Monthly Archives: April 2021

HPO PASTORAL -HASTINGS PHILHARMONIC ORCHESTRA

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Premiered online on 24th April this concert was recorded the previous weekend in the beautiful setting of Christ Church, St Leonards-on-Sea. Throughout the performance the orchestra and soloist were in fine form under the enthusiastic baton of Marcio da Silva.

Setting the scene for the programme was Beethoven’s Overture:Leonore. This gave an opportunity for the orchestra to be heard together before being joined by the soloist for Tchaikovsky’s well loved Piano Concerto No 1. Maxim Kinasov gave a very committed performance alongside the orchestra. Since winning prizes at the 2019 Hastings International Piano Concerto Competition he has given a number of performances around the area as well as establishing himself further afield including concerts in Europe and the United States.

The final music gave the title to this concert. Beethoven’s Symphony No 6 “Pastoral” is another popular work and it was good to see and hear it here in St Leonards being played with appropriate energy or lyricism as the piece demands.

A thoroughly polished performance and presentation giving a taste of what is hopefully to come when Covid restrictions are lifted to allow for more “normal” conditions will allow audiences to return in person. For now, though, these online presentations are to be commended and enjoyed.

A socially distanced concert is planned at Christ Church on 22nd May 7.30pm.

Details at www.hastingsphilorchestra.co.uk

Stephen Page

 

Hastings International Piano Concerts - Celebration Series - Tzu-Ying Huang

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Part of an online series of performances this concert featured the 2016 Hastings International Piano Concerto Competition winner. Tzu-Ying Huang played two substantial and lesser known works linked by their both being inspired by literature.

Lizst’s Vallee d’Obermann and Schumann’s Kreisleriana both contain passages of intensity and force alongside more lyrical movements. Naturally there was more opportunity for contrast in the second, the longer of the two works. Throughout the programme Tzu-Ying Huang gave fully of herself as she played this music with conviction and panache. A benefit of the online experience is the ability to see her dexterity and control up close on the keyboard. Opinions divide over the issue but, as a general rule, I like to experience an introduction to the music from the performer at the start of a concert and it was good to get that on this occasion.

Previous concerts from other performers are available on line. The next concert in the series premieres on 11th May. A newly recorded concert with Maxim Kinasov and the Hastings Philharmonic Orchestra will be available from 24th April.

Full details are available from hastingsphilorchestra.co.uk

Stephen Page

Concerts resume at Snape Maltings marking the start of ‘Summer at Snape’

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Britten Pears Arts is thrilled to return to live music-making with audiences indoors at Snape Maltings from Friday 21 May, subject to the rollout of the government’s ‘roadmap’.

From 21 May to early September there will be a busy Summer at Snape programme, with concerts and events at Snape Maltings throughout the period. In May, June and July, Britten Pears Arts will again be offering short concerts on Friday, Saturday and Sunday - usually with two performances a day - and bringing together musicians who would have performed at last year’s Aldeburgh Festival and Snape Proms, in addition to other star performers. In August Snape Maltings Concert Hall will host daily performances in the spirit of the Snape Proms from outstanding artists and ensembles from the worlds of classical music, folk and jazz.

The opening weekend from 21 - 23 May will feature the BBC Symphony Orchestra with pianist and conductor Ryan Wigglesworth, a recital from Dame Sarah Connolly and pianist Joseph Middleton and pianist Nicholas McCarthy showcases repertoire for the left hand. There will then be a weekend of folk music from 28 – 30 May with Alden & Patterson and The Shackleton Trio, The Young ‘Uns, Honey & the Bear and Maz O’Connor joining singers from Britten Pears Young Artists with pianist Roger Vignoles to perform folk songs and their Britten arrangements. On bank holiday Monday (31 May) Michael Tilson Thomas will conduct the London Symphony Orchestra with solo pianist Yuja Wang.

In June, performances and repertoire will include activity which should have been presented last June during the Aldeburgh Festival, together with projects new to 2021. These will include several significant first performances of repertoire commissioned by Britten Pears Arts including music by Tansy Davies, Colin Matthews and Mark Anthony Turnage. There will be world premieres of music by John Tavener, John Woolrich and Stephen Hough and first performances of music theatre productions featuring Nadine Benjamin and Juliet Fraser.

A series of world premieres will feature new arrangements of the music of Benjamin Britten: Colin Matthews’ string orchestra versions of Double Concerto and Charm of Lullabies, Robin Holloway’s orchestration of the song cycle Winter Words in July with the tenor Nicky Spence, the London Philharmonic Orchestra and conductor Edward Gardner and a new chamber version by Joseph Phibbs of Our Hunting Fathers to be sung by the soprano Elizabeth Llewellyn and the Hebrides Ensemble in August.

The centenary of the horn player Dennis Brain will be marked by performances of Britten’s Serenade for tenor, horn and strings and Canticle III: Still falls the rain, both of which were written for Brain. There will also be a performance of Britten’s In Memoriam Dennis Brain and music for horn by featured composer Tansy Davies (“Yoik”) and Peter Maxwell Davies (“Fanfare-Salute to Dennis Brain) performed by Ben Goldscheider.

Other performers will include Allan Clayton and Andrew Staples (tenors), Britten Sinfonia, Aurora Orchestra, Nicholas Daniel (oboe), Feargal Mostyn-Williams and Andrew Watts (counter tenors), Roderick Williams (baritone), Olivia Jaguers (harp), James Baillieu and Alisdair Hogarth (pianos).

Roger Wright, Chief Executive of Britten Pears Arts, commented, “Having helped to lead the way last year with our determination to keep on presenting live performance and supporting musicians, it will be an enormous pleasure and privilege to welcome performers and audiences back to our venues. As part of our distinctive mix of programming, we are proud to be presenting so many world premieres, as well as hosting established and up and coming musicians. We will remain flexible and ready to respond to changing circumstances, whilst keeping audiences, musicians and our colleagues safe. Our wide-ranging summer programme is part of our ongoing commitment to the creative community and to our audiences, as we continue to celebrate music’s unique power to transform lives and bring communities together.”

Full listings and tickets available online at www.snapemaltings.co.uk

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA ANNOUNCES RETURN TO LIVE CONCERTS

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CBSO to stage eighteen socially-distanced concerts at Birmingham’s Symphony Hall between May and July

The City of Birmingham Symphony Orchestra (CBSO) is to return to Symphony Hall Birmingham as restrictions are lifted to allow live performances for the first time this year, with concerts for socially-distanced audiences to take place each Wednesday from 19 May – 7 July.

A new acoustic screen has been installed at the rear of the Symphony Hall stage, allowing a larger number of musicians to play together while maintaining social distancing than has previously been possible; this means CBSO audiences will see possibly the largest orchestra performing regularly anywhere in the UK at this time.

Each programme will be performed twice, at 2pm and 6:30pm, to allow as many people as possible to join in person whilst seating capacity is still restricted due to Covid regulations.

Highlights of the concerts announced today include two programmes with Music Director Mirga Gražinyt?-Tyla, featuring the world premiere of Thomas Adès’ The Exterminating Angel Symphony (16 June) and a programme of Weinberg and Mahler with mezzo-soprano Karen Cargill (23 June); Edward Gardner conducting Stephen Hough in Saint-Saëns’ energetic Piano Concerto No. 4 (19 May) and Prokofiev’s Violin Concerto No.1 with Alina Ibragimova (7 July); the UK premiere of Julian Anderson’s major new cello concerto Litanies with Alban Gerhardt conducted by Kazuki Yamada (30 June); a concert showcasing one of the twentieth century’s biggest masterpieces, Shostakovich’s Symphony No.5, conducted by Nicholas Collon (26 May); Beethoven’s sparkling Piano Concerto No.2 with soloist Paul Lewis and conductor Chloé van Soeterstède (2 June); a programme of English music with tenor Ian Bostridge conducted by Michael Seal (9 June); and a special Friday Night Classics programme of Summer Classics with conductor Michael Seal and violinist Jonathan Martindale (Friday 2 July).

Stephen Maddock, Chief Executive of the CBSO, said: ‘We are so thrilled to be able to welcome audiences back to our home at Symphony Hall and to be able to share the joy of live orchestral music with them once more. Today we’re announcing our programme for eight weekly pairs of concerts from May onwards and we feel sure that the people of Birmingham and the Midlands will want to rush back to enjoy the glorious sound of full-scale orchestral music after more than a year in which we have all been denied this opportunity.’

For full concert listings visit the CBSO website

Holy Trinity Hastings Lunchtime Concerts

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The 30th series of the popular lunchtime concerts at Holy Trinity Church, Robertson Street, Hastings re-start on Wednesday 2nd June.

FREE ADMISSION with retiring collection
Wednesdays, June to August 1.10 p.m
and a special finale to celebrate 30 series
Saturday 4th September, 2.30 p.m.
The Sussex Concert Orchestra Conducted by Ken Roberts

Full details of the varied programme of performances by local performers can be found at

www.hthchurch.org

 

 

Brighton Dome launches new online music courses

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Having already inspired hundreds of children and young people to participate in music activities during lockdown through their Virtual Music Centre, Brighton Dome’s music education service have launched a new series of online music courses, accessible for all ages and abilities.

 

Brighton & Hove Music & Arts and East Sussex Music will be delivering three course styles to suit different skill levels. First is personal one-to-one tutoring sessions, with teaching available on 16 different instruments from keyboard, guitar, trumpet or saxophone to violin, offering expert guidance every step of the way.

The second style of course on offer is a 10-week masterclass which specialises in song writing and production. Learning and participating as part of a group, this is a great opportunity to interact with other students and is a lower cost entry route to help learners get started. All that’s needed to take part in either one of these courses is an internet connection and a camera; upon completion, participants will earn themselves a digital badge, which could make an excellent addition to a musician’s CV.

The third type of course on offer are self-paced video courses available via instant video download; ideal for people with busy lifestyles, this course is designed to help people learn ukulele, drums or guitar at their own pace. The package is delivered in ten easy-to-digest sessions, alongside a support pack, to provide users with the perfect foundations to help them start on their journey towards instrument mastery.

All of these courses are available to residents in the UK, whether a beginner, intermediate or advanced performer.

As the largest music service in East Sussex, Brighton & Hove Music & Arts have over 20 years’ experience teaching thousands of students, their music teachers are some of the best in their field, and have finessed a fantastic approach to learning an instrument online.

Peter Chivers, Head of Brighton & Hove Music & Arts, said:
‘’Music has the potential to transform lives. Whether it is through the enjoyment of mastering instrumental and vocal skills, the excitement of developing creative ideas, the experience of seeing and hearing world class musicians or the thrill of actually performing, getting involved in music can be a truly fulfilling and lifelong experience.’’

To find out more information on pricing, course dates and more, visit the Brighton & Hove Music & Arts website bhma.org.uk or call 01273 261 565.

Isata Kanneh-Mason performs Clara Schumann, Coleridge-Taylor & Gubaidulina St George’s Bristol, Polyphonic Concert Club 15th April 2021 – available until 29th April 2021

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www.polyphonic.club

The Polyphonic Concert Club concerts are a collaboration between television production company Polyphonic Films Ltd, artists and three leading arts venues outside of London: Bristol’s St George’s, Manchester’s Stoller Hall and York’s National Centre for Early Music.

As with all such online experiences there is the benefit of uninterrupted listening, a front row seat with excellent views and no rush to catch the last train home!

Pianist Isata Kanneh-Mason brings her assured but graceful presence to the platform and draws the listener in from her opening bars. This “personal selection of poignant music” is a beautifully programmed, contrasted set of piano works from names that may be familiar but are not really mainstream. Bookended with substantial works by Clara Schumann the concert begins with the Piano Sonata in G minor and ends with the Scherzo No 2 in C minor. A varied selection of song arrangements from Coleridge-Taylor’s 24 Negro Melodiesand the dramatic posturing of Gubaidulina’s Chaconne provide much interest. The reflective Notturno returns us to Clara Schumann before the final work.

Beautiful music in fine performances form a pianist who communicates so well. It just seemed a shame that without an in-house audience the performer receives no applause.

Stephen Page

 

The House of Life Ralph Vaughan Williams/Dante Gabriel Rossetti Opera Holland Park

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The House of Life
-Ralph Vaughan Williams/Dante Gabriel Rossetti
Opera Holland Park

There are at least three good reasons for catching this short film from Opera Holland Park. Firstly, it is pleasing to encounter a work which doesn’t get many outings. Secondly, the rich resonance of David Butt Philip’s tenor voice is stunning. Thirdly, the musical rapport between him and pianist James Baillieu hits you between the eyes, especially during rubato passages.

The House of Life is a song cycle setting by Ralph Vaughan Williams of six of Dante Gabriel Rossetti’s most heartfelt love sonnets. RVW wrote this in 1903/4 when he was in his early thirties. The poems, addressed to Rossetti’s troubled wife Lizzie Siddal, who died in 1862, had been published twenty years earlier.

Early RVW it may be but many of the hallmark intervals and harmonies are already there, especially in the third song Love’s Minstrels. The poems are through-set: lines sung one after another like a recitation in music without any of the repetition you get, for example in Baroque settings. Consequently they seem very direct and focused.

Philip delivers the big intervals, including octaves, with charismatic eloquence in Heart’s Haven and brings both passion and precision to Death in Love, with its fanfare intro and heavy chords for the dramatic climax.

James Baillieu, whose music is bravely on a tablet, has a terrific range of moods from a thoughtful, right hand introduction to the tortured ebullience which drives several of these pieces.

Leighton House, where this film was made, has a very warm acoustic which really adds an extra dimension to the recital. It was an appropriate choice, too, since it is very close to Holland Park and Frederic Leighton and Rossetti were friends.

Rossetti’s paintings are almost as well known and loved as Leonardo da Vinci’s or Rembrandt’s. He was also highly acclaimed as a poet in his own day. I have to say that his verse hasn’t stood the test of time very well. There’s only so much “deathless dower” and “hurtling harms” that a 21st century listener can take. That could just be why this work isn’t performed very often.

Susan Elkin

DVDs/CDs April 2021 (2)

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Wagner: Das Rheingold
Sofia Opera
DYNAMIC 57897

I am unsure how this actually got to the point of being sold. Who – if anyone – was responsible for quality control? The sound throughout is appalling, as if there was a single microphone somewhere close to the orchestra and singers voices effectively vanished as they moved further upstage. This would be bad enough if the production warranted it but the grotesque costumes and lack of any sense of intelligent direction make this a painful experience. Some of the singers do themselves some justice vocally but the concept is so amateur as to be laughable. Rhine maidens on trampolines and Loge arriving by flying boat give an indication of the stream of ideas which misfire throughout. I thought, after many recent eccentric approaches to the Ring that I had seen it all. It appears I had not.

 

Paganini: Works for violin and guitar
Roberto Noferini, violin; Donato D’Antonio, guitar
TACTUS TC 781607
Paganini was a showman and many of these pieces live up to that expectation, needing a virtuoso performer – which Roberto Noferini certainly seems to be able to bring to them. Most are light weight, charming and easy on the ear, but this still allows us to appreciate the dexterity and sheer professionalism of the playing.

 

Bruckner: Symphony No6
Bavarian Radio Symphony Orchestra, Mariss Jansons
BR KLASSIK 900190

This is another in the series of fine live recordings, made on this occasion in Munich in 2015. Bruckner’s Sixth is something of an exception within the composer’s opus being shorter and more compact than his usual approach. This may reflect his growing sense of security and recognition both as teacher and as composer. Though he did not live to hear the work performed complete he was very aware of its strengths and the admiration with which individual movements had been received.

 

Haydn: Complete Keyboard Concertos
Melodie Zhao, piano; David Nebel, violin, Camerata Schweiz, Howard Griffiths
CPO 555 400-2

Something of a mammoth undertaking but a very convincing compilation even if most of us would not want to sit down and listen to nine concerti in succession. However, taken in bite size chunks this is an entertaining and convincing demonstration that Haydn seems incapable of ever being dull.

 

Sibelius: Violin Concerto & Humoresques
Nors S Josephson: Celestial Voyage
Fenella Humphreys, violin, BBC National Orchestra of Wales, George Vass

It is difficult to make a case for another recording of the Sibelius Violin Concerto (unless possibly in its original version which I feel needs to be far better known) so I assume this is a good excuse to get Nors S Josephson’s Celestial Voyage on disc. The work was completed in 2019 and draws not only on his close understanding of Sibelius but his love of rock n’ roll and in particular Space Rock.

 

Stradella: Cantatas & Serenatas Vol1
Alessandro Stradella Consort, Estevan Velardi
DYNAMIC CDS 7893

These are premiere recordings of what promises to be an extensive series to cover the major works of Stradella, though one has to admit that very little is actually known about him. As an introduction these go a long way to introduce us to his individual style and emotional impact.

 

Shakespeare Re-shaped – Opera Up Close

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The second of a pair of coffee concerts from Opera Up Close –at a time when live audiences are not permitted – this 30 minute programme explores the links between Shakespeare and opera. It also offers a few entertaining, sometimes moving thoughts about spring, new life and hope for the future.

We start with tenor Joseph Doody and soprano Claire Wild as Nannetta and Fenton duetting a Falstaff extract from their own homes with Kelvin Lim on piano also in his own home.

This is followed by Claire Wild, smilingly cross legged on her sofa bringing oodles of youthful excitement to Gounod’s take on Juliet – the change of key and mood for the middle section sensitively negotiated before an exuberant accelerando as Gounod brings her back to the original melody.

Another fine performance is actor Lara Steward perched on a window sill doing Juliet’s “Gallop apace” speech in British Sign Language. It is eloquent, passionate, sparkily bright-eyed and is quite a treat to see BSL silently allowed to speak for itself rather than being an added-on accompaniment to conventionally spoken dialogue.

Other high spots include Joseph Doody searching for Sylvia with Schubert and, back to Falstaff, the rich-voiced baritone Rodney Earl Clarke being outrageous by 21st century standards as Ford. “Only a fool wastes his time with a woman” and “How will I make her suffer?” he sings – his top notes finding all the clarity and resonance of a massive bell.

What an inspired idea, then to follow that with Isabella’s horrified commentary on male domination in Measure for Measure. Kat Rose-Martin’s warm, Northern voice gets the revulsion and disbelief perfectly and somehow makes it seem totally topical. I liked her monologue poem too in which, as an actor, she bewails the compliance of so many women in Shakespeare. “Stop the swooning and start to sway” she advises them. It’s wryly witty but the points it makes are deadly serious.

It makes sense to finish with an upbeat trio (Finzi’s It was a Lover and his Lass) and even though the syncing is slightly off here so that the three singers are not always quite together, it didn’t spoil my enjoyment of this thoughtful little concert.

Susan Elkin