Jean-Efflam Bavouzet, BBC SO / Sakari Oramo – Schmitt, Franck, Ravel & Sibelius Symphony no.3

Jean-Efflam Bavouzet (piano), BBC Symphony Orchestra / Sakari Oramo (above)

Barbican Hall, London; Friday 27 October 2017

Schmitt Symphony No.2 in E flat major, Op.137 (1957)

Franck Variations symphoniques (1885)

Ravel Piano Concerto in D ‘for the Left Hand’ (1930)

Sibelius Symphony No. 3 in C major, Op.52 (1907)

You can listen to the broadcast on BBC Radio 3 by clicking here (available until 26 November)

Reviewed by Richard Whitehouse

Sakari Oramo‘s Sibelius cycle continued as part of a judiciously balanced programme which opened with a rare revival of the Second Symphony by Florent Schmitt. This continues the French symphonism of Roussel and Honegger; albeit with a quirkiness of melodic thought and virtuoso handling of sizable forces to confirm Schmitt as no mere epigone. Indeed, the angular wit of the first movement suggests his willingness to confront post-war modernism head on, and if the central Lent admits warmer and even tender emotion, the finale resumes the assaultive mood with an unremitting intent through to its scabrous close. Oramo and the BBC Symphony Orchestra had the measure of this unsettling piece throughout; their responsiveness underlining that Schmitt was not one to accept the passing of his own era with even a hint of good grace.

Jean-Efflam Bavouzet (below) then joined the orchestra for two staples from the French concertante repertoire, separated in time by almost half a century. Good to see that Franck‘s Variations symphoniques has now re-established itself in UK concert programmes, as this unlikely yet successful hybrid of elements from symphony and concerto, as drawn into the pithiest of its composer’s cyclical designs, has a substance more than equal to its entertainment. Bavouzet and Oramo were especially fine in the expressive contrasts of its opening minutes, and if the rhapsodic musing at its centre seemed a little inflexible, then the effervescence of its final section too forcefully projected, there was no doubting the coherence and the ingeniousness of its composer’s response to a piano-virtuoso tradition he spent much of his life despising.

That the Franck outlines a ‘three movements in one’ formal design makes it a more than likely precursor to Ravel‘s Piano Concerto in D major, the most enduring of those left-hand works written for the redoubtable (if frequently wrong-headed) Paul Wittgenstein. Not the least attraction of tonight’s performance was its emphasizing the canniness of the balance between soloist and orchestra, such that the former was never less than audible in the context of what is the most overtly rhetorical and combative of all Ravel’s works. Add to this Bavouzet’s limpidity in the eloquent theme which returns intensified in the cadenza, not to mention Oramo’s control of momentum in the jazz-inflected animation of the scherzo, and what resulted was a reading attentive to every aspect of this masterpiece: one that justifiably brought the house down.

Sibelius’s Third Symphony is easy to underestimate as a transitional work poised between overt romanticism and renewed classicism. It was to Oramo’s credit that elements of both aesthetics were not only evident but also reconciled – not least in an opening Allegro which moved between fervency and incisiveness with no mean purpose. The highlight came with a central Andantino whose quasi allegretto marking may have been minimal, but whose opening-up of emotional space made for a riveting listen. The final movement was hardly less impressive in its purposeful equivocation between scherzo and finale, Oramo teasing resolve out of uncertainty so the hymn-like theme that eventually emerges built to a powerful apotheosis. A gripping performance, reinforced by the conviction of the BBCSO’s response.

For more concert information on the BBC Symphony Orchestra, head to their website

You can hear a recording of the Florent Schmitt made by Leif Segerstam on Spotify below:

Ask the Audience at the BBC Proms – Leanne Mison on the Royal Stockholm Philharmonic Orchestra with Renée Fleming

The final Ask The Audience from the 2017 BBC Proms is with Leanne Mison, who promotes and endorses an impressive roster of electronic music artists for Bang On PR. Leanne talks to Arcana about a Prom given by the Royal Stockholm Philharmonic Orchestra and their chief conductor Sakari Oramo, – with two solo vocal turns from the superstar New York soprano Renée Fleming.

Prom 61: Renée Fleming (soprano), Royal Stockholm Philharmonic Orchestra / Sakari Oramo

Andrea Tarrodi Liguria

Barber Knoxville: Summer of 1915 Op.24

Richard Strauss Daphne – Transformation Scene, ‘Ich komme – ich komme’

Nielsen Symphony No 2 ‘The Four Temperaments’

Royal Albert Hall, Wednesday 30 August 2017

You can listen to this Prom on the BBC iPlayer here

ARCANA: Leanne, how would you describe your musical upbringing?

My parents attempted to introduce me to classical music from quite an early age, but I didn’t show too much interest in it at the time. My mum joined a classical music vinyl club and would be sent a record every month, but we rarely ever played them. I’d love to dig them out now and see what she had! My proper introduction to music was via piano which I learnt to play from the age of seven, so pieces by BeethovenChopinMozart and Mendelssohn. I did get really into it at one point as I had an inspiring teacher who was about 80 years old and I’d get to practise on her baby Steinway. I reached Grade 7 but as the expectations grew for me to practise for an hour and more a day, my interest waned. At that age, it doesn’t earn you very much kudos with other kids so I gave in to peer pressure. My parents said I would regret it and they was right of course!

My parents listened to things like The Carpenters and The Cars.  Around the age of 9, I started listening to things like Salt ‘n’ Pepa, En Vogue and Bobby Brown. I still like that music now, it’s super fun. When I about 15, I tried to fit in and listen to the same kind of music my friends were into like Bon Jovi, Oasis and The Verve but it didn’t really stay with me to be honest. When I was 12, I randomly picked up a Telstar tape of rave music for 99p at Woolworths and I heard things like The KLF and 808 State for the firs time. I was like ‘Wow, what was that?!’ – there were no reference points, I had no idea about rave culture. I didn’t hear music like that again for quite a long time but that was the start of me getting into electronic music.

Could you name three musical acts that you love and say why you love them?

I really love what Factory Floor do. Their music can get so madly intense and mesmerising, and live – you can’t help but dance but you can also have a very cerebral experience with it too.

I’ve been really enjoying listening to Nick Hakim of late. His album Green Twins has this irresistible, other worldliness to it – all hazy psychedelic R & B.

And then there is the master entertainer Chilly Gonzales. He puts classical music and pop music in the same space, weaving them together and presenting their common thread. Then he throws in a heavy dose of comedy, a bit of history and a piano tutorial and we just lap it all up! I wish he’d been around when I was growing up, I probably would have been inspired to carry on and do my Grade 8!

Are you ever tempted to go back to the piano?

Obviously I’d love to be able to play now, who knows I might get back into it at some point (probably when I’m retired!)
One of the great benefits of having instant access to music on Youtube and Spotify is that you can actually hear what the piece is supposed to sound like and what you should be aiming for. It’s more inspiring than back in the old days!

What did you think of the Andrea Tarrodi piece tonight?

It was really pretty, delicate and playful. Lots of shimmers of light but then it went on a dramatic roller coaster later.

I really enjoyed it, so much so I wanted to go to the front to get the full experience!  I was quite surprised when you said the composer was younger than both of us.

If you didn’t know that piece was about anything, did it conjure up any images?

That’s a good question, I wasn’t really thinking along the line of images  – but now you mention it maybe rolling fields and mountain tops?

What about the Barber, with Renée Fleming?

This was very enjoyable too, and took me a bit more out of my comfort zone as I’m not used to listening to an operatic voice accompanied by that many musicians.  Sadly I’m more used to listening to things on laptop speakers so it’s a real treat to experience that breadth of sound and visually it’s very impressive too.

What did you think about the Strauss?

There was a lot going on here, I found the soaring operatic voice quite dramatic and emotional, I think I was more taken by what was happening with the strings. I should listen to more music like this and try and understand it. I found my mind wandering a bit more with this one, I started looking at the audience and observing their facial expressions and they seemed pretty serious on the whole. Perhaps they were intensely into it! The musicians facial expressions themselves were a lot more expressive, especially the conductor’s.

Working in music PR, I spend a lot of time reading reviews and people’s thoughts on music. Tonight it was a clean slate, I was listening to music I’m very rarely exposed to and with no idea what critics have said about it and that was very refreshing.

What did you think about the Proms, and what did you enjoy about it?

The music was actually quite accessible and experiencing that range and depth of sound in a space as beautiful as the Royal Albert Hall brings out all sorts of different feelings in you. It’s quite unique and I can see why people enjoy it so much.

Would you change anything about your Proms experience?

Not at all, I only wish I’d come to more. I went once about 10 years ago but my recollections of it are vague.
I’d read some of your Ask the Audience pieces before and was really intrigued by it and really glad you invited me!

My experience of seeing classical music is quite limited, I’ve seen some experimental music with orchestras such as Varèse performed at the Royal Festival Hall which was really dark. Also Helmut Lachenmann and Lou Reed’s Metal Machine Music, all quite challenging and let’s face it, not nearly as fun as tonight!

Would you go again?

Yes, definitely. Here’s to next year and thanks very much for inviting me.

Verdict: SUCCESS

BBC Proms 2017 – Renée Fleming sings Strauss & Barber – Royal Stockholm Philharmonic Orchestra / Sakari Oramo

Prom 61 – Renée Fleming (soprano), Royal Stockholm Philharmonic Orchestra / Sakari Oramo

Andrea Tarrodi Liguria (2012) (UK premiere)

Barber Knoxville: Summer of 1915, Op 24 (194)

Richard Strauss Daphne – Transformation Scene, ‘Ich komme – ich komme’ (1937)

Nielsen Symphony no.2, ‘The Four Temperaments’ (1901-2)

Royal Albert Hall, Wednesday 30 August 2017

You can listen to this Prom here for 28 days from the date of the performance

In her previous visits to the Proms Renée Fleming has proved a big draw, and although the arena may not have been full for her latest visit, with regular collaborators Sakari Oramo and the Royal Stockholm Philharmonic Orchestra, it comprised a satisfying and ideally executed program.

Fleming’s contributions grouped into a loose theme of distant light and transformation. Barber’s Knoxville: Summer of 1915 is a love letter to the American home, and its dappled evening sunlight flickered beautifully under the hands of Oramo, the composer’s warm harmonies setting the scene for Fleming’s characteristically full bodied interpretation. She inhabited the storyteller’s guise with effortless and instinctive calm, though the animated middle section was also very well judged. With just the right amount of sentimentality, this was an ideal performance, and an aptly chosen encore of the song Sure on this shining night blazed a similar trail.

Fleming’s projection was ideal, particularly in the Transformation Scene from Richard Strauss’s second opera Daphne, where she moved from the front to a well-chosen offstage position for the culmination of the transformation itself, which sees Daphne take on the form of a laurel tree. The extended postlude from the orchestra reached upwards to a serene level of euphoria, and Fleming’s wordless vocalise at the end put the seal on a beautifully judged performance. Again we had an encore, and this was a special account of Strauss’s own orchestration of his best-loved song Morgen, with rapt solo from orchestra leader Andrej Power.

If anything the other two pieces were even more successful. The music of Andrea Tarrodi was new to the Proms, but on the basis of the orchestral piece Liguria this was extremely unlikely to be her only appearance. A colourful account of a visit to the Italian coast, Liguria is a kind of symphonic lettercard, its six scenes recounted in brightly lit orchestrations. The recurring, creeping brass harmonies from the first scene stood out, and reappeared towards the end, but also notable was the assurance with which the Swedish composer works with the orchestra, making original sounds and not resorting to contemporary music clichés. A composer whose acquaintance you are strongly advised to make.

Finally we heard Carl Nielsen’s Second Symphony, ‘The Four Temperaments’, receiving its second Proms performance in three years after the festival’s complete neglect of it in the 20th century. It is a powerful piece, and this account made a strong impression. Although the feverish first movement (Choleric) was convincing and brilliantly played the emotional centre lay in the Melancholic third movement, where Oramo wrought music of impressive angst and depth. Nielsen’s struggles were resolved by the Sanguine finale, where the composer lets rip perhaps a little too easily, but again the structure and the melodic groups made perfect sense. Oramo has built a strong affinity with the Danish composer’s music over the years, and there was something very satisfying in these days of disunity at seeing a Finn conduct a Swedish orchestra in Danish music.

Ben Hogwood

Stay tuned for the next in Arcana’s Ask The Audience series, where Leanne Mison will give her verdict on the Royal Stockholm Philharmonic Prom. Coming shortly!

On record: Anders Hillborg: Sirens, Cold Heat, Beast Sampler (BIS)

Hillborg: Beast Sampler (2014); O dessa ögon (2011); Cold Heat (2010); Sirens (2011)

Royal Stockholm Philharmonic Orchestra / Sakari Oramo (Beast Sampler)

Hannah Holgersson (soprano), Royal Stockholm Philharmonic Orchestra / Sakari Oramo (O dessa ögon)

Royal Stockholm Philharmonic Orchestra / David Zinman (Cold Heat)

Ida Falk Winland, Hannah Holgersson (sopranos); Eric Ericson Chamber Choir; Swedish Radio Choir; Royal Stockholm Philharmonic Orchestra / Esa-Pekka Salonen (Sirens);

Summary

BIS’s second disc devoted to the music of Anders Hillborg (b1954), currently the highest profile composer in Sweden, comprises two of his more recent orchestral works, together with Sirens, his most ambitious piece to date; directed by three leading interpreters.

What’s the music like?

The disc opens with Beast Sampler, a nine-minute evocation of the orchestra as a (to quote the composer) ‘‘sound animal’’ that draws on extended instrumental techniques as well as electronically influenced textures in music. It essentially translates Ligeti’s mid-1960s idiom (specifically Lontano) into a demonstratively post-modern context. Colourful and not uneventful, this is music dependent not on what is said but rather the effectiveness of how it is said. Judged solely as a curtain-raiser, moreover, this is entertaining enough – but no more.

The dichotomy between technique and substance is more acutely exposed in Cold Heat, a three-way commission between orchestras in Berlin, Helsinki and Zurich. Its cosmopolitan genesis is embodied in the range of its influences while culminating in that staple of present-day resolutions – the Sibelian apotheosis. The continued recourse to this evinces as limited an understanding of what the Finnish composer was doing comparable to those ‘advocates’ from the interwar era. Good for first impressions, though.

Of the two vocal items, O dessa ögon (Oh these eyes) is a brief setting of verse by Swedish poet Gunnar Ekelöf whose aura of distanced ecstasy is eloquently conveyed by soprano and strings. At just over four minutes, it is easily the most substantial composition on this disc.

Which duly puts into perspective the qualities of Sirens. Opulently realized for two sopranos, mixed choir and orchestra – and, at just over half-an-hour, Hillborg’s most ambitious work to date – it utilizes lines from Book XII of Homer’s Odyssey (albeit expanded by the composer) where Ulysses is being implored by the sirens to abandon his voyage and submit to their fatal entreaties.

Once again, the technical realization leaves little to chance – Hillborg summoning considerable elegance and finesse from his forces such as makes for undeniably pleasurable listening. Yet the sheer consistency of the mood being sustained engenders monotony well before the work is concluded, taking in an amorphous central climax before subsiding into a long postlude which seems little more than an extended fadeout as empty as it is enervating.

Does it all work?

On its own terms, undoubtedly. As mentioned, Hillborg is a consummate technician able to bring any number of stylistic traits into viable accord. Nor is there any doubting the overall excellence of response displayed by the Royal Stockholm Philharmonic Orchestra under its trio of renowned conductors, or the all-round depth and spaciousness of the sound. Scratch beneath the surface, though, and the limitations of this music are evident: Hillborg is simply unable to offer much of substance to flesh out his dazzling surfaces or his enticing textures.

Is it recommended?

Yes, on the basis that Hillborg is undoubtedly a composer of the moment and this collection affords a representative overview of what his music is about. Admire it on a first and even second hearing, then ask yourself just how much more you need to listen to this in future.

Richard Whitehouse

Watch Kent Nagano conduct the Gothenburg Symphony Orchestra in Beast Sampler below:

HILLBORG’S Beast Sampler – Kent Nagano from Göteborgs Symfoniker on Vimeo.

Have a listen on Spotify below, to see if you agree with Richard’s verdict!

Ask the Audience at the BBC Proms – Tim Squier on Beethoven, Dutilleux and HK Gruber

Ask The Audience Arcana at the Proms
gruber-buskingThis is the continuation of a series where Arcana invites a friend to a Prom who does not normally listen to classical music. In an interview after the concert each will share their musical upbringing and their thoughts on the concert – whether good or bad! Here, Tim Squier gives his thoughts on Prom 34.

Håkan Hardenberger (trumpet), Claudia Buder (accordion), Mats Bergström, BBC Symphony Orchestra / Sakari Oramo

Dutilleux Timbres, espaces, movement (1990)
Gruber Busking (2007)
Beethoven Symphony no.5 in C minor (1804-1808)

You can listen on the BBC iPlayer here

Arcana: Tim, what was your musical upbringing?

It was my mum that brought me up, and in terms of music it’s not worth going there really! It was very middle of the road – Cliff Richard, some of The Beatles. I discovered most things myself pretty much, she would have the radio on sometimes – but when I first discovered my own music it was via an alarm clock, an FM radio that she gave me. It was all the pop of the time in 1984-1986 – Madonna, Prince, A-ha, your Now 1984. Certainly in my early years there was Band Aid – and I wasn’t particularly cool. There wasn’t anything of a classical background in there!

Could you name three musical acts you love, and why you love them?

Harold Budd is a big one for me. I do love my ambient and he doesn’t seem to put a foot wrong really. He just seems to have a certain emotion and style where you can just get lost in it. It can be background but it can be foreground as well. I can work to it, and not be fully tuned in, or I can be sitting down and listening to it and it works just as well.

I’m going for artists who have been with me for a long time, and Fleetwood Mac are an act that I could never really get enough of. They’ve gone through different phases like the 1980s pop side but I can also do the Peter Green stuff, and the Stevie Nicks especially. I just keep discovering new things off the albums too, like Oh Daddy from Rumours recently. Stevie Nicks solo – just brilliant, too. Not every single track but she’s the sort of person you can see her rehearsal footage on YouTube and it’s amazing. I’m watching it thinking it’s better than the album version!

For the third one I’ll go for someone electronic – Carl Craig. Certainly between 1990 and 1996 where he couldn’t put a foot wrong. He could do an ambient track, a banging techno track, stuff that doesn’t all into a genre – something for the dancefloor, something for the home. Carl recorded a lot of that on cassette tape, it didn’t sound very good but still did the business!

What has been your experience of classical music so far?

I think almost unintentionally my first experience of anything like classical music would have been through film scores. One of my best friends in London has been responsible for playing me some classical music but not so much for a long time now. I have been to one Prom before but it was a long time ago and I can’t remember the actual pieces – but I know I enjoyed it. I quite enjoy listening to it but I don’t know much about it. I’ve heard some Ravel before, and quite enjoyed that.

How did you rate your first Proms experience?

The Royal Albert Hall is always a joy, it’s a great venue – and the acoustics are really good for classical rather than pop I think. I really rated the first piece (the Dutilleux) and enjoyed that the most I think.

What did you think of the Dutilleux?

It was thoroughly enjoyable, I’m a real sucker for that deep sound from the lower strings – there is a certain orchestral sound I really love, the lower frequency, and you get a lot of that in film scores. There was a lot of that coming through and it flowed really well. I wasn’t bored at all, I really loved it.

What did you think of the HK Gruber?

It started out interesting, and the introduction was good, but the trumpet was too much of a focal point and I found myself drifting out. I was trying to listen to the background more but because of the positioning I was trying to hear what was going on my right hand side, but every time I tried I could hear the trumpet. There was a variety of devices going on (the mutes and three different trumpets – Ed) I’ll always give things a chance, and I tried but it didn’t work out!

And the Beethoven?

That was really enjoyable, a nice take on it – it’s been a while since I heard the entire piece and I think it really worked. There were some quirky moments, it was great watching the whole orchestra. There was one really young player who really stood out (oboist Henry Clay), he was really good. Another thing going back to the first piece, the Dutilleux – the percussion was great. With the Beethoven I loved the whole thing and there was a really nice stereo effect coming through, the clarity was there more and I could pick up on certain things, especially being a bit of an audiophile.

There are bits you forget as well – you don’t get them played on Capital Radio four times a day after all! It was good to hear those. So I think the Dutilleux first, then the Beethoven, then the Gruber.

Would you go again?

Absolutely, for sure. I’m quite open to new musical experiences and will try most things but would do this again!

Verdict: SUCCESS

You can read Arcana’s review of the whole Prom here – and you can listen to it on the BBC iPlayer