Proms at … Cadogan Hall 3: The English Concert / Kristian Bezuidenhout

The English Concert / Kristian Bezuidenhout (harpischord, above)

Purcell (1659-95)
The Virtuous Wife (before 1694): Overture (1:45 on the broadcast link below)
The Fairy Queen (1692): Hornpipe (4:38)
The Virtuous Wife (before 1694) – First Act Tune (5:41)
The Indian Queen (1695): Rondeau (8:41)
Chacony in G minor (c1678) (10:21)
Marchand (1669-1732)
Pièces de clavecin, Book 1: Allemande (publ. 1702) (17:33)
de La Guerre (1665-1729)
Violin Sonata in D minor (publ. 1707) (20:46 – 35:45)
Telemann (1681-1767)
Sonata in A minor, TWV 43:a 5 (unknown date) (39:43 – 48:47)
Handel (1685-1759)
Trio Sonata in G major Op.5/4 (publ. 1739) (50:02 – end)

Cadogan Hall, Monday 5 August 2019

Reviewed by Ben Hogwood

You can listen to this Prom on BBC Sounds here

This was a really interesting hour of music from the English Concert and director / harpsichordist Kristian Bezuidenhout, and it was all the more refreshing for a willingness to look beyond the more conventional repertoire you might have expected as part of the Proms’ look at 800 years of music in the Cadogan Hall chamber concerts this year.

Petroc Trelawny, always a consummate professional when introducing at the venue, gave helpful context behind the works chosen, and explained how each was looking to emulate the French style that was so fashionable thanks to the tastes and influence of Louis XIV, the ‘Sun King’.

First up was Henry Purcell, who was of course a popular figure and well enough established in England – but the choices here were not conventional. The Virtuous Wife, a comedy for the stage (beginning at 1:45 on the broadcast link), is just one example of many works Purcell wrote for the theatre in England. In this performance the overture was perhaps a touch too virtuous to begin with, though by the time the music broke at 2:43 a natural tempo and phrasing had been reached. The Fairy Queen’s Hornpipe (4:38) was vigorous, with a satisfying twang to the theorbo strings of William Carter.

The First Act Tune (5:41) was pensive but nicely phrased, showing off Purcell’s rich chromatic spectrum, and was followed by a graceful Rondeau, dancing slowly but elegantly (8:41), before the Chacony (10:21), one of his most famous instrumental pieces that we often hear today for string orchestra. It is a powerful set of variations over a ‘ground’ (a pre-set bass and chord progression) that gathers in intensity.

Next we had solo harpsichord, Bezuidenhout showing off his instincts in an improvisatory Allemande by the French composer Louis Marchand (17:33), with some expansive harmonic twists. That was followed by a dazzling Violin Sonata no.1 in D minor by Élisabeth Jacquet de La Guerre (20:46). Written in 1707 as part of a set dedicated to Louis XIV, it was deftly handled here by Tuomo Suni, with its six short movements marked as Prelude (20:46), Presto (23:20), Adagio (25:18), Presto-Adagio (26:00), Aria (29:53) and Presto (33:36). The Presto-Adagio showed not just only Suni’s clear tone, without vibrato, but the punchy ‘continuo’ accompaniment from Bezuidenhout and viola da gamba player Piroska Baranyay. A similarly crunchy sound inhabits the final Presto, after a graceful Aria.

Telemann’s enormous output can sometimes mask his achievements as a composer, and the Sonata in A minor – little known, it seems – showed itself to be an accomplished and dramatic piece, ‘praising the instrumental texture’ as Bezuidenhout explained. Bolstered by the double bass of Christine Sticher, the English Concert (above) really benefited from the extra depth to their sound, meaning a Trio Sonata had seven people on the platform managing the three parts!

The short suite made references to Poland, France and Italy in a Grave (39:43), Allegro – Adagio (40:32), Allegro (44:10), Largo e staccato (45:43) and final Allegro (46:15). The stylish performance had a rustic feel in the faster movements, with an earthy snap to the staccatos of the fourth and a brilliant cut and thrust to the final Allegro.
Finally Handel, and a brightly voiced Trio Sonata in G major Op.5/4, the kind of which he would surely have played with friends in his Brook Street flat in London. This performance played the piece in a different order to the norm, beginning with the ‘second’ movement, marked A tempo ordinario (50:02), which had an enjoyably full texture from the seven instruments, and then moving onto the ‘first’, an Allegro (53:55), where the violins took a more prominent role. An elegant Minuet (56:04) followed, then a Passacaille (58:02), with increasingly elaborate lines spun over a recurring bass line – which itself became enjoyably coarse.

An enlightening hour of music, then, which you are encouraged to enjoy on the link above.


The playlist below replicates the concert in available recordings, and includes the Gigue movement of the Handel which appears to have been omitted from the original concert:

Meanwhile to enjoy the many and varied delights of Purcell’s complete Theatre Music, the below recording from Christopher Hogwood and the Academy of Ancient Music will bring much pleasure:

Miah Persson – songs for voice, violin and piano at the Wigmore Hall

Miah Persson, Malcolm Martineau and Birgit Kolar perform works by Handel, Donald Waxman and Richard Strauss


Miah Persson (soprano), Malcolm Martineau (piano) and Birgit Kolar (violin) – Wigmore Hall, London & live on BBC Radio 3, 20 April 2015.

Listening link (opens in a new window):

on the iPlayer until 21 May


In case you cannot hear the broadcast, I have put together a Spotify playlist of the songs sung by Miah Persson. She has not recorded any of them as yet, so I have selected suitable alternatives. The playlist can be found here:

What’s the music?

Handel – 3 German Arias (1724-1727) (17 minutes)

Donald Waxman – Lovesongs (1989) (14 minutes)

Richard Strauss – Violin Sonata, Second movement – inspiration (1887) (8 minutes)

Richard StraussSeptember and Beim schlafengehen (from the Four Last Songs)(1948) (10 minutes); Morgen (1894) (4 minutes)

What about the music?

The combination of voice, violin and piano is not heard much in the concert hall these days, but here Miah Persson, Birgit Kolar and Malcolm Martineau constructed a program of compositions using the forces spanning 265 years. A little imagination was required on the part of the listener – particularly in two of the three Strauss songs where the violin was introduced – but otherwise the combination worked well.

Handel’s three German Arias are part of a group of nine he wrote while setting poetry by his friend Heinrich Brokes – and they are his only settings in the language. Each is scored for a singer, a treble instrument (the violin in this case) and ‘continuo’ – which is the group of people supplying either bass line, chords or both. In this case Malcolm Martineau’s piano comfortably fulfilled that discipline.

Donald Waxman celebrates his 90th birthday this year, inviting comparisons with Elliott Carter, the grandest of old men of American music. Waxman’s best known musical currency is the song, and this group of four love songs contains poems about love by Rainer Maria Rilke, Robert Herrick, an anonymous author and Thomas Hardy.

Finally three songs by Richard Strauss, introduced by the luscious, Romantic harmonies of the second movement of his Violin Sonata. Two of the composer’s last songs are chosen as well as an early song, Morgen, which was a wedding present to his wife.

Performance verdict

Miah Persson has a rather special voice, and heard in person at the Wigmore Hall it could easily melt the most stubborn heart.

This program was a slightly curious one, but made sense in the way it was presented. Handel’s word painting was brought to life by Persson in three of the Nine German Arias, which she sang beautifully – restrained but elegant. Meanwhile Donald Waxman’s rich Loveletters offered a more obviously Romantic view of the world and were passionately sung.

The violin was a helpful counterpart here, but was not always at its most useful in the Strauss songs, picking up elements of the orchestral part for which it was written, and ensemble with Martineau was just occasionally scrappy at the beginning and end of songs.

Two of Strauss’s Four Last Songs felt a bit bereft without the others, and despite Malcolm Martineau’s superhuman efforts there was too much going on in the piano version. Morgen, however, was a sumptuous finish to the program.

What should I listen out for?


1:49 Das zitternde Glänzen der spiegelden Wellen (The shimmering gleam of dancing waves)

This attractive aria begins with a bright violin solo, before a similarly bright entrance from the soprano. The two instruments Martineau’s very sensitive playing brings out the countermelodies when they are needed.

7:53 In den angenehmen Buschen (In these pleasant bushes, where light and shade intermingle)

A shadow falls over the music initially, with a solemn violin solo presumably painting the shade of the text. The bright soprano soars beautifully overhead, however, and finds a rather lovely major key at 9:01, then a brief but really stunning piece of virtuosity to close at 12:11.

13:00 Meine seele hort ihm Sehen (My soul hears through seeing)

‘How all things rejoice and laugh’ is the text during this aria, and Persson seems to be doing just that, her bright voice complemented perfectly by the relative restraint from Kolar and Martineau. This aria, as the BBC Radio 3 announcer Sara Mohr-Pietsch observes, is full of the joys of spring.


20:07 Lovesong (Rainer Maria Rilke) – this piece is just for voice and violin and has a curiously exposed feeling, right from the opening notes from the violin. Kolar plays double stopped (more than one note at once) until Persson glides in, at which point she largely switches to a single note. The tonality is often elusive but the song is carefully thought.

23:57 The Mad Maid (Robert Herrick) – the two instruments begin with unhinged figures that threaten to settle into a busy, Stravinsky-like rhythm, with plenty of syncopations – yet the song feels beyond reach, rather like the mind of the maid, right through to its colder conclusion.

28:16 Nocturne (Anon) – a more obviously romantic song. The close interplay between violin and piano leads to a slow, sonorous melody from the singer. There is a much sweeter aftertaste to this encounter.

32:04 A Bygone Occasion (Thomas Hardy) – a festival air to the last song through the busy piano line, with some jazzy elements in the exchanges with violin. Again Persson’s voice is imperious, and joyful too.

Richard Strauss

35:20 – Violin Sonata, Second movement – an improvisatory and rapturous movement for violin and piano, exploring rich harmonies and melodies. The piano part is particularly full-bodied, as though Strauss were writing for a miniature orchestra. A choppy central section introduces some turbulence that rights itself for a return to the main theme.

43:37 – September from the Four Last Songs­ – this may be music of an old man (Strauss was 84 at the time of composition) but it is clearly a man who has enjoyed a good life. Persson sings with real passion, and the note where she comes back in at 45:07 is worth hearing several times!

48:06 – Beim schlafengehen (When falling asleep)­ – the sleep here of course is the ultimate, end-of-life sleep – but Strauss paints a contented picture, as does Persson – though the piano part has a job rendering all the orchestral detail with just two hands! The violin arrives to help at 49:44, upon which the soprano becomes more and more powerful, the vocal line sweeping upwards as though reaching for heaven.


54:09 – Morgen (Morning) – one of Strauss’s most celebrated songs, and in the intro the listener can almost imagine the sun hovering at the horizon, ready to break through and begin the day. With it comes an atmosphere of intense calm, taken up by Persson.

Want to hear more?

During the Waxman in particular I was put in mind of the songs of Samuel Barber and Aaron Copland, both found on a wonderful disc from the soprano Barbara Bonney, accompanied by none other than André Previn. It can be heard on Spotify here

For more concerts click here