, intimate
multilingual vocals; even violin
improvisations. Almost too much, but
sheer verve carries it off. (RA) ++++
Canticles from St Pauls
Cathedral, London Music by
Archer, Walmisley, Tippett, Gray,
Walton, Stanford and Roth
Simon Johnson (organ); St Pauls
Cathedral Choir/Andrew Carwood
Hyperion CDA68058 12.99
Services by Walmisley,
Stanford and Wood are
the staples here, with
Tippetts the most ear-
catching of the other
settings. The singing is bristling with
vigour, if occasionally a touch rough-
textured. (TB) +++
Motets franais pour voix aigus
Includes works by Bouzignac,
Campra, Faur, Bsser & Poulenc
Whitehead (organ); Bruleyx (viola
de gamba); Vergne (timbales); La
Matrise de Toulouse/Mark Opstad
Regent REGCD420 12.99
A rare glimpse into the
French child chorister
tradition, here the
mixed voices of La
Matrise de Toulouse.
A wide-ranging programme, sung
with gleaming freshness of tone and
intonation. (TB) ++++
Play Works by Monti, Elgar,
Paganini, Rostropovich, Faur,
Francaix, Popper etc
Moreau (cello); Hodique (piano)
Erato ER 0825646369584 13.99
An imaginative
compilation of lollipops
performed with
charisma and virtuosity
by this formidably
gifted young French virtuoso. Worth
hearing for the outrageously difficult
showstoppers by Rostropovich,
Franaix and Popper. (EL) +++++
Rio-Paris Works by Villa-Lobos,
Gilberto, Jobim, Gismonti et al
Dessay, Jaoui, Noguerra (voice);
Liat Cohen (guitar)
Erato 2564635035 13.99
Seductive Brazilian
popular songs and
solos by Jobim, Villa-
Lobos and others, with
strong French flavour
and simple beauty. Fine classical
guitar by Liat Cohen and attractively
relaxed vocals. (RA) ++++
Stradivarius in Rio Brazilian music
Mullova (violin), Barley (cello), Clarvis,
Guello (percussion), Freitas (guitar)
Onyx 4130 14.99
Popular Brazilian
songs by Jobim et al,
wordlessly arranged for
percussion, guitar and
Mullovas effortlessly
capable violin. Consistent warmth
and good nature make for a nice
mood-setting disc. (RA) ++++
Reviewers Rob Ainsley (RA), John Allison
(JA), Terry Blain (TB), Erik Levi (EL)
BBC M USIC M AG A Z I N E 83
 JAZZ
Saxophonist Tim Garland crosses musical boundaries; a thrilling release
by Joshua Redman; a Sonny Rollins box set, plus the Rebirth Brass Band
JAZZ CHOICE
Best of both worlds
Barry Witherden enjoys saxist Tim Garlands
new release, mixing jazz and string musicians
personal statement:
Tim Garland excels
in different styles
Sirkiss powerful and supple pulse,
constantly engaging interaction,
all-round exhilaration.
The second disc is an exemplary
melding of scored material and
improvisation, with exciting playing
TIM GARLAND from solo violinist Magdalena
Songs to the North Sky Filipczak, and John Patituccis
Tim Garland (saxophone), Asaf Sirkis extemporised bass passages
(drums), Jason Rebello (piano) etc, stitching together the atmospheric
Royal Northern Sinfonia Strings compositions. Comparisons with
Edition EDN1051 (2 discs) Scandi jazz projects on the ECM
Bbc Music Direct 15.99 label may be lazy, but helpful,
This impressive set brings together shorthand for the overall feel, with
major strands in Tim Garlands Celtic and Borders folk traditions
music the first disc spotlights his evoked instead of Scandinavian.
jazz group Lighthouse, the second But this is far from being derivative
features writing for string ensemble. music, and if Garland retired
The Lighthouse sessions tomorrow this would stand as
provide pretty much anything you a superb, intensely personal,
could want from a jazz session: summation of his talent.
emotionally intense, technically PERFORMANCE HHHHH
brilliant playing, strong tunes, RECORDING HHHHH
Hear an excerpt of this recording at www.classical-music.com
86 40 8 4 B B BC BM
C UMS U
I CS IM
C AM
GAAGZAI N
ZEINE
vk.com/englishlibrary
JOSHUA REDMAN
Trios Live
Joshua Redman (saxophone), Gregory
Hutchinson (drums), Matt Penman,
Reuben Rogers (bass)
Nonesuch 7559795617 58:18mins
BBC Music Direct 14.99
Trios plural because this CD covers
two different trio dates, with Penman
on bass duty at one live gig and
Rogers at the other. Its a contrast to
the saxists last recording, which was
a more panoramic studio work with
strings. In among the seven intense
numbers here, Redman and the guys
roughly pull Mack The Knife apart;
they brood over the 1950s ballad
Never Let Me Go and galumph
through Monks Trinkle Tinkle.
The leaders athletic, exuberant and
all consuming extemporisation will
draw comparisons with Sonny Rollins
(the odd choice of a Led Zeppelin tune
is very Rollins). But though Redman
displays all the wailing, wayward
firepower of the saxophone colossus,
hes a more inclusive player, drums
and bass going far beyond acting
as reference points for the listener.
This could be a demanding hours
listening, but the live energy and
audience reaction combine to produce
a thrill-a-minute set. Garry Booth
PERFORMANCE HHHH
RECORDING HHHH
SONNY ROLLINS
The Contemporary Leader
Sonny Rollins (saxophone), Jim Hall
(guitar), Oscar Pettiford (bass), Max
Roach (drums) etc
PROPERBOX186 (4 discs)
BBC Music Direct 18.99
This new Properbox set, effectively
following on from Sax Symbol,
the labels earlier Rollins set, is of
particular historical importance as it
straddles the period from 1959 until
1962, which saw the saxophonist
withdraw from musical performance
in order to resolve an artistic impasse
so severe it was to drive him abruptly
from the bandstand.
In his usual excellent notes
(actually a detailed and articulate
28-page essay which adds all the
necessary cohesion to the sequence
of tracks, here programmed
chronologically for the first time),
Simon Spillett avoids re-initiating
the speculation surrounding Rollinss
action, but instead identifies and
quotes the leaders own statements
on the situation and wisely leaves it
at that. The music spans a variety of
groups, including the work of the
trademark piano-less trio that has
been transferred with exceptional
clarity and warmth.
Overall, then, this is another
valuable and generous package of
fine music and jazz scholarship.
Roger Thomas
PERFORMANCE HHHHH
RECORDING HHHH
REBIRTH BRASS BAND
Move Your Body
Philip Frazier (tuba), Keith Frazier (bass
drum), Derrick Tabb (snare drum) etc
Basin Street Records BSR 1204-2
BBC Music Direct 14.99
Formed in 1983 the Rebirth Brass
Band (RBB) is a mainstay of New
Orleanss vibrant jazz scene, rising
to fame thanks, notably, to its
appearance on Treme, the TV series
set in Hurricane Katrinas aftermath.
Brothers and long-standing members,
tuba player Philip and bass drummer
Keith Frazier, anchor the bands
infectious swaggering rhythmic style.
And, while rooted firmly in the jazz
marching band tradition, they blend a
mix of jazz and funk, they call junk.
With over 15 albums to their name,
this new disc aptly kicks off with a
jazz version of gospel classic Lord,
youve been good to me, which is
followed by a set-list that is filled with
trademark chants, whoops, claps,
soaring vocals and belting trumpet
solos. What Are We Gonna Do?
questions the uproarious final track.
The listener is clearly being invited,
as the album title suggests, to move
their body Neil McKim
PERFORMANCE HHHH
RECORDING HHHH

JAZZ STARTER COLLECTION
classical leanings:
If Debussy can
do it, I can do it
No. 170 Jimmy Giuffre
Geoffrey Smith, presenter of Geoffrey Smiths Jazz, on a
talented multi-instrumentalist and jazz trio leader
For fans of jazz
cinema, the name
Jimmy Giuffre may
evoke Jazz on a
Summers Day:
the classic
documentary of the 1958 Newport
Jazz Festival opens with the Giuffre
trio delighting the crowd with its
signature tune, The Train and the
River. In a time when hip taste
was divided between hard bop
and laid-back cool, this blithe
original was a breath of fresh air, a
country sketch defining the style
he called blues-based folk jazz.
Though springing from Texan
roots, his musical background was
diverse. In 1947, he gave Woody
Hermans high-powered band, the
Second Herd, its theme with his
iconic composition, Four Brothers,
named for its distinctive sax line-
up of three tenors and baritone. He
joined the band on tenor in 1949,
and became a leading player on
the West Coast scene.
Giuffres own vision of progress
very much included classical
music. He was especially drawn to
counterpoint, intimate colours and
restrained dynamics; and one work
in particular, Debussys Sonata for
Flute, Viola and Harp, inspired his
breakthrough moment: I thought
if Debussy can do it, I can do it
and formed a drummer-less trio.
GETTY
JAZZ REVIEWS
With its eponymous first album,
the Jimmy Giuffre 3 established its
unique sound, creating, in Giuffres
words, a folk-songy, bluesy,
down-homey, old-timey, natural,
funky air, and a kind of swing that
didnt depend on a relentless beat.
Believing that the essence of jazz
is in the phrasing and the notes,
Giuffre found his ideal partner
in guitarist Jim Hall, plus bassist
Ralph Pena, later replaced by valve
trombonist Bob Brookmeyer.
With Giuffre alternating
clarinet, tenor and baritone saxes
and contributing playful, pastoral
originals as well as standards, the
groups repertoire was surprisingly
varied. In the 1960s Giuffre
formed a new, more abstract trio
with pianist Paul Bley and bassist
Steve Swallow, which continued
to perform periodically until
the 1990s. But that first Jimmy
Giuffre 3, still fresh and appealing,
is available in a generous two-CD
set from Avid.
Geoffrey Smiths essential guide to
jazz, the 100 Jazz Legends iPad app,
is available on iTunes for 4.99
CD CHOICE
Jimmy Giuffre
Avid AMSD 948
9.99
vk.com/englishlibrary
 BOOKS
An extensive study of world music explores how cultures have viewed
one anothers music; a new biography spotlights Nikolay Myaskovskys NIKOLAY
MYASKOVSKY:
lesser-known works; plus an ideal spectators guide to Cos fan tutte The Conscience
of Russian Music
Gregor Tassie
Rowman & Littlefield 800-462-6420
BOOKS CHOICE 395pp
BBC Music Direct 51.95

Welcome to the new world Like Badger in The Wind in the

This history of world music is required reading, says Michael Church
THE CAMBRIDGE
HISTORY OF
WORLD MUSIC
Ed. Philip V Bohlman
Cambridge University Press
9780521868488 875pp
BBC Music Direct 110
Three decades ago this book
would have been inconceivable,
because world music had not
been invented. But exactly what is
it? Philip V Bohlman admits that
some of his own writers remain
suspicious of the concept, and
in his introduction he doesnt
even attempt a definition. He
focuses on the need for western
ethnomusicologists to give back
to the rest of the world a history of
An illuminating
conspectus of music
from different cultures
its own music; for him, everything
turns on the psychodrama of
colonialism, and on a guilt-ridden
west-versus-the-rest opposition.
And although Bruno Nettl, his
most eminent contributor, tries
to define the term, he too is
defeated by the multiplicity of
possible formulations. Nettl does,
however, present a vivid account
of its emergence together with
the burgeoning of comparative
ethnomusicology. On the other
hand, the marketing concept
devised by a group of frustrated
GETTY
crossing the divide: Bartk records folk music in Transylvania
record producers at a meeting in
a London pub in 1987 could not
have been more cut-and-dried:
for them, world music meant
everything that could not be filed
(and therefore sold) as classical,
jazz, blues, rock or reggae.
Operating as a quasi-collective,
the 40 contributors to this massive
book offer an illuminating overview
of the ways in which people from
different cultures have viewed each
others music. If some writers dwell
austerely on historiography the
history of history others deal with
the raw matter in fascinating detail.
Stephen Blums essay on medieval
Muslim musicology and Jonathan
Stocks on its Chinese counterpart
are rich in implication; Aaron A
Foxs account of how he repatriated
some old recordings to the Eskimos,
and how those recordings assisted
in a communal cultural rebirth,
is inspiring. Nicholas Cooks
provocative essay on Western
music as world music should be
required reading for all readers of
this magazine. Martin Stokes winds
things up with a suggestion that
universities should amalgamate
their western-classical musicology
and ethnomusicology departments,
sounding the death knell of what
has long been a harmful divide.
HHHH
Willows, Nikolay Myaskovsky
hated, or at least avoided, society.
Yet he was similarly respected, his
music championed by life-long
friends such as Prokofiev, and outside
Russia by, among others, Stokowski
and the Chicago Symphony
Orchestras conductor Frederick
Stock; during the 1920s and 30s,
Stock programmed Myaskovskys
dramatic Sixth Symphony for 17
consecutive seasons. Today, only
his elegiac Cello Concerto is often
recorded, yet his 27 symphonies, 13
string quartets and dozens of piano
works include several masterpieces
that deserve rediscovery. With this,
the first English-language biography
published on this late-Romantic
composer since 1946 (four years
before Myaskovskys death), Gregor
Tassie attempts to fill an obvious gap
in the market.
Tassie introduces many of
Myaskovskys lesser-known
works, while reminding us of his
gifts as a teacher (pupils included
Khachaturian, Mosolov and
Kabalevsky) and critic; under the pen
name Misanthrope, Myaskovsky
championed both early Stravinsky
and Prokofiev. Just as importantly,
Myaskovsky nudged Boris Asafyev
into music criticism, so launching the
career of one of Soviet Russias most
distinguished musicologists. Sadly,
Asafyev betrayed him when, in 1948,
Myaskovsky, alongside Prokofiev
and Shostakovich, was condemned
for alleged formalism, a charge
that possibly hastened his death
aged 69 from cancer.
Tassie has gathered useful infor-
mation, including correspondence
found in various Russian archives
such as the Russian State Archives
of Art and Literature, and the book
provides a virtually comprehensive
discography, including internet
links to otherwise unavailable
recordings. His prose, though,
can be hard-going, with sentences
mangled by poor syntax and

bizarre spellings (the Hungarian

86 BBC M USIC M AG A Z I N E
vk.com/englishlibrary

Eugen Szenkr rendered as Eugene
Sngar), while translations of song
titles differ in the main text from
those in the worklist at the back.
Most dismaying, though, is to find
several of Tassies commentaries on
the music, including substantial
works such as Symphony No. 22
and the cantata Kirov Is with Us, are
extensively and closely paraphrased,
even copied in places, from the
1946 English translation of Alexei
Ikonnikovs biography without
acknowledgement. Daniel Jaff
HHH
MOZART:
COS FAN TUTTE
(Overture Opera Guides)
Ed. Gary Kahn
Overture Publishing
ISBN 978-1-84749-555 256pp
BBC Music Direct 12
The chief pleasure of this Overture
Opera Guide, as with all the series,
is that you can follow the text
both the original and the careful
colloquial English translation
on facing pages. For reading while
listening to a CD, or before watching
a performance, it is ideal. There are
valuable articles included, as always,
though fewer than usual. Richard
Wigmores piece on The Making of
Cos fan tutte is exemplary, leading
you further into the work by a
careful account of what is known
of its process of composition. Hugh
Cannings Selective Performance
History is exemplary, too, showing
how this one-time Cinderella among
Mozarts operas finally achieved the
exalted status it has today, and how
it has survived the inappropriate
gropings of many distinguished
producers. Julian Rushton on The
Music, with many musical examples,
is less satisfying if only because
he overlaps Wigmore without
illuminating further what is still a
disquieting work. Im surprised there
is no article here on the question of
what is sincerity in feeling, and how
it can be expressed in music a hair-
raising task, but surely one that Cos
insists on our considering. There
is no more moving and perplexing
music in any of Mozarts operas than
the Act II duet between Fiordiligi
and Ferrando, and it forms the heart
of this apparently heartless work.
Michael Tanner
HHHH
BOOKS REVIEWS
SIR GEORGE DYSON:
His Life and Music
Paul Spicer
Boydell ISBN 978-1-84383-903-3 450pp
BBC Music Direct 45
Not markedly original. That
was George Dysons unflattering
assessment of himself as a composer,
though its a judgement that,
apparently, didnt bother him. Thats
partly because Dyson did so many
other things besides composing
he was a teacher, soldier, husband,
father, organist, pianist, conductor,
broadcaster, professor, author,
administrator, committee-man and
director of the Royal College of
Music, where he had been a student.
His own music played its part, but
for him, it wasnt everything.
Its Paul Spicers aim, in his
compendious new biography of
Dyson, to bring this music alive to
a new generation. Thats a tall order,
given that it has failed to establish
a foothold in the regular concert
repertoire since Dysons death half
a century ago, although there has
been a mini-burgeoning on record.
More interesting, in the event, is
the fascinating tapestry of period
detail that emerges as Spicer traces
the major staging posts of Dysons
personal and professional existence.
His working-class boyhood in
industrial Halifax, life as a public
school master, his wartime activities
(he wrote a widely circulated
manual on hand grenades) are
all revealingly documented in a
range of correspondence and other
source materials.
Dysons musical output is
discussed extensively by Spicer,
with printed examples. It makes you
want to try the major pieces the
Symphony, The Canterbury Pilgrims,
the Violin Concerto again.
Spicers scrupulous contextualising
of these undoubtedly makes you
listen with fresh understanding
and enhanced empathy.
The book would have benefited
from tighter editing: there are a
significant number of misprints, and
too many sentences that barrel along
unchecked by helpful punctuation.
Overall, though, its a thorough and
very capable biography which renders
unnecessary any future attempt
to cover the same territory again.
Terry Blain HHH
vk.com/englishlibrary
 AUDIO ROUND-UP
Every issue, our audio expert Michael Brook takes a look at the best new audio
and video equipment to help you get the most out of recorded classical music

CHOICE circle of sound:

the Spaced 360 plays
power rangers: music all around
the CEOL Carino
will transform a
computers sound

PORTABLE MUSICAL SPEAKER

Spaced 360 250

With sweeping, modern lines and a unique design, the
Spaced 360 portable speaker is something a bit special. This
brand new product from Spaced Audio will no doubt appeal
to the youth market, with its eye-catching design and bright,
rubberised cases (available as an extra for 30).
This unusual looking portable speaker utilises patented
airSound technology to eliminate any sound black spots
that are often created by speaker placement. With its three-
pointed star design, a 360-degree sound is created by no
AUDIOPHILE DESKTOP MUSIC SYSTEM connecting cables youll need. Its a fewer than six speaker drivers. This results in a convincing
five-minute job to connect everything stereo sound wherever you are in relation to the device.
Denon CEOL Carino Musically, its excellent. Theres plenty of power but theres
and, via a USB connection, your
299 computer will be able to use the CEOL also a healthy amount of separation and detail.
Many of us will have a dedicated hi-fi Carino for delivering a superior audio www.spaced360.com HHHHH
system at home that is capable of performance. Just select it for output
delivering superb musical playback. and youre ready to go.
ULTRA-PORTABLE USB DIGITAL-TO-ANALOGUE CONVERTER
But, with the migration of music from Sonically the CEOL Carino delivers
physical formats to digital, some of astonishing power from its two Geek Out DAC 199
us will have been struggling with diminutive satellite speakers. It is one Digital-to-analogue converters, or DACs, have their sceptics.
unsuitable, uninspiring computer of those systems that will have you And its not until you have the time to do a proper back-to-
speakers, as we try looking under the back test of their performance that you can hear the nuanced
to listen to our The CEOL Carino desk for the hidden improvements they can deliver to audio performance. Dont
digital music. subwoofer. Even in be put off by its name: the Geek Out DAC is a simple, USB DAC
There is an
stands above the the comparatively that plugs into your computer. It can then be used to enhance
abundance computer audio crowd cramped confines the sound in a set of headphones or via external amplification.
of dedicated of a working space, It is easy to set up and the improvements can be heard
computer music systems out there but the CEOL Carino can deliver plenty of immediately. Whereas your computers built-in sound card
few of them have the hi-fi heritage of a depth and a convincing soundstage (in all but the finest) will provide passable detail, the Geek Out
company like Denon behind them. And that belies both its size and the 299 provides increased separation of instrumentation
this is what marks the CEOL Carino price tag. So, although it certainly and boosts high- and low-end frequencies.
out as a system that stands head and isnt cheap, the CEOL Carino trumps The Geek Out represents excellent
shoulders above the computer audio a number of other systems, costing value for money. It would cost much
crowd. half as much again or even twice more than its 200 asking price to
In the box you will find two satellite its asking price. In summary, this is achieve this kind of performance
speakers, a combined amplifier and a timely excuse for upgrading your level with a new amplifier
DAC (digital to analogue converter), office music set-up. or set of speakers.
and a remote, alongside all the www.denon.co.uk HHHHH www.amazon.com
HHHH

88 BBC M USIC M AG A Z I N E
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 BBC MUSIC AUDIO NEWS
Michael Brooks round-up of this
months biggest audio stories

High-resolution stakes
In a move that will have Sony-owning
consumers whooping with joy, the
company appears to be making moves
into the hi-resolution audio market by
patenting a Hi-Res Audio logo (left).
Hinting at the inclusion of hi-res audio
(24-bit) playback in a number of its devices over the coming
months, this could mean that Sony is considering the addition
of high-resolution files to its Music Unlimited streaming service.
Watch this space. music.sonyentertainmentnetwork.com

Studio Master plan

A further development in the high-resolution field concerns the
Scottish label Linn Records. Its making its Studio Master (24-bit
high-resolution) audio files available for sale in other online music
stores as well as its own. At the same time, in a move to focus on
the labels own output, Linn is dropping other labels artists from
its own site, linnrecords.com. The label has ten new Studio Master
recordings scheduled for 2014, bolstering its current catalogue
of over 150 Studio Master albums. www.linnrecords.com

Apple iPod Touch price drop

The benchmark for portable audio
just got a little more reasonably
priced thanks to price drops on
Apples iPod Touch. The 16GB
model is down to 159, the 32GB
version is down to 199 and the
64GB model is down to 249. It
represents a hefty price chop for
all models, so if youre in the market
for an Apple device without the bells and
whistles of the iPhone 5s or 5c, theres never
been a bettter time. www.apple.com

Buy what you hear

Playlister (below), the BBC-backed bookmarking music service
that allows music fans to locate tracks that they have heard
broadcast on BBC radio stations, is now offering the chance to buy
the music via iTunes. Until now music listeners have only been able
to play back selected tracks via online streaming services. The new
purchasing service will only work if iTunes has the songs within its
library, but given the breadth of Apples catalogue that shouldnt
be an issue for most. www.bbc.co.uk/music/playlister

vk.com/englishlibrary
 LIVE CHOICE
20 UNMISSABLE EVENTS
FOR SEPTEMBER 2014
The BBC Music Magazine guide to the very best concerts and
opera including highlights from the UKs amateur scene
For detailed concert listings visit www.classical-music.com/whats-on
1 BRODSKY QUARTET
Royal West of England Academy,
Bristol, 1 September
Tel: 0845 4024001 (UK only)
Web: www.stgeorgesbristol.co.uk
Concluding in October, the Brodskys deliver a
second complete Shostakovich quartet cycle
to Bristol the first took place at St Georges
in 2006, the composers centenary year. This
time round, St Georges shares the honours
with the Lord Mayors Chapel, the Victorian
gothic of Arnos Vales Cemetery Chapel and,
first up, the marbled grandeur of the Royal
West of England Academy.
2 LEIPZIG GEWANDHAUS
ORCHESTRA
Royal Albert Hall, London,
11, 12 September
Tel: 0845 401504 (UK only)
Web: www.bbc.co.uk/proms
As the Last Night of the Proms beckons,
visiting orchestra are flying in from the
US, Asia, Europe and the Middle East. Last
to arrive is the Leipzig Gewandhaus and
stand-in conductor Alan Gilbert who restore
Beethovens Ninth Symphony to its erstwhile
traditional slot on the penultimate night. The
mezzo soloist, Gerhild Romberger, is also in
action the evening before when the Leipzigers
scale Mahlers monumental Symphony No. 3.
3 ROSSINIS WILLIAM TELL
Wales Millennium Centre, Cardiff,
from 12 September
Tel: +44 (0)29 2063 6464
Web: www.wno.org.uk
Welsh National Opera is taking the plunge
into bel canto once more, with a double
UWE ARENS, GETTY
helping of Rossini. Moses in Egypt will open
in October, but paving the way in a new
production by David Pountney is the Italians
epic operatic swansong William Tell. WNOs
90 BBC M USIC M AG A Z I N E
4 LAMMERMUIR
FESTIVAL
East Lothian, 12-21 September
Tel: +44 (0)131 473 2000
www.lammermuirfestival.co.uk
With Franois Leleuxs performance of
the Oboe Concerto, and the Four Last
Songs from soprano Christine Brewer,
Lammermuir pays its Richard Strauss
anniversary dues in style. The Heath
Quartet brings Stravinsky and Schubert
birthday greetings:
after three concerts exploring early,
Sir Peter Maxwell Davies, seen
middle and late Beethoven; opera here in 1965, is celebrated in
makes its Lammermuir debut with Glasgow (Choice 6)
Monteverdis The Coronation of Poppea;
and the Dunedin Consort revisits
Handels Acis and Galatea.
one-time music director Carlo Rizzi returns
to conduct a cast including baritone David
loving lothian: Kempster as the steel-nerved hot shot.
Franois Leleux plays
5 SCOTTISH ENSEMBLE
Strausss Concerto
Glasgow, 12, 13 September
Tel: +44 (0)141 3524900
Web: www.scottishensemble.co.uk
The Scottish Ensemble has always liked to
cut a distinctive dash, and artistic director
Jonathan Morton launches his tenth season
with typical panache. In a secret Glasgow
location, artist Toby Paterson creates a special
immersive environment for 20th-Century
Perspectives: City Spaces and Strings. The
musical perspectives embrace composers
ranging from Elgar to Adams and Glass, with
a Xenakis UK premiere for good measure.
6 MAXWELL DAVIES AT 80
City Halls, Glasgow, 14 September
Tel: +44 (0)141 353 8000
Web: www.glasgowconcerthalls.com
A week after Sir Peter Maxwell Daviess
80th birthday, Glasgow sends many happy
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returns to the composer with an extended
afternoon greeting that ranges from the solo
guitar of Hill Runes to a Scottish Chamber
Orchestra concert including the Scottish
premiere of Last Door of Light. The celebration
ends, of course, with the skirl of the pipes as
An Orkney Wedding, with Sunrise issues its
irresistible invitation.
7 VERDIS OTELLO
Coliseum, London, from 14 September
Tel: +44 (0)20 7845 9300
Web: www.eno.org
English National Opera rallies to the
Shakespeare 450 flag with a new production
of Verdis last tragedy, Otello. It brings
together three key players behind ENOs
powerful Britten Peter Grimes: director David
Alden, conductor Edward Gardner and, in the
title role, tenor Stuart Skelton. Leah Crocetto
is the hapless Desdemona, Brian Mulligan the
scheming Iago.
8 CITY OF BIRMINGHAM
SYMPHONY ORCHESTRA
Symphony Hall, Birmingham,
16, 18, 20, 21 September
Tel: +44 (0)121 345 0498
Web: www.thsh.co.uk
As he embarks on his final season at the
helm of the good ship CBSO, music director
Andris Nelsons reprises his traversal of the
Beethoven Symphonies, a cycle which proved
so ear-opening in the orchestras 2012/13
season. Theres a difference though. On this
occasion the nine works are not spread over
the season, but are presented chronologically
over just four days.
9 LEICESTER
INTERNATIONAL
MUSIC FESTIVAL
New Walk Museum, Leicester,
17-20 September
Tel: +44 (0)116 242 2800
Web: www.leicesterinternational
musicfestival.org.uk
Czech music is in the air, as oboist Nicholas
Daniel and friends including The Cambridge
Buskers, cellist Guy Johnston and pianist
vk.com/englishlibrary
SEPTEMBER 2014 LIVE EVENTS
BACKSTAGE WITH
russian journey:
The Brodsky Quartet
plays Shostakovich
The Brodsky Quartet
Youre playing all 15 Shostakovich
Quartets over four concerts in four
Bristol venues. Thats some journey
Paul Cassidy (viola): It is. St Georges in
Bristol has a theme this year called The
World Changed, and nothing deals with
that better than these quartets. Theres a
huge difference in style in Shostakovichs
Quartets, from the simplistic and tentative
First to the 15th, which is one of the most
profound commentaries on human existence
ever written. There are all kinds of influences
along the way.
There are various autobiographical
references in there too?
There are. The cycles journey begins
with the birth of his son in 1938 the
First Quartet sometimes carries the title
Spring and bang in the middle you have
the Eighth, which he famously wrote as his
own epitaph. Either side of the Eighth are
quartets written in memory of his first wife
the Seventh and celebrating his love for
his third wife the Ninth.
Are you performing the Quartets in
strict chronological order?
We have done the cycle chronologically
before, but wont be doing so this time.
The various venues we will be performing
in, and also the times of the concerts, lend
themselves to particular types of quartets.
So weve made sure that we get the right
quartets suited to each concert while also
not losing the narrative track of the cycle as
a whole.
Have you performed the cycle across
a range of different venues before?
Yes, we have. A few years ago we did the
cycle in Bod in northern Norway. On that
occasion, there were five beautiful little
churches, each on a separate finger of land
separated by the fjords. We would play
one concert in one church and then jump
in a boat and cross the fjord for another.
That was really fantastic. There wont be
any fjords this time, but I hope the Bristol
concerts will have a similar feel.
>
See Choice No. 1
BBC M USIC M AG A Z I N E 91
SEPTEMBER 2014 LIVE EVENTS

eclectic Colchester Weekend that sets

Why not visit Windsor Great Park Pergolesi on period instruments beside
Where Herde hunted and Sir John fell out of love
youve lust:
Falstaff is tricked in the
depths of Windsor Forest
Gabriel Prokofievs Nonclassical Clubnight.
Actor and musician Thomas Guthrie dusts
down his version of Schuberts Winterreise,
incorporating animated drawings and
puppets, and after accompanying a
Festival Walk, Onyx Brass settles down to
Bach, Couperin and Brahms in historic
St Peters Church.

13 NORTH WALES
FESTIVAL
St Asaph, 20-27 September
Tel: +44 (0)1745 850197
Web: www.nwimf.com
In what would have been his 80th birthday
year, North Wales Festival weaves music by its
founder William Mathias into a programme
that celebrates the Dylan Thomas centenary
with a new orchestral work by Gareth Glyn
inspired by Under Milk Wood. Pianist David
Owen Norris is Entertaining Miss Austen, The
Tippett Quartet peruses Janeks Intimate
Letters, and theres rustic Handel from Mid
Wales Opera.

T
urn the clock back around seven centuries or so, and
Windsor Great Park would have echoed to the sound of
hunting horns Windsor Forest, as it was then, was where
14 BBC NATIONAL
ORCHESTRA OF WALES
Hoddinott Hall, Cardiff, 23 September
Plantagenet kings liked to take their hounds out in pursuit of a stag
Tel: 0800 052 1812 (UK only)
or two. It is here that the amorous Falstaff meets his comeuppance
Web: www.bbc.co.uk/bbcnow
at the end of both ShakespearesThe Merry Wives of Windsor and, in
After three August Proms and an al fresco
turn, Sir John in Love, Vaughan Williamss 1929 opera based on The
royal grass: Swansea Last Night, the BBC National
Bards play. Sir John in Love is only heard occasionally in the opera
Windsor Great Park Orchestra of Wales is coming home. BBC
house these days, though choirs often tackle In Windsor Forest, VWs
as it is today New Generation Artist Louis Schwizgebel is
15-minute cantata that uses much of the same material. Windsor
the soloist in Ravels Piano Concerto for Left
Great Park, meanwhile, has decidedly fewer trees than of yore, but
Hand, which conductor Michael Francis pairs
is still a fine place for a picnic. Visitors, though, should beware that the ghost of Herne the
with Janeks Gogol-inspired rhapsody,
Hunter and his pack of phantom black hounds are still at large. You have been warned.
Taras Bulba, and Martins Symphony No. 6,
l Where is it?: Windsor Great Park is on the A332, c5 miles from Windsor town centre
Fantaisies symphoniques.
l For more information: www.windsor.gov.uk/things-to-do/windsor-great-park

15 BEVERLEY CHAMBER
MUSIC FESTIVAL
Katya Apekisheva assemble for the oboists
11th Leicester Festival as director. Dvok
and the Bohemians explores a legacy
11 ESCHER QUARTET
St Georges Hall, Liverpool,
18 September
St Mays Church, Beverley,
24-27 September
Tel: +44 (0)1262 678258
stretching from 17th-century Biber through Tel: +44 (0)151 709 3789 Web: www.beverleychamber
Mahler and Smetana to a new work for Daniel Web: www.liverpoolphil.com musicfestival.org.uk
by Lukas Sommer. Having just completed an impressive survey The autumn sequel to Beverleys springtime
of the Zemlinsky string quartets on disc, the early music festival lures the Escher Quartet

10 LONDON SINFONIETTA
Kings Place, London, 18 September
Tel: +44 (0)20 7520 1490
Web: www.kingsplace.co.uk
After a break for summer and hot on the
GARETH WIDDOWSON, ALAMY, THINKSTOCK
Eschers arent quite ready to bid farewell, and
so include him by proxy in an enterprising
line-up at St Georges Hall. Between excerpts
from Bachs Art of Fugue and Beethovens
Quartet in B flat Op. 130, the quartet plays
north for two concerts, one repeating their
Liverpool programme (Choice 11), the other
tempting Martin Roscoe onto the piano stool
for Shostakovichs G minor Piano Quintet. The
Opera North Horn Quartet bestrides seven

heels of its action-packed three-day Festival
Kings Places absorbing Chamber Classics
Unwrapped series resumes with Arnold
Schoenbergs voluptuous and ultimately
radiant string sextet, Verklrte Nacht.
Mezzo soprano Sarah Connolly joins the
London Sinfonietta for The Song of the
Wood Dove from the same composers
Gurrelieder, and Nicholas Collon conducts
the Chamber Symphony No. 1.
Bergs Lyric Suite, dedicated to Zemlinsky and
quoting from his Lyric Symphony.
12 AWEEKEND
COLCHESTER
Colchester, 18-21 September
Tel: +44 (0)1206 241027
Web: www.romanrivermusic.org.uk
Running until October, this years Roman
River Festival is kick-started by an exuberantly
nationalities, while tenor James Gilchrist
performs Schumanns Liederkreis Op. 24 and
Dichterliebe on the closing night.
16 JOYCE DIDONATO
Barbican, London, 25 September
Tel: +44 (0)20 7638 8891
Web: www.barbican.org.uk
American mezzo Joyce DiDonato is to be
the subject of this seasons Barbican Artist

92 BBC M USIC M AG A Z I N E
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Spotlight treats in store in coming months
include Handels Alcina, Ravels Shhrazade
and a new song cycle by US composer
Jake Heggie. Her first concert sees her
accompanied by LOrchestre de lOpra de
Lyon under Riccardo Minasi, as she delves into
trademark bel canto arias by Bellini, Donizetti
and Rossini, among others.
17 PHILHARMONIA
Southbank Centre, London,
25 September
Tel: 0844 875 0073 (UK only)
Web: www.southbankcentre.co.uk
Berliozs Grande Messe des morts is not a
Requiem that goes gentle into that good
night. Its scoring includes no fewer than 16
timpani, ten pairs of cymbals and four off-
stage brass ensembles just the thing to raise
the roof at the start of the Philharmonias
new season. Choral societies from Bristol
and Gloucester swell the ranks of the
Philharmonia Voices for this latest instalment
in conductor Esa-Pekka Salonens three-year
Berlioz Project.
18 HATFIELD HOUSE
CHAMBER MUSIC
FESTIVAL
Hatfield House, Hatfield, 25-28 September
Tel: +44 (0)1707 527012
www.hatfieldhousemusicfestival.org.uk
The late John Tavener is remembered by The
Sixteen at the start of cellist Guy Johnstons
third festival in the imposing surroundings
of Hatfield House. And the musical legacy
of the two World Wars permeates carefully
crafted programmes which include
For details of events in your area, visit our online concert diary at www.classical-music.com/whats-on
Messiaens Quartet for the End of Time
from the Aronowitz Ensemble, Strausss
Metamorphosen, and Debussys sultry
Chansons de Bilitis.
19 THE ENGLISH CONCERT
Bridgewater Hall, Manchester,
26 September
Tel: 0844 907 9000 (UK only)
Web: www.bridgewater-hall.co.uk
Surprisingly, Trevor Pinnocks ensemble
The English Concert has never performed
at Manchesters Bridgewater Hall. Theyre
putting that right with gusto this month by
launching the Halls 2014/15 International
Concert Series with Bachs mighty B minor
Mass. Harry Bicket conducts, and the
compelling quartet of soloists comprises
soprano Elizabeth Watts, countertenor
Timothy Mead, tenor Joshua Ellicott and
bass-baritone Matthew Brook.
20 NASH ENSEMBLE
Wigmore Hall, London,
28 September
Tel: +44 (0)20 7935 2141
Web: www.wigmore-hall.org.uk
It has commissioned nearly 200 works
and premiered 100 more truly, the Nash
Ensemble merits national treasure status.
To celebrate its 50th birthday, most of the
concerts in the ensembles new Wigmore
Hall series come with a bonus prelude of
past Nash commissions. But first, alongside
Dvoks E flat Piano Quartet, a Coffee Trianon Music Groups Peace and War
Concert presents compliments to the chef
with a Nash signature dish: Martinus La
Revue de Cuisine.
bach calling:
Elizabeth Watts sings in the
B minor Mass (Choice 19)
vk.com/englishlibrary
SEPTEMBER 2014 LIVE EVENTS
OVER TO YOU!
The non-professional
events to catch this month
by jupiter!: George Morton conducts Holst
Sheffield Rep Orchestra
Octagon Centre, Sheffield,
18 September
As part of the University of Sheffields
Festival of the Mind, the Sheffield
Rep Orchestra is performing Holsts
The Planets but with a difference. In
between the movements of Holsts 1914
work, conducted by George Morton,
professor of astrophysics Paul Crowther
will be giving short talks about the
cosmos along with accompanying visuals.
Trianon Music Group
Ipswich Corn Exchange, 13 September
Held in aid of the British Royal Legion,
concert marks the start of the First World
War with works including Butterworths
A Shropshire Lad Rhapsody, Vaughan
Williamss Toward the unknown region
and Jenkinss The Armed Man.
Harmony Sinfonia
St Marys Church, Lewisham,
27 September
One of south Londons leading amateur
orchestras sees summer out with its Last
Night of Proms concert. The programme
has yet to be announced, but expect Elgar
to appear somewhere. The concert is free,
but there will be a collection in aid of the
Jimmy Mizen Foundation.
The Unicorn Singers
Dore Abbey, 28 September
Dore Abbey in Herefordshire will be
resounding to the glorious sounds of
La Serenissima as, for its Venetian
Splendour concert, The Unicorn Singers
welcome soloists including soprano
Grace Davidson for an evening of
Monteverdi and Gabrieli.
Send us your concert details to
overtoyou@classical-music.com
BBC M USIC M AG A Z I N E 93
RADIO & TV LISTINGS
Each issue we provide full listings for BBC Radio 3 introduced by the stations
controller, Edward Blakeman, plus highlights of classical music programmes on television
DIRECTORS CHOICE
Edward Blakeman,
acting director of the
BBC Proms, picks out
three great moments to
tune into in September
ST MATTHEW PASSION
The Proms season may be drawing to a close
but the organisers have saved some treats for
the final weeks. One of these is Peter Sellarss
(above) hugely successful staging of Bachs
St Matthew Passion. This innovative Berlin
production, from 2010, reunites the director
with the combined forces of Sir Simon Rattle,
the Berlin Philharmonic and a host of vocal
talent. A masterpiece of sacred classical music,
Bach wrote his oratorio which deals with the
94 BBC M USIC M AG A Z I N E
events around the Crucifixion in 1727. With a
cast that includes tenor Mark Padmore as the
Evangelist and baritone Christian Gerhaher as
Christus, this will be a highlight of the season.
Proms 2014, Prom 66, 6 September, 7pm
BIRTWISTLE AT 80
Its been a landmark year for English composer
Sir Harrison Birtwistle, as he turned 80 this
summer. A celebratory Proms concert at
Cadogan Hall (on 6 September) is featuring
his early works, including Dinah and Nicks
Love Song performed by Exaudi and the
Birmingham Contemporary Music Group
under Oliver Knussen. And there is also
a Birtwistle world premiere taking place
at Wigmore Hall (on 14 September). His
Variations from the Golden Mountains is being
performed by British pianist Nicolas Hodges in
a concert that includes Debussy tudes Books
vk.com/englishlibrary
forward thinking:
director Peter Sellars
brings innovation to Bach
I and II and Birtwistles Gigue Machine. The
latter was premiered by Hodges in 2012.
Live in Concert, 14 September, 7.30pm
VERDIS OTELLO
Tune in for this dramatic English National
Opera production of Verdis Otello (1887),
which is being staged to mark Shakespeares
450th anniversary. Set on the Cypriot coast,
this tragedy of deception sees Shakespeares
text adapted by librettist Arrigo Boito. The
story centres on the relationship between
Otello (tenor Stuart Skelton) and Desdemona
(soprano Leah Crocetto) which is torn apart by
Iago (tenor Brian Mulligan). Otello is directed
by David Alden, who scored a success at ENO
with Brittens Peter Grimes. And anticipation is
high, as he reunites again with music director
Edward Gardner.
Opera on 3, 27 September, 6.15pm

SEPTEMBERS RADIO 3 LISTINGS
1 MONDAY
6.30-9am Breakfast
9am-12 noon
Essential Classics
12 noon-1pm Composer
of the Week Dvork
1-2pm Proms Chamber Music 7
at Cadogan Hall. Chopin Ballade
No. 1 in G minor, Mompou Paisajes,
Ravel Valses nobles et sentimentales,
Judith Weir Day Break Shadows Flee
(wp), Gounod, arr. Liszt Waltz from
Faust. Benjamin Grosvenor (pno)
2-4.30pm Prom 46 (rpt)
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Dvork (rpt)
7.30-10pm Proms 2014 Prom 60
Berlioz Overture Le carnaval romain,
Walton Sinfonia concertante (original),
Respighi Roman Festivals, Fountains
of Rome, Pines of Rome. Danny
Driver (pno), Royal Philharmonic
Orchestra/Charles Dutoit
10-10.45pm Ken Adam
10.45-11pm Cornerstones 1/4
11pm-12.30am Jazz on 3
2 TUESDAY
6.30-1pm As Monday 1 Sept
1-2pm Lunchtime Concert
2-4.30pm Prom 47 (rpt)
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Dvork (rpt)
7.30-10pm Proms 2014 Prom 61
Glinka Ruslan and Lyudmila
overture, Zhou Long Postures,
Rachmaninov Symphony No. 2.
Andreas Haefliger (pno), Singapore
Symphony/Lan Shui
10-10.45pm Free Thinking (rpt)
10.45-11pm Cornerstones (2/4)
3 WEDNESDAY
6.30-1pm As Monday 1 Sept
1-2pm Lunchtime Concert
2-3.30pm Prom 54 (rpt)
3.30-4.30pm Choral Evensong
from Charles Wood Summer School
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Dvork (rpt)
7.30-9.45pm Proms 2014
Prom 62 Beethoven Symphony
No. 8, Berlioz Romeo and Juliet
Romeo Alone, Dvork Symphony
No. 9, From the New World.
Stuttgart Radio Symphony/
Sir Roger Norrington
9.45-10.10pm Proms Plus Late
10.10-10.45pm New
Generation Artists
10.45-11pm Cornerstones (3/4)
GETTY, SEAN COOK
11pm-12.30am Late Junction
4 THURSDAY
6.30-1pm As Monday 1 Sept
1-2pm Lunchtime Concert
Schedules may be
subject to alteration;
for up-to-date listings
see Radio Times
2-4.30pm Prom 48 (rpt)
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Dvork (rpt)
7.30-10pm Proms 2014
Prom 63 John Adams Short Ride in
a Fast Machine, Saxophone Concerto
(ukp), Mahler Symphony No. 1
in D. Timothy McAllister (sax), BBC
Symphony Orchestra/Marin Alsop
10-10.45pm Ideas of Germany
10.45-11pm Cornerstones (4/4)
5 FRIDAY
6.30-1pm As Monday 1 Sept
1-2pm Lunchtime Concert
2-4.30pm Prom 49 (rpt)
4.30-6.30pm In Tune
6.30-8.45pm Proms 2014
Prom 64 Rachmaninov Symphonic
Dances, Stravinsky The Firebird,
Berlin Philharmonic/Sir Simon Rattle
8.45-9.30pm
New Generation Artists
9.30-10.15pm Production
Line Living
10.15-12midnight Proms
2014 Prom 65 Late Night with
Paloma Faith (singer), Urban Voices
Collective, Guy Barker Orchestra
6 SATURDAY
7-9am Breakfast
9am-12.15pm Summer CD
Review interview with conductor
Andrew Litton
12.15-1pm Music and
the Jews (2/3)
1-2pm Lunchtime Concert
2-3pm Sound of Cinema
3-4.30pm Proms Saturday
Matinee 4 from Cadogan Hall.
Sir Harrison Birtwistle Verses for
Ensembles, Dinah and Nicks Love
Song, Meridian. Christine Rice (mz),
Exaudi, Birmingham Contemporary
Music Group/Oliver Knussen
4.30-5.30pm
Jazz Record Requests
5.30-7pm Jazz Line-Up
CHOICE
7-11pm Proms 2014 Prom 66
JS Bach St Matthew Passion (staging
by Peter Sellars), Mark Padmore
(Evangelist), Christian Gerhaher
(Christus), Camilla Tilling (sop),
Magdalena Ko en (mz), (arr. Atovmyan) Four Waltzes, Walton
Topi Lehtipuu, Eric Owens
(ten), Berlin Radio Choir, Berlin
Philharmonic/Sir Simon Rattle
11pm-12midnight
Hear and Now
12midnight-1am
Geoffrey Smiths Jazz
7 SUNDAY
7-9am Breakfast
9am-12 noon Sunday Morning
12 noon-1pm Private Passions
vk.com/englishlibrary
Sophie Hannah, novelist
1-2.15pm Proms Chamber
Music 7 (rpt)
2.15-3.30pm The Early Music
Show The roots of Klezmer,
presented by Lucie Skeaping
3.30pm-6pm Proms 2014
Prom 67 Behzad Ranjbaran
Seemorgh The Sunrise,
Rachmaninov Piano Concerto No. 2
in C minor, Tchaikovsky Symphony
No. 5. Denis Matsuev (pno), Qatar
Philharmonic/Han-Na Chang (above)
6-7pm Choral Evensong from
Charles Wood Summer School (rpt)
7-7.30pm New Generation
Artists
7.30-9.45pm Proms 2014
Prom 68 Brahms Academic Festival
Overture, Jrg Widmann Flte en
suite (ukp), Brahms Symphony
No. 1. Joshua Smith (flute),
Cleveland Orchestra/
Franz Welser-Mst
9.45-11.45pm Drama on 3
The White Devil (rpt)
11.45pm-12.30am
New Generation Artists
8 MONDAY
6.30-9am Breakfast
9am-12 noon
Essential Classics
12 noon-1pm Composer of
the Week Rameau
1-2pm Proms Chamber Music 8
from Cadogan Hall. Shostakovich
Faade. Ian Bostridge, Dame Felicity
Palmer (reciters), Nash Ensemble/
John Wilson
2-4.30pm Prom 51 (rpt)
4.30-7pm In Tune
7-9.30pm Proms 2014 Prom 69
Brahms Tragic Overture, Jrg
Widmann Teufel Amor (ukp),
Brahms Symphony No. 2. Cleveland
Orchestra/Franz Welser-Mst
9.30-10.15pm Albrecht Durer
10.15-11.45pm Proms 2014
SEPTEMBER 2014 RADIO & TV LISTINGS
raising the baton:
cellist Han-Na Chang
conducts Prom 67
Prom 70 Sir Peter Maxwell Davies
Concert Overture Ebb of Winter,
Strathclyde Concerto No. 4, An
Orkney Wedding, with Sunrise.
Dimitri Ashkenazy (cl), Scottish
Chamber Orchestra/Ben Gernon
11pm-12.30am Jazz on 3
Guitarist Chris Sharkey with Shiver
9 TUESDAY
6.30-1pm As Monday 8 Sept
1-2pm Lunchtime Concert
2-4.30pm Prom 51 (rpt)
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Rameau (rpt)
7.30-10pm Proms 2014
Prom 71 Copland Appalachian Spring
suite, Quiet City, Rodeo Four
Dance Episodes, Dave Brubeck (arr.
Chris Brubeck) Blue Rondo la Turk
(ukp), Chris Brubeck Travels in Time
for Three (ukp). Time for Three, BBC
Concert Orchestra/Keith Lockhart
10-10.45pm Eileen Gray
10.45-11pm Letters to a
Young Poet (4/5)
10 WEDNESDAY
6.30-1pm As Monday 8 Sept
1-2pm Lunchtime Concert
2-3.30pm Prom 57 (rpt)
3.30-4.30pm Choral Evensong
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Rameau (rpt)
7.30-10.15pm Proms 2014
Prom 72 Vaughan Williams Fantasia Show Boat Ol Man River, Trad.
on Greensleeves, Sir Harrison (arr. Williams) Joshua Fit the Battle
Birtwistle Exody, Walton Viola
Concerto, Vaughan Williams
Symphony No. 4. Lise Berthaud
(vla), BBC Symphony Orchestra/
Andrew Litton
10.15-11pm Proms Composer
Portrait Harrison Birtwistle
11 THURSDAY
6.30-1pm As Monday 8 Sept
1-2pm Lunchtime Concert
BBC M USIC M AG A Z I N E
2-4.30pm Prom 52 (rpt)
4.30-7pm In Tune
7-9pm Proms 2014 Prom 73
Mahler Symphony No. 3. Gerhild
Romberger (mz), Leipzig Opera
and Gewandhaus Choir (womens
voices), Leipzig Gewandhaus
Childrens Choir, Leipzig
Gewandhaus/Alan Gilbert
9-9.45pm Shanghai: World
City Redux
9.45-10.15pm Proms
Plus Late 8
10.15pm-12midnight
Proms 2014 Prom 74 Late Night
with Rufus Wainwright (singer),
Britten Sinfonia/Johannes Debus
12-12.30am Late Junction
12 FRIDAY
6.30-1pm As Monday 8 Sept
1-2pm Lunchtime Concert
2-4.30pm Prom 53 (rpt)
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Rameau (rpt)
7.30-9pm Proms 2014
Prom 75 Friedrich Cerha Paraphrase
on the Opening of Beethovens
Symphony No. 9, Beethoven
Symphony No. 9 Choral. Christina
Landshamer (sop), Gerhild
Romberger (mz) etc, Members
of the Leipzig Opera Chorus,
Leipzig Gewandhaus Choir, Leipzig
Gewandhaus Childrens Choir,
London Symphony Chorus, Leipzig
Gewandhaus/Alan Gilbert
9-9.45pm Proms Poetry
Competition
9.45-10.45pm
Remembering Rwanda
10.45-11pm Letters to a
Young Poet (5/5)
11pm-1am World on 3
13 SATURDAY
7-9am Breakfast
9am-12.15pm Summer CD
Review interview with conductor
Kristjan Jrvi
12.15-1pm Music and
the Jews (3/3)
1-2pm Lunchtime Concert
2-4pm Saturday Classics
4-5pm Sound of Cinema
5-6pm Jazz Record Requests
6-7.30pm Jazz Line-Up
7.30-11pm Proms 2014
Prom 76 Last Night of the Proms
Gavin Higgins Velocity (wp), Arnold
Overture Peterloo new choral
version with lyrics by Sir Tim Rice
(wp), Walton Faade Popular
Song, Chausson Pome, Tavener
Song for Athene, R Strauss Taillefer,
Khachaturian Gayane Sabre Dance,
Ravel Tzigane, Kern (arr. R Williams)
of Jericho, Richard M & Robert
B Sherman Mary Poppins medley,
Ansell Plymouth Hoe, Arne (arr.
Sargent) Rule, Britannia!, Elgar Pomp
and Circumstance March No. 1 in
D (Land of Hope and Glory), Parry
(orch. Elgar) Jerusalem, The National
Anthem (arr. Britten). Janine Jansen
(vln), Elizabeth Watts (sop), John
Daszak (ten), Roderick Williams (bar),
BBC Singers, BBC Symphony Chorus, >
95
SEPTEMBER 2014 RADIO & TV LISTINGS
BBC Symphony/Sakari Oramo
11-12 midnight Hear and Now
12 midnight-1am Geoffrey
Smiths Jazz
14 SUNDAY
7-9am Breakfast
9am-12 noon Sunday Morning
12 noon-1pm Private Passions
Gillian Lynne, choreographer (rpt)
1-2pm Lunchtime Concert
2-3pm The Early Music Show
3-4pm Choral Evensong (rpt)
4-5.30pm The Choir
5.30-6.45m Words and Music
6.45-7.30pm Sunday Feature
I Have Been Here Before
CHOICE
7.30-10pm Radio 3 Live In
Concert from Wigmore Hall, London.
Sir Harrison Birtwistle 80th Birthday
Tribute. Debussy tudes Book I,
Birtwistle Variations from the Golden
Mountain (wp), Mozart/Busoni Gigue,
Bolero and Variations, Birtwistle
Gigue Machine, Debussy tudes Book
II. Nicolas Hodges (piano, below)
10-12 midnight Drama on 3
JB Priestleys Time and the Conways
15 MONDAY
6.30-9am Breakfast
9am-12 noon
Essential Classics
12 noon-1pm Composer of
the Week Donizetti
1-2pm Lunchtime Concert
live from Wigmore Hall, London.
Schubert Four Impromptus D935,
Godowsky Study No. 44a after
Chopin Nouvelle tude No. 1 10.45-11pm The Essay
(completed by Marc-Andr Hamelin,
ukp), Studies after Chopin tudes for
the left hand alone (Nos. 2, 13, 44
& 22). Marc-Andr Hamelin (pno)
2-4.30pm Afternoon on 3
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Donizetti (rpt)
7.30-10pm Radio 3 In Concert
96 BBC M USIC M AG A Z I N E
from Usher Hall, Edinburgh.
Edinburgh Festival. Kirill Gerstein
(pno), Claire Booth (sop), Edinburgh
Festival Chorus, Royal Scottish
Northern Orchestra/Oliver Knussen.
Schoenberg Five Orchestral Pieces,
Scriabin Prometheus The Poem
of Fire, Debussy Le Martyre de
Saint Sbastien
10-10.45pm Free Thinking
10.45-11pm The Essay
Samuel Beckett
11pm-12.30am Jazz on 3
presented by Jez Nelson
16 TUESDAY
6.30-1pm As Monday 15 Sept
1-2pm Lunchtime Concert New
Generation Artists Showcase at
The Sage Gateshead. Elgar Violin
Sonata in E minor, Op. 82, Copland
Two Pieces for Violin and Piano,
Britten Suite for Violin and Piano,
Op. 6, Schoenfeld Four Souvenirs,
Gershwin It aint necessarily so
(arr. Heifetz). Elena Urioste (vln),
Michael Brown (pno)
2-4.30pm Afternoon on 3
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Donizetti (rpt)
7.30-10pm Radio 3 In Concert
from Usher Hall, Edinburgh.
Edinburgh Festival. Weill Suite
from Threepenny Opera, selected
songs by Kurt Weill, Hanns Eisler
and Bertolt Brecht. Ute Lemper
(vocalist), Scottish Chamber
Orchestra/Lawrence Foster
10-10.45pm Free Thinking
10-10.45pm Free Thinking
17 WEDNESDAY
6.30-1pm As Monday 15 Sept
1-2pm Lunchtime Concert, New
Generation Artists Showcase at The
Sage Gateshead. Dowland Come
again, Dear if you change, Robert
Jones Sweet if you like, Dowland
Come heavy sleep, Robert Jones Love
is a bable, Dowland In darkness let
me dwell, Britten Folksongs, Berkeley
Songs of the Half Light, Jonathan
Dove The Immortal Ship. Robin
Tritschler (ten), James Boyd (gt)
2-3.30pm Afternoon on 3
3.30-4.30pm Choral Evensong
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Donizetti (rpt)
7.30-10pm Radio 3 In Concert
from Usher Hall, Edinburgh.
Edinburgh Festival. JS Bach Mass
in B Minor, Dorothee Mields, Hana
Blazikova (sop), Damien Guillon (ct),
Thomas Hobbs (ten), Peter Kooij
(bass), Collegium Vocale Gent/
Philippe Herreweghe
10-10.45pm Free Thinking
10.45-11pm The Essay
18 THURSDAY
6.30-1pm As Monday 15 Sept
1-2pm Lunchtime Concert, New
Generation Artists Showcase at The
Sage Gateshead. Barrios La Catedral,
Villa-Lobos Etudes,
Barrios El Ultimo Tremolo, Ginastera
Guitar Sonata, Barrios Julia Florida.
Sean Shibe (gt)
2-4.30pm Afternoon on 3
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Donizetti (rpt)
7.30-10pm Radio 3 In Concert
from Usher Hall, Edinburgh.
Edinburgh Festival. Panufnik
Sinfonia elegiac, Shostakovich
Symphony No. 7 Leningrad.
I, CULTURE Orchestra/Kirill Karabits
10.30pm-12 midnight
10.45-11pm The Essay
19 FRIDAY
6.30-1pm As Monday 15 Sept
1-2pm Lunchtime Concert,
New Generation Artist Showcase
at The Sage Gateshead. Finzi Five
Bagatelles, Ireland Fantasy Sonata,
Colin Alexander new work, Howells
birtwistle tribute:
pianist Nicolas Hodges
performs a premiere
vk.com/englishlibrary
Sonata for Clarinet & Piano. Mark
Simpson (cl), Richard Uttley (pno)
2-4.30pm Afternoon on 3
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Donizetti (rpt)
7.30-10pm Radio 3 In Concert
from Worcester Cathedral. Three
Choirs Festival. Elgar The Spirit of
England, Vaughan Williams The
Lark Ascending, Torsten Rasch
A Foreign Field. Yeree Suh (sop),
Peter Hoare (ten), Roderick Williams
(bar) Matthew Trusler (vln), Festival
Chorus, Choristers of Worcester,
Hereford and Gloucester Cathedrals,
Philharmonia/Baldur Brnnimann
10-10.45pm The Verb
10.45-11pm The Essay
11pm-1am World on 3
20 SATURDAY
7-9am Breakfast
9am-12.15pm CD Review
Building a Library Anna Picard
on Handels Orlando
12.15-1pm Music Matters
1-2pm Lunchtime Concert
2-4pm Saturday Classics
4-5pm Sound of Cinema
5-6pm Jazz Record Requests
6-7.30pm Jazz Line-Up
7.30-10pm Radio 3 Live In
Concert from The Sage Gateshead.
Beethoven Egmont Overture, Brahms
Violin Concerto, Beethoven Symphony
No. 6. Alissa Margulis (vln), Royal
Northern Sinfonia/Lars Vogt
10-10.30pm Between the Ears
Eschatology
Hear and Now
12 midnight-1am
Geoffrey Smiths Jazz
21 SUNDAY
7-9am Breakfast
9am-12 noon Sunday Morning
12 noon-1pm Private Passions
Sir Timothy Gower, mathematician
1-2pm Lunchtime Concert
2-3pm The Early Music Show
Rameau anniversary concert: Sophie
Yates performs on a recently restored
Ruckers-Hemsch harpsichord (3/3)
3-4pm Choral Evensong (rpt)
4-5.30pm The Choir
5.30-6.45m Words and Music
6.45-7.30pm Sunday Feature
Global Classical Music 1/3
7.30-10pm Radio 3 Live In
Concert from Bridgewater Hall,
Manchester. Prokofiev Cinderella,
Sibelius Violin Concerto, Musorgsky
(orch. Ravel) Pictures at an Exhibition.
Nikolaj Znaider (vln), Hall Orchestra/
Hannu Lintu
10-11.30pm Drama on 3
Everyday time machine
22 MONDAY
6.30-9am Breakfast
9am-12 noon
Essential Classics
12 noon-1pm Composer of
the Week Panufnik
1-2pm Lunchtime Concert live
from Wigmore Hall, London. Copland
(arr. J Althuis) Sentimental Melody,
Britten (arr. J Althuis) Cabaret
Songs, Gershwin (arr. R Hekkema)
An American in Paris, Weill
(arr. R Hekkema) Youkali, Die
Ballade vom ertrunkenen Mdchen,
Surabaya Johnny. Cora Burggraaf
(mz), Calefax Reed Quintet
2-4.30pm Afternoon on 3
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Panufnik (rpt)
7.30-10.45pm Opera on 3
at Glyndebourne. Mozart La finta
giardiniera. Wolgang Ablinger-
Sperrhacke (Don Anchise), Christiane
Karg (Sandrina), Nicole Heaston
(Arminda) etc, Orchestra of the
Age of Enlightenment/Robin Ticciati
10.45-11pm The Essay
Music in its time
11pm-12.30am Jazz on 3
presented by Jez Nelson
23 TUESDAY
6.30-1pm As Monday 22 Sept
12 noon-1pm Composer of
the Week Panufnik
1-2pm Lunchtime Concert
2-4.30pm Afternoon on 3
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Panufnik (rpt)
7.30-10pm Radio 3 Live
In Concert from the Barbican,
London. Prokofiev Symphony No. 1
(Classical), Tchaikovsky Piano
Concerto No. 2, Prokofiev Symphony
No. 5, Denis Matsuev (pno), London
Symphony Orchestra/Valery Gergiev
10-10.45pm Free Thinking
10.45-11pm The Essay
24 WEDNESDAY
6.30-1pm As Monday 22 Sept
1-2pm Lunchtime Concert
2-3.30pm Afternoon on 3
3.30-4.30pm Choral Evensong
from Derby Cathedral
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Panufnik (rpt)
7.30-10pm Radio 3 Live In
Concert from the Barbican, London.
Kevin Volans The Mountain that
Left (wp), Adams My Father Knew
Charles Ives, Ives Symphony No. 4.
Pumeza Matshikiza (sop), William
Wolfram (pno), BBC SO/Andrew
Litton, BBC Singers/David Hill
10-10.45pm Free Thinking
10.45-11pm The Essay
25 THURSDAY
6.30-1pm As Monday 22 Sept
1-2pm Lunchtime Concert
2-4.30pm Afternoon on 3
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Week Panufnik (rpt)
7.30-10pm Radio 3 Live In
Concert from City Halls, Glasgow.
Musorgsky A Night on The Bare
Mountain, Scriabin Piano Concerto,
Shostakovich Symphony No. 10.
Barry Douglas (pno), BBC Scottish
Symphony/Donald Runnicles
10-10.45pm Free Thinking
10.45-11pm The Essay
26 FRIDAY
6.30-1pm As Monday 22 Sept
1-2pm Lunchtime Concert
2-4.30pm Afternoon on 3

WEEKLY TV AND
RADIO HIGHLIGHTS
On our website each week we
pick the best of the classical
music programmes on radio,
TV and iPlayer. So to plan your
weekly listening and viewing,
head to the website or sign up
to our weekly newsletter to
be sent information about the
week's classical programmes
directly to your inbox.
4.30-7pm In Tune
7-8pm Composer of
the Week Panufnik (rpt)
8-10pm Radio 3 Live In Concert
from Victoria Hall, Hanley. Beethoven
Symphony No. 9, Symphony No. 4.
Clara Mouriz (mz), Andrew Kennedy
(ten), Alastair Miles (bass), BBC
Philharmonic, City of Birmingham
Symphony Chorus/Juanjo Mena
10-10.45pm The Verb
10.45-11pm The Essay
11pm-1am World on 3
27 SATURDAY
7-9am Breakfast
9am-12.15pm CD Review
Building a Library. David Owen
Norris on Holsts The Planets
12.15-1pm Music Matters
1-2pm Lunchtime Concert
2-4pm Saturday Classics
4-5pm Sound of Cinema
5-6.15pm Jazz Record Requests
CHOICE
6.15-9.30pm Opera on 3 from
English National Opera. Verdi
Otello. Stuart Skelton (Otello),
Leah Crocetto (Desdemona),
Brian Mulligan (Iago) etc
9.30-10pm Between the Ears
The Story of Tape
10.30pm-12 midnight
Hear and Now
12 midnight-1am
Geoffrey Smiths Jazz
28 SUNDAY
7-9am Breakfast
9am-12 noon Sunday Morning
12 noon-1pm Private Passions
Roy Foster, historian
1-2pm Lunchtime Concert
2-3pm The Early Music Show
3-4pm Choral Evensong from
Derby Cathedral (rpt)
4-5.30pm The Choir
5.30-6.45m Words and Music
6.45-7.30pm Sunday Feature
Global Classical Music 2/3
7.30-10pm Radio 3 Live in
Concert from the Barbican.
Tavener Flood of Beauty (wp).
Allison Bell (sop), Marcus Farnsworth
(bar), Natalie Clein (cello), Britten
HARALD HOFFMANN, MARCO BORGGREVE
Sinfonia Voices, Britten Sinfonia/
Martyn Brabbins
10-11.30pm Drama on 3
29 MONDAY
6.30-9am Breakfast
9am-12 noon
Essential Classics
12 noon-1pm Composer of
the Week Dyson
1-2pm Lunchtime Concert
SEPTEMBER 2014 RADIO & TV LISTINGS
TV HIGHLIGHTS
last orders:
violinist Janine Jansen
leads the Proms finale
live from Wigmore Hall, London.
Mozart Piano Sonata in F K533/494,
Beethoven Piano Sonata No. 27 in E
minor Op. 90, Mozart Piano Sonata
in D K576. Robert Levin (fortepiano)
2-4.30pm Afternoon on 3
4.30-6.30pm In Tune
6.30-7.30pm Composer of
the Month Dyson (rpt)
7.30-10pm Radio 3 Live in
Concert from Wigmore Hall. JS Bach
Sinfonia from Cantata BWV 42 Am
Abend aber desselbigen Sabbats,
Vivaldi Violin Concerto in B minor
Op. 9 No. 12, Telemann Sonata in E
minor, Vivaldi Concerto in D minor
RV566, JS Bach Concerto in A minor
for violin BWV 1041, Vivaldi Concerto
in G minor for violin, oboe, recorder,
bassoon and continuo RV105, SIR PETER MAXWELL to the late composer Sir John Tavener,
JS Bach Brandenburg Concerto No. 4 DAVIES AT 80 who died at the end of last year, with
in G BWV 1049. Rachel Podger (vln),
Its not just Birtwistle who is lighting a performance of his beautiful, static
The English Concert
10-10.45pm Free Thinking up the 80th birthday candles this choral masterpiece Song for Athene.
10.45-11pm The Essay year. The Orkney-based composer and Dutch violinist Janine Jansen (above)
Trip sheets Master of the Queens Music, Sir Peter takes centre stage for Chaussons
11pm-12.30am Jazz on 3
Maxwell Davies, also turns 80 this Pome and Ravels Tzigane and a starry
30 TUESDAY month and a special late night Prom is line-up of singers, including soprano
6.30-1pm As Monday 29 Sept marking the occasion. Conducted by Elizabeth Watts, tenor John Daszak
1-2pm Lunchtime Concert Ben Gernon with the Scottish Chamber and baritone Roderick Williams, will
2-4.30pm Afternoon on 3 lead the Proms audience in a no-doubt
Orchestra, the special programme
4.30-6.30pm In Tune
6.30-7.30pm Composer of begins with the London premiere of rousing rendition of Proms Last Night
the Month Dyson (rpt) Maxwell Daviess 20-minute tone-poem favourites, including Arnes Rule
7.30-10pm Radio 3 Live in Ebb of Winter. Commissioned by the Britannia and the National Anthem.
Concert Gibbons O clap your hands SCO as part of its 40th anniversary last The evening kicks off just as forcefully,
together, Byrd Christ Rising: Fantasy,
Tye Christ Rising from the Dead, Thea year, the work captures the windswept however, with Gavin Higginss Velocity,
Musgrave Wild Winter, Gibbons The Orkney landscape of the composers which the composer promises will be a
cries of London, What is our life!, In home. Also on the programme is Sir rhythmically fuelled tour de force
Nomine in 5 parts No. 2, Behold, Peters 1985 work An Orkney Wedding, for orchestra.
thou hast made my days. Nico Muhly
with Sunrise which features a bagpipe BBC Proms 2014; Prom 76; 13 Sept.
My Days BBC Singers, Fretwork/
Andrew Carwood solo in its closing bars. First half live on BBC Two, 7.30pm,
10-10.45pm Free Thinking Proms 2014 Prom 70; BBC Four; second half live on BBC One
10.45-11pm The Essay 11 September; time tbc
11pm-12.30am Jazz on 3
Radio 3 is available on Freeview
MASSENETS CENDRILLON
channel 703, by satellite and online THE LAST NIGHT Jules Massenets 1899 setting of
OF THE PROMS Perraults fairy tale Cinderella made its
10. Erik Satie
Dont miss out on the climax of the debut appearance at the Royal Opera
House back in 2011. The opera, whose
9. Wagners Die Meistersinger worlds greatest music festival as
8. Fedora conductor Sakari Oramo makes his music features more than a passing
nod to Wagner and Tchaikovsky, stars
who dress up as women
7. They are all male characters Last Night debut with the massed
6. Percy Grainger forces of the BBC Symphony Orchestra mezzo Joyce DiDonato as Cinderella
5. Isadora Duncan
and Chorus. The packed evening will herself with fellow mezzo Alice Coote
at all
4. They werent wearing anything draw together some of this years in a trouser role as Prince Charming.
3. Steve Reich Proms themes including the 150th The glittering production, directed by
2. John Adams
anniversary of Richard Strauss, whose Laurent Pelly, is conducted by French
Puccini; d) (Gilbert and) Sullivan
1. a) Falla; b) Tchaikovsky; c) large-scale cantata Taillefer makes its conductor Bertrand de Billy.
own Proms debut. And a tribute is paid Sky Arts 2; 29 September; 8pm
QUIZ ANSWERS from p98
vk.com/englishlibrary BBC M USIC M AG A Z I N E 97
 September prize crossword No. 272
The first correct solution of our monthly crossword to be picked at random will win a copy of The Oxford Companion to Music
worth 40 (available at bookstores or www.oup.co.uk). Send your answers to: BBC Music Magazine, Crossword 272, PO Box 501,
Leicester, LE94 0AA to arrive by 3 September (solution in our December issue). Crossword set by Paul Henderson

ACROSS 12 Tapes organ playing in theatre area (5,5)

7 Composer: Im all vexed (was
upset) (7,6)
9 Composers right to abandon a small
drink (4)
10 Old dance courses beginning with crude
pique about new expert (6-4)
11 7s stone work illuminated some (6)
13 Prison cheers choral work (7)
14 Stravinsky? I leave before opening of
Renard (4)
15 Glue used for baton? (5)
16 Therefore providing extract of later
Gounod (4)
18 Church hymn: recusants not about to get
excited (7)
19 German composer, no longer fresh, went
back round South Africa (6)
20 Various story lines seeing English
replacing one French opera (3,7)
22 Resonant sound from some choir in
Grechaninov (4)
23/1d 7s work representing farmsteads
oinking hog? Good (5,5,3,1,3,4)
13 Components of Gibbons London work
serious problems when first soprano drops
out (5)
15 Display most of the fortes when
playing (3,5)
17 Historic violin that could make Auer
grin (8)
18 Frees up sobriquet for 5 symphony (5)
19 Condescend to involve soprano in plan (6)
21 Source of choir book in comment thats
picked up (4)
22 Composers conclusion to curtain-raiser:
a double forte (4)
JUNE SOLUTION NO. 269

DOWN
1 See 23 across
2 Middle of next morning sees culmination
of time at RCM? (4)
3 Excellent opening to Proms, every
year (6) JUNE WINNER
4 Conductor Volkov, one on computer V Jones, Stoke-on-Trent
Your name & address network (4)
Immediate Media Company Limited, publisher
5 Composers father having taken up family
of BBC Music Magazine, may contact you with details
entertainment (8) of our products and services or to undertake research.
6 Minor performers had effect on piano Please write Do Not Contact if you prefer not to
courses (3,7) receive such information by post or phone. Please
write your email address on your postcard if you prefer
8 Sobriquet for 5 symphony elevated in
to receive such information by e-mail.
particular case (5)

THE QUIZ PICTURE THIS 6. Which composer started designing his

This month, our quiz is perfectly
tailored to fit your needs
1. Who wrote the following fashionable works:
a) The Three-Cornered Hat (1919); b) Cherevichki
(The Slippers; 1887); c) Il tabarro (The cloak;
1916); d) HMS Pinafore (1878)?
2. Premiered in 1996, Gnarly Buttons is a work
for solo clarinet and chamber orchestra by which
US composer?
3. Which composer is famous for almost always
wearing a dark-coloured baseball cap, even
when performing on stage?
4. What was it about composers Peter
Warlock and EJ Moerans clothes that so
scandalised locals when they used to ride
through the village of Eynsford on a motorbike
in late-1920s?
5. This famous ballet dancer (below) died in
1927 when her trademark silk scarf got caught
in the wheel of a sports car. Who is she?
Der Rosenkavalier have in common?
always being seen wearing one of 12 identical
own clothing in 1910, including jackets, togas,
leggings and, for his girlfriend Karen, an early
version of the sports bra?
7. What, in terms of attire, do Cherubino in
Mozarts Marriage of Figaro, Count Ory in
Rossinis Comte Ory and Octavian in Strausss
8. Which 1898 opera by Giordano shares its
name with a type of felt hat?
9. A stocking weaver, a furrier and, most
importantly, a cobbler are all part of
the cast of which famous opera, premiered
in Munich in 1868?
10. Which composer earned the nickname
The Velvet Gentleman on account of his
velvet grey suits?
See p97 for answers

98 BBC M USIC M AG A Z I N E
vk.com/englishlibrary
 NEXT MONTH in BBC Music Magazine
Volume 22 No. 12 BBC Music Magazine
(ISSN 0966-7180) (USPS 018-168) is
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Tower House, Fairfax Street, Bristol
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Johannes
material. In the event of any material
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F EUBSRI C
 MUSIC THAT CHANGED ME
Rory Bremner Comedian and impressionist
I
grew up in a household with a
bizarre record collection: lots of
spoken word and funny songs
by Danny Kaye, Hinge & Bracket,
Nol Coward, Tom Lehrer and
FLANDERS & SWANN. I adored the
Hippopotamus Song and the London
Omnibus. They planted the seed of
the comic song in me. I always had a
good ear, which helps with impressions,
though I only got as far as Grade 1
piano. I discovered that writing a
parody song is akin to doing a sudoku
trying to make every rhyme, word
and rhythm fit and have power and
meaning. A song that is witty, precise
and effortless is a joy, and never dates.
When I heard QUEENs Bohemian
Rhapsody in 1975, it was unlike any
pop song Id ever heard. It was mock-
operatic, theatrical, symphonic. Years
later we did a parody of it at a cabaret
club off Piccadilly. I was the Queen singing,
Camilla she will not let him go! and Is this
real life, or just publicity? Roger Taylor came
along to play the drums for us in the studio
recording; he was a brilliant musician.
As a child I loved Prokofievs Peter and
the Wolf, so I was delighted to be asked by
John Lubbock of the Orchestra of St Johns
to participate in a childrens drama that had
been written by Matt Parry to accompany
RIMSKY-KORSAKOVs Scheherazade. Brian
Blessed was in it, and I was Sinbad the Sailor
who I played as Paddy Ashdown. It was so
inspiring to play a part in introducing music to
children, to see the way they were transported.
I think Ill do a Carnival of the Politicians one
day, with John Prescott as a hippo
In the course of my work, I got to know
conductor Charles Hazlewood. He knew I
liked opera and that I had studied French and
German at Kings College, London, so in 1997
he asked me if I would make a new translation
of KURT WEILLs Der Silbersee. Broomhill
Opera were creating a new production in
Wiltons Music Hall, in East London. It was
the first time music had been heard in the
building for 140 years, and we all felt a terrific
sense of adventure. The piece is an integrated
mixture of play, cabaret and opera, with some
incredibly powerful numbers. Ali McGregor,
GETTY
who played Fennimore, is part-chanteuse,
100 BBC M USIC M AG A Z I N E
theyve got the fire in their eyes, well
consider them. Thats how he discovered
Pauline Malefane, who became his wife.
It was one of the most extraordinary
experiences of my life: we were in a shed
on a wine estate, it was hot and the power
of their voices blew me back against the
wall. Carmens Habanera is everything
that opera should be: intoxicating,
swaggering, bewitching, the music
brilliantly enacting the drama. They
performed U-Carmen eKhayelitsha in the
townships, and Nelson Mandela came
to watch. The company they formed,
called Dimpho di Kopane, toured the
world. Ill be revisiting Carmen this year
for Mid Wales Opera to reclaim it for a
good impression: Welsh and English audience, updating
Rory Bremner, the dialogue and sneaking in some some
libretto translator local dialect. n
Interview by Helen Wallace
RORY BREMNER IS one of Britains
best-loved satirists and impressionists, RORY BREMNER
known for his shows, Rory Bremner who MUSIC CHOICE
else? and Bremner, Bird and Fortune, and Flanders & Swann
appearances on Mock the Week, Spitting The Best of
Image and Whose Line is it Anyway? His Regis Forum RC6127
first foray into opera was making a new 6.99
translation of Weills Der Silbersee. This
was followed by Offenbachs Orpheus in
the Underworld and, now, Bizets Carmen, Queen
A Night at the Opera
which will be used in a new production EMI 264-7 462074
by Mid Wales Opera to celebrate its 25th (Download at
anniversary. It opens in Newtown on www.apple.com/iTues)
3 Sept and tours until 13 Nov.
Rimsky-Korsakov
Scheherazade
Drama adaptation, narrated
part opera singer, with an unusual edge to her by Rory Bremner etc
(Available to buy from
voice, and Ill never forget the moment she www.grandmadingley.com)
stares into the lake singing this very haunting
song with high choir soaring above. It brought Weill
Der Silbersee (excerpts)
me out in goose bumps. Lotte Lenya (singer) etc
In 2000, I made a translation of BIZETs Capriccio C5061
Carmen to take to South Africa, again 12.99
with Broomhill Opera. The director, Mark
Dornford-May, held auditions across the Bizet
country for singers. At one point we were U-Carmen eKhayelitsha
getting too many would-be professional Dimpho di Kopane/
Charles Hazlewood
singers, and Mark was looking for something Milan 399 006-2 (Download
else. I remember he said Lets get the women at www.apple.com/iTues)
from the chorus to audition for Carmen: if
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Gianandrea Noseda
Ten Years of Musica Italiana
This special 2 for 1 compilation celebrates ten years of Gianandrea Nosedas series Musica
Italiana in which the conductor has shown remarkable dedication to the music of neglected
Italian composers as well as lesser-known works by acknowledged masters. Here are
highlights from acclaimed recordings that shine a light on works by Casella, Dallapiccola,
Giordano, Mascagni, Petrassi, Ponchielli, Puccini, Respighi, Verdi, and Wolf-Ferrari.
In recognition of this special anniversary we are also offering discounts on Musica Italiana
releases bought through our website. Check www.chandos.net for more details.

CHAN 241-47

Brahms Gregson
Cello Sonatas / Orchestral Works
Full of colour and rhythmic vitality,
Clarinet Trio
Edward Gregsons music is both
Here Paul Watkins, one of the original and accessible. Here
worlds finest cellists, tackles two Bramwell Tovey and the BBC
cornerstones of the cello repertoire, Philharmonic perform his Dream
performing Brahmss great Cello Song, along with the Concerto
Sonatas with the pianist Ian Brown. for Orchestra, Horn Concerto
They are joined by Michael Collins (with Richard Watkins), and Aztec
in the beautifully intimate Clarinet Dances (with Wissam Boustany,
Trio. flute).
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Bartk Sibelius
Orchestral Works Incidental Music
Performing with the Philharmonia Petri Sakari and the Iceland
and RSNO, this reissue brings Symphony Orchestra perform
together selected recordings from suites from incidental music by
Neeme Jrvi of orchestral works by Sibelius. The rich romantic early
Bartk. The Concerto for Orchestra sound of the composer marks
is joined by two complete ballet King Christian II; he lends the
scores, The Wooden Prince psychological drama of Pellas
and The Miraculous Mandarin, et Mlisande a dark, typically
and the folk-infused Hungarian Nordic flavour, while the score for
Pictures. Swanwhite is pristine and delicate.
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