by Ben Hogwood
Today marks the anniversary of the birth of composer Ottorino Respighi in 1879.
Respighi’s most famous works are the orchestral pieces making up the ‘Roman trilogy’ – in order of composition the Fountains of Rome, Pines of Rome and Roman Festivals. Here they are in landmark performances from the Chicago Symphony Orchestra conducted by Fritz Reiner:
Published post no.2,590 – Wednesday 9 July 2025
by Ben Hogwood
Today marks the anniversary of the death of composer Joaquin Rodrigo in 1999, at the age of 97.
Rodrigo can claim to have written one of the 20th century’s most popular pieces, the Concierto de Aranjuez, for guitar and orchestra. The concerto’s Adagio is especially treasured, and can be heard at the heart of this performance:
Another popular Rodrigo piece is the Fantasía para un gentilhombre, also for guitar and orchestra:
Published post no.2,587 – Sunday 6 July 2025
Ernest Bloch
Schelomo (1918)
Suite for Viola and Orchestra (1919; arr. Rejtő/Baller, 1969)
Parry Karp (cello), BBC National Orchestra of Wales / Kenneth Woods
Signum Classics SIGCD932 [60’58”]
Producer Phil Rowlands Engineer Andrew Smilie
Recorded 29-30 July 2024 at BBC Hoddinott Hall, Wales Millennium Centre, Cardiff
Reviewed by Richard Whitehouse
What’s the story?
Signum Classics issues its first release devoted to Ernest Bloch (1880-1959), comprising what is his best-known work alongside a piece that receives its first recording in a version for cello and orchestra – making for a representative introduction to this now under-appreciated figure.
What’s the music like?
Considered in his lifetime to be on a par with such contemporaries as Bartók and Stravinsky, Bloch duly suffered that almost inevitable falling off of reputation from which his music has never quite recovered, but almost all his major works have now been recorded and often on several occasions. Among his sizable output, those with a concertante element are especially notable for their redefining the relationship between soloist and orchestra as holds good for the present works, written as they were either side of the composer’s emigration to the USA.
Its title might translate as Solomon, but Schelomo is by no means a portrait of the Biblical monarch nor is the solo part merely a ‘translation’ of lines from Ecclesiastes such as Bloch had initially intended to set. This ‘Hebraic Rhapsody’ is the last and most representative, if not necessarily the finest, of his Jewish Cycle, its three contrasting sections amounting to a concerto (or maybe a Konzertstück) in terms of their encompassing a gradually cumulative ‘exposition’, then an impulsively tense ‘development’ whose impassioned climax subsides into a ‘reprise’ which takes in a musing accompanied cadenza prior to the starkly fatalistic close. Parry Karp is a perceptive interpreter – one who never over-emphasizes its eloquence or rhetorical overkill, while rendering the piece as a cohesive and an audibly unified whole.
Conceived for viola and piano, the Suite was orchestrated soon afterward then arranged for cello a half-century on by cellist Gábor Rejtő and pianist Adolph Baller. The layout, though not so integrated as to make it a concerto, is none the less striking. Its lengthy initial Lento (originally entitled ‘In the Jungle’) pits soloist against orchestra in a fantasia-like evolution that finds effective contrast in an alternately capricious and ruminative Allegro ironico, then the songfulness of an equally compact Lento; its searching inwardness pointedly dispelled by the lively and playful Molto vivo which brings about an affirmative conclusion. Karp is fully attuned to its understated charm and Kenneth Woods, who directed the likely premiere of this version in 2008, secures playing of sensitivity and imagination from the BBC NOW.
Does it all work?
Almost always. As his introductory note makes plain, Karp has been an enthusiastic advocate for this music throughout his career and there is no doubting the extent of his commitment in either piece. Schelomo remains Bloch’s most recorded work such that those who have any one of Gregor Piatigorsky (Testament), Pierre Fournier (DG), Mstislav Rostropovich (Warner) or, more recently, Sol Gabetta (Sony) can rest content; yet this newcomer is worth a place on any shortlist and a first recording of the Suite in this guise makes the release self-recommending.
Is it recommended?
It is. Balance between cello and orchestra could not be bettered in the spacious yet analytical ambience of Hoddinott Hall, while Woods contributes his customary insightful observations. Aficionados and newcomers alike will find much to delight and absorb them on this release.
Listen / Buy
You can read more about this release and explore purchase options at the Signum Records website. Click on the names to read more about cellist Perry Karp, the BBC National Orchestra of Wales and conductor Kenneth Woods, and for the Ernest Bloch Society
Published post no.2,585 – Friday 4 July 2025
It’s a hot summer evening here in the UK – and thoughts have turned to the wonderful score Mendelssohn completed as incidental music to Shakespeare’s play.
Here it is, with Walter Weller conducting the Royal Scottish National Orchestra:
by Ben Hogwood Picture from the Bain Collection, Library of Congress
This day marks the centenary of the premiere of one of Prokofiev‘s most remarkable works, the Second Symphony. It was first performed in Paris on 6 June 1925, under the baton of Serge Koussevitsky.
It is difficult to imagine a work of greater contrast to the first symphony in the composer’s output, the much-loved ‘Classical’. Where that was a masterly updating of the classical style, bursting with good tunes, the Second initially impacts as a cacophony of noise and seemingly devoid of melody.
Listen more closely, however, and you will hear some distinctive themes beyond the bluster, some innovative orchestration and a highly original approach to form drawing initially from Beethoven’s 32nd and final piano sonata. Perhaps inevitably these qualities were lost on the first audience, who recoiled from the piece. Their reaction gave Prokofiev serious doubts about his ability as a composer.
Yet time has treated this piece relatively well, with no less a composer than Christopher Rouse showering it with praise. Listen below and see what you think:
Published post no.2,556 – Friday 6 June 2025
Arcana.fm 