Semyon Bychkov turns 70 today…and in recognition of one of our finest living conductors, here is a link to watch this most erudite musician conducting the WDR-Sinfonieorchester Köln in William Walton’s First Symphony:
Here too is a playlist gathering together some of his finest recordings, from the early days with Philips to his most recent release, an account of Mahler’s Symphony no.5 with the Czech Philharmonic Orchestra for Pentatone. Along the way we hear excerpts or complete works by Tchaikovsky, Prokofiev, Mendelssohn, Dutilleux and Rachmaninoff. It is a wonderful listen, I’m sure you’ll agree!
s t a r g a z e is both an innovative ensemble crossing borders between classical and modern music, and a typist’s nightmare! The group was founded in Berlin and Amsterdam, and prides itself on a flexible and collaborative musical approach.
Collaboration was certainly the name of the game with ONE, whereby five different composers from around the world wrote a piece remotely in lockdown-imposed isolation. The music was then arranged for and with the help of the s t a r g a z e group, who recorded it online, part by part.
What’s the music like?
Engaging. Greg Saunier’s Metaphor begins in reserved fashion, with serious intonations that grow into more colourful statements, the wind section of the orchestra taking the lead. The orchestration has a timbre suggesting the 1920s, though as it progresses the music becomes more animated and a little playful, before an extended chorale led by the piano.
Arone Dyer’s Voicecream is much less conservative in its output, with sweeping statements suggesting an orchestra on the edge, with melodic movements that are much more difficult to predict or trace. A series of punchy block chords takes over half way through, stalling the momentum but adding impressive gravitas to the music.
Vacancy, written by Tyondai Braxton, is a compelling conversation between very different viewpoints – one, a series of swirling motifs, another a more relaxed but authoritative series of chords, yet another voice given out in flurries of woodwind. Nik Colk Void’s Recollection Pulse #3 is similarly convincing, though uses much more minimal material in its percussion. Just the one chord, repeated in syncopation, pushes this music forward over bass notes that effectively stand for the strokes of the oars on a boat. Gradually and inevitably the piece moves forwards before grinding into the dust somewhat, reaching an eerie and evocative conclusion.
Finally Descend, from Aart Strootman, evolves under a haze of orchestral light, some beautiful colours extracted from relatively coarse string and wind textures. A drone-like effect is cast, but with largely consonant harmonies that transport the listener into a comforting cloud, growing ever denser as they progress and then relaxing to softer, wind-based colours and a gently oscillating coda.
Does it all work?
Yes. It is tempting to say that a bit of spontaneity is lost in the recording method, but great credit should go to musicians and composers alike for ensuring that more often than not the musicians and instruments feel like they were recorded in the same room.
Is it recommended?
Yes. An intriguing suite for sure – with music that successfully sits at a junction between modern classical and improvisation, evading categorisation with grace, poise and a welcome dash of humour.
This package is a treat for all those with a misty-eyed persuasion towards a certain legendary nightclub in Manchester. Opened by Rob Gretton and Tony Wilson under the auspices of Factory Records, The Haçienda turns 40 this year, and the anniversary has been marked by Cherry Red with a handsome 4CD set and book documenting the occasion.
The prime objective is to document the club’s open music policy, and this happens across a rich array of 65 tracks, covering almost every style capable of making people dance in 1982.
What’s the music like?
Extremely varied, and in the best possible way. There really is something for everyone here, and not just from 1982, though most of the selections are from then.
The open door policy is best illustrated from the choices that run from Suicide‘s peerless Dream Baby Dream right through to Dexys Midnight Runners‘ Come On Eileen. The latter is one of several massive hits of the time we get to hear as the compilation unfolds, with biggies from Shalamar, Simple Minds, ABC, Blancmange and Tears For Fears – as well as legendary articles from Grandmaster Flash & The Furious Five (The Message), Sugarhill Gang (Apache) and Edwin Starr (War).
Slowing things down a bit, there is some wonderful downtempo stuff from Gregory Isaacs (Night Nurse) and the heart-melting Love Has Found Its Way from Dennis Brown. Moving slightly quicker are the funky asides of Chaz Jankel (Glad To Know You) and the excellent Fiat Lux (Feels Like Winter Again), not to mention 23 Skidoo‘s The Gospel Comes To New Guinea.
Meanwhile the darkness of the club is also in evidence, with some tunes destined for the shadowy corners to come alive. Falling into this category is much of the third disc, which begins with Iggy & The Stooges‘ I’m Sick Of You and develops with John Cooper Clarke‘s Night People, Stockholm Monsters and Josef K.
Does it all work?
It does – the wide range of music means that the broad canvas of music in Manchester at that time is fully represented. There is room for humour, too – the theme music for Thunderbirds making an appearance in its legendary original recording from The Barry Gray Orchestra!
Is it recommended?
Wholeheartedly – thoroughly enjoyable from start to finish, and a musical education to boot.
Celebrating the role of orchestral instruments in pop songs, our eyes turn to Al Stewart‘s Year of the Cat.
Completed in 1976, the song pairs Stewart’s winsome vocals with Andrew Powell’s striking string arrangements, the scurrying cellos adding to the storytelling. Listen and enjoy!
Inspired by a chance encounter on the radio this morning, I was reminded just how many classic pop and rock songs have been made with the use of a full orchestra.
Paul McCartney & Wings‘ three-part medley Band On The Run is one of those, and is all the more remarkable for the speed in which the orchestral parts were written. With the original material recorded in Lagos, Nigeria, McCartney gave Tony Visconti a tight turnaround for his orchestral arrangements, thought to be as little as three days.
What we have here, though, is a vibrant mix of instruments, Visconti using a 60-piece orchestra of top-notch session players, bolstered with extra percussion. Have a listen below and listen closely for the orchestra – it only heightens your appreciation of what is already a classic song!
Arcana.fm 