Tag Archives: classical-music

On Record – English Symphony Orchestra / Kenneth Woods: Elgar Festival Live – Symphony no.1 & In The South (ESO Records)

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Elgar
Symphony no.1 in A flat major Op.55 (1907-08)
In the South (Alassio) Op.50 (1903-04)

English Symphony Orchestra / Kenneth Woods

ESO Records ESO2501 (80’10″]
Producer and Engineer Tim Burton

Live performances at Worcester Cathedral on 4 June 2022 (In The South) and 3 June 2023 (Symphony)

Reviewed by Richard Whitehouse

What’s the story?

There could hardly been a more fitting release to launch the English Symphony Orchestra’s own label than these performances drawn from past editions of the Elgar Festival, with both of them a reminder of the ESO’s formidable prowess over the range of symphonic writing.

What are the performances like?

The First Symphony may not have the usual number of strings to complement its triple wind, but due to the resonance of Worcester Cathedral this is not evident as regards internal balance. Not least in an opening movement whose motto-theme is never indulgent, setting the tone for an Allegro where expressive variety goes hand in hand with formal focus. Especially fine is a hushed transition into the reprise, then a coda that distils the equivocal mood as this subsides into ruminative calm. Woods is mindful to invest scherzo and trio with consistency of pulse, so if the former feels reined in on return, the latter has an ideal poise and wistfulness. Nor is the transition other than indicative of the Adagio’s profundity, Woods negotiating its soulful main theme and wistful episodes with unerring rightness through to the ineffable closing bars.

If the finale has any marginal falling-off of inspiration, it is not apparent here. Sombre if shot through with expectancy, its introduction launches an Allegro whose alternating incisiveness and suavity holds good over an impulsive development, then a transformation of the codetta whose pathos intensifies for an apotheosis where the motto-theme carries all before it. Not that the closing pages are bombastic or grandiloquent in import – rather, they set the seal on a work whose affirmation is made the greater for its having been so purposefully attained.

As for In the South, the main issue is in setting a tempo flexible enough to accommodate this concert overture’s extended sonata design without it becoming episodic. Here a surging main theme, its speculative transition and suave second theme emerge seamlessly – the underlying tension carried into a development whose impulsiveness is maintained across the intervening first episode. Amply evoking the grandeur of ‘empires past’, this is astutely handled such that its implacability eschews bathos. If the second ‘canto populare’ episode is just a little reticent, its expressive raptness – and Carl Hill’s eloquent playing of its indelible viola melody – more than compensates. Nor is there any loss of continuity during the reprise, Woods’s building of momentum near the start of the coda ensuring an irresistible yet never overbearing peroration.

Does it all work?

Almost always. ESO concerts at the Elgar Festival have yielded numerous performances of note, with In the South among the finest yet in vindicating a work that can all too easily fall victim to its seeming indulgencies. Nor is that of the First Symphony far behind in revealing the formal intricacy and expressive variety of music as personal as is any of this composer’s major works. Anyone who may have harboured doubts about either piece is likely to be won over, confirming an empathy as augers well for the Second Symphony at this year’s festival.

Is it recommended?

Absolutely. These readings are far more than mementos of their concerts, this being ‘Volume 1’ suggests that further performances from the Elgar Festival will be made available. Note too the first instalment of a Sibelius cycle is downloadable as the second release on ESO Records.

Listen / Buy

You can read more about this release and explore purchase options at the ESO website Click to read more about the English Symphony Orchestra, conductor Kenneth Woods and the Elgar Festival 2025

Published post no.2,536 – Sunday 18 May 2025

In concert – The London Chorus and New London Orchestra / Adrian Brown: VE Day 80th Anniversary Concert @ Holy Trinity Church, Sloane Square

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Petroc Trelawny (orator), The London Chorus, New London Orchestra / Adrian Brown

Vaughan Williams Six Choral Songs (1940)
Martinů Memorial to Lidice (1943)
Walton Spitfire Prelude and Fugue (1942)
Bliss Morning Heroes (1929-30)
Holst/Rice I Vow to Thee My Country (1921)

Holy Trinity Church, Sloane Square, London
Thursday 9 May 2025

Reviewed by Richard Whitehouse

The London Chorus and New London Orchestra have put on notable concerts in recent years, few more ambitious than this programme to mark not merely the 80th anniversary of Victory in Europe Day but also the 50th anniversary of Sir Arthur Bliss’s death in appropriate manner.

The first half comprised an unlikely but effective sequence of pieces written at the start of or during the Second World War. Rarely revived as such, Vaughan Williams’s Six Choral Songs to be Sung in Time of War works well as a whole: settings of Shelley that touch on aspects of courage, liberty, healing, victory, then pity, peace and war – before A Song to the New Age characterizes its utopian leanings in subdued and even ambivalent terms which seem typical of its composer. Suffice to add that the London Chorus had the full measure of its aspiration.

Two succinct if otherwise entirely different pieces brought out the best from the New London Orchestra. Rarely so overt in emotion, Martinů was well-nigh explicit when commemorating Nazi atrocities in music of plangent harmonies and chorale-like fervency both evocative and affecting. Derived from his score to the film The First of the Few, Walton had come up with a showpiece whose ceremonial prelude is vividly countered by its incisive fugue – making way for a brief if poignant interlude before matters are brought to a head in the rousing peroration.

Although intimately bound up with the First World War, Morning Heroes is wholly apposite for the present context. Conceived as the exorcism of his wartime experiences, Bliss’s choral symphony elides deftly between a distant past and its present; the first of its five movements featuring an orchestral introduction to set out the underlying mood and salient motifs, before Hector’s Farewell to Adromache had Petroc Trelawny eloquently evoking that scene on the ramparts of Troy without excess rhetoric. Adrian Brown’s understated direction meaningfully pointed up the expressive contrast between this and The City Arming – the setting of Walt Whitman whose interaction of chorus and orchestra was powerfully sustained right through   to the simmering unease at its close, with the onset of hostilities in the American Civil War.

The two parts of the central movement saw each section of the London Chorus come into its own: the women in Vigil, a confiding take on lines by Li-Tai-Po (Li Bai) such as relates the emotions of those left behind; and the men in The Bivouac’s Flame, plangently evoking life at the front with further lines from Whitman’s Drum Taps. Choral forces reunite in Achilles Goes Forth to Battle, a setting from later in The Iliad which brings about the work’s climax via The Heroes – a rollcall commemorating those of Antiquity. After this, the starkness of Wilfred Owen’s Spring Offensive is the greater for its sparse accompaniment – Trelawny’s oration a model of understatement as this segued into the setting of Robert Nichols’s Dawn on the Somme with those ‘morning heroes’ themselves evoked affirmatively if fatalistically.

A concert which ended in fine style with Holst’s stirring anthem had begun in subdued fashion with Dawn on the Somme – Ronald Corp’s elegy, given hours after his death was announced. Someone who had always given his all to this chorus and orchestra, he will be greatly missed.

Ronald Corp OBE (1951-2025)

Published post no.2,530 – Sunday 11 May 2025

In concert – The Bach Choir, Philharmonia Orchestra / David Hill: Delius, Blackford & Walton

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Amy Carson (soprano), Harry Jacques (tenor), Christopher Purves (baritone), The Bach Choir, Philharmonia Orchestra / David Hill

Delius The Song Of The High Hills (1911)
Blackford La Sagrada Familia Symphony (2022, world premiere)
Walton Belshazzar’s Feast (1931)

Royal Festival Hall, London
Thursday 8 May 2025

Reviewed by Ben Hogwood Pictures (c) Chris Christodoulou

This imaginative concert presented three British works telling stories from overseas, their reach extending to Norway, Spain and Babylon respectively.

Although born in Bradford, Frederick Delius spent much of his life abroad, living in America and then France – from where he would visit Norway for many a summer holiday with his wife. One such vacation in 1911 inspired him to write The Song Of The High Hills, a continuous sequence in three sections for wordless choir and orchestra capturing the mountain plateau, or ‘vidda’, that they found on their walks. Images from the plateau were shown on a screen behind the chorus as they performed.

Musically the work draws from Grieg and Debussy (his Nocturnes in especially) but inhabits a world all of its own, Delius achieving an unusual, rapt stillness when describing the high plains. David Hill, a long time exponent of his music, marshalled a strong performance, albeit one that didn’t quite sustain the rarefied atmosphere of the central section. It did cast quite a spell, mind, thanks to a beautiful oboe solo from Timothy Rundle on the approach, and some superbly controlled singing from The Bach Choir, headed by soloists Amy Carson (soprano) and Harry Jacques (tenor). The climax of the middle section was bolstered by three timpani, before the orchestra returned us to base camp. Speeds were on the fast side, but the Philharmonia Orchestra gave consistently luminous textures.

London-born composer Richard Blackford has shown considerable flair when writing for orchestra, and this was immediately evident in the world premiere of his La Sagrada Famila Symphony. Completed in 2022 and already recorded on the Lyrita label, it is a musical response to a 2019 encounter with Gaudí’s vision, concentrating on three great facades of the building – Nativity, Passion and Glory.

Blackford’s symphony was rich in colour but also vividly descriptive, his responses matched by an accompanying film, directed by the composer. Nativity began with awe-inspiring salvos from the brass but grew into a more intimate study, with elements of Hindemith and Berg in the orchestral writing, before a propulsive passage threw off the shackles. Passion was the emotional centrepiece, a vivid study in the brutality of the Good Friday story. Grotesque elements were emphasised by sudden closeups of Josep Maria Subirachs’s sculptures, their drawn expressions reflected in the music. The death of Christ was especially notable, marked by a solo of moving eloquence from cellist Martin Smith, then a sharp cry of dismay from Mark van de Wiel’s clarinet.

Glory was less obviously jubilant than might have been expected, mystical and reverent, but again it was an accurate response to the imagery as the film briefly went inside the massive structure. Blackford’s imagery danced in the listener’s mind on its own merits, with the thrilling surge at the end, bolstered by the organ, reminiscent of Messiaen or Scriabin. David Hill secured a fine performance from the Philharmonia, bringing the splendour of Gaudí’s cathedral to the concert hall. The emphatic finish brought with it a reminder of the building’s likely completion in 2026, a mere 144 years after construction began!

A British choral classic followed in the second half. Belshazzar’s Feast was initially denounced by Sir Thomas Beecham (a Delius fan, coincidentally) but Walton’s cantata has become a popular occasion piece. It is a vivid account of Babylonian decadence, before a human hand appears, writing on the wall of the banqueting hall to prophesy Belshazzar’s downfall. David Hill applied expert pacing to the storytelling, the Bach Choir on top form as the tension grew, spilling over into the exultant Praise Ye section. The paeans to the Babylonian Gods were starkly thrilling, contrasted by the terrifying unison shout of “Slain!” at Belshazzar’s death. The Philharmonia were superb, too, offstage brass bringing widescreen sound from either side of the stage and the percussion giving brilliant descriptions of the elements – iron and wood especially.

When the writing on the wall began, an ominous hush descended on the choir, the orchestra spreading a macabre chill through the hall – before the triumph of the closing pages, the Israelites free at last. Baritone Christopher Purves was a fine soloist, narrating the events and capturing the mood throughout. With 220+ in the choir, our ears were ringing long after the concert had finished, a timely reminder of a ruler whose inflated ego had brought about his downfall. Could there be any parallels in today’s world, I wonder?

For details on the their 2024-25 season, head to the Philharmonia Orchestra website

Published post no.2,529 – Saturday 10 May 2025

In appreciation: Coralie Hogwood

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by Ben Hogwood

A personal post for today, which marks the 10th anniversary of the passing of my mother Coralie. If you’ve been reading Arcana for a while you might know that I have a lot to thank my mum for, not least in terms of musical inspiration! Here is a post I wrote nearly ten years ago, detailing her influence.

Here, though, I would like to leave one of her favourite classical pieces, Dvořák‘s Symphony no.8 in G major – not least because it’s a beautiful spring day in the UK, which she would have loved! Keep resting peacefully, Mum.

Published post no.2,520 – Friday 2 May 2025

Orchestral Music That’s Right Up Your Street: The CBSO announces its 2025-26 season

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From the press release:

The City of Birmingham Symphony Orchestra (CBSO) today announces its 2025-26 season, presenting a compelling programme of concerts deeply connected to the city’s vibrant cultural identity.

Findings from the orchestra’s new “Listening Project” – a West Midlands focused research initiative reveals Birmingham’s strong cultural confidence. The new research shows 60% of Birmingham residents consider attending arts and cultural events to be a vital aspect of their free time. In addition, public support for Birmingham’s music venues is strong: 79% of people say they have attended a Birmingham venue in the last year – and 57% say they haven’t felt the need to travel beyond the city for music concerts.

In line with this, the CBSO has crafted a season that brings together world-class classical performances, diverse cultural collaborations, and accessible community events that reflect what Birmingham audiences value most.

CBSO Music Director, Kazuki Yamada, comments: “Our 2025-26 season celebrates both our classical heritage and Birmingham’s diverse cultural voices. We’re bringing orchestral music directly to communities across the city – honouring traditional masterworks while creating experiences that reflect what Birmingham audiences have told us they value most.”

The CBSO’s 2025-26 season at a glance

Classical tradition at its finest

The 2025-26 season offers ambitious classical programming:

· Kazuki Yamada enters his second year as Music Director by beginning a full Mahler Symphony Cycle with Symphony No.1, and leading more than 10 concerts in Birmingham, including as part of CBSO in the City.

· Elgar’s The Dream of Gerontius opens the season with the full CBSO Chorus.

· Puccini’s Tosca in concert featuring Natalya Romaniw, Gwyn Hughes Jones and Sir Bryn Terfel.

· The CBSO season has drawn top international soloists, including; Isata Kanneh-Mason, Benjamin Grosvenor, and Lisa Batiashvili.

Celebrating Birmingham’s cultural diversity

Building on successful past collaborations, the CBSO continues to champion the city’s rich cultural tapestry:

· Black Lives in Music brings a taste of their celebrated classical music festival to Birmingham with the return of award-winning singer-songwriter Laura Mvula to her hometown.

· The CBSO & The Orchestral Qawwali Project, a glorious blend of Sufi poetry, Indian Classical dance and symphony orchestra returns to Birmingham.

· Rushil Ranjan leads an evening that celebrates the musical and spiritual connections between western and eastern classical music.

· Satnam Rana presents Bringing the Light, an evening dedicated to celebrating light and winter festivals, including new commissions from contemporary voices including Cassie Kinoshi, Joan Armatrading and Roxanna Panufnik.

Taking music to Birmingham’s communities

The CBSO continues its commitment to bringing music directly to communities across the city:

· CBSO in the City week (23-28 July 2025) will return – as the CBSO delivers free music in public spaces throughout Birmingham.

Music for everyone

The season includes accessible programming designed to welcome new audiences:

· The complete Star Wars Original Trilogy performed over a full weekend, with live orchestra (24-26 October 2025).
· Symphonic Queen celebrating one of the UK’s greatest-ever rock bands.
· Charlie Chaplin’s The Gold Rush with live orchestra.

Inspiring music experiences for children and students

The CBSO’s 2025-26 season will also feature a strong focus on young people, giving more than 20,000 young people enriching music experiences through 36 concerts specifically designed for young people:

· Targeted Schools’ Concerts for different key stages, reaching thousands of children who might otherwise never experience live orchestral music.
· Notelets performances specifically designed for toddlers and young children’s first music experiences – these fun-filled interactive concerts give children the freedom to dance, sing and learn about musical instruments for the first time.
· Relaxed Concerts created for pupils attending Special Schools to enable pupils to experience live music in a supported, accessible and engaging environment.
· Four dedicated family concerts including “Music from the Movies”, “CBSO Family Christmas”, “Tunes & Tales” and “Dance Across America.”

“Our new season is a magnificent celebration of music” says Emma Stenning, CBSO Chief Executive, who promises that 2025-26 will deliver “joy filled concerts for everyone, whether you find us at Symphony Hall, across Birmingham and the West Midlands, or on national and international tour led by our incredible Music Director, Kazuki Yamada”.

She adds: “Birmingham is our inspiration. Our home city is fantastically musical, and full of diversity and creative adventure. This new season is drawn from exactly that spirit, and presents us to the world as a truly future facing orchestra, that both celebrates the great classical repertoire, and dares to try something new”.

“As you delve into what’s on offer, we hope that you will discover music that moves you, uplifts you and offers you moments of celebration and reflection. We very much look forward to welcoming you to a concert soon”.

Catherine Arlidge, Director of Artistic Planning and former CBSO violinist, added: “Our season marries the global with the local. Whilst the diversity of our season programming is informed by understanding our wide-ranging audiences locally, we are also delighted that so many top international artists are joining us for the new season – Sir Bryn Terfel, Lisa Batiashvili, Osmo Vänskä, Vilde Frang and the Jussen brothers to name but a few. At a time of international geo-political tensions, our concerts celebrate different geographies and cultures – and remind us all about music’s power to unite people. Through our research, we have a strong sense of the musical experiences that speak for the city today – yet in terms of repertoire, guest artists and composers, the season is richly international in flavour. It is a season about celebrating home – but on the world stage.”

To explore the 2025-26 CBSO season in full visit the CBSO website. Tickets for the new season go on sale from Wednesday 21 May 2025, 10am.

Published post no.2,519 – Thursday 1 May 2025