Author Archives: Arcana

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About Arcana

My name is Ben Hogwood, editor of the Arcana music site (arcana.fm)

Arcana at the Proms – Prom 53: Remembering Sir Andrew Davis

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Stravinsky Symphony in Three Movements (1942-5)
Reich Jacob’s Ladder (2023) [BBC co-commission: UK premiere]
Tippett The Midsummer Marriage – Ritual Dances (1946-52)
Elgar Variations on an Original Theme ‘Enigma’ Op.36 (1898-9)

Synergy Vocals [Tara Bungard (soprano), Micaela Haslam (soprano/director), Will Wright, Ben Alden (tenors)], BBC Symphony Orchestra / Martyn Brabbins

Royal Albert Hall, London
Friday 30 August 2024

reviewed by Richard Whitehouse Photos (c) Andy Paradise

What should have been the 133rd concert that Sir Andrew Davis conducted at the Proms became a commemorative event after his untimely death in April but, with Martyn Brabbins presiding over a thoughtfully amended programme, the outcome could not have been more appropriate.

Proceeding unaltered, the first half began with Stravinsky’s Symphony in Three Movements in a performance redolent of Otto Klemperer in its deliberation if without that conductor’s heft – not least an opening movement whose rhythmic trenchancy felt a little dogged as it unfolded. Best was the Andante – its deadpan humour complemented by the beatific poise at its centre, then a transition of hushed expectancy to launch the finale. Here the closing build-up might have been more visceral, but the conclusiveness of that final chord could hardly be doubted.

Davis (above) was hardly known as proponent of Minimalism in general or Steve Reich in particular, thus his scheduling this first UK performance of the latter’s Jacob’s Ladder could be taken as significant. Playing just under 20 minutes, this is artfully structured as four short ‘expository’ sections followed by four longer ‘developmental’ ones. The former pitted its four vocalists – a telling number in this context of eight strings, six woodwind, two vibraphones and one piano – against an instrumental ensemble that took precedence in those latter sections; the final one brings them together in new-found accord. Dealing with scalic patterns in all their conceptual and metaphorical implications, the musical content typifies late Reich in ruminative elegance or subdued intensity which, if it offers no revelations, is yet satisfying in its stylistic deftness.

Schumann’s Second Symphony had been planned for a second half as now commenced with the Ritual Dances from Tippett’s The Midsummer Marriage – an opera, and composer, close to Davis’ heart. Unfailingly cohesive to the degree its series of elemental and seasonal dances interwove with their respective ‘transformations’ and ‘preparations’, this account was equally notable for its textural clarity even in those most contrapuntally intricate passages, along with a colouristic sense sustained up to the climactic return of its initial music for a magical envoi.

When Brabbins last conducted Elgar’s ‘Enigma’ Variations at the Proms, it was the final item in a 60th-birthday tribute that began with Pictured Within – a latter-day equivalent involving 14 different composers. Tonight’s account gave eloquent insight into what has become almost too familiar a work, evident from the outset in a ‘Theme’ of melting pathos. Highlights from those that followed included the soulfulness of ‘C.A.E.’, pensiveness of ‘R.P.A.’ or elegance of ‘Ysobel’ with its lilting viola from Sebastian Krunnies. ‘Nimrod’ started imperceptibly but built towards a nobly wrought apex, with the affectionate portrayed ‘Dorabella’ or searching evocation of ‘***(Romanza)’ no less affecting. The ‘E.D.U.’ finale moved confidently to an organ-clad peroration exuding what Elgar elsewhere termed a ‘‘massive hope for the future’’.

Just before this performance, Brabbins spoke for a capacity house in paying tribute to Davis with his dedication to music-making in the UK and beyond; something Sir Andrew brought to every one of his 132 appearances at the Proms, across 54 years of dedication to his cause.

You can get details about this year’s season at the BBC Proms website – and you can click on the names to read more about the BBC Symphony Orchestra, their conductor Martyn Brabbins, and an obituary of Sir Andrew Davis himself

Published post no.2,287 – Sunday 1 September 2024

Let’s Dance – Junior Sanchez: Songprints, Vol. 1 (D4 D4NCE)

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by Ben Hogwood

What’s the story?

Junior Sanchez is something of an unsung star in the world of house music, making quality productions since the 1990s and collaborating with the likes of Daft Punk, DJ Sneak and Roger Sanchez – to name just a few.

Collaboration is the name of the game this time around, too, with a host of vocalists lending their pipes to a set of songs the New Jersey DJ began during lockdown. The project has executive production from Dallas Austin, marshalling the eight guest singers into a set of productions compressed into radio edits and aimed squarely at the dancefloor.

What’s the music like?

Sanchez has struck gold here, his craft evident in all nine of the grooves on show – and with a series of superb, floor filling beats.

The album sets out its stall with So Hype, its deeper beats topped by excellent vocals from Mýa, and sets the listener down in a heap some 40 minutes later having danced and sung themselves to a standstill. This is thanks to songs like Higher, where Dawn Richard gets higher than anyone else to deliver a brilliant and catchy song.

Drip is enjoyably saucy, with lots going on in the company of Johnny Apollo and Cookiee Kawaii, while I Need More – with the brilliant Darlene McCoy – is a bouncy number. Sanchez uses solid four to the floor beats throughout, each lifted by fluid bass lines and quality house music production.

Does it all work?

It does. The quality level barely lets up, partly because of Sanchez’s skilful use of guests – and each voice brings a fresh perspective to his music.

Is it recommended?

Enthusiastically. Sanchez deserves a great deal of kudos for this album, which reinforces his credentials as one of the leading lights in house music. Great songs, brilliantly executed.

For fans of… Luke Solomon, Purple Disco Machine, Tensnake, The Juan Maclean

Listen & Buy

Published post no.2,287 – Saturday 31 August 2024

Arcana at the Proms – Prom 50: Mao Fujita, Prague Philharmonic Choir, Czech Philharmonic Orchestra / Jakub Hrůša – Dvořák Piano Concerto, Kaprálová & Janáček Glagolitic Mass

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Kaprálová Military Sinfonietta Op.11 (1937) [Proms Premiere]
Dvořák (ed. Kurz) Piano Concerto in G minor Op.33 (1876)
Janáček Glagolitic Mass (1926-8)

Mao Fujita (piano); Corinne Winters (soprano), Vella Adamova (mezzo-soprano), David Butt Philip (tenor), Brindley Sharratt (bass), Christian Schmitt (organ), Prague Philharmonic Choir (choir-master Lukáš Vasilek), Czech Philharmonic Orchestra / Jakub Hrůša

Royal Albert Hall, London
Wednesday 28 August 2024

reviewed by Richard Whitehouse Photos (c) Andy Paradise

Their previous Prom having set the bar high as regards playing or interpretation, Jakub Hrůša and the Czech Philharmonic Orchestra equalled and maybe even exceeded it with a programme which once more ranged widely over what might be thought the ‘golden age’ of Czech music.

The career of Vítězslava Kaprálová (1915-40) represents one of those great ‘what ifs’ in 20th century music and works such as Military Sinfonietta confirm her already distinctive idiom. Despite involvement with Martinů, this is redolent more of interwar French music – notably Roussel – in its alternating between the extrovert and the ruminative; relative extremes held in check by ingenious adaptation of the four-movements-in-one design that draws maximum variety from its material while sustaining a cumulative momentum through to a return of the main theme for a powerful but never bombastic apotheosis. The CPO certainly relished these strongly drawn expressive contrasts, and Hrůša kept it on a tight though never inflexible rein with the sizable groups of woodwind and brass duly given their collective head at the close.

Although it has come in from cold over recent decades, Dvořák’s Piano Concerto remains an anomaly – akin to one Mendelssohn or Chopin might have written had they lived into the mid -Romantic era. Numerous pianists have returned to the demanding if unidiomatic solo part as its composer left it, but Mao Fujita (above) opted for that edited by pianist Vilém Kurz which enjoyed favour across much of the last century. Musically the piece remains much the same – opening with an extensive Allegro trenchant and yielding, but with surprisingly little of a Czech tinge to its melodic or rhythmic content. Fujita delivered a confident traversal, then brought limpid poetry to the Andante with Hrůša’s accompaniment of the subtlest. They duly made the most of the final Allegro’s driving impetus and soulful poise, prior to its lively and decisive close.

Despite early advocacy from Henry Wood, Janáček’s Glagolitic Mass only established itself at the Proms half a century after the composer’s death. Recent seasons have brought varying versions of what Janáček (might have) intended, but Hrůša chose the standard edition with a reading of blazing conviction right from the stentorian brass of its ‘Introduction’. Compact in size but forthright in tone, the Prague Philharmonic Choir brought pathos to the ‘Kyrie’ then fervency to the ‘Gloria’ with Corinne Winters and David Butt Philip fearless in their response.

More than usually a fulcrum around which this work revolves, the ‘Credo’ evinced an almost narrative dimension in its journey via speculation and ambiguity to a conclusion – typified by Brindley Sherratt’s eloquence – of radiant certainty. This carried over into the ‘Sanctus’ both sensuous and capricious, Bella Adamova making the most of her ensemble contribution here then in the ‘Agnus Dei’ whose intimation of doubt is brusquely denied by the ‘Postludium’ – a vigorous workout for solo organ in which Christian Schmitt (above) decisively assumed the limelight.

It remained for the ‘Intrada’ to round off proceedings with its pounding timpani and exultant trumpets – so setting the seal on a memorable concert which, as with its predecessor, is likely to prove a highlight of this Proms season: music-making as it can and should be experienced.

You can get details about this year’s season at the BBC Proms website – and you can click on the names to read more about pianist Mao Fujita, the Czech Philharmonic Orchestra and conductor Jakub Hrůša

Published post no.2,285 – Friday 30 August 2024

Wigmore Hall news – A season-long celebration of Fauré begins this September

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Véronique Gens (soprano), Fleur Barron (mezzo-soprano), Laurence Kilsby (tenor), Stéphane Degout (baritone), Susan Manoff (piano), Julius Drake (piano) – all performing on Friday 13 September 2024 at the Wigmore Hall

The Gabriel Fauré Centenary Celebrations open with a song gala involving some of Fauré’s finest contemporary interpreters, who explore the composer’s output at various stages, and all of whom share in the performance of his cycle La bonne chanson.

The concert will take place on Friday 13 Sep 2024, 7.30pm (click here for tickets) – and marks the start of a celebration which will cover the French composer’s celebrated chamber music.

You can read about the celebrations at the Wigmore Hall website, where you will find details of the five-day festival planned and curated by Steven Isserlis and friends, running from Friday 1 November to Tuesday 5 November. The programme will include all of Fauré’s chamber music, put in context of his friends and contemporaries. It will also give us the rare opportunity to hear both of the piano trios by his good friend Saint-Saëns.

Published post no.2,288 – Thursday 29 August 2024

Arcana at the Proms – Prom 49: Anastasia Kobekina, Czech Philharmonic Orchestra / Jakub Hrůša – Dvořák Cello Concerto & Suk ‘Asrael’ Symphony

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Dvořák Cello Concerto in B minor Op.104 (1894-95)
Suk Symphony no.2 in C minor Op.27 ‘Asrael’ (1905-06)

Anastasia Kobekina (cello), Czech Philharmonic Orchestra / Jakub Hrůša

Royal Albert Hall, London
Tuesday 27 August 2024

reviewed by Richard Whitehouse Photos (c) Andy Paradise

First heard at the Proms in those testing times of 1969, the Czech Philharmonic Orchestra has since appeared at these concerts with some frequency during the past quarter-century, and this evening brought the first in a pair of concerts with its principal guest conductor Jakub Hrůša.

Each of these Proms features a Dvořák concerto, with that for cello undertaken by the highly regarded Anastasia Kobekina. The opening Allegro evinced an elegance and understatement abetted by the chamber-like interaction, Kobekina’s line faltering only marginally in its more intensive passagework, though the thrilling ascent up to the reprise of the second theme went for relatively little and its coda rather lacked decisiveness. Much the highlight was an Adagio of ruminative warmth and, after its restless central section, an exquisite poise when the main melody is entrusted to the soloist prior to a melting close. The final Allegro too went well for much of its length, but a tendency to drift came to the fore in its extended coda – Kobekina’s response rather selling short its pathos and, in turn, the inevitability of the orchestral pay-off.

A fine if not overly memorable account, but Kobekina (below) is an artist of style and personality – as she demonstrated in the rendition of Gallardo (Variations on an Ancient Theme) by her father Vladimir Kobekin, Pavel Polívka providing tambourine accompaniment for this lively encore.

Having already made two recordings and given a memorable account with the Philharmonia a decade ago, Hrůša is evidently on a mission to establish Suk’s ‘Asrael’ Symphony in the wider repertoire and tonight’s reading did not disappoint. Especially impressive was his maintaining emotional intensity across those three movements that make up its first part – the introduction to the opening of them starkly drawn so what followed needed only an incremental impetus to sustain itself over a complex yet cohesive sonata design then on to a peroration whose despair was unremitting. The intermezzo found ideal an accord between its ‘otherness’ and that ironic ambiguity where Mahler’s influence is apparent, its teetering on silence a foil for the scherzo whose anxiety was soulfully waylaid by the trio before it exploded in fury towards the close.

What had begun as the commemoration of Dvořák (Suk’s teacher) became a memorial to his daughter Otilie (Suk’s wife) in its second part. Compassionate but never cloying, the opening Adagio was enhanced by some alluring woodwind and an eloquent contribution from leader Jan Mráček as underlined the significance of solo violin for Suk’s output overall. Its subdued close was brusquely denied by timpani at the outset of the finale – a relatively loose but never diffuse structure, the headlong clamour of whose central build-up carried over into a dramatic climax before this subsided unerringly into the lengthy coda. The composer was explicit as to the nature of the latter – its barely fulfilled serenity perfectly captured by Hrůša as this music reaches, if not benediction, at least that repose from where further creativity became possible.

Acknowledging considerable applause, Hrůša explained that no encore would be played given how apposite were the final bars in their countering the ‘‘crazy world’’ around us. Something which could overall be said of what was a highly perceptive and often profound performance.

You can get details about this year’s season at the BBC Proms website – and you can click on the names to read more about cellist Anastasia Kobekina, the Czech Philharmonic Orchestra and conductor Jakub Hrůša

Published post no.2,287 – Wednesday 28 August 2024