Online music recommendations – Oxford Lieder Festival

Over the last few years the Oxford Lieder Festival has established itself as one of the most attractive prospects in the autumn events calendar for classical music. Given the challenges faced by the sector in this most trying of years, it gives great pleasure to report that the team, led by artistic director Sholto Kynoch, have gone above and beyond the call of duty to present this year’s model.

An online extravaganza lasting ten days, the festival continues its penchant for the use of attractive venues in the city, presenting them in an online format with Tall Wall Media which is both easy to navigate and admire.

The artistic standard remains as high as ever, as does the programming. Viewers on Saturday were treated to James Gilchrist immersing himself in ancient lute songs, with the florid tones of Elizabeth Kenny alongside, from where we switched to the Hollywell Music Room. Here we found the redoubtable Dame Sarah Connolly (above) and Eugene Asti in a program including Schumann’s Frauenliebe und -leben and a rapt account of Mahler’s Rückert-Lieder, time standing still during the final two songs, a darkly atmospheric Um Mitternacht and an expansive Liebst su um Schönheit.

Many of the Oxford Lieder concerts include a slot for emerging artists, a healthy recognition of the outstanding young talent coming through in the world of song. On this occasion it was bass William Thomas who lent his fulsome tones to a quintet of Schubert songs. We also heard a nicely linked quintet songs from Finzi, Quilter, Haydn and Geoffrey Bush.

The festival has a very healthy instinct for presenting songs in context and giving them the right level of background through guest musicological experts. Natasha Loges illuminated Brahms’ Lieder contributions with music from baritone James Atkinson and pianist Ana Manastireanu while on Saturday 17 October, the festival’s final day, we will get a fascinating chance to explore the song prior to Beethoven in the company of baritone Stephan Loges and Eugene Asti.

On Tuesday 13 October, the lunchtime concert found tenor Robin Tritschler (above) giving a superb hour of music with pianist Graham Johnson from the Hollywell Music Room, journeying round the Zodiac with all the spirit of first-time voyagers. Travelling through works from Barber, Schubert, Ives, Rebecca Clarke and Argento, their ultimate destination was the Songs of the Zodiac of Geoffrey Bush. This inventive cycle provides a setting for each sign, helpfully introduced by Johnson before the two offered vivid characterisation. Here there was plenty of wit but tenderness too.

The following lunchtime tenor James Gilchrist and pianist Anna Tilbrook included a substantial world premiere of a work by Michael Zev Gordon, a composer Gilchrist studied with at King’s College Cambridge in the 1980s. There was a rather nice irony about a work with its genesis in Cambridge receiving its first performance in Oxford, and Gordon’s Baruch – Ten Propositions of Baruch Spinoza showed itself to be an impressive piece indeed.

Fusing elements of chant and more modern, English song – Holst’s great Betelgeuse came to mind in the final Ex hoc tertio cognitionis… – it was a dramatic performance that definitely warrants a further viewing. The cycle started with Gilchrist using a harsher tone but as it unfolded the voice blossomed to fill the space around, helped by the sensitive balance provided by Tilbrook. In the words of Gordon, these were ‘aphorisms meant to be heard and pondered; here sung and pondered’. Gilchrist complemented this with an affectionate and yearning account of a work he has known since childhood, Beethoven’s An die ferne Geliebte – the first clearly defined song cycle.

Today’s lunchtime concert was rather special with Ian Bostridge (above) joined by pianist Saskia Giogini at Merton College Chapel in a characteristically intense account of Britten’s Canticle I: My Beloved Is Mine. The camera work should be mentioned here, as it captured the glorious chapel in an ideal complement to Britten’s arrangements of Five Spiritual Songs, where Bostridge was masterly, and in the beautiful Bach, the arias Ich habe genug, from the cantata of the same name, and Der Ewigkeit saphirnes Haus (from Laß, Fürstin, laß noch einen Strahl). Taken on their own, these two – with the Oxford Bach Soloists – reminded us of the true value of live performance, even when given online in these restricted times.

The Oxford Lieder Festival continues until Saturday 17 October, where it will include a performance of Schubert’s Schwanengesang from tenor Christoph Prégardien and pianist Michael Gees. Before then you can enjoy concerts from baritone Benjamin Appl and Sholto Kynoch, mezzo-soprano Kitty Whately and Simon Lepper and a keenly anticipated collaboration between soprano Lotte Betts-Dean and guitarist Sean Shibe. All concerts are available online until 1 November, or 15 November with the event’s Pioneer Pass – which is much appreciated if you want to catch up with recommended concerts from Carolyn Sampson and Joseph Middleton, not to mention the Hermes Experiment!

For further details visit the festival website

Online music recommendations – Summer sessions in London

With the continued restrictions on live performance preventing orchestras from performing in the conventional sense, ensembles have been giving concerts and subscriptions online. Two of the biggest London orchestras have been running series through the summer which are highly recommended.

The London Symphony Orchestra have been giving a series of Summer Shorts at LSO St. Luke’s through July and August, and is set to conclude in thrilling fashion with a concert from the LSO Percussion Ensemble on Friday 21 August at 1pm. You can watch it on the LSO website here

The programme begins with Chick Corea’s Duet Suite, arranged by Simon Carrington, before two pieces from Gwilym Simcock – his Quintet, which the ensemble have already recorded, and the shorter piece Barber Blues.

Also available to watch is the concert from the Friday just gone, given by the piano trio Belinda McFarlane (violin), Jennifer Brown (cello) and pianist Elizabeth Burley. Their intriguing hour of music begins with Judith Lang Zaimont’s Nocturne, before A Winged Spirit, the new piece from Hannah Kendall. Wrapping things up is Rachmaninov’s passionate but seldom heard Trio élégiaque no.1:

Across town in the Henry Wood Hall, the different sections of the London Philharmonic Orchestra have been giving concerts for reduced forces. Their Summer Sessions began on July 15 with a rather lovely set for strings, including the Elgar Serenade for Strings, the first Concerto Grosso of the Op.6 set by Corelli and Grieg’s sunny Holberg Suite:

Then the winds stepped up on two weeks later, playing Rossini’s Sonata no.1, Mozart’s wonderful Serenade in E flat major K375 and Janáček’s Mládí:

Brass and percussion were next, with a program of fanfares and divertimenti featuring works by Sir Malcolm Arnold, Richard Bissill, Leonard Salzedo, Stanley Woods and Simon Carrington:

Finally the orchestra will celebrate the 250th anniversary of Beethoven’s birth with a vibrant program including the Septet in E flat major, the Quintet for piano and wind and the lesser known Trio for piano, flute and bassoon. You can catch that concert on the London Philharmonic Orchestra’s YouTube channel here

Live review – Nash Ensemble: War’s Embers – Elgar Piano Quintet & John Ireland Piano Trio no.2

Nash Ensemble (above) [Ian Brown (piano), Stephanie Gonley, Michael Gurevich (violins), David Adams (viola), Adrian Brendel (cello) (N.B. the line-up pictured above is not the same as the one appearing at this concert)

LSO St Luke’s, Friday 12 October 2018 (lunchtime concert)

Ireland Piano Trio no.2 (1917)
Elgar Piano Quintet in A minor Op.84 (1918)

Written by Ben Hogwood

The First World War had a profound effect on composers of classical music. Many of them served or were closely involved with the conflict, and even those who weren’t used their music as a vehicle for the shock and dismay felt at the turn of events.

John Ireland expressed his horror through two chamber works completed in 1917, the Violin Sonata no.2 and the Piano Trio no.2. The latter work began this concert from the Nash Ensemble, part of their War’s Embers series focusing on music written around the War in England. Set in one compact movement, it is a powerfully expressive utterance, even when the music is quiet – as it was when the first cello melody began – to when it reaches peaks of intensity in the march sections, depicting the war itself. Ian Brown, Stephanie Gonley and Adrian Brendel were united in voice, their three instruments often linked in melody, while Brendel’s eloquent solo at the start set the solemn tone.

Stylistically the work draws part of its inspiration from Debussy and Ravel, and these links were nicely played up by the trio, but the opening music dominated to the point of obsession, sweeping all before it. As evidenced in an interview with BBC Radio 3 host Fiona Talkington after the performance, the players had a clear understanding of Ireland’s writing, and his still underrated status in chamber music form.

Ireland’s trio was first heard at the Wigmore Hall in June 1917, and at the same venue nearly two years later audiences heard the premiere of Sir Edward Elgar’s Piano Quintet. Composed in Sussex, this autumnal work, written just prior to the Cello Concerto, reflects a fascination the Elgars held with a group of dead trees in Flexham Park, their branches twisted ‘in an eerie manner’.

The spidery tendrils of the first few bars reflected this eerie vision, and refused to release their grip on the piece despite a first movement that really got into top gear in this performance, passionately played and majestically poised. There was an affecting second theme before we heard for the first time some Spanish rhythms, also inspired by legend around the dead trees and refracted through a prism in Elgar’s mind, strangely sketched but never fully coloured-in.

The relative serenity of the slow movement, was countered by an emotional distance, as though here Elgar was conscious of the War, itself audible to him through the use of artillery just across the Channel. Perhaps because of this the trees made themselves known in closer proximity as the finale began, though here Elgar – and the Nash Ensemble – threw off the shackles to power through to an upward looking conclusion.

This was a fine performance of a work the Nash – and certainly Ian Brown – have had in their repertoire for more than 25 years. Brown displayed a natural instinct with the tricker phrases and was helped by a lovely string tone from the quartet in a performance that made sense of some of Elgar’s more distorted rhythms.

War’s Embers will come to BBC Radio 3 on Tuesday 13 November and I urge you to hear it, placing this elusive work in the context of a fine performance.

Further listening

You will be able to listen to this concert on BBC Radio 3 on Tuesday 13 November. In the meantime recordings of the works heard are on the Spotify playlist below:

For further information on the Nash Ensemble’s War’s Embers series, visit the diary section on the ensemble’s website