What’s coming up on Arcana in 2016?

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Caricature du Maître d’Arcueil, Erik Satie

A question. What do Janet Jackson, Steve Hackett, Gary Numan and Cesar dog food have in common?

I’ll let you ponder the answer while setting out what Arcana has planned for some of 2016! We’ve already wished you a happy new year but having survived the first week back this is a great chance to let you know what we have planned for the year ahead.

We plan to make much more of the links between classical and pop music this year – so you can expect further episodes of The Borrowers (which already includes Manfred Mann, Plan B, Village People and Greg Lake), interviews with artists who like to work in both areas of music, and reviews of albums that appeal to both sides.

These will include the forthcoming James Holden and Luke Abbott album, a homage to Terry Riley – and we might even delve into the daunting prospect of Rick Wakeman and Alice Cooper celebrating the 40th anniversary of Pink Floyd’s Wish You Were Here, with large orchestra in tow! There is so much variety and depth in this area to explore. We also hope to hear from the artists themselves, whether electronic, prog, jazz or ‘other’.

shining

Arcana will also be training the spotlight on two composers who have been a big influence on pop music, albeit in very different ways. 2016 is the 150th anniversary of the birth of Erik Satie, and we will explore his influence on pop music from several directions. A good contrast to Satie’s music can be found in the work of Hungarian composer Béla Bartók – famously used by Stanley Kubrick in part of The Shining (above). Arcana aims to show the breadth of his writing, as well as illustrating how rock music can be said to trace back through his work. Kicking off, Richard Whitehouse will be covering James Ehnes and Andrew Armstrong playing Bartók in a concert from the Wigmore Hall tonight.

All that and the usual concert and new recording reviews…showing there is an awful lot to enjoy musically this year. Please do stick around for the ride! And the answer to the question? They’ve all used the music of Erik Satie! We’ll tell you how in due course…but for now we will leave you with his most popular piece:

Under the surface – Lalo Piano Trios played by the Leonore Piano Trio (Hyperion)

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Composer: Édouard Lalo (1823-1892)

Nationality: French

What did he write? Lalo’s best-loved work is the Symphonie espagnole for violin and orchestra, but he actually wrote a fair amount of attractive orchestral music, such as a Symphony in G minor, a Cello Concerto and several other works for violin and orchestra that include a Violin Concerto and the Rapsodie norvegienne.

What are the works on this new recording? Lalo’s music is not too common these days, still less the chamber music. However there are three works for piano trio (the combination of violin, cello and piano) that have all been recorded for Hyperion by the Leonore Piano Trio. Nos.1 & 2 were written when the composer was in his mid to late twenties, while no.3 is a much later work, completed in 1880.

What is the music like? In a word, passionate. French music expert Roger Nichols draws attention to the influence of Schumann and Mendelssohn in the excellent booklet note, but Lalo really does feel like he wears his heart on his sleeve more than those composers do. Big, bold statements such as that from the cello in the fourth movement of the Piano Trio no.1 are straight from the heart, and the Leonore Trio convey the composer’s strong feelings throughout these excellent performances.

The first trio has a heroic feel, the music unashamedly romantic but often making its mark through memorable tunes. Lalo can on occasion be cheeky, and he does this especially in the Scherzo movements of each trio. The one in the last trio is a stormy affair, so powerful in fact that the composer orchestrated it four years later. The Leonore players do not hold back, powering forward in this turbulent but thrilling music, by far the loudest on the disc.

What’s the verdict? Brilliantly played, this disc makes an excellent case for a neglected part of Lalo’s output that finds the composer on very passionate form. With memorable melodies and rich, occasionally indulgent slow movements, this is invigorating music with a soft heart.

Give this a try if you like… Schumann, Mendelssohn, Franck

Listen

You can listen to excerpts from the disc at the Hyperion website

Meanwhile you can hear the Scherzo, the orchestrated movement from the Piano Trio no.3, as part of this excellent disc by Yan Pascal Tortelier and the BBC Philharmonic Orchestra, which contains some of Lalo’s most attractive works for violin and orchestra:

Under the surface – Mendelssohn Preludes and Fugues played by Howard Shelley (Hyperion)

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Composer: Felix Mendelssohn (1809-1847)

Nationality: German

What did he write? Schumann regarded Mendelssohn as the ‘Mozart of the nineteenth century’, as he was an uncommonly gifted child prodigy. A pianist as well as a composer, Mendelssohn is nonetheless better known for his orchestral and choral works. His five symphonies are best represented by the Scottish, the Italian and the Reformation (nos.3-5 respectively), while his most famous choral work – and one often performed by amateur choral groups – is the story of the Old Testament prophet Elijah.

The composer’s impressive body of chamber music is now better appreciated, headed by two Piano Trios and six published String Quartets.

What are the works on this new recording? Mendelssohn’s work for solo piano is often regarded as a set of attractive miniatures. This is doubtless due to the popularity of the Lieder ohne Worte (Songs Without Words), published in sets of six throughout the composer’s career. They are around three minutes each in length and carry attractive music and titles such as Venetian Gondola Song. On this recording, part four of a complete series of Mendelssohn piano music, Howard Shelley gives us the fifth book, a complement to the main work itself – the set of six Preludes and Fugues.

Mendelssohn was almost single-handedly responsible for the revival of Bach’s music in the nineteenth century, resurrecting the composer in a performance of the St Matthew Passion in Berlin in 1829, when Mendelssohn was still only 20. In the Preludes and Fugues he was paying a more obvious musical homage, using a form Bach had perfected for the keyboard.

What is the music like? When a composer writes a fugue it can sound as though they are showing off academically rather than communicating emotionally, but Mendelssohn brings to these works a strong sense of purpose and poise. His instinctive writing for the piano means the notes effectively play themselves, but they are not easy to play – which is where Howard Shelley comes in! Under his fingers the fugues really jump off the page when moving at pace, and the preludes each have strong personality.

Complementing them with Book 5 of the more romantic Songs without Words is a good move, and Shelley takes up the role of poet in the fanfare of the third piece or the lyrical Spring Song. Finally he adds the Andante cantabile e Presto agitato, an unpublished work of two halves, the first soft-hearted and the second bright and energetic.

What’s the verdict? This brilliantly played and recorded disc shows just how accomplished Mendelssohn’s writing for piano became, and with Howard Shelley completely mastering the technical demands the listener can appreciate the emotion of the music. The Preludes and Fugues are inspiring for their resilience, the Songs without Words for their poetic charm.

Give this a try if you like… Schubert, Chopin, J.S.Bach.

Listen

You can listen to excerpts from the disc at the Hyperion website

Meanwhile you can hear more of the composer’s Songs without Words on Spotify, in a complete set made by Daniel Barenboim:

Wigmore Mondays – Benjamin Appl & Graham Johnson

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Benjamin Appl (baritone) and Graham Johnson (piano) perform settings of the poetry of Joseph von Eichendorff

Wigmore Hall, London

Monday, 4 January 2016

Audio (open in a new window)

http://www.bbc.co.uk/programmes/b06tkp3w

Available until 3 February

What’s the music?

Schumann (1810-1856): Frühlingsfahrt Op.45/2 (1840); Der Einsiedler Op.83/3 (1850; Der frohe Wandersmann Op.77/1 (1840)

Mendelssohn (1809-1847): Pagenlied (1832); Nachtlied Op.71/6 (1847); Wanderlied Op.57/6 (1841)

Brahms (1833-1897): In der Fremde Op.3/5; Mondnacht; Parole Op.7/2; Anklänge Op.7/3 (all 1852-1853)

Pfitzner (1869-1949): In Danzig Op.22/1 (1907); Der Gärtner Op.9/1 (1888-9); Zum Abschied meiner Tochter Op.10/3 (1901)

Wolf (1860-1903): Nachruf (1880); Das Ständchen; Der Musikant; Der Scholar; Der Freund (all 1888)

Spotify

Benjamin Appl has not yet recorded any of this repertoire, but a reproduction of his program using available versions can be accessed below, for listeners who cannot hear the BBC broadcast. Where possible I have used recordings made by Appl’s mentor, Dietrich Fischer-Dieskau:

About the music

Joseph_Eichendorff

Joseph von Eichendorff (picture used courtesy of Wikipedia)

With around 5,000 song settings of Joseph von Eichendorff’s poetry from the 19th century alone – with thanks to BBC Radio 3 announcer Sara Mohr-Pietsch for the info! – Benjamin Appl and Graham Johnson had no trouble making up a concert of 18 ‘lieder’ for the first Wigmore Hall lunchtime concert of the year.

Their choice gives an intriguing insight into different approaches to the poet. Broadly speaking, Schumann ranges from love-laden to thoughtful and a little morose (though his selection comprises three prayers), Mendelssohn is either forthright or reflective in his three songs; the youthful Brahms is surprisingly relaxed, while Pfitzner emerges as an inventive painter. Perhaps the most striking examples here come from Hugo Wolf, who wanted to focus on the ‘comparatively unknown humourously and robustly sensual side’ of von Eichendorff’s poetry.

Performance verdict

A slightly downbeat return for the WIgmore Hall in 2016, but a concert that was beautifully performed. The pairing of an incredibly experienced pair of hands in Graham Johnson and a singer starting out on his artistic voyage in Benjamin Appl was a good match and yielded many rewards.

Several songs left lasting impressions from the program, among them two from Brahms, with Appl’s control throughout Mondnacht and the picture painting from Johnson in Parole especially notable.

It was good to hear some rarely-sung lieder of Hans Pfitzner, whose use of the piano’s lowest end brought a wholly new texture to In Danzig, while the Wolf selection reminded us how original he could be in his song settings, the piano cast in a prominent role of scene setting, one that Johnson relished and used to his great advantage.

What should I listen out for?

Schumann

2:06 – Frühlingsfahrt (A spring journey) – the initial optimism of this march is quite bracing, but it soon subsides as the poet thinks of old age.

5:31 – Der Einsiedler (The hermit) – quite a sad song, solemn and lost in thought. Again old age is a preoccupation, the piano supporting the vocal melody as a walking stick might support the physical frame.

9:02 – Der frohe Wandersmann (The happy wanderer) – a much more positive, open-air march that talks of streams ‘rushing down the mountains’ and larks that ‘soar heavenwards’. More spring than winter!

Mendelssohn

11:03 – Pagenlied (Page’s song) – a tentative detached figure in the piano part adds to the tension of this song, which is relatively subdued and distracted.

13:11 – Nachtlied (Night song) – there is a withdrawn feel to this song also, until the Nightingale is encouraged to sing out at 14:39.

16:12 – Wanderlied (Song of travel) – a typically busy piano part from Mendelssohn gives the impression of rapid movement, the traveller set on his way with the minimum of fuss – and happily so!

Brahms

20:49 – In der Fremde (In a foreign land) – a rather downcast setting in a minor key, the poet in reflective mood. The piano hints at a major key near the end but such thoughts are quickly forgotten.

22:12 – Mondnacht (Moonlight) – dappled piano lines suggest moonlight in the branches, and there is a more romantic mood, with yearning vocal lines.

25:03 – Parole (Password) – again Brahms thinks privately, using vivid picture painting from the piano that depicts the huntsman through distant calls but also the ‘one last shot’ (26:44), where Johnson adds extra emphasis.

28:02 – Anklänge (Echoes) – a short but evocative song of two halves, the first depicting a lonely house in a forest, the second greeting the maiden inside.

Pfitzner

30:07 – In Danzig – the mood changes dramatically in this darkly coloured song exploiting the lower range of both piano and singer. The mysterious and faintly menacing mood is aided by elusive harmonic movements.

34:38 – Der Gärtner (The Gardener)­ – this song is more conventional in its language, looking back to Schumann and Brahms. The mood is positive and quite dreamy, but reaches a very impressive climax at the end with the words ‘Viel schöne, hohe Fraue, Grüss ich dich tausendmal’ (‘I, lovely gracious lady, greet you a thousand times’)

38:08 – Zum Abschied meiner Tochter (Farewell to my daughter) – a positive farewell, and an expansive setting that reaches another impressive climax at 40:07.

Wolf

42:58 – Nachruf (In memoriam) – the piano imitates the lute in this song as Appl sings a gentle lament

47:06 Das Ständchen (The serenade) – a watery piano introduces an adventurous setting that contains the tune of a serenade but some unconventional dissonances between voice and piano. There is a great deal of sadness in this song.

50:27 – Der Musikant (The minstrel) – the choice of music over marriage is made here by the singer! As if to emphasise his decision there is a rather lovely piano introduction that proves to be the bedrock of the song.

52:14 – Der Scholar (The scholar) – there are a number of examples of picture painting in the piano part for this song, depicting the ‘little birds’ and the rain that ‘rattles on the leaves’. Again the singer extols the virtues of making music but occasionally with a few too many wines! (53:40)

54:55 – Der Freund (The friend) – The joy of friendship is celebrated here, though not without travelling through a storm or two (55:30) where the crushing piano and loud voice descend into brief turmoil before emerging triumphant.

Encore (not heard on the broadcast)

Verschwiegene Liebe (Silent Love) The twinkling piano introduction was followed here by a sensitive and grateful rendition from Appl.

Further listening

As a complement to the concert, how about a recital based on poems by Heinrich Heine? Anothre great influence on 19th century vocal music, Heine’s music was set by a number of composers – and here the great tenor Christoph Prégardien and fortepianist Andreas Staier look at songs by Schubert, Schumann and Mendelssohn:

New Year Feature – The Sound of Silence

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First of all, happy new year! I hope 2016 is good for you, and that Arcana can at least play some part in bringing you some musical treats and writing that you will hopefully enjoy.

It may seem an odd thing for a music site to talk about, but I’m going to kick off the New Year by promoting the virtue of silence.

Silence is good on so many levels. It allows the full formation of thoughts, provides a necessary break from the frenetic activity of day-to-day life, and – for me at least – it cleanses the mind over a holiday period such as Christmas, after which the joy of music can be appreciated more than ever. Not that I made an active bid for freedom from music this time around, but stepping away from it for a bit was incredibly useful.

Pop songwriters and classical composers have used silence to their advantage on many occasions. One use of silence I often think of is incredibly minute but works an absolute treat, where King Crimson go for the jugular half way through 21st Century Schizoid Man:

Perhaps the most famous classical example is John Cage in the sound-free 4’33” – which, depending on your view, is a work of genius or flawed publicity stunt. I would definitely tend towards the former, because if you ‘listen’ to 4’33” (after the pretty loud introduction!) each performance is different – because all manner of tiny micro-sounds make themselves known in your environment:

The use of silence goes much further back of course. Can you imagine the works of Beethoven without the use of silence? How on earth would the start of the Fifth Symphony sound without it…

…or the beginning of the second Razumovsky string quartet?

…or, taking a fantastic example from the last century, the very end of Sibelius’ Symphony no.5?

All show just how powerful silence can be when used strategically. Yet if experienced over longer periods of time it takes on an even more special significance.

A New Year’s Day walk brought this home to me in vivid form. After hearing the radio for the first hour or so of the day – and inevitably U2’s New Year’s Day was included in this! – it was out for a walk where we were staying in Faversham, Kent.

Our walk, designed to cure the hangover from the previous night’s celebrations, took us out beyond the town and heading for the reeds and marshland close to a remote place called Oare, and its haunted pub The Shipright Arms.

Here all that could be heard were calls from what turned out to be little egrets, the wind in the reeds, and something quite astonishing in the whirring of a swan’s wings as it took off on the adjacent lake.

little-egret

Little Egret (c) Ben Hogwood

Yet the wonderful truth was that if you stood and listened, most of what you could hear was…nothing. It was a cleansing experience, and one that has set me up to enjoy what 2016 has to offer musically. We at Arcana hope you choose to enjoy it with us…and share your moments of music and  silence with us…and that you have a Happy New Year!

Ben Hogwood – editor, Arcana.fm