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

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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

Switched On – Indian Wells: No One Really Listens To Oscillators (Mesh)

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Reviewed by Ben Hogwood

What’s the story?

Pietro Iannuzzi’s latest album as Indian Wells may have a humorous title, inspired by a fit of pique while working in the studio, but it contains music of much greater personal meaning.

His concept with the album was to reflect the fact that it is possible to grow up around half-finished buildings that become a part of the landscape without anybody noticing – and that this leads to a distorted reality, that we very quickly become accustomed to.

What’s the music like?

Multilayered and compelling. The distortion Iannuzzi refers to can be felt immediately on the first track, An escalator in a storm (Incomputio Part I), where voices and snatches of sound flit across the picture of what would otherwise have been the serene progress of slow moving musical figures.

Life of JS (Incomputio Part II) has a deeply personal resonance, written about his daughter who was born in early lockdown and found to have Down Syndrome. Research around the condition lead him to the American artist Judith Scott, a self-declared ‘unfinished’ person – and who is the dedicatee of this beautifully cloudy music, with its twists and swirls. Iannuzzi’s daughter also inspired Before Life, the closing track, which starts with a recording of her foetal heartbeat and grows into a really impressive and emotive piece of work, the choice cut on the album.

Elsewhere the music is shot through with movement and positive kinetic energy. Four Walls bubbles and flickers in the half light, while Against Numbers uses its glitchy beats and motifs in a thought provoking way while also cutting loose with white noise.

The title track progresses with a stately poise, the oscillations holding up well! – while Habitat also enjoys wide-ranging squiggles before kicking into a more conventional four to the floor rhythm. Calabrian Woods breaks into this area too, retreating to a warning motto over soft keyboard pads before launching into a full breakout.

Does it all work?

Yes – each track works well in isolation but the album works best when experienced in one setting, with a very satisfying ebb and flow.

Is it recommended?

Yes. Anyone who has enjoyed the music of Max Cooper will surely warm to the music of his labelmate, whose personal experiences bring deeper meaning to this thoughtful but ultimately positive music.

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Screen Grab: The music of Marriage – new BBC drama brings composer Caroline Shaw to the fore

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This week the BBC have started showing the intriguing drama Marriage, which has superstar quality from its two lead characters, Sean Bean and Nicola Walker.

The series has split opinion in its accurate portrayal of every life in a marriage lasting 27 years – largely played out in real time. As the series has developed the many subtleties have combined to a plot that is gathering substance and meaning as time goes on, rather like life itself.

One of the most striking elements of the drama is its bold choice of signature tune, which again has divided opinion sharply. The chosen music is by composer Caroline Shaw (above) – the first couple of minutes of her Partita for unaccompanied choir, specifically the first movement Allemande.

Initially the voices sound like an extra part of Marriage, especially as the plot continues to play out, but as the voices come together in a firm pitch so too do the images, and the end credits roll.

You can listen to the full movement, which lasts six minutes, below – and enjoy Shaw’s wonderful layering of the voices, with spicy harmonic clashes and some vibrant writing for the small choir:

The Partita continues with three further movements, each based on an old dance form. The Sarabande is initially soothing and enchanting, before really letting rip with primal power halfway through. The Courante, the most substantial of the four movements, has a number of hypnotic effects and fresh faced harmonies, especially halfway through as it soars to unexpected heights.

Finally the Passacaglia has a lilting base to its music, and a spoken word commentary resumes as it did at the start of the piece, before the voices end powerfully in unison.

Here is a live performance, given by the dedicatees Roomful of Teeth – with whom the composer sings:

Aside from this high profile appearance, Shaw has been making quite a name for herself in recent years. In 2021, Nonesuch released the album Let The Soil Play Its Simple Part, written and performed with Sō Percussion:

Meanwhile the choral piece And the Swallow lingers particularly long in the memory:

You can discover more of Caroline’s music at her website

In appreciation – Lamont Dozier

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Lamont Dozier in 1969. (c) Michael Ochs Archives, via Getty Images

Last week we heard the sad news of the death of Lamont Dozier, one of Motown’s chief songwriters. If you have listening to British radio stations over the last week you may well have heard a tribute or two in his honour – and even if you haven’t heard the tributes, the chances are you have heard a song in which Lamont had a vested writing interest.

The shower of tributes from artists in the wake of his death says everything about the quality of his songwriting. Carole King, in a Twitter post, said this:

As a member of that fabled Holland-Dozier-Holland trio (with Brian and Eddie Holland) he helped form something of a production line of quality Motown hits, a trio of songwriters the label could turn to at incredibly short notice, and who thought nothing of challenging their star vocalists.

First in this tribute is an appropriate one for this website – The Supremes’ I Hear A Symphony, from 1965. Here it is on an episode of Hullabaloo, introduced in a classical context:

Some of Holland-Dozier-Holland’s finest songs were written for The Four Tops – and it would be hard to top Reach Out, I’ll Be There, exploiting the incredibly powerful voice of lead singer Levi Stubbs to give the song its strongest possible impact:

Meanwhile another recipient of the trio’s fruits were Martha & the Vandellas, whose Heatwave remains one of Motown’s most powerful and affirmative calling cards:

Back to The Supremes, and the feverish You Keep Me Hangin’ On – not just for the pleading Diana Ross vocal but for the insistent guitar line that just will not go away:

Another Martha & the Vandellas track, Jimmy Mack, written in the wake of the death of the songwriter Ronnie Mack at the age of only 23, asks ‘when are you comin’ back?’

Another UK chart topper for Dozier and the Hollands was Band of Gold by Freda Payne, released in 1970 and a radio staple to this day:

Finally here is a wonderful song Lamont wrote for the imperious Alison Moyet in 1984. Invisible is surely one of her finest vocal achievements:

For a full list of songs in which Lamont was involved, you can go to the SecondHandSongs website

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

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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.

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