Wigmore Mondays: Aleksey Semenenko & Inna Firsova – Grieg, Ysaÿe, Debussy, Tchaikovsky & Paganini

Aleksey Semenenko (violin), Inna Firsova (piano)

Grieg Violin Sonata no.3 in C minor Op.45 (1886-7) (1:40-23:34)
Ysaÿe Violin Sonata in D minor Op.27/3 ‘George Enescu’ (1923) (25:34-32:13)
Debussy La plus que lente (1910) (34:17-38:16)
Tchaikovsky Valse-scherzo in C major Op. 34 (1877) (38:55-45:06)
Paganini, arr.Kreisler La Campanella (1826) (46:30-54:16)

Wigmore Hall, London; Monday 5 November 2018

You can listen to the BBC Radio 3 broadcast by clicking here

Written by Ben Hogwood

There were fireworks at the Wigmore Hall rather earlier than planned on this particular November 5th. The reason for this was the inflammatory partnership of violinist Aleksey Semenenko and pianist Inna Firsova, whose high voltage program of Grieg, Ysaÿe, Tchaikovsky and Paganini really got the heart rates fluttering.

The duo began with one of Grieg’s finest chamber works, the Violin Sonata no.3. While his first two works in the violin sonata are dressed in relatively sunny clothing, this third one has a lot more grit and determination in the notes. This was evident right from the start (1:40 on the broadcast, marked Allegro molto ed appassionato), a memorable theme given authoritative treatment by Semenenko and Firsova. The music drew back for some more intimate thoughts, but soon, as the main theme gets developed, a deeply passionate dialogue between violin and piano played out.

The second movement, a Romance (10:13), began with a clear and delicate melody from Firsova, a beautifully poised response to the first movement. Soon however a more agitated section started (12:18), led by the violin, but soon the glassy, soft-hearted music returned. The third movement Allegro moderato (16:06) began with a melody that feels like a folk tune, especially with the rustic piano accompaniment, and we were back into the urgent mood of the first movement. At 18:53 a rich second theme could heard, played by Sememenko with a very full, gorgeous sound, if just occasionally over-reaching on his tuning.

The Ysaÿe Sonata is for solo violin, directly inspired by the music for violin of J.S. Bach – but with considerably more display factored in. It is third of a set of six he completed in a short space of time and published as Op.27 in 1923. That said, the Belgian composer still writes with a keen sense of form, and this compact sonata, dedicated to fellow violinist / composer George Enescu, packs a lot into its six and a half minutes. So too did Semenenko, whose dazzling virtuosity (from 25:34) added to a beautiful tone gave it the best possible platform. Some of his bowing was razor sharp, especially in the fast music, but the attack was always impressively clean.

Semenenko and Firsova followed these fireworks with a pair of waltzes. Debussy’s example (34:17), originally for solo piano, is a sugar-sweet but elusive piece of work, beautifully harmonized by Firsova in this version. Tchaikovsky’s (38:55) is another story, a swaggering dance piece that both performers relished, swaying in and out of time with the familiarity of seasoned partners. It was all instinctive and brilliantly done, with Semenenko’s bow acting like a pond skater over the strings at times! An earlier performance of this work from the pair can be seen below:

One of the ultimate violin showpieces is La Campanella, written by Paganini in 1826 as the third and final movement for his Violin Concerto no.2, but arranged here for violin and piano by Fritz Kreisler – like Paganini a virtuoso of incredibly high standing.

Gravity is surely defied in this version, right from the main theme (46:30) to a series of contrasting sections, each of eye-watering difficulty – try from 52:00 on the broadcast to get some incredible dexterity between plucking (pizzicato) and bowing.

Great credit should go to Irina Firsova, too, for her mastery of what is effectively an orchestral score compressed for piano. The lightness of touch meant this was never a heavy account, despite the number of notes, and Semenenko’s agility fair won the day.

A spectacular recital indeed, which I would urge you to hear from the start. The pair weren’t quite finished, though, and complemented their fireworks with a little sparkler, Tchaikovsky’s Valse sentimentale in F minor Op.51/6 (56:12-58:21)

Further listening

As a good companion to this playlist, Aleksey Semenenko and Inna Firsova have recorded a disc of similar themes, taking a Grieg sonata and virtuoso showpieces from Tchaikovsky, Paganini and Castelnuovo-Tedesco, ending with an intense account of Schubert’s Fantasy in C major:

If that isn’t enough, and to whet the appetite for more French music for violin and piano from the Wigmore Hall in a couple of weeks’ time, here is another Semenenko and Firsova double act in music by Poulenc, Chausson, Debussy and Saint-Saëns:

On record: Vassilis Varvaresos – V for Valse (Aparté)

V for Valse

Vassilis Varvaresos (piano)

Liszt Allegro spiritoso in A major S427/7 (1852), Mephisto Waltz no.1 S514 (1862)
Ravel La Valse (1920)
Rosenthal Carnaval de Vienne (1889)
Schumann Faschingsschwank aus Wien Op.26 (1838)
Scriabin Waltz in A flat major Op.38 (1903)
Tchaikovsky Valse sentimentale Op.51/6 (1882)

Aparté AP172 [61’31”]

Producer / Engineer Pierre Fenouillat
Recorded 22 & 24 July 2017 by Little Tribeca at Hotel de l’Industrie, Paris

Reviewed by Richard Whitehouse

What’s the story?

The first recital disc from Greek pianist Vassilis Varvaresos, winner at the 2016 Enescu Competition, and already heard on Schubert’s Winterreise with Dimitris Tiliakos as well as works for violin and piano by Schumann and Richard Strauss with Noe Inui (both on Navis Classics).

What’s the music like?

In an interesting conceptual ploy, the Valse (Waltz) has been taken as basis for an overview of almost a century’s piano music – during the course of which, keyboard virtuosity veered away from uninhibited display to reinforcing the emotional complexity of the piece at hand.

Varvaresos starts his recital in media res with Liszt‘s First Mephisto Waltz – the touchstone for a virtuosity fused with psychological complexity, rendered here with a combination of technical brilliance and emotional understatement as extends right to the scintillating final bars. The seventh from his Soirées de Vienne, a set of Valses-Caprices after Schubert, finds Liszt in more equable if hardly less resourceful mood, not least in the way he channels his borrowed ideas into a study as subtle formally as it is poetic and affectionate expressively.

A further highlight is Faschingsschwank aus Wien, last of Schumann’s piano cycles from his first full decade of creativity and one which tends to be overlooked in the context of several more innovative predecessors. Its outer movements can run the risk of mindless display, but this is never an issue for Varvaresos, who leavens their boisterousness with almost Classical objectivity. This applies equally to the three central movements, not least a Romanza whose poise and inwardness uncannily anticipate the piano miniatures of its composer’s last years.

Tchaikovsky‘s piano output remains relatively neglected, so it was astute of Varvaresos to include his Valse sentimentale, last in a set of six pieces which point up his indebtedness in this medium to earlier models (notably Schumann), yet whose melodic eloquence is wholly characteristic. Scriabin‘s Waltz in A flat makes for a telling foil, its melody line diffused into a harmonic radiance which blurs the expected tonal focus with teasing playfulness. Here, as throughout this programme, the suppleness of Varvaresos’s pedalling is of the highest order.

Discretion is hardly to be expected of an archetypal virtuoso such as Maurice Rosenthal, yet his Carnaval de Vienne is a riotous humoresque on themes by Johann Strauss II that makes a fittingly uproarious encore (as Varvaresos demonstrated at last year’s Enescu Festival). The virtuosity of Ravel’s La Valse is of an altogether more speculative manner, but this account makes a virtue of such ambiguity as this plays out across a structure audacious in its formal design and unnerving in its emotional follow-through – not least those fateful closing pages.

Does it all work?

Very much so. Varvaresos is evidently among a younger generation of pianists for whom virtuosity is neither to be played up to nor fought shy of; but rather placed at the service of the music in question so its salient qualities can more fully be appreciated and savoured.

Is it recommended?

Indeed. The sound is ideal in its realism and immediacy, with Jean-Yves Clement’s fanciful note complemented by a photo which looks rather like a still from an Alain Resnais film. An auspicious release by a pianist from whom much can be expected. V for Varvaresos indeed!

You can read more about this release on the Aparté website, or get more information on Vassilis at his website The full album can be heard on the Spotify playlist below:

Live review – Yulianna Avdeeva, CBSO / Constantinos Carydis – Skalkottas, Tchaikovsky & Beethoven

Yulianna Avdeeva (below, piano), City of Birmingham Symphony OrchestraConstantinos Carydis (above)

Photo credits: Thomas Brill (Constantinos Carydis), C Schneider (Yulianna Avdeeva) 

Symphony Hall, Birmingham. Thursday October, 2018

Skalkottas Four Images (1948)
Tchaikovsky Piano Concerto no.1 in B flat minor Op.23 (1875)
Koukos In Memoriam Y. A. Papaioannou (1989)
Beethoven Symphony no.7 in A major Op.92 (1812)

Written by Richard Whitehouse

Conductors are not obliged to programme their compatriots, though Constantinos Carydis certainly rang the changes by including music by Nikos Skalkottas (1904-49) – who, along with Xenakis, is undoubtedly the leading Greek classical composer from the 20th century.

Nor is the City of Birmingham Symphony unacquainted with his work, having given the first complete performance of his First Symphonic Suite in 1972. That piece typifies the intricate, serially-derived music of his earlier maturity, whereas the Four Images comes from his last years when tonal music predominated. Derived from a longer ballet score for piano, these characterful miniatures amply evoke folk scenes (without using actual folk themes) in a way recalling Bartók’s Dance Suite or, more directly, the dances from Ginastera‘s ballet Estancia.

Carydis accordingly had their measure – whether the forceful rhythms and acerbic harmonies of The Harvest, or wistful pathos of The Sowing with its resplendent, bell-capped climax. After this, The Vintage provides a scherzo of no mean propulsion and Carydis was right to lead directly into The Grape Stomping for a finale of scintillating vigour and impetus. Such were the qualities that the CBSO brought to this music, in what was a captivating account of a piece which could easily become as familiar as those aforementioned given such advocacy.

Tchaikovsky’s First Piano Concerto has never wanted for exponents, so credit to Yulianna Avdeeva for her engaging perspective on music to which the ‘war-horse’ epithet is too often applicable. The indelible opening melody was majestic without being portentous, with the imposing first movement convincingly held together so that the accrued momentum carried through to a searching take on its lengthy cadenza. There was no lack of deftness during the Andantino, replete with woodwind playing of real elegance, while the finale had energy to spare on its way to a surging peroration. This is an impressive interpretation in the making.

As well as his illustrious forebears, Carydis was intent on promoting the music of his Greek contemporaries. Well regarded for his operas, Periklis Koukos (b.1960) is little known in the UK, but the tribute to his teacher In Memoriam Y. A. Papaioannou suggests a composer of no mean eloquence – this threnody for strings not a little redolent of Nino Rota in its restrained sentiment, and a solo violin part that leader Anna-Liisa Bezrodny rendered with ideal poise.

Carydis then headed directly into Beethoven’s Seventh Symphony, here given a reading that was always invigorating and often electrifying. Dynamic contrasts occasionally verged on the contrived, and the repeat of the scherzo’s hymnal trio was almost parodic in its stateliness, but these were outweighed by the power and incisiveness elsewhere. Carydis drove the CBSO hard in the finale, but the players admirably rose to the challenge – antiphonal violins to the fore as the coda reached its visceral culmination. Whatever its inconsistencies, this was a performance to reaffirm the greatness of this music, as an enthusiastic reception testified.

A persuasive programme of the evergreen and unfamiliar. Should Carydis include Skalkottas’ ballet The Maiden and Death in a future engagement with the CBSO, then so much the better.

Tonight’s concert will be repeated at Symphony Hall on Sunday 7th October at 3pm. For more information on future CBSO concerts head to their website

Alexandra Dariescu, Royal Philharmonic Orchestra / Cristian Mandeal – Romanian Centennial Concert

Alexandra Dariescu (piano, above), Royal Philharmonic Orchestra / Cristian Mandeal (below)

Cadogan Hall, London; Tuesday 28 November 2017 (Concert supported by the Romanian Cultural Institute)

Enescu Romanian Rhapsody No. 1 in A, Op. 11 No. 1 (1901)
Grieg Piano Concerto in A minor, Op. 16 (1868)
Lipatti Concertino in Classical Style, Op. 3 (1936)
Tchaikovsky Francesca da Rimini, Op. 32 (1876)

Reviewed by Richard Whitehouse

It has often been remarked that the death of Dinu Lipatti, in 1950 at the age of 33, robbed the musical world of a rare pianist, yet his ability as a composer was by no means inconsiderable. Such was evident throughout the modest and perfectly judged proportions of his Concertino in Classical Style, its four movements discreetly and judiciously evoking formal precedents while also offering up the subtlest of allusions to several then contemporary composers who had drawn productively on a neo-classicism inspired (both more and less directly) by Bach.

The Concertino was given here with style and no little insight by Alexandra Dariescu, who had already appeared prior to the interval for an enjoyable performance of Grieg’s perennial Piano Concerto. If the first movement lacked the last degree of formal cohesion, the extent of its expressive scope was not in doubt – not least during the wide-ranging cadenza which Dariescu dispatched with aplomb. The sentiment of the Adagio never cloyed, then the finale exuded energy and eloquence on its way to a grandiloquent but not overbearing peroration.

Both these works benefitted from the stylish and attentive accompaniment as secured, from a Royal Philharmonic Orchestra on excellent form, by Cristian Mandeal – assuredly the leading Romanian conductor of his generation. He began proceedings with Enescu’s First Romanian Rhapsody – a piece that, however much its composer might have deplored the fact, continues to represent his music to the public at large. If just a shade hesitant in the initial section, this account audibly hit its stride in a coruscating take on the breathless dance-music that follows.

The programme ended with an impressive account of Francesca da Rimini – if not the most often heard of Tchaikovsky’s symphonic poems, arguably his most involving in terms of its graphic depiction of the heroine’s love and tragic fate. Not the easiest piece to hold together, it benefitted from the conviction with which Mandeal integrated its contrasting episodes; not least the infernal storm which yields even greater terror in those cataclysmic final pages. The Cadogan acoustic strained to take this all in, but orchestra and conductor emerged triumphant.

For more concert information on the Royal Philharmonic Orchestra, head to the What’s On page on their website

You can hear a recording of the Dinu Lipatti Concertino on Spotify below, part of a disc devoted to the composer’s music by Marco Vincenzi:

BBC Symphony Orchestra & Semyon Bychkov – Beloved Friend: Tchaikovsky Project

semyon-bychkov

Richard Whitehouse on the BBC Symphony Orchestra, conducted by Semyon Bychkov (above) in the second of their Tchaikovsky-themed concerts

Tchaikovsky Serenade for strings in C major, Op. 48 (1880)

Tchaikovsky Piano Concerto No.3 in E flat major, Op. 75 (1893)

Taneyev Overture: The Oresteia, Op.6 (1889)

Tchaikovsky Francesca da Rimini, Op. 32 (1876)

Kirill Gerstein (piano), BBC Symphony Orchestra / Semyon Bychkov

Barbican Hall, London; Monday 24 October

The Beloved Friend series being curated by Semyon Bychkov provides a revealing overview of Tchaikovsky through some lesser performed works. Not the least of which is the Serenade for strings that, though its individual movements emerge frequently on radio, is not so often encountered in concert. Too short to occupy a second or even first half, it makes for a lengthy yet viable opening item when, as tonight, a full-sized string section is deployed with panache.

Bychkov ensured a fervent response in the first movement, its animated main sections framed by the rhetorical motto theme that ultimately returns as an apotheosis, then found suavity as well as elegance in the Waltz. Despite lack of inwardness, the Elegy yielded real clarity in its denser passages, while the Finale proceeded briskly yet characterfully to its resolute close.

kirill-gersteinNext followed a rare revival of the Third Piano Concerto, itself reworked from an abandoned symphony and what would doubtless have become a three-movement entity had Tchaikovsky completed its Andante and Finale to his satisfaction prior to his death (these latter, as realized posthumously by Taneyev, make an effective whole – as Alexander Markovich demonstrated in a Royal Festival Hall account eight years ago).

As a stand-alone piece, the Allegro brillante (best known in its ballet incarnation by George Balanchine) unfolds a quirky and characterful sonata design – its themes distinctive for their emotional restraint, with a stealthy interplay between piano and orchestra that Kirill Gerstein (above) audibly relished. Momentum faltered marginally after a scintillating cadenza, but the final pages strode onwards to a decisive if peremptory ending.

Overall, a convincing account of music which warrants greater exposure. Hopefully Gerstein will yet tackle this work’s three-movement incarnation: for now, he returned for a reading of Méditation – the fifth of Tchaikovsky’s Op. 72 collection – that oozed eloquence and poise.

More discussed than played in the West, Sergey Taneyev was as least as much a composer as pedagogue; a notable output of orchestral and chamber music capped by his ambitious opera The Oresteia. Beginning life as this latter’s introduction, the present overture expanded into an autonomous entity that surveys the opera’s dramatic content and is an eventful symphonic poem in its own right. Its complementary halves representing an archetypal ‘war and peace’ in dramatic as well as musical terms, the piece is harmonically questing and often texturally adventurous – not least in its extensive though never self-conscious writing for harps. Some 15 years after Taneyev last enjoyed a fair measure of exposure in London, Bychkov directed a fastidious performance to remind listeners that they are the poorer for this music’s neglect.

Even in an era intent on ‘concerto and symphony’ programming, Tchaikovsky’s Francesca da Rimini has never lacked for performances – this symphonic fantasia mingling drama with pathos to a heady degree even for this composer. Bychkov accordingly upped the ante in the tempestuous opening, then secured a suitably rapt response from woodwind and strings in the central section depicting Paolo and Francesca. Its balletic continuation drifted as is often the case, but the final pages portrayed the hapless lovers’ descent into hell with unerring ferocity.

Recorded by BBC Radio 3 for future broadcast in Afternoon on 3, and available for 30 days thereafter via the Radio 3 website