Category Archives: Small scale

Wigmore Mondays – Mariam Batsashvili plays Bach, Haydn & Liszt

Posted on by
Reply

Mariam Batsashvili (piano, above)

J.S. Bach Chromatic Fantasy and Fugue BWV 903 (c1720) (1:45 – 13:19 on the broadcast link below)

Haydn Piano Sonata in D major HXVI:37 (1780) (13:59-24:20)

Liszt Hungarian Rhapsody no.12 in C sharp minor S244/12 (25:39-35:15)

Liszt, edited Busoni & Leslie Howard: Fantasy on themes from Mozart’s Le nozze di Figaro and Don Giovanni S697 (1842) (36:40-55:20)

Wigmore Hall, London
Monday 25 February 2019

To hear the BBC broadcast through BBC Sounds, please follow this link

Commentary and Review by Ben Hogwood

Mariam Batsashvili has made a name for herself as a specialist in the music of one of the most masculine of piano composers. Franz Liszt is regarded very much as a showman, his music often thought to be for virtuosos only who will play it with as much blood and thunder.

However as the Georgian pianist Batsashvili showed here that does not always have to be the case. Her Liszt has its fair share of drama and power, for sure – no let-up there – but hers is a very musical approach, getting beneath the surface to show Liszt’s other compositional talents.

Before Liszt, the Chromatic Fantasy and Fugue from J.S. Bach – one of his pieces that does if anything look forward towards the free form Liszt and his contemporaries would use. Played on a piano it has a strong, instinctive flow – something Batsashvili gets into immediately as the Fantasy plays. With ideal use of the sustain pedal and enough sense of freedom, she delivers an un-showy but very strong musical performance, with a fugue notable for its clarity and expression from 8:14, gathering intensity as it progresses.

Having reached the sunny key of D major by the end of the Bach, Batsashvili stayed out on stage and in the same key while changing composer. Joseph Haydn wrote a large number of piano sonatas, the early examples of which were for friends. This good natured Piano Sonata in D major HXVI:37 (from 13:59) was for the sisters Franziska and Maria Katherina von Auenbrugger, who judging by this were positive souls with a sense of humour and strong technique.

Haydn’s own wit is there in the main theme from the start, and the busy figuration suggests the sisters had pretty nimble fingers too. The slow movement (marked Largo, from 18:22) takes a pensive turn in the minor key, with spicy harmonies suggesting some discomfort. That is removed by the finale (marked Presto ma non troppo, from 21:15), which takes us near to the spirited mood of the first movement if not fully shaking off the doubts recently aired.

Liszt wrote a total of 19 Hungarian Rhapsodies, celebrating his home country in music of great passion and virtuosity, and often incorporating folk tunes into the mix. The Hungarian Rhapsody no.12 in C#minor S244/12 (25:39) starts with suitable drama and contrasts jagged left hand playing with more delicate tunes in the treble, particularly the twinkling, skipping dance at 31:14 when the harmonies turn from minor key to major. Batsashvili finds an exquisite delicacy in this music, sweet but not overly bearing and beautifully played.

Liszt also wrote a number of some incredible fantasies based on existing opera themes. The tour de force heard here, which he premiered in Berlin in 1843, takes themes from Mozart’s Le nozze di Figaro and Don Giovanni as the starting point, working them into a big-boned piece. This was reworked by Busoni, but left incomplete. Leslie Howard, who has recorded the entire piano works of Liszt for Hyperion, added the missing pieces to the jigsaw using the thematic material Liszt was dealing with, and staying true to his spirit and style.

Coincidentally or not, all the themes are from arias dealing with the ‘dangers of philandering’, as Radio 3 announcer Sara Mohr-Pietsch puts it – suggesting there is far more to Liszt’s arrangements than might initially meet the eye.

Batsashvali skips through the opening breezily, but the warning notes in the left hand are there to check progress – before we move into a delightfully played slower selection. Her pacing of the drama feels just right, especially the lead-up to 49:16 and another new theme. The principal material for the piece comes from Cherubino’s aria Voi che sapete and Figaro’s Non più andrai (both from Le nozze di Figaro) and the minuet scene from Don Giovanni. These themes are interwoven and developed to make a substantial whole, with the real big guns coming out for the coda, which Batsashvili plays with considerable panache up to 55:20.

As an encore she gave us two more Liszt arrangements on a much smaller scale. These were two of Chopin’s Polish Songs – The Ring and Bacchanal – and are included below.

Further Listening

Mariam Batsashvili has recorded Liszt’s operatic fantasy, but not the other works in this program – so the playlist below comprises recommended versions of the Bach, Haydn and Liszt Hungarian Rhapsody:

Liszt made a number of transcriptions of the music of Bach – and in particular his Preludes and Fugues. Artur Pizarro collected a good deal of these together for an album for Collins Classics:

Haydn’s piano sonatas do not always get the credit they deserve – so to hear more, listen to this wonderful collection from Alfred Brendel:

https://open.spotify.com/user/zipaboris/playlist/4kRp3JNg1wbvCYnWhbNv6h?si=AWjq35SeTgOBSDinrb7pig

Wigmore Mondays – Quatuor Arod & Timothy Ridout play Mozart

Posted on by
Reply

Quatuor Arod (above) [Jordan Victoria, Alexandre Vu (violins), Tanguy Parisot (viola), Samy Rachid (cello)], Timothy Ridout (viola)

Mozart
Divertimento in D major K136 (1772) (1:46-14:37 on the broadcast link below)
String Quintet in G minor K516 (1787) (17:02-50:49)

Wigmore Hall, London
Monday 25 February 2019

To hear the BBC broadcast through BBC Sounds, please follow this link

Commentary and Review by Ben Hogwood

This BBC Radio 3 Lunchtime Concert showed us Mozart young and ‘old’ – that is, a work each from his teenage years and from his fourth decade. It was given by the Quatuor Arod, a French-based quartet on the BBC New Generation Artists scheme, and their ranks were boosted by viola player Timothy Ridout, himself on the YCAT scheme.

The Arod Quartet’s performance of the Divertimento in D major K136 (from 1:46 on the broadcast) shows what a sunny piece of music this is – although it could be argued they take the first movement a bit too fast, perhaps displaying a bit too much nervous energy. Either way they play it very well and with affection, the simple theme carrying a long way.

The second movement, marked Andante (5:57), feels just right, the four parts integrating in a way that brings home the simple pleasures to be taken from playing this music together. The third movement (12:16) scurries out of the blocks with a hint of mischief, the interplay between the four taking on a more competitive edge but with the first violin of Jordan Victoria ultimately triumphant, and technically excellent.

The String Quintet in G minor K516 operates at the other end of the emotional scale, being the dark to the Divertimento’s light for much of its half hour duration. It is a magnificent piece, profound from the very first theme, where first violinist Victoria mastered the longer phrasing and the increased stretch of the melody when the second main theme of the first movement came around. The sound is very different with two violas, and the greater prominence for Mozart’s own instrument seems to have inspired him to write with especially great feeling. This is the second of four mature string quintets (there are two younger works of smaller form), and these are pieces that are substantial in their dimensions, their feeling and also their melodic invention.

While the piece does start in questioning mood (from 17:02), the five players here portrayed its nervousness while bringing shafts of light into the writing. Vibrato was sparingly used if at all, but was a stronger expressive tool as a result. The first movement’s two main themes are strikingly played, its structure clearly mastered, and the overall sound with Ridout’s viola added is very attractive.

The Minuet is normally a light hearted affair in Mozart chamber music, but here was anything but (from 27:31). Any attempts to come up with a lasting tune are broken by the sliced chords of the quintet playing together, so that what aspires to be a charming dance never has a chance to get fully into its rhythm. Some respite comes from the Trio section, where the composer will usually contrast what has gone in the Minuet. Here, from 29:22, Mozart slips from the minor key to the major for the first time, and the tension eases notably – especially in this performance where sunnier thoughts make themselves known for the first time. This, however, is short lived, for the Minuet returns in even sterner form (31:22)

The slow movement Adagio (32:43) is even more alarming than the Minuet. This is an unexpected move, for the music is in E flat major, which normally finds composers writing stronger music, and it requires the players to use their mutes the whole way through. With no vibrato from the Arod the textures are stark and the sounds lean, especially when the quintet breaks into smaller sections as it frequently does. In the middle the clouds darken further as Mozart moves into the distant keys of B flat minor (34:28) and E flat minor (38:07), where the extra viola (Timothy Ridout) makes a personal outcry of pain. There is hope however, the first violin taking us to sunnier climbs before we return to what feels like a stronger repeat of the music from the start of the movement.

The final movement (41:15) keeps the prevailing mood, slow and solemn from the outset – but then moves towards the major key, and finally shifts up a gear at 44:00 with music of much greater optimism. Let off the leash, Jordan Victoria enjoys the effervescent music he now has, and the tunes flow beautifully, the stern music of the first three movements now receding into the memory.

Further Listening

Mozart’s late chamber works contain some of the most rewarding music in all of his output. The four mature String Quintets stand at the peak of his achievements, with the work performed at this concert complemented by three other masterpieces. In their key make-up they match Mozart’s last four symphonies, and these versions by the Grumiaux Trio and guests (on CDs 2 and 3) make for a wholly satisfying listening experience:

The Quatuor Arod are relative newcomers to the recording scene – but their first disc of string quartets by Mendelssohn is a nice departure point from the Mozart played here:

Finally Mozart’s 3 Divertimenti for strings – best heard in their quartet form – give some of the most carefree classical listening you could wish to enjoy. This collection from the Hagen Quartett brings them together with the perennial favourite, Eine Kleine Nachtmusik:

Britten Sinfonia at Lunch – Bach, Janáček, Messiaen, Martinů & Edmund Finnis @ Wigmore Hall

Posted on by
Reply

Britten Sinfonia soloists [Thomas Gould (violin), Caroline Dearnley (cello), Emer McDonough (flute), Huw Watkins (piano)]

J.S. Bach Violin Sonata no.1 in B minor BWV1014 (1720)
Janáček Pohádka (1910)
Messiaen Le merle noir (1952)
Finnis Five Trios (world premiere tour) (2019)
Martinů Trio for flute, violin and piano (1936)

Wigmore Hall, London
Wednesday 13 February 2019

Photo credit Harry Rankin (Britten Sinfonia)

Review by Ben Hogwood

For years now Britten Sinfonia’s At Lunch series has been a steady delight, a way to discover the new and rediscover the old in chamber music. Using interesting combinations of instruments and building consistently innovative programs around them, the group offer a very accessible way in to discovering classical music’s treasures of the small scale.

This latest series, given in Norwich, Cambridge and London, is no exception, exploring 300 years of chamber music for flute, violin, cello and piano. Pianist Huw Watkins was the one constant for the whole concert, which at London’s Wigmore Hall gave off the unmistakeable aroma of spring.

Watkins and Thomas Gould began proceedings with a very tasteful account of Bach’s Violin Sonata. It is always good to hear Bach with piano accompaniment, for the music is so versatile that it suits the colours available. In a work like this particular sonata, where the piano plays much more than the role of a traditional accompanist, the textures were ideal. The violin, too, had more notes than normal thanks to Bach’s ‘double stopping’ writing, and Gould played these passages beautifully.

Janáček’s Pohádka represented quite a step forward stylistically but the transition was natural, and the fierce lyricism so often associated with the Czech composer was brought to the fore. Caroline Dearnley enjoyed the song-like passages and Watkins gave great clarity to the busy accompaniments, neither musician stinting on the intensity of Janacek’s writing as the plot of the fairy tale took hold.

The same could be said of Le merle noir, Messiaen’s only published work for flute and piano. An important work that signals his intent to accurately reproduce birdsong on traditional instruments, it is a remarkable piece – and Emer McDonough brought to it a wide range of colour. Most importantly she made it sound natural, for while the notes are all written out the intention of the piece is to sound as instinctive as possible. Again Watkins was the catalyst with some carefully voiced and wholly complementary thoughts.

Each ‘At Lunch’ concert features a new work on its world premiere tour, and the springlike atmosphere was ideal for Edmund Finnis and his Five Trios, for the conventional piano trio grouping of violin, cello and piano. Finnis finds an unusual amount of space in his music, and here his blend of quick movement over slow, drone-like figures opened out the textures very attractively.

There was very little bass in the five trios, notable for their translucence and bright textures. The first introduced softly oscillating figures, while the second spread shafts of light from spread piano chords and string harmonics. The dappled sunlight streaming through the Wigmore Hall roof was the ideal companion for the rippling textures of the third piece, but then in the fourth we enjoyed a bolder statement from the cello, its fuller sound ringing through a haze of sustained piano and glassy violin. To finish, the prayerful fifth piece completed a meditative ten minutes from a composer whose rarefied textures are well worth further investigation.

The Britten Sinfonia members closed their generous concert with Martinů’s Trio for flute, violin and piano. So prolific was the Czech composer that it is easy to overlook his achievements, particularly in the chamber music field. While it can on occasion be tricky to recall some of his melodies after the first hearing of a piece, the overall feel of his writing is uniformly positive and, in this case, capable of making the audience smile and clap spontaneously.

The third of four movements was responsible for the clapping outburst, a wonderful piece of effervescent writing betraying his Parisian location when writing it. The outer movements were a little grittier but still charmed with their syncopation, colour combinations and piquant melodies. The tender second movement was heartfelt too.

The standard of musicianship in this concert was extremely high. Particularly memorable moments include Emer McDonough’s final movement cadenza in the Martinů, where Watkins held the performance together admirably despite the tricky rhythms, the graceful playing of Thomas Gould in the Bach and Caroline Dearnley’s rich cello tone in the fourth of Edmund Dinnis’s trios, not to mention the expressive Janáček.

Once more from this source, an enlightening hour of music in an imaginative context. If you live in London or the East of England you really should catch them live soon!

Further listening

You can listen below to an interview with Edmund Finnis, talking with Dr Kate Kennedy about Five Trios ahead of the Wigmore Hall concert://embeds.audioboom.com/posts/7174837-edmund-finnis-talks-about-his-new-work-five-trios/embed/v4?eid=AQAAACp5ZVy1em0A

You can also hear a new release of Finnis’s music for orchestra here:

Meanwhile the remainder of the program is grouped together on this Spotify playlist:

Wigmore Mondays – Leila Josefowicz & John Novacek play Sibelius, Prokofiev, Knussen, Mahler and Bernd Zimmermann

Posted on by
1

Leila Josefowicz (violin), John Novacek (piano) (photo: Hiroyuki Ito for the New York Times)

Sibelius arr. Friedrich Hermann Valse triste (1903-4) (2:10-6:40)
Prokofiev Violin Sonata no.1 in F minor Op.80: 2nd movement Allegro brusco (1938-46) (6:45-13:21)
Knussen Reflection (2016) (15:17-23:44)
Mahler arr. Otto Wittenbecher Symphony no.5 in C sharp minor: 4th movement Adagietto (1901-2, arr. 1914) (25:45-34:00)
Zimmermann Sonata for violin and piano (1950) (34:51-48:11)

Wigmore Hall, London
Monday 21 January 2019

To hear the BBC broadcast through BBC Sounds, please follow this link

Commentary and Review by Ben Hogwood

On paper, this was a strange programme for an hour-long lunchtime recital at the Wigmore Hall. Yet that in itself is refreshing. Why should programming have to be conventional and fit a particular blueprint all the time? So while I may not have necessarily warmed to their choices initially, on reflection Leila Josefowicz and John Novacek gave us something different. There was a chance for those attending and listening on BBC Radio 3 to hear two very familiar pieces out of context, complemented by music such as the Zimmermann Violin Sonata that we may not have heard before.

Josefowicz and Novacek begin with a highly charged account of Valse triste (2:10 on the broadcast link), the third number from Sibelius’s Kuolema Suite. This is normally heard in the hands of a string orchestra, but the arrangement here – and the ardour with which Josefowicz plays the violin line – especially when doubled with the piano – brings a striking dimension to the piece.

It would have been lovely to hear Josefowicz and Novacek take on the whole of Prokofiev’s Violin Sonata no.1 in F minor Op.80, for this is a dramatic piece indeed with a chill to its writing that would have matched the weather outside. Sadly the second movement was all we had time for (from 6:45), and it felt disjointed outside of its familiar context, despite the passion invested in it by both performers.

Of far greater meaning was Oliver Knussen’s Reflection (15:17), one of his last completed works. Josefowicz was a close acquaintance of the composer, and he wrote his Violin Concerto of 2002 for her. The Reflection is not necessarily what you would expect, a reminder that not all reflections are calm and reflective. It begins urgently, the violin ascending before being joined by the bell-like sonorities of the piano. Some of the reflections are jagged, and most are urgent – and typically for Knussen there is a great deal of interest in the melodies and textures, a style that is compact and extremely listenable but also forward-looking. It finishes abruptly.

The excellent writer Paul Griffiths clearly had trouble finding any information on arranger Otto Wittenbecher, let alone anything to do with his version of the Adagietto from Mahler’s Symphony no.5. This famous excerpt transfers surprisingly well to the reduced forces here, helped by sumptuous tone and control from Josefowicz, whilst Novacek distils the orchestral parts into something surprisingly manageable. Played with soft affection, the main theme leaves its mark, even though the arrangement is taken at quite a quick pace.

The main work of this recital, Bernd Zimmermann’s Violin Sonata made a strong impact. In three concise movements, it manages to explore the outer realms of twelve tone writing without compromising its composer’s folk-inflected style. From the outset at 34:51 Josefowicz and Novacek carry the urgency of the piece as though it were hot in their hands. The inflections are reminiscent of Bartók but have a more jagged melodic style; the punchy percussive approach from the piano is similar however. The slow movement (39:00), is written in a 12-tone form (that is, each of the 12 pitches has to sound before it can be heard again). It is however surprisingly tonal, with its stress on the pitches of ‘C’ and ‘F sharp’ giving the music a restless base. The nocturnal scene again recalls Bartók but is resolutely Zimmermann’s own, with passionate lines from the violin. The busy third movement (44:07) revisits the mood of the first, with terse but meaningful statements from the duo.

As an encore the duo added Charlie Chaplin’s Smile (50:06) in an initially eerie, high-range arrangement made by Claus Ogermann.

Further Listening

Most of the music in this concert (with the exception of the Knussen) can be heard on the Spotify playlist below:

For further insight into Josefowicz’s clever programming, her disc with Novacek For The End Of Time provides ample evidence, bringing together works by Falla, Messiaen, Grieg and Bartók:

Preview – Mieczysław Weinberg: Between East and West (University of Manchester)

Posted on by
Reply

The two decades since his death have seen Polish-born Mieczysław Weinberg (1919-1996, above) belatedly acknowledged as the leading Soviet composer of the generation after Shostakovich.

The year of his centenary is being launched with a four-day conference at the University of Manchester. Co-sponsored by the British Academy and the Adam Mickiewicz Institute Institute, Warsaw, it will feature presentations from a number of Weinberg specialists.

The conference is co-convened by Prof David Fanning (University of Manchester) and Dr Michelle Assay (Universite de Paris Sorbonne), whose study of Weinberg’s music is to be published by Toccata Press later this year.

Running parallel to the conference is a cycle of Weinberg’s string quartets, given over seven lunchtime and evening concerts by the Quatuor Danel, whose complete recording of these works (for CPO) forms the centrepiece of a now extensive Weinberg discography. You can listen to the six volumes of the Quatuor Danel cycle of Weinberg quartets on Spotify. Vol. 1 is listed below:

https://open.spotify.com/album/2K4IGwTals8fngqCE9bLc5?si=8eo6oNLwQOe41o-BcD46aAAlongside two recitals of instrumental pieces and songs, the whole event provides ample confirmation of Weinberg’s significance during a time when interest in his music has never been greater.

Between East and West will be held at the Martin Harris Centre for Music and Drama, University of Manchester, starting this Thursday 24 January. Further information on the conference can be found here, while for more information on the Quatuor Danel cycle head here. Meanwhile to discover more on Weinberg himself, click on this link