Category Archives: Song

In concert – Yeol Eum Son, CBSO / Jonathon Heyward: Still, Prokofiev & Sibelius

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Yeol Eum Son (piano, below), City of Birmingham Symphony Orchestra / Jonathon Heyward (above)

Still Threnody: In Memory of Jean Sibelius (1965)
Prokofiev Piano Concerto no.2 in G minor Op.16 (1912-13, rev. 1923)
Sibelius Symphony no.5 in E flat major Op.82 (1914-19)

Symphony Hall, Birmingham
Thursday 24 October 2024

Reviewed by Richard Whitehouse Pictures (c) Laura Tiesbrummel (Jonathon Heyward), Marco Borggreve (Yeol Eum Son)

American by nationality, and currently music director of the Baltimore Symphony Orchestra, Jonathon Heyward is no stranger to orchestras in the UK and this afternoon’s appearance with the City of Birmingham Symphony Orchestra confirmed a rapport that will hopefully continue in future seasons.

His symphonic output may now be well covered by recordings, but performances of William Grant Still remain infrequent such that his Threnody came as a welcome novelty. Dedicated to Sibelius in the anniversary year of his birth, this finds its composer in understandably sombre mood (akin to that of his masterly concertante piece Dismal Swamp from two decades earlier) and, while there is little about its content that recalls the Finnish master, the interplay between elegy and processional is effectively handled through to its subdued yet highly affecting close.

It might not have enjoyed the popularity of its successor, but the CBSO has given memorable accounts of Prokofiev’s Second Piano Concerto over the decades and the present reading with Yeol Eum Son (above) was as good as it gets in a piece that does not make things easy technically or interpretatively. Starting reticently, the opening movement duly hit its stride in the capricious second theme before the orchestra made way for Son’s electrifying take on a cadenza which encompasses development and reprise; the orchestra’s climactic return being no less visceral.

Wresting coherence out of the unlikely formal design of this work is hardly an easier task but, here again, there was no doubting Son’s insight as she fairly tore through its Scherzo without loss of clarity; she and Heyward then drawing abrasive irony out of an intermezzo which can easily descend into caricature. Nor was there any lack of focus with a Finale whose headlong outer sections frame one of folk-tinged pathos – afforded a cumulative intensity only outdone by the propulsive closing stage where soloist, orchestra and conductor were thrillingly as one.

If the reading of Sibelius’s Fifth Symphony after the interval did not quite maintain this level of excellence, it was no also-ran as a performance. Heyward might have observed the Tempo molto moderato of its initial movement more literally, as his swift underlying pace made for too precipitate a climax into its scherzo-like second half. The accelerating transition between them was adeptly managed, but there was little room left for manoeuvre during the approach to a coda where not even the CBSO’s unfazed commitment could gain the necessary velocity.

Neither did the second movement lack forward motion, though here Heyward found a viable balance between the andante and allegretto elements – its (mostly) ingratiating poise abetted by felicitous playing from CBSO woodwind. Setting off impulsively, the finale rather lacked eloquence in its ‘swan theme’ but the resourceful evolution of its material was never in doubt. Other performances have conveyed greater emotional breadth thereafter yet, as those indelible six closing chords unfolded, there could be no doubting their decisiveness as parting gestures. Overall, then, this was impressive music-making with Heyward evidently a conductor on a mission. Next Wednesday brings a programme of Spanish evergreens conducted by Kazuki Yamada, with Miloš Karadaglić taking centre-stage in a certain guitar concerto by Rodrigo.

For details on the 2024-25 season A Season of Joy, head to the City of Birmingham Symphony Orchestra website. Click on the names to read more about pianist Yeol Eum Son and conductor Jonathon Heyward – and for a special website devoted to composer William Grant Still

Published post no.2,345 – Monday 28 October 2024

In concert – Leila Josefowicz, CBSO / Thomas Søndergård: Richard Strauss, Adès & Brahms

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Leila Josefowicz (violin, above), City of Birmingham Symphony Orchestra / Thomas Søndergård (below)

Richard Strauss Don Juan Op.20 (1888)
Adès Violin Concerto, Op.24 ‘Concentric Paths’ (2004)
Brahms Symphony no.2 in D major Op.73 (1877)

Symphony Hall, Birmingham
Thursday 10 October 2024

Reviewed by Richard Whitehouse Pictures (c) Tom Zimberoff (Leila Josefowicz), Chris McDuffie (Thomas Søndergård)

He may be spending more time in the US than in the UK these days, but Thomas Søndergård tonight made a timely reappearance with the City of Birmingham Symphony Orchestra in a programme such as placed a highpoint among recent concertos between two established German classics.

Richard Strauss‘s Don Juan poses few technical issues for an orchestra these days – the only proviso about this performance being its almost too easy unfolding, the initial stages seeming suave rather than impetuous and emotional contrasts following on almost too seamlessly. Yet the central ‘love’ episode featured a melting contribution from oboist Lucie Sprague, with horns duly firing on all cylinders in a unison theme ultimately capped by a silence of tangible anticipation then a postlude of hushed resignation – heroic aspiration submerged in an aura of starkest fatalism.

If much of Thomas Adès’ music the past two decades has been of a conceptual brilliance that outweighs its intrinsic content, the Violin Concerto is destined to endure and rightly so given these Concentric Paths complement each other in a finely balanced totality. One, moreover, with which Leila Josefowicz identifies wholeheartedly: despatching its brief outer movements with an energy and a panache so that Rings conveyed a volatility channelled towards greater affirmation in Rounds; between them, the relatively expansive Paths proved a chaconne as methodical in evolution as it was affecting in its suffused intensity. Assured in her handling of the solo part, Josefowicz dovetailed it unerringly into orchestral writing as resourceful as any the composer has written. Those in the audience unfamiliar with it were most likely won over.

Many of those present were no doubt looking forward to Brahms’ Second Symphony after the interval, where Søndergård (above) and the CBSO did not disappoint. Outwardly its composer’s most equable such piece, this yields more than its share of ambiguities and equivocations that were rarely absent here. Not least in the opening movement, its unforced progress duly taking in an eventful development whose granitic culmination set its easeful themes at a notably uncertain remove, then with a coda whose restive horn solo was eloquently rendered by Elspeth Dutch. Søndergård was no less probing in the Adagio, flexibly paced so its autumnal main theme did not override the more whimsical and anxious elements which inform its longer-term progress. Certainly, the closing reflection on that theme cast a potent shadow on what had gone before.

The other two movements are usually thought to present few if any interpretative problems, so credit to Søndergård for finding no mean pathos in those reiterations of the Intermezzo’s main theme – not least when it returns as a winsome coda. Nor was the final Allegro lacking in incident, such as that spellbinding transition into the reprise whose epiphanic aspect was not lost on Mahler. Given its head without sounding at all rushed, the coda then emerged as the ebullient though never grandstanding peroration which Brahms himself surely intended.

A resounding close to an impressive performance, and there should be more music-making on this level next week when the CBSO is joined for the first time in many years by former chief guest conductor Mark Elder for an enticing programme of Brahms, Janáček and Shostakovich.

For details on the 2024-25 season A Season of Joy, head to the City of Birmingham Symphony Orchestra website. Click on the names to read more about violinist Leila Josefowicz, conductor Thomas Søndergård and composer Thomas Adès.

Published post no.2,331 – Monday 14 October 2024

In concert – Piotr Anderszewski @ The Barbican: Beethoven, Brahms, Bartók & J.S. Bach

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Piotr Anderszewski (piano, above)

Beethoven 6 Bagatelles, Op.126 (1823)
Brahms Intermezzos (1892-93) – Opp.119/1 & 3; Op.118/1 & 2; Op.117/2; 118/6
Bartók 14 Bagatelles BB50 (1908)
J.S. Bach Partita no.1 in B flat major BWV825 (1726)

Barbican Hall, London
Thursday 3 October 2024

Reviewed by Richard Whitehouse. Photo © MG de Saint Venant licenced to Virgin Classics

Expecting the unexpected is the most predictable aspect of a recital from Piotr Anderszewski, tonight’s programme no exception in its juxtaposing collection by Beethoven and Bartók with a selection from Brahms and music by Bach that has long been a cornerstone of his repertoire.

Alive to their iconoclastic flourishes and improvisatory asides, Beethoven’s last bagatelles yet emerged as a cohesive and integrated unity as it ventured through limpid musing and angular playfulness then disarming elegance before arriving at a propulsive take on the B minor Presto muscular or energetic by turns. The final two numbers were of a piece with what went before – the one understated and the other’s ingratiation bookended by outbursts of grating humour. Nothing to be taken for granted in this music, then, as Anderszewski intimated only too well.

Although published as four separate collections, there is no reason why Brahms’s late piano pieces cannot be given separately or in autonomous groupings as here. Starting with Op. 119, Anderszewski brought a confiding touch to the plaintive B minor Intermezzo and rendered the lilting syncopation of that in C with real playfulness. Turning next to Op. 118 and the forlorn quality of its A minor Intermezzo complemented ably that in A, whose new-found popularity need not detract from its harmonic subtlety or soulful poise. From Op. 117, the B flat minor Intermezzo struck note of ingrained fatalism intensified by that in E flat minor from Op. 118 – its ‘mesto’ marking here underlined as the music unfolded toward an endpoint of unforced resignation. Anderszewski looked regretful it should end so before duly leaving the platform.

As his recent recording confirms, Anderszewski has forged unerring identity with the Op. 6 Bagatelles where Bartók gave notice of his fast-emerging individuality. Played with minimal pauses (albeit with a 3-3-2-2-2-2 grouping such as brought these into line with the six pieces in each of those other sets), they offer a conspectus of possibilities over his ensuing creative decade that was to the fore here, alongside a cumulative focus evident less in any increasing technical demands as in a gradual opening-out of their emotional world made explicit in the final two numbers as doubtless stems from Bartók’s unrequited love for violinist Stefi Geyer. Thus, the sombre restlessness of Elle est morte merged directly into the valse Ma mie qui danse – this latter’s vicious irony maintained right through to its almost dismissive pay-off.

Had Bach ever entertained any such feelings, they were certainly far removed from the keen objectivity of his First Partita. A little restive in its Praeludium, Anderszewski hit his stride in its gently eddying Allemande then animated Courante. There was no lack of gravitas in its Sarabande, but this was as deftly inflected as was the elegance of its contrasted Menuet dances, then the Gigue made a dextrous yet assertive conclusion to a sequence where (as in everything heard tonight) what was made possible outweighs what had already been achieved.

It would have been possible to combine these works with other pieces – maybe some or even all of Ligeti’s Musica ricercata that Anderszewski will hopefully play at a future recital. For now, a limpid reading of Chopin’s Mazurka in A flat major (Op.58/2) made for an ideal envoi.

To read more on Piotr Anderszewski, visit his website

Published post no.2,321 – Friday 4 October 2024

In concert – BBC Symphony Orchestra / Sakari Oramo: Mahler Symphony no.6

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BBC Symphony Orchestra / Sakari Oramo (above)

Mahler Symphony no.6 in A minor (1903-04)

Barbican Hall, London
Thursday 26 September 2024

Having just extended his contract with the BBC Symphony Orchestra until 2030, which at 17 years will make him its longest serving chief conductor after Sir Adrian Boult, Sakari Oramo began the new season with this frequently impressive account of Mahler’s Sixth Symphony.

Impressive but equally unpredictable – not least in an opening movement whose tensility and even terseness was emphasized by mostly swift tempos and the nowadays rare omission of its exposition repeat, which predicated martial aggressiveness over any more yielding expression. There was no lack of deftness in the central interlude, for all that the off-stage cowbells were distinctly unevocative in their tinkling, yet the developmental passages either side exuded an unwavering purposefulness so that the arrival of the reprise more than usually made its mark. Stealthily launched, the coda duly emerged rather than burst forth though this was audibly in accord with the ambivalence of its affirmation as Oramo perceived it. Those closing bars had no lack of finality, for all that there was more of ruthlessness than joyousness in their arrival.

Speaking recently, Oramo stated his conviction in the revised order of the central movements with the Scherzo placed second. He might profitably have headed into this without pause, as to underline the consistency of rhythmic profile with what went before, but there was no hint of inflexibility here or in the trio sections which effortlessly elided between the winsome and sardonic. Equally in evidence was that fatalistic sense pervading the music as it unfolds, and so made possible a coda whose evanescent poise could not conceal more ominous portents.

From this vantage, the Andante provided if not balm to the soul, then a measure of unforced pathos. Enticingly rendered with some notably felicitous playing by the BBCSO woodwind, it was shaped by Oramo with unerring rightness through to a climax whose emotional force was the greater for its being held in check. Surprising that this movement has never attained the popularity of the Adagietto from the Fifth Symphony: then again, its salient qualities are conveyed even more completely when experienced within the context of the work as a whole.

By a similar token, it arguably matters less in what order the middle movements are played if the finale proves a culmination in all respects. That it certainly was here – Oramo imbuing its lengthy introduction with acute expectancy balanced by the visceral impact of what followed. Nor did tension fall off in those quiet but eventful interludes, strategically placed between the larger formal sections, and in which cowbells are overlaid by tubular bells for what became a haze of resonance as affecting as any more demonstrative expression elsewhere. Oramo also restored that third hammer-blow which does not so much alter the course of this movement, as confirm its resignation before fate in even more graphic terms. Nothing could have sounded more matter of fact than the baleful rumination of brass prior to that explosive closing gesture. While not the most inclusive performance, this was undoubtedly one to renew admiration in the audacity of Mahler’s conception or his conviction in bringing it off. It also gave notice of continued rapport between Oramo and the BBCSO as they begin their 12th season together.

For more on their 2024/25 season head to the BBC Symphony Orchestra website – and click here to read more on their chief conductor Sakari Oramo

Published post no.2,315 – Saturday 28 September 2024

In concert – Dawn Landes @ Komedia (Studio), Brighton

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Dawn Landes (vocals, guitar) @ Komedia (Studio), Brighton, 8 September 2024

by John Earls. Photo (c) John Earls

Dawn Landes’ The Liberated Woman’s Songbook is a remarkable album and project. It is Landes’ re-imagining of the book of the same title, originally published by folk singer, guitar teacher and author Jerry Silverman in 1971.

The night before this performance it was the subject of a major concert at London Barbican’s Milton Hall, where Landes was joined a number of special guests including folk legend Peggy Seeger and poet Jackie Kay.

Tonight it was a central (but by no means exclusive) feature of this solo acoustic set at the much smaller Studio space of Brighton’s Komedia. Telling the stories and highlighting the voices of women through songs spanning over 200 years, this section of the evening had the feel of the best kind of musical history lesson.

Hard is the Fortune of All Womankind, a traditional ballad from 1830, is the earliest of the collection  and was deeply affecting, as was The Housewife’s Lament (1866), whose lyrics come from the diary of a woman named Sarah A. Price in Ottawa, Illinois. She had seven children, all of whom died in her lifetime.

Bread and Roses (1912) was one of the songs for which Landes was ably joined by Sylvie Lewis. Along with The Mill Mother’s Lament (1929) – “Let’s stand together workers and have a union here”  – and Florence Reece’s Which Side Are You On (1931), it emphasised that many of these songs are not just based on women’s liberation but workers’ and trade union rights also. This was apposite given that the annual meeting of the Trades Union Congress was taking place just up the road (in which I declare an interest as an attendee).

This may all sound rather earnest, but whilst the seriousness of the issues was never diminished, there was plenty of humour throughout the evening. This was helpfully illustrated by this section’s ending with Meredith Tax’s adaptation of the children’s song There was a Young Woman Who Swallowed a Lie (1970). These songs and these women still need to be heard.

This Liberated Woman’s section of the performance was bookended by songs from some of Landes’ other albums. The show opened with Bluebird, from the album of the same name celebrating its 10th anniversary, which set the tone perfectly. From the start it was clear this was going to be intimate, beautiful and ultimately joyous.

Heel Toe was captivating and smoky, Wind and Rain – “Hands up if you’ve had enough” – was fabulous, and there was an absolutely cracking version of Why They Name Whiskey After Men.

Dawn Landes has a gorgeous voice. The singing was clear and expressive, the guitar plucking deft and there were even some sparkling golden boots (“glitter makes things better!”) which were removed at times for some barefoot stomping or appended with tambourine.

All in all one genuinely got the sense that after the excitement of the previous night’s extravaganza this smaller club outing was a back to basics affair. Landes seemed to enjoy it and absolutely held the room.

John Earls is Director of Research at Unite the Union and tweets / updates his ‘X’ content at @john_earls

Published post no.2,296 – Tuesday 10 September 2024