Online recommendations – Living Room Live

Today’s nudge in the direction of an online concerts brings us to Living Room Live.

This is an exciting new initiative from a group of musicians keen to make a difference to those in isolation, led by violinist Tamsin Waley-Cohen and her composer sister Freya, together with pianist George Fu, consultant Daniel Ross and viola player Ann Beilby.

Living Room Live started just two months back but is already hosting three concerts a week through Facebook live, each concert starting at 6pm BST.

This week you can catch Zoë Martlew‘s cabaret alter-ego Nefari on Monday 18 May, then up and coming cellist Laura van der Heijden playing Bach‘s wonderful Solo Cello Suite no.4 on Wednesday 20 May. Meanwhile Friday’s concert, from violinist Amalia Hall, will feature the virtuosity of Ysaÿe, channelled through two sonatas for solo violin.

All concerts can be viewed in real time and in catch-up mode through Living Room Live’s Facebook page here

Watch: Chausson’s Poème

With isolation in mind, here is a bit of musical indulgence for a Monday evening – for no reason other than it’s a lovely piece of music that Arcana was reminded of today!

Ernest Chausson‘s Poème was written in 1896, in response to the great Belgian violinist Eugène Ysaÿe, who was keen for him to write a violin concerto. Although Chausson was capable of writing in longer forms – he wrote a fine Symphony and several substantial chamber works – he found this a daunting request.

Instead he produced this single movement work, fifteen minutes for violin and orchestra which beautifully reflect his Italian surroundings, for the composer was on holiday in Florence.

In this performance Vadim Repin is the soloist, with the Israel Philharmonic Orchestra conducted by Zubin Mehta.

 

Live review – Leonidas Kavakos, LSO / Sir Simon Rattle: Brahms, Debussy & Enescu

Leonidas Kavakos (violin, above), London Symphony Orchestra / Sir Simon Rattle (below)

Barbican Hall, London
Sunday 16 December 2018

Brahms Violin Concerto in D major Op.77 (1878)
Debussy Images (1905-12)
Enescu Romanian Rhapsody no.1 in A major Op.11/1 (1901)

Written by Richard Whitehouse

Sir Simon Rattle and the London Symphony Orchestra tonight continued their ‘Roots & Origins’ project with a diverse programme ranging from the innate classicism of Brahms, through the refracted (post-)impressionism of Debussy then on to the unaffected nationalism of Enescu.

A change in the running order saw a first half devoted to Brahms’s Violin Concerto – easy to pigeon-hole as archetypally Austro-German, though fairly permeated with elements derived from popular and traditional sources. Nor did Leonidas Kavakos deliver a bland or uneventful account, maintaining palpable momentum across the expansive initial movement that carried through to an uncommonly perceptive take on Joachim’s monumental cadenza, followed by an easeful coda in which the symbiosis between soloist and orchestra was at its most tangible.

While there was no undue lingering in the Adagio, Kavakos brought out its gentle eloquence in full measure – abetted by playing of burnished warmth from the LSO’s woodwind, though there was no lack of agitation in the contrasting central section. The Hungarian overtones of the finale were then given full rein, Kavakos projecting the music’s rhythmic drive as surely as he propelled the coda to its effervescent close. Throughout this performance, Rattle was at one with his soloist in a work he has no doubt given many times during the past four decades.

A dynamic and vividly projected reading, then, from Kavakos (very different from the inward and almost self-communing one he gave during last year’s Enescu Festival), who returned for a predictably scintillating account of the Les furies finale from Ysaÿe’s Second Solo Sonata.


Debussy’s Images has long been a Rattle staple: his running-order differs from that published – though there is arguably no ideal sequence for such a contrasting assemblage. Certainly, the fatefully understated Gigues makes a plausible opening, its fugitive gestures and searching ambivalence more an evocation of the composer in his last years as of any English environs. Rondes de printemps is the positive corollary, its vernal freshness and simmering energy an indication of that renewal in French culture made explicit by the late sonatas. In both pieces, Rattle secured a superfine response from the LSO and if characterization in Ibéria was less acute, this may have been owing to the music’s broad-brush Spanish quality than to any lack of insight. Not in doubt was the cohesion that Rattle drew from this composite work overall.

Cohesion was also key to his performance of Enescu’s First Romanian Rhapsody. More than a medley of popular tunes, its integration is that of a borne symphonist and Rattle responded accordingly as he built momentum across the suave initial episodes before cutting loose with the bacchanal. The degree of detail lost was outweighed by the visceral excitement that held good through to the coda. A piece associated with Rattle since the early 1980s, and of which the LSO gave a memorable televised reading a decade earlier, ended this concert in fine style.

The question remains why Rattle has never added further Enescu to his repertoire. Perhaps he considers him lesser to Szymanowski, whom he has championed assiduously? Pieces such as the Second Symphony, Third Suite and Vox Maris cry out for his advocacy. Maybe one day?

For more information on forthcoming concerts from the London Symphony Orchestra in 2019, you can visit their website. Meanwhile you can enjoy Kavakos in a recent performance of the Brahms Violin Concerto below:

Wigmore Mondays: Augustin Hadelich & Charles Owen – Brahms, Ysaÿe & Adams

Augustin Hadelich (violin, above), Charles Owen (piano, below)

Brahms Violin Sonata no.1 in G major Op.78 (1878-9) (1:57-28:08)
Ysaÿe Sonata for solo violin no.4 in E minor Op.27/4 ‘Fritz Kreisler’ (1923) (30:31-40:44)
Adams Road Movies (1995) (43:33-1:00:24)

Wigmore Hall, London; Monday 10 December 2018

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

Written by Ben Hogwood

This was the third Monday lunchtime in the last six weeks where BBC Radio 3 and the Wigmore Hall have been concentrating on music for violin and piano. This nicely constructed recital complemented the previous pair from Aleksey Semenenko and Inna Firsova, and Tai Murray and Silke Avenhaus, where we had heard two of the three violin sonatas by Grieg.

On this occasion we heard a contemporary of those works, the BrahmsViolin Sonata no.1 in G major – a work written for his friend, the great violinist Joseph Joachim – and one also picked up by Clara Schumann. It is a highly attractive work and received an affectionate performance here, Augustin Hadelich and Charles Owen straight into the beatific air of the first movement (from 1:57 on the broadcast) With an equally genial theme from 3:24, this was Brahms at his most radiant, with a sweet tone from the violinist and flowing countermelodies from Owen. The airy role reversal at 5:20, with Owen playing the tune and Hadelich giving pizzicato (plucked) accompaniment was a lovely moment – as was the content beginning of the coda (11:35). In between this the music was passionate and animated, Brahms developing his source material.

The second movement (from 12:34) also benefited from Hadelich’s sweetly toned instrument, shaping up to be a lovely reverie until a much more animated central section blew away the cobwebs (15:00). Returning at 16:23, the main theme gained an extra layer from double stopping on the violin (playing more than one string at once), and Owen’s piano line continued as a model of sensitivity.

Clara Schumann stated that she would happily have the last movement of this sonata to accompany her on her journey ‘to the next world’, and you could hear why in this performance (from 20:05), which brought out its bittersweet quality. Brahms moves between G minor and G major, a delicate balancing act of music that sounds a bit fretful and gentler, uplifting thoughts. Hadelich and Owen caught them perfectly here, the latter’s nicely pointed piano working particularly well on the dance-like second idea of the movement. From 25:37 the major-minor tension resumed, resolved in a serene coda from 26:20, ending quietly.

Ysaÿe wrote his six solo violin sonatas at great speed, publishing them all together in 1923. The fourth pays particular homage to Bach, incorporating the dance forms that were used in his Sonatas and Suites for solo stringed instruments. It was dedicated to the violinist-composer Fritz Kreisler, one of the very greatest string players. Not surprisingly it makes technical demands on the performer but Hadelich was brilliant here (from 30:31), careful not to overdo the virtuosity at the expense of musical communication.

The three sections of the sonata moved from a dramatic first movement Allemanda (30:31) through a slowly evolving Sarabande used by the composer as a fugue (34:50) and then a bracing Finale (37:57). The Sarabande had the most striking sonorities of the three, thanks to the inventive pizzicato techniques matched spotlessly by Hadelich, but the last movement was a tour de force with which to finish!

Following this was one of the first pieces John Adams wrote for chamber forces, his evocative trip Road Movies, after a period where he admits to ‘studiously avoiding the chamber music format’. Yet, as this entertaining three movement piece proves, his music translates effortlessly to the smaller scale. The piano (played heroically here by Charles Owen!) supplies a lot of the rhythmic impetus and the bass foundations, leaving the violin to operate more freely up top.

The first movement, Relaxed Groove, is described by the composer as ‘a relaxed drive down a not unfamiliar road. Material is recirculated in a sequence of recalls that suggest a rondo form’. Both performers got to the nub of the bluesy music straight away, and also evoked the ‘solitary figure in an empty desert landscape’ in the second movement, entitled Meditative (49:11), where Hadelich had to detune his bottom string from a ‘G’ to an ‘F’. Finally the toe-tapping 40% Swing (55:19) closed out this virtuosic piece, both players smiling as they enjoyed its grooves and motifs.

We disembarked from the Adams vehicle, but an encore was waiting to see us on our way – a rather fine arrangement by Ysaÿe of the Chopin Nocturne in C sharp minor, played with appropriate tenderness by Hadelich. Owen’s flowing accompaniment, too, was finely judged.

Further listening

Augustin Hadelich has not yet recorded any of the works in this recital, but the following playlist brings together the music heard in the concert, including a version of the encore arranged by Nathan Milstein:

For those enjoying the Ysaÿe Solo Sonata, a logical next port of call would be the unaccompanied 24 Caprices by Paganini, which Hadelich has recently recorded:

For those enjoying the Adams, here is a disc including not just Road Movies but a collection of the composer’s works for keyboard:

Wigmore Mondays: Aleksey Semenenko & Inna Firsova – Grieg, Ysaÿe, Debussy, Tchaikovsky & Paganini

Aleksey Semenenko (violin), Inna Firsova (piano)

Grieg Violin Sonata no.3 in C minor Op.45 (1886-7) (1:40-23:34)
Ysaÿe Violin Sonata in D minor Op.27/3 ‘George Enescu’ (1923) (25:34-32:13)
Debussy La plus que lente (1910) (34:17-38:16)
Tchaikovsky Valse-scherzo in C major Op. 34 (1877) (38:55-45:06)
Paganini, arr.Kreisler La Campanella (1826) (46:30-54:16)

Wigmore Hall, London; Monday 5 November 2018

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

Written by Ben Hogwood

There were fireworks at the Wigmore Hall rather earlier than planned on this particular November 5th. The reason for this was the inflammatory partnership of violinist Aleksey Semenenko and pianist Inna Firsova, whose high voltage program of Grieg, Ysaÿe, Tchaikovsky and Paganini really got the heart rates fluttering.

The duo began with one of Grieg’s finest chamber works, the Violin Sonata no.3. While his first two works in the violin sonata are dressed in relatively sunny clothing, this third one has a lot more grit and determination in the notes. This was evident right from the start (1:40 on the broadcast, marked Allegro molto ed appassionato), a memorable theme given authoritative treatment by Semenenko and Firsova. The music drew back for some more intimate thoughts, but soon, as the main theme gets developed, a deeply passionate dialogue between violin and piano played out.

The second movement, a Romance (10:13), began with a clear and delicate melody from Firsova, a beautifully poised response to the first movement. Soon however a more agitated section started (12:18), led by the violin, but soon the glassy, soft-hearted music returned. The third movement Allegro moderato (16:06) began with a melody that feels like a folk tune, especially with the rustic piano accompaniment, and we were back into the urgent mood of the first movement. At 18:53 a rich second theme could heard, played by Sememenko with a very full, gorgeous sound, if just occasionally over-reaching on his tuning.

The Ysaÿe Sonata is for solo violin, directly inspired by the music for violin of J.S. Bach – but with considerably more display factored in. It is third of a set of six he completed in a short space of time and published as Op.27 in 1923. That said, the Belgian composer still writes with a keen sense of form, and this compact sonata, dedicated to fellow violinist / composer George Enescu, packs a lot into its six and a half minutes. So too did Semenenko, whose dazzling virtuosity (from 25:34) added to a beautiful tone gave it the best possible platform. Some of his bowing was razor sharp, especially in the fast music, but the attack was always impressively clean.

Semenenko and Firsova followed these fireworks with a pair of waltzes. Debussy’s example (34:17), originally for solo piano, is a sugar-sweet but elusive piece of work, beautifully harmonized by Firsova in this version. Tchaikovsky’s (38:55) is another story, a swaggering dance piece that both performers relished, swaying in and out of time with the familiarity of seasoned partners. It was all instinctive and brilliantly done, with Semenenko’s bow acting like a pond skater over the strings at times! An earlier performance of this work from the pair can be seen below:

One of the ultimate violin showpieces is La Campanella, written by Paganini in 1826 as the third and final movement for his Violin Concerto no.2, but arranged here for violin and piano by Fritz Kreisler – like Paganini a virtuoso of incredibly high standing.

Gravity is surely defied in this version, right from the main theme (46:30) to a series of contrasting sections, each of eye-watering difficulty – try from 52:00 on the broadcast to get some incredible dexterity between plucking (pizzicato) and bowing.

Great credit should go to Irina Firsova, too, for her mastery of what is effectively an orchestral score compressed for piano. The lightness of touch meant this was never a heavy account, despite the number of notes, and Semenenko’s agility fair won the day.

A spectacular recital indeed, which I would urge you to hear from the start. The pair weren’t quite finished, though, and complemented their fireworks with a little sparkler, Tchaikovsky’s Valse sentimentale in F minor Op.51/6 (56:12-58:21)

Further listening

As a good companion to this playlist, Aleksey Semenenko and Inna Firsova have recorded a disc of similar themes, taking a Grieg sonata and virtuoso showpieces from Tchaikovsky, Paganini and Castelnuovo-Tedesco, ending with an intense account of Schubert’s Fantasy in C major:

If that isn’t enough, and to whet the appetite for more French music for violin and piano from the Wigmore Hall in a couple of weeks’ time, here is another Semenenko and Firsova double act in music by Poulenc, Chausson, Debussy and Saint-Saëns: