In concert – Patricia Kopatchinskaja, CBSO / Ludovic Morlot: Britten & Shostakovich

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Britten Gloriana – Symphonic Suite, Op. 53a (1954)
Shostakovich Violin Concerto No. 1 in A minor, Op. 77 (1947-8)
Britten Peter Grimes – Four Sea Interludes, Op. 33a (1945)

Patricia Kopatchinskaja (violin, above), City of Birmingham Symphony Orchestra / Ludovic Morlot (below)

Symphony Hall, Birmingham
Thursday 16 June 2022, 2.15pm

Written by Richard Whitehouse

This afternoon’s concert by the City of Birmingham Symphony Orchestra might largely have repeated that of the previous evening, but its inclusion of Shostakovich’s most wide-ranging concerto with suites which Britten devised from two of his operas ensured an absorbing listen.

In Shostakovich’s First Violin Concerto, it helped to have Patricia Kopatchinskaja at her most combative. Admittedly the opening Nocturne took time to come into focus, though its latter stages were powerfully shaped and with the sombre foreboding of the main climax gradually fading into silence. The Scherzo was distinguished by incisive repartee between soloist and orchestra, along with the vivid pointing up of those Jewish-derived elements which give this music a sardonic quality as becomes increasingly frenetic as the movement reaches its close.

The Passacaglia depends for so much of its emotional impact on its inexorable cumulative motion, and here Ludovic Morlot was at one with Kopatchinskaja in projecting the anguish – without undue vehemence – at its apex then forlorn manner of the soloist’s musing soliloquy. The Cadenza emerged methodically but with no lack of spontaneous expression, creating an impetus that the final Burlesque fulfilled in ample measure as it careered onwards – soloist and orchestra keeping enough in reserve for the coda fully to register its desperate defiance.

A pity last night’s UK premiere of Anna Thorvaldsdottir’s Catamorphosis (a co-commission for the CBSO’s centenary) could not be repeated, but that concert is being broadcast on BBC Radio 3 at a later date. Moreover, Kopatchinskaja had music of her own to perform when she returned to the platform for a duet with principal bassoonist Nikolaj Henriques in what was a repost to the authoritarian leaders who curtail creative expression, as have their predecessors before and after Stalin. Suffice to add that this piece made its point in notably visceral terms.

Opening the concert, Britten’s Symphonic Suite from his opera Gloriana made for a short if eventful first half – moving from the imperiousness of The Tournament, via the eloquence of The Lute Song (the tenor line of the original plaintively taken by oboist Emmet Byrne) and inspired pastiche of The Courtly Dances with its felicitous writing for woodwind and percussion, to the powerful apotheosis that is Gloriana moritura with its baleful brass and burnished strings. Not often revived, it made a suitably thoughtful impression this evening.

The Four Sea Interludes from Britten’s earlier opera Peter Grimes is more frequently heard in concert, with Morlot clearly relishing the stark timbral contrasts of Dawn as much as the scenic and temporal interplay in Sunday Morning. The highlight, though, was Moonlight whose sustained intensity and encroaching harmonic dissonance were palpably conveyed – after which, Storm concluded the sequence in vividly dramatic terms while not excluding that element of weary soul-searching as briefly ‘takes the stage’ before the dramatic close.

A distinctive programme with performances to match. Morlot is a conductor not seen often enough in the UK, and the same might be said for Markus Stenz who will be appearing with the CBSO next Thursday and Saturday in performances of Mahler’s Resurrection Symphony.

For more information on the CBSO, visit their website, and for details on the newly announced 2022/23 season click here. Meanwhile for more information on the artists, click on the names to access the websites of Patricia Kopatchinskaja and Ludovic Morlot

Switched On – Roger Eno: The Turning Year (Deutsche Grammophon)

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by Ben Hogwood

What’s the story?

Roger Eno has been recording music for nearly 40 years. We first heard from him in the form of a shared credit with brother Brian and Daniel Lanois in their Apollo soundtrack, after which he wrote a series of albums for the revered All Saints Records, either in a solo capacity, in collaboration with the likes of Kate St John or Peter Hammill, or as part of ambient supergroup Channel Light Vessel.

Now he has moved to Deutsche Grammophon, Eno is taking the chance to assess some of his solo work while making new compositions too. He describes The Turning Year as, “A collection of short stories or photographs of individual scenes, each with its own character but somehow closely related to the other”. It is an album of observation, describing a natural cycle but also effectively documenting his own musical evolution. For example the oldest work, Stars and Wheels, is a solo organ piece of 20+ years, but was re-imagined for this album as Roger worked with producer Christian Badzura.

What’s the music like?

Eno is a consistent composer, and his brand of pastoral ambience is very easy on the ear but surprisingly difficult to imitate. The Turning Year captures his voice beautifully, unfolding at an easy pace. The creation of mood takes greater importance than that of melody, but the two nonetheless work closely together, with simple phrases that undergo development to produce music of subtly powerful feeling.

It is to Eno’s credit that he never crosses the line into sugary sentiment. Right from the start, the evocative A Place We Once Walked is attractively coloured and slightly wistful in its contemplation. The title track has a greater sense of purpose, while Bells is deeply personal, its slow piano revealing intimate thoughts and designs. On The Horizon is notable for a really nice clarinet colouring, while a slight chill lies in store on the autumnal Something Made Out Of Nothing.

Stars and Wheels is rather beautiful in its new clothing, panning out with some remote sounds that at the same time are extremely comforting, recreating the feeling Apollo gave of travelling slowly through deep space.

Does it all work?

Yes. Eno really flourishes in this company, and the scoring really does his keyboard-sourced music a good deal of favours.

Is it recommended?

It is. Although arguably Roger Eno’s best work remains in his earlier albums for All Saints, the move to Deutsche Grammophon has really given him the opportunity to blossom, a chance he is taking with both hands.

Listen

Buy

There are several options for purchasing and streaming The Turning Year, which you can explore here

In concert – April Fredrick, English Symphony Orchestra / Kenneth Woods: Mozart, Richard Strauss, Doolittle & Dvořák

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Mozart Adagio and Fugue in C minor K546 (1783, rev 1788)
Richard Strauss (arr. Burke) Morgen! Op.27 no.4 (1894)
Doolittle A Short, Slow Life (2011)
Dvořák (arr. Burke) Rusalka B203 – Song to the Moon (1900)
Mozart Symphony no.39 in E flat major K543 (1788)

April Fredrick (soprano), English Symphony Orchestra / Kenneth Woods

Great Malvern Priory, Malvern
Wednesday 15 June 2022

Written by Richard Whitehouse

This latest concert in its current season found the English Symphony Orchestra back at the Priory in Great Malvern in a programme with, at its centre, a contrasting triptych of vocal items from April Fredrick which continued her Affiliate Artist role in impressive fashion.

At its centre was a performance (the UK premiere?) of A Short, Slow Life, Emily Doolittle’s setting of a poem which finds Elizabeth Bishop at her most Dickinson-like with its reflection on growing up in a seeming Arcady latterly undone as much by existential as environmental factors. Enfolding and intricate, its scoring for nine instruments offers an evocative context for the vocal line to emerge from and with which to interact – Fredrick making the most of their dialogue in this winsome and, thanks to Kenneth Woods, finely co-ordinated reading.

Either side came chamber reductions from Tony Burke. In Morgen!, Strauss’s setting of John Henry Mackay, it was the understatement of Fredrick’s approach that compelled by drawing this relatively early song into the emotional orbit of those from half-a-century later. In ‘Song to the Moon’ from Dvořák’s opera Rusalka, her unaffected eloquence arguably came through more directly in an arrangement that (rightly) predicated the soloistic nature of the orchestral writing. Technically immaculate, Fredrick’s artistry was itself never less than life-affirming.

Framing this programme came two not unrelated works by Mozart. Written in 1783 when the composer was extending the formal and expressive weight of his music by intensive study of Bach and Handel, this C minor Fugue’s two-piano austerity took on a greater richness when arranged for strings and prefaced by a brief if searching Adagio which throws its successor’s contrapuntal density into greater relief. The ESO duly responded with playing of sustained trenchancy that incidentally reminded one no less than Beethoven took its example to heart.

Having given perceptive accounts of Mozart’s 40th and 41st symphonies earlier this season, it made sense that Woods and the ESO to include the 39th as opens what increasingly seems a symphonic triptych in design and intent. This performance was no less idiomatic – the first movement’s introductory Adagio imposing yet flexible so that its ‘heroic’ quality with those wrenching harmonies was never in doubt, the main Allegro building up tangible momentum through a tensile development then an even briefer coda decisive in its impetus and sweep.

Even more than its successors, the Andante is the heart of the work – among the most striking instances of that ineffable pathos Mozart made his own. Inward while with no lack of forward motion, it made a telling foil to the Menuetto with its bracing outer sections and a trio which featured a delectable expressive pause prior to a last hearing of the clarinet’s amiable melody. Nor was there any lack of wit in the scintillating finale, the repeat of its second half necessary for one of Mozart’s rare incursions into the ‘false ending’ beloved of Haydn to leave its mark. A fine conclusion, then, to another worthwhile concert by the ESO which returns early next month for a very different, all-American programme that includes a rare outing for the full-length version (including the ‘hurricane’ episode) of Copland’s ballet Appalachian Spring.

For further information on April Fredrick, click here, and for more on Emily Doolittle click here. To find out more about the artists, click on the names for more Kenneth Woods and the English Symphony Orchestra.

On record – State Choir LATVIJA / Māris Sirmais – Sempiternam: Choral music by Rhona Clarke (Métier)

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Rhona Clarke
O Vis Aeternitatis (2020)
Two Marian Anthems (2007)
Three Carols on Medieval Texts (2014)
Requiem (2020)
The Kiss (2008)
A Song for St Cecilia’s Day (1991)
Do Not Stand at my Grave and Weep (2006)
The Old Woman (2016)
Rorate Caeli (1994)

State Choir LATVIJA / Māris Sirmais

Métier MSV28614 [72’36”] English/Latin texts and English translations included

Producer & Engineer Varis Kutmiņš

Recorded July 2021, St John’s Church, Riga

Written by Richard Whitehouse

What’s the story?

Métier continues its coverage of Rhona Clarke with this collection of choral works that spans three decades and comprises settings in English and Latin, underlining the stylistic extent of her music as well as its versatility over a range of texts from the Medieval to the present era.

What’s the music like?

Now in her mid-sixties and a prominent figure in the cultural life of her native Dublin, Clarke has amassed a sizable output as takes in almost all the major genres with particular emphasis on chamber, choral and electro-acoustic music. A previous Métier release of her four piano trios from the Fidelio Trio (MSV28561) confirmed her astute handling of what is among the more recalcitrant of chamber media, with such fluency being no less evident in her writing for chorus that can easily be described as inclusive in terms of its subjects and sympathies.

The Latin pieces are almost all religious texts, of which the gradual Rorate Caeli is energetic and intricate with particularly adroit usage of modes. The stylistic trajectory Clarke has taken is evident in the motet O Vis Aeternitatis, whose text by Hildegard of Bingen duly inspires a setting of great contrapuntal skill with arresting interplay of sung and spoken passages. Two Marian Anthems comprise a fluid take on Regina Caeli then a Salve Regina whose fusing of chordal and melismatic elements results in music of translucent beauty. Most extensive is the Requiem whose four sections – a sombre ‘Introit’, an ethereal ‘Lux Aeterna’, an intimate ‘Pie Jesu’ then a soulful ‘In Paradisum’ – focus on the overtly cathartic aspects. Very different is Ave Atque Vale, a setting of Catullus where pathos and indignation are forcefully intertwined.

The English pieces underline Clarke’s literary sympathies even more directly. The relatively early A Song for St Cecilia’s Day evinces an inventive approach to Dryden’s verse in which order is wrested out of (relative) chaos towards a climactic statement around ‘diapason’. Do Not Stand at my Grave and Weep sets the poem generally attributed to Mary Elizabeth Frye with a melting eloquence as ought to make it a staple of the modern repertoire. After which, the grim humour summoned from the anonymous text The Old Woman is the more pungent. Clarke’s questing harmonic approach helps clarify the sentiment of Ulick O’Connor’s poem The Kiss, but its directness in Three Carols on Medieval Texts yields an engaging humour in Glad and Blithe and Make We Merry to complement the rapt intimacy of Lullay My Liking.

Does it all work?

Almost always thanks to the technical finesse of Clarke’s choral writing and, as previously noted, her ability to ‘home in’ on the expressive essence of the text(s) at hand makes for an emotional empathy which communicates directly to listeners. It helps when the contribution of the State Choir LATVIJA, under Māris Sirmais, is so attuned to this music, not least given its audible command of several by no means idiomatic (to modern ears) English texts. Choral societies looking for new pieces to enrich their repertoire could do worse than to investigate what is on offer here.

Is it recommended?

Indeed. The acoustic of St John’s, Riga is ideally suited to the frequent textural density of this music and the composer provides detailed annotations. Hopefully there will be more releases from this source, not least of the electro-acoustic works that form a notable part of her output.

Listen

Buy

For further information on this disc and to view purchase options, visit the Divine Art Records website. To read more about Rhona Clarke, visit this dedicated composer website, and for more on the performers, click on the names of State Choir LATVIJA and Māris Sirmais.

On record – Jeremy Huw Williams & Paula Fan – From The Hills of Dream: The Forgotten Songs of Arnold Bax (EM Records)

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Jeremy Huw Williams (baritone), Paula Fan (piano)

Bax
The Grand Match (1903). To my Homeland (1904). Leaves, Shadows and Dreams. Viking-Battle-Song (1905). I fear thy kisses, gentle maiden. The Twa Corbies (both 1906). Longing. From the Hills of Dream (both 1907). Landskab (1908). Marguerite (1909). Das tote Kind (1911). Welcome, Somer. Of her Mercy (both 1914). A Leader (1916). The Splendour Falls (1917). Le Chant d’Isabeau. A Rabelaisian Catechism (both 1920). Carrey Clavel (1925) – all world premiere recordings

EM Records EMRCD073 [77’56”]

Producer Jeremy Huw Williams Engineer Wiley Ross

Recorded 13, 14, 16, 22 & 23 October 2020 at Jeff Haskell Recording Studio; 13 November 2020 at Jim Brady Recording Studios, University of Arizona, Tucson, USA

Written by Richard Whitehouse

What’s the story?

EM Records continues its coverage of lesser-known (or the lesser-known music of) English composers in an extensive survey of ‘forgotten’ songs by Arnold Bax, of which only a few were publicly performed in his lifetime with several of them first heard as recently as 2018.

What’s the music like?

Although he is best known for his symphonies and tone poems, songs with piano occupy a not unimportant place in Bax’s output – particularly over his formative years. This selection unfolds chronologically – opening with a lively setting of Moira O’ Neil’s The Grand Match, then continuing pensively with Stephen Gwynn’s To My Homeland in which Bax’s love of Irish culture was first manifest. Two settings of ‘Fiona Macleod’ (aka William Sharp) – the evocative Leaves, Shadows and Dreams, then the (would-be) heroics of Viking-Battle-Song – precede a ravishing take on Percy Shelley’s I fear thy kisses, gentle maiden, before The Twa Corbies finds Bax experimenting (not always successfully) with recitation in this traditional text. Two further settings of Macleod – the poised elegance of Longing, then the searching inwardness of From the Hills of Dream – lead on to this composer’s only treatment of a text in Danish, that of Landskab (Landscape) by Jens Peter Jacobsen, whose three manuscripts imply syntactical problems never adequately resolved despite the music’s gentle eloquence.

Bax set four texts by William Morris, among which the warmly expressive Marguerite went (surprisingly) unheard until now. The sombre symbolism of Conrad Ferdinand Meyer’s Das tote Kind is underplayed despite being in the original German, and two rondels by Geoffrey Chaucer – the wistful charm of Welcome, Somer then deft humour of Of her Mercy – exude sentiments to which he is more attuned. This is even more evident in A Leader, a setting of George Russell’s poem that underlines Bax’s emotional involvement with those issues and persons of Ireland’s ill-fated Easter Uprising that ranks among the composer’s finest songs. Few are likely to prefer his dogged setting of Alfred, Lord Tennyson’s The Splendour Falls to that by Britten (or the Delius part-song), whereas the traditional Le Chant d’Isabeau has appealing winsomeness. A Rabelaisian Catechism is a salacious take on another traditional text, with a little help from Vaughan Williams and Wagner, while Carrey Clavel matches Thomas Hardy’s wry observation of scorned love to a tee and makes for a delightful close.

Does it all work?

Most of the time. Almost from the outset, Bax was an inventive but also interventionist setter of texts, such that the poet’s sentiments are not necessarily those conveyed in his songs. This might explain why he increasingly eschewed the genre once he had found his true metier in orchestral and chamber media, so that there are very few songs from the mid-1920s onwards. That said, the literary range of what Bax did set as well as the expressive range of his settings ensures his contribution is a notable one and is enhanced by those songs featured on this disc.

Is it recommended?

Yes, not least through the advocacy of Jeremy Huw Williams whose unstinting advocacy is underpinned by Paula Fan’s perceptive accompaniment. The extensive booklet notes are by the Bax authority Graham Parlett, to whose memory this release is appropriately dedicated.

Listen and Buy

To listen to excerpts from this disc and view purchase options, visit the EM Records website. To read more about Arnold Bax, visit his dedicated composer website, and for more on the performers, click on the names of Jeremy Huw Williams and Paula Fan. Finally for more information on the English Music Festival, click here