Tag Archives: Jean Sibelius

In concert – Isata Kanneh-Mason, CBSO / Ilan Volkov: Sibelius, Prokofiev & Freya Waley-Cohen

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Isata Kanneh-Mason (piano), City of Birmingham Symphony Orchestra / Ilan Volkov

Sibelius The Oceanides, Op. 73 (1914)
Prokofiev Piano Concerto No. 3 in C, Op. 26 (1921)
Waley-Cohen Demon (2022) [CBSO Centenary Commission: World Premiere]
Sibelius Symphony No. 5 in E flat, Op. 82 (1915-19)

Symphony Hall, Birmingham
Wednesday 22 February 2023

Reviewed by Richard Whitehouse

A frequent visitor during the past quarter-century, Ilan Volkov’s concerts with the City of Birmingham Symphony Orchestra are always to be anticipated, and so it proved with this evening’s programme which brought together the familiar and the new to engaging effect.

Sibelius provided a potent framework, The Oceanides (of which the CBSO made a fine recording with Simon Rattle now almost four decades ago) heard in a reading of unusual breadth and deliberation. Not that this ever impeded the progress of music whose almost impressionistic eddying goes hand in hand with inexorability of motion; the outcome a double climax whose spiralling intensity – visceral even in the context of Sibelius’s later music – makes way for a coda whose understated fatalism was affectingly conveyed here.

Along with her brother Sheku, Isata Kanneh-Mason has had a major impact on the UK music scene – her skill and insight evident throughout this performance of Prokofiev’s Third Piano Concerto. There was no lack of élan in passagework where the composer sought to confirm his own pianistic credentials as he built a career in the West, but also a tendency to brittleness as arguably sold the music short. It was in more reflective sections that Kanneh-Mason came fully into her own – the limpid musing on its main theme at the centre of the first movement, the spectral half-lights of its successor’s third variation, or the warmly expressive melody at the heart of the finale in which her rapport with Volkov was tangible. If the electrifying close brought less than the ultimate frisson, it still set the seal on a reading of impressive potential.

After the interval, another in the CBSO’s Centenary Commissions – the well-regarded Freya Waley-Cohen (above) duly responding with Demon. Its scenario evoking the more ominous of folk stories, this piece packed a considerable amount of incident into its 11 minutes – a Ligetian playfulness offsetting its frequently intricate polyphony to diverting and, throughout the final stages, impulsive effect. Drawing an incisive and precise response, Volkov seemed intent on presenting this colourful curtain-raiser as well worthy of further and repeated performance.

Volkov’s accounts of Sibelius’s Third and Fourth Symphonies were highlights of a complete cycle at the 2015 Proms, and this account of the Fifth found his advocacy undimmed. Others have found greater atmosphere in the first movement’s earlier stages, but the purposefulness with which he built to its defining climax was undoubted; as too a corresponding build-up of momentum in its ‘scherzo’ – Matthew Hardy’s volleys of timpani spearheading the propulsive coda. More intermezzo than slow movement, the Andante had an appealingly winsome aura for all its darker undertones (with some delectable woodwind playing), while the finale made the most of its contrasts in motion – the ‘swan melody’ eloquently rendered – on the way to an apotheosis whose surging affirmation was driven home by those indelible closing chords.

An impressive performance, then, such as brought this concert to a suitably inspiring close. Volkov is on the podium again this Sunday – directing the CBSO Youth Orchestra in a new piece by Bergrun Snaebjörnsdottir, heard alongside music by Grażyna Bacewicz and Berlioz.

You can read all about the 2022/23 season and book tickets at the CBSO website. Click on the artist and composer names for more on Ilan Volkov, Isata Kanneh-Mason and Freya Waley-Cohen

Online concert – English Symphony Orchestra / Kenneth Woods: Music from Wyastone – Sibelius: Symphony no.6 & Tapiola

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Sibelius Symphony no.6 in D minor Op.104 (1923); Tapiola Op.112 (1926)

English Symphony Orchestra / Kenneth Woods

Recorded at Wyastone Concert Hall, Monmouth, 1-2 March 2022

by Richard Whitehouse

A cycle of Sibelius symphonies by the English Symphony Orchestra got underway last year with an impressive account of the Seventh, making this second instalment the more pertinent for showing just how the composer had arrived at that work and where he went from there.

Only if the Sixth Symphony is viewed as neo-classical does it feel elusive, rather than a deft reformulation of Classical precepts as here. The first movement duly unfolded as a seamless evolution whose emotional contrasts are incidental – Kenneth Woods ensuring its purposeful course complemented the circling repetition of the following intermezzo, with its speculative variations upon that almost casual opening gesture. Ideally paced, the scherzo yielded a more incisive tone which the finale then pursued in a refracted sonata design as gained intensity up to its climactic mid-point. Tension dropped momentarily here, quickly restored in a disarming reprise of its opening and a coda whose evanescence was well conveyed; a reminder Sibelius Six is as much about eschewal of beginnings and endings in its seeking after a new cohesion.

A suitably expanded ESO then tackled Tapiola – Sibelius’s last completed major work, whose prefatory quatrain implies an elemental aspect duly rendered through the near/total absence of transition in music of incessant evolution. A quality to the fore in this perceptive reading with Woods finding the right balance between formal unity and expressive diversity throughout its underlying course. Just occasionally there was a lack of that ‘otherness’ as endows this music with its uniquely disquieting aura, yet a steadily accumulating momentum was rarely in doubt towards the seething climax, then a string threnody whose anguish can bestow only the most tenuous of benedictions. A reminder, too, that not the least reason Sibelius might have failed to complete his Eighth Symphony was because he had already realized it in the present work.

The ESO being heard to advantage in the spacious clarity of Wyastone Hall, these accounts will be worth getting to know on commercial release (with the Seventh Symphony) early next year, when this cycle will itself continue with recordings of the Fourth and Fifth Symphonies

These works are available for viewing on the English Symphony Orchestra website from 29 July – 1 August, then through ESO Digital by way of a subscription. Meanwhile click on the names for more on the English Symphony Orchestra and Kenneth Woods

Playlist: Herbert Blomstedt at 95

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by Ben Hogwood

To mark the 95th birthday of the great Swedish conductor Herbert Blomstedt on Monday just gone, Arcana has put together a playlist including a snapshot of some of his greatest and most enduring recordings.

They include the Fifth Symphony of Nielsen, part of a landmark cycle of the composer’s symphonies with the San Francisco Symphony Orchestra for Decca. Blomstedt’s recordings with that orchestra in the 1990s were notable for their sonic prowess but left some critics cold; however on revisiting his Sibelius cycle, for instance, they stand up very well. The Third Symphony is included here, as is the first Peer Gynt Suite of Grieg.

Also in the 1990s came a trio of fascinating discs lending weight to the cause of Paul Hindemith. A disc of the Mathis der Maler Symphony, the Symphonic Metamorphoses and Trauermusik was to be expected, perhaps, but the follow-ups were even more valuable – a disc of the music for Nobilissima Visione, the Konzertmusik for Brass and Strings and Der Schwanendreher, and a pairing of the Symphonia Serena and symphony from the opera Die Harmonie der Welt, included here.

Blomstedt has more recently recorded a well-received Brahms cycle with the Leipzig Gewandhaus, though prior to that recorded a fine disc of the composer’s choral works in San Francisco. With the Gewandhaus, however, he has completed his most recent release, that of Schubert’s Unfinished and Great symphonies. The former is included here. Enjoy this selection of wonderful recordings!

In concert – Marija Vidović, Tamsin Waley-Cohen, Zagreb Philharmonic Orchestra / Jan Latham-Koenig – Pejačević, Sibelius & Mahler

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tamsin-waley-cohen-c-patrick-allen

Pejačević Verwandlung, Op. 37b (1915), Liebeslied, Op. 39 (1915), Zwei Schmetterlingslieder, Op. 52 (1920)
Sibelius Violin Concerto in D minor Op. 47 (1903-04, rev. 1905)
Mahler Symphony no. 1 in D major (1899 version)

Marija Vidović (soprano), Tamsin Waley-Cohen (violin), Zagreb Philharmonic Orchestra / Jan Latham-Koenig

Cadogan Hall, London
Thursday 13 April 2022

Written by Richard Whitehouse. Photos (c) Patrick Allen (Tamsin Waley-Cohen), Paul Persky (Jan Latham-Koenig)

Visits from overseas orchestras are only now getting into their stride following the abeyance caused by the pandemic, so credit to the Zagreb Philharmonic for having undertaken its first UK tour in over half a century with a programme whose challenges were not to be gainsaid.

A recent BBC performance of her Symphony confirmed the significance of Dora Pejačević (1885-1923) in European music of the early 20th century, and it was a pleasure to encounter these four orchestral songs from her maturity. A setting of Karl Kraus’s Transformation won grudging admiration of Schoenberg; here, even more so in that of Rainer Maria Rilke’s Love Song with its winsome violin solo and fervent orchestral interlude, the influence of Strauss is directed towards audibly personal ends. Marija Vidović (above) gave them with no mean eloquence and did comparable justice to those charms of Karl Henckell’s verse in Two Butterfly Songs – the elegance of ‘Golden stars, little bluebells’ then the poise of ‘Flutter by, butterfly, flutter away’, each of them benefiting from especially deft contributions by the Zagreb musicians.

Tamsin Waley-Cohen duly joined the orchestra for Sibelius’s Violin Concerto – likely more popular than ever these days, here receiving a confident and forthright account that was at its most persuasive in a trenchant and cumulative take on the developmental cadenza toward the centre of the first movement, then an Adagio more than usually restive and even ominous as it unfolded. The soloist’s astringent tone might not be to all tastes, but it effectively banished any risk of expressive blandness while maintaining an impulsive interplay with the orchestra – not least in that opening Allegro’s combative coda or a finale which, while its Allegro was not ideally ‘non tanto’, generated an impressive momentum which carried through to a truly visceral close. Some solo Bach enabled Waley-Cohen to demonstrate a more inward touch.

A pity Jan Latham-Koenig (above) rarely appears in the UK, as his engagements seldom disappoint. For all its rawness and passing inelegances, this was as gripping an account of Mahler’s First Symphony as one is likely to encounter. Its opening movement was evocatively launched, the sounds of nature gradually admitting of a human presence such as filters through in its lilting exposition (not repeated) then comes to the fore with joyous immediacy in the coda. Robust and forthright, the scherzo’s outer sections found contrast in the ingratiating charm of its trio.

A symphony with a complex gestation (admirably set out in Timothy Dowling’s programme notes), its ensuing fantasy on a well-known children’s song is shot through with elements of klezmer and art-song in a portrayal of a huntsman’s funeral vividly ironic in its tragicomedy. Latham-Koenig was almost as persuasive in the lengthy finale – its Dante-esque contrasts of violence and supplication channelled convincingly to the spellbinding recollection of earlier motifs which made way for a chorale-dominated apotheosis of notably unsparing immediacy.

Few countries have yet had a composer for president, but Ivo Josipović served Croatia during 2010-15 and the encore of his Prelude to the Millenium sounded redolent of early Ligeti or Lutosławski in its uninhibited verve. The Zagreb musicians gave their collective all – to his evident pleasure.

For further information on the Zagreb Philharmonic Orchestra, click here – and for information on the artists, click on the names to find out more about Marija Vidović, Tamsin Waley-Cohen and Jan Latham-Koenig. Meanwhile for more on composer Dora Pejačević, click here

In concert – Jayson Gillham, Royal Philharmonic Orchestra / Owain Arwel Hughes: Grace Williams, Grieg & Sibelius

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Williams Penillion (1955)
Grieg Piano Concerto in A minor Op. 16 (1868)
Sibelius Symphony no. 5 in E flat major Op. 82 (1919)

Jayson Gillham (piano), Royal Philharmonic Orchestra / Owain Arwel Hughes

Cadogan Hall, London
Tuesday 12 April 2022

Written by Richard Whitehouse. Photos (c) Benjamin Ealovega (Jayson Gillham)

Its high-profile concerts may currently be elsewhere in London, but the Royal Philharmonic Orchestra continues its schedule of regular performances at Cadogan Hall, and this evening was heard under the direction of former principal associate conductor Owain Arwel Hughes.

Hughes has rightly featured Welsh music whenever possible, and this programme began with Penillion that Grace Williams wrote for National Youth Orchestra of Wales. Two symphonies aside, several other of Williams’s pieces are inherently symphonic – not least her ‘symphonic poem in four movements’ whose title infers the Welsh tradition of singing against an existing melody. This is heard at its most evocative in the initial Moderato with solo trumpet intoning its (original) theme in the context of ethereal contributions from woodwind, harp, and strings. There follows a tensile Allegro then haunting Andante as ‘scherzo’ and ‘slow movement’ of a piece where the trenchant final Allegro proceeds toward a gently fatalistic close. Certainly, this is music such as warrants frequent hearings – irrespective of the present cultural climate.

Hard to imagine Grieg’s Piano Concerto undergoing a period of neglect, yet familiarity need not breed contempt at the hands of a skilled and sensitive exponent which Australian-British pianist Jayson Gillham assuredly is. After a commanding start the first movement felt unduly sectional in its unfolding, its orchestral tuttis a little overwrought, but the second main theme was limpidly rendered then Gillham came into his own with a cadenza whose developmental aspect was as audible as its virtuosity. With its poetic contributions from solo horn and cello, the Adagio was no less affecting, then the finale’s lyrical middle section threw into relief the combative dialogue either side. Its flute melody returns in a peroration whose grandiloquence found effective contrast with the Notturno in C (Op.54 No 4) that Gillham gave as an encore.

Even if Sibelius’s Second Symphony had been replaced by his Fifth during the run-up to this concert, the latter’s inclusion played no less to the RPO’s collective strengths. Building those earlier stages of the first movement’s intricate evolution patiently and methodically, Hughes amply brought out this music’s epic as well as ruminative qualities on the way to a powerful central climax – from where its scherzo-like continuation headed stealthily and purposefully to a coda that, if it lacked the last degree of visceral impact, generated undeniable dynamism.

The highlight was an Andante enticingly poised between intermezzo and slow movement – its plaintive repartee of not without its more ominous moments, yet whose winsome essence was itself a telling foil to the finale. Here the coursing interplay of strings and enfolding eloquence of its ‘swan theme’, horns magnetically to the fore, set in motion the eventful progress toward an apotheosis whose affirmation was never in doubt. If some of those concluding chords were not quite unanimous, this hardly detracted from the majesty of Sibelius’s overall conception.

A memorable ending, then, to an appealing programme that found the RPO on fine form and confirmed Hughes’s insights. The orchestra returns here next week in a concert of Schumann, Brahms and Dvořák with the violinist Fumiaki Miura and the conductor Domingo Hindoyan.

The inclusion of Penillion was made possible with funding from the ABO Trust’s Sirens programme, a ten-year initiative to support performance and promotion of music by historical women composers. Further information can be found by clicking here For further information on the Royal Philharmonic Orchestra’s 2021/22 season, click here Click on the performer names to read more about Jayson Gillham and Owain Arwel Hughes, and for more on Grace Williams click here