On record – Craven Faults: Erratics & Unconformities (The Leaf Label)

Written by Ben Hogwood

What’s the story?

How refreshing to find an artist that keeps their self-promotion to a minimum. That said, it would be good to know more about Craven Faults at some point! Real name Richard Formby, he has a simple biography on his record label site describing his moniker as ‘half-remembered journeys across post-industrial Yorkshire’.

In fact Craven Faults has been a thing for a while, with his well-received Lowfold Works EPs containing electronic music that shows off an ambitious grasp of musical structure. He is capable of stretching out his approach to minimal music into tracks of 20 minutes or more, using the barest of elements like Philip Glass does but building them up with oscillating synthesizers and drones.

Erratics & Unconformities is his first LP.

What’s the music like?

The Yorkshire reference is helpful, for as first track Vacca Wall establishes its shimmering content it feels like a look across the brooding landscape of the North Yorkshire Moors – but gradually opens out like the wings of a darkly shaded butterfly. This is music supported by a constant bass line, which tolls out like a deep bell, and a percussion track that never extends beyond a single kick drum, if at all.

The instruction from The Leaf Label to ‘put a 17-minute window in your diary and watch the video for Vacca Wall is worth following. In their words, ‘the rest of your inbox can wait, you need slowly unravelling analogue synthesizer arpeggios right now’:

With the mood set for the album, the next five tracks spread across nearly an hour, revealing different but often darker shades. The shorter Deipkier has a kick drum too, while Cupola Smelt Mill has sharper definition to the synthesizers and a bassline off the beat. Picking up the more industrial theme, Slack Sley & Temple is even darker, its brooding outlines giving the impression of a machine. This is the biggest track on the album, an expansive number of austere beauty.

Hangingstones regains some of the mood of the opening, while Signal Post has a more soothing drone at its base.

Does it all work?

Yes. Craven Faults has a distinctive style, and repeated listening brings out the rhythmic invention in his music, which is greater than you might at first think. It explains why he doesn’t need anything more than a kick drum.

Ultimately this album works best as a single unit in which to immerse yourself, drawing the listener in with its textures and spatial effects.

Is it recommended?

Yes, because there is some very fine music here – though it does come with the health warning that its dark nature is not necessarily ideal for the oppressively cloudy January days where it barely gets light!

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Wigmore Mondays – Alexander Melnikov: Early piano music by Clementi, Haydn & Mozart

Alexander Melnikov (fortepiano)

Wigmore Hall, Monday 13 January 2020 (lunchtime)

You can listen to this concert on the BBC Sounds app here (opens in a new window)

Review and guide by Ben Hogwood

Something of a history lesson from the versatile pianist Alexander Melnikov, who is capable of moving between modern piano music on a concert grand and 19th century music on the instrument for which it was written, the fortepiano. Essentially the instrument is a forerunner of the grand version we are used to nowadays, but it allows us to see the join between the harpsichord – the go-to keyboard of much of the 18th century – and the bigger and more modern instruments the likes of Beethoven began to write for. Here Melnikov played an instrument by Paul McNulty after Walter & Sohn from an original of 1805. Alexander Skeaping deserves credit as the tuner and supplier.

Melnikov’s program was brilliantly conceived, including music by Mozart and Haydn but linking them through one of the leading pianists and composers of the day, Muzio Clementi. Beethoven was one of his greatest advocates and often played his sonatas, while Clementi promoted his fellow-composer in London, where he arrived in the early 1770s. At this point the English capital was regarded as the centre for keyboard innovations, and in the music for this concert – superbly played and interpreted by Melnikov – you can feel the sense of freedom and exploration as the music looks outwards and forwards towards Beethoven.

The pianist begins with a musical impression of Haydn by Clementi, a brief Prelude from his Musical Characteristics album written as a guide for to give performers an idea of the style of other composers. This short number (from 3:04 on the broadcast link) starts with a broad C major chord, helping us get used to the piano sound. The mood is free and expansive, with a busy left hand. The pianist adds a short improvised section, where it proves difficult to spot the joins, but this serves to lead us straight to a Haydn work, the Piano Sonata in C sharp minor HXVI:36 (4:53).

This was a very rare key for Haydn to use – and rare for piano music, with Beethoven’s Moonlight sonata the next excursion some 20 years later. Melnikov’s performance captures the exploratory air of the piece, beginning with quite a stern statement but then playfully holding back with some of the clipped right hand notes to emphasise the composer’s wit. Melnikov’s affinity for the music is clear, with some beautifully played melodies. The piano sound is lovely, with none of the tinny textures often associated with the earlier instruments.

The second movement is a Scherzando (14:26), Melnikov playing a graceful dance with a really satisfying sense of ebb and flow. The third movement (18:21) is the slowest, a slow and solemn Menuetto moving to a thoughtful and serene final section (20:14) where Haydn moves to the major key. The playing here, using the ‘damper’ pedal, is really lovely.

The next pair of works begin with Clementi’s second ‘impression’ of Mozart (24:17), where a great deal of technical control is required! Me The two composers famously sparred in an improvisation session in Vienna in 1781, so knew a lot about each other – but from the reports did not perhaps see eye to eye.

Clementi’s tribute is keenly felt however, before Mozart‘s own exploratory Fantasia (25:55) receives a carefully thought yet natural performance. Though a short piece, this unfinished work varies greatly in mood and tempo, with quick cascades from on high contrasting with dark left-hand thoughts, before a sunnier closing section to sweep away the clouds. Melnikov gives the music plenty of room, sometimes exaggerating the pauses but always to the benefit of the music.

The concert finished with one of Clementi’s own sonatas, the substantial Piano Sonata in G minor published in 1795. Before it we heard another Prelude from the Musical Characteristics, this time a portrait of himself with a tumbling figure and some highly chromatic music (32:55). The Sonata itself begins at 34:27 with a stern introduction of two-part writing, but that soon cuts to a busy and bright first movement proper. There are a number of abrupt mood swings in this movement, anticipating Beethoven’s way of changing quickly between thoughts, and Clementi also employs some daring harmonies for the time. Melnikov responds brilliantly to these, again his performance given as though performing a characterised stage work, with a stormy closing section.

The second movement (42:40) is marked Un poco adagio (loosely translated as ‘a little bit slow’) and is subtly charming, like a slower dance, before the third movement (48:38), marked Molto allegro (quick and lively), actually hangs back a bit in this performance before going full throttle to a thrilling finish. Again Melnikov’s right hand contours are brilliantly realised.

This was a really enjoyable concert, and great to see the importance of Clementi’s role properly realised. He was one of the true pioneers of early piano music, and without his part it is unlikely Mozart or especially Beethoven would have made their own mark.

Repertoire

This concert contained the following music (with timings on the BBC Sounds broadcast in brackets):

Clementi Musical Characteristics Op.19: Preludio II alla Haydn in C major (publ.1787)
Haydn Piano Sonata in C sharp minor HXVI:36 (publ.1780)
Clementi Musical Characteristics Op.19: Prelude I alla Mozart in A major (publ.1787)
Mozart Fantasia in D minor K397 (?1782)
Clementi Musical Characteristics Op.19: Prelude I alla Clementi (publ.1787)
Piano Sonata in G minor Op.34/2 (publ.1795)

Further listening

Alexander Melnikov has not yet recorded any of the music in this concert, but the playlist below includes recorded versions on the fortepiano wherever possible.

Thirty years ago it would have been unthinkable to consider we would now have a huge resource of recordings made on the fortepiano. This is thankful in part to early protagonists such as Melvyn Tan, but one pianist to have recorded a vast amount of this repertoire is Ronald Brautigam. His recordings of Beethoven are rewarding, but in Haydn he sparkles – such as in this disc of five sonatas, including the one heard in this concert:

Melnikov’s own discography on more historical instruments is in its relatively early stages, but this disc of piano music through the ages from Schubert to Stravinsky is well worth hearing:

Finally from this time comes a thrilling cycle of Beethoven sonatas for piano and violin – pioneering music which Arcana will explore in greater detail as part of 2020 Beethoven. This version with Isabelle Faust is one of the very best:

Wigmore Mondays – Louise Alder & Joseph Middleton: Lines written during a sleepless night

Louise Alder (soprano), Joseph Middleton (piano)

Wigmore Hall, Monday 6 January 2020 (lunchtime)

You can listen to this concert on the BBC Sounds app here (opens in a new window)

Review and guide by Ben Hogwood

This was a concert with an especially personal link for soprano Louise Alder. The Russian Connection – subtitle of her first album for Chandos – goes much further than the repertoire chosen. It reflects Alder’s Russian ancestry, with generations of her family, up to and including her grandfather in 1914, born in the country.

In addition to that, Alder and regular recital partner Joseph Middleton have created a captivating program linking Grieg, Medtner, Tchaikovksy, Britten, Rachmaninov and Sibelius through their choice of poets and their use of a language outside of their own. Six composers, four languages (at last count!) and some richly descriptive writing all made for a particularly memorable concert, especially when performed with the passion and musicality on show here.

Alder and Middleton judged their program to perfection, bringing in the new year with a spring in its step as Grieg’s Heine setting Gruß (Greeting) tripped into view (2:33 on the broadcast link). This is the first song in a compact but deeply descriptive cycle of six from the composer, setting German poetry with his typical melodic freshness and flair. Alder shows lovely control on the final ‘Gruß’ word, before applying a slight husk to the deeply felt Dereinst, Gedanke mein (One day, my thoughts) (3:40), which made a striking impact here. Lauf der Welt (The Way of the World) (6:23) has heady urgency, singer and pianist working as one, while the evocative Die verschwiegene Nachtigall (The secretive nightingale) (8:01) is a sultry, sensual setting in these hands, the initial picture beautifully painted by Middleton. Zur Rosenzeit (Time of roses) (11:40) is filled with intense longing, while Alder’s tone in Ein traum (A dream) (14:55) is particularly beautiful, working through to a powerful finish.

Nikolai Medtner is a Russian composer known for his piano music rather than his songs, so it was gratifying to have Alder and Middleton (above) include two here. They are fine pieces of work, too, with an impressively fulsome piano part that Middleton tackled with deceptive ease and clarity. Mailied (May song) (18:15) holds an intense vocal line over its catchy piano part, while Meeresstille (Calm sea) (20:10) is really well controlled by Alder here.

Tchaikovsky’s numerous songs contain many treasures, and the two French language examples here were no exception. The Sérénade (23:22) dances in the bright light of dawn, with a slightly furtive piano, while Les Larmes (The tears) (25:02) provides much darker soul searching.

Britten’s Russian-language song cycle The Poet’s Echo is a relative rarity in the concert hall, but as Alder and Middleton showed here it contains music of typically fearsome and compressed intensity. The spirit of Musorgsky is evident not just in the choice of poet (Pushkin) but in the bare piano lines, rumbling in the deep for the first song Echo (29:22). Alder’s line is fearlessly delivered, with songs like My heart… (32:17) and Angel (33:48), with its quasi-orchestral piano part, making a powerful impression. The nightingale and the rose (36:20) take powerful flight, the piano gnawing at the heel of the vocal line, while the strange Epigram (40:13) has a striking reverberation achieved through the open piano lid. The final song, Lines written during a sleepless night (41:07) captures the supreme irritation of insomnia through the ‘monotonous tick of the clocks’, with a chilling piano postlude. This work remains a difficult nut to crack, listening-wise, but this is the sort of performance to do it.

We then heard two songs by Rachmaninov, both again setting Pushkin texts. Sing not to me, beautiful maiden (46:44), an early song from the composer’s late teens, receives a fulsome account here with Alder capturing the devastating beauty of the song. The later How fair this spot (51:56), taking the mood from darkness to relative light, is even better, Alder’s top ‘B’ a note of extraordinary clarity.

The generously packed concert concluded with three Sibelius songs, sung in Swedish. Once again these songs are found to be fiercely intense, often expressed through the bare minimum of means. The tempestuous Säv, säv, susa (Sigh, rushes, sigh) (54:02) is heady stuff, while the dynamic range achieved by both performers in Våren flyktar hastigt (Spring is swiftly flying) (56:27) is hugely impressive. Finally Flickan kom ifrån sin älsklings mote (The girl came from her lover’s tryst) (57:49) has a huge, orchestral scope, a reminder that the Second Symphony is not far away in the composer’s output. The song chills to the bone when turning tragically into the minor key for its third verse and the lover’s treason.

This was a simply outstanding concert from Alder and Middleton, deeply intimate yet including the audience in all of their asides. These qualities extended to the wonderful encore, Rachmaninov’s A Dream, where the rippling piano part and exotic harmonies supported Alder’s heavenly soprano line.

If more of the Wigmore Hall Monday lunchtime concerts are as good as this in 2020, we are in for many treats indeed! It only remains for you to listen on BBC Sounds if you haven’t already…and to keep up with the series as it progresses.

Repertoire

This concert contained the following music (with timings on the BBC Sounds broadcast in brackets):

Grieg 6 Songs Op.48 (1884-8) (2:33)
Medtner Mailied Op.6/2 (1901-5) (18:15), Meeresstille Op.15/7 (1905-7) (20:10)
Tchaikovsky Sérénade Op.69/1 (1888) (23:22), Les Larmes Op.69/5 (1888) (25:02)
Britten The Poet’s Echo Op.76 (1965) (29:22)
Rachmaninov Sing not to me, beautiful maiden Op.4/4 (publ.1893) (46:44), How fair this spot Op.21/7 (1902) (51:56)
Sibelius Säv, säv, susa Op.36/4 (1900) (54:02), Våren flyktar hastigt Op.13/4 (1891) (56:27), Flickan kom ifrån sin älsklings möte Op.37/5 (1901) (57:49)
Encore – Rachmaninov A Dream Op.38/5 (not on the broadcast)

Further listening

Most of the music from this concert is part of Louise Alder and Joseph Middleton’s new disc for Chandos, Lines Written During A Sleepless Night: The Russian Connection, with the exception of the two Rachmaninov songs. The full playlist is here:

If you enjoyed Alder and Middleton in this concert – which I’m sure you did! – their previous outing together is a sumptuous collection of songs by Richard Strauss for Orchid Classics which is bound to appeal, and certainly plays to their strengths:

Meanwhile to enjoy the Rachmaninov song output in its entirety there are few better historical guides than soprano Elisabeth Söderström and pianist Vladimir Ashkenazy:

All the trimmings – more musical releases of 2019 that are worth your time

Are you sitting comfortably? Ready to put your feet up for Christmas (or at least some of it?!) Arcana definitely is, but before we go we wanted to share with you some more musical discoveries that have happened across the year. These are the new releases we have not had time to cover properly until now, but which we think deserve a word or 100.

Think of it like the snacks you get out at Christmas once work has finished. So here, in one very varied block of music, are our extra recommendations from the musical year:

Our first classical port of call is Semyon Bychkov’s Tchaikovsky Project with the Czech Philharmonic. This is a cycle of Tchaikovsky’s seven symphonies (counting Manfred) and the Piano Concertos, with Kirill Gerstein. It is a very attractive set, providing the timely reminder that the early symphonies, while different from the blood and thunder 4-6, carry plenty of musical substance and charm.

In the first, Winter Daydreams, Bychkov gets to the essence of the scherzo by performing it slightly slower than most, but it has a really attractive and graceful lilt. The Second, Little Russian, is a beauty, while the much underrated Polish Symphony (no.3) is a treat, the first movement with a spring in its step as it makes the most of Tchaikovsky’s catchy theme. While repeated a good deal, the freshness of Bychkov’s phrasing helps enormously.

The Fourth is not as high voltage as some performances in the catalogue, but the Fifth Symphony gets a really good performance, from the clarinet solo at the start to the soaring violins at the climax of the slow movement. The Pathétique is excellent too, superbly paced and phrased if perhaps lacking the ultimate tragedy of the final movement.

Manfred, however, is next level, strings as one in the swooning phrase of the first movement, setting up a highly dramatic reading. The closing climax of the first movement is feverish, with a string tone to die for – and this approach encapsulates the whole account of a symphony that now ranks among Tchaikovsky’s finest works.

On a very different plain is a box of Frans Brüggen’s complete recordings of Rameau Suites, made with the Orchestra of the 18th Century on Glossa. These are almost self-recommending, eight beautifully constructed bodies of work from the composer’s stage works that are full of incident and character – and not just local. Rameau, as well as being a keen melodist, was keen on expanding his horizons and the likes of Les Indes Galantes look far afield to Native America for their inspiration. Listen to Air pour les Sauvages towards the end of the suite for an idea of how Brüggen puts a spring in the step of this music, or any of the thrilling overtures, often littered with bracing percussion:

A couple of Khachaturian releases from the enterprising CPO label have caught my eye over the last couple of weeks. They are numbers two and three in a series cataloguing the Armenian composer’s works for solo instrument and orchestra. Last year Stepan Simonian fronted a recording of the Piano Concerto, but this year’s releases see Torleif Thedéen giving the Cello Concerto a terrific reading, and an expansive account of the Concerto Rhapsody.

The Staatsorchester Rheinische Philharmonie are conducted by Daniel Raiskin – as they are on a disc of the Violin Concerto and Concerto Rhapsody, where the soloist is the superb Antje Weithaas. The second movement of the concerto is particularly winsome, a gently rocking triple time movement that becomes the tender heart of the piece.

Another recording of Romantic music from the East comes from Ondine, with a really valuable second disc of the orchestral works of Hans Eller. Eller is one of the founding fathers of Estonian classical music, recognised for his huge influence by no less a composer than Arvo Pärt, who he taught. Pärt noted his ‘fine and masterful orchestration, and a highly-defined personal manner. These characteristics place him on the level with the great Nordic composers’. The quartet of symphonic poems on show here is led by strongly characterised portrayals of Twilight and Dawn from the Estonian National Symphony Orchestra under Olari Elts, with the substantial White Night Suite and Night Calls for company.

Finally Saint-Saëns, surely one of the most Christmassy of composers. This year the Utah Symphony and Thierry Fischer have been on a voyage through the French composer’s five symphonies for Hyperion, which means welcome airings for the Urbs Roma and excellent First and Second Symphonies, as well as the ubiquitous Organ Symphony. They also find space for the Carnival of the Animals and Danse macabre in superb performances that benefit from Hyperion’s customarily excellent recordings. If you have never heard it before, I highly recommend the disc with the first two symphonies, influenced by Mendelssohn but already showing the French composer’s mastery of melody – or the Carnival of the Animals, for a freshly-minted account:

A couple more electronic recommendations for you now, beginning with a remarkable trilogy of albums from Swedish producer Mr. Tophat. Dusk To Dawn Parts I-III, released on Twilight Enterprise, may be something of a sprawling epic, but within it you will find brilliant collaborations rooted in disco-house, featuring the likes of Robyn, Axel Boman and Kleerup. There is some extraordinary music here, none more so than the quarter-hour epic Tears Of Illuminations. This is the music we wanted Lindstrøm to come out with later in the year!

Meanwhile one of the albums of the year is surely Barker’s Utility, where producer Sam Barker has come up with something really special for Ostgut Ton. All too often electronic albums sound exactly the sum of their parts, processed within an inch of their lives and allowing very little room for the human in them to express itself. Barker is different, and from the opening pulses of this album it is clear something rather special is afoot. Paradise Engineering celebrates the processed nature of this music with warm sounds and syncopated rhythms, the mind actually forgetting the almost complete absence of a kick drum. There is enough movement here for the feet to be sorely tempted. Such treatment continues through to the expansive closing track Die-Hards Of The Darwinian Order.

To say Underworld are in a rich creative streak would be like saying that Manchester City score a lot of goals. We know that it happens, but explaining just how it’s done is not quite as easy.

DRIFT, released on their own Smith Hyde Productions via Universal, is the result of a year-long challenge, where Karl Hyde and Rick Smith vowed to write new music every week. Yet as you listen to each offering it is quite clear that rather than being a hindrance this task brought out the best in both of them. There is nigh on six hours’ music here, and having started off with relatively small units the duo find they are churning out half-hour electronic symphonies like Appleshine Continuum, a remarkable piece of work with The Necks that dips on and off the beat with warm improvisation.

The sheer variety on DRIFT is inspiring, and helps it work as a continuous listen for however you want it to last. Dune, at the start of the third disc, is one of the most relaxed tracks they’ve ever done, soft and ruminative, Hyde in a contented place. Custard Speedtalk feels like it takes place on the great plains, with taillights stretching out as far as the eye can see. Contrast that with Another Silent Way, which has a hammering kick drum over which it progresses to a euphoric piece of layered dance music.

Of the many highlights it is worth picking out Brilliant Yes That Would Be, a really good beatless interlude that has its shredded guitar calmed by cool chords, before switching to stationary piano. The triumvirate of Another Silent Way / Drift Poem / Better Than Diamonds is really strong, Hyde instinctively finding descriptive vignettes over another pounding beat and long, held chord combination that has served Underworld so well, shifting shapes in the way that Pearls Girl did so well.

Molehill is an attractive number that shows if proof were needed that Underworld don’t need beats to create an atmosphere. This is more like a Bibio offcut, drifting through the consciousness like a light meditation. Threat Of Rain gets back on the quick horse though, chugging along at a good pace.

The Underworld horse is one that rewards consistent backing, here more than ever. There is a huge amount of listening on DRIFT, but such is their form that pretty much everything here is a surefire winner.

With all that said, I hope there is something here for you to enjoy if you haven’t already encountered it. Here at Arcana we look forward to bringing you a lot more cross-genre musical talk next year, and hope you will take something from it. Happy Christmas, have a brilliant 2020 and see you for more discoveries!

Ben Hogwood

In concert – David Titterington plays Messiaen’s La Nativité at St John’s Smith Square

David Titterington (organ)

St John’s Smith Square, Thursday 19 December 2019 (lunchtime)

Messiaen La Nativité du Seigneur (The Nativity of the Lord or The Birth of the Saviour)

Review by Ben Hogwood
Photo credits Chris Christodoulou (David Titterington), Ben Hogwood (SJSS organ)

Organ recitals can be curiously awkward affairs. The performer will often sit with their back to the audience, playing from a spot in the venue that is nigh on impossible to access. Taking a bow from their stage is fraught with difficulty – in this case a wrong move could lead to an unexpected descent! – and any heroic page turning deeds are done by an unseen accomplice in the dark, on a wing and a prayer (speaking with the cold sweat of experience!)

That said, this was an organ recital of the highest order from David Titterington. The scene was set in St John’s Smith Square, where just around the corner TV crews were covering the state opening of parliament with a security lockdown in place. Here the mood was different but similarly tense, the dank December gloom ensuring the audience were almost in darkness, save for the minimal light of a chandelier.

Yet these circumstances served to draw strong parallels with the very first Nativity. Political unrest, dark times – and in them the arrival of light, acknowledged in Messiaen’s rapturous response to the Biblical tale. Nothing is ever done by halves with this particular French composer, and his response came in the form of a massive, nine-movement organ suite lasting just over an hour. For Messiaen, contemplation is achieved through massive added-note chords, complex rhythms and large structures. Each section in this 1935 work responds to images from the birth of Jesus, and it is one of the composer’s first works to use birdsong melodies and rhythms from India and Ancient Greece.

Taking up the challenge, Titterington – himself the St John’s organ curator – delivered what could only be described as an heroic performance. So much of this music is about creating an atmosphere, and although the elements had combined helpfully it was his choices of registration and phrasing that took us to the next level, securing both a spectacular and reverent performance.

We began with the mottled chords of La vierge et l’enfant (The Virgin and Child) before clipped upper register notes introduced Les bergers (The Shepherds), their tumbling single lines brilliantly executed. Desseins éternels (Eternal designs) had appropriately rich, blanket chords which aided of contemplation and meditation, the subdued lighting helping the cause.

Meanwhile the massive Le verbe (The Word) was a tour de force, with impressive flourishes in the right hand, the structure easily grasped before the probing lines and eventual harmonic stability of Les enfants de Dieu (The Children of God), which ended in mysterious quiet. Titterington then gave superb definition to the complicated treble parts of Les anges (The Angels), with bell-like peals ringing around the church.

The sounds for Jésus accepte la souffrance (Jesus accepts suffering) were brilliantly secured, with a deep growl from the lower reaches of the organ depicting the trials at hand, which were ultimately overcome in brighter sound at the end.

We then contemplated the slowly circling figures of Les mages (The Magi), with a lovely pipe timbre chosen for the second part of the piece, before Dieu parmi nous (God Among Us) brought the house down, a glorious finale that reached a blazing conclusion.

When experienced in this way close to Christmas La Nativité comes alive, its colourful musical prose and richer than rich harmonies preparing us for the feasting in store – but also contemplating the quiet wonder of the festival, the still, peaceful voices that even now strive to remain as a crucial part of the Christian calendar.

Further listening

You can hear Messiaen’s cycle on Spotify below, in a recent recording for the King’s College Cambridge label by Richard Gowers: