Proms at … Cadogan Hall 4: Aris Quartet play Schubert, Sirmen & Haydn

Aris Quartet [Anna Katharina Wildermuth, Noémi Zipperling (violins), Caspar Vinzens (viola), Lukas Sieber (cello)]

Schubert String Quartet no.1 in G minor / B flat major D18 (1810/11) (2:03 – 18:14 on the broadcast link below)
Maddalena Laura Sirmen String Quartet No. 5 in F minor (publ. 1769) (20:20 – 31:43)
Haydn String Quartet in B flat major Op.76/4 ‘Sunrise’ (1796-7) (33:04 – 54:33)

Cadogan Hall, Monday 12 August 2019

Reviewed by Ben Hogwood

You can listen to this Prom on BBC Sounds here

The BBC Proms are charting 800 years of history in their Proms At…Cadogan Hall concerts this season, and the fourth instalment brought an examination of the string quartet towards the start of its existence. It was great to see Haydn – the acknowledged father of the form – given top billing for once, with one of the six masterpieces published as his Op.76, the mature peak of his chamber music output.

Before that, the youthful Aris Quartet brought us music by an even younger composer. Schubert was only just into his teens when he delivered the first of fifteen published string quartets, and even at this point – with a work given its first performance by the family quartet in their home – he was finding a distinctive and adventurous voice. Schubert played viola in his own piece – and it was published when he turned 15.

The String Quartet no.1 inhabits two keys, G minor and its major key ‘relative’, B flat. The first movement (from 2:03 on the broadcast link above) has a tender slow introduction but becomes surprisingly stern as its main theme kicks in (3:47), with brisk tremolo figurations. This is complemented by a less stern, major key theme later on (5:24). The Aris Quartet gave it the appropriate depth, before moving on to the silvery elegance of the Menuetto (7:56), where the quartet are instructed to use mutes. This had a nice rise and fall to its dance steps in the Aris performance. A warm Andante followed (11:30), now in the sunnier climbs of B flat major, before a bright and breezy finale (14:31) in the same key confirmed the young composer’s progress not just with writing for strings, but in his already enviable grasp of form.

Very little has been heard to date of Maddalena Laura Sirmen, but thanks to the BBC Proms we had confirmation that women composers were indeed alive and well in the 18th century. Thankfully performances of their work are starting to break through, and to hear Sirmen’s String Quartet no.5, published alongside Mozart’s early works, was to hear a voice rooted in Venetian Baroque traditions but very much looking forward.
Sirmen’s work opens with a short but quite austere Largo (20:20), which the quartet played with a bit less vibrato, gradually using more as the music became warmer. Then at 21:30 they gave a nice, full sound to the first Allegro, an attractive movement and a busy affair where the parts are closely intertwined. Sirmen’s style is free of padding and the players enjoyed its conversational style. The Largo returned at 26:26, casting a shadow before the Minuetto (27:40) drew us back to music of optimism and charm.

Haydn wrote a great many string quartets – thought to be 68 in all – but the six published as Op.76 are among his finest achievements in the field. He somehow manages to find a fresh approach with each of his works, and in the case of the ‘Sunrise’ it is through a musical portrayal of the very beginning of the day (from 33:04). He had already successfully tried this approach in a symphony (the introduction of Symphony no.6 (Le Matin) the best example) but this is a more intimate affair.
The performance here was beautifully shaded to catch the first light, with a sensitive and beautiful solo from Anna Katharina Wildermuth, but the ensuing busy passages – the players following the composer’s directions – were much more forceful, as though the sun had woken a gale force wind too.

This was a very fine performance, enjoying Haydn’s invention and wit, but giving each return to the ‘Sunrise’ material the magic of the first hearing. The second movement, marked Adagio, was expansive but also softly voiced (41:18), an example of one of the composer’s later, radiant slow movements. There was still plenty of room given to the first violin part, and Wildermuth took full advantage with excellent intonation.

A typically lively Minuet followed, with a smile and the odd knowing glance through its chromatic melodies (45:59). With it came a contrasting Trio section which had something of the march about it (57:35), over a steady drone from cellist Lukas Sieber, with the Minuet repeated at 49:01. The fourth movement (50:02) was elegant, light on its feet and with fine ensemble playing, the quartet enjoying Haydn’s presentation of the theme and its variations right up to the brisk finish.

Once off air the quartet gave an encore of the last movement of Dvořák’s American string quartet, disrupting the progression through 800 years for the live audience rather, but again playing with plenty of energy and virtuosity.

Listen

The music in this concert can be heard on Spotify below:

The six Surmen quartets can be heard on Spotify in this collection from the Allegri Quartet:

Meanwhile Haydn’s collection of Op.76 quartets can be heard here in a fine set of recordings from the Takacs Quartet:

Proms at … Cadogan Hall 3: The English Concert / Kristian Bezuidenhout

The English Concert / Kristian Bezuidenhout (harpischord, above)

Purcell (1659-95)
The Virtuous Wife (before 1694): Overture (1:45 on the broadcast link below)
The Fairy Queen (1692): Hornpipe (4:38)
The Virtuous Wife (before 1694) – First Act Tune (5:41)
The Indian Queen (1695): Rondeau (8:41)
Chacony in G minor (c1678) (10:21)
Marchand (1669-1732)
Pièces de clavecin, Book 1: Allemande (publ. 1702) (17:33)
de La Guerre (1665-1729)
Violin Sonata in D minor (publ. 1707) (20:46 – 35:45)
Telemann (1681-1767)
Sonata in A minor, TWV 43:a 5 (unknown date) (39:43 – 48:47)
Handel (1685-1759)
Trio Sonata in G major Op.5/4 (publ. 1739) (50:02 – end)

Cadogan Hall, Monday 5 August 2019

Reviewed by Ben Hogwood

You can listen to this Prom on BBC Sounds here

This was a really interesting hour of music from the English Concert and director / harpsichordist Kristian Bezuidenhout, and it was all the more refreshing for a willingness to look beyond the more conventional repertoire you might have expected as part of the Proms’ look at 800 years of music in the Cadogan Hall chamber concerts this year.

Petroc Trelawny, always a consummate professional when introducing at the venue, gave helpful context behind the works chosen, and explained how each was looking to emulate the French style that was so fashionable thanks to the tastes and influence of Louis XIV, the ‘Sun King’.

First up was Henry Purcell, who was of course a popular figure and well enough established in England – but the choices here were not conventional. The Virtuous Wife, a comedy for the stage (beginning at 1:45 on the broadcast link), is just one example of many works Purcell wrote for the theatre in England. In this performance the overture was perhaps a touch too virtuous to begin with, though by the time the music broke at 2:43 a natural tempo and phrasing had been reached. The Fairy Queen’s Hornpipe (4:38) was vigorous, with a satisfying twang to the theorbo strings of William Carter.

The First Act Tune (5:41) was pensive but nicely phrased, showing off Purcell’s rich chromatic spectrum, and was followed by a graceful Rondeau, dancing slowly but elegantly (8:41), before the Chacony (10:21), one of his most famous instrumental pieces that we often hear today for string orchestra. It is a powerful set of variations over a ‘ground’ (a pre-set bass and chord progression) that gathers in intensity.

Next we had solo harpsichord, Bezuidenhout showing off his instincts in an improvisatory Allemande by the French composer Louis Marchand (17:33), with some expansive harmonic twists. That was followed by a dazzling Violin Sonata no.1 in D minor by Élisabeth Jacquet de La Guerre (20:46). Written in 1707 as part of a set dedicated to Louis XIV, it was deftly handled here by Tuomo Suni, with its six short movements marked as Prelude (20:46), Presto (23:20), Adagio (25:18), Presto-Adagio (26:00), Aria (29:53) and Presto (33:36). The Presto-Adagio showed not just only Suni’s clear tone, without vibrato, but the punchy ‘continuo’ accompaniment from Bezuidenhout and viola da gamba player Piroska Baranyay. A similarly crunchy sound inhabits the final Presto, after a graceful Aria.

Telemann’s enormous output can sometimes mask his achievements as a composer, and the Sonata in A minor – little known, it seems – showed itself to be an accomplished and dramatic piece, ‘praising the instrumental texture’ as Bezuidenhout explained. Bolstered by the double bass of Christine Sticher, the English Concert (above) really benefited from the extra depth to their sound, meaning a Trio Sonata had seven people on the platform managing the three parts!

The short suite made references to Poland, France and Italy in a Grave (39:43), Allegro – Adagio (40:32), Allegro (44:10), Largo e staccato (45:43) and final Allegro (46:15). The stylish performance had a rustic feel in the faster movements, with an earthy snap to the staccatos of the fourth and a brilliant cut and thrust to the final Allegro.
Finally Handel, and a brightly voiced Trio Sonata in G major Op.5/4, the kind of which he would surely have played with friends in his Brook Street flat in London. This performance played the piece in a different order to the norm, beginning with the ‘second’ movement, marked A tempo ordinario (50:02), which had an enjoyably full texture from the seven instruments, and then moving onto the ‘first’, an Allegro (53:55), where the violins took a more prominent role. An elegant Minuet (56:04) followed, then a Passacaille (58:02), with increasingly elaborate lines spun over a recurring bass line – which itself became enjoyably coarse.

An enlightening hour of music, then, which you are encouraged to enjoy on the link above.

Listen

The playlist below replicates the concert in available recordings, and includes the Gigue movement of the Handel which appears to have been omitted from the original concert:

Meanwhile to enjoy the many and varied delights of Purcell’s complete Theatre Music, the below recording from Christopher Hogwood and the Academy of Ancient Music will bring much pleasure:

Live review – English Symphony Orchestra / Kenneth Woods: Matthew Taylor Symphony no.5, Mendelssohn & Beethoven

Pavel Šporcl (violin), English Symphony Orchestra / Kenneth Woods (above)

Cadogan Hall, London
Sunday 9 June 2019 (3pm)

Taylor Symphony no.5 Op.59 (2018)
Mendelssohn Violin Concerto in E minor Op.64 (1844)
Beethoven Symphony no.5 in C minor Op.67 (1808)

Written by Richard Whitehouse, who also introduced the concert with Matthew from the Cadogan Hall platform

This debut at Cadogan Hall by the English Symphony Orchestra was also the third in its 21st Century Symphony Project, having previously included the Third by Philip Sawyers and the Ninth from David Matthews. This afternoon brought the Fifth Symphony of Matthew Taylor (below).

Symphonism goes back to the start of Taylor’s composing career, his Sinfonia Brevis having been completed at just 21. The present work is only his second such piece in four movements, but here the formal and expressive emphasis feels very different. Indeed, the opening Allegro is unprecedented in his output for its tensile volatility (not unlike that of Beethoven’s Serioso Quartet), its driving impetus and explosive culmination creating a momentum pointedly left unfulfilled by the ensuing intermezzi: the first (a tribute to composer and teacher Cy Lloyd) as terse and equivocal as the second (a tribute to Angela Simpson, wife of composer Robert Simpson) is poised and wistful. It remains for the final Adagio (a tribute to Taylor’s mother Brigid) to secure that eloquent apotheosis towards which the whole work had been headed.

The ESO responded with playing of sustained emotional power such as carried through this movement’s plangent twin climaxes and on to its resigned coda. Not that there was any lack of commitment earlier – Kenneth Woods having set a suitably headlong tempo for the first movement as left his players unfazed, then characterizing the central intermezzi with regard for their subtly different auras. A fine rendering of a piece which amply reinforces Taylor’s standing as a symphonist of stature. Hopefully further hearings will not be long in coming.

The rest of this concert consisted of standard repertoire, but there was nothing routine about the performances. Pavel Šporcl (above) was soloist in Mendelssohn’s Violin Concerto, notable for the trenchancy and forward impetus of its opening movement – not least the structurally crucial cadenza placed between development and reprise, then the alternately easeful and searching Andante. The finale had no lack of wit or insouciance – Šporcl duly returning for a dynamic account of the Fifth Caprice by Paganini, its coruscating passagework delivered with aplomb.

After the interval, Beethoven’s Fifth Symphony received a reading as attentive to the smaller detail as to its overall trajectory. The initial Allegro was incisive though never inflexible, not least in delineating the myriad variants on its indelible four-note ‘motto’, and if the Andante evinced a marginal lack of grandeur at its relatively swift tempo, those teasing asides which open-out its expressive course were deftly underlined.

Using the Clive Brown edition of this piece, Woods (rightly) opted to include the second-time repeat of scherzo and trio – giving it an enhanced presence as ideally complemented the finale’s ensuing majesty. There was little to fault in the latter’s uninhibited course: whether, or not, this edition places greater emphasis on the piccolo part, the clarity with which it emerged itself proved something of a revelation.

A memorable conclusion to a concert which also underlined the importance of this project in bringing together past and present of the symphony as a genre of ongoing and vital relevance. Next year sees a third instalment in the guise of the First Symphony by James Francis Brown.

Further listening

Toccata Classics have previously issued an album of Matthew Taylor orchestral music, recorded with the BBC Symphony Orchestra and Garry Walker. The composer’s Second Symphony and Viola Concerto can be heard here:

Pavel Šporcl can be heard in violin concertos by Richard Strauss and Korngold on the album below:

For more information on Matthew Taylor, visit the composer’s website Meanwhile Kenneth Woods has a detailed website of writing and engagements here, and you can read more about the English Symphony Orchestra here

BBC Proms: BBC Singers / Sakari Oramo – Songs of Farewell and Laura Mvula premiere

Proms at the Cadogan Hall: BBC Singers (above) / Sakari Oramo (below)

Bridge Music, when soft voices die (1907)
Vaughan Williams Rest (1902)
Holst Nunc dimittis (1915)
Laura Mvula Love Like A Lion (2018, world premiere)
Parry Songs of Farewell (1913-15)

Cadogan Hall, Monday 20 August 2018

You can listen to this Prom by clicking here The times given on this page refer to the starting times on the broadcast itself

Reviewed by Ben Hogwood

Over the last couple of decades the Monday lunchtime strand of the BBC Proms concerts have gone from strength to strength, and the 2018 season looks like being an especially good vintage. English song has fared particularly well, and on the heels of Dame Sarah Connolly and Joseph Middleton’s imaginative recital, here was a choral selection based around rest, sleep and departure.

To be more specific, the form of rest composers Bridge, Vaughan Williams, Holst and Parry had in mind was the Eternal form. Frank Bridge wrote Music when soft voices die (from 1:49 on the broadcast) as his entry for a magazine competition, Vaughan Williams set the text of Rest (6:33) as a deeply felt short song, while Gustav Holst’s setting of the Nunc Dimittis (10:49), made in 1915, was resurrected for publication by his daughter Imogen in 1979.

Pride of place, however, went to Sir Hubert Parry’s Songs of Farewell, one of the crowning glories of his output. Rarely performed as a cycle, this series of unaccompanied motets, completed late in the composer’s life and in the shadow of the First World War, marks some of Parry’s deepest thoughts on mortality. They are every bit as profound in today’s world as they would have been then, and an attentive audience in the Cadogan Hall evidently took plenty from this interpretation.

Sakari Oramo has experience as a choral conductor but this was his first outing with the BBC Singers. He led them in a direct, unfussy manner, shaping the phrases while recognising this experienced group already have the tools at their disposal to make a beautiful sound.

Parry constructed the cycle so that his part writing gains density as the songs unfold, moving from four parts through to eight by the final Lord, let me know thine end.
Oramo took us on that progression with a gradual increase of intensity, helped by purity of tone and unanimity of voice. My soul, there is a country (29:09) began as a lighter, thoughtful account, building in intensity, the parts moving closely together. I know my soul hath power to know all things (32:53) was notable as much for its expressive pauses between words, Oramo’s direction ensuring a tight-knit ensemble. Some of Parry’s musical phrases are of considerable length, but the BBC Singers took them in their stride.

The density grew, from five parts (the beautiful Never weather-beaten sail, 38:35) to six (There is an old belief, ) then seven (a hypnotic account of All round the earth’s imagined corners, 43:15) to ultimately eight (Lord, let me know mine end, 50:04). This was the apex of the performance, notable for its calm acceptance of the final days of life, and in the closing pages the BBC Singers portrayed Parry facing his ultimate departure with an incredibly moving dignity.

The whole concert was structured rather like the Parry cycle, beginning from the small but poignant songs from Vaughan Williams and Bridge. The BBC Singers were excellent, with beautiful phrasing, and a surprise was in store for the Holst. Often the Nunc Dimittis is a softly voiced counterpoint to the Magnificat, but this one grew from small beginnings to become a forceful statement, delivered with impressive surety.

And so to Laura Mvula’s three-part work Love Like A Lion (12:58), written to a commission by the BBC but charting rest and loss in a rather different way. The loss here was a relationship, causing intense pain in Like A Child but with acceptance given in I Will Nor Die (For Him) (20:30), with a penetrating solo from Helen Neeves (21:08) over a gently undulating accompaniment that took us to a special, faraway place. Free from restrictions, Love Like a Lion itself (23:46) revelled in its new freedom, as did Sakari Oramo – who knows Mvula well from their Birmingham days. Love Like A Lion showed her ease with choral writing, and was a deeply expressive voyage from darkness to light. Hopefully we will hear more from her very soon.

BBC Proms 2017 – Alexander Melnikov and the Latvian Radio Choir perform Shostakovich at the Cadogan Hall

Alexander Melnikov (piano, above), Latvian Radio Choir /Sigvards Kļava

Shostakovich 24 Preludes and Fugues, Op.87 (1950-51): no.1 in C major; no.2 in A minor

Ten Poems on Texts by Revolutionary Poets, Op.88 (1951): To the Executed, The 9th of January

24 Preludes and Fugues, Op.87: no.3 in G major; no.4 in E minor

Ten Poems on Texts by Revolutionary Poets, Op.88 (1951): The last salvos have sounded; They’ve won…

24 Preludes and Fugues, Op.87: no.7 in A major; no.8 in F sharp minor

Ten Poems on Texts by Revolutionary Poets, Op.88 (1951): May Day Song

Cadogan Hall, Monday 14 August 2017

Listen to this concert on the BBC Radio Player

The Latvian Radio Choir‘s BBC Proms mini-tour has been marked by inventive programming, and this grouping of revolutionary texts, set to music by Shostakovich, was a mile away from the previous night’s chaste yet subtly uplifting All Night Vigil by Rachmaninov.

Here the choir settled in an ideal acoustic, Cadogan Hall, but with some unsettling songs. Shostakovich wrote the Ten Poems on Texts by Revolutionary Poets in 1951, acutely aware of the need to please the powers that be but still writing from the heart in a style that builds on the big opera choruses of Musorgsky. The unaccompanied choir sang grisly tales of ‘two prematurely fallen fighters’ (To The Executed), then the people ‘riddled with bullets and lead’ (The 9th of January). Their delivery was sharp and incisive when required in the faster music, then cold and distinctly wintry in the composer’s slower thoughts, which were almost beyond solace.

It was down to Alexander Melnikov (above) to supply the effective contrast in excerpts from Shostakovich’s largest piano work, the 24 Preludes and Fugues, Op.87. A homage both to Bach and to his pianist friend Tatiana Nikolaeva, the cycle contains some of the composer’s most intimate and confidential thoughts. Running through each of the 24 major and minor keys, the work progresses as a ‘cycle of fifths’, with a Prelude and Fugue in each major key (for instance ‘C’) immediately followed by its relative minor key (in this case ‘A’).

Melnikov chose three ‘pairs’ – in C (with A minor), G (with E minor) and later on A (with F# minor). Each were closely linked to the choir’s texts, sentiments and tonality. The purity of C major was briefly cast under a shadow, the sunny Prelude countered by a thoughtful Fugue that emerged gradually into the attentive silence of Cadogan Hall. The rippling A minor Prelude flowed at great speed, as did the Fugue, but the G major prelude was solemn and magisterial, filling a much bigger space, a series of bright colours when compared to the downtrodden E minor Fugue.

As we moved from piano to choir the contrasts were striking, yet the emotions followed a clear path, so that when Melnikov returned he provided solace in A major. This cut to the sardonic humour of the F# minor Prelude, paired with a serene but baleful Fugue, a bridge to the empty triumph of the choir’s closing number, May Day Song.

This was a terrific concert, well planned and thought-provoking in its execution, especially given today’s political climate. Shostakovich was a composer under extreme duress at this time – but sadly that era of writing music is not so far removed as we think it might be.

Ben Hogwood

You can listen to Alexander Melnikov’s recording of the complete Shostakovich Preludes and Fugues on Spotify below: