Playlist – The Rustle of Spring

Welcome to The Rustle of Spring.

This is a playlist designed to look at the positive, to anticipate our emergence from what has been an incredibly difficult winter for many.

Although we are not out of it yet nature is doing its best, with green shoots making themselves known, birds and animals starting to flex their muscles, the nights drawing out a bit and the weather – hopefully – improving.

This selection offers a range of responses to spring from classical composers. We have the outright optimism of Schumann’s Spring Symphony, his first, alongside more mysterious responses to the season from Lili Boulanger and John Foulds. Spring doesn’t have to mean orchestral music, either – there are intimate thoughts from the piano works of Grieg, Sinding and Tchaikovsky, while rarely heard choral pieces from Holst and Moeran lend an exotic air.

We finish with two very different portrayals of spring, in the form of one of Johann Strauss II’s best-known waltzes, Voices of Spring, and an all too rarely heard tone poem by Frank Bridge, Enter Spring. There isn’t even room for Vivaldi’s Four Seasons!

I hope you find something to enjoy.

Ben Hogwood

Sound of Mind 10 – Sounds of Spring

If you’ve been indoors for over a week now, the chances are you’ll be climbing the walls!

Happily there are reasons to be cheerful just around the corner – not least the imminent arrival of spring.

Classical music composers have always taken to spring in their music, from Vivaldi through to Stravinsky. This playlist celebrates their portrayals of the season, through works including Vivaldi’s The Four Seasons, Schumann‘s Spring Symphony, Beethoven, Sibelius and finally Britten.

Have a listen and harness the positive energy our composers can provide!

 

Ben Hogwood

Playlist – Sound of Mind 6: Celebrating mothers

Today is a celebration of mothers.

My own mother Coralie passed on five years ago, but this is a chance to celebrate her musical influence (which I did in written form here)

Here is a selection of her own favourite music, from Mozart‘s Clarinet Quintet – which she studied at college – through to Sibelius, Spanish guitar music, which she had a real fondness for, and Sir Peter Maxwell DaviesFarewell to Stromness.

I’m sure you’ll agree there is music here to match the blue skies today brings here in the UK – and it offers a chance to celebrate our mothers, too. Happy listening.

Ben Hogwood

In concert – Kristine Balanas, Royal Philharmonic Orchestra / Andris Poga: Sibelius, Bruch & Rachmaninov

Kristine Balanas (violin), Royal Philharmonic Orchestra / Andris Poga

Cadogan Hall, London
Thursday 5 March 2020

Sibelius Karelia Suite Op.11 (1893)
Bruch Violin Concerto no.1 in G minor Op.26 (1866)
Rachmaninov Symphony no.3 in A minor Op.44 (1936)

Reviewed by Ben Hogwood
Photo credit (Andris Poga) Jean-Philippe Raibaud

This was a nicely balanced and uplifting concert that balanced the relative misery of the early March weather in London. With the rain hammering down outside the Cadogan Hall, the Royal Philharmonic Orchestra and Latvian conductor Andris Poga got on with ensuring there was plenty of warmth inside.

They began with Sibelius’s charming Karelia Suite, a work full of good tunes and typically attractive and imaginative scoring. It is an ideal ‘curtain up’ piece in the right performance, although this one took a little while to move up through the gears. The first movement Intermezzo felt a little stentorian, and could have had a lighter spring in its step, but the succeeding Ballade was nicely measured, the emotional heart of the performance and given affectionately by Poga. By the time the Alla Marcia third movement had arrived, so too had the bounce in the rhythms, and the deceptively simple string theme was given with a smile.

For Bruch’s Violin Concerto no.1 the orchestra were joined by Kristine Balanas (above), who led from the front in an account with passion and flair in strong supply. Yet there was an emotional distance between soloist and orchestra, who rarely interacted, and the opportunity for links through the sharing of Bruch’s wonderful melodies largely overlooked. Balanas played with a strong technical command of her Antonio Gragnani instrument, which made a wonderful sound, and the double stopping with which the finale begins was brilliantly done, the response from the orchestra appropriately breezy. Andris Poga clearly enjoyed the piece, but the distance remained throughout and hampered the work’s emotional impact.

There followed a hugely enjoyable account of Rachmaninov’s Symphony no.3, the first appearance of this work in a Royal Philharmonic Orchestra concert for a good while. Written in Lucerne but premiered by the Philadelphia Orchestra and Leopold Stokowski in 1936, the piece is unique for its successful blend of homesick melancholy and the suggestion of bright lights in America, written at a distance from both. Rachmaninov was effectively taking in the surroundings of both countries, but was ultimately thinking of home.

From the start it was clear the affection Andris Poga holds for the Third, with the carefully shaped and graceful chant theme contrasting with the upward sweep from the orchestra that followed. He was particularly impressive in managing the bracing syncopations in the finale, often tricky for orchestras to nail, and so too for the fugue that Rachmaninov tosses around the different sections towards the end. The slow movement was especially beautiful, with a solo from leader Sulki Yu that melted even the hardest heart. The same could be said for the warmly played slower theme in the first movement, beautifully floated by cellos with subtle prompting from woodwind.

What really impressed in this symphony was the orchestra’s overall sound, richly colourful and depicting vivid pictures of Rachmaninov’s surroundings. Visions of Hollywood could occasionally be discerned, the suitability of the composer’s music for the big screen uncannily made clear, but in the intimate slow movement a softer and more fragile heart was in evidence.

Unfortunately the players of the Royal Philharmonic Orchestra were not named in the programme, a shame as there were several new faces added to the fold this time around. They impressed greatly in a memorable account of a symphony finally getting its due rewards in the concert hall.

Further listening

You can listen to a playlist of the concert programme below – which includes the RPO in previous recordings of the Sibelius and Bruch, plus their conductor-elect Vasily Petrenko leading the Royal Liverpool Philharmonic Orchestra in a fine account of Rachmaninov’s Third Symphony.

Wigmore Mondays – Louise Alder & Joseph Middleton: Lines written during a sleepless night

Louise Alder (soprano), Joseph Middleton (piano)

Wigmore Hall, Monday 6 January 2020 (lunchtime)

You can listen to this concert on the BBC Sounds app here (opens in a new window)

Review and guide by Ben Hogwood

This was a concert with an especially personal link for soprano Louise Alder. The Russian Connection – subtitle of her first album for Chandos – goes much further than the repertoire chosen. It reflects Alder’s Russian ancestry, with generations of her family, up to and including her grandfather in 1914, born in the country.

In addition to that, Alder and regular recital partner Joseph Middleton have created a captivating program linking Grieg, Medtner, Tchaikovksy, Britten, Rachmaninov and Sibelius through their choice of poets and their use of a language outside of their own. Six composers, four languages (at last count!) and some richly descriptive writing all made for a particularly memorable concert, especially when performed with the passion and musicality on show here.

Alder and Middleton judged their program to perfection, bringing in the new year with a spring in its step as Grieg’s Heine setting Gruß (Greeting) tripped into view (2:33 on the broadcast link). This is the first song in a compact but deeply descriptive cycle of six from the composer, setting German poetry with his typical melodic freshness and flair. Alder shows lovely control on the final ‘Gruß’ word, before applying a slight husk to the deeply felt Dereinst, Gedanke mein (One day, my thoughts) (3:40), which made a striking impact here. Lauf der Welt (The Way of the World) (6:23) has heady urgency, singer and pianist working as one, while the evocative Die verschwiegene Nachtigall (The secretive nightingale) (8:01) is a sultry, sensual setting in these hands, the initial picture beautifully painted by Middleton. Zur Rosenzeit (Time of roses) (11:40) is filled with intense longing, while Alder’s tone in Ein traum (A dream) (14:55) is particularly beautiful, working through to a powerful finish.

Nikolai Medtner is a Russian composer known for his piano music rather than his songs, so it was gratifying to have Alder and Middleton (above) include two here. They are fine pieces of work, too, with an impressively fulsome piano part that Middleton tackled with deceptive ease and clarity. Mailied (May song) (18:15) holds an intense vocal line over its catchy piano part, while Meeresstille (Calm sea) (20:10) is really well controlled by Alder here.

Tchaikovsky’s numerous songs contain many treasures, and the two French language examples here were no exception. The Sérénade (23:22) dances in the bright light of dawn, with a slightly furtive piano, while Les Larmes (The tears) (25:02) provides much darker soul searching.

Britten’s Russian-language song cycle The Poet’s Echo is a relative rarity in the concert hall, but as Alder and Middleton showed here it contains music of typically fearsome and compressed intensity. The spirit of Musorgsky is evident not just in the choice of poet (Pushkin) but in the bare piano lines, rumbling in the deep for the first song Echo (29:22). Alder’s line is fearlessly delivered, with songs like My heart… (32:17) and Angel (33:48), with its quasi-orchestral piano part, making a powerful impression. The nightingale and the rose (36:20) take powerful flight, the piano gnawing at the heel of the vocal line, while the strange Epigram (40:13) has a striking reverberation achieved through the open piano lid. The final song, Lines written during a sleepless night (41:07) captures the supreme irritation of insomnia through the ‘monotonous tick of the clocks’, with a chilling piano postlude. This work remains a difficult nut to crack, listening-wise, but this is the sort of performance to do it.

We then heard two songs by Rachmaninov, both again setting Pushkin texts. Sing not to me, beautiful maiden (46:44), an early song from the composer’s late teens, receives a fulsome account here with Alder capturing the devastating beauty of the song. The later How fair this spot (51:56), taking the mood from darkness to relative light, is even better, Alder’s top ‘B’ a note of extraordinary clarity.

The generously packed concert concluded with three Sibelius songs, sung in Swedish. Once again these songs are found to be fiercely intense, often expressed through the bare minimum of means. The tempestuous Säv, säv, susa (Sigh, rushes, sigh) (54:02) is heady stuff, while the dynamic range achieved by both performers in Våren flyktar hastigt (Spring is swiftly flying) (56:27) is hugely impressive. Finally Flickan kom ifrån sin älsklings mote (The girl came from her lover’s tryst) (57:49) has a huge, orchestral scope, a reminder that the Second Symphony is not far away in the composer’s output. The song chills to the bone when turning tragically into the minor key for its third verse and the lover’s treason.

This was a simply outstanding concert from Alder and Middleton, deeply intimate yet including the audience in all of their asides. These qualities extended to the wonderful encore, Rachmaninov’s A Dream, where the rippling piano part and exotic harmonies supported Alder’s heavenly soprano line.

If more of the Wigmore Hall Monday lunchtime concerts are as good as this in 2020, we are in for many treats indeed! It only remains for you to listen on BBC Sounds if you haven’t already…and to keep up with the series as it progresses.

Repertoire

This concert contained the following music (with timings on the BBC Sounds broadcast in brackets):

Grieg 6 Songs Op.48 (1884-8) (2:33)
Medtner Mailied Op.6/2 (1901-5) (18:15), Meeresstille Op.15/7 (1905-7) (20:10)
Tchaikovsky Sérénade Op.69/1 (1888) (23:22), Les Larmes Op.69/5 (1888) (25:02)
Britten The Poet’s Echo Op.76 (1965) (29:22)
Rachmaninov Sing not to me, beautiful maiden Op.4/4 (publ.1893) (46:44), How fair this spot Op.21/7 (1902) (51:56)
Sibelius Säv, säv, susa Op.36/4 (1900) (54:02), Våren flyktar hastigt Op.13/4 (1891) (56:27), Flickan kom ifrån sin älsklings möte Op.37/5 (1901) (57:49)
Encore – Rachmaninov A Dream Op.38/5 (not on the broadcast)

Further listening

Most of the music from this concert is part of Louise Alder and Joseph Middleton’s new disc for Chandos, Lines Written During A Sleepless Night: The Russian Connection, with the exception of the two Rachmaninov songs. The full playlist is here:

If you enjoyed Alder and Middleton in this concert – which I’m sure you did! – their previous outing together is a sumptuous collection of songs by Richard Strauss for Orchid Classics which is bound to appeal, and certainly plays to their strengths:

Meanwhile to enjoy the Rachmaninov song output in its entirety there are few better historical guides than soprano Elisabeth Söderström and pianist Vladimir Ashkenazy: