Live review – Raphael Wallfisch, English Symphony Orchestra / Kenneth Woods: Elgar Reimagined Part 1

raphael-wallfisch

Raphael Wallfisch (cello), English Symphony Orchestra / Kenneth Woods

Elgar, arr. Fraser Miniatures for cello and strings
Chanson de Matin, Op.15 No.2 (1899)
Chanson de Nuit, Op.15 No.1 (1899)
The Wild Bears, Op, 1b No. 6 (1908)
Nimrod, Op.36 No. 9 (1899)
Romance in D minor, Op.62 (1910)
Sospiri, Op.70 (1914)
Mazurka, Op.10 No.1 (1899)
Pleading, Op.48 (1908)
In Moonlight (1904)
Salut d’Amour, Op.12 (1888)
Adieu (1933)

Wyastone Concert Hall, Monmouth
Recorded October 9 2020 for online broadcast from Wednesday 19 March 2021

Written by Richard Whitehouse

This latest in the English Symphony Orchestra’s online concerts focussed on Elgar – namely a series of miniatures for cello and strings arranged by Donald Fraser and played by Raphael Wallfisch, whose commitment to and conviction in this music hardly needs reiterating here.

Chanson de Matin launched proceedings in mellifluous fashion, and if the cello’s assuming of the melodic line was slightly to the detriment of the original scoring, that could hardly be said of Chanson de Nuit whose more sombre contours and ruminative character were ideally realized. Nor did The Wild Bears lose out on vivacity, and if this arrangement brought it into the orbit of Saint-Saëns, that served to underline the significance of ‘Second Empire’ French music on Elgar’s own thinking. In Nimrod, the cello’s dominance rather detracted from the subtlety of the original instrumentation; conversely, Fraser’s take on the Romance brought soloist and strings into even closer accord than the composer’s own version with orchestra.

Nevertheless, the undoubted highlight here was Sospiri – the cello’s subsuming of the harp’s crucial contribution just one aspect of an arrangement which presented one of Elgar’s finest inspirations (miniature or otherwise) in a striking new light. Lighter fare next with the robust tread of the Mazurka, proceeded by a rendering of the song Pleading of unforced eloquence. The evergreen In Moonlight (adapted from the overture In the South) responded well to this suitably limpid treatment, as did Salut d’Amour to one that underlined its wholly un-cloying essence. A wistful take on the piano piece Adieu saw this programme to an affecting close.

Throughout, the idiomatic feel of Wallfisch’s playing was complemented by that of the ESO under Kenneth Woods, as discreet or understated as the music requited. Forty minutes came and went effortlessly – the ‘Part 1’ designation happily meaning there will be more to come.

You can watch the concert on the English Symphony Orchestra website here

For more information on the English Symphony Orchestra you can visit their website here

Live review – Raphael Wallfisch, English Symphony Orchestra / Kenneth Woods: Meditations for Armistice Day

Raphael Wallfisch (cello, above), English Symphony Orchestra / Kenneth Woods

Wyastone Concert Hall, Monmouth
Sunday 8 November 2020 (online)

Adrian Williams Russells’ Elegy (2009/11)
Elgar arr. Fraser Variations on an Original Theme, Op. 36 (1899) – Variation IX, ‘Nimrod’ (1899)

Written by Richard Whitehouse

Remembering the Armistice – and just what it represents in human terms – is a regular fixture on the English Symphony Orchestra’s schedule. This year featured two pieces for strings that complemented each other well, whether in terms of their overall mood or underlying aesthetic.

Adrian Williams is contributing several works as the ESO’s current John McCabe Composer-in-Association, with Russells’ Elegy apposite in its ‘remembrance’ context as well as being a commemoration of pianist-conductor John Russell and director Ken Russell (hence the plural of the title). Audibly in a long lineage of British works for strings, the 10-minute piece moves between passages for ensemble and those where solo strings dominate with no mean subtlety and finesse, culminating in a sustained tutti that fades thoughtfully yet inevitably into silence.

Those encountering Williams’s music for the first time will hopefully have been encouraged to investigate further, and they will doubtless have responded to Elgar’s Nimrod as arranged for cello and strings by Donald Fraser (who has previously orchestrated the composer’s Piano Quintet and Sea Pictures). The result is comparable to the version of Tchaikovsky’s Andante cantabile from his String Quartet no.1 in the cellist’s discreet elaboration of a melodic line without detriment to the existing instrumental texture, and it would certainly make for an ideal encore.

This arrangement was eloquently rendered by Raphael Wallfisch, whose advocacy of British music over the years cannot be gainsaid, and the performances given added resonance by the photographs of soldiers and images from the Great War as accompanied this touching tribute.

You can watch the concert on YouTube here:

For more information on the English Symphony Orchestra you can visit their website here

Playlist – Sound of Mind 7: Strings and things

Here is another playlist for your delectation, in the new age of ‘staying in’.

This one features works for strings of very different character, from the energetic works by John Adams and Tchaikovsky to a more reflective, serene approach from Philip Glass and Sir Edward Elgar. You get an idea here of the versatility of the string orchestra, which can be by turns sombre and bracing.

Enjoy the music!

Ben Hogwood

Playlist – Sound of Mind 3: Orchestral

Today’s playlist of music for the mind has an orchestral theme, which will hopefully bring you some colour if you’re stuck indoors.

This one features Aaron Copland‘s brightly-scored ballet music Appalachian Spring, the first movement of Rachmaninov‘s Second Piano Concerto, Elgar‘s Sospiri, shorter works by Grieg and Debussy, and Vaughan Williams‘ timeless Fantasia on a theme of Thomas Tallis:

I hope you enjoy it – and stay tuned for some uplifting Friday vibes tomorrow!

Ben Hogwood

In concert – Leonidas Kavakos, Philharmonia Orchestra / John Wilson: Elgar Symphony no.3; Barber & Korngold

Leonidas Kavakos (cello), Philharmonia Orchestra / John Wilson (above)

Royal Festival Hall, Southbank Centre, London
Thursday 27 February 2020

Barber First Essay Op.12 (1937)
Korngold Violin Concerto in D major Op.35 (1945)
Elgar, realized Anthony Payne Symphony no.3 in C minor Op.88 (1933; 1993-4)

Reviewed by Richard Whitehouse
Photo credit (John Wilson) Sim Canetty-Clarke

It is good to see John Wilson taking up more concert engagements, so putting his talent at the service of symphonic repertoire. Tonight, he directed the Philharmonia in a programme that culminated with quite possibly the finest reading Elgar’s Third Symphony has yet received.

The relatively brief first half commenced with Barber’s First Essay, written in the wake of his soon-to-be ubiquitous Adagio and given a high-profile launch by Arturo Toscanini with the New York Philharmonic. Succinct to a fault, the sombre rumination of its initial section soon makes way for music of brittle aggression (such as Britten surely had in mind writing the Dies irae section of his Sinfonia da Requiem two years later), and reaches a short-lived climax with the return of the piece’s opening which itself subsides into musing expectation.

A timely revival, whereas Korngold’s Violin Concerto now seems almost too familiar since coming in from the cold some quarter-century ago. Leonidas Kavakos has become one of his staunchest advocates, but while his recent Proms account often verged towards the soporific, this evening saw much greater focus; not least an initial Moderato whose yearning melodies were rendered with real incisiveness, then a Romanze whose lush textures and diaphanous harmonies never risked becoming cloying. If the final Allegro was even more impressive, this was because what is ostensibly the weakest movement emerged on a par with those before – Kavakos pointing up its effervescence while keeping any indulgence in check on route to the heady return of its opening theme, in what is a coup de théâtre even by Korngold’s standards.

Wilson has already demonstrated his Vaughan Williams credentials, and is evidently no less at home in Elgar. Some 22 years on from its premiere and the Third Symphony, as realized by Anthony Payne, continues to fascinate and exasperate in equal measure – yet, while there can be no denying its conjectural status, what came over here was Wilson’s conviction as he steered a purposeful course through the opening movement – pulling together what can feel a prolix development then evincing similar grip and determination in the coda. What follows was ideally poised between scherzo and intermezzo, its balletic and song-like strains eliding seamlessly, while the Adagio has seldom sounded more potent in its wrenching dissonances and wan consolation as lead to a coda whose fragmented texture only emphasized its pathos.

On to the finale (Wilson rightly ensured minimal pause between movements) and while there was no lack of finesse in the shaping of its themes, Wilson made relative light of there being no concrete development section by bringing its nominally tentative variants into tensile and, above all, cumulative accord. This carried through into the coda – undoubtedly the best Payne which Elgar never wrote and whose spirit of reaching out towards whatever might lie beyond was palpably conveyed as the music receded, slowly but never disconsolately, toward silence.

At some 50 minutes this was as taut and incisive a reading as the piece can yet have received, but the essential rightness of Wilson’s approach could not be doubted. Payne himself looked mightily impressed, and one can only hope a recording with the Philharmonia is in the offing.