Tag Archives: Kathryn Stott

On Record – George Lloyd: The Piano Works – Solo & Duo (Anthony Goldstone & Caroline Clemmow, Kathryn Stott, Martin Roscoe (Lyrita)

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George Lloyd
Aubade (1971)a; Eventide (1989)a; The Road Through Samarkand (1995)a; The Lily-leaf and the Grasshopper (1972)b; The Transformation of that Naked Ape (1972, rev. 1987)c; Lullaby ‘Intercom Baby’ (1975, arr. 1987)c; An African Shrine (1966)c; The Aggressive Fishes (1972)c; St. Antony and the Beggar (1972)c. The Road Through Samarkand (1972)c

Kathryn Stott (b), Martin Roscoe (c) (pianos)
Anthony Goldstone and Caroline Clemmow (a) (piano duo)

Lyrita SRCD.2423 (two discs, 70’16” and 77’55”)
Producers bcHoward Devon, aAnthony Goldstone and Caroline Clemmow with George Lloyd Engineers bcHoward Devon, aAnthony Goldstone and Caroline Clemmow with George Lloyd

Recorded b2 June 1987 at Henry Wood Hall, London; c18 & 19 June 1987 at St. Barnabas, North Finchley, London; a4 & 5 November 1996 at St. John the Baptist, Aldeburgh

Reviewed by Richard Whitehouse

What’s the story?

Lyrita continues its ‘Signature Edition’ of music composed (and conducted) by George Lloyd with his works for one and two pianos, admirably performed here by a line-up of international stature including those pianists who recorded his concertos for this instrument (SRCD.2421).

What’s the music like?

As Lloyd himself recounted, training as a violinist rather prejudiced his writing for the piano, despite his wife’s prompting. It was hearing the young John Ogdon in the early 1960s that led to Scapegoat, this first piano concerto being followed by three others and several other works for piano over the ensuing decade. For all their diversity of inspiration, they have in common a determination to avoid wanton virtuosity in favour of a technical precision as never inhibits their composer’s aim to realize his musical intentions – whether idiomatically or individually.

This is evident in Lloyd’s earliest and arguably finest work for solo piano, An African Shrine. Written for Ogdon, who played it regularly and recorded in his 1970 EMI anthology Pianistic Philosophies, this takes in several sections – the vividness of whose expressive contrasts are balanced by the seamlessness with which they merge into an unbroken formal continuity. As an evocation of mindless violence, it is highly affecting and its cohesion as a one-movement ‘sonata’ makes for an indispensable addition to British piano music during the post-war era.

Lloyd followed this with the even more expansive Aubade, composed for Ogdon and his wife Brenda Lucas. Described as a ‘fantasy’, its eight sections outline a dream-like scenario which takes in charcoal burners, tin soldiers, a song then dance for two lovers, a medley of bells and chants, then moths; framed by an Introduction and Finale as set the scene thematically then sum it up unerringly. Enticingly realized for its medium if too diffuse overall, this would likely enjoy wider exposure if it were shortened and orchestrated as the ballet it cries out to become.

The year 1972 saw Lloyd immersed in the solo piano. Among these shorter pieces, The Road Through Samarkand is the most directly appealing with its amused if never sarcastic send-up of Krishna adherents in central London with many taking the journey from Calais to Calcutta, though whether the outcome is one of utopianism or disillusionment is left unanswered by the peremptory close. St Anthony and the Beggar is a direct corollary to the Biblical parable, here with an outcome of demonstrable catharsis, while The Aggressive Fishes evokes the allure yet danger of certain tropical species in music alternately atmospheric and ominous. Inspired by a citing from the banks of the Avon, The Lily-Leaf and the Grasshopper is a subtler interplay of contrasts – the insect’s quizzical demeanour emerging out of then back into a rapt waterscape.

The most substantial of these later pieces is The Transformation of the Naked Ape. Taking its cue from Lloyd’s consideration of the essential difference between animals and humans, these six movements (each longer than the last) deftly outline a progression from external to internal properties – hence from Her Hair, via those of Tongue, Eyes, Brain and Mind, to Her Soul – though any inference of increasing spirituality is scotched by the capricious final number of this highly diverting sequence, in which pleasure and provocation have been pointedly elided.

Lloyd wrote little more for piano in either medium, though his arrangement of the violin-and-piano Intercom Baby 12 years on as Lullaby turned one of his most ingratiating shorter pieces into this ideal encore – wistful and playful by turns. Drawing on a carol written when he was just ten (then used extensively in his opera John Socman), Eventide emerges as a fantasy on this tune such as adumbrates a journey from innocence to experience of deceptive simplicity and has enjoyed greater exposure in a no less effective arrangement for brass band two years on. Finally, The Road Through Samarkand makes its reappearance arranged for two pianos – the inherent virtuosity of its writing more equably realized in this medium if, as is suggested here, those elements of struggle and assumed repose more potently realized by the original.

Does it all work?

Almost always. There is a sense of this music (rather its composer) fighting against precedent as regards idiomatic piano writing, for all that the outcome feels never less than effective and often much more so. The performances are highly sympathetic and often inspired – particularly Kathryn Stott with her contributions, though Martin Roscoe affords no mean insight and lucid pianism with his larger selection. The duo of Anthony Goldstone (much missed) and Caroline Clemmow is heard to impressive effect, but sound here could do with rather greater definition.

Is it recommended?

It is. Paul Conway’s annotations feature many pertinent observations, while the solo items are recorded with ideal clarity and spaciousness. Not the first port-of-call for those new to George Lloyd, maybe, but a collection where several items warrant inclusion in the modern repertoire.

Listen & Buy

For further information visit the dedicated page for the George Lloyd Signature Series. For more on the composer himself, head to the George Lloyd website, while for more on the artists click on the names to read about Martin Roscoe, Kathryn Stott and the Anthony Goldstone & Caroline Clemmow duo.

Published post no.2,248 – Tuesday 23 July 2024

Online Concert: Tine Thing Helseth & Kathryn Stott @ Wigmore Hall

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Tine Thing Helseth (trumpet), Kathryn Stott (piano)

Nordheim Den første sommerfugl (1982)
Martinů Sonatina for trumpet and piano (1956)
Shostakovich 4 Romances on Poems by Alexander Pushkin Op. 46 (1936-7)
Piazzolla Café 1930 from Histoire du Tango (1986)
Grieg 6 Songs Op. 48 (1884-8)
Gershwin Prelude No. 2 in C sharp minor (c1923-6); By Strauss (1936)
Weill Youkali (1934)
Kreisler Toy Soldiers March (1917)

Wigmore Hall, Monday 6 March 1pm

by Ben Hogwood

What a joy to see the partnership of trumpeter Tine Thing Helseth and pianist Kathryn Stott renewed at Wigmore Hall, united in an original program of trumpet originals and imaginative arrangements from vocal sources.

Dreamy lines from the piano introduced the concert’s first item, Arne Nordheim’s Den første sommerfugl (The First Butterfly), full of spring promise as the insect’s flight gracefully orbited the hall. Helseth’s trumpet line was a lyrical one, speaking faintly of folk song. From here the pair moved straight into the compact and winsome Sonatina for trumpet and piano, one of the Czech composer Martinů’s miniature gems. Written while experiencing homesickness in New York, the work began with a gruff introduction from the piano, its repeated note figurations taken up by the trumpet in fanfare-like salvos generating a good deal of energy. Gradually this subsided into more poignant thoughts, the composer revealing his softer centre, and by the bittersweet chorale with which the work ends the sense was that of a composer looking for his fortunes to change. Both performers caught that shift of focus.

Next up was an imaginative choice, an arrangement of Shostakovich’s Four Pushkin Songs. The vocal lines transfer to the trumpet with surprising accuracy, both artists playing in such a way that the original spirit of the songs was fully maintained. Regeneration, the first song, was thoughtfully done, held notes on the trumpet carrying above delicate figuration on the piano. Premonition was an easy amble in triple time, but the fourth song, Stanzas, held the cycle’s emotional centre. A substantial song, as long as the other three combined, it began with a stern introduction from Stott before a compelling dialogue unfolded.

Complementing this was a beautifully floated account of Piazzolla’s Café 1930, tastefully augmented by Stott’s rhythmic attention to detail. The melodies really sang from Helseth’s trumpet, any breathing challenges overcome with deceptive ease. As she said at the end, a bit of Piazzolla is never wrong!

Helseth’s announcements between the groups of pieces were nicely done, with an easy charm that also showed how much the two artists were enjoying themselves. This much was clear again in six songs by Grieg, grouped together as Op.48 but once again transcribing with relative ease for the trumpet. Gruss (Greeting) featured a lovely depiction of bells, an outdoor scene, while Lauf der Welt was a rustic march. Helseth’s characterisation of Die verschwiegene Nachtigall (The secretive nightingale) was nicely done. Zur Rosenzeit (Time of roses) presented bright colours, while the final Ein Traum (A dream) was especially full of feeling.

We moved to a stylish Gershwin duo, starting with an account of Prelude no.2 that was especially enjoyable when the main theme returned with the mute in the trumpet. By Strauss was also a highlight, enjoying the Viennese waltz send-up, while Weill’s Youkali was a soave tango. Finally Kreisler’s Toy Soldiers March was a perky account, led off by the piano with crisp fanfares. Topping a highly enjoyable concert was an encore of Piazzolla’s Libertango, led off with a swing by Stott and played with great panache by Helseth, including pitch slides to perfection.

For more livestreamed concerts from the Wigmore Hall, click here

Online Concert: Christian Poltéra & Kathryn Stott @ Wigmore Hall – Prokofiev & Chopin

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Christian Poltéra (cello, above), Kathryn Stott (piano, below)

Prokofiev Cello Sonata in C major Op.119 (1949)
Chopin Cello Sonata in G minor Op.65 (1845-6)

Wigmore Hall, Monday 13 February 1pm

by Ben Hogwood

https://www.youtube.com/watch?v=e_GSCarZNqw

Christian Poltéra and Kathryn Stott are a long-established duo who have provided us with a richly rewarding discography including works by Fauré, Saint-Saëns, Barber and Schumann. Their encounters with Russian music appear to have been less frequent to date, and it was good to hear their poised account of one of the form’s most popular works. Ukrainian-born Prokofiev wrote his sonata, a late work, for Mstislav Rostropovich, who had impressed him with his larger than life playing. It is the first of a late burst of works for the instrument, including the Sinfonia Concertante, Solo Cello Sonata and Concertino.

Poltéra began the sonata with a solemn intonation on the lowest register of the cello, emphasising the ‘grave’ aspect of Prokofiev’s tempo marking rather than going for an epic sound. This thoughtful approach bore fruit in the slower sections, and with Stott an attentive partner there was plenty to enjoy in Prokofiev’s baleful writing, and impressive clarity in the more expansive passages.

The second movement danced attractively, tapping into Prokofiev’s ballet credentials, with some enjoyable exchanges between the two, if not always making the most of the composer’s frequently humourous asides. The third movement sang out more, Poltéra projecting further without losing any of his admirable control or intonation, and Stott getting to the heart of Prokofiev’s combination of percussive cut and thrust and soft-centred lyricism.

Chopin’s Cello Sonata came as something of a surprise to his fellow composers in the mid-1840s. Written for the French cellist Auguste Franchomme, it is a substantial work, which unsurprisingly asks a great deal of the pianist in a full-bodied, almost orchestral role.

Poltéra it was who led the first movement most impressively, with a consistently attractive sound singing subtly but meaningfully. Technically he is a superb cellist, with tone unflinching, but praise should be levelled at Stott’s ability to bring beautiful phrasing to even the most congested piano writing. The searching legato theme in the second movement was a case in point for the cellist, beautifully played with flowing piano figures. The lovelorn third movement was tinged with sadness, finishing lost in thought. The last movement showed determination to break from this soul searching, looking outward as it powered through to a major key finish.

This was an excellent performance, ideally balanced and capturing the right balance of regret and resolve – and was balanced by the encore, Saint-Saëns’ Romance in F major Op.42. A Monday lunchtime treat.

For more livestreamed concerts from the Wigmore Hall, click here

Wigmore Mondays – Kathryn Stott

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kathryn-stott
Photo (c) Nikolaj Lund

Kathryn Stott (piano) performs piano music by Fauré, Franck, Ravel and Graham Fitkin

Wigmore Hall, London, live on BBC Radio 3, 14 September 2015

Listening link (open in a new window):

http://www.bbc.co.uk/programmes/b06c9nwj

on the iPlayer until 20 October

Spotify

In case you cannot hear the broadcast, here is a Spotify playlist of the music in this concert – most of which Kathryn Stott has recorded.

https://open.spotify.com/user/arcana.fm/playlist/14B8Ld3EVlXF6jlyZUeA9y

What’s the music?

Fauré: Nocturne no.4 (1884) (8 minutes)

Franck: Prélude, Chorale et Fugue (1884) (20 minutes)

Ravel: Sonatine (1905) (12 minutes)

Fitkin: Relent (1998) (10 minutes)

What about the music?

Fauré wrote a good deal of extremely attractive piano music, ranging from dreamy Barcarolles and Impromptus to the Nocturnes, which tend to be more moody. Kathryn Stott’s choice for this concert, the fourth of thirteen such works Fauré completed, is one of the lighter coloured examples.

César Franck, treated as French although he was born in Liège, which is now Belgium, wrote a lot of organ music – but is not often regarded as a composer of piano music. This is a shame, because in the Prélude, chorale et Fugue he shows off a distinctive style and an adventurous harmonic approach, while also acknowledging a debt to J.S. Bach in the form and construction of the piece. This reaches its apex in the central chorale, a kind of hymn tune that is first heard in a solemn intonation but which then rings out in glorious technicolour.

Ravel completes the triptych of French piano works, his Sonatine a model of economy and precision – but also an intimate piece of three movements that is quite beautifully written for the piano. The word Sonatine refers to the short length of the piece rather than anything else that might be modest – for this is one of Ravel’s finest piano works.

Kathryn Stott ends her recital with Graham Fitkin’s Relent, completed in 1998 and written for Stott herself. On the composer’s website, Fitkin writes of how “This piece is about time. It is about my perception of time, its various manifestations and ultimate inevitability. I think about the way I use my time, how much I need and just how long it feels like. I think about continuous time, circular time and our society’s preoccupation with marking the passage of time. And then I think about the relentless addition of time and how for me some day it will just stop.”

Performance verdict

Initially this concert was to be given by Tine Thing Helseth, with Kathryn Stott in support at the piano, but the Norwegian trumpeter sadly had to withdraw through illness.

In her place Stott constructed a fine recital, moving naturally from the nocturnal thoughts of Fauré through a passionate performance of the Franck, beautifully played and extremely well voiced so that the themes could be clearly heard.

Stott is a modest performer – by which I mean she has a gracious air when performing – and that suited her performance of the Ravel and Fauré especially. However when she needs the power it is easily found, and the performance of Fitkin’s Relent brought out the kinetic energy of the piece perfectly.

What should I listen out for?

Fauré

1:22 – a relatively gentle beginning to the piece, which is deceptively simple in its execution, harking back a little to Chopin. The theme comes back at 2’29, this time in ‘octaves’ – that is, the tune is doubled by another finger in the right hand playing an octave higher on the keyboard.

The mood then darkens as we head into the minor key. As Stott herself was quoted in Fiona Talkington’s introduction on Radio 3, Fauré’s “harmonic language is fascinating, and I’m never bored by it”. Greater turbulence can be felt in the music – but an inner radiance returns with the theme at 6:41. The piece finishes in serene mood at 8’53”.

Franck

10:51 – the Prélude suggests a relatively relaxed approach and is almost improvisatory at first, before we hear the main theme in octaves. Despite being based on an older form this to me is a forward looking piece, using some spicy harmony and strong romantic leanings.

16:18 – the Chorale section begins (chorale essentially another word for hymn), and we first here the Chorale itself in subdued form at 17:21. At 18:37 we hear it in another key, the mood of contemplation starting to give way to more passionate thoughts – and when we hear it once more at 20:20, the effect is like a peal of bells.

21:30 – the fugue section begins, though the fugue itself doesn’t start until 22:56, initially retreating into quiet thoughts but then gathering momentum. Once again it softens though, the choral theme peeping through the rippling piano textures at 27:58. At 30:06 the final peal of bells rings out, ending with an emphatic double ‘B’ from the left hand.

Ravel

32:24 – this piece is notable for its clean lines and immaculate structure but also for the intimate atmosphere that Ravel immediately conjures within seconds of this first movement beginning. It has a slightly melancholic feel but is essentially positive. Some of the quieter music is beautiful and dreamy, especially at the end.

37:05 – Ravel leads more or less straight into the second movement, a Minuet (a dance in triple time). This has a persuasive lilt, as well as the same feel of intimacy carried over from the first movement.

40:07 – the third movement, a much more forthright piece of music marked Animé (Animated).The textures of the piano here suggest rippling water. The piece moves to a convincing finish at 43:54, Ravel’s structure nigh-on perfect.

Fitkin

44:57 – immediately Fitkin’s use of the piano suggests mechanical movements. The writing is incredibly bold, from the big, beefy sound of the lower register of the piano – often dealt out in octaves – to the syncopated lines from the right hand. These suggest a strong jazz influence, but possibly even the sound of a gamelan.

As the piece progresses so its mechanical nature continues, with a terrific amount of energy generated in its ten minute duration.

Encore

55:57 – Chopin – Prelude for piano in E minor (3 minutes) – an encore of suitable stillness to follow the Fitkin, Chopin’s E minor prelude is one of his most popular, and one of his most sorrowful too.

Further listening

There are plenty of options available for further listening after this varied concert. Those enjoying the Ravel would be urged to seek out more of the composer’s piano music, in particular Gaspard de la nuit. The Franck may have its roots in the past a bit more but has some pretty exotic harmonies – and anyone enjoying it might want to head for Debussy’s suite Pour Le Piano, another look back to the past with an especially beautiful Sarabande at its heart.

Meanwhile for lovers of the Fauré the composer’s piano music has a particular late night beauty, as this selection of Barcarolles and Impromptus suggests. All are tagged onto the end of the original playlist here:

https://open.spotify.com/user/arcana.fm/playlist/14B8Ld3EVlXF6jlyZUeA9y