Tag Archives: Frédéric Chopin

Online Concert: Christian Poltéra & Kathryn Stott @ Wigmore Hall – Prokofiev & Chopin

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Christian Poltéra (cello, above), Kathryn Stott (piano, below)

Prokofiev Cello Sonata in C major Op.119 (1949)
Chopin Cello Sonata in G minor Op.65 (1845-6)

Wigmore Hall, Monday 13 February 1pm

by Ben Hogwood

Christian Poltéra and Kathryn Stott are a long-established duo who have provided us with a richly rewarding discography including works by Fauré, Saint-Saëns, Barber and Schumann. Their encounters with Russian music appear to have been less frequent to date, and it was good to hear their poised account of one of the form’s most popular works. Ukrainian-born Prokofiev wrote his sonata, a late work, for Mstislav Rostropovich, who had impressed him with his larger than life playing. It is the first of a late burst of works for the instrument, including the Sinfonia Concertante, Solo Cello Sonata and Concertino.

Poltéra began the sonata with a solemn intonation on the lowest register of the cello, emphasising the ‘grave’ aspect of Prokofiev’s tempo marking rather than going for an epic sound. This thoughtful approach bore fruit in the slower sections, and with Stott an attentive partner there was plenty to enjoy in Prokofiev’s baleful writing, and impressive clarity in the more expansive passages.

The second movement danced attractively, tapping into Prokofiev’s ballet credentials, with some enjoyable exchanges between the two, if not always making the most of the composer’s frequently humourous asides. The third movement sang out more, Poltéra projecting further without losing any of his admirable control or intonation, and Stott getting to the heart of Prokofiev’s combination of percussive cut and thrust and soft-centred lyricism.

Chopin’s Cello Sonata came as something of a surprise to his fellow composers in the mid-1840s. Written for the French cellist Auguste Franchomme, it is a substantial work, which unsurprisingly asks a great deal of the pianist in a full-bodied, almost orchestral role.

Poltéra it was who led the first movement most impressively, with a consistently attractive sound singing subtly but meaningfully. Technically he is a superb cellist, with tone unflinching, but praise should be levelled at Stott’s ability to bring beautiful phrasing to even the most congested piano writing. The searching legato theme in the second movement was a case in point for the cellist, beautifully played with flowing piano figures. The lovelorn third movement was tinged with sadness, finishing lost in thought. The last movement showed determination to break from this soul searching, looking outward as it powered through to a major key finish.

This was an excellent performance, ideally balanced and capturing the right balance of regret and resolve – and was balanced by the encore, Saint-Saëns’ Romance in F major Op.42. A Monday lunchtime treat.

For more livestreamed concerts from the Wigmore Hall, click here

BBC Proms #42 – Jan Lisiecki, BBC Scottish Symphony Orchestra / Thomas Dausgaard: Nielsen, Beethoven & Sibelius

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Prom 42 – Jan Lisiecki (piano), BBC Scottish Symphony Orchestra / Thomas Dausgaard

Sibelius Symphony no.7 in C major Op.105 (1924)
Beethoven Piano Concerto no.4 in G major Op.58 (1804-6)
Nielsen Symphony no.4 FS76 ‘The Inextinguishable’ (1914-16)

Royal Albert Hall, London
Thursday 18 August 2022

Reviewed by Richard Whitehouse Photos (c) Chris Christodoulou

Ending his tenure as Chief Conductor of the BBC Scottish Symphony Orchestra, Thomas Dausgaard directed this programme which once again played to both his and the orchestra’s strengths – in the process underlining just what they have achieved together over the past six seasons.

He might not have scheduled Sibelius quite so assiduously as his one-time predecessor Osmo Vänskä, but Dausgaard is hardly less perceptive in this composer as was proven with his take on the Seventh Symphony. If not a tale of two parts, the first half that resonated more deeply – an introduction shot through with expectancy that preceded a powerful build-up to the first emergence of the trombone theme, and an effortlessly accelerating ‘scherzo’ as made feasible a central climax of rare intensity. From here tension dropped a little over the course of a lucid yet (in this context) over-extended ‘intermezzo’, and if the approach to the final return of the trombone theme had the right inexorability, the strings’ climactic response was a little reined-in emotionally. Nor did the fraught cadence into the home-key have the desired inevitability.

Whether or not the Sibelius should open a concert, Beethoven’s Fourth Piano Concerto made for an ideal continuation. Stepping in at the eleventh hour, Jan Lisiecki is no stranger to this music such that his lightly articulated if rarely insubstantial tone complemented Dausgaard’s incisive but never headlong accompaniment. Just occasionally in the opening movement this jewel-like pianism felt a little self-defeating, though not with a lucid rendering of the (more familiar) cadenza or transition from the Andante into the finale of heart-stopping eloquence. The latter movement had the necessary vigour but also an appealing intimacy, as in the lower strings’ transition towards the final return of the rondo theme or those ruminative woodwind asides before the decisive coda. Chopin’s C minor Nocturne (1838) made for a limpid encore.

Keen to get on with proceedings, Dausgaard launched Nielsen’s Fourth Symphony after the interval before applause had subsided. Often a conductor willing to modify his approach, he might have steered the opening Allegro less forcefully given the textural detail that was lost in the Albert Hall’s ample expanse, but the twofold appearances of the ‘motto’ theme were magisterially rendered – the shocked transition into the intermezzo proving as mesmeric as this latter movement was affecting through its deft combination of winsomeness and pathos.

Equally memorable was Dausgaard’s handling of the slow movement, here exuding fervency without undue histrionics both in the searching string threnodies and the confiding passages either side – the latter of which provided a stealthy transition into the final Allegro. Here the placing of a second timpani set front-left in the arena made stretched the antiphonal contrast a little too obviously, but the music’s overall intent came across unscathed as the ‘motto’ made its climactic final appearance then those closing bars hit the ground as they should – running. Whether or not Dausgaard intended ‘Inextinguishable’ to sum up his music-making with the BBCSSO, or whether anything might be read into his wearing a Covid mask throughout, this concert was a worthy leave-taking. Hopefully he will not be absent from the UK for too long.

Click on the artist names for more information on Jan Lisiecki and Thomas Dausgaard, and for more information on the BBC Scottish Symphony Orchestra head to their website

On record – Villa-Lobos: Choral Transcriptions (São Paulo Symphony Choir / Valentina Peleggi) (Naxos)

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villa-lobos

Villa-Lobos transcriptions of:

Bach Prelude and Fugue no.8 in E flat minor / D sharp minor BWV853, Prelude no.14 in F sharp minor BWV883; Fugues – no.1 in C major, BWV846; no.5 in D major, BWV874; no.21 in B flat major, BWV866; no. 22 in B flat minor BWV867
Beethoven Adagio cantabile Op.13/2
Chopin Waltz no.7 in C sharp minor Op.64/2
Massenet Élégie Op.10/5
Mendelssohn Lieder ohne Worte in E major Op.30/3
Rachmaninov Prelude in C sharp minor Op.3/2
Schubert Ständchen D957/3
Schumann Träumerei Op.15/7
Villa-Lobos Bachianas Brasileiras no.9 W449

São Paulo Symphony Choir / Valentina Peleggi

Naxos 8.574286 [58’32”] English and Portuguese translations included

Producer Ulrich Schneider
Engineers Marcio Jesus Torres, Camilla Braga Marciano, Fabio Myiahara

Recorded: 5-10 August 2019 at Sala São Paulo, Brazil

Written by Richard Whitehouse

What’s the story?

Naxos’s coverage of the music of Heitor Villa-Lobos (part of this label’s series The Music of Brazil) continues with a selection of mainly transcriptions from the piano repertoire that the composer undertook during the mid-1930s as part of his extensive educational commitments.

What’s the music like?

Almost all these arrangements emerged in the period 1932-5, when Villa-Lobos took on the challenge of overhauling music education in the public school system of Rio de Janeiro. This involved the creation, virtually from scratch, of a choral pedagogy that he drew from across the spectrum of Baroque, Classical and Romantic music. It is a measure of his prowess that such transformation from mostly piano sources was accomplished with unfailing rigour and an idiomatic quality, so the fame of the originals is almost the only clue to their provenance.

From the soulful strains of among the most mellifluous from Mendelssohn’s Songs without Words, the programme then continues with the Eighth Prelude and Fugue from the first book of Bach’s The Well-Tempered Clavier – the former piece summoning a plangently rhetorical response which finds pertinent contrast with the latter piece’s methodical and intricate build-up to a culmination of sombre eloquence. The arrangement of Dreaming from Schumann’s Scenes from Childhood fully conveys its wistful pathos, as does that of the First Fugue from Bach’s WTC the original’s cool elegance. Similarly, the last of Schubert’s Serenade settings loses little of this song’s plaintiveness, and the Twenty-First Fugue from Bach’s WTC takes on unexpected jauntiness in what proves one of Villa-Lobos’s most inspiriting re-creations.

Chopin’s Waltzes might be considered unsuited to the vocal medium, yet the C sharp minor responds ably to such elaboration, as too the ruminative calm of the Twenty-Second Prelude from Bach’s WTC. Rachmaninov might have thought better of his Prelude in C sharp minor had he encountered this uninhibitedly dramatic realization, with basses providing the baleful anchorage, in contrast to the yearning aura drawn from the Fourteenth Prelude of the second book from Bach’s WTC. Massenet’s Elegy exceeds the original song for bittersweet poise, a foil to the serenity of the Fifth Fugue from Bach’s WTC. The indelible main melody from the Adagio of Beethoven’s Pathétique segues ideally into the Ninth Bachianas Brasileiras, with Villa-Lobos’s choral incarnation rather more atmospheric and evocative than that for strings.

Does it all work?

Almost entirely and due in no small part to the excellence of the São Paulo Symphonic Choir with its Italian conductor Valentina Peleggi. Lasting just under 60 minutes, the selection feels varied yet also cohesive enough to be enjoyed as a continuous programme, while enterprising choirs from both sides of the Atlantic ought to find much here to enrich their existing rosters. Inclusion of Villa-Lobos’s own music at the close is a reminder its technical demands should never be taken for granted, but here too the SPSC rises to the challenge with unstinting verve.

Is it recommended?

It is. The acoustic is just a little reverberant at times yet without detriment to the clarity of the choral writing, with informative annotations from Manoel Corrêa do Lago. Listeners should also investigate a recent Naxos release of Villa-Lobos’s first three violin sonatas (8.574310).

Listen

Buy

You can discover more about this release at the Naxos website, and you can also purchase the recording here. You can read more about conductor Valentina Peleggi here

Wigmore Mondays – Sophie Pacini plays Chopin, Wagner & Schumann

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Sophie Pacini (piano)

Chopin Fantaisie-Impromptu in C sharp minor Op.66 (c1834) (1:27-6:18 on the broadcast link below)
Wagner, transcribed Liszt Overture to Tännhauser S442 (arr.1848) (7:25-22:33)
Schumann Carnaval Op.9 (1834-5) 24:25-47:13

Wigmore Hall, London
Monday 4 February 2019

To hear the BBC broadcast through BBC Sounds, please follow this link

Commentary and Review by Ben Hogwood

Sophie Pacini’s Wigmore Hall recital began with a fast, flowing performance of Chopin’s Fantaisie-Impromptu. As the name implies this is an extremely free piece but there is structure too, with two distinct themes. From 1:27 on the broadcast link above you can hear the main material, then at 2:31 a contrasting and relatively settled theme in the major key. A short development section brings us back to the main material at 4:33, and then Chopin spins a beautiful coda from the second theme at 5:35.

Liszt’s transcription of Wagner’s overture to the opera Tannhäuser (from 7:25) is something of an Everest for pianists; one that Sophie Pacini appeared to have scaled with commendable ease. This was a towering performance but also one that allowed the detail of the parts to come through – only rarely did the tunes threaten to become subsumed by the massive textures, and that certainly wasn’t the fault of Pacini – just a case of Liszt trying to accommodate so much of the orchestra!

In the broadcast the overture builds steadily from soft but noble beginnings, reaching what sounds like a mighty peal of bells at 9:27. This majestic theme dominates the music, coming back at 18:42 with an extraordinary accompaniment of what sounds like circling birds in the right hand part, leading up to a massive statement towards the end.

Carnaval is a favourite among the Schumann piano output, a series of character pieces that present a masked ball. Schumann himself is there, together with wife Clara – and not only that, Schumann invents several characters to depict the very different strains of his personality. There is a grand total of 20 different sections making up this attractive and colourful suite of pieces, and they run as follows (with approximate descriptions):

The very lively Préambule (24:25) begins the piece, cutting to Pierrot (26:36), whose repeated three-note figure reminded me of Musorgsky’s Pictures at an Exhibition. Arlequin (27:47) is a short, playful number, leading to a charming Valse noble (28:32), then Eusebius (29:39), one of the ‘selfies’ in Carnaval that depicts composer’s ‘calm, deliberate’ side. By contrast Florestan (31:26) depicts the composer’s fiery, impetuous nature, and Schumann quotes the main waltz theme from his earlier work Papillons, Op. 2.

The Coquette (32:15) follows, depicting a flirtatious girl, before Réplique (33:18) acts as a reply. There would then be a freely-written section called Sphinxes, which Sophie Pacini chooses not to perform here. Instead we move on to the quick fire Papillons (33:48, no connection to Op.2), then A.S.C.H. – S.C.H.A (34:31), another form of self portrait. Chiarina (35:09) is a depiction of the composer’s wife Clara, while the spacious arpeggios of Chopin (36:03) depict the composer.

Estrella (36:46) depicts Ernestine von Fricken, before Reconnaissance (37:23), a brilliant musical portrayal that is thought to depict Schumann and Ernestine recognizing each other at the ball. Pantalon et Colombine (38:54) are from the commedia dell’arte, then we hear the charming Valse allemande (39:38)

An extremely active Intermezzo: Paganini (40:14) leads into a reprise of the Valse allemande. Then Aveu (41:30) initally feels a bit bashful in its depiction of a confession of love. A Promenade (42:20) moves directly to a Pause (43:58), written out in musical form. After an almost identical reprise of a passage from the opening Préambule, we lead without a break into the final section, the Marche des “Davidsbündler” contre les Philistins (The March of David Against the Philistines) (44:16) It is a rousing finish to a cycle full of character.

Sophie Pacini’s performance is a fast one – most versions clock in just under half an hour, whereas hers is under 23 minutes. This shows the quick tempo choices she makes, and the short pauses between musical numbers. On occasion the music feels a bit too hasty and some of the softer moments and dance scenes could do with a bit more space and charm, some time to breathe between the sections perhaps. That said, a very enjoyable performance of characterful music that ends triumphantly.

As a suitable footnote to the concert, Pacini returned to the key of C sharp minor for Saint-Saëns (48:26-53:33) and his Allegro appassionato.

Further listening

Sophie Pacini has recorded all of the repertoire given in her recital. Her encore piece, the Saint-Saëns Allegro Appassionato, is added in a new recording from Bertrand Chamayou:

Quite where Liszt found the time to transcribe loads of orchestral pieces for piano is a mystery, but he did – including all nine Beethoven symphonies! This collection from Glenn Gould includes the Fifth, as well as more Wagner:

Schumann’s character pieces for piano are greatly loved. Carnaval is one of the most popular, but there are plenty of others – and on this album from Wilhelm Kempff you can enjoy three collections – Kinderszenen (for children), the wonderful Kreisleriana and the Waldszenen (Forest Scenes):

Wigmore Mondays: Lara Melda – Ballades by Chopin & Liszt

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Lara Melda (piano, above)

Chopin Ballades for piano: no.1 in G minor Op.23 (c1835) (2:11-12:09 on the broadcast link; no.2 in F major Op.38 (1839) (13:10-20:38)
Liszt Ballade no.2 in B minor S175 (1853) (22:30-39:40)
Chopin Ballades for piano: no.3 in A flat major Op.47 (1841) (41:28-49:15); no.4 in F minor Op.52 (1842-3) (50:38-1:02:39)

Wigmore Hall, London; Monday 3 December 2018

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

Written by Ben Hogwood
Photo credit Emrah Bostan

A very well planned and presented hour of Ballades from Lara Melda, contrasting beautifully the approaches to the form by Chopin and Liszt.
Chopin’s Ballades are some of the finest works in all his output for solo piano, and contain numerous innovations in form, style and substance. The four works are very different in character, each telling a very different story – but a private one to the composer, too.

The Ballade no.1 in G minor Op.23 gives a stern call to arms at the start of proceedings (from 2:11 on the broadcast), Melda taking a long (and appropriate) pause before beginning, but starting very slowly too. Though arguably too slow, it is a dramatic interpretation, beautifully paced and technically very strong, remaining straight faced throughout but really working up a head of steam from 4:45 onwards. A slower section follows, nicely phrased, before a return to the stern outlines of the minor key, Melda’s octaves probing sharply (from 7:10). From 10:40 the music gathers itself for a powerful and deliberate (but again very effective) finish.

The Ballade no.2 in F major Op.38 (13:10) has an almost Christmassy feel to start with, the gentle theme making itself known in a rocking formation. This contrasts to a violent intervention (15:17) in a completely different mood and key, Melda keen to make a wide difference between the two approaches. Initially this is a flash in the pan, the soft theme returning at 16:18, but the brittle intervention has not gone away for long, and appears once more from 18:30. Here the pianist does not feel quite so controlled or disciplined – possibly intentionally. The quiet music does return again (20:09), crucially now in a minor key, to indicate force has not quite won the day.

Liszt’s approach to the Ballade, perhaps not surprisingly, is to make it an all-encompassing literary whole, telling the story of Gottfried Bürger’s Lenore in fifteen minutes of high drama. Beginning in the murky depths of the piano at 22:30, the more extensive Ballade no.2 in B minor S175 immediately makes an impact under Lara Melda’s direction, the probing lower range theme setting the scene. The next section, from 26:40, is jagged and unhinged, beginning Lenore’s ride on the horse with her dead lover. This macabre setting full of octaves in the piano’s right hand is brilliantly played, as is the softer, bell-like section that follows at 29:50. Then a tumultuous section shows off Melda’s ability for clarity at speed, a typical whirlwind of Liszt octaves reaching its climax at 32:10. From 34:09 a chorale-like theme begins to develop, reaching its apex at 36:57 and then subsiding to a quiet end.

Chopin’s Ballade no.3 in A flat major Op.47 (41:28) contrasts nicely with the bombast of the Liszt, its relatively reserved but lyrical opening theme one of the composer’s very best. A contrasting waltz section (43:38) is much more assertive, and finds Melda adding a nice lilt to the music. These two alternate as though in a quest for domination, and were beautifully played here. The only slight blot on the landscape was what appeared to be a memory blip from Melda on the last few chords, but she recovered to finish in the ‘home’ key.

Finally the Ballade no.4 in F minor Op.52 (50:38), arguably the most difficult of the four – and an extremely intense piece of music. Melda played it with the same assurance she gave the other three ballades, capturing the deep melancholy at the heart of its waltz-like theme. This was a very concentrated reading, leading inevitably to the quiet five chords (1:01:01) and the incredibly powerful coda that follows (1:01:38)

A fine concert, then, from a pianist with a keen sense of drama, a near-impeccable technique and a clear passion for this music.

Further listening

Lara Melda has plans to release an all-Chopin disc next year, which will be her first recording. The playlist below includes well-loved accounts of the Ballades from Vladimir Ashkenazy, while for completeness I also included the encore Melda played at the Wigmore Hall after Radio 3 had gone off the air:

Another Romantic composer to write Ballades for the piano was Brahms, whose early examples for the piano were published in 1854 as 4 Ballades Op.10. This legendary recording by the pianist Emil Gilels forms part of a disc of Brahms’ Piano Quartet no.1 in G minor, which has the same key and a similar mood to the first of Chopin’s Ballades: