In concert – Steven Isserlis & Mishka Rushdie Momen @ Wigmore Hall

It must have been extremely special for Steven Isserlis to be playing the music of three of his favourite composers at the Wigmore Hall on this day – even more so as the date fell on the birthday of one of them, Robert Schumann.

He is one of the cellist’s greatest musical loves, and the sense persists that Isserlis is still discovering more things that make it so. One of Schumann’s many strengths is the versatility of his music, meaning pieces such as the 3 Romances Op.94, originally written for oboe and piano and given to his wife Clara as a Christmas present in 1849, can easily be performed with violin or, indeed, the cello.

Schumann’s birthday was marked by a performance of unaffected romantic beauty from Isserlis and pianist Mishka Rushdie Momen, very much on an equal footing playing the composer’s first instrument. The pair caught the doleful and slightly inquiring nature of the first romance beautifully, while the surge of feeling in the central music of the second was a strong cumulative wave. The third, its theme given in a darker shade, was briefly introspective in its unison phrases but then more overtly passionate.

Before Schumann came another ‘birthday’ composer. Beethoven’s 250th is not likely to receive quite so much live coverage as it would have done in a year without a pandemic, but what it lacks in quantity it will surely make up for in quality. The Sonata for piano and cello no.1 in F major, the first of a pair published as the composer’s Op.5, is the ideal concert opener. It begins in slight trepidation of what it is about to discover, but then, on establishing what is effectively a new form of writing for the cello and piano together, throws itself headlong into the rapids.

The Allegro that comes after that first sense of discovery was joyous indeed, with lovely dialogue in play between the two protagonists. Isserlis smiled frequently, as though revelling in the combination of favourite music and venue once again, while Momen’s clear phrasing dovetailed neatly with the cello’s, owning some of the really tricky right hand runs with fearless accuracy.

The second movement had a terrific burst of energy, the sun breaking through at every possible opportunity when its catchy theme made several reappearances. The pair also gave a nice air of mystery when Beethoven suddenly departed from ‘home’ and ended up in a number of seemingly unrelated tonal centres, before reassuring us with the warmth of the home key once again.

As he introduced his favourite 20th century cello sonata, there was a sense of Isserlis’ heart almost bursting with the chance to play music live again. He described his discovery of Fauré’s late music as ‘being outside a door but then passing through and wondering why on earth I had been outside’, before the pair played the Cello Sonata no.1 in D minor Op.108, the first of two such works from the Frenchman.

This was a very fine performance indeed, Isserlis and Momen watchful and urgent at the start, its music wracked with uncertainty but nonetheless pushing forward with great conviction. The Andante slow movement began lost in thought, the bell-like toll of the piano matched by Isserlis’ rich legato tone, before reaching heights of passion that the final movement also delivered, the performers now glorying in the major key and Fauré’s bursts of sunshine, the strong resolve of the first movement bringing its ultimate reward.

The pair finished with a profound account of Isserlis’ own transcription of a Bach chorale prelude, Ich ruf’ zu dir, Herr Jesu Christ, in which – as the cellist noted – Bach says it all.

In concert – A week locked into Wigmore Hall

At 1pm on Monday June 1st, live music-making returned to the Wigmore Hall and BBC Radio 3.

While we have been incredibly fortunate to enjoy live streams of music from around the world since lockdown began, this felt like something extra special. A whole month of lunchtime concerts, served up by our finest chamber music venue in conjunction with BBC Radio 3, and streamed on the Wigmore Hall website. With a selection of top class artists, all of whom live close enough to journey in and play, all that was missing was the audience – but this added extra poignancy, offering us private moments with the musicians in our own home, a deluxe version of what BBC Radio 3 has been giving us for decades. A note should be made for presenter Andrew McGregor‘s broadcasting manner, expertly paced and perfectly weighted.

The musical riches in the first week have been many and varied. The first concert was ideally placed, Steven Hough giving us Busoni’s epic realisation of Bach’s Chaconne in D minor and Schumann’s lovelorn Fantasie in C major. In some performances of the Bach-Busoni the virtuoso elements of the piece take over at the expense of feeling, but not here. Hough shaped the phrases with great care, bringing out the gusto when it was needed but giving an incredibly well-balanced account of a familiar showpiece.

With Schumann’s Fantasie he gave a flowing performance of a notoriously difficult work, made all the more poignant because of its circumstances, written in isolation by a composer pining for his wife Clara. There was joy, too – the march theme of the second movement ringing out with bell-like clarity, while the resolution at the end, softly voiced, left a lasting smile.

Tuesday’s song recital from soprano Lucy Crowe and pianist Anna Tilbrook had the themes of Hope and Longing – appropriately in the awful context of world events, which saw the concert begin with a two-minute period of reflection on racial inequality and violence.

Crowe began on high, judging her vibrato beautifully for Thomas Arne’s aria O ravishing delight, before three Schumann songs found her vocal control matched by her communication with the audience, in spite of the empty hall. The sound world of Berg’s 7 frühe Lieder is very different, with challenges of tricky melodic intervals and words by seven different poets, but the soprano handled them effortlessly, helped by Tilbrook’s painterly application of light and shade for the corners of Berg’s nocturnal settings.

The pair moved on to a selection of poignant folk songs, none more so than the unaccompanied She moved through the fair, before English lyrics old and new from Thomas Dunhill, Ivor Gurney, Vaughan Williams and Madeline Dring. It was a touching recital with both soprano and pianist clearly on the same page.

Few guitarists would expect to receive compliments on the quality of their quiet playing…but that was what stood out immediately from Sean Shibe’s solo recital on the Wednesday. With a collection of attractive Scottish dances the listener was drawn in from the start and borne to the beauty of the Highlands, the tunes carrying on the air in performances of extraordinary intimacy.

The same could be said for Shibe’s performance of Bach’s Lute Suite in E minor, carefully studied but delighting in the expressive interplay between the parts, bringing Bach’s notes clean off the page. Steve Reich’s Electric Counterpoint was even better, Shibe moving to a Fender to play the 12th part of this multilayered composition. The waves of sound echoing around the Wigmore as the guitarist, now barefoot, completely lost himself in the music.

Oboist Nicholas Daniel and pianist Julius Drake, both Wigmore regulars and musical partners for 40+ years, crammed their Thursday lunchtime with music old and new, all of personal significance.

They included two short premieres, the wide open textures of Huw Watkins’ haunting Arietta and the uncertainties of Michael Berkeley’s A Dark Waltz, written in lockdown. There was a rarity,too, in the first broadcast performance of Liszt’s darkly coloured Élegie, originally written for cello and piano but here in a recently unearthed version with for cor anglais.

Howard Ferguson’s arrangement for oboe and piano of Finzi’s substantial Interlude was beautifully paced and deeply felt in that slightly elusive way in which the composer writes, Drake absorbing the extra parts with ease. Meanwhile Ferguson’s arrangements of three pieces for pedal piano by Schumann studies were also nicely done. Later we heard three attractive shorter pieces from Madeline Dring, and finally Nicholas Daniel showed off the oboe’s versatility in three rewarding arrangements of popular songs, including The Girl From Ipanema and capped by All The Things You Are. A note, too, for the pair’s deeply felt and beautifully observed Bach encore, Jesu, Joy of Man’s Desiring, prefaced by a sensitive introduction.

Last but not least, Pavel Kolesnikov and Samson Tsoy reminded us what an intimate form of communication the piano duet can be. As the pair live together they have experienced isolation in each other’s company, and that in itself brought an extra poignancy to their lovingly played selection of BrahmsLiebeslieder Waltzes, a profound Schubert Impromptu in A flat from Tsoy and a bittersweet clutch of six Waltzes, Ländler & German Dances from Kolesnikov.

Together the pair enjoyed the humour and lightness of touch in Beethoven’s 8 Variations on a theme of Count Waldstein, but the best was saved for last and a wonderful performance of Schubert’s Fantasia in F minor. Recognised as one of the finest works in the piano duet repertoire, it received a performance led by Tsoy that moved from almost painful introspection to passionate outbursts five minutes later. The scherzo section had plenty of cut and thrust, while the whole piece, ideally paced, built to an almost overwhelming strength of feeling, capped by an intensely dramatic pause before the softly voiced opening theme returned.

What a musical week it has been – and looking at the roll call it looks like we are in for another three weeks of equally fine and moving insights. You can catch up with all the concerts on the links above and are strongly advised to do so, for there are some incredibly fine performances waiting to be heard. Live concerts may not be with us for a while yet, but in the meantime these intimate hours with some of our best classical music artists are an ideal substitute.

You can see the schedule for forthcoming Wigmore Hall livestreams here, the series resuming courtesy of cellist Steven Isserlis and pianist Mishka Rushdie Momen on Monday 8 June.

Online recommendation – Il trittico from the Royal Opera House

In the words of the Royal Opera House:

Contrast is the essence of Giacomo Puccini’s operatic triptych, Il trittico. The one-act works that form the trilogy – Il tabarro, Suor Angelica and Gianni Schicchi – range from gritty melodrama to life-affirming comedy. While each opera stands alone, the three come together to create a sense of a complete event, rich in textures and musical forms.

Director Richard Jones matches the eclectic range of Puccini’s music in a production of great verve and invention, moving from the grimy banks of the Seine to a children’s hospital and from there to a garish apartment in 1950s Italy.

Il trittico had its premiere at the Metropolitan Opera, New York, in December 1918. The trilogy was performed in full at Covent Garden in 1920 and again in 1965. Richard Jones’s acclaimed 2011 production was the first complete performance of Il trittico at Covent Garden in 46 years.

You can stream the operatic trilogy from the Royal Opera House website here, up until 19 June 2020.

LSO: Always Playing – Steve Reich Quartet & Sextet tonight @ 7pm

Tonight’s installment of the LSO’s online series ‘Always Playing’ is a smaller-scale affair, as the LSO Percussion Ensemble deliver two of Steve Reich‘s more recent works for percussion.

The Sextet, a substantial work from 1993, is complemented by the Quartet completed 20 years later, a more challenging and fragmented composition.

The team – percussionists Neil Percy, Sam Walton, Gwilym Simcock, David Jackson, Simon Carrington, Philip Moore and Joseph Havlat – add works from Joe Locke (Her Sanctuary) and Makoto Ozone, Simon Carrington’s arrangement of Kato’s Revenge.

You can read more about these works in the booklet notes for the concert here – and the performances themselves, given at LSO St Luke’s across concerts in October 2015, March 2018 and February 2019, can be seen on the orchestra’s YouTube channel from 7pm tonight here:

 

Online recommendations – Bergen International Festival 2020

How long is it since you last experienced live music?

For the vast majority of us it will be two months and counting now…the last for Arcana having been on Monday 16 March at the Wigmore Hall.

Thankfully in that time a huge number of artists, organisations and orchestras have stepped into the breach, either with archive concert footage or with online concerts and recitals. One of the biggest contributions to date, however, comes from the Bergen International Festival, which is streaming over 50 events online for free.

These are genuine live events, given without an audience and streamed across the world from the festival’s website – and there is some quality music making coming up.

The evening of Saturday 23 May will see Leif Ove Andsnes and friends giving an all-Schumann concert at 20:00 (19:00 GMT), capped by the wonderfully invigorating Piano Quintet, while Sunday 24 May (21:15, 20:15 GMT) brings the traditional festival performance of Grieg‘s evergreen Piano Concerto. The soloist will be Víkingur Ólafsson, with the Bergen Philharmonic Orchestra under chief conductor Edward Gardner. Intriguingly, the Grieg will be prefaced by VasksThe Fruit Of Silence, with the Edvard Grieg Kor.

Meanwhile Monday 25 May brings an intriguing concert from ​Leif Ove Andsnes (piano), Sonoko Miriam Welde (violin), Ludvig Gudim (violin), Eivind Ringstad (viola) and Amalie Stalheim (cello). The quintet will perform works by Schubert, Mozart and Jörg Widmann – the composer’s Idyll and Abyss and String Quartet no.3. Nicknamed the Hunt, it will follow Mozart’s quartet of the same name.

These three concerts alone give an idea of the breadth of repertoire and quality we can expect from the festival. Head here to experience it for yourself!