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.

Listen

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:

The Favourite Soundtrack – listen here

Happy New Year!

One of the most hotly anticipated film releases of this New Year 2019 is The Favourite. Olivia Colman plays Queen Anne, supported by Rachel Weisz and Emma Stone as part of a starry cast to tell a tragi-comic tale around the life of the 18th century English monarch.

The score of this colourful, moving and often hilarious film is full to the brim with classical music – so as the release of the official soundtrack is a few weeks away, here is a playlist of the musical numbers. From Purcell‘s incredibly moving Music For A While to Messiaen‘s thundering Jésus accepte la souffrance (Jesus accepts suffering) by way of small-scale Schubert and Schumann, it contains some absolute gems!

Wigmore Mondays: Lucy Crowe & Joseph Middleton – English song

Lucy Crowe (soprano, above), Joseph Middleton (piano, below)

Purcell, realised Britten Lord, what is man? (A Divine Hymn) (1693) (1:17-6:36 on the broadcast link below); O solitude, my sweetest choice (1684-5) (6:40-12:00)
Weldon, realised Britten Alleluia (before 1702) (12:04-14:00)
Michael Head Over the rim of the moon (1918) (The ships of Arcady 15:20-18:15, Beloved 18:25, A blackbird singing 19:48-22:08, Nocturne 22:12-25:21)
Ireland The trellis (1920) (26:37-29:25); My true love hath my heart (1920) (29:33-31:10); When I am dead, my dearest (1924) (31:14-33:00); If there were dreams to sell (1918) (33:02-34:46); Earth’s call (34:54-39:38) (1918)
Walton 3 Façade Settings (1931-2) (Daphne (40:47-43:30; Through gilded trellises (43:36-47:16); Old Sir Faulk (47:17-49:08)

Wigmore Hall, London; Monday 24 September 2018

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

Written by Ben Hogwood

On this evidence Lucy Crowe and Joseph Middleton are two of the finest exponents of English song around. This finely planned recital showed off the versatility in Crowe’s voice, as well as its clarity and pure emotion. Middleton also distinguished himself with some exceptional scene-setting and characterisation of his descriptive piano parts.

The solemn glory of Britten’s Purcell realisations provided an imposing start, although Crowe allowed the expansive setting of A Divine Hymn (from 1:17 on the broadcast) plenty of room to express its excitable joy, with a sparkling finish to boot. O solitude (6:40) was a more thoughtful interpretation and beautifully sung, while the twists and turns of John Weldon’s Alleluia (12:04) were skillfully negotiated. Britten’s expanded piano parts, his own informed response to Purcell’s melodies, were in safe hands thanks to Middleton.
There followed a rarity in the form of Michael Head’s short cycle Over the rim of the moon, from his late teenage years. The ships of Arcady (15:20) featured tolling bells in Middleton’s right hand, while a rapturous Beloved (18:25) gave up its soul. A blackbird singing (19:48) embraced the open air, with a sparkling first note from Crowe, while the cool Nocturne (22:12) sent a light shiver down the spine.

Crowe really came into her own in a sequence of five John Ireland songs. Ireland can be elusive in some interpretations, but not here. As soon as Middleton’s descriptive piano set the scene for The trellis (26:37) Crowe was in her element, using a poignant pause to illustrate ‘the whisper’d words between and silent kisses’. The breathless adoration of My true love hath my heart (29:33) was countered by the finality of When I am dead, my dearest (31:14), which brought a tear to the eye. If there were dreams to sell (33:02) offered a more upbeat outlook, before Earth’s call (34:54) took us right to the water, depicting the plover, cuckoo and stormy ploughland with exquisite detail, all blown by Middleton’s blustery breeze.

After these heights, the Walton Façade settings worked well, Crowe handling the tricky wordplay of Edith Sitwell impressively. Her sideways looks during Daphne (40:47) were brilliantly done, as were Middleton’s persuasive piano rhythms underpinning Through gilded trellises (43:36), where Crowe hit her top B flat with ease. Old Sir Faulk (47:17), with its bizarre lyrics, gave a nonsensical end.

The two encores were unforgettable. Crowe began with an unaccompanied version of She moved through the fair (50:23-53:18), which tugged urgently at the heartstrings, and ultimately brought a tear to the eye. So too did one of Britten’s finest folksong settings, The Salley Gardens (54:20-56:47), a pure and beautiful note on which to end.

Further listening

Lucy Crowe has not recorded any of the repertoire in this concert, but the playlist below gives leading interpretations of the songs she sang.

For further exploration of the songs of John Ireland, this album gives his complete output:

Wigmore Mondays – Clara Mouriz & Joseph Middleton: Songs of the Antique

Clara Mouriz (mezzo-soprano), Joseph Middleton (piano)

Purcell/Britten Alleluia (pre-1702, realised by Britten 1960)

Alessandro Scarlatti Son tutta duolo (c1699)

Anchieta arr. Dorumsgaard Con amores, la mia madre (unknown)

Liszt 3 Petrarch Sonnets (1842-6)

Duparc La vie antérieure (1884)

Hahn Tyndaris (1900)

Ravel Kaddisch (1914)

Falla 7 Spanish Popular Songs (1914)

Wigmore Hall, London; Monday 26 June, 2017

Listen to the BBC broadcast here

Written by Ben Hogwood

A fascinating concert that confirmed the versatility of Clara Mouriz and Joseph Middleton. Their performance, titled ‘Songs of the Antique’, concentrated on songs whose music or text looks a long way to the past for inspiration.

The mezzo-soprano has a rich and powerful voice in the middle register especially, which came to the fore in passionate accounts of the Liszt 3 Petrarch Sonnets, but also in the solo writing of Ravel and the quasi-orchestral scope of Duparc.

First we went right back to the Eighteenth century for an Alleluia – a song originally attributed to Purcell but found to be by John Weldon. Britten, as part of his Purcell revival, provided a complementary piano part, one that shadows the spun out vocal. This vocal won’t be to everyone’s taste, but Mouriz mastered it brilliantly here (from 1:49 on the broadcast link provided).

The Scarlatti, an excerpt from the opera La donna ancora è fedele, made a nice contrast (3:52). Unlike his brother, who wrote copious amounts of keyboard music, Alessandro wrote many operas – and the excerpt here shows how fluid his vocal writing could be. Meanwhile the arrangement of Anchieta’s folksong, thought to be from the fifteenth century, had a primal quality in this interpretation – with elegantly shaped piano from Middleton (7:01).

The Liszt was a highpoint of the recital, not just for Mouriz’s fire and passion but for Middleton’s word painting with the piano part. Liszt was borderline-obsessed with the sonnets, complementing his two vocal settings of the trio with powerfully descriptive pieces for the piano. The vocal line is highly charged in all three songs, and strongly Italian in musical flavour as well as language. Sonetto 104, Pace non trovo (I find no peace) surged forward turbulently in the piano part, a restlessness matched by Mouriz’s outpouring (from 10:31).

The Sonetto 47, Benedetto sia ‘I giorno (Blessed be the day) was notable for ‘the sighs and tears, the longing’ found by Mouriz at 20:07, while the final Sonetto 123 I’ vidi in terra angelici costumi (I beheld on earth angelic grace) was beautifully sung (from 23:10), Mouriz mastering the wide ranges and dynamics Liszt asks for. Middleton’s decorative piano part was brilliantly done too.

After this we had the relatively rare chance to appreciate the songwriting guile of Henri Duparc, a French composer whose life was tragically cut short due to neurasthenia. He left just thirteen published songs, of which La vie antérieure is an expansive example. It began optimistically (30:13) but turned rather sour towards the end, this performance carefully paced and given impressive detail by Middleton.

Hahn’s Tyndaris offered more optimism after the Duparc (from 34:35) while Ravel’s Kaddisch, from his Deux melodies hebraïques, had a powerful declamation that Mouriz used to take over the hall (36:15).

Finally the Spanish mezzo-soprano was completely on home turf for Falla’s brilliantly written songs, a whole wealth of different characters and emotions coming out in this performance (from 42:22).

We had the famous Seguidilla murciana (43:00) where ‘people who live in glass houses shouldn’t throw stones’, the mournful Asturiana (45:10), a brisk Jota (47:58), a soft Nana (Lullaby) (51:03), a brighter Cancion (52:48) with darker lining and finally the dramatic Polo (53:42), where the piano’s repeated notes appear to describe the stabbing pain in the singer’s heart.

As a richly deserved encore the pair gave a soulful performance of a Spanish funeral song, Let my soul mourn (57:08).

Further listening

The works in today’s concert are on Spotify and can be heard below:

As a contrast, why not try an album of orchestral music by the Spanish composer Turina, featuring at its centre the collection of Poema en forma de canciones:

Meanwhile, you can watch Clara and guitarist Sean Shibe perform Asturiana, from the Falla songs, below:

Wigmore Mondays – Richard Egarr: Keyboard music of the Tudors and Stuarts

Richard Egarr

Richard Egarr (photo Marco Borggreve)

Byrd Fantasia in A minor; Pavan and Galliard; The Bells

Purcell Suite in G major; Ground in C minor

Blow Chaconne in FaUt

Purcell Suite in G minor; Suite in D major; Ground in D minor

L-R William Byrd (c.1540-1623);   Henry Purcell (c.1659-1695); John Blow (1648-1708)

Listen to the BBC broadcast here

Written by Ben Hogwood

The harpsichord enjoys a rather chequered reputation in concert, and from personal experience at least among friends I can say it is one of those ‘marmite’ instruments.

Certainly it is unusual for it to have a place alone in a BBC Radio 3 Lunchtime Concert, yet here it was, with Richard Egarr beginning the 2017 part of the Wigmore Hall Monday lunchtime concert season.

In the event the BBC had chosen well, Egarr compiling a fascinating program of keyboard music from the Tudors (Byrd) and Stuarts (Purcell and Blow).

The music of Byrd, a composer for Queen Elizabeth, flows with obvious inspiration. Egarr’s selection here began with the free and at times elaborate Prelude and Fantasia (from 1:43 in the broadcast), moved on to a more stately Pavan and Galliard (from 10:54 and 14:39) from the impressive collection My Lady Neville’s Book and concluded with the descriptive The Bells (16:19), a remarkable piece of writing beginning with a single toll and working its way intricately through thrilling peals of bells.

Purcell, even now one of the greatest composers England has ever produced, appears to have written his harpsichord suites as a tuition aid, yet they are all characterised with dances fast and slow. Egarr played three suites here, the G major work (from 23:55 on the broadcast) the simplest and the G minor (from 37:07), with its brisk Corant dance, seemingly the most challenging. Most engaging, however, was the three-part D major suite (from 45:45), with its thoughtful Prelude and brief but vigorous Hornpipe.

Egarr also included two brief Grounds (pieces with a short, recurring bass line) by Purcell (27:24 and 49:31), with a third, A New Ground, as an encore (52:50). We also heard a Chaconne by Purcell’s teacher John Blow (30:18), a chirpy piece that became increasingly busy and eventful, leading to a series of grand, block chords near the end.

Egarr’s performance manner was conversational. He turned his own pages, and even gave the harpsichord itself a clap at the end, as though thanking it for staying well-tuned! His demeanour encouraged the audience to feel part of an intimate concert, and lightened some of the heavy cloud around London for the first Monday proper of 2017.

Further listening

You can listen to the music in this concert on Spotify below, with recordings from Egarr himself: