On record – Duncan Honeybourne: De Profundis Clamavi (EM Records)

de-profundis-clamavi

Armstrong Gibbs An Essex Rhapsody Op.36 (1921); Ballade in D flat (1940)
Bainton Variations and Fugue in B minor Op.1 (1898); The Making of the Nightingale (1921); Willows (1927)
Bridge Piano Sonata H160 (1921-4)
Britten Night Piece ‘Notturno’ (1963)
Edmunds Piano Sonata in B minor (1938)
Pantscheff Nocturnus V: Wing oor die Branders (2015); Piano Sonata (2017)
Parry Shulbrede Tunes (1914)

Duncan Honeybourne (piano)

EM Records EMRCD070-71 [two discs, 156’46”]

Producer Oscar Torres & Richard Pantcheff
Engineer Oscar Torres

Recorded 20 & 21 August 2020 at Potton Hall, Westleton, Suffolk

Written by Richard Whitehouse

What’s the story?

Never a pianist to pull his punches, Duncan Honeybourne adds to his expanding discography with this extensive survey of British piano music which, written across almost 120 years and evincing a range of styles, more than reinforces the descriptive heading of the overall project.

What’s the music like?

The first disc begins with the Piano Sonata by Christopher Edmunds. Birmingham-born and long active at the School of Music there, he left a sizable output from which the present work impresses through its wide expressive range within modest formal dimensions. The opening Allegro recalls Medtner in its pivoting between fervency and repose, then the Lento strikes a note of heartfelt emotion underlined by its ‘mesto’ marking. Utilizing aspects of scherzo and finale, the closing Allegro returns to more extrovert concerns as it arrives at a virtuosic close.

Edgar Bainton was still in his teens when composing the Variations and Fugue which became his first acknowledged work. Brahms is a key influence, but the music’s motivic and textural discipline ensures a formal focus throughout the nine deftly contrasted variations then into a tensile and vividly cumulative fugue. Remembered primarily for his songs, Cecil Armstrong Gibbs wrote idiomatically for the piano as is demonstrated by the intricate passagework and often bravura writing of An Essex Rhapsody, while the later Ballade exudes deeper emotion – not least an ominous central section with undeniable overtones of war. Part of a compendious sequence exploring different aspects of night, Richard Pantcheff’s Nocturnus V: Wind on the Waves follows a trajectory of impending marine turbulence that duly regains its earlier calm.

Written at the home of his daughter’s family, Shulbrede Tunes finds Hubert Parry reflecting on domestic environs in a methodically constructed cycle – the 10 pieces taking in evocations of the priory and people within. A lively humour informs Bogies and Sprites that Gambol by Nights, with a ruminative pathos to the fore in Prior’s Chamber by Firelight. Here, as in the exuberant Father Playmate, the aging composer’s devotion to Austro-German romanticism results in music which is as affecting as Parry’s orchestral and choral works from this period.

The second disc opens with two further pieces by Bainton. From among his many miniatures, Willow is a limpidly impressionist album-leaf of no mean poignancy, then The Making of the Nightingale evokes this bird’s creation in imaginative terms that are appealingly realized here. Written for the first Leeds International Piano Competition, Benjamin Britten’s Night Piece is the only acknowledged piano work from his maturity – a study in dynamic and timbral nuance of a finesse as to make one regret his stated antipathy for the modern piano on its own terms.

It is the Piano Sonata by Frank Bridge (placed before the Britten) which inevitably dominates this collection, not least as this recording is among the finest from recent years. Testimony to the composer’s response to the carnage of war as well as its impact on his evolving idiom, the three movements unfold as a single cumulative entity – the sizable opening Allegro preceded by a slow introduction whose main motivic elements are gradually elaborated for the ensuing opposition between anguish and eloquence. The savage rhetoric of its close makes the contrast with the Andante’s consoling rumination more acute, the music as if surveying a landscape of memories which elides straight into the final Allegro with its renewed confrontation of earlier motifs – on the way to a stark denouement then a resigned and almost confessional epilogue.

Pantcheff’s almost contemporary Piano Sonata rounds off this collection. Its three movements each carries an inscription from the epic poem The Axion Esti by Odysseus Elytis that sets the tone for a restive and increasingly tumultuous Inquieto, followed by an Elegia whose sombre imagery might feel almost nihilistic were it not for the plaintive expression that emerges in its latter stages, then a finale whose Alla Vortice marking aptly indicates the gradual intensifying of mood which carries this movement – and the work as a whole – towards its explosive close.

Does it all work?

Undoubtedly, when heard as a collection. Honeybourne has been astute in his planning so that each disc can be appreciated as a stand-alone recital in its own right, or as independent halves of an ‘uber-recital’ which even he would be unlikely to undertake in a live context. All except the Bridge, Britten and Parry are receiving their first recordings, and it would be surprising if some pieces did not enjoy greater exposure in future. For his dedication in championing them, and for putting together such an ambitious anthology, Honeybourne can only be commended.

Is it recommended?

Very much so. The piano sound is a shade hard at climaxes, while spacious and wide-ranging elsewhere, with detailed notes on each work and composer from various sources including the pianist. It adds up to an impressive release and a highlight of the EM Records catalogue so far.

Listen & Buy

You can discover more about this release and listen to clips at the EM Records website, where you can also purchase the recording. For more on Duncan Honeybourne, visit his website – and for more on Richard Pantcheff click here

In concert – Aris Quartet play Schulhoff, Kurtág & Mendelssohn @ Wigmore Hall

Aris 5

Schulhoff 5 Pieces for String Quartet (1924)
Kurtág Officium breve in memoriam Andreae Szervánszky Op.28 (1988-9)
Mendelssohn String Quartet No. 3 in D major Op.44/1 (1838)

Aris Quartet (above, photograph (c) Sophie Walter) [Anna Katharina Wildermuth, Noémi Zipperling (violins), Caspar Vinzens (viola), Lukas Sieber (cello)]

Wigmore Hall, London
Monday 11 October 2021, 1pm

Written by Ben Hogwood (reviewed live from online stream below)

The Aris Quartet are part of the BBC Radio 3 New Generation Artists scheme, and this was their first appearance at the Wigmore Hall. They presented themselves as a lively ensemble who clearly enjoy their music, and they played with sensitivity and panache

Also revealed was a strong instinct for programming. Schulhoff’s 5 Pieces for String Quartet are beginning to make themselves known more in the concert hall, presenting as they do a number of sides of this unique musical personality. The Czech composer was arrested in Prague before he could be issued with a visa to emigrate to Moscow in the Second World War, and died at the Wülzburg concentration camp at the age of 48. His music is still relatively young in its exposure because of this, only really coming through in the 1990s. Initial criticism from those sceptical at his integration of jazz and dance forms is giving way to more outright respect, and – as could be seen here – the 5 Pieces make a great start to a concert.

The Aris Quartet gave a vibrant account of the first movement, marked Alla Valse viennese, but soon a chill was forming as the Alla Serenata progressed, its ghostly presence reminiscent of early Shostakovich. The muted instruments danced over a distracted drone from the cello before biting hard in a sequence that was almost anti-lyrical. There was an impressive cut and thrust to the Alla Czeca, bringing out the composer’s heritage, then an attractive sway to the Alla Tango milonga, beautifully played but with an unexpectedly ominous finish. Finally the buzz of the lively Alla Tarantella set a strong unison violin melody against brisk viola and cello.

Officium breve by György Kurtág was next, a requiem to fellow Hungarian composer Andreae Szervánszky. By his standards it is a lengthy piece indeed, but with 15 sections in barely 12 minutes it was packed with compressed melodies of great intensity. Kurtág is a master in obtaining deep expression from the shortest of phrases, achieving this through carefully pointed melodies and highly imaginative quartet textures. Such a thorough knowledge of string quartet capabilities informs the many sides of grief felt here, and the Aris Quartet reveled in the nuances of the piece. The gripping account took hold from the distracted opening, where cellist Lukas Sieber effectively set out the pitches of the open strings of hit instrument, to savage chords wrought with pure anger later on. The composer’s use of microtones was deeply expressive, as were the ‘double stopping’ passages, the quartet playing as one instrument with eight or more voices. It was a moving and mind-expanding performance.

A wholesale change of mood took us to Mendelssohn, and the joyous outpouring of the first in his trio of quartets published as Op.44. Anna Katharina Wildermuth’s songful first violin was key here, but so were the quartet textures, with lots going on but impressive clarity to reveal the dialogue between the instruments. This was a lovely, fluid performance, with a sunny first movement giving way to a less excitable but equally persuasive Menuetto, showing off its rhythms and soft-hearted theme. Feelings ran deep in the slow movement, especially in the minor key episode, where Wildermuth probed deeper with her phrasing. The finale recaptured the mood of the first movement, good spirits bubbling over to cap an affectionate and energetic performance.

It was great to see an ensemble playing as one with such obvious enthusiasm and commitment for the music, and based on this evidence the Aris Quartet have a bright future indeed. Watch the concert stream and see for yourself!

You can also listen to the repertoire from the Aris Quartet’s concert on this Spotify playlist:

For more information on the Aris Quartet visit their website

In concert – Boris Giltburg plays Ravel, Schumann & Prokofiev @ Wigmore Hall

boris-giltburg

Prokofiev Piano Sonata no.6 in A major Op.82 (1939-40)
Ravel Valses nobles et sentimentales (1911)
Schumann Carnaval Op.9 (1834-5)
Ravel La valse (1920)

Boris Giltburg (piano, above)

Wigmore Hall, London
Monday 4 October 2021

Written by Ben Hogwood

This review marks your correspondent’s first visit to the Wigmore Hall for 18 months – after weekly coverage of the hall’s wonderful Monday lunchtime series. It was so good to be back! In that time it seems the core audience has changed, dropping by a couple of decades at least. This could be due to understandable caution on the part of the older members of the audience to get back to the post-Coronavirus version of concert life, but it is more likely to be the regular streaming of concerts that has lured in a much younger generation. This concert was streamed (you can watch below) and, for the record, the audience were enthusiastic and immaculately behaved – in fact there was a celebratory atmosphere.

Boris Giltburg fully inhabited the positivity. The pianist was beginning a new, two-year look at the piano music of Ravel, and if this first instalment was anything to go by, we are in for a treat. Giltburg’s first selection concentrated on the waltz in its many forms – with two very different approaches to triple time from Ravel, complemented by Schumann and Prokofiev.

It was with the coruscating tones of the latter’s Piano Sonata no.6 in A major that Giltburg began, something of a shock to unaccustomed ears with its discordant language. This underrated work is first in a trilogy of sonatas written during World War Two. The impact was immediate and confrontational, delivered with impressive force but also control. The serrated edges of the first movement were complemented by a poetic second theme, and the tension relaxed a little further for the second movement’s witty march. The right hand of the piano drew parallels with the Ballet of the Unhatched Chicks from Mussorgsky’s Pictures At An Exhibition, as the left hand ascended with a probing melody. The slow movement had a softer, yearning heart, though the dissonant harmonies lingered around the edges, before the runaway theme of the finale took hold. This could easily be a silent film soundtrack, but its cat and mouse nature was challenged and ultimately caught by the reappearance of the first movement’s angular melody. Giltburg staged a profound drama between these elements before bringing the sonata to a shattering conclusion.

Ravel’s Valses nobles et sentimentales was next, providing a relatively controlled contrast to the Prokofiev’s unwieldly ways. Giltburg enjoyed the music greatly, swaying to the rhythms as he played. His control was immaculate but the rhythmic profile of the waltzes was instinctive, holding back or pressing forward as appropriate. A tender, intimate second waltz (marked Assez lent – avec une expression intense) brought the audience in closer, while the fourth waltz (Assez animé) twinkled in the night air. Giltburg could be forceful when needed, as in the first (Modéré) and seventh (Moins vif) waltzes, and his Épilogue was exquisitely voiced.

The second half began with Schumann’s Carnaval, a tableau of portraits and personal insights completed in the composer’s mid-twenties. Schumann’s ability to paint vivid pictures at the piano is rightly celebrated, and the sketches here were rich in colour and implied detail. Giltburg relished the extravert Florestan as much as he did the reserved poetry of Eusebius, both sections portraying the personality of Schumann himself. The nagging ‘answer’ motif of Pierrot left its mark, as did the repeated notes of Reconaissance. Meanwhile Papillons quoted from one of Schumann’s first piano pieces with a slightly shy countenance. Schumann’s portraits of Chopin and Paganini were once again fascinating in their insights, while finally the triumphant Marche des Davidsbündler contre les Philistins carried all before it in a triumphant account.

As did Ravel’s La valse, which followed, though here there was a very different outcome. La valse describes the destruction wrought by the First World War, its closing bars collapsing in vivid imagery, but it could just as easily describe elements of our civilization over the last few years. Giltburg seemed to inhabit that possibility, the warm-hearted dance dropping in temperature as his account progressed, until the end when it was rumbling throughout the piano in a self-destructive whirlpool. This is a fiendishly difficult transcription, but Giltburg made it seem effortless as he inhabited each and every twist and turn, hurling out the final pages with formidable power.

After this alarming turn of events we returned to the solace of Giltburg’s first encore, a limpid Intermezzo in A major Op.118/2 by Brahms, then marvelled at the passion in his second choice, Rachmaninov’s Prelude in G# minor Op.32/12. A memorable recital, and an auspicious start to what promises to be a great series. Best experienced in person rather than online though!

You can listen to the repertoire from Boris Giltburg’s concert on this Spotify playlist, which includes the pianist’s recordings of the Prokofiev, Schumann and Rachmaninov:

For more information on Boris Giltburg you can visit his website

On record: Michael Brown – Noctuelles: Ravel & Medtner (First Hand Records)

Michael Brown (piano)

Ravel  Miroirs (1904-5)
Medtner Second improvisation (in variation form) Op.47 (1925)

First Hand Records FHR78 [61’49”]
Producers Adam Golka, Roman Rabinovich
Engineers Monte Nickles, Jim Ruberto

Recorded 2-10 January 2019 at Olivier Music Barn, Tippet Rise Arts Centre, Fishtail MT

Reviewed by Richard Whitehouse

What’s the story?

Michael Brown follows his earlier disc for First Hand Records (Beethoven and Mendelssohn on FHR67) with this coupling of Ravel’s most extensive solo piano work and Medtner’s most extended such piece outside of his sonatas; here featuring two recently discovered variations.

What’s the music like?

While the term ‘post-impressionism’ had not then been applied in a musical context, Ravel’s Miroirs effectively inaugurates this through five pieces that evoke the essence of the image in question rather than merely attempting its depiction. Other pianists may have rendered these evocations more acutely, but few have approached so highly contrasted a sequence with such evident concern for formal and expressive unity.

Hence the overall seamlessness with which the fugitive activity of Noctuelles is followed by the wistful poise of Oiseaux tristes; itself proceeded by those glistening textures and kaleidoscopic timbral interplay of Une barque sur l’océan, then the stark juxtaposition (vividly delineated here) between high-jinx and eruptive unease of Alborada del gracioso. Nor is La vallée des cloches the slight anti-climax it can often seem, Brown judiciously setting the scene for that stately modal theme as is among the composer’s most potent inspirations. An interpretation leaving one more than usually aware that the audacity of Ravel’s musical thinking is made more so by its pointed understatement.

One cannot imagine that Medtner had much regard for this music – but, fortunately, he almost always proved more flexible in his accommodation with past and present as composer than as writer. Never more so than with his Second Improvisation, written after he had left the Soviet Union for uncertain exile in Paris then London – its subtitle ‘in variation form’ indicating the fusing of precision and fluidity that gives this work its substance and its fascination. Brown’s perceptive reading is made more so by his inclusion of two previously unpublished variations which he tracked down to the National Library of Canada: thus, the elaborate passagework of La Cadenza (placed between variations four and five) and the coursing rhetoric of Pesante (placed between variations 11 and 12) which, between them, open out the emotional scope of what is already a design as unpredictable as it is engrossing. Certainly, the trajectory between the initial Theme and eventual Conclusion exudes a freedom from inhibition that Medtner here achieves almost despite himself and which Brown is demonstrably intent on conveying.

Does it all work?

Yes, given Brown teases out those musical connections between composers whose aesthetic outlook differed greatly (Medtner forthright in condemning most of his contemporaries). The account of Miroirs can certainly hold its own in what is now a crowded field (one featuring such as Beatrice Rana on Warner and Steven Osborne on Hyperion), whereas in the Second Improvisation the main competition comes from Hamish Milne (CRD) and Geoffrey Tozer (Chandos), neither of who include the additional two variations that Brown interpolates here.

Is it recommended?

Indeed. The acoustic of the Olivier Music Barn is ideal for piano music of this intricacy and subtlety, while Brown’s booklet notes are succinctly informative. A welcome release by one of the Tippet Rise triumvirate who have become notable contributors to First Hand Records.

Listen and Buy

For further information on this release, and to purchase, visit the First Hand Records website. Meanwhile you can listen to Noctuelles on Spotify:

On record: Simon Callaghan: The Open Window – Sir George Dyson: Complete Music for Piano (Somm Recordings)

Simon Callaghan (piano) *Clíodna Shanahan (piano)

Dyson
Concerto Leggiero (1951)*
The Open Window (1919)
Primrose Mount (1928)
Bach’s Birthday (1929)
Untitled Piano Piece (1890)
Six Lyrics (1920)
My Birthday (1924)
Twelve Easy Pieces (1952)
Prelude and Ballet (1925)
Epigrams (1920)
Three Wartime Epigrams (1920)
Four Twilight Preludes (1920)

Somm Recordings SOMMCD0622-2 [101’58”]
Producer Siva Oke
Engineer Paul Arden-Taylor

Recorded 17-18 January 2020 The Menuhin Hall, Stoke d’Abernon, UK

Reviewed by Ben Hogwood

What’s the story?

As the cover suggests, this double album gives us the complete music for piano of Sir George Dyson, including five world premiere recordings ranging from the first piece the composer wrote at the age of seven to a two-piano version of Concerto Leggero, a substantial three-movement work for piano and orchestra completed in 1951.

Paul Spicer, the composer’s biographer, contributes a wonderful booklet note telling the story of Dyson’s life and highlighting the importance of the house piano, brought by Dyson’s parents to encourage his obvious gift for musical in the midst of an impoverished upbringing. It is rather moving to read of the composer’s progression through these years, the piano by his side at every turn.

What’s the music like?

The album is beautifully programmed, taking the biggest piece first. The Concerto Leggiero has many harmonic sleights and twists and turns, especially through its first movement, to which Simon Callaghan and Clíodna Shanahan are alive. This is in complete contrast to the early Dyson piano pieces, which are little nuggets you might expect to encounter in early piano learning – but which have an emotional substance ensuring they last well beyond that sphere.

The Open Window itself is charming, with a softly undulating Field and Wood the first of its eight short movements. Dyson’s descriptions are often little picture postcards, such as the restless description of Swallows, but they frequently have an emotive core, found most poignantly in the closing Evensong. In the same way this short suite was written for young pianists to develop their prowess, the Six Lyrics offer the same opportunity through their melodic cells.

Dyson’s very first Untitled Piano Piece is also included, the seven-year old composer offering a bold attempt lasting just under a minute. At the other end of the scale the Epigrams are slightly shady but intense pockets of emotion, each one somehow finding the uncertainty of post-First World War Britain. The Four Twilight Preludes are disarmingly simple, too, elusive portraits that hang in the air and on occasion call Debussy’s music for children to mind. These small but meaningful pieces show the composer’s ability to bring emotion from what on the outside appears to be simple material.

Bach’s Birthday, meanwhile, shows the composer’s skill at working tight compositional procedures into his music. He uses fugues here in music of remarkable density and expression.

Does it all work?

Yes – because Simon Callaghan proves a very sympathetic interpreter, and the programming gives exactly the right balance of light and shade. Given with affection, it is a charming set of music that works as a pleasant background but is more substantial when listened to closely. Dyson is a composer who, in these piano pieces, packs a lot of meaning into short duration. The experience becomes even more rewarding when enjoyed with Paul Spicer’s commentary.

Is it recommended?

Yes. The Open Window fills a notable gap in the British piano music archive, and its support from the Sir George Dyson Trust has secured the completion of an important release. It tells us much more about a composer revered primarily for his choral and orchestral music, illustrating the intimacy he could find in his work. It also serves as a timely reminder of the rich tradition of keyboard music on these shores throughout the 20th century.

For further information on this release, visit the Somm Recordings website