Playlist – Sound of Mind

With the world in such a weird place at the moment, now seems like a good time to share a playlist of ambient music to ease the mind.

This one, homemade on the hoof, includes some personal favourites from Steve Reich, Philip Glass, Brian Eno, The Orb and a whole lot more:

I hope you enjoy it – and if you have any suggestions for future playlists please get in touch. Happy to do a whole load more!

Ben Hogwood

Happy National Album Day…

Last year saw a very successful first run for National Album Day, where we were all encouraged to listen to our favourite album in full at 3.33pm. (I listened to Radiator by the Super Furry Animals in case you ask!)

The sequel is already here today – the year of Don’t Skip. This is to encourage us back to the idea of listening to a single body of work from one musical source rather than a playlist, and to lengthen our attention spans as we do so.

This return to album-playing first principals, warts and all, may well mean taking in some of those puzzling instrumental interludes or hidden tracks (especially if you like progressive rock like I do!) but equally it will offer the chance to marvel at those tracks buried in albums that were quite clearly singles in waiting.

For lovers of classical music, National Album Day should also be heartily encouraged. The classical album might be more of a movable feast than its pop counterpart, but the same principles apply, and Arcana has decided to humbly offer up a few favourites that fit the album format.

One successful way to produce a classical album is to focus in on the music of a particular country. Even better, you can follow the brief of Michael Tilson Thomas and the London Symphony Orchestra, focusing on a particular composer in exile or relocated from home. This example is a thoroughly engrossing look at Stravinsky’s time in America. With brilliantly played pieces short and long, serious and humorous, it is an album to which I return often:

English music fits perfectly into this way of thinking too. Recently the BBC Philharmonic Orchestra and Rumon Gamba have been looking at the world of British Tone Poems for Chandos – and the recently-released second volume is a gem, with works from diverse sources such as Dorothy Howell, Vaughan Williams and John Foulds:

Another point of departure is the inspiration of a particular artist. On this disc from BIS featuring works inspired by the clarinettist Benny Goodman, Martin Fröst revels in the delights of music by Copland, Hindemith and Malcolm Arnold:

Alternatively if you are a classical performer, you can go for works written for your own performance. The great cellist Mstislav Rostropovich was one of the first artists to carry this one through – and this 1975 combination of concertos for cello and orchestra by Dutilleux and Lutoslawski is a winner:

If you are a singer, you can bring the words into play. Language or poetry can form the inspiration for a record, as it does with this wonderful collection from Anne Sofie von Otter and Bengt Forsberg. La Bonne Chanson was the first record of song I bought, and it stays with me today:

It is interesting to see how newer classical artists have approached the format. Sheku Kanneh-Mason offered something for everyone on Inspiration, his first release, catering for both the newcomer to the cello or the established listener. Either will surely enjoy the Shostakovich Cello Concerto no.1, but also his arrangement of Bob Marley‘s No Woman No Cry:

Finally I offer up two of my own favourite classical albums, both from the ECM label – which celebrates its 50th anniversary next month. The first is composer-themed, an introduction to the haunting sound world of Estonian composer Arvo Pärt in definitive performances, including a magical version of Fratres for twelve cellos:

The second is led by organist Christopher Bowers-Broadbent, and includes a dazzling account of Dance IV by Philip Glass, the culmination of an album including works by Pärt and Sir Peter Maxwell Davies. Listen and be enthralled:

All that remains is for me to wish you a happy National Album Day, whatever you end up listening to – and if you do, please share them below!

Ben Hogwood

Music for Burns Night

Here is an Arcana playlist for Burns Night! Made up of Scottish classical music and settings of the poet, it is a mixture of vocal and instrumental music that will hopefully give an idea of the breadth of responses to Robert Burns and his poetry – not to mention his own songwriting. Make sure you serve with haggis, neaps and tatties, and a warming whisky…

Oxford Lieder Festival – Mr McFall’s Chamber: Solitude

Mr McFall’s Chamber (above – Cyril Garac, Robert McFall (violins), Brian Schiele (viola), Su-a Lee (cello), Rick Standley (double bass), Maria Martinova (piano)

Sallinen Introduction and Tango Overture Op.74a (1997)
Pärt Für Alina (1976)
Tüür Dedication (1990)
Mustonen Toccata (1989)
Pēteris Vasks A Little Summer Music (1985)
Toivo Kärki Täysikuu (1953)
Sibelius Einsames Lied (arranged for piano sextet)
Unto Mononen Satumaa (1955)

Holywell Music Room, Oxford
Wednesday 17 October 2018 – 5:30pm

Written by Ben Hogwood

This recital, given in the intimate surrounds of the Holywell Music Room, was centred on Solitudes, a recent release of Baltic chamber music from Mr McFall’s Chamber, a group founded by violinist Robert McFall and centred around friends from the Scottish Chamber Orchestra.

This is surely how chamber music should be – a group of friends playing music that has mutual appeal – and the chemistry between the group was that of easy familiarity and affection. That affection spread to the audience, thanks to an easygoing set of introductions from McFall to put the music in context.

Over an hour’s concert we had seven very different and well-chosen pieces, linking nicely with the Oxford Lieder Festival’s theme of the Grand Tour and providing context of the Estonian music ahead of the evening concert from Kai Rüütel and Roger Vignoles.

Neighbouring Finland also got in on the act, and the Introduction and Tango Overture from Aulis Sallinen proved a bold opening piece once its persuasive rhythms and bold melodies got going. We heard more of the tango in Finland towards the end, with brilliantly swung versions of Toivo Kärki’s Täysikuu and Unto Mononen’s Satumaa.

Contrasting nicely with this was a brief but very poignant excerpt from SibeliusBelshazzar’s Feast, Einsames Lied (Song of Solitude, giving the concert its name), and a substantial Toccata by Olli Mustonen, which took Bach’s Brandenburg Concertos as its inspiration but used powerfully driven rhythms and motifs to make a punchy piece with full bodied Romantic harmonies. As with the tangos, these were performed with great character and verve by the sextet.

To balance the concert rather nicely there were pieces for reduced instrumental forces. The brief meditation of Für Alina from Arvo Pärt, Estonia’s favourite composer, left a lasting mark through the sustain applied by pianist Maria Martoniva. So too did the powerful Dedication for cello and piano by fellow Estonian Erkki-Sven Tüür, whose output falls under the influence of his time in progressive rock band In Spe. This blended catchy melodic riffs into a powerful call and response between cello and piano, with expressive cellist Su-a Lee and Martoniva quick to get to the heart of the piece.

Meanwhile A Little Summer Music, from Latvian composer Peteris Vasks, offered a sunny counterpart, its six short movements bursting with life and melody. Written as something of a pastiche, this did nonetheless work beautifully as six brief picture postcards of a Baltic summer, the violin imitating insects in the final movement while exploring attractive Latvian dances in the second, third and fifth. Cyril Garac played these with great dexterity and energy, helped with the fulsome accompaniment of Martoniva.

This was a hugely enjoyable concert, opening the door to a number of musical discoveries. Yet Mr McFall’s Chamber had one more trick up their sleeve, an encore of the hymn from SibeliusFinlandia, with the piece de resistance a solo role for Su-a Lee on musical saw. It was strangely moving as well as humorous – and capped a terrific concert.

Further listening

You can hear all of the repertoire from this concert performed by Mr McFall’s Chamber on Spotify. The album was made for Delphian Records:

On record: The Flautadors – Bavardage (First Hand Records)

The Flautadors (Catherine Fleming, Merlin Harrison, Celia Ireland, Ian Wilson, recorders)

First Hand Records FHR55 Playing time: 60’24”

Reviewed by Richard Whitehouse

Summary

Since its formation in 1997, The Flautadors has been at the forefront of recorder consorts in Europe and this latest disc, its fifth, features a selection of modern pieces, interlaced with arrangements of Scottish traditional songs, celebrating its 20th anniversary in fine fashion.

What’s the music like?

Two works by Japanese composers offer contrasting takes on aspects of Occident and Orient. Black Intention IV (1980) has Making Ishii exploiting microtonal tuning and extended playing techniques as akin to those of the European avant-garde – whereas in Idyll 1 (1976), Ryohei Hirose draws on Indian harmonic procedures to overly sensuous effect. With its combination of recorders and triangles, Arbos (1977) is a microcosm of the interplay between incremental melodic growth and relative harmonic stasis that Arvo Pärt pursued henceforth.

Two pieces by younger British composers underline the virtuosic potential of the recorder consort today. Bavardage (2002) finds David Murphy exploring the idea of gossip as springboard to quick-fire exchanges and emergence of a volatile momentum, whereas the calmer exterior of Leo Chadburn‘s De la Salle (2001) belies the intervallic intricacy (and the number of recorders) in what is atmospheric if at times unsettling music. Which leaves Terry Riley‘s In C (1964), that blueprint for American minimalism whose equably insistent pattern-making responds tellingly to the unity-within-diversity afforded by seven recorder players and 25 recorders.

As arranged by Ian Wilson, the Scottish traditional songs emphasize the lyrical aspect of recorder playing. Thus, the limpid poignancy of Ca the yowes and robust gaiety of Dandy Dancer, the virile impetus of Bose and Butter and reel-driven energy of The Deil Among the Tailors. Neil Gow’s Lament immortalised the 18th-century fiddler’s second wife in warmly elegiac terms effortlessly conveyed here, and though it may be less than four decades old, Sir Peter Maxwell Davies‘s Farewell to Stromness is a timeless classic whose pensiveness (and greater fervency of its central section) comes through unabated in this artless transcription.

Does it all work?

Yes. The Flautadors has long excelled right across the board when it comes to the recorder repertoire and such diversity is in evidence throughout this disc – which is recorded with an ideal blend of space and clarity, and informatively annotated by members of the ensemble.

Is it recommended?

Indeed. Those who still hold to antiquated notions of what recorder music is should find this disc stimulating and enjoyable in equal measure. Note that The Flautadors will be playing some of these pieces in their 20th anniversary concert at Milton Court on 26th November.

To listen to clips from this release and for further information visit the Flautadors website, while ticket information for the Milton Court concert can be found here