Oxford Lieder Festival – Kai Rüütel and Roger Vignoles: Tallinn to St Petersburg

Kai Rüütel (soprano, above), Roger Vignoles (piano, below)

Härma Ei saa mitte vaiki olla (I cannot stay silent)
Brahms Wie Melodien Op.105/1, Immer leiser wird mein Schlummer Op.105/2, Klage Op.105/3, Auf dem Kirchhofe Op.105/4
Rachmaninov O, dolgo budu ja, v molchan’i nochi tajnoj (In the silence of the secret night) Op.4/3, Poljubila ja (The Soldier’s Wife) Op.8/4, Zdes’ khorosho (How fair is the spot) Op.21/7
Mägi Kolm laulu Betti Alveri luulele (3 songs on poems by Betti Alver) [(Päike paistis, kaste hiilgas (The sun was shining, the dew gleamed), Kui kajab muusika (When music echoes), Uneaknale, uneaknale kevad koputas (On the window of sleep)]
Tormis Nukrad Viivud (Sorrowful Moments) [Kevadpäike, ära looju veel (Spring sun, do not set yet), Sügislaul (Autumn Song), Ei ole roose õitsenud minule (‘No roses have bloomed for me’), Armastus (‘Love’)
Rimsky-Korsakov Plenivshis rozoj, solovey (The Nightingale) Op.2/2, Na kholmakh Gruzii (On Georgia’s Hills) Op.3/4, Serenade Op.4/4, Drobitsya, i pleshchet, i brizzhet volna (The wave breaks) Op.46/1, Kogda volnuyetsya zhelteyushchaya niva (When the ripening wheat fields gently stir) Op.40/1
Mart Saar nnemuiste (In Days of Yore), Kõrs kahiseb (The Straw Murmurs), Kadunud ingel ‘Lost Angel’, Sügismõtted (Autumn Thoughts), Mis see oli? (What was It?), Üks ainus kord (Only Once More)

Holywell Music Room, Oxford
Wednesday 17 October 2018 (evening)

Written by Ben Hogwood

Continuing the Baltic theme of this Wednesday at the Oxford Lieder Festival, Estonian mezzo-soprano Kai Rüütel and pianist Roger Vignoles gave a fascinating concert introducing their audience to Estonian song from the 20th century, helpfully placed in the context of Romantic Russian and German song. Rüütel had very helpfully provided English translations of the Estonian songs, which was particularly useful for those Festival goers who had attended the earlier ‘Language Lab’ in the Ashmolean museum, where we had an introduction to the language from Kerli Liksor.

Rüütel set the tone with the unaccompanied Estonian folk song Ei saa mitte vaiki olla (I cannot stay silent), before four late Brahms songs showed off the rich tones of her mezzo-soprano. Yet there was a feeling these were merely a prelude to the meat of the concert, which really began with a wonderfully evocative account of the first of three Rachmaninov songs, In the silence of the secret night. The value of Vignoles’ scene setting was incalculable both here and in the Brahms, with some complex piano writing handled with apparent ease and an instinctive sense of melody and expression. Rüütel inhabited the character of The Soldier’s Wife with a powerful sorrow, contrasted with a dream-like finish to How Fair Is The Spot.

There followed 3 Songs on poems by Betti Alver from the 96-year old Estonian composer Ester Mägi. These had a very clear sense of location in their folk-inspired melodies, with distinctive inflections that Rüütel was ideally placed to exploit. These were mirrored in the piano part, which provided a particularly dramatic introduction for the second song, Where Music Echoes. The directness of the text was strangely refreshing and was reflected in the economy of the music, slightly redolent of Janáček in its economy but forging a very distinctive path.

The name of Veljo Tormis will be a more familiar name to students of Baltic music. Known primarily for his choral work, he is a fine song composer too – and the 1958 collection Sorrowful Moments left a lasting impression. Its central pair, Autumn Song and No Roses Have Bloomed For Me, were darkly toned, but the final Love offered much greater hope, Rüütel singing from the heart of ‘the stars that light the traveller’s way’.

Photo credit (c) Ben Ealovega

We returned to Russia for the beginning of the second half, with some rarely heard songs from Rimsky-Korsakov. Given the melodic prowess and dramatic scene setting on show in songs like On Georgia’s Hills and The Wave Breaks it remains a mystery that Rimsky’s songs are not heard more in the concert hall. Rüütel sang them with great fullness of tone but also enjoyed the more tender moments of Serenade and When The Ripening Wheat Fields Gently Stir. Vignoles’ tumultuous evocation of The Wave Breaks was a highlight; so too the pair’s account of The Nightingale.

Finally we heard the music of Mart Saar, an Estonian composer from the first half of the 20th century who studied with Rimsky-Korsakov. In one of several helpful introductions Rüütel told of how Saar followed Rimsky’s advice to ‘be himself’ but also to take risks – and those qualities were evident in these deceptive songs. They were deceptive because some of the twists and turns had an individual quirk, Romantic in profile but alighting on unexpected harmonies or melodies. To Rüütel these were second nature, and in Autumn thoughts especially she found a deep, soulful mood. The first song, In days of yore, had more obvious folk music inflections, but perhaps the most dramatic song of all was Lost Angel, where Vignoles’ mastery of the challenging piano part set the way clear for Rüütel’s direct, emotive response.

As an encore Rüütel and Vignoles gave us a timeless account of Richard Strauss’s Morgen which, while brilliantly performed it did not distract from the impact of the Estonian and Russian music we had just heard. Clearly there are many riches to be discovered from the Baltics, and it is to be hoped Rüütel and Vignoles might set these down permanently for a record company such as Hyperion.

This was a memorable concert, and will be broadcast soon on BBC Radio 3. It comes with the strongest possible recommendation!

Further listening

There is relatively little material on streaming services with which to discover Estonian songs – but there is a new series devoted to the songs of Mart Saar that has just begun:

Meanwhile most of the music from the concert can be heard on the below Spotify playlist:

Roger Vignoles – A Strauss Odyssey

Roger Vignoles is one of Britain’s best-established accompanists. Respected for his technical ability, experience, breadth of repertoire and the work he does nurturing singers old and new, he is regularly seen at the illustrious venues worldwide.

More recently at the Wigmore Hall he has plotted a course through the daunting output of songs by Richard Strauss, a lesser known corner of the composer’s output. This has been complemented on disc courtesy of Hyperion, their series recently completed by an eighth and final disc with tenor Nicky Spence and soprano Rebecca Evans.

In a fascinating interview he talks with Arcana about his own introduction to classical music, the technical and psychological challenges in performing Strauss, his highlights from the series and the principles of accompanying a singer.

Can you remember your first encounters with classical music?

I have an early memory of a concert at Cheltenham Town Hall when Tchaikovsky’s Pathétique Symphony was performed – it was one of my father’s favourite pieces, hence one of his first LPs, together with Beethoven‘s Fifth Symphony and Franck’s Symphonic Variations. But he also loved Gilbert & Sullivan, so my brothers and I who were all choristers were basically brought up on a diet of English Cathedral Music and HMS Pinafore.

I also remember Peter and the Wolf loomed quite large (my favourite bit was the appearance of the wolf out of the forest), as well as the audience songs from Let’s Make an Opera. And I treasured a 78 single of Sousa’s Stars & Stripes played by the Coldstream Guards Band: nowadays my favourite version is Vladimir Horovitz’s – he gives it such an aristocratic swagger, like a Grande Polonaise in 4/4 time.

What was it about Gerald Moore that made you want to follow in his footsteps?

It was when my elder brother Charles (on whom I really learnt the basics of accompanying when we were both in our teens) gave me the first LP of Winterreise, sung by Dietrich Fischer-Dieskau with Gerald Moore. I was fascinated by the piano parts, but especially by Gerald’s beautifully judged piano sound and his wonderful sense of rhythm and pace, and I just thought: “I’d love to be able to do that.”

When did you first discover the songs of Richard Strauss?

It was probably when I went to the RCM in 1966. Hubert Dawkes, to whom I’d been assigned for accompaniment, plunged me in at the deep end with the Four Last Songs.  But I also thrilled to songs like Allerseelen, Die Nacht, Ständchen, etc.

Listen to Rebecca Evans singing September, the second of Strauss’s Four Last Songs, with Roger Vignoles. This is part of the eighth and final volume of Strauss songs released by Hyperion and available here

Are the piano parts particularly challenging? When I have seen you play at the Wigmore Hall before they often feel orchestral in concept, as though you are having to voice a whole ensemble.

Strauss’s early songs sound much like Schumann: pianistic in quality and perfect for a domestic soirée. But with Zueignung, the first of his Opus 10 group (his first published songs), there is an unmistakable sea change. It’s as though the Vienna Philharmonic has entered the drawing room, and from then on Strauss never looked back. Challenging?  Indeed, but Strauss also has a wonderful feel for the piano, and with very few exceptions his accompaniments are very grateful to play. Of course there can be a lot of notes to deal with and every now and then he does go completely over the top: Lied an meinem Sohn for instance, which sounds like a cross between Die Walküre and a Tchaikovsky piano concerto and was declared unplayable by Alfred Brendel, no less. It’s wonderfully sung by Christopher Maltman on Volume 4 (listen below):

As it happens thinking orchestrally has always come naturally to me, ever since my time studying with Paul Hamburger, for whom it was axiomatic that all song composers from Schubert onwards have a miniature orchestra in their heads. A couple of years playing Wagner and Strauss at Covent Garden helped cement this approach: many pianists make the mistake with Strauss of learning all the little notes first, but a stint in the opera house teaches you to see the wood for the trees, and as Paul Hamburger would often say, “If you get the gesture right, the little notes will fall into place”.

I should like to add that I owe an enormous amount to Paul, who taught me not only more about piano technique than any “real” pianist I ever worked with, but also about vocal coaching, style, language and poetry (even down to explaining Thomas Hardy to me in his thick Viennes accent).  Quite coincidentally the first song I ever took to him was by Strauss – Schlagende Herzen.

The Strauss series on Hyperion has had a really nice blend of singers new and slightly older, English and European. Was that a deliberate aim?

It wasn’t a deliberate aim, so much as the result of the series having taken twelve years to record, and at each stage looking for artists with the appropriate vocal and musical character for the volume in hand. It also very much reflects the singers whom I already was enjoying working with at any given time.

Do you think that in the Strauss songs we get a different view of him as a composer?

Strauss was naturally a composer of the large gesture, the panoramic sweep, with a distinct tendency to overblown romanticism of the kind that can turn some listeners off.  And of course the opera composer often shines through – there can be no doubt that the 25 years of song-writing that preceded his first operas were the laboratory in which he developed his gift for vocal characterisation.

But in the song format he is obliged to distil his musical ideas to their simplest essence. Just occasionally he doesn’t succeed, but on the many occasions when he does the result can be pure magic.  If I had to give just one example it might be Nachtgang, a tiny love-song of breathtaking tenderness – and unfathomable poignancy (listen below):

‘Accompanist’ feels like a slightly derogatory term for a role that requires such control and artistry. Is it your view that both performers have equal billing in a vocal recital?

It’s not often realised that the Lied or Mélodie is as much a piano art as a vocal one – it’s no accident that Schubert’s Lieder evolved with the early years of the piano – so of course singer and pianist should have equal billing. It is indeed a truly symbiotic partnership. But as for the A-word, I am proud to follow Gerald Moore as an “Unashamed Accompanist”. To me it’s the only term that naturally describes what I and my colleagues do. Nevertheless I can understand those who baulk at its negative associations and prefer the American coinage “collaborative pianist”. Just for the record the billing should of course always read “So-and-So, piano”, never “So-and-so, accompanist”.

What is the most common piece of advice you give to your students on accompanying a singer?

This from Geoffrey Parsons, another mentor: “Always have your own idea of how the song goes, rather than just be a blank canvas for the singer to draw on”.

But two other rules of thumb are useful: “It’s the singer’s job to slow down, the pianist’s to speed up again” and “Balance is as much a function of texture (ie transparency and clarity) as of decibels (as in am I too loud?)”

Is it important to have a personal affinity with the singer you are performing with, as well as a musical one?

It helps of course, especially if you are going on tour together. But I have had many experiences of wonderful music-making on minimal rehearsal, when there was no time at all to find out whether you got on personally offstage.

Are there any composers you have not yet recorded that you are keen to explore?

I love playing Rachmaninov songs (probably for the same reason that I love playing Strauss). And one day I might get round to Schoenberg’s Buch der hängenden Gärten.

If you could recommend a Strauss song to Arcana readers listening for the first time, which one would it be?

So many to choose from…  But for a real out-of-body experience, try Am Ufer, sung exquisitely by Christopher Maltman on Volume 4 (listen below):

Or for a remarkable stream of consciousness, Anne Schwanewilms singing O wärst du mein! on Volume 2 (listen below):

You are a painter as well, looking at Twitter…does music inspire your paintings at any point?

Not precisely: but a friend once told me they thought I painted with the same part of the brain that I play with.  Which is probably true. It is a fact that I have a very visual conception of the music that I play, especially in song where so much of the verbal imagery is itself visual. So in either medium I am playing with light and shade, with colour and texture, and with contrast – perhaps the most important tool in both.

You can read more about Roger Vignoles on his artist page, or click here for his Hyperion discography. With grateful thanks to Hyperion for the provision of highlights from their Strauss series, which are of course (c) Hyperion Records Ltd.

Wigmore Mondays – Roderick Williams & Roger Vignoles in French art-song

Roderick Williams & Roger Vignoles – French Art Song

Fauré Mirages, Op 113 (1919)

Caplet Cinq ballades françaises de Paul Fort (1919-20)

Honegger Petits cours de morale (1941)

Poulenc Deux poèmes de Guillaume Apollinaire (1938); Parisiana (1954)

Listen to the BBC broadcast here

Written by Ben Hogwood

How heartening to have such an inventive hour-long recital of French art-song for a Monday lunchtime. In choosing a programme mostly comprising rarely performed works Roderick Williams and Roger Vignoles demonstrated both the depth of the genre and the rich variety of source texts on which the composers drew.

For this concert we had the intriguing combination of late Fauré, bright Caplet, silly Honegger and typically heart-on-sleeve Poulenc, and both baritone and pianist applied themselves to each with great enthusiasm and character. No stone was left unturned as they strove to bring the texts to life, helped as they were by some wildly differing moods of interpretation.

Late Fauré has a uniquely timeless approach, and the essentially slow Mirages are no exception. The composer’s last song cycle, it is a quartet of settings from the collection of the same name by Renée de Brimont. Williams and Vignoles inhabited a still world, especially in the remarkable passage in Reflets dans l’eau (Reflections in the water) (beginning 4:44 on the radio broadcast), the song almost stopping completely, seemingly in the middle of the lake, for sustained contemplation (from 8:08)

Still more affecting was Danseuse (Dancer), a haunting closing song that vividly portrays the languid movements of the dancer. With his single melodic line in the right hand Vignoles had the lilt just right, as did Williams in his controlled singing.

The Caplet cycle of Paul Fort setting was an altogether different story. André Caplet was a close friend of Debussy, and did a lot of work for him on editions and such. Debussy comes through to some of the harmonies and sleights of hand, but Caplet’s own style makes itself known and is fascinating. Here Vignoles was exceptional in his setting of the five scenes, with some incredibly tricky piano parts made to sound comparatively easy. The start of Cloche d’aube (Tolling dawn) (from 18:09) was a sparkling, brightly lit piano part, complemented by Williams’ sonorous tones.

Notre chaumière en Yveline (Our cottage in Yveline), the third song (from 23:38), was even more striking, falling over itself in rapture, while the glissando of the piano and soaring vocal of Songe d’une nuit d’été (A Midsummer Night’s Dream) (from 26:07) continued the rapt mood of the recently married composer and his domestic bliss. Only the final song, L’adieu en barque (Farewell from a boat) struck a note of caution with the refracted bell ringing conveyed so vividly by Vignoles.

The Honegger songs (from 34:46) were little picture postcards, lasting just over four minutes in total. Described as ‘a short course in morality’, they were written with some striking if rather odd observations by Jean Giraudoux, four of which centred on locations in the UK. Each one, given a woman’s name, had a certain charm – the wandering Jeanne, a rather brusque Adèle (35:25), the heady scents of Cècile (36:11), a strident Irène (37:03) and finally Rosemonde (37:48). Williams and Vignoles clearly enjoyed them, and were on sparkling form throughout.

Finally music by Poulenc, one of the great French songwriters, was given exemplary performances. We heard 2 poems by Guillaume Apollinaire, the colourful Dans le jardin d’Anna (In Anna’s Garden) (40:16), the increasingly bothered Allons plus vite (Move Along) (43:35) and the two Max Jacob poems making up Parisiana (Jouer du bugle (Playing the cornet)) from 46:44 and the short but riotous Vous n’écrivez plus? (You do not write any longer?) (48:15). Both performers were again wreathed in smiles as they enjoyed Poulenc’s direct emotional approach, and then, as a bonus, we had a reflective encore in the form of La Grenouillère (The Froggery).

Even Vignoles was silently singing along at this point, the two finding a strong bond in this little known but richly rewarding box of treats.

Further listening

One of my favourite discs of French song is from the baritone François le Roux, joined by a crack team of French soloists under Charles Dutoit. It includes Poulenc’s Le bal masqué and Le Bestiare cycles, along with the Rapsodie nègre: