Tag Archives: Johann Sebastian Bach

In concert – CBSO Strings / Eugene Tzikindelean: Bach: Goldberg Variations

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City of Birmingham Symphony Orchestra Strings / Eugene Tzikindelean (above)

J.S. Bach arr. D. Sitkovetsky Goldberg Variations BWV988 (c1740)

Town Hall, Birmingham
Sunday 10 November 2024, 3pm

Reviewed by Richard Whitehouse Picture (c) Beki Smith

Having already made his mark other than as leader of the City of Birmingham Symphony Orchestra with his performances in recent seasons of concertos by Nielsen and Walton, Eugene Tzikindelean this afternoon directed the orchestra’s strings in a performance of Bach’s Goldberg Variations.

First published 323 years ago, the ‘Goldbergs’ launched the series of works from Bach’s final decade in which formal and technical procedures take on an almost arcane dimension, though this music is always realizable in practical terms whatever its abstraction. Taken up by leading virtuosos in the wake of Liszt, notably Busoni who fashioned his ‘concerto without orchestra’ in 1914, it became synonymous with Glenn Gould whose 1955 recording launched his career internationally as surely as it established Bach’s work in the minds of listeners the world over.

More recently the variations have been arranged for a variety of media, among which that by the violinist Dmitry Sitkovetsky has become among the most familiar – firstly as realized for string trio in 1984, then for string ensemble eight years later. The question as to how large a body of strings is left to the musicians: the present account amounted to 38 players including harpsichord, ideal for the acoustic of Birmingham Town Hall and what was a commendably sizable house. Not the least attraction of this arrangement is the skill with which Sitkovetsky has translated the timbral and textural possibilities of the harpsichord original, such that they sound entirely idiomatic in this context as well as capable of a variety of interpretive nuance; with this aspect proving crucial to the overall persuasiveness of the performance heard here.

The duration of the ‘Goldbergs’ can vary widely, according to just how many of the first-half or second-half repeats of its 30 variations are taken. Those anticipating an account around 78 minutes (given in the programme) might have been disconcerted with the hour-long rendition that resulted, but Tzikindelean’s approach in this respect was wholly consistent in placing the emphasis on those variations which mark strategic formal and expressive junctures. Thus the 15th with its starkly fatalistic aura; the 25th, described by harpsichordist Wanda Landowska as the ‘‘black pearl’’ and an adagio of simmering emotional charge; then the 30th, unfolding as a ‘quodlibet’ of popular melodies which seems intent on countering any previous austerity as it builds to a culmination where the Aria da Capo can bring the whole concept full circle.

Such was certainly true of this superbly realized reading, directed by Tzikindelean with that combination of focus and spontaneity as characterizes his work as leader. It would be wrong, moreover, not to single out those other section-leaders whose contributions were hardly less vital to its success – hence second violinist Lowri Porter, violist Chris Yates, cellist Bozidar Vukotic and double bassist Anthony Alcock; Martin Perkins was a lively continuo presence who enhanced successive variations without ever interposing himself on the overall sound.

A fine demonstration of the collective prowess of the CBSO strings, and there will be similar opportunities to hear the orchestra’s woodwind then brass and percussion at Sunday afternoon concerts in January and March next year, which will hopefully prove to be just as memorable.

For details on the 2024-25 season A Season of Joy, head to the City of Birmingham Symphony Orchestra website. Click on the names to read more about violinist Eugene Tzikindelean and arranger / violinist / conductor Dmitry Sitkovetsky

Published post no.2,359 – Monday 11 November 2024

In concert – Piotr Anderszewski @ The Barbican: Beethoven, Brahms, Bartók & J.S. Bach

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Piotr Anderszewski (piano, above)

Beethoven 6 Bagatelles, Op.126 (1823)
Brahms Intermezzos (1892-93) – Opp.119/1 & 3; Op.118/1 & 2; Op.117/2; 118/6
Bartók 14 Bagatelles BB50 (1908)
J.S. Bach Partita no.1 in B flat major BWV825 (1726)

Barbican Hall, London
Thursday 3 October 2024

Reviewed by Richard Whitehouse. Photo © MG de Saint Venant licenced to Virgin Classics

Expecting the unexpected is the most predictable aspect of a recital from Piotr Anderszewski, tonight’s programme no exception in its juxtaposing collection by Beethoven and Bartók with a selection from Brahms and music by Bach that has long been a cornerstone of his repertoire.

Alive to their iconoclastic flourishes and improvisatory asides, Beethoven’s last bagatelles yet emerged as a cohesive and integrated unity as it ventured through limpid musing and angular playfulness then disarming elegance before arriving at a propulsive take on the B minor Presto muscular or energetic by turns. The final two numbers were of a piece with what went before – the one understated and the other’s ingratiation bookended by outbursts of grating humour. Nothing to be taken for granted in this music, then, as Anderszewski intimated only too well.

Although published as four separate collections, there is no reason why Brahms’s late piano pieces cannot be given separately or in autonomous groupings as here. Starting with Op. 119, Anderszewski brought a confiding touch to the plaintive B minor Intermezzo and rendered the lilting syncopation of that in C with real playfulness. Turning next to Op. 118 and the forlorn quality of its A minor Intermezzo complemented ably that in A, whose new-found popularity need not detract from its harmonic subtlety or soulful poise. From Op. 117, the B flat minor Intermezzo struck note of ingrained fatalism intensified by that in E flat minor from Op. 118 – its ‘mesto’ marking here underlined as the music unfolded toward an endpoint of unforced resignation. Anderszewski looked regretful it should end so before duly leaving the platform.

As his recent recording confirms, Anderszewski has forged unerring identity with the Op. 6 Bagatelles where Bartók gave notice of his fast-emerging individuality. Played with minimal pauses (albeit with a 3-3-2-2-2-2 grouping such as brought these into line with the six pieces in each of those other sets), they offer a conspectus of possibilities over his ensuing creative decade that was to the fore here, alongside a cumulative focus evident less in any increasing technical demands as in a gradual opening-out of their emotional world made explicit in the final two numbers as doubtless stems from Bartók’s unrequited love for violinist Stefi Geyer. Thus, the sombre restlessness of Elle est morte merged directly into the valse Ma mie qui danse – this latter’s vicious irony maintained right through to its almost dismissive pay-off.

Had Bach ever entertained any such feelings, they were certainly far removed from the keen objectivity of his First Partita. A little restive in its Praeludium, Anderszewski hit his stride in its gently eddying Allemande then animated Courante. There was no lack of gravitas in its Sarabande, but this was as deftly inflected as was the elegance of its contrasted Menuet dances, then the Gigue made a dextrous yet assertive conclusion to a sequence where (as in everything heard tonight) what was made possible outweighs what had already been achieved.

It would have been possible to combine these works with other pieces – maybe some or even all of Ligeti’s Musica ricercata that Anderszewski will hopefully play at a future recital. For now, a limpid reading of Chopin’s Mazurka in A flat major (Op.58/2) made for an ideal envoi.

To read more on Piotr Anderszewski, visit his website

Published post no.2,321 – Friday 4 October 2024

In Concert – Sean Shibe @ Wigmore Hall: A Celebration of the Guitar

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Sean Shibe (guitar)

J.S. Bach Prelude in C minor, BWV999 (c1727)
Barrios Mangoré La Catedral (1921, rev. 1939)
Villa-Lobos Prelude no. 3 in A minor (1940); Études (1929) – no.1 in E minor, no.5 in C major, no.8 in C sharp minor, no.10 in B minor
Barrios Mangoré Barcarola in D major, ‘Julia Florida’ (1938)
Mompou Suite compostelana (1962) – nos. 1, 2, 5 and 6
Martin Quatre pieces brèves (1933)
Adès Forgotten Dances (2023)

Wigmore Hall, London
Thursday 19 September 2023

Reviewed by Richard Whitehouse

Expecting the unexpected has become synonymous with Sean Shibe, who tonight began his season-long residency at Wigmore Hall with this recital which deftly blurred any perceived demarcation between improvised or notated music in a compulsively absorbing programme.

One of a surviving handful of pieces probably written for lute, Bach’s C minor Prelude began proceedings – its elegantly methodical unfolding here rendered with real liquidity by Shibe. It segued seamlessly into La Catedral as is among a relative few of Agustín Barrios Mangoré’s extended compositions: the subdued fervour of (belatedly added) Preludio saudade heading into the hieratic processional of Andante religioso, before the lively yet disquieting motion of Allegro solenne brought this vividly yet understatedly illustrative sequence to its close.

Here, as across this recital, Segovia was a pervasive presence – not least on the guitar output of Heitor Villa-Lobos. From his Five Preludes, Schiebe opted for the Third – a Homage to Bach whose echoing open strings summon an opulence, even majesty, out of all proportion to its length. Then came four of his 12 Études – the intensive arpeggio workout of the First, the stark contrasts between melody and accompaniment of the Fifth, the playful alternation of registers in the Eighth, then rounded off with the exacting rhythmic fluidity of the 10th.

The first half closed with more Barrios – his Júlia Florida a barcarolle of melting tenderness whose allure carried over a second half that commenced with four of the six movements from Federico Mompou’s Suite compostelana. One of the Catalan’s handful of works for other than piano, the distanced evocation of Preludio complemented the austere spirituality of Coral as surely as did the folk-tinged pathos of Canción the ingratiating allure of Muñeira – this latter bringing the Galician environs which had inspired this music into greatest prominence.

Shibe’s including music by Frank Martin was more than welcome in the 50th anniversary of the Swiss composer’s death as has passed largely unnoticed in the UK. His only work for solo guitar, Quatre pieces brèves has been championed by many guitarists in Segovia’s wake and Shibe duly left his mark with his quizzical take on its Prélude, the chaste witfulness of Air then the barely contained emotional impetus of Plainte, before Comme une gigue provided a pointedly ‘contemporary’ vantage on the Baroque dance by turns quixotic and invigorating.

That both Martin and Thomas Adès have written operas on Shakespeare’s The Tempest seems as good a link as any into Forgotten Dances, the latter composer’s first work for guitar. Its six vignettes traverse the restless Overture and Buñuel-influenced speculation of Berceuse, via the Ligetian propulsion of Courante and tenuous repose of Barcarolle, to the cumulatively effusive homage to Berlioz of Carillon de Ville then rather more equable homage to Purcell of Vesper – its allusions emerging, Dowland-like, over what becomes an affecting farewell.

An intriguingly varied recital duly afforded focus not least by the calmly assured presence of Shibe – his appearance this evening redolent of the long-gone, much-missed Billy Mackenzie. A limpid rendering of an as yet unidentified encore provided a brief if wholly appropriate envoi.

To read more about Sean Shibe’s residency at the hall, visit the Wigmore Hall website – and click here to visit the guitarist’s own website

Arcana at the Proms – Prom 23: Benjamin Grosvenor, Rodolfus Choir, London Philharmonic Chorus & Orchestra / Edward Gardner – Busoni & Rachmaninoff

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Rachmaninoff Symphonic Dances Op.45 (1940)
Busoni Piano Concerto in C major Op. XXXIX (1902-4)

Benjamin Grosvenor (piano), The Rodolfus Choir (men’s voices), London Philharmonic Choir (men’s voices), London Philharmonic Orchestra / Edward Gardner

Royal Albert Hall, London
Monday 5 August 2024

reviewed by Richard Whitehouse Photos (c) Andy Paradise

This centenary of Busoni’s death has not thus far seen a great deal of activity in the UK, so it was gratifying to find the Proms scheduling his most (in)famous work – the Piano Concerto tonight receiving its second performance at these concerts, 36 years to the day after its previous outing.

Back then, the first half featured Beethoven’s Fourth Symphony and a more apposite coupling than Rachmaninoff’s Symphonic Dances. Now firmly ensconced in the orchestral repertoire, it remains a stern test the London Philharmonic Orchestra did not quite meet on this occasion – despite such felicities as Martin Robertson’s eloquent alto sax in the first movement and Edward Gardner’s conjuring of a tangible malevolence in its successor. Impulsive but erratic in its outer sections, the finale’s evocative central span had a superficial quality typical of this performance overall.

This was not the case in the Busoni. Benjamin Grosvenor (above) might not the first name who comes to mind for this concerto but, having already given performances in Reykjavik and Berlin, he was audibly attuned to an idiom not as elusive as often supposed in its canny amalgam of the Germanic and Italianate, while his playing was fully equal to its technical demands. That he is not a pianist looking to confront the orchestra head on ensured a more than usually close-knit coordination with players and conductor, which was almost always to the benefit of this piece.

Not least in Prologo e Introito, its orchestral introduction enticingly shaded by Gardner with Grosvenor integrating his unequivocal entry into what are essentially variations on the theme at the outset. Few pianists have weighted Busoni’s complex chords or his intricate harmonies with such translucency, not least the end of this movement where piano and orchestra melded to spellbinding effect. Straight into Pezzo giocoso, its capricious outer sections framing one of stealthy ambivalence as perceptively rendered as was that spectral angularity near its close.

Grosvenor managed the rare trick of making Pezzo serioso simultaneously cumulative and cohesive. He duly channelled the slow-burning momentum of its introduction into the rolled chords of its barcarolle-like first part – Gardner sustaining impetus across its successor to an imperious climax, during which the soloist never risked being obliterated. The lead-in to its third part had a poise equal to that at the end, where subtle rhythmic contrasts between piano and timpani against undulating strings had an enfolding calm to diffuse any lingering tension.

A general pause for retuning, then All’italiana burst forth – the underlying tarantella rhythm a springboard for its motley succession of vernacular elements initially humorous and latterly uproarious, held in check by the scintillating give-and-take of soloist and orchestra. Grosvenor almost topped these shenanigans with his electrifying cadenza – after which, Gardner prepared admirably for Cantico in which male voices (above) hymned Allah’s praises with mounting fervour; Grosvenor a largely passive observer until he belatedly returned for the headlong signing-off.

Quite a performance, then, that will hopefully be released commercially. Did Busoni offer an encore at that Berlin premiere? It could not have been more suitable than J.S. Bach’s Prelude in E minor BWV855, transposed and arranged by Alexander Siloti – three minutes of balm bringing us gently down to earth.

For more on this year’s festival, visit the BBC Proms website – and to read more on the artists involved, click on the names: Benjamin Grosvenor, Edward Gardner, The Rodolfus Choir, London Philharmonic Choir and the London Philharmonic Orchestra

Published post no.2,264 – Thursday 5 August 2024

Music for Easter #3 – J.S. Bach: St. John Passion

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Published post no.2,134 – Sunday 31 March 2024