Category Archives: Orchestral

BBC Proms #44 – Soloists, BBC Symphony Chorus & Orchestra / Sakari Oramo: Ethel Smyth ‘Mass’ & Debussy ‘Nocturnes’

Posted on by
Reply

Prom 44 – Nardus Williams (soprano), Bethan Langford (mezzo-soprano), Robert Murray (tenor), Božidar Smiljanić (bass), BBC Symphony Chorus, BBC Symphony Orchestra / Sakari Oramo

Debussy Nocturnes (1897-9)
Smyth Mass in D (1891, rev. 1924) [Proms premiere]

Royal Albert Hall, London

Saturday 20 August 2022

Reviewed by Richard Whitehouse Photos (c) Chris Christodoulou

His third Prom this season found Sakari Oramo conducting the BBC Symphony Orchestra in an unlikely yet, in the event, thought provoking double-bill of pieces composed at either end of the same decade and which duly played to the strengths of all those who were taking part.

The music of Ethel Smyth has been a prominent feature of this season and while her Mass in D comes too early in her career to be considered ‘mature’, it does evince many of those traits as defined the operas that followed. Written during a brief flush of adherence to Anglicanism, this is demonstrably a concert rather than liturgical setting (which makes its apparent status as the first Mass heard publicly in England for almost 300 years the more ironic) and, moreover, one of a ‘symphonic’ rather than ‘solemn’ conception despite the audible debt to Beethoven.

Smyth reinforces this aspect by placing the Gloria at the close – thereby making it the finale of a sequence in which the Kyrie, building gradually to a baleful climax before returning to its initial sombreness, becomes an extended introduction to the Credo whose numerous sub-sections facilitate a sonata-form design of no mean formal cohesion and expressive breadth. For their part, the Sanctus, Benedictus and Agnus Dei function as extended slow movement whose (for the most part) emotional restraint enables the soloists to come to the fore – after which, the Gloria takes its place as a finale not least in terms of drawing on previous themes and motifs through to the forceful though never merely bathetic culmination. That Smythe did not essay a symphony given her evident structural command seems the more surprising.

Tonight’s performance was no less assured than that which Oramo gave at the Barbican (and subsequently recorded, albeit with different soloists) three seasons ago. The soloists made the most of their contributions – Nardus Williams bringing a plaintiveness and elegance that was ideally complemented with Bethan Langford’s warmth and understated fervency, and though Robert Murray’s ardency showed signs of strain, he was no less ‘inside’ his part than Božidar Smiljanić, whose solo was more affecting for its burnished eloquence. The BBC Symphony Chorus responded as one to the full-on contrapuntal writing of those main movements, while Richard Pearce ensured the (too?) extensive organ part did not muddy the orchestral textures. Oramo directed with clear enjoyment a work that, for the most part, justified its 62 minutes.

In the first half, Oramo presided over a searching account of Debussy’s Nocturnes – its three movements still sometimes encountered separately but far more effective heard as a complete entity. Not its least impressive aspect was the ease with which these followed on from each other with a cumulative inevitability – the fugitive shading of Nuages (melting cor anglais playing by Helen Vigurs) leading to the half-lit activity of Fêtes, with its darting gestures and a central march-past of vivid understatement, then on to the sensuous allure of Sirènes.

As enticing as the women’s voices of the BBCSC sounded in this closing movement, it was the fervency with which Oramo infused its recalcitrant content such as made it the natural culmination of the sequence – the final bars dying away with a tangible sense of fulfillment.

Click on the artist names for more information on Nardus Williams, Bethan Langford, Robert Murray, Božidar Smiljanić and Sakari Oramo and for more information on the BBC Symphony Orchestra head to their website. For more on composer Dame Ethel Smyth, click here

BBC Proms #42 – Jan Lisiecki, BBC Scottish Symphony Orchestra / Thomas Dausgaard: Nielsen, Beethoven & Sibelius

Posted on by
1

Prom 42 – Jan Lisiecki (piano), BBC Scottish Symphony Orchestra / Thomas Dausgaard

Sibelius Symphony no.7 in C major Op.105 (1924)
Beethoven Piano Concerto no.4 in G major Op.58 (1804-6)
Nielsen Symphony no.4 FS76 ‘The Inextinguishable’ (1914-16)

Royal Albert Hall, London
Thursday 18 August 2022

Reviewed by Richard Whitehouse Photos (c) Chris Christodoulou

Ending his tenure as Chief Conductor of the BBC Scottish Symphony Orchestra, Thomas Dausgaard directed this programme which once again played to both his and the orchestra’s strengths – in the process underlining just what they have achieved together over the past six seasons.

He might not have scheduled Sibelius quite so assiduously as his one-time predecessor Osmo Vänskä, but Dausgaard is hardly less perceptive in this composer as was proven with his take on the Seventh Symphony. If not a tale of two parts, the first half that resonated more deeply – an introduction shot through with expectancy that preceded a powerful build-up to the first emergence of the trombone theme, and an effortlessly accelerating ‘scherzo’ as made feasible a central climax of rare intensity. From here tension dropped a little over the course of a lucid yet (in this context) over-extended ‘intermezzo’, and if the approach to the final return of the trombone theme had the right inexorability, the strings’ climactic response was a little reined-in emotionally. Nor did the fraught cadence into the home-key have the desired inevitability.

Whether or not the Sibelius should open a concert, Beethoven’s Fourth Piano Concerto made for an ideal continuation. Stepping in at the eleventh hour, Jan Lisiecki is no stranger to this music such that his lightly articulated if rarely insubstantial tone complemented Dausgaard’s incisive but never headlong accompaniment. Just occasionally in the opening movement this jewel-like pianism felt a little self-defeating, though not with a lucid rendering of the (more familiar) cadenza or transition from the Andante into the finale of heart-stopping eloquence. The latter movement had the necessary vigour but also an appealing intimacy, as in the lower strings’ transition towards the final return of the rondo theme or those ruminative woodwind asides before the decisive coda. Chopin’s C minor Nocturne (1838) made for a limpid encore.

Keen to get on with proceedings, Dausgaard launched Nielsen’s Fourth Symphony after the interval before applause had subsided. Often a conductor willing to modify his approach, he might have steered the opening Allegro less forcefully given the textural detail that was lost in the Albert Hall’s ample expanse, but the twofold appearances of the ‘motto’ theme were magisterially rendered – the shocked transition into the intermezzo proving as mesmeric as this latter movement was affecting through its deft combination of winsomeness and pathos.

Equally memorable was Dausgaard’s handling of the slow movement, here exuding fervency without undue histrionics both in the searching string threnodies and the confiding passages either side – the latter of which provided a stealthy transition into the final Allegro. Here the placing of a second timpani set front-left in the arena made stretched the antiphonal contrast a little too obviously, but the music’s overall intent came across unscathed as the ‘motto’ made its climactic final appearance then those closing bars hit the ground as they should – running. Whether or not Dausgaard intended ‘Inextinguishable’ to sum up his music-making with the BBCSSO, or whether anything might be read into his wearing a Covid mask throughout, this concert was a worthy leave-taking. Hopefully he will not be absent from the UK for too long.

Click on the artist names for more information on Jan Lisiecki and Thomas Dausgaard, and for more information on the BBC Scottish Symphony Orchestra head to their website

BBC Proms #41 – Behzod Abduraimov, Elizabeth Watts, Benjamin Appl, BBC Scottish Symphony Orchestra / Thomas Dausgaard: Nielsen ‘Sinfonia espansiva’, Beethoven & Ravel

Posted on by
Reply

Prom 41 – Behzod Abduraimov (piano), Elizabeth Watts (soprano), Benjamin Appl (baritone), BBC Scottish Symphony Orchestra / Thomas Dausgaard

Ravel La Valse (1919-20)
Beethoven Piano Concerto no.1 in C major Op.15 (1795, rev. 1800)
Nielsen Symphony no.3 ‘Sinfonia espansiva’ (1910-11)

Royal Albert Hall, London
Wednesday 17 August 2022

Reviewed by Ben Hogwood Photos (c) Mark Allan

There is a changing of the guard in Glasgow. On his way in as chief conductor of the BBC Scottish Symphony Orchestra is the conductor, composer and pianist Ryan Wigglesworth, an exciting and evolving artist. He will replace Thomas Dausgaard, who leaves City Halls after six years and is signing off with two consecutive Proms of symphonies by his Danish compatriot, Carl Nielsen.

We began this concert in Paris, however, with a distinctly chilly account of Ravel’s La Valse. The horrors of the First World War encroach into Ravel’s writing, and were all too audible around the edges in this performance, which was brilliantly played and lucidly controlled. The feather-light strings of the opening bars ensured the dynamic contrasts were extreme, and when the full orchestra cut loose towards the end the effect was both exhilarating and terrifying, the ‘fatal whirring motion’ of Ravel’s inspiration collapsing in the final bars.

Dynamic contrasts were a feature, too, in a fine performance of Beethoven’s Piano Concerto no.1, with soloist Behzod Abduraimov. The Uzbek pianist was the ideal foil for the clarity of the reduced forces of the BBC SSO, giving an affectionate performance notable for its dance-like qualities. There were occasional rhythmic indulgences in the solo party, but these were both tasteful and well-managed, with Dausgaard alive to his flights of fancy. The dialogue with the orchestra was often exquisite, especially when piano and clarinet (Yann Ghiro) linked in the slow movement. Time stood still for an early example of one of Beethoven’s heavenly silences, before the Rondo danced its way into the minds of the audience for the interval. Stylishly played and with some attractive, witty touches, this was an endearing account of high technical quality. Abduraimov’s encore was slightly at odds with the feather-light touches displayed in the Beethoven, being a heavyweight performance of Mercutio from Prokofiev’s Romeo & Juliet transcriptions for piano. There were fireworks and great virtuosity, though the significance of choosing a Ukrainian-born composer should not be overlooked.

Dausgaard returned after the interval to conduct his compatriot’s ‘most Danish’ symphony. David Gutman’s ever-helpful Proms notes revealed that Nielsen’s Sinfonia espansiva was somehow not performed at the Proms until 1990, and even this was its first Royal Albert Hall performance in 23 years. It was a memorable encounter, the high voltage first movement immediately into gear with its repeated notes surging forward, bursting through the dam. The exultant first movement was complemented by the radiance of the second, with wordless vocals from on high in the gallery supplied by soprano Elizabeth Watts and baritone Benjamin Appl. The combination, over hushed strings, enchanted the hall and made the best possible use of its spatial options. Surrounding their contributions were winsome cadenzas from the BBC Scottish woodwind, portraying the great Danish outdoors with crisp outlines.

The third movement built its energy cumulatively, all the while pointing towards the finale, where we heard the Danish ‘ode to joy’ in luxurious tones from assembled strings and horns. This was music of wide-eyed optimism, galvanizing orchestra, audience and conductor alike to an emphatic signing off. With contributions from golden brass and thundering timpani, this performance was truly expansive – and served to emphasise what the Proms audiences have been missing with this symphony all these years!

For more information, click on the names to discover more on the BBC Scottish Symphony Orchestra and their new chief conductor Ryan Wigglesworth

On record: Sinfonia of London / John Wilson – John Ireland: Orchestral Works (Chandos)

Posted on by
1

John Ireland
Satyricon Overture (1946)
A Downland Suite [1941, arr. Ireland (movements 2 & 3), Geoffrey Bush (1 & 4)]
Mai-Dun (1920-21)
The Forgotten Rite (1913)
A London Overture (1936)
The Holy Boy (1941, Ireland’s string orchestra arrangement)
Epic March (1941-42)

Sinfonia of London / John Wilson

Chandos CHAN 5293 [67’16”]
Producer Brian Pidgeon
Engineer Ralph Couzens

Recorded 26-28 August 2021, Church of St. Augustine, Kilburn, London, UK

Reviewed by Ben Hogwood

What’s the story?

John Ireland is a well-respected composer in the scope of early 20th century British music. Often writing in shorter forms, his songs and piano music present a fine body of work and enable the listener to get to know this bittersweet musical personality. Meanwhile the more substantial chamber music shows Ireland was capable of handling larger structures.

A good way in to the composer’s output is through his orchestral music, and there are several attractive anthologies already available – from Sir Adrian Boult and from John Wilson himself, conducting the Halle Orchestra. Wilson returns to the composer here in the company of the Sinfonia of London to give us a collection of suites, tone poems and pictorial overtures. Perhaps inevitably, The Holy Boy – Ireland’s best-known song – is also included, in its arrangement for string orchestra.

What’s the music like?

Ireland’s music is simultaneously elusive, heartfelt, melodic and elegiac – and these fine performances get right to the heart of his thinking.

Wilson and his charges begin with a good-natured account of the overture Satyricon, enjoying its syncopations before a smooth and elegant second theme from the strings, who impress with their command of the longer phrases. They come to the fore in a co-arranged version of A Downland Suite, two movements each recast from the brass band original by Ireland himself an Geoffrey Bush. This is music of silvery tone and generous melodic content, with an incisive Prelude, solemn Elegy, poised Minuet and a crisp, upward looking Rondo. Contrasting this with Mai-Dun is a good move, revealing Ireland’s colourful orchestrations and some lavish harmonies while digging deep emotionally.

The Forgotten Rite, a prelude serving as Ireland’s first published orchestral work. also has deep underlying emotion, while The Holy Boy – Ireland’s favoured song – is more sentimental but not excessively so. Bigger sounds are promised by the Epic March, which certainly lives up to its billing and stature, and A London Overture, which may have less bustle than its Elgarian counterpart (Cockaigne) but creates a studied portrait of the English capital city.

Does it all work?

Yes. Wilson has an innate understanding of this music, and with top class performances and clarity of recording there is little if anything to dispute here. The bigger pieces fare particularly well, with a crisply deployed Epic March and a detailed account of A London Overture that has particular insight in the work’s quieter moment. The Sinfonia’s account of A Downland Suite is subtle but affecting, with a gently dancing Minuet and a thoughtful Elegy that tugs softly but insistently at the heartstrings.

Perhaps the most successful piece is Mai-Dun, exploring some glorious shades of colour and texture, while the dappled sunlight of The Forgotten Rite is also exquisitely painted.

Is it recommended?

Yes – even in comparison with the Halle anthology, which shares much of the repertoire recorded here – though that one includes the suite The Overlanders rather than A Downland Suite. Either are very fine collections, but this Sinfonia of London set of recordings is extremely well recorded and performed with rare insight, capturing the composer’s personality to a tee.

Listen

Buy

You can view buying options for this release – on download or SACD – on the Chandos website

BBC Proms #26 – The Labèques, BBC Symphony Orchestra / Semyon Bychkov: Julian Anderson premiere, Martinů & Rachmaninoff

Posted on by
Reply

Prom 26 – Katia and Marielle Labèque (pianos), BBC Symphony Orchestra / Semyon Bychkov (above)

Anderson Symphony No. 2 ‘Prague Panoramas’ (2020-22) (BBC co-commission: World premiere of complete work)
Martinů Concerto for Two Pianos and Orchestra H292 (1943)
Rachmaninoff Symphonic Dances Op.45 (1940)

Royal Albert Hall, London
Friday 5 August 2022

Reviewed by Richard Whitehouse Photo (c) Chris Christodoulou

An unusually well-assembled concert this evening with what might be termed a programme of ‘three-by-threes’ – each of these three works having three movements which, in each case, results in a broadly symmetrical design, not least the Second Symphony by Julian Anderson (with the conductor, below).

Inspired by Josef Sudek’s photographs of Prague while utilizing two medieval Czech hymns, Prague Panoramas (might Prague Pictures be even more apposite?) is typical in its fusing evocativeness with precision. Not least the preludial opening movement, its stark alternation of quick-fire chords and silence evolving into aspiring melodic lines as build to a tumultuous if quickly curtailed climax, though this linear aspect comes to dominate the nocturnal central movement with its expressive intensifications then fades against a backdrop of bell resonance and luminously modal polyphony. The finale is a deftly organized rondo – its energetic main material, inspired by Josef Lada’s almost Rabelaisian depictions of pub brawls, interspersed with more lyrical ideas through to the heady peroration later subsiding into a calm postlude.

Although its first two movements had been heard in Munich and Prague, this was the work’s first complete performance and found the BBC Symphony at its collective best – not least the lambently interweaving woodwind and strings, the visceral impact of brass and a substantial array of percussion whose contribution was pervasive. Semyon Bychkov (under-appreciated as an exponent of contemporary music) duly brought out that unity-within-diversity such as gave this work an underlying focus across the 32 minutes of its eventful yet cohesive course.

From Prague-inspired music by a British composer to that by a Czech composer in America – Martinů’s Concerto for Two Pianos may never have gained the plaudits of his earlier Double Concerto but it typifies this composer’s exile in a tried-and-tested interplay of folk-inflected melodicism with a harmonic acerbity recalling Prokofiev and rhythmic dexterity redolent of Stravinsky. Its undoubted highlight is a central Adagio whose almost ‘harmonie’ woodwind writing and circling piano figuration (had the composer come across the gamelan-influenced music of Colin McPhee?) feels mesmeric and affecting. Neither outer movement comes close in their audibly contrived amalgam of the rumbustious and lyrical, but this is music in which Katia and Marielle Labèque excel and tonight’s performance could rarely have been equalled.

Nor was there any doubting Bychkov’s authority in Rachmaninoff’s Symphonic Dances that followed the interval. Admittedly this now regularly played while technically exacting piece needed more rehearsal than the BBCSO was able to give it on this occasion, though the outer sections of the first dance had just the right ominous incisiveness and its middle part featured winsome alto saxophone from Martin Robertson. The second dance had irony and angularity aplenty, as was slightly offset by the strings’ less than unanimous response towards the close.

Its sombre ambivalence and intricate textures give the central span of the final dance a quality unique in this composer: if Bychkov might have endowed it with even greater intensity, there was no doubting his identity with this music here or on the way to its resplendent apotheosis.

For more information, click on the names of composer Julian Anderson – and for more on the artists, click on the names of Katia and Marielle Labèque, Semyon Bychkov and the BBC Symphony Orchestra. For more on this year’s BBC Proms as it continues, head to the Proms website

For more information, click on the names of composers Kalevi Aho and Kaija Saariaho – and for more on the artists, click on the names of Carolina Eyck, John Storgårds and the BBC Philharmonic Orchestra