With the UK braced for the arrival of Storm Éowyn today, it got me thinking of successful portrayals of storms in music.
The first piece that came to mind was Sibelius’s masterpiece Tapiola, a remarkable and vivid orchestral poem written late in his compositional career about Tapio, the spirit of the forest. Its depiction of a storm is like no other.
Listen here, in a particularly incendiary account from the Berliner Philharmoniker and Herbert von Karajan, keeping an ear out for the storm as it begins around the 16:50 mark:
Juilliard String Quartet [Areta Zhulla, Ronald Copes (violins), Molly Carr (viola), Astrid Schween (cello)]
Beethoven String Quartet no.13 in B flat major Op.130 (1825-6) Widmann String Quartet no.8 ‘Beethoven Study III’ (2020)
Wigmore Hall, London Monday 20 January 2025 (1pm)
by Ben Hogwood
Since its formation in 1946, the Juilliard String Quartet has not surprisingly undergone a number of iterations. Its present line-up, nearly 80 years on, has brought new impetus to carry the group far into the 21st century. For this Wigmore Hall visit, a BBC Radio 3 Lunchtime Concert, the quartet paired late Beethoven with relatively late Jörg Widmann – a piece he wrote in the last five years.
More of that below, but the quartet’s decision to begin with the longer Beethoven was vindicated on account of the musical material. The String Quartet no.13 was the second of Beethoven’s five ‘late’ quartets to be published, and the third in order of composition – with its sixth and final movement known as the Grosse Fuge. A highly unusual and forward-looking piece, this movement was initially shunned by audiences, described by a critic as ‘incomprehensible, like Chinese’. Ultimately it has been recognised as a masterpiece of counterpoint and structure.
In light of its reception Beethoven completed an alternative finale for the quartet in November 1826, four months before his death – in fact the last music he wrote. The Juilliard chose this path, changing the balance of the work to place extra emphasis on the penultimate Cavatina, a movement of special grace. Indeed much of this performance found the quartet taking on serenade-like qualities, the Juilliard preferring to stress the sunlit melodies and textures, while emphasising the dance rhythms.
The first movement’s Adagio and Allegro sections had vivid colours and phrasing, brilliantly played but needing more contrast between the sections. The following Prestissimo was over in the blink of an eye, forceful when needed, and providing a contrast with the attractively voiced Andante, with tasteful melodic phrasing. The attractive Alla danza tedesca brought a serenity to Beethoven’s late writing, as opposed to the restrained beauty of the Cavatina, where first violinist Areta Zhulla’s playing was especially fine. The finale introduced a playful approach, especially welcome as the music approached its final bars, which were authoritative while lacking the outright drama the Grosse Fuge would have brought.
The connection between Beethoven and Jörg Widmann is unusually strong, the German clarinettist and composer completing a clutch of works (to date) drawing on his predecessor’s inspiration. Five of those works are his string quartets nos.6-10, a series titled Study on Beethoven, of which this quartet is the third instalment. Taking the fourth movement Alla danza tedesca from the Beethoven we had just heard, Widmann worked the second movement of this quartet into eight striking variations on its theme, explaining the placement of this work in the concert running order.
It was played with commendable virtuosity, and often enjoyable in its knowing use of Beethoven’s themes. The BBC Radio 3 announcer Fiona Talkington said the quartet had confided how Widmann now felt Beethoven was a ‘close friend…someone you can poke fun at!’, and he certainly took the opportunity for high jinks in the finale, where references to the Emperor piano concerto were rather heavily signposted.
The second movement was the most inventive, a fever dream refracting Beethoven’s theme through instrumental prisms of wildly varying shades. Ultimately you had to admire Widmann’s craft, and Beethoven’s initial invention, forgiving the occasional tendency to play more obviously to the audience. On this occasion it proved a most successful tactic, finishing a concert packed with positive energy. The only slight blot on the landscape came via some low frequency drilling which could be heard in quiet passages, no doubt emanating from one of the many building sites currently adorning Central London. Thankfully the music of Beethoven transcends such things!
‘A moment of sudden and great revelation or realization’.
This is the second Oxford definition for the word ‘epiphany’…which is also a Christian feast day, ‘the manifestation of Christ to the Gentiles as represented by the Magi’.
It’s the ‘sudden realization’ that has descended on Arcana towers, however, as many of us go back to work today. Christmas is done, two weeks that have flown by – and just a heartbeat later we’re thrust wide-eyed into the New Year, back into the strong current of the river that is modern life.
Help is at hand, however. Music is such a reliable ally in times like this, whether it’s the music we know and love or the music we haven’t discovered yet. Both are reasons to look forward to 2025 with anticipation! Arcana will be hoping for several ‘epiphanies’, as we split our loyalties between the old and the new, covering music from the last 500 years or more as we go.
2025 will see the tenth birthday of this resource, believe it or not – on Saturday 1st February. By then we hope to be well in the groove of providing a daily digest of shared musical loves, interviews and concerts. Along the way there will be special focus on Shostakovich, who died 50 years ago this year, and is a favourite composer in these parts. We will also look to enjoy classical music from London, Birmingham and online, electronic music from all corners of the world, and plenty in between.
If you’d like to get in touch with us about any of it, suggest some things for us to listen to, or even write for us, get in touch! You can get me, Ben Hogwood, via e-mail (editor@arcana.fm), over BlueSky (Ben Hogwood or Arcana) or – if you must – on Twitter / X for a little while longer.
Before you go, do listen to this remarkable carol marking Epiphany from British composer Judith Bingham – both haunting and tremendously powerful. Happy New Year!
Sonic Cathedral – the label that celebrates itself – marks two decades in existence with this handsomely packaged box set of classics and rarities. It’s no exaggeration to say that Nathaniel Cramp’s lovingly directed label has played a big part in the continued regeneration of shoegaze, a form of music whose versatility and staying power has continued to confound anyone miserly enough to criticise it.
By drawing on the best shoegaze from the late 1980s – and utilising some of the pioneers – Sonic Cathedral has looked for new talent and become a forward looking enterprise. Certain qualities have been retained and built upon, such as a penchant for winning remixes – marked in a disc entitled ‘Recalibrate Yourself’ – and a generous number of Yuletide covers and originals, marked in the brilliant ‘Celebrate Your Elf’. The label’s original best-ofs are found on the very fine ‘Celebrate Yourself’, while Reverberate Yourself! A Congregation Of Sonic Cathedral Live Recordings is a collection of exclusives from right down the front of the gig.
What’s the music like?
This is a brilliant collection, capturing each aspect of the Sonic Cathedral label and what has made it special. Celebrate Yourself is the true ‘best of’, rounding up 20 of the best tracks since the label began as a club night. These include the shimmering, hazy beauty of Pye Corner Audio, whose Warmth Of The Sun features Andy Bell, and the warm-hearted Early Years beauty Fluxus. Lorelle Meets The Obsolete, one of the label’s best aditions, shine on Balance, while there is a dreamy Dot Allison contribution in the shape of Unchanged. The easy tread of Neil Halstead’s Spin The Bottle is appealing. Mildred Maude bring their distinctive guitar sound to CPA II, while a new addition from Emma Anderson, Queen Moth, is beguiling. It’s great to see the label’s newer names on such good form.
If you want an extra groove laden underneath, the Recalibrate Yourself collection delivers in spades. Perhaps inevitably Andrew Weatherall takes the limelight with the laconic beat applied to Early Years’ Hall Of Mirrors, but there is plenty else to enjoy. James Holden gives a dazzling remix of XAM Duo’s Cold Stones, a flurry of exhilarating synths, while Maps’ take on Not Me But Us’ When We See is suitably epic. Meanwhile the Pye Corner Audio remake of Lorelle Meets The Obsolete’s Unificado is a wall of noise, a real thrill.
Complementing the studio recordings, Reverberate Yourself is a brilliant live collection, right from the label’s roots. It is led off by a powerhouse performance from Lorelle Meets The Obsolete, whose account of What’s Holding You? is a thrilling tour de force. ‘Epic’ is definitely the word here, applicable to The Early Years and their account of The Simple Solution, Slowdive’s Golden Hair from Los Angeles, and bdrmm’s Mono from Leeds, but there are more intimate moments too, such as Mark Peters at The Band Room in Yorkshire and Dean Wareham’s When Will You Come Home.
The icing on the cake is Celebrate Your Elf, led off by a wonderfully starry The Box Of Delights from Mark Peters, who also delivers a winsome Silent Night. Fairewell makes two excellent contributions in Christmas Eve and In The Bleak Midwinter, while A Place To Bury Strangers enjoy a bruising encounter with Kool & The Gang’s Celebration. Wrapping things up is Maps – a technicolour remix of The Box Of Delights and a stellar cover of East 17’s Stay Another Day.
Does it all work?
Emphatically. It’s easy to imagine that Sonic Cathedral could have doubled the choices on this compilation and still not lost the quality. There are winning musical moments at every turn.
Is it recommended?
Heartily. This is a lovingly compiled anniversary treat, capturing every aspect of a record label whose status has only grown over that time. We’re lucky to have them!
As today is World Violin Day, here is a suitable piece to take us into the weekend! Hilary Hahn and the WDR Sinfonieorchester Köln under Semyon Bychkov oblige…
Arcana.fm 