Category Archives: In concert

Live review – Nicola Benedetti, Royal Scottish National Orchestra / Thomas Søndergård: Polska Scotland opening concert

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Nicola Benedetti (violin, photo by Martin Shields), Royal Scottish National Orchestra / Thomas Søndergård

RSNO Studio, Glasgow
Broadcast Friday 16 April 2021, available online until Friday 30 July 2021

Weinberg Rhapsody on Moldavian Themes Op.47/1 (1949)
Szymanowski Violin Concerto no.1 Op.35 (1922)
Panufnik Sinfonia Sacra (Symphony no.3) (1964)

Written by Ben Hogwood

The first concert of the Royal Scottish National Orchestra’s Polska Scotland season provided a tempting mix of 20th century pieces. The season is exploring connections between the two countries, and watching the accompanying video (at the bottom of this page) reveals a number of interesting and pertinent connections, not least in the orchestra itself.

The choice of repertoire here was refreshing, too. Szymanowski’s Violin Concerto no.1 is more of a regular repertoire piece these days, but the same could certainly not be said of the inclusions from Mieczysław Weinberg, the Polish composer who found his way to Moscow in the 1940s, and Andrzej Panufnik, who fled Warsaw for London ten years later.

Weinberg’s parents moved to Poland from Moldova in 1916, and this concert began with the composer’s Rhapsody on Moldavian Themes, exploring the heritage of his parents through the development of contrasting folk tunes. In this way he was following the lead of folk-based pieces for orchestra from the likes of Kodály, Enescu and Bartók, relishing the chance to project and develop the music of their home countries through the concert hall.

The RSNO strings were appropriately deadpan at the start, their cold and muted contributions expertly controlled and matched by suitable lighting in the hall. The woodwind gave heartfelt, soulful contributions, as did the orchestra leader, violinist Sharon Roffman, and these led to thrills and spills as the RSNO powered through the faster sections, urged on by Thomas Søndergård.

Polska-scotland

Nicola Benedetti was the soloist in Szymanowski’s Violin Concerto no.1, a piece she started to play at the age of 16. Having lived with it for approximately the same length of time, she noted the increased popularity of the piece – and talked through how conductor Sondergaard’s vision of the music was slower than hers, giving her a renewed perspective.

The violin emerged rather magically from the brief but colourful orchestral introduction and dominated almost throughout, rich of tone and with extremely secure intonation. The vivid colours were an overriding feature of this performance, Søndergård achieving a sound balance between soloist and orchestra, but within the ensemble he probed the deeper shades of Szymanowski’s lyrical writing. Benedetti was passionate and driven, the searing high notes carrying easily above the orchestra and then doing their own work in ardent outpouring of the complex cadenza. Søndergård gave the piece more room than it normally receives, but this was to its benefit – and the capricious ending was beautifully weighted.

First violinist Jane Reid then recounted a Polish tour for the orchestra in 1978, which opened with Panufnik’s Sinfonia Sacra, receiving its first performance in the country. It was a daring choice from conductor Sir Alexander Gibson, given the composer’s departure for London in 1954, but Reid’s vivid account spoke of tears in the Warsaw audience. Indeed, it is hard to understand why the piece is not performed more today – given the Weinberg revival of late, the music of Panufnik is just as deserving.

This performance from the RSNO was intensely moving. The powerful opening fanfares of Vision I from the brass were razor sharp, and cut to an equally heartfelt Vision II from the strings, icy cold music of solemn countenance. This was blown apart by Vision III, where driven percussion gave way to onrushing strings the surging brass in music of dissonance and disquiet. The contrast with the final Hymn was even greater, the strings united again in a cold chorale, but gradually the music thawed and grew in power.

Sondergård expertly marshalled this section and its steady build, taking a broad tempo but controlling the unwavering intensity of Panufnik’s writing. The brass fanfares were resolute, but the final statement of the hymn had great resolve, an ultimately triumphant end – even if the dissonances remained, defiant to the finish.

This was a superb start to a season which promises much, with works to come from Lutosławski, Bacewicz and more Szymanowski – Nicola Benedetti will return to play his Violin Concerto no.2. On this evidence, all the online concerts are highly recommended.

You can watch the concert on the Royal Scottish National Orchestra website here

For more information on the Royal Scottish National Orchestra digital season, you can visit their website here

Live review – Kile Smith, Gemma Whelan, English Symphony Orchestra / Kenneth Woods: The Art of Storytelling – The Bremen Town Musicians

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Kile Smith (music), Gemma Whelan (narrator), English Symphony Orchestra / Kenneth Woods

Wyastone Concert Hall, Monmouth
Recorded 30 July 2020, available online from Friday 16 April 2021

Written by Richard Whitehouse

The English Symphony Orchestra reaches the concluding instalment of its series for virtual storytelling with one of the most appealing fairy tales – The Bremen Town Musicians, here given in a discreetly updated version which preserves its salient narrative and robust charm.

Maybe through its specifically German setting, what is among the more life-enhancing tales by the Brothers Grimm has never enjoyed the popularity of various other such stories (those who remember an enticingly illustrated version published by Ladybird in the 1960s would no doubt disagree!). The more reason, then, why it should not find renewed currency today – not least with the assistance of this online rendering, which has been vividly and imaginatively illustrated by students from Chadsgrove School in the Worcestershire town of Bromsgrove.

The story is breezily and resourcefully told by Gemma Whelan, assuming a variety of accents and intonations to differentiate those characters – donkey, dog, cat and cockerel – who defy imminent demise to become travelling musicians on a journey to Bremen that (at least in this version) they never reach. Their travails and unlikely victory over a band of rural robbers is underpinned with a score by Kile Smith whose echoes of Stravinsky, Hindemith and lesser-known but worthwhile figures such as Walter Piston is effectively geared to events at hand

The ESO musicians play with style and assurance, while Kenneth Woods ensures poise and humour – not least in several meaningful ‘wrong entries’. The overall presentation is sure to win this story new friends and, as usual, a range of sundry material enhances the experience.

You can watch the concert on the English Symphony Orchestra website here

For more information on the English Symphony Orchestra you can visit their website here

For information about Auricolae, visit Kenneth Woods’ website here

Live review – Thomas Kraines, Henry Goodman, English Symphony Orchestra / Kenneth Woods: The Art of Storytelling – Hansel and Gretel

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Thomas Kraines (music), Henry Goodman (narrator), Members of the English Symphony Orchestra / Kenneth Woods

Wyastone Concert Hall, Monmouth
Recorded 20 July 2020, available online from Friday 9 April 2021

Written by Richard Whitehouse

The English Symphony Orchestra reaches the penultimate instalment of its series for virtual storytelling with one of the most enduring among fairy tales – Hansel and Gretel, here given in the more abrasive version such as leaves little or no room for sentimental embellishments.

Although it has always been a parable for the playing-off of good against evil, the intensified recent concern about the exploitation of children has given this story a more ominous undertow. Little of that was emphasized here, yet the scenario remains one where the brutal corrupting of innocence is foremost; whether in the guise of the stepmother, rendered here in scarifying Irish, or that of the witch whose tendency to caricature is judged to a nicety. That neither children nor woodcutter exudes much in the way of persona may itself be significant.

As will have been realized, Henry Goodman is an animated and appealing narrator as he leads the listener through a story where incident likely counts for more than the ultimate destination. The score itself shows Thomas Kraines’s knack for moving across genres and styles with real sureness of touch, alighting on elements of German romanticism and expressionism to inflect those highpoints of the narrative. That the theme for the stepmother and the witch is a 12-note row brings a fresh perspective to a conceit whose lineage stretches back over nearly a century.

As in previous instalments the ESO musicians play with skill and sensitivity, Kenneth Woods ensuring clarity and balance even in the densest textures. The presentation is sure to provoke children of all ages and, as usual, a range of sundry material enhances the overall experience.

You can watch the concert on the English Symphony Orchestra website here

For more information on the English Symphony Orchestra you can visit their website here

For information about Auricolae, visit Kenneth Woods’ website here

Live review – Raphael Wallfisch, English Symphony Orchestra / Kenneth Woods: Elgar Reimagined Part 1

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Raphael Wallfisch (cello), English Symphony Orchestra / Kenneth Woods

Elgar, arr. Fraser Miniatures for cello and strings
Chanson de Matin, Op.15 No.2 (1899)
Chanson de Nuit, Op.15 No.1 (1899)
The Wild Bears, Op, 1b No. 6 (1908)
Nimrod, Op.36 No. 9 (1899)
Romance in D minor, Op.62 (1910)
Sospiri, Op.70 (1914)
Mazurka, Op.10 No.1 (1899)
Pleading, Op.48 (1908)
In Moonlight (1904)
Salut d’Amour, Op.12 (1888)
Adieu (1933)

Wyastone Concert Hall, Monmouth
Recorded October 9 2020 for online broadcast from Wednesday 19 March 2021

Written by Richard Whitehouse

This latest in the English Symphony Orchestra’s online concerts focussed on Elgar – namely a series of miniatures for cello and strings arranged by Donald Fraser and played by Raphael Wallfisch, whose commitment to and conviction in this music hardly needs reiterating here.

Chanson de Matin launched proceedings in mellifluous fashion, and if the cello’s assuming of the melodic line was slightly to the detriment of the original scoring, that could hardly be said of Chanson de Nuit whose more sombre contours and ruminative character were ideally realized. Nor did The Wild Bears lose out on vivacity, and if this arrangement brought it into the orbit of Saint-Saëns, that served to underline the significance of ‘Second Empire’ French music on Elgar’s own thinking. In Nimrod, the cello’s dominance rather detracted from the subtlety of the original instrumentation; conversely, Fraser’s take on the Romance brought soloist and strings into even closer accord than the composer’s own version with orchestra.

Nevertheless, the undoubted highlight here was Sospiri – the cello’s subsuming of the harp’s crucial contribution just one aspect of an arrangement which presented one of Elgar’s finest inspirations (miniature or otherwise) in a striking new light. Lighter fare next with the robust tread of the Mazurka, proceeded by a rendering of the song Pleading of unforced eloquence. The evergreen In Moonlight (adapted from the overture In the South) responded well to this suitably limpid treatment, as did Salut d’Amour to one that underlined its wholly un-cloying essence. A wistful take on the piano piece Adieu saw this programme to an affecting close.

Throughout, the idiomatic feel of Wallfisch’s playing was complemented by that of the ESO under Kenneth Woods, as discreet or understated as the music requited. Forty minutes came and went effortlessly – the ‘Part 1’ designation happily meaning there will be more to come.

You can watch the concert on the English Symphony Orchestra website here

For more information on the English Symphony Orchestra you can visit their website here

In concert – London Chamber Ensemble & Madeleine Mitchell: A Century of Music by British Women (1921-2021)

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London Chamber Ensemble [Madeleine Mitchell (violin, director), Joseph Spooner (cello), Sophia Rahman (piano), David Aspin (viola), Gordon Mackay (violin), Lynda Houghton (double bass), Peter Cigleris (clarinet, bass clarinet), Nancy Ruffer (flute), Alec Harmon (oboe), Bruce Nockles (trumpet), Ian Pace (piano)

Rebecca Clarke Piano Trio (1921)
Judith Weir Atlantic Drift: Sleep Sound ida Mornin’ (1995), Atlantic Drift (2006), Rain and Mist are on the Mountain, I’d Better Buy Some Shoes (Movements I-IV, 2005)
Helen Grime Miniatures (2005)
Judith Weir The Bagpiper’s String Trio (1985)
Cheryl Frances-Hoad Invocation for cello & piano (1999)
Thea Musgrave Colloquy (1960)
Ruth Gipps Prelude for bass clarinet (1958)
Errollyn Wallen Sojourner Truth (2021, world premiere)
Grace Williams Suite for Nine Instruments (1934)

St John’s Smith Square, London
Monday 9 March (review of the online broadcast)

Written by Ben Hogwood

Classical music still has an awfully long way to go before female composers are an integral part of its make-up, but the celebration of International Women’s Day is helping the cause considerably, gaining more traction with each passing year.

One of the highlights of the 2021 celebrations was this concert from St John’s Smith Square, masterminded by Madeleine Mitchell, who led the London Chamber Ensemble in a very satisfying hour-and-a-half of music.

In a concert celebrating eight women composers, the common threads of America and the Royal College of Music were also explored. The latter organisation is where Rebecca Clarke, Grace Williams and Helen Grime all studied, and where Errollyn Wallen and Mitchell herself are now professors. Wallen wrote a new piece, Sojourner Truth, for the occasion.

The concert began however with a terrific performance of Rebecca Clarke’s Piano Trio. Completed in 1921, this substantial piece begins with a passionate outpouring, but it also has its elusive, mysterious moments. The trio of Mitchell, cellist Joseph Spooner and pianist Sophia Rahman caught these elements, getting off to a terrific start but pulling back to allow the enchanting slow movement room to breathe. At times Clarke’s music hints at influences from France – particularly Ravel but also Franck – which Spooner caught in his high intonation in the second movement. The spirit of the dance inhabited the finale, a more obviously English statement, but there was still room for more fervent thoughts when the trio united.

There was a sudden transition on the broadcast to the refreshing open air of Judith Weir’s Atlantic Drift, a compilation of three pieces for two violins proving an invigorating contrast to the denser textures of the Clarke. Weir’s incorporation of folk material into her music is enchanting, especially in the four-part last piece, Rain and mist are on the Moutain, I’d Better Buy Some Shoes. Using a Gaelic song as its inspiration, Weir’s adaptation worked really well in these open air accounts from Mitchell and Gordon Mackay, the empty St John’s providing the ideal acoustic. Weir appeared later with The Bagpiper’s String Trio, a similarly folk-powered work from 1985. Based on a Scottish pipe tune this too lifted the listener away to the great outdoors, with excellent teamwork from Mitchell, Spooner and viola player David Aspin.

Helen Grime’s trio of Miniatures for oboe and piano were next, studies in compressed expression from the pale harmonics of the first to the jagged edges of the second. The third was an effective summation of Grime’s thoughts, panning out for a wider perspective from the piano. Alec Harmon and Sophia Rahman were fully responsive to the virtuoso demands.

Cheryl Frances-Hoad’s Invocation for cello and piano followed, a late teenage piece offering an immediate chance to appreciate the probing line given to Joseph Spooner’s fulsome cello. As the composer’s response to Edvard Munch’s painting Melanchola reached its apex there were clangorous chords from Rahman, capping a compact but powerful utterance.

Thea Musgrave’s Colloquy was next, another model of economy – four short pieces for violin and piano packed with sharp, expressive statements. There were some challenges to performance here – such as the quick interchange between pizzicato and bowing in the second movement – which Mitchell took in her stride. The third piece was a touch more playful but still assertive, but the fourth was the most effective, a private train of thought gracefully prompted by Ian Pace’s piano.

The most striking piece of the evening – for its sound, its soul and its warmth – was Ruth Gipps’ Prelude for bass clarinet. Gipps’ centenary falls this year, and her slightly baleful writing for the instrument was beautifully captured by Peter Cigleris, a model of control. After watching this I was struck by two questions – why do we not hear the music of Gipps more, and why are there not more pieces for solo bass clarinet?

Errollyn Wallen’s Sojourner Truth followed, written not just for Madeline Mitchell but for International Women’s Day – and taking us back to violin and piano. Based on a spiritual, O’er the crossing, it features intense dialogue between the two instruments, but when the melody is heard unaccompanied on the violin the ear is pulled firmly towards the centre of the music, a striking feature of another piece with more traditional inspirations.

To finish, we heard the 75-year-old Suite for Nine Instruments by Grace Williams. Scored for piano quintet, double bass, flute, clarinet and trumpet, it is a vivacious piece, quite modal and with hints of Stravinsky’s Septet for a similar instrumental combination – and equally driven in the outer movements, bringing the interval of a tritone right to the front. The London Chamber Ensemble played with flair, commitment and virtuosity, bringing a very impressive program to a close.

The concert is available to watch until 8 April on the link below – with some spoken introductions by Mitchell herself. On occasion the gaps between pieces are very short, but there are helpful markers to make viewing easier. Do make sure you watch, as some of the best chamber music from British women composers in the last 100 years is right here.

A Century of Music by British Women (1921-2021) on International Women’s Day, directed by Madeleine Mitchell from St John’s Smith Square on Vimeo.

Meanwhile, Madeleine and the London Chamber Ensemble’s album of works by Grace Williams can be heard here: