Tag Archives: Gabriel Fauré

In concert – Maria Dueñas, CBSO / Kazuki Yamada: Beethoven Violin Concerto & Elgar ‘Enigma’ Variations

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Maria Dueñas (violin, above), City of Birmingham Symphony Orchestra / Kazuki Yamada (below)

Beethoven Violin Concerto in D major Op. 61 (1806)
Elgar Variations on an Original Theme, ‘Enigma’, Op. 36 (1898-9)

Symphony Hall, Birmingham
Thursday 22 February 2024

Reviewed by Richard Whitehouse Picture (c) Tam Lan Truong

Having given its ‘first part’ yesterday evening, Kazuki Yamada and the City of Birmingham Symphony Orchestra moved on to ‘Elgar & Beethoven: Part 2’ this evening, with an astute coupling of the latter’s Violin Concerto being followed by the former’s ‘Enigma’ Variations.

Anyone having heard Maria Dueñas in Lalo’s Symphonie espagnole at last year’s Proms will know she is a violinist destined for great things, as was reinforced her take on the Beethoven. Admittedly she and Yamada were not consistently as one in its lengthy first movement – the soloist’s tendency to rhapsodize and to tease out expressive nuance jarring, however slightly, with the conductor’s forthright assertiveness in tuttis. Yet there was no absence of insight on either part, such undeniable eloquence continuing through a central Larghetto that was more adagio as Dueñas conceived it, though which still conveyed a rapt inwardness. The ensuing Rondo lifted this mood appreciably, its impulsive main theme and whimsical episodes deftly eliding into a purposeful traversal of a finale whose conclusion was nothing if not decisive.

As with her recent recording of this concerto, Dueñas played her own cadenzas. That for the first movement had Bach-like deliberation and a harmonic astringency which readily held the attention; if that connecting the latter two movements seemed a little too protracted, and that towards the close of the finale rather offset its overall momentum, there could be no doubting her underlying conviction. She duly acknowledged the considerable applause with a suitably serene, never cloying arrangement for violin and strings of Fauré’s early song Après un rêve.

In his initial remarks, Yamada recalled conducting a Japanese brass band in the First Pomp and Circumstance March as his first experience with Elgar, and this account of the ‘Enigma Variations amply reaffirmed his identity with the composer. Not that this was an integrated or seamless account – Yamada’s halting, even ambivalent take on the Theme intensified in the first variation and, while the swifter variations had no lack of character or impetus, it was in such as the fifth variation’s suffused earnestness with whimsy that this reading left its mark.

On one level the Enigma is a forerunner of the ‘concerto for orchestra’ with its emphasizing various soloists – not least viola in the sixth variation, dextrously negotiated by Adam Römer, or cello in the 12th where Eduardo Vassallo was at his ruminative best. Initially a little stolid, Nimrod built to a culmination of real pathos, and even finer was Yamada’s take on the 10th variation for an intermezzo of unfailing poise and deftness. A tangible atmosphere pervaded the 13th variation – uncertainty as to its dedicatee just part of its fascination, with those veiled allusions to Mendelssohn elegantly rendered by Oliver Janes. From here to the final variation in all its confidence and anticipation was to be recall the impact this music made at the end of the 19th century, Yamada steering it with unforced rightness towards a resounding peroration. Overall, a performance full of insight and one hopes that Yamada will be continuing his Elgar exploration in future seasons. Next week, though, brings two concerts for which former music director Sakari Oramo will be returning to this orchestra for the first time in some 15 years.

Click on the link to read more on the current CBSO concert season, and on the names for more on violinist Maria Dueñas and conductor Kazuki Yamada. Arcana’s Listening to Beethoven series will reach the Violin Concerto soon!

Published post no.2,101 – Tuesday 27 February 2024

Happy New Year – the year ahead on Arcana

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by Ben Hogwood, editor

As this is our first post of the year, let me take the opportunity to wish all readers of Arcana a very Happy New Year! Thanks for taking the time to visit the site, I hope you will find much of interest.

In a musical sense, 2024 promises much – and offers a great opportunity to celebrate the music of some classical composers whose anniversaries fall this year. Keep visiting for more on Gustav Holst (above, his statue in Cheltenham), Gabriel Fauré, Darius Milhaud and Nick Drake – as well as the continuation of our Beethoven 200 series, which will pick up the composer’s work where we left off, with the opera Lenore. There will also be the usual reviews of concerts and new music, playlists and interviews. The aim is to add a post each day, so if you come back to the site on a daily basis you should find something new to read – and something new to listen to.

We aim to do what Manfred Mann’s Earth Band did to Holst – and bring some joy to our readers. Wishing you a wonderful 2024!

Online Concert: Nash Ensemble @ Wigmore Hall – Mozart & Fauré

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Nash Ensemble [Alasdair Beatson (piano), Corey Cerovsek, Michael Gurevich (violins), Rachel Roberts (viola), Adrian Brendel (cello)]

Mozart Piano Concerto no.14 in E flat major K449 (1784)
Fauré Piano Quartet no.1 in C minor Op.15 (1876-9, rev. 1883)

Wigmore Hall, Monday 17 April 2023 1pm

by Ben Hogwood

https://www.youtube.com/watch?v=rNFpMC3fdRc

Mozart and Fauré make a good concert match, and it was a nice touch by the Nash Ensemble to choose one of the piano concertos with which to start this BBC Radio 3 Lunchtime Concert

Although Mozart wrote two piano quartets, in 1785 and 1786, he was in the middle of a white-hot streak of creativity between where he wrote a dozen piano concertos in two years. This remarkable period of musical fluency began with the Piano Concerto no.14 in E flat major, which as it happens is highly suitable for the piano quartet combination of piano, violin, viola and cello. To this combination Mozart added one more violin, securing a highly successful domestic first performance in 1784.

The Nash Ensemble players clearly enjoyed this authentic showing. Alasdair Beatson took the solo role by balancing flair and sensitivity, while the strings ensured this attractive work was off to an airy start. That said, they weren’t afraid to dig in when the music turned towards the darker side, and the key of C minor, but E flat won out with its purely positive energy, especially when Mozart’s trill-like figure was introduced. Beatson’s cadenza was beautifully judged, virtuosic but lyrical too.

A softly rendered second movement brought through the piano’s florid figurations but also enjoyed the sweet, still motion of the strings. The Wigmore Hall seemed sunnier for the group’s approach, as it did in the bright and breezy third movement, with sparkling exchanges and a thoroughly enjoyable triple time section which the players clearly relished. This was a fine performance, fulfilling the first principles of chamber music.

Some of Fauré’s very best music can be found in his chamber works, a remarkably consistent body of work running through his career from the First Violin Sonata of 1876 to the String Quartet of 1924. The two piano quartets sit towards the top of this list, the first an outpouring of feeling in the wake of his broken engagement with Marianna Viardot.

The Nash Ensemble communicated this intensity from the passionate swell of the first melody, but there was resolve and determination too, even in Corey Cerovsek’s bittersweet violin solo during the flowing central section. This was where we felt the unique shafts of sunlight that Fauré throws into even the stormiest fast movements, and the harmonic sleight of hand that would be a standout feature of his music.

The second movement Scherzo showed off another of the composer’s traits, the ability to write light-hearted music with long phrases and unusual syncopations. The sleights of hand here were most enjoyable, with purity of tone from the strings and a dextrous piano part from Beatson.

Yet it was the slow movement that contained the emotional heart of the performance, Beatson listening attentively to the playing of his colleagues, Adrian Brendel‘s yearning cello phrase taken up in unison by the strings. Under the twinkling of Beatson’s right hand those strings spoke deeply and longingly.

Fauré had trouble with the finale, revising it after some less than positive feedback from his friends. This 1884 revision, however, turns its thoughts to the future with music of renewed resolve, another characteristically broad phrase looking outwards from the strings over typically tricky piano figures. Needless to say, the Nash Ensemble harnessed all these qualities, capping a memorable performance.

For more livestreamed concerts from the Wigmore Hall, click here

Online concert – Steven Isserlis & Connie Shih mark the centenary of Saint-Saëns @ Wigmore Hall

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Saint-Saëns Cello Sonata no.1 in C minor Op.32 (1872)
Liszt Romance oubliée S132 (1880)
Fauré Romance Op.69 (1894)
Saint-Saëns Romance in F major Op.36 (1874)
Bizet arr. Hollman Carmen fantaisie (not known)
Willaume La noce bretonne Op.14 (pub. 1924)
Holmès arr. Isserlis Noël d’Irlande (1897)
Hahn 2 improvisations sur des airs irlandais (1894 rev. 1911)
Saint-Saëns Cello Sonata no.2 in F major Op.123 (1905)

Steven Isserlis (cello, above), Connie Shih (piano, below)

Wigmore Hall, London
Thursday 16 December 2021

Written by Ben Hogwood

This well-devised program to mark the centenary of the death of Saint-Saëns was put together by cellist Steven Isserlis and his regular partner, pianist Connie Shih. They presented the composer’s two cello sonatas, the first of which was recorded by Isserlis back in 1992, in an intriguing historical context.

There is no room for shrinking violets in the first movement of the Cello Sonata no.1 in C minor Op.32, a relatively early work, and both performers threw themselves headlong into the music. Saint-Saëns was a virtuoso pianist, and on occasion his writing for the instrument is as demanding if not more so than the instrument it is ‘accompanying’. Here however the two were on equal terms, with plenty of cut and thrust in a dramatic first movement. The C minor casting and stormy start draw parallels with Beethoven, and these were built upon in the players’ compelling dialogue. The improvisatory slow movement was ideally poised, with an air of mystery in its central section where the cello was in its lowest register, complemented by twinkling figures from the piano. The Allegro moderato third movement returned us to powerful, passionate music, Isserlis’ double stopping passages immaculately delivered and Shih finding the necessary definition and phrasing in a superbly played piano part.

A full 32 years elapsed between the first sonata and its sequel, the Cello Sonata no.2 in F major Op.123. By this time the 70 year-old composer’s style had developed considerably. It is a substantial piece, running over 35 minutes, and is perhaps less-performed on that basis, not to mention the demands made on the performers. Isserlis and Shih showed what a fine work it is, however, in a performance that was gripping from the off, full of passion but also finding the more elusive statements in the quieter music, where Saint-Saëns could be found writing subtle but far-reaching sleights of harmony.

A joyous opening paragraph surged forward with considerable energy, powering an impressive and flowing first movement, Shih harnessing the power of the piano but continuing to hold a sensitive balance. She led off a capricious scherzo, whose variations were brilliantly characterized, from a limpid third variation (marked Tranquille) to a rippling Molto allegro that followed.

The heart of the piece, however, lies in the substantial Romance, a dreamy slow movement with a beautiful melody and a profound middle section turning towards the minor key. Both played with poise and affection, finding the centre of music the audience could fully lose themselves in. The last movement, which the composer promised ‘will wake anyone who’s slept through the rest of the piece’, was terrific, working from its deceptively innocuous opening phrase to throw off the shackles and end in celebratory mood. Isserlis was typically generous with his expression, with Shih deserving credit for her technical command and shapely melodic phrasing. The octaves towards the end were especially well-handled.

While the two sonatas were the main works of the concert, the complementary pieces were no less involving, providing an ideal foil. Firstly we heard from Saint-Saëns’ close friend Liszt, one of his few works for cello and piano. The Romance oubliée began with a recitative, with beautiful tone in the held notes from the cello, setting the (intense) mood. Then another great friend (and pupil), Fauré – whose Romance uses the whole range of the cello, starting in the mysterious depths and ending in the rarefied upper register. Saint-Saens’ own warm-hearted Romance in F major Op.36 was affectionately recounted, before the showstopping Carmen fantasie from Saint-Saëns’ friend and regular recital partner, Joseph Hollman. This was a showstopper, with quickfire dances and a pizzicato Habanera, stylishly done by Isserlis.

Shorter pieces followed from Gabriel Willaume, Reynaldo Hahn and Augusta Holmès, each with fascinating connections to the composer. Willaume’s La noce bretonne (The Breton wedding) was rather moving, its distant drone growing in feeling and power before passing by and disappearing again. Hahn’s 2 improvisations were songlike and affecting in their simplicity, a soulful Willow Tree especially, before an arrangement by Isserlis of Holmès song Noël d’Irlande, its pentatonic language easy to absorb.

This was a very fine concert, with playing of an exceptionally high standard by both artists, but crucially with the involvement that told us how Saint-Saëns, in particular, could combine virtuosity with deep feeling, contrary to some opinion. It is hard to imagine how his centenary could have been better observed – and it ended with a perfectly weighted account of The Swan, one of his most famous shorter pieces – taken as it is from Carnival of the Animals. Isserlis needed only to introduce it with a wave of the hand.

You can watch this concert on the Wigmore Hall website for the next 28 days – and you can hear most of the music played by Isserlis and Shih on the Spotify playlist below, with some of the recordings drawn from their recent album Music from Proust’s Salons. That disc can be heard (and purchased) from the BIS website

In concert – City of Birmingham Symphony Orchestra: A Covid Requiem

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Adès O Albion (1994, arr. 2019)
Pärt Fratres (1977, arr. 1991)
Purcell (arr. Britten) Chacony in G minor Z730 (c1680, arr. 1948)
Barber Adagio in B flat minor Op.11 (1935, arr. 1936)
interspersed with poetry readings by Casey Bailey
Fauré Requiem in D minor Op.48 (1887-90, rev. 1893)

James Platt (bass), Casey Bailey (poet), CBSO Children’s Chorus, CBSO Youth Chorus, CBSO Chorus, City of Birmingham Symphony Orchestra / Tomo Keller (violin/director), Mirga Gražinytė-Tyla (conductor)

Symphony Hall, Birmingham
Saturday 6 November 2021

Written by Richard Whitehouse

Even if live music-making has gradually been returning to how it was, the (ongoing) legacy of Coronavirus could hardly be overlooked, thus a concert such as that given this evening by the City of Birmingham Symphony Orchestra was a necessary act of remembrance for all the many concertgoers to have been affected by the pandemic. As befitted such an occasion, no speeches or prefatory remarks were needed, with the darkening of the auditorium during the performance a simple but effective gesture which helped focus musicians and listeners alike.

Strings only were onstage in the first half – Tomo Keller directing a sequence as began with O Albion, Thomas Adès’s arrangement of the sixth movement from his quartet Arcadiana, whose gentle pathos made for the ideal entrée. Arvo Pärt has written numerous memorials and while Cantus might have been more appropriate in this context than Fratres, the latter’s sparing deployment of percussion as to underline its ritualistic emergence then withdrawal conveyed no mean eloquence. Surprising, perhaps, that Britten’s arrangement of Purcell’s Chacony is not heard more frequently on such occasions, its expressive intensification here informed by an acute rhythmic clarity. Barber’s Adagio is, of course, a staple at these times – the visceral emotion of its climax and subdued fatalism that ensues audibly conveyed here.

Interspersed between these pieces were poems by Casey Bailey, currently Birmingham Poet Laureate and whose readings were undeniably affecting in their sincerity – whether the heady reportage of 23.03.21 (a date no-one in the UK could hope to forget), the intimate evocation of Weight or graphic remembrance of Once. His appearances on stage were precisely judged as to segue into then out of the music either side and it was a pity when he did not take a call at the end of this first half, alongside the CBSO strings, given his contribution to proceedings.

Tomo Keller remained for the second half – adding ethereal counter-melodies to two of the sections in Fauré’s Requiem, whose 1893 version is without violins but with divided violas and cellos along with reduced woodwind and brass to make for a reading closer to the initial conception and certainly more apposite tonight. Her credentials in the choral repertoire well established, Mirga Gražinytė-Tyla conducted with a real sense of this work’s essential poise but without neglecting any deeper emotions. James Platt brought a ruminative warmth to the Hostias and Libera me, and it was an inspired touch to have the Pie Jesu sung in unison by the Children’s Chorus; its plaintiveness offsetting those richer tones of the Youth Chorus and CBSO Chorus, while opening-out the music’s textural and expressive range accordingly.

In one sense it would have been better had this concert not had to take place, given the legacy it commemorated (as was witnessed by the personal recollections occupying five pages of the programme) and yet, as those ethereal strains of the In Paradisum receded beyond earshot, a feeling of the Covid crisis having been recognized then overcome was palpable on the part of those present. Moreover, the CBSO’s next event is a performance of Janáček’s The Cunning Little Vixen – surely as transcendent and life-affirming an experience as could be hoped for.

Further information on the CBSO’s current season can be found at the orchestra’s website. For more on Casey Bailey, click here, for James Platt click here, and for Tomo Kellner here