Category Archives: Orchestral

BBC Proms 2023 – Elena Urioste, BBC NoW / Tadaaki Otaka – Rachmaninoff / Respighi, Coleridge-Taylor & Beethoven

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Prom 7 – Elena Urioste (violin), BBC National Orchestra of Wales / Tadaaki Otaka

Rachmaninoff (orch. Respighi) Five Études-tableaux (1911-17, orch 1930) [Proms premiere]
Coleridge-Taylor Violin Concerto in G minor Op.80 (1911-12)
Beethoven Symphony no.5 in C minor Op.67 (1807-08)

Royal Albert Hall, London
Wednesday 19th July 2023 [7pm]

by Richard Whitehouse photos by Andy Paradise / BBC

Tadaaki Otaka’s years at the helm of the BBC National Orchestra of Wales (1987-95) were a highpoint of the latter’s history, and it was good to see and hear the rapport between them now that he is Conductor Laureate being maintained throughout this evening’s programme.

Surprising that Respighi’s orchestration of five from Rachmaninoff’s sets of Études-tableaux had not been given at the Proms, but the respective 150th and 80th anniversaries of his birth and death provided an ideal opportunity. Otaka brought out the listless calm of The Sea and the Seagulls with its death-haunted aura, then conveyed the scintillating energy of The Fair. With its evocations of Orthodox chant and heady pealing of bells towards the close, Funeral March is the most imposing and Otaka gave it its due – not least by pointing up the deadpan humour of Little Red Riding Hood and the Wolf which provides greatest possible contrast. The sheer effervescence of March made a fitting conclusion to a sequence that, while other orderings are possible (not least 2-1-4-3-5), is a viable and a cohesive entity in its own right.

The resurgence of interest in Samuel Coleridge-Taylor continued apace with a revival of his Violin Concerto, 111 years after its UK public premiere at these concerts. Its composer’s last major work, this is a work audibly in the Romantic tradition and while the initial Allegro gets off to a less than promising start with its blousy and over-emphatic first theme, the resource with which the soloist elaborates both this and the insouciant idea that follows is as engaging as the cadenza underpinned by drum-roll is arresting. The central Andante is the undoubted highlight, its warmly confiding main melody capable of unexpected plangency as it unfolds, then the final Allegro draws on the Afro-American inflections of Coleridge-Taylor’s heritage in a spirited discourse whose climax sees an opulent restatement of the work’s opening theme.

A testing assignment such as Elena Urioste (after last year’s Proms debut with Ethel Smyth’s Double Concerto) gave with no little panache, her vivid while modest tone heard to advantage in Tom Poster’s eloquent take on Harold Arlen’s Over the Rainbow that was given as encore.

A staple of the Proms since its very first season 128 years ago, Beethoven’s Fifth Symphony comes so weighted with expectation as to make any performance in itself a provocative act. Eschewing astringency and portentousness, Otaka (rightly) rendered the initial movement as an elemental though unpredictable play on its indelible opening motif; the ensuing Andante pursuing an equally eventful course as its main theme evolves via a process of developing variation, the heroic and inquisitive held in unforced accord through to the decisive ending.

A pity that Otaka opted not to take the repeat in the Scherzo (rather than that of the finale) – its interplay between the ominous and the impetuous abetted by a transition of speculative intent. Here too there was never any risk of pomposity or overkill, Otaka steering this most visceral of symphonic finales through a development of bracing immediacy then on to a coda whose insistent C major reiterations were the outcome – no more and no less – of this movement’s innate potential. The undiminished relevance of this music was never for a moment in doubt.

For more on the 2023 BBC Proms, visit the festival’s website at the BBC. Click on the names for more information on the BBC National Orchestra of Wales, Tadaaki Otaka and Elena Urioste

BBC Proms 2023 – we’re underway…

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Yesterday saw the start of the biggest festival in British classical music, the BBC Proms – broadcast live from the Royal Albert Hall.

Dalia Stasevska, guest conductor of the BBC Symphony Orchestra, led passionate Nordic music from Sibelius (the choral version of Finlandia with the BBC Singers and BBC Symphony Chorus, and a new arrangement of Snöfrid, narrated by actress Lesley Manville) and Grieg, whose evergreen Piano Concerto was given a new lick of paint by a wonderful interpretation from Paul Lewis.

Also featured was a Sibelian new work, Let There Be Light, from Ukrainian composer Bohdana Frolyak – a composer definitely worth seeking out in this evidence – and the concert closed with Britten‘s Young Person’s Guide To The Orchestra, with its triumphant fugal finale.

You can watch the Prom here on the BBC iPlayer:

https://www.bbc.co.uk/iplayer/episode/m001nr5b/bbc-proms-2023-first-night-of-the-proms

Arcana will be covering a good number of concerts as the season progresses, so check back through July and August to read more!

In concert – April Fredrick, Thomas Humphreys, English Symphony Chorus & Orchestra / Kenneth Woods: Voyage to America

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April Fredrick (soprano), Thomas Humphreys (baritone), ESO Chorus, English Symphony Orchestra / Kenneth Woods

Dvořák Symphony no.9 in E minor Op.95 ‘From the New World’ (1893)
Sawyers Mayflower on the Sea of Time (2018) [World Premiere]

Worcester Cathedral
Saturday 17 June 2023

Reviewed by Richard Whitehouse

This final concert of the season by the English Symphony Orchestra brought us the premiere of a piece delayed from three years ago. Philip Sawyers’ Mayflower on the Sea of Time was to have been launched at the Three Choirs Festival in April 2020, but the pandemic derailed this as so many other events. Happily, the tenacity of conductor Kenneth Woods has paid off such that the composer’s largest work so far was finally heard, and in the venue originally intended, making for a notable addition to the English choral tradition and one wholly on its own terms.

Commissioned to mark the 400th anniversary of the sailing of the Mayflower from Leiden to Plymouth and thereby founding the United Sates of America, this is an oratorio in concept but equally a choral symphony in its overall design and thematic cohesion. Its libretto, mainly by the artist Philip Groom, features set-pieces for various figures from the Old and New Worlds duly taken by soprano and baritone soloists (those for treble being allotted to sopranos in the chorus), but these along with ones for chorus are drawn into an inherently musical evolution.

Formally, there are four continuous parts. Persecution and Journey, a sonata design such as informs the Pilgrims’ flight from religious persecution and their decision to cross the Atlantic; Arrival in the New World, a slow movement charting their embarkation and tentative initial interaction with native peoples; Survival and Making our Community, a scherzo where the Pilgrims’ industriousness and idealism quickly becomes its own justification; and Our New World, a rondo-finale whose looking to the future is framed by choruses of growing fervour.

As befits such a work, the choral writing is both extensive and resourceful – not least when it elides between depicting Pilgrims or Natives, and that of a more abstract commentary. No less assured, the writing for soprano and baritone allows Sawyers’ lyrical impulse free reign – not least in extended sections toward the end of the second and fourth parts; the latter, especially, rendering comparable passages by Delius or Tippett from a perspective wholly of the present. On either side, luminous and ecstatic choruses accentuate an essentially affirmative message.

The contributions of April Fredrick (no stranger to Sawyers via her long association with the ESO) and Thomas Humphreys could hardly be faulted for commitment or insight, while that of the ESO Chorus exuded a power and immediacy amplified by the resonance of Worcester Cathedral’s acoustic as to belie its relatively modest numbers. The ESO gave its collective all throughout, projecting the textural intricacy and emotional heft of music whose longer-term formal integration was securely conveyed through Woods’s precise yet unobtrusive direction.

Before the interval, Woods gave a notable account of Dvořák’s Ninth Symphony. The poised anticipation of its introduction and visceral drama of its coda were highlights of the opening Allegro, proceeded by a Largo of an eloquence epitomized by rapt cor anglais playing from Louise Braithwaite. Contrast between the incisiveness of the Scherzo’s outer sections and the lilting delicacy of its trio was pointedly underlined, then the final Allegro surged onward to a coda paying tribute to 19th-century symphonism while blazing a trail for what was to come.

Further information on the ESO’s latest Philip Sawyers release (Nimbus NI6436) can be found at the English Symphony Orchestra website. For more on the artists in this concert, click on the names of April Fredrick, Thomas Humphreys, Kenneth Woods and the English Symphony Orchestra themselves – and click here for more on composer Philip Sawyers.

In concert – Benjamin Grosvenor, CBSO / Riccardo Minasi: Schubert, Chopin & Mozart

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Benjamin Grosvenor (piano), City of Birmingham Symphony Orchestra / Riccardo Minasi

Schubert Overture in C major ‘In the Italian style’ D591 (1817)
Chopin Piano Concerto no.2 in F minor Op.21 (1830)
Mozart Symphony no.41 in C major K551 ‘Jupiter’ (1788)

Symphony Hall, Birmingham
Thursday 1 June 2023 (2.15pm)

Reviewed by Richard Whitehouse

It is not often these days to have a whole concert of music from the late Classical and early Romantic eras, but that was just what the City of Birmingham Symphony Orchestra provided this afternoon under the disciplined as well as immensely assured direction of Riccardo Minasi.

There was no mistaking the inherent classicism of Chopin’s Second (sic) Piano Concerto – not least the simmering impetus in its opening Maestoso where, after a forthright tutti, Benjamin Grosvenor rendered those main melodies with requisite poise, and the emotional eddying of its development in direct contrast to the terseness of its coda. Most memorable was a Larghetto of melting eloquence but also, in its central episode, a volatility only gradually dispelled. Here, and in the final Allegro, the almost concertante role allotted to bassoon was characterfully taken by Nikolaj Henriques – as were those brass fanfares and col legno writing for strings (was this really Chopin’s idea?) which see the latter movement on its way to a spirited close. A limpid take on Chopin’s Nocturne in C sharp minor from the same year made for an appropriate encore.

Mozart symphonies rarely conclude a programme nowadays, yet the last four are ideal for this purpose and none more than the Forty-First – by some distance the weightiest and the most physical such work prior to Beethoven’s Eroica. This was the highlight of Minasi’s recording of the final triptych (Harmonia Mundi), with the opening Allegro likewise a statement of intent in its rhythmic tensility and general bravura, though its more ambivalent asides were never downplayed. Less distinctive melodically than its two predecessors, the Andante is memorable for its expressive understatement and a subtlety – with wind and strings enfolded into a textural continuity – that accentuates its pathos. Nor was there any lack of suavity in the Menuetto, its outer sections finding ideal contrast with a trio whose pert expectancy was delectably pointed.

The final Allegro crowns this work in every respect and, here again, Minasi did not disappoint. Not that there any sense of merely ‘going through the motions’ with his inclusion of first- and second-half repeats, each of which brought added intensity to what had gone before as well as enabling the wealth of contrapuntal detail to come through as it too rarely does. For its part the CBSO more than rose to the challenge, not least in a coda whose methodical combining of this movement’s themes makes possible an apotheosis such as felt truly visceral in its affirmation.

Schubert evidently had other preoccupations when essaying his two overtures ‘in the Italian style’, both of which have fallen out of the repertoire this past half-century but which make for attractive and appealing curtain-raisers. Especially that in C major with its teasingly portentous introduction, jocular and lilting main themes, then coda which sees it through to an effervescent close. The CBSO players (woodwind in particular) audibly enjoyed making its acquaintance, and it would be a real pity were such pieces relegated to the lower reaches of today’s playlists.

Hopefully a performance such as that by Minasi will make this just a little less likely. One looks forward to his future collaboration with this orchestra, which returns next Wednesday with its chief conductor Kazuki Yamada in a programme featuring Holst, Beethoven and Rachmaninoff.

You can read all about the 2022/23 season and book tickets at the CBSO website. Click on the artist names for more information on Riccardo Minasi and Benjamin Grosvenor

In concert – Raphael Wallfisch, BBC Concert Orchestra / Martin Yates: English Music Festival opening concert

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Raphael Wallfisch (cello, below), BBC Concert Orchestra / Martin Yates

Lewis A Celebratory Overture (2023) [EMF commission: World premiere]
Lloyd Webber (orch. Yates) Scenes from Childhood (c1950) [World premiere]
Moeran Cello Concerto in B minor (1945)
Alwyn Serenade for Orchestra (1932) [World premiere]
Delius Two Pieces for Small Orchestra (1911-12)
Vaughan Williams (arr. Adrian Williams) A Road All Paved with Stars (1929/2016) [Public premiere]

Dorchester Abbey, Dorchester-on-Thames
Friday 26 May 2023

Reviewed by Richard Whitehouse

The breezy ebullience of Paul Lewis’s A Celebratory Overture (redolent of Malcolm Arnold without any risk of expressive ambiguity) launched this latest English Music Festival in fine style, with its crisp and precise playing from the BBC Concert Orchestra under Martin Yates.

As so often in these concerts, world premieres were not lacking and the first brought hitherto unknown partsongs by William Lloyd Webber arranged into suite-form then orchestrated by the conductor. If the resultant Scenes from Childhood adds but little to the reputation of this not inconsiderable figure, the Prelude yields appealing poise while Serenade is a waltz of no mean suavity, then the Finale nimbly combines elements of fugue and waltz on its way to a rousing close. Worth hearing, and not least when rendered with such obvious enjoyment.

The emotional weight of this first half inevitably fell upon the Cello Concerto by E.J. Moeran. Completed in the aftermath of the Second World War, it was the composer’s first large-scale piece for his wife Peers Coetmore; her belated and often approximate recording likely having deterred others from taking it up. Not so Raphael Wallfisch (above), his belief evident from the outset of a Moderato whose confiding eloquence is not without undercurrents of unease. These latter are made explicit at the start of the Adagio, otherwise centred on one of the composer’s most affecting melodies and building with due inevitability to a cadenza whose growing animation carries over to the final Allegretto. Here a jig-like main theme denotes an Irish influence that offsets any tendency to introspection as it guides this engaging movement to a decisive close.

Quite a performance, then, which was complemented after the interval by a first hearing for the early(ish) Serenade by William Alwyn. Written while on examination duties in Australia, this undemanding piece moves from a (mostly!) tranquil Prelude, through a stealthy and by no means uninhibited Bacchanale then a serene Air which could yet find favour as a radio staple, to a Finale that, as Andrew Knowles rightly indicated in his programme note, betrays more than a hint of Czech folk-music across its insouciant and ultimately boisterous course.

Hardly an interlude, the brace of pieces by Delius fairly encapsulate the inward rapture of his maturity. Yates (above) brought just the right lilt to the dancing gait of On Hearing the First Cuckoo in Spring, while the subtle eddying of Summer Night on the River was effortlessly conveyed.

The final premiere tonight came in the guise of A Road All Paved with Stars – the ‘symphonic fantasy’ as arranged by Adrian Williams (a notable composer in his own right) from Vaughan Williams’ comic opera The Poisoned Kiss. Occasionally revived, its dramatic prolixity rather obscures its musical highpoints – emphasized here in what is both a chronological overview and cumulative paraphrase that also adds a non-symphonic orchestral work to its composer’s output. The surging emotion of those final stages could hardly leave an audience unmoved. This vivid reading concluded a memorable concert in which the Moeran was dedicated to the memory of Michal Kaznowski – who, as cellist of the Maggini Quartet and formerly section-leader at the City of Birmingham Symphony Orchestra, has left a legacy worth remembering.

To read more about the festival, visit the English Music Festival website. For information on the performers, click on the links to read more about cellist Raphael Wallfisch, conductor Martin Yates and the BBC Concert Orchestra, and for more information on composer and arranger Adrian Williams and composer Paul Lewis