In concert – Kathryn Rudge, English Symphony Orchestra / Kenneth Woods – Across The Sea: Mendelssohn, Elcock, Britten & Elgar

Mendelssohn Calm Sea and Prosperous Voyage Op.27 (1828)
Elcock Wreck Op.10 (1998) [World Premiere]
Britten Four Sea Interludes from Peter Grimes Op.33a (1945)
Elgar Sea Pictures Op.37 (1899)

Kathryn Rudge (mezzo-soprano), English Symphony Orchestra / Kenneth Woods

Malvern Theatres, Great Malvern
Saturday 15 October 2022

Reviewed by Richard Whitehouse

This first full-length concert in the English Symphony Orchestra’s new season focussed on the sea in all its varied qualities, taking in four works whose encompassing a span of almost two centuries also identified crucial aesthetic differences as to what music itself can express.

Not least as it comes between masterpieces of the early Romantic era (A Midsummer Night’s Dream and The Hebrides), Mendelssohn’s Calm Sea and Prosperous Voyage has often been overlooked on its own merits. Yet this concert overture, as inspired by two of Goethe’s best- known poems, is a fine example of the still-teenage composer’s prowess – Kenneth Woods securing a rapt intensity in its introductory phase, then steering its characterful continuation through to a grand while not unduly bathetic peroration with the sea accorded the final word.

From here to Steve Elcock’s Wreck is to encounter more elemental, even existential forces – what the composer refers to as a ‘‘symphonic allegory’’ portraying a ship’s struggle against intemperate weather at sea. This unfolds as a constantly evolving design, juxtaposing music of unchecked aggression with that of fraught serenity, while highlighting Elcock’s mastery of large-scale formal and expressive contrasts, toward a seismic culmination whose gradual subsidence makes possible the sustained closing section. Here, off-stage mezzo sings in an invented (hence unknown) language what he describes as ‘‘a message of salvation beyond despair, of consolation beyond grief’’ but even this is tempered by encroaching doubt. The ESO gave its all in a piece as demonstrably commended itself to the appreciative audience.

Marine vignettes rather than epics came after the interval. Woods had an audible grasp of the diverse moods in the Four Sea Interludes that Britten drew from his opera Peter Grimes, but more notable was his successful segueing between them – the keening plangency of Dawn leading into the equivocal assurance of Sunday Morning, emergent tonal and emotional blur of Moonlight, then the visceral conflict of Storm with its yearning oasis of calm and brutal closing onslaught. A few failings of ensemble hardly offset the intent continuity of the whole.

The ESO previously recorded Elgar’s Sea Pictures in an arrangement with chorus by Donald Fraser, but it was good to hear this song-cycle as Elgar realized it for mezzo – not least when Kathryn Rudge (taking her customary place at front of stage) proved so eloquent an exponent. The troubled pathos drawn from Roden Nole’s Sea-Slumber-Song was duly complemented by the whimsical charm of Alice Elgar’s In Haven (Capri) – tension rising accordingly for Elizabeth Barrett Browning’s Sabbath Morning at Sea, its larger emotional contrasts well defined. Expressive nuances in Richard Garnett’s Where Corals Lie might have been more subtly pointed, but there was no doubt as to Rudge’s identification here or in Adam Lindsay Gordon’s The Swimmer with its anxious though determined progress to certain affirmation.

It set the seal on a rewarding programme and fine start to what will hopefully be an eventful season for the ESO. More concerts will be announced soon, but for now the recent release of Adrian Williams’s First Symphony (Nimbus NI6432) confirms this as an orchestra on a roll.

For more information on the artists in this concert, click on the links to read about Kathryn Rudge, Kenneth Woods and the English Symphony Orchestra. For more on composer Steve Elcock, click here

In concert – Nicola Benedetti, CBSO Chorus and Symphony Orchestra / Kazuki Yamada: Dvořák, Mendelssohn & Grigorjeva

Dvořák Carnival Overture, Op. 92 (1892)
Mendelssohn Violin Concerto in E minor, Op. 64 (1844)
Grigorjeva In Paradisum (2012)
Dvořák Symphony no.9 in E minor Op.95 ‘From the New World’ (1893)

Nicola Benedetti (violin), CBSO Chorus, City of Birmingham Symphony Orchestra / Kazuki Yamada

Symphony Hall, Birmingham
Tuesday 20 September 2022

Reviewed by Richard Whitehouse

It may have been a largely mainstream programme, but tonight’s concert by the City of Birmingham Symphony Orchestra drew a capacity house at the beginning of a season in which Kazuki Yamada takes on the reins for what looks an eventful new era near the start of the orchestra’s second century. The CBSO’s response in Dvořák’s Carnival Overture more than confirmed it was ready for the challenge – Yamada ensuring the nocturnal evocation at its centre worked its evocative spell, then building an irresistible momentum going into the thrilling final bars.

Mendelsohn’s Violin Concerto cannot have been absent from many of the CBSO’s previous 102 seasons and made its appearance this evening, Nicola Benedetti tackling a piece she must herself have played on many occasions. Not that there was anything routine about a reading such as abounded in subtle touches – especially the opening Allegro’s cadenza, which more than usually fulfilled its role as this movement’s structural fulcrum. In the Andante, Benedetti pointed up the expressive contrast between its main themes; the second of which was notable for a tonal astringency that brought out its plangency in full measure. If there was nothing so arresting in the finale, the interplay of soloist and orchestra was astutely judged through to the effervescence of the closing bars. Certainly, a performance to make one enjoy the piece anew.

Introducing the second half, Yamada requested the audience remain silent during the pause between pieces – the first a setting of In Paradisum by Ukrainian-born Galina Grigorjeva (b 1962), its lucid harmonies and heady culmination bringing the best out of the CBSO Chorus.

From here to the New World Symphony was no great step. Once again, a work rarely absent from the CBSO’s schedule seemed largely revitalized. Not that all of Yamada’s interpretative decisions came off – after an introduction of no mean gravitas the opening Allegro unfolded a little fitfully, though so interventionist an approach might have gained from the exposition repeat to place these in greater context. There were similar touches in the Largo, yet here the focus of Yamada’s conception and the raptness of the player’s concentration were their own justification – not least towards the close, with the front desks combining to poignant effect. Without being driven as ruthlessly as is often the case, the Scherzo has the requisite impetus and, throughout its trio, a whimsical elegance which proved as engaging as the charged coda.

Heading into the final Allegro with minimal pause, Yamada brought out its inherent force but also the ruminative eloquence of its second theme; the transition to which, in the reprise, was ideally judged. Nor did the apotheosis lack for drama as those closing bars melted into silence.

Prior to the start of this concert, a minute’s silence was observed then (most of) the audience joined in possibly its first rendering of God Save the King. A more localized farewell was paid later in the evening to Colin Twigg, first violinist for over 31 years and whose retirement will hopefully see more of his own compositions as have featured in Centre Stage recitals over the years. A miscellany is featured on a Toccata Classics release and worth anyone’s investment. The CBSO will be back in action on Saturday with a major new commission from Brett Dean.

You can read all about the 2022/23 season and book tickets at the CBSO website. For further information on the night’s artists, click on the names for composer Galina Grigorjeva, and for artists Nicola Benedetti and Kazuki Yamada

In concert – Daishin Kashimoto, CBSO / Kazuki Yamada: Prokofiev, Bruch & Mendelssohn

kazuki-yamada-2

Prokofiev Symphony no.1 in D major Op.25 ‘Classical’ (1916-17)
Bruch
Violin Concerto no.1 in G minor Op.26 (1866-8)
Mendelssohn
Symphony no.3 in A minor Op.56 ‘Scottish’ (1829-42)

Daishin Kashimoto (violin, below), City of Birmingham Symphony Orchestra / Kazuki Yamada (above)

Symphony Hall, Birmingham
Wednesday 4 May 2022, 2.15pm

Written by Richard Whitehouse

Just under a year before he becomes chief conductor, Kazuki Yamada was back with the City of Birmingham Symphony Orchestra for a programme of well-established favourites, which no doubt accounted for the gratifyingly full house that duly greeted his arrival on the podium.

There was humour aplenty in this account of Prokofiev’s Classical Symphony – not least with Yamada almost acting out the initial Allegro’s whimsical second theme, but the highlight was a Larghetto whose sometimes disjunct episodes came together effortlessly. The outer sections of the ensuing Gavotte seemed a little too mannered to be convincing, but the Finale found conductor and orchestra at one in conveying the scintillating wit but also winsome pathos of its main themes, with a pointing of incidental detail then audible ‘lift off’ to the closing bars.

His decade as first concert-master of the Berlin Philharmonic likely accorded him less profile as a soloist, but his take on Bruch’s First Violin Concerto confirmed Daishin Kashimoto as a force to be reckoned with. Determined not to undersell the Prelude, he and Yamada brought out this music’s sombreness as keenly as its lyricism and, at its climax, a tempestuous energy that found the CBSO at its collective best. Nor was there any lack of emotional gravitas in the Adagio, Kashimoto drawing out its rapturous lyricism without neglecting those more intimate asides which resonate long after the music ceases. Emerging with real anticipation, the final Allegro had no lack of underlying impetus and, in its second theme, a high-flown eloquence that set the seal on this movement, and this piece overall, going into the decisive closing bars.

If the second-half performance of Mendelssohn’s Scottish Symphony was not so consistently satisfying, it reaffirmed just why this work (and this composer) has remained a favourite of Birmingham audiences over the decades. Many latter-day accounts tend toward a decidedly Classical brusqueness, but Yamada chose never to rush the opening movement such that the poignancy of its introduction (rightly) persisted through those agitated contrasts of its main Allegro – the absence of an exposition repeat barely detracting from the music’s emotional weight. Effervescent without being overdriven, the scherzo provided ideal contrast between this and an Adagio whose alternate fervour and rhetoric never skirted that sentimentality as was once all too familiar – with Yamada ensuring clarity through even the densest textures.

As in the Bruch, this performance adhered to the ‘attacca’ indications by which Mendelssohn helps to maintain long-term cohesion. That into the finale launched this movement in bracing fashion and if impetus marginally faltered over the latter stages, the pathos at the outset of its coda made for an ideal transition into the peroration which, uplifting or grandstanding as one hears it, ensures a rousing conclusion that seldom fails to bring the house down. Which it did at the close of a reading that found the burgeoning CBSO/Yamada partnership in fine fettle.

Yamada will be back with this orchestra for the start of the 2022/23 season (details of which have just been announced), while next week brings the season’s last appearances with Mirga Gražinytė-Tyla for a brace of programmes that feature Tchaikovsky, Bruckner and Brahms.

For more information on the CBSO’s 2021/22 season, visit their website, and for details on the newly announced 2022/23 season click here. Meanwhile for more information on the artists, click on the names to access the websites of Kazuki Yamada and Daishin Kashimoto

In concert – Clara-Jumi Kang, CBSO / Ryan Bancroft – Coleridge-Taylor, Mendelssohn & Sibelius

clara-jumi-kang

Coleridge-Taylor Solemn Prelude in B minor, Op. 40 (1899)
Mendelssohn Violin Concerto in E minor, Op. 64 (1844)
Sibelius Symphony No. 2 in D, Op. 43 (1901-2)

Clara-Jumi Kang (violin), City of Birmingham Symphony Orchestra / Ryan Bancroft

Symphony Hall, Birmingham
Thursday 13 January 2022

Written by Richard Whitehouse Ryan Bancroft picture (c) Benjamin Ealovega

Having seen in the new year in customary Viennese-style, the City of Birmingham Symphony Orchestra continued its season with this programme of repertoire staples along with what was (probably) only the third performance of a relatively early orchestral work by Samuel Coleridge-Taylor.

The recent revival of interest in Coleridge-Taylor hopefully means such enticing pieces as his Violin Concerto and Clarinet Quintet will be heard more frequently at concert hall and recital rooms. If the Solemn Prelude is not quite on their level, it certainly deserved more than total neglect following its premiere at Worcester Cathedral in 1899; a further hearing last July only made possible after the manuscript was relocated at the British Library. Combining Elgarian nobility with Brucknerian grandeur, its outer sections exude a portentousness complemented by the expressive immediacy at its centre; abetted here by Ryan Bancroft’s flexible handling of tempo so a welcome melodic spontaneity came to the fore. No undiscovered masterpiece, but an appealing work that doubtless fulfilled its remit back then and could do so again today.

Mendelssohn’s Violin Concerto has never lacked for performances during the 177 years of its existence such that familiarity can breed, if not contempt, then at least a certain predictability. Credit to Clara-Jumi Kang for reminding one how (to quote David Kettle’s apt description in the programme) ‘‘quietly innovative’’ the piece is as to formal continuity and motivic fluidity. Not that this was a low-key or understated reading – Kang bringing out the combative side of the opening Allegro (‘appassionato’ it duly was), not least her impetuous take on the central cadenza whose developmental function was tellingly underlined. The Andante melded warm lyricism and plaintive regret to a bewitching effect then, after its teasing entrée, the animated repartee of the finale was deftly rendered through to a vivacious coda and decisive conclusion.

Now in his early thirties, Bancroft (above) is into his second season as principal conductor of the BBC National Orchestra of Wales and takes up a similar post with Royal Stockholm Philharmonic in 2023. This account of Sibelius’s Second Symphony left little doubt as to his interpretative credentials, not least with a finely proportioned yet impulsive reading of the initial Allegretto, then an Andante as lacked in little in that formal focus essential if its fervour is not to become histrionic. To which, an attacca from one movement to the other might have been beneficial.

The latter movements run continuously in any case – and, after a scherzo by turns tensile and tender, the transition was unerringly handled such that the finale hit the ground running. This can easily become discursive or even sprawl but, with its ‘big tune’ kept in check and starkly modal second theme keenly ominous, it built purposefully and with some inevitability to an apotheosis that, while it evinced more in the way of triumph than catharsis, none the less set the seal on an idiomatic performance with the CBSO woodwind and brass often at their best.

After an evening of Stephen Sondheim (now the more poignant following his death last November), then chief conductor designate Kazudi Yamada returns on Wednesday 19 and Thursday 20 January in a programme of Strauss, Mozart and Mahler.

For more information on the next concerts with Kazudi Yamada you can visit the orchestra’s website. Meanwhile click on the links for information on Clara Jumi-Kang and Ryan Bancroft.

On record – Orpheus Chamber Orchestra: The Complete Recordings On Deutsche Grammophon (Deutsche Grammophon

orpheus-chamber-orchestra-complete

Soloists, Orpheus Chamber Orchestra

Various works (see DG link below for full repertoire details)

Deutsche Grammophon 4839948 (55 CDs)

Written by Ben Hogwood

What’s the story?

This box set tells the story of the Orpheus Chamber Orchestra – soon to celebrate their 50th anniversary – and the recordings they have made to date for Deutsche Grammophon. Formed in 1972, the conductor-less ensemble from New York have amassed an impressive body of work, spanning repertoire from Handel and Vivaldi to Schoenberg and William Bolcom, examined here across 55 CDs.

The group have enjoyed a fruitful relationship with DG, undertaking several projects. Among these are the Mozart wind concertos, with principals from the orchestra employed as soloists, and a clutch of hand-picked Haydn symphonies. Jed Distler’s booklet introduction, meanwhile, reveals a remarkable agreement which saw them commit the Schoenberg Chamber Symphonies and Verklarte Nacht to disc in 1989, in return for a version of Vivaldi’s Four Seasons four years later.

Also included in this set is a previously unavailable account of Mendelssohn’s Italian Symphony, a live recording from Warsaw in 2018.

What’s the music like?

Orpheus Chamber Orchestra records are known for their crisp ensemble and energetic, engaging performances, but also for their poise. While their approach to Baroque music might not appeal to historical purists, nobody can deny the enthusiasm they bring to the Handel Concerti Grossi Op.6, nor their vibrant collection of Vivaldi Cello Concertos with regular collaborator Mischa Maisky, or the Flute Concertos with Patrick Gallois.

Their Mozart is particularly enjoyable, the wind concertos blossoming under the ‘home’ soloists, who have the advantage of an immediate musical rapport with their accompanists. The Sinfonia Concertante, with soloists Todd Phillips (violin) and Maureen Gallagher (viola), is especially good, while horn players William Purvis and David Jolley, clarinettist Charles Neidich, flautist Susan Palma-Nidel, oboist Randall Wolfgang and bassoonist Frank Morelli also excel. The Flute and Harp Concerto, with harpist Nancy Allen, is sublime, while a generous selection of the wind Serenades and string Divertimenti are delightful.

The Haydn symphonies fare particularly well, too, and often have an irresistible zest. The account of the Symphony no.80 in D minor is notable in this respect, but there is restraint and darker feeling in the Symphony no.49 in F minor, ‘La Passione’, its introduction taken at a daringly slow tempo. Meanwhile the disc of Rossini overtures still defies gravity in the absence of a conductor, a remarkable achievement!

The inclusion of Mendelssohn’s Italian symphony boosts an already excellent account of the two piano concertos, with Jan Lisiecki. It is fresh faced and buoyant in the outer movements, with a balletic poise for the inner two. Meanwhile their account of Beethoven’s The Creatures of Prometheus has plenty of spring in its step, as does a wonderful disc devoted to music for strings by Grieg and Tchaikovksy. The Dvořák Serenades, too, fare particularly well, and there are two thoroughly engaging discs devoted to the music of Copland and Ives.

Best of all are the orchestra’s Stravinsky and Schoenberg recordings. The Stravinsky selection has excellent accounts of the ballets Pulcinella (the suite) and Orpheus, but equally valuable are the shorter pieces, where the composer’s gruff humour is caught to rhythmic perfection. The performance of Dumbarton Oaks could hardly be bettered. The Schoenberg has some eye-watering virtuosity in the Chamber Symphony no.1, an ideal way in for doubters of the composer – as is a translucent Chamber Symphony no.2 and a velvet-textured Verklarte Nacht.

Finally a mention for the orchestra’s Respighi, a colourful and moving trio of pieces comprising The Birds, a selection of the Ancient Airs and Dances and a particularly vivid account of the Trittico Botticelliano, showing off the composer’s colourful orchestration but also his deeply felt treatment of long-treasured melodies.

Does it all work?

Largely. One could argue that the disc of French orchestral music is a touch too glossy, or that the recordings of Bartók, Kodály and Suk do not quite have the authority a central European ensemble might bring to them. Even with those reservations, however, they are so well played that there is so much to enjoy, the slow movement of the Bartók Divertimento a particularly chilly example.

Is it recommended?

Unreservedly. This is a superb collection from an orchestra who are essentially a single instrument themselves, so together are their interpretations and their virtuosity. Their recording legacy for DG is unlike any other, and it is to be hoped it will blossom still further over – who knows? – maybe the next 50 years. This is a remarkably solid platform on which to build.

Listen and Buy

You can listen to clips and purchase this disc from the Presto website.

Reading

You can read Arcana’s interview with Orpheus Chamber Orchestra violist Dov Scheindlin here, and listen to a playlist picking out Ben Hogwood’s personal favourites here.