Wigmore Mondays: Hille Perl & Lee Santana – Dreams and Dances of the Sun King

Hille Perl (viola da gamba), Lee Santana (theorbo, above)

Louis Couperin (c1626-1661) Prélude in D minor (1:54-3:08)
Jean de Sainte-Colombe (1658-c1701) Les Couplets (3:10-8:50)
Marin Marais (1656-1728) Suite du troisième livre de pieces de viole – Allemande, Courante, Sarabande & Gigue (10:23-14:18)
Antoine Forqueray (1672-1745) Le Leclair from Pieces de viole (15:57-22:38)
Marin Marais Le Badinage; Le Labyrinthe (from 4ème livre des pieces de viole) (24:32-38:06)
Robert de Visée (1655-c1732) Prélude; Les Sylvains de Mr Couperin; Muzette (all for solo theorbo) (39:16-47:33)
Marin Marais Les folies d’Espagne from Deusième livre de pieces de voile (49:34-59:18)

Wigmore Hall, London; Monday 30 April 2018

You can listen to the BBC Radio 3 broadcast by clicking here

Written by Ben Hogwood

It is not often we have the chance to enjoy a concert of music for the combination of viola da gamba and theorbo, but the Wigmore Hall and BBC Radio 3 gave us that privilege with the vastly experienced team of Hille Perl and Lee Santana.

Perl plays a seven-string instrument, and if you’re not familiar with the viola da gamba it is essentially an early cello, but without a spike – so you have to grip it between the knees when playing to stop it from slipping. With seven strings this instrument has a wide range, and thanks to a carefully chosen programme we were able to appreciate its very different qualities at each end of its range.

In support was Lee Santana, using two different theorbos. When watching a player like this in action there is always a worry that the instrument’s long neck will take out the other occupants of the concert platform, but thankfully this did not occur! The timbre of a theorbo is very appealing, a kind of more mellow early version of the guitar, and both instruments had a lovely subtle resonance from the Wigmore Hall acoustic to help them.

Their program was based around the reign of the 17th century Sun King, Louis XIV of France, who loved to have music played for him during mealtimes and in his court. Some of the music here could easily accompany a meal, though some was pleasingly energetic and clearly written for a more vigorous form of dancing.

Perl began with a florid Prélude for solo viola da gamba from Louis Couperin (1:54 on the broadcast link), showing off the wide melodic range of the instrument, with wonderful resonance on the lowest note – an open ‘A’ string – and a broad, slightly mellow treble. Then Santana joined almost imperceptibly, in the same key, for Les Couplets, with the unmistakable lilt of a triple time dance – before a more improvisatory section over a set harmonic pattern, building to an impressive and vigorous finish.

The Marais, a collection of movements from a much bigger suite, began with an expansive Allemande (10:23), a slow dance form of German origin, then a graceful French Sarabande (12:10), with more vibrato applied by Perl. 13:28 a brisk Gigue.

The Forqueray piece (15:57), a tribute to the composer Leclair, made some formidable demands met head on by Perl’s virtuosity, again running like a form of chaconne (using a set pattern of chords). Listen from 20:16 to Perl’s rapid passagework, the bow flitting across the strings.

Le Badinage (from 24:32 repeats quite a sombre figure to hypnotic effect, crossing the strings on both viola da gamba and theorbo – and here the mellow tone of Perl’s instrument was ideal, despite an explosive interlude or two. Following this, Le Labyrinthe (28:26) felt more ceremonial, before heading into the higher register, and then stretching out into a much more substantial set of variations over a set chord progression. Once again, brilliantly played with plenty of room in terms of keeping a natural rhythm.

We then heard three pieces for solo theorbo by Robert de Visée, beginning with the free-spirited Prélude (39:16). The graceful Les Sylvains de Mr Couperin followed, then a Muzette (44:08).

Finally we heard a hugely impressive performance of the 32 variations making up Les folies d’Espagne (from 49:34), bringing both instruments together and utilising the practice of double stopping (more than one string on the viola da gamba played simultaneously). It was a stylish tour de force!

Further listening

You can listen to almost all of the music played in this concert on the Spotify playlist below, which includes recordings already made by Hille Perl:

Wigmore Mondays: Javier Perianes plays Chopin, Debussy & Falla

Javier Perianes (piano, above)

Chopin Prelude in C Op.28/1 (1839) (1:44-2:25 on the broadcast link below)
Debussy Danseuses de Delphes (Préludes Book 1) (1909) (2:30-5:45)
Chopin Berceuse (1843-4) (5:50-10:38)
Debussy Clair de lune (Suite Bergamasque) (1890) (10:39-15:44)
Debussy Les sons et les parfums tournent dans l’air du soir (Préludes, Book 1) (1910) (15:57-19:36)
Chopin Ballade No 4 (1842-3) (19:44-30:51)
Debussy La puerta del vino (Préludes Book 2) (1913) (32:47-36:15); La sérénade interrompue (Préludes Book 1) (1910) (36:18-39:02)
Falla Fantasia baetica (1919) 39:05-51:16

Wigmore Hall, London; Monday 9 April 2018

You can listen to the BBC Radio 3 broadcast by clicking here

Written by Ben Hogwood

The Debussy centenary has brought out some imaginative programmes from performers, and the inspiration for this BBC Radio 3 Lunchtime Concert from the Wigmore Hall lay in one of Javier Perianes‘ earlier recital discs. He played much of the music in an unbroken stream, giving a lovely continuity to the music making while linking the composers too.

Debussy loved Chopin, describing him as ‘the greatest of us all, for through the piano alone he discovered everything’. Comparing the first published preludes by the composers was intriguing, the urgency of the Chopin (1:44 on the broadcast link above) countered by the sultry, easily paced Danseuses de Delphes (2:30). Chopin’s Berceuse (5:50) and the famous Clair de Lune from Debussy’s Suite Bergamasque (10:39) share the same key of D flat major, and here the join between the two was exquisitely close. In the Berceuse the boat, having initially started out on a millpond, ran into some pretty gusty weather, while the dance of the moonlight on the water in the Debussy was allowed to take its time to ripple.

The following Les sons et les parfums tournent dans l’air du soir (15:57) was deeply atmospheric, shot through with mystery – but then Perianes turned to a powerful and very fluid account of the Ballade no.4, (19:44) passionately played and emphatically signing off the concert’s first sequence.

The second sequence was more noticeably modern, its musical language shifting forwards. La puerta del vino (32:47) crackled with tension, an insistent Habanera rhythm becoming the lynchpin for a rich vein of improvisatory work up top, while the humour of La sérénade interrompue (36:18) was brilliantly caught, with its stop-start gait and Spanish flair.

The latter quality was fully in evidence for an assertive and exciting Fantasia baetica (39:05), Manuel de Falla‘s biggest work for solo piano. This was packed with big dance crossrhythms, powerful musical statements and substantial added note harmonies. There were some very striking moments such as the big, bell-like melody from 49:13, which seems to be an attempt on the part of the piano to imitate the guitar, and Perianes swept all before him to an all-encompassing finish.

For the encore Perianes turned our glances sideways to another of Debussy’s close if less likely influences, the composer Edvard Grieg, whose piano music is still massively underrated. The Notturno (52:21) chosen by today’s pianist was beautifully judged and vividly pictorial.

Further listening

You can listen to the music played in this concert on the Spotify playlist below:

Vilde Frang, BBC Symphony Orchestra / Sakari Oramo: Anna Clyne, Britten & Beethoven ‘Pastoral’

Vilde Frang (violin), BBC Symphony Orchestra / Sakari Oramo (above)

Clyne This Midnight Hour (2015) [London premiere]

Britten Violin Concerto, Op.15 (1939)

Beethoven Symphony No.6 in F, Op.68, ‘Pastoral’ (1808)

Barbican Hall, London; Wednesday 21 March 2018

Written by Richard Whitehouse

You can listen to the broadcast of this concert here, available until 20 April 2018

Most concerts by the BBC Symphony still feature either a world or national premiere, and tonight’s concert began with a first London outing for Anna Clyne’s This Midnight Hour. Drawing inspiration from poems by Juan Ramon Jiménez and Charles Baudelaire, this 12-minute piece duly alternates between energetic and more ruminative music in a ‘stretto’ of accumulating impetus. A pity the climactic stage loses focus in an amalgam of waltz-like flaccidness and folk-inflected jejunity – suggesting this as not one of Clyne’s better pieces.

Britten’s Violin Concerto has certainly come in from the cold over recent years. Vilde Frang was a little tentative in the initial Moderato, with its interplay of wistful lyricism and driving impetus, but the central scherzo was finely judged through to a seismic climax then dextrous cadenza leading into the finale. The earliest among Britten’s passacaglias, it makes plain his feelings over the demise of the Spanish republican movement, and Frang (below) had the measure of its sombre inwardness and high-flown rhetoric prior to a recessional of haunting eloquence.

As so often, Sakari Oramo was an astute and attentive accompanist – thereafter putting the BBCSO through its paces in a fluent and often searching account of the Pastoral Symphony. In this, as in Beethoven’s music overall, Oramo was his own man – omitting the exposition repeat in what was an incisive but never headlong reading of the first movement, followed by an Andante whose rhapsodic unfolding was accorded focus by the flexible underlying tempo and fastidious shading of string textures as has long been a hallmark of Oramo’s conducting.

The last three movements proceed continuously and if the scherzo was a little too streamlined for its verve and humour fully to register, the ‘Thunderstorm’ made for a powerful interlude before (and climactic upbeat to) the finale. As disarming melodically as it is difficult in terms of pacing, this unfolded with a sure sense of its developing variation; allied to a lilting motion which evokes a cosmic dance offered as thanks for peace in time of crisis. Maybe the closing cadence was just a touch over-emphatic, but the sense of a journey fulfilled was undeniable.

You can watch Vilde Frang talk about the Britten Violin Concerto in a BBC video here For more information on the BBC Symphony Orchestra, head to the orchestra’s homepage – and for more on their chief conductor Sakari Oramo, click here

Meanwhile you can listen to Vilde Frang’s disc of the Britten and Korngold Violin Concertos, recorded for Warner Classics, on Spotify:

Wigmore Mondays: Danny Driver plays Dreamscapes by Messiaen, Saariaho, Ligeti & Schumann

Danny Driver (piano, above – photo credit Richard Haughton)

Messiaen Prélude No 5 (Les sons impalpables du reve) (1928-9) (2:36-8:15 on the broadcast link below)

Saaraiaho Ballade (2005) (8:30-15:06)

Ligeti Étude No 6 (Automne à Varsovie) (1985) (15:29-20:37)

Schumann Kreisleriana Op.16 (1838) (23:17-59:32)

Wigmore Hall, London; Monday 26 March 2018

You can listen to the BBC Radio 3 broadcast by clicking here

Written by Ben Hogwood

A fascinating program from Danny Driver on the theme of ‘Dreamscapes’, an hour away from reality in the company of composers intent on using the piano to express new harmonies and colours.

Few 20th century composers had a greater sense of colour than Olivier Messiaen, and the vivid shades of his Prélude No.5 began the recital. Titled Les sons impalpables du reve (The Impalpable Sounds of a Dream), it was described by its composer as ‘polymodal, consisting of a blue-orange mode with a chordal ostinato and cascades of chords, and a violet-purple mode having a copper timbre. Note the pianistic writing, composed of triple notes, rapid passages in chords, canon in contrary motion, hand crossing, various staccatos, brassy louré, gem effects’. All elements to enjoy in Driver’s richly textured performance, from 2:36 on the broadcast link above – with a questioning feel to some of the harmonic phrases.

Then a relative rarity, a piano work by Kaija Saariaho, the Finnish composer whose output until now has largely concentrated on the orchestra and works for the stage. This time the composer ‘wanted to write music with a melody that grows out of the texture before descending into it again; a work that constantly shifts from a complex, multi-layered texture to concentrated single lines and back again’. From 8:30 on the broadcast you will hear the Ballade under the assured control of Driver, in a performance of great intensity that plummets back to earth at the end.

For the third of this group Driver intriguingly chose Ligeti’s Étude no.6 (15:29) – with the immediately recognisable, rarefied sound world of the composer. The fingers of the right hand worked largely in octaves here, with richly layered music supporting the descending melodies – until absolutely everything descended at the end in Driver’s powerhouse performance.

Schumann’s Kreisleriana is a group of eight pieces inspired by E.T.A. Hoffmann’s fantasy on the imaginary musician Johannes Kreisler. Each of the sections is in direct contrast to its neighbour, reflecting the character’s manic depression – with which Schumann may have felt an affinity given his own extremely variable state of mind. Certainly inspiration was at hand for this substantial work, which he completed in the space of just four days in 1838, before revisiting slightly in 1850.

Inevitably the muse of Clara Schumann, Robert’s soon-to-be-wife, is close at hand – and explains the outpouring of feeling in each of the works. The pieces vary between between dramatic, tempestuous fantasies such as the first, third and seventh numbers, and deeply personal thoughts expressed in beautiful surroundings, as in the second piece, the longest in the cycle by far.

Schumann sets up a tonal conflict, too – the fast pieces are in the minor key, and most rooted on G – nos. 3, 5, 7 & 8 fall into this category – while the slower, tender pieces (2, 4 & 6) are conceived around B flat major, G minor’s closest relative. The tension between the two, as well as an abundance of melodic material, lay at the heart of Danny Driver’s interpretation.

Driver clearly loves this music, and gave a passionate performance, enjoying the unbroken stream of inspiration in the first piece (23:17), then the repose and reflection in the second (26:14), the pianist allowing plenty of room for thought and contrast between the faster episodes in this much longer piece.

The third piece set up an excitable drama (36:36) with a commanding left hand, while the fourth responded once more with calm introspection (41:45). The fifth piece was detached in this performance, quite an edgy main idea (45:30) giving way to a more graceful centre. Appropriately the sun appeared during the sixth piece (49:18), giving a promise of the spring we are all hoping will arrive soon – and then Driver tore into the seventh piece with relish (53:32).

Any performance of Kreisleriana lives or dies by the last piece, a playful but rather haunting finale (55:56) that rises and falls like a bird on the wing. Driver caught its essence superbly here, with plenty of give and take in the tempo to give the melody its natural rise and fall. Schumann’s music is at its most exquisite here.

For an encore Driver turned full circle, bringing us back to Messiaen for another Prélude – his first, La colombe (The Dove) – a sign that birds would be his principal subject matter when writing music!

Further listening

You can listen to the music played in this concert on the Spotify playlist below – which in the absence of a version from Driver includes Alfred Brendel’s recording of Kreisleriana:

Danny Driver’s discography includes a recent landmark recording of piano concertos by women composers for Hyperion, bringing the works of Dorothy Howell, Amy Beach and Cécile Chaminade:

Wigmore Mondays: Leon McCawley plays Haydn, Chopin, Beethoven & Hans Gál

Leon McCawley (piano, above – photo credit Clive Barta)

Haydn Piano Sonata in C minor, HXVI:20 (1771) (1:41 on the broadcast link – 18:08)

Hans Gál Three Preludes, Op 65 (1944) (19:34 – 28:12)

Chopin 2 Nocturnes, Op 37 (1838-9) (29:32-42:07)

Beethoven 32 Variations on an Original Theme in C minor, WoO 80 (1806) (44:07 – 53:49)

Wigmore Hall, London; Monday 5 March 2018

You can listen to the BBC Radio 3 broadcast by clicking here

Written by Ben Hogwood

Leon McCawley is an enterprising pianist who looks to play both the familiar and the unfamiliar, as his intriguing discography for the Somm and Avie labels shows. This concert, carefully planned, distilled this approach into an engrossing hour’s music of darkness and light.

The darkness was present in the works of the program inhabiting minor keys, especially those by Haydn, the first by Chopin, and the towering Variations of Beethoven.

Haydn first (from 1:41 on the broadcast) – one of his many Sonatas for piano that helped revolutionise the instrument’s reach and capacity. This particular example had a first movement (from 1:41, marked Moderato) that was surprisingly reserved and doleful for its composer, as though he had something on his mind.

McCawley moved into an equally serious Andante con moto (from 8:53), but as this settled a more lyrical approach took hold, rather like an aria. Brightening as the movement progressed, its elegance was countered by the finale (marked Allegro, from 13:46), which was detached in its delivery from McCawley, becoming more worked up as the themes were developed before a darker end at 18:08.

The Hans Gál pieces were undoubtedly the curiosity of the program. Gál’s renaissance of recent years has unearthed some very interesting music. A Jewish composer, he had to flee the Nazi regiment in the 1930s for the UK. Tragedy took hold there also, in the form of his elder sister and one of his sons taking their own lives, before the family were able to settle more in Edinburgh, where he worked for Donald Tovey at the university.

Due to the prominence of tonal writing in his music, and the unfashionable stance of this approach at the time, his music was more or less forgotten – until recently, where the conductor Kenneth Woods has revived the four symphonies, Matthew Sharp the music for cello and McCawley the piano music.

This was essentially a taster of freeform pieces, the Three Preludes beginning with something of a whirlwind at 19:34. They descended into a mid-range cluster of notes before the busy-ness returned. The second prelude (22:13) had more private thoughts, and was more romantic, while the third (26:10) was playful and elusive.

McCawley then moved on to thoughtful Chopin, the first of the 2 Nocturnes Op.37 (29:32) darkly shaded and very sombre. It was a nice touch moving from G minor to G major (36:30) for a more carefree, triple time piece, subtly charming.

These served as the ideal lead-up to some tempestuous Beethoven. When the composer is operating in the key of C minor you can usually expect fireworks – the Symphony no.5, the Pathétique piano sonata and the Piano Concerto no.3 are just three examples of the brimstone we hear in this key. The 32 Variations (from 44:07) are close in date to the Fifth, and have similar qualities – though here Beethoven takes a small chord progression cell and works his magic with it.

From the start McCawley powered through some impressive pianistic feats, using a really strong sense of phrasing to give the music space when needed. From 47:01 the music effectively moved into a slow ‘movement’ in C major, but it soon returned with extra vigour to the home key.

This was a brilliant performance, capped by an inspired encore of the same composer’s Bagatelle in C major Op.33/2 (54:47) – McCawley careful to choose an appropriate key. This was enjoyably mischievous, Beethoven playing around with both pianist and listener.

Further listening

You can listen to the music played in this concert on the Spotify playlist below – which includes McCawley’s own recordings of the Haydn and Gál:

McCawley is the only pianist to date who has recorded the complete piano works of Hans Gál, and the album is also on Spotify: