YCAT at the Wigmore Hall: Savitri Grier & Richard Uttley play Poulenc, Messiaen & Beethoven

Savitri Grier (violin, above), Richard Uttley (piano, below – photo credit Cathy Pyle)

Poulenc Violin Sonata (1942-3)

Messiaen Theme and Variations (1932)

Beethoven Sonata for Violin and Piano in C minor Op.30/2 (1803)

Wigmore Hall, London; Tuesday 6 March 2018

Written by Ben Hogwood

I cannot recommend the YCAT Lunchtime Concert series at the Wigmore Hall highly enough. It gives us a chance to see the professional classical performers of tomorrow, and allows appreciation of just how much young talent there still is, waiting to be discovered. The YCAT (Young Classical Artists Trust) scheme gives an incredibly valuable service to classical music, giving young artists selected through a rigorous audition process the security of career guidance, a dedicated artist manager and a concert platform including appearances such as this at the Wigmore Hall.

This particular recital brought a current member of the scheme, violinist Savitri Grier, and an ‘alumni’, pianist Richard Uttley, who is building an impressive portfolio headed by contemporary music. This well chosen program showed the two have an extremely sound musical chemistry, and also showed Grier to be a formidable violinist of full tone and strong personality.

She immediately took command of the Poulenc Violin Sonata, so much so that even at the back of the hall it was easy to appreciate the depth and breadth of her phrasing. On occasion the artists were even a touch too loud, but that could hardly be considered a massive problem, especially with the virtuosity and crisp ensemble on display in the outer movements. The slightly resentful Adagio slow movement, written in the midst of the Second World War, showed the pair at their most sensitive, reigning in the volume to give some softly voiced thoughts that were truly touching.

Messiaen’s Theme and Variations occupy a rather singular place in the composer’s output, but show what he was to become – and convinced a young Pierre Boulez when he heard them that he had to study with the composer. The theme itself is mysterious, and both performers enjoyed this and the already expansive harmonic language adopted by the composer. Gradually the variations grew in intensity, reaching an impressive apex.

Mozart and Beethoven were the two composers to advance the Violin Sonata into the 19th century, writing as they were for the violin and piano as equal instruments. If anything Beethoven’s C minor example, the second of his game changing Op.30 trio of works, makes greater demands on the piano – but it is arguably the most ambitious work of its time for the combination.

The second Beethoven ‘C minor’ work in consecutive days at the Wigmore Hall (see Monday’s Leon McCawley recital for more), it exploded into life through an incredibly energetic and virtuosic performance. Both Grier and Uttley took a punchy approach to the first movement’s trade-offs, their ensemble particularly secure, but as the work progressed there was also room for humour (in the third movement Scherzo) and a greater elegance (the second movement Adagio cantabile, sensitively played).

Beethoven’s gruff exterior won out though, and in the finale, where Uttley rose to the demands of some fiendish scales demanded by the composer, there was a great tête-à-tête between the two players, an engaging game of cat and mouse where both were ultimately crowned the winners.

Further listening

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

Wigmore Mondays: SCO Wind Soloists play Beethoven & Poulenc

Scottish Chamber Orchestra Wind Soloists (above) [Robin Williams, Rosie Staniforth (oboes), Maximiliano Martín, William Stafford (clarinets), Peter Whelan, Alison Green (bassoons), Alec Frank-Gemmill, Harry Johnstone (horns)]

Beethoven Sextet in E flat major Op.71 (1796) (from 1:49-19:22 on the broadcast link)
Poulenc Sonata for clarinet and bassoon (1922, rev.1945) (22:30-30:30)
Beethoven Octet in E flat major Op.103 (1792-3) (33:02-54:09)

Wigmore Hall, London; Monday 12 February 2018

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

Written by Ben Hogwood

There is something immediately comforting and inspiring about the sonorities of a wind ensemble, and in this debut Wigmore Hall concert from the SCO Wind Soloists we got to enjoy Beethoven’s way with those sounds, as well as some typically mischievous tricks from Francis Poulenc.

The late opus numbers assigned to Beethoven’s Sextet and Octet are misleading, for both are comparatively early works that were published much later in the composer’s life. The Sextet, written in Beethoven’s mid-20s, is however unusual in missing out flutes and oboes in its instrumentation, presumably due to those available at the time.

Writing for a pair each of clarinets, bassoons and horns, there was a lovely deeper sound on offer, and this was fully exploited by the SCO Wind Soloists, with the bonus of the slight rasp Alec Frank-Gemmill and Harry Johnstone added with their natural horns. A thoughtful Adagio introduction (from 1:49 on the broadcast link) was soon replaced by a good natured Allegro (2:42).

The music of greatest depth could be found in the Adagio (8:56), with some lovely harmonies and intimate dialogue between the instruments. A brief but nimble Menuetto (13:00), horns in the lead, led to a charming, march-like Rondo (15:34) which wrapped up the piece in good spirits.

Poulenc wrote brilliantly for wind instruments throughout his life, usually with a spiky piano part adding a bit of extra punch to proceedings, but here we heard his music stripped back to just clarinet (Maximiliano Martín) and bassoon (Peter Whelan). This was a brilliant, fun performance, and in the first movement it felt as though the bassoon part had been written specifically to derail the clarinet’s flow. Whelan failed in this aim – but only just! A soft-hearted Romance (24:39) still had some deliberately awkward writing for the bassoon, but it set up a mischievous and perky finale (27:34), crowning a small gem of a piece lasting just eight minutes.

Beethoven’s earlier Octet – early-20s this time – builds on the instrumentation of the Sextet by adding two oboes to the treble end. It is more adventurous in musical content and form, and began with a lovely Allegro (33:02), which gave way to a touching second movement Andante (40:57), led off beautifully by oboist Robin Williams and shadowed equally lyrically by Peter Whelan.

The third movement, a lively Minuet (47:07), is in fact more of a Scherzo, a sign of how Beethoven was upgrading this movement to something much more assertive and energetic. The ensemble here was crisp and incisive, while in the quick finale (50:29), led off by the gurgling clarinet figures, the group enjoyed the close interplay of Beethoven’s writing.

The SCO Wind Soloists clearly relished their Wigmore Hall appearance, and have a distinctive rapport – lots of smiles, subtle encouragement and teamwork in evidence throughout the concert. It fitted the function of Beethoven’s music perfectly, and also suited the humour of the encore, an arrangement by Josef Triebensee of Fin ch’han dal vino from Mozart’s Don Giovanni (55:20). It crowned a thoroughly enjoyable concert.

Further listening

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

The SCO Wind Soloists will be releasing a disc of Beethoven works for wind instruments shortly on Linn Records, further details of which can be found here You can watch an excerpt from their previous release of Mozart, also on Linn, below:

Mozart and Beethoven were among the first to properly exploit the wind ensemble as a form for communal playing. Mozart wrote several Serenades for different combinations of wind instruments, the best-known of which is the lovely Gran Partita of 1781-2. In seven movements, it is one of his very finest works:

Wigmore Mondays: Fatma Said sings Schumann, Mendelssohn, Poulenc & Sherif Mohie El Din with James Vaughan

Fatma Said (soprano, above), James Vaughan (piano, below)

Schumann 6 Gesänge Op. 89 (1850); Singet nicht in Trauertönen Op.98a/7, Liebeslied Op.51/5 (both 1849), Requiem Op.90/7 (1850)
Mendelssohn Die Liebende schreibt Op.86/3 (1831), Ach, um deine feuchten Schwinge (Suleika) Op.34/4 (1837), Hexenlied Op.8/8 (1827)
Poulenc Les chemins de l’amour, from Léocadia (1940), 2 poèmes de Louis Aragon (1943)
Sherif Mohie El Din Three Poems by Amal Donqul (1989)

Wigmore Hall, London; Monday 15 January 2018

Written by Ben Hogwood

The broadcast can be heard on the BBC iPlayer by clicking here

As a demonstration of artistry, this was quite some Wigmore Hall debut for soprano Fatma Said, a BBC Radio 3 New Generation Artist. The Egyptian singer used four languages in the course of an hour, and showed an aptitude for contrasting musical styles in a cleverly constructed programme.

It was good to hear less familiar Schumann songs as a starting group (from 1:32 on the broadcast) The set of six, published as Op.89, were written in the composer’s second ‘year of song’, the productive 1850. They set words by Wilfriend von der Nenn (a pseudonym for Wilhelm Schöpf), and show off an economy and intensity of word setting, with none lasting more than two minutes.

Said caught the agitation running through Es stürmet am Abendhimmel (There are storms in the evening sky) (1:32), set up by a wonderfully turbulent introduction from the excellent James Vaughan. A flowing Heimliches Verschwinden (Stealthy departure) (3:07) led to the yearning harmonies of Herbstlied (Autumn song) (5:12), then the softer hearted Abschied vom Walde (Farewell to the forest) (7:38). Both performers threw wide the curtains for a bracing Ins Freie (Out in the open) (9:45), before Röselein, Röselein! (Rose, little rose) (11:54) began with a striking solo, setting its dreamy mood.

A group of three more Schumann songs followed, the bright and carefree Singet nicht in Trauertönen (Do not sing in mournful tones) (15:20) leading to Liebeslied (Love Song), where there was a nice rapport from both performers in the song’s ebb and flow (17:38). Requiem (19:46) had a restrained and respectful air.

Mendelssohn’s songs are less-often heard, but carry melodic invention along with often incredibly challenging piano parts! A thoughtful Die Liebende schreibt (The beloved writes) (24:55) and the more urgent Ach, um deine feuchten Schwingen (Ah, West Wind, how I envy you) (27:51) were nicely done, but the Hexenlied (Witches’ song) (30:34) was something else, the high notes nailed impressively by Said while Vaughan handled the flurry of notes with apparent ease.

The pair then turned to Poulenc, whose songs are the jewel in the crown of his musical output. We heard three brief but meaningful numbers, Les chemins de l’amour (The paths of love) (34:44) caught the efforts to stay cheerful despite the approach of World War II in 1940, while C (38:51) dealt with the immediate and horrific aftermath. Fêtes galantes (41:40) was a bit too breathless, but maybe that was the point as it raised a laugh!

Said then turned to ‘home away from home’, introducing three songs by Egyptian composer Sherif Mohie El Din, a welcome move that introduced a new sound world to the Wigmore Hall as well as showing the soprano’s clear passion for music and words of her first language.

The musical depiction of The Rain (from 44:22) was vivid and featured well-placed silences, the piano part enhancing the effect of raindrops. Could the river flow forever (46:50) had darker shading, while the final Against whom?  (49:57) was a tortuous and anguished study of feelings felt during surgery.

The performers generously gave us two encores – a further Egyptian song, Daughter of the Sultan by Gamal Abdel-Rahim (54:41) and then, after the radio went off air, Old Sir Faulk by Sir William Walton, with accompanying gestures from the soprano.

This emphasised how at home she is on the stage, and capped an extremely impressive and enjoyable recital, where a blend of musicianship and communication of the messages behind the text was always the primary goal. Both performers succeeded comfortably.

Further listening

You can listen to recorded versions of the repertoire in this concert on this Spotify playlist, apart from the Sherif Mohie Eldin songs which are not on the streaming service:

Meanwhile here is a link to the Sherif Mohie Eldin official YouTube page, including the three poems performed in the concert:

Wigmore Mondays – Véronique Gens & Susan Manoff in French song

Véronique Gens (soprano, above, © Franck Juery) & Susan Manoff (piano, below)

Hahn Néère; Trois jours de vendange

Duparc Chanson triste; Romance de Mignon

Chausson Le Charme; Les Papillons; Hébé

Hahn Quand je fus pris au pavillon; Le Rossignol des lilas; A Chloris

Chausson Le Chanson bien douce; Le Temps des lilas

Hahn Études latines – Lydé; Tyndaris; Pholoé; Phyllis; Le Printemps

Wigmore Hall, London; Monday 8 May, 2017

Listen to the BBC broadcast here

Written by Ben Hogwood

This Wigmore Hall concert proved an ideal opportunity for listeners to venture off the beaten track in the richly rewarding world of French art song. It also seemed doubly appropriate in the wake of the presidential election the previous day that Véronique Gens should be on hand, for she is one of the best French singers around. In Susan Manoff she had a more than able partner to match her every move, and the two based their program on a recent Gramophone award-winning recital disc.

The concert was bookended by songs from Reynaldo Hahn, including excerpts from his Études latines. The serious Néère (from 4:02 on the broadcast) searched for a lost love, Gens a yearning presence, but Trois jours de vendange (Three days of vintaging) was a bigger celebration.

Attention turned to Henri Duparc, whose incredibly small musical output is led by his fine songs. Few are better than Chanson triste (11:01), which was powerfully delivered by Gens, set in the moonlight portrayed so vividly by Manoff’s piano. Romance de Mignon (14:00) offered a little more daylight, another passionate utterance in thrall to his hero Wagner.

It was a short stylistic shift to the songs of Ernest Chausson, Gens choosing a really wonderful selection that should be far better known. The partnership with Manoff was at its best here, the piano fluttering relentlessly in Les papillons (21:35) without settling, while Gens’ playful lines danced above. Le charme (20:00) and Hébé (23:05), two other songs from the same early set, were equally winsome. These were balanced by three more Hahn songs, and while the perky Quand je fus pris au pavillon (25:52) and melodious nightingale (Le rossignol des lilas, 27:15) were nicely done they were always going to be in the shadow of Á Chloris (29:17), its imitation of a Bach aria absolutely on the money in this performance.

Two more Chausson songs followed – the urgent Le Chanson bien douce (32:30) and softly majestic Le Temps des lilas (35:14) – and then we moved on to a quintet of Hahn works to finish. Four of these were from the Études latines (from 41:02), while Le Printemps (The Spring) literally flung wide the doors of the hall at (49:41). The quartet of studies were lyrically quite amusing while musically thoughtful, often finding the singer in a rather dishevelled state – especially the thoughtful Pholoé (45:19) and Phyllis (46:46). The closing Le Printemps celebrated the season which until now seems rather reluctant to arrive in the UK!

A generous selection of encores completed a memorable recital. We were treated to Les roses d’Ispahan, a lovely song by Gabriel Fauré (52:20), then an Offenbach song Le Corbeau et le Renard (56:20), and finally PoulencLes Chemins de l’amour (The pathways of love) (59:28)

Further listening

You can hear the album Gens and Manoff made with much of this material on Spotify:

For further French song listening, bringing in the worlds of Debussy and Fauré, try this wonderful selection with pianist Roger Vignoles:

Wigmore Mondays – Annelien Van Wauwe & Nino Gvetadze play Debussy, Poulenc & Brahms

Annelien Van Wauwe (clarinet, above) and Nino Gvetadze (piano, below)

Debussy Première rapsodie (1909-10)

Poulenc Clarinet Sonata (1962)

Schumann Arabeske in C major, Op 18 (1838-9)

Brahms Clarinet Sonata in E flat, Op 120 No 2 (1894)

Wigmore Hall, London; Monday 20 March, 2017

Listen to the BBC broadcast here

Written by Ben Hogwood

The soft, languid tones of Annelien Van Wauwe’s clarinet were perfectly judged at the hushed start of Debussy’s Première rapsodie, the first piece in a nicely chosen set of music for clarinet and piano.

This piece is an elusive ten-minute train of thought, with two distinct ideas – the slow, sleepy opening paragraph (from 1:40 on the broadcast link) and another, spiky idea (around 3:42), begging for a jazz accompaniment. Gradually the two get closer together and the cumulative energy builds. Nino Gvetadze’s colourful piano accompaniment showed just how suitable the piece is for orchestra – which Debussy realised with a subsequent arrangement.

Poulenc’s Clarinet Sonata is one of his last published works, written in homage to fellow composer Arthur Honegger. Central to its success is the yearning theme of the central Romanza (16:36), where Van Wauwe’s tone and phrasing was beautifully observed. The first movement (beginning at 11:24) could have been a bit more mischievous, perhaps, but the brisk and largely upbeat finale (21:22) certainly hit the spot.

Following this was a chance for Gvetadze to take centre stage in Schumann’s lilting Arabeske (25:40), where wife Clara explicitly asked him to avoid making musical references to her. I’m not convinced he kept that bargain, because the music is very affectionate, and Gvetadze portrayed that too.

We then heard Brahms’ last published chamber work, the last part of an Indian summer instigated by the clarinettist Richard Mühlfeld, whose quality of tone directly inspired four pieces from the composer. This included a pair of sonatas published in 1894 as Brahms’s Op.120. These are lovely autumnal works, and both performers shaded the E flat work, the more positive of the two, with appropriate care. More authority could perhaps have been given to the second movement (marked Allegro appassionato, from 43:26 on the broadcast) but the outer movements had plenty to admire. The first movement (from 35:09) was largely contented, while the last, a theme and variations (48:50), was more changeable in mood and brilliantly played here, Brahms’ inspiration as keen as ever.

A final thought – what will Brexit mean for the non-English contingent the BBC choose for their excellent New Generations scheme? One of many questions classical music and the arts will face in the coming months and years.

Further listening

Brahms’s last works for clarinet are collected in the playlist below. They are autumnal in nature but have some wonderful lyrical writing for the instrument.