Wigmore Mondays – The Cardinall’s Musick / Andrew Carwood: The Gunpowder plot

The Cardinall’s Musick (above) / Andrew Carwood (below)

Wigmore Hall, Monday 4 November 2019 (lunchtime)

You can listen to this concert on the BBC Sounds app here (opens in a new window)

Review and guide by Ben Hogwood

The year is 2420. London’s concert hall in the City is celebrating its 200th anniversary with a concert of music devoted to Brexit. There are songs and instrumental pieces looking to recreate the chaos of the time.

Sound fanciful? Not entirely – especially when you cast an eye over this fascinating concert from the Cardinall’s Musick and Andrew Carwood, which was all about the attempt to end the reign of King James I by Guy Fawkes and his associates in 1605.

Carwood assembled an intriguing programme of music from well-known composers of the day – Gibbons, Byrd, Tomkins and Weelkes – and those not so well known in Thomas Greaves, John Hilton, Michael East and Richard Allison. The ensemble performed groups of sacred and secular music from the time by the composers, ranging from big eight-part masterpieces by Byrd and Gibbons to miniature odes to tobacco from Michael East.

There were some unexpectedly poignant moments as the concert progressed, and funny ones too, but the group began with one of the best-known anthems from the era in Orlando GibbonsO clap your hands (2:20). The interweaving parts were beautifully realised under Carwood’s clear direction.

The conductor (above) then gave the first of several informative and entertaining guides to both the historical period and the repertoire. Thomas Greaves’ five-part welcome song in honour of James, England receive the rightful king (9:55) led to Thomas Tomkins’ thoughtful O God, the proud are risen against me (11:59). Written in eight parts, this was a barely concealed railing against the leaders of the plot to overthrow the king and government, with some spicy dissonances clearly inflected by the sopranos.
John Hilton’s As there be three blue beans (15:39) was unexpectedly mischievous, a three-part round brilliantly sung by altos Patrick Craig and David Gould, and tenor Benjamin Durrant. It finished by marking the existence of three universities in England – Cambridge, Oxford and James.

Also in this group was William Byrd’s majestic The eagle’s force (17:44), which benefited from the clarity of the altos’ singing, and Michael East’s ode O metaphysical tobacco (20:07). King James I hated tobacco – and eventually had its ambassador Sir Walter Raleigh executed to appease Spain – but many in society loved this new discovery (as they do 415 years on!) There was no evidence of gravelly voices in this performance!

A piece of really impressive heft followed, Byrd’s anthem Deus venerunt gentes (24:03), described by Carwood as ‘symphonic’. A setting of Psalm 78, it is said to be the psalm martyrs would say on their approach to death, to receive forgiveness – and was used by the composer here as a lament for his fellow composer Thomas Campion. By nature it is a serious piece, and its stately progression was ideally paced by the group here, offering time for reflection during its 13 minutes. The lower registers of Byrd’s writing, especially around the 30:25 mark, were immaculately observed and set the downbeat mood, which followed the text impeccably.


King James I

The next selection of music looked at England in the aftermath of the Guy Fawkes plot. After another helpful introduction from Carwood we heard a prayer for the posterity of the king, Richard Allison’s O Lord bow down, a reverential number (39:37), followed by Thomas Tomkins’ request to the Lord for protection, The hills stand about Jerusalem (43:43), where the two sopranos and tenor dovetailed exquisitely. Following the same theme, Thomas Weelkes’ sobering O Lord God Almighty had explicit mentions for the royal family and their security (46:08), once again showing how little has changed in the preceding 400 years.

Finally another great Byrd piece in the shape of the eight-part wonder Ad Dominum cum tribularer (50:36), one with a stark message not just for the country post-gunpowder plot but for the world today: “I speak peace to them and they clamour for war”. A setting of Psalm 120, it is unsurprisingly a work of sombre beginnings, with a couple of spicy dissonances, but it grew in strength and conviction in this performance, which was ideally paced and realised.

Repertoire

The Cardinall’s Musick are the following singers, conducted by Andrew Carwood:

Laura Oldfield, Cecilia Osmond (sopranos), Patrick Craig, David Gould (altos), Benjamin Durrant, Nicholas Todd (tenors), Robert Evans, James Birchall (basses)

This concert contained the following music (with timings on the BBC Sounds broadcast in brackets):

Gibbons O clap your hands (2:20)
Greaves England receive the rightful king (9:55)
Tomkins O God, the proud are risen against me (11:59)
Hilton As there be three blue beans (15:39)
Byrd The eagle’s force (17:44)
East O metaphysical tobacco (20:07)
Byrd Deus venerunt gentes (24:03)
Allison O Lord bow down (39:37)
Tomkins The hills stand about Jerusalem (43:43)
Weelkes O Lord God Almighty (46:08)
Byrd Ad Dominum cum tribularer (50:36)

Further listening

Unfortunately some of the music heard in this concert is not available on Spotify, but the below playlist contains the music that could be found in available versions:

The Cardinall’s Musick have made a number of highly acclaimed recordings of the music of William Byrd. Two are available to hear on Spotify, recorded in the 1990s for the ASV label and featuring the eight part works heard in the concert. They are the Cantiones Sacrae

…and the Propers for the Nativity

On a completely different tip is this playlist of music suitable for fireworks! It includes works by Stravinsky and Debussy, but begins with the perennial Handel favourite Music for the Royal Fireworks, conducted by the recently departed Raymond Leppard:

Wigmore Mondays – Jean Guihen Queyras & Alexandre Tharaud play Debussy, Poulenc, Marais & Bach

Jean Guihen Queyras (cello, above), Alexandre Tharaud (piano, below)

Wigmore Hall, Monday 28 October 2019 (lunchtime)

You can listen to this concert on the BBC Sounds app here (opens in a new window)

Review and guide by Ben Hogwood
Photo credits Marco Borggreve

Who could possibly be better suited for this concert among today’s musicians than cellist Jean Guihen Queyras and pianist Alexandre Tharaud? The long-established pairing constructed a hugely enjoyable programme of dance-based music for the combination, from two composers who were still writing for the viola da gamba to two writing for the modern cello but harking back to that older era.

The viola da gamba was on its way out when J.S. Bach and Marin Marais wrote their respective pieces for it. They did not know at the time, but it was about to lose its popularity to the cello, which – with one less string and eventually a spike for the player to hold it in – gradually took over.

Bach’s sonata, for viola da gamba and harpsichord, is equally rewarding when played by cello and piano as here, with great sensitivity and a lyrical line to the melodies from Queyras. The first movement Adagio (1:43 on the broadcast link) was beautifully weighted, as was the quicker but equally graceful Allegro (3:18). Both players found the deeper emotion of the Andante (7:06), Bach moving into the key of B minor for some aria-like soul searching. The final movement Allegro (11:03) was a delight, the benefit of an established musical partnership clear to see and with nicely judged ornamentation from Tharaud.

Marais wrote extensively for the lower end of the stringed instrument family, and his Pieces de viole contain music that is as challenging for the players as it is rewarding for the audience. This three-movement suite, arranged for the modern cello by Christian Döbereiner, contained a slower Prélude (16:53) and Sarabande grave (25:33) that Queyras and Tharaud played eloquently, the cellist finding wonderful clarity in his higher range. These shorter movements framed the main act, several variations on the popular tune La Folia titled Couplets sur Les Folies d’Espagne (19:11), which, while apparently played without repeats, is where we had the real fireworks. There was terrific playing from both and a heightened sense of drama ran throughout.

Poulenc originally wrote his Suite Française for orchestra in 1935 as part of a ballet score, but it proved equally effective in a piano arrangement made later that year. This version for cello and piano was made in 1953, for performance by the composer with French cellist Pierre Fournier. Based on the music of 16th century composer Claude Gervaise, it is a charming suite of seven dance movements looking back some four hundred years, merging the musical language of that time with Poulenc’s perky writing and crunchy harmonies. It was brilliantly realised here.

The seven dance pieces are as follows: a lively Bransle de Bourgogne (30:13), a consoling Pavane (31:40), then a cheeky Petite marche militaire (34:00). The suite continues with an eerie Complainte, the cello in its highest register (35:17), then a largely reflective Bransle de Champagne (36:26), graceful Sicilienne (38:10) and ceremonial Carillon (39:29)

Debussy’s Cello Sonata (43:07) is one of the cornerstones of the cello repertoire, a late masterpiece with clear instructions that the pianist should ‘not fight the cello, but accompany it’. At its centre is a remarkable, forward looking second movement with an improvisatory air and extended episodes for pizzicato (plucked) cello.

This was a terrific performance, Tharaud starting off with a forthright opening statement but responding with great care to the nuances of Queyras and his beautifully shaded tone. The pair caught Debussy’s moods – his bold statements but also the furtive corners of the piece, which sometimes feels like it is hiding in the undergrowth on a hot summer evening.

Both elements were clear in the first movement, and also in the second (47:15), a Sérénade where Debussy’s fragments were all joined together. Queyras had the perfect range of pizzicato colours, but also the clarity of tone right at the top of the register. Tharaud complemented him with the ideal lack of sustain on the stumbling piano figurations and the weight of his responses.

All the while this music was headed for the quickfire finale (50:33), which in its short bursts of melody had charm, worry and glorious colour in equal measure, never quite letting go completely until the final bars and Queyras’ authoritative statement.

As a generous encore the pair complemented the Debussy with Rodion Shchedrin’s entertaining In the style of Albéniz (55:28), not dissimilar to the second movement of the Sonata in its evocative tones but more outrageous in its melodies and harmonies. Queyras and Tharaud set it up brilliantly to cap a memorable recital.

Repertoire

This concert contained the following music (with timings on the BBC Sounds broadcast in brackets):

J.S. Bach Viola da gamba Sonata no.2 in D major BWV1028 (before 1741) (1:43)
Marais (1656-1728) Suite in D minor: Prelude (16:53), Couplets sur Les Folies d’Espagne (19:11), Sarabande (25:33)
Poulenc Suite française (1935, arr. 1953) (30:13)
Debussy Cello Sonata in D minor (1915) (43:07)
Encore – Shchedrin In the style of Albéniz (1973)

Further listening

You can listen to the music heard in this concert on Spotify below, including Queyras and Tharaud in the works by Poulenc and Debussy:

Poulenc also wrote a Cello Sonata, which forms part of an album with works for cello and piano with works by Debussy, delivered by the Queyras and Tharaud pairing here:

As this concert illustrated, French composers were particularly skilled at taking inspiration from the Baroque and Classical periods of classical music (from c1650 to 1800). The playlist below enjoys some of the best examples, headed by Ravel’s Le Tombeau de Couperin but also including works by Fauré, Debussy and Poulenc:

Wigmore Mondays – Lawrence Power & Simon Crawford-Phillips: Le tombeau

Lawrence Power (viola, above), Simon Crawford-Phillips (piano, below)

Wigmore Hall, Monday 21 October 2019 (lunchtime)

You can listen to this concert on the BBC Sounds app here (opens in a new window)

Review and guide by Ben Hogwood
Photo credit (Lawrence Power) Giorgia Bertazzi

BBC Radio 3’s curious title for this concert was Adventures with a viola, despite Lawrence Power spending the last third of the concert playing the violin. Such is his talent on both instruments that the switch appeared to be effortless, part of an adventurous programme exploring the idea of paying musical homage.

To that effect, the first three pieces in the concert were linked. François Couperin’s expansive Prélude from the Première Suite pour viole (from 3:09 on the broadcast) exploited the lovely tone Power could get from the lower reaches of his viola, which helped accentuate the composer’s chromatic writing. A joint arrangement with Simon Crawford-Phillips of Ravel’s Menuet from the wonderful Le tombeau de Couperin followed (6:40), a fitfully effective version that was perhaps too fast in its execution, rather glossing over the cold central passage and the charm of the Menuet theme itself. The lack of repeats in this gorgeous piece of music accentuated the pair’s quick approach, despite a clever pairing of themes towards the end.

Australian composer Arthur Benjamin is not at all well known in these parts, but has an important role in musical history as a tutor of some repute. His own music can be overlooked because of that, and on this evidence unreasonably so – for Le tombeau de Ravel (10:58) was a pretty adventurous collection of a prelude, six waltzes and a coda, extremely well performed by the duo here. Having originally written it for clarinet and piano, Benjamin followed Brahms’s example by producing a viola and piano version, the instruments having a very similar range. The gruff start leads way to contrasting dances of affection and a quickfire number (17:00) requiring (and receiving) great virtuosity and dexterity from Power. There is charm in this music, too, as the next pizzicato waltz indicates, with tumbling figures from Crawford-Phillips, before a ghostly waltz with harmonics at 20:17 offers a starker picture. This is contrasted by a rousing finish.

We then heard a striking version for viola and piano of Three Berceuses from Thomas Adès’ opera The Exterminating Angel. They are based on two of the duets from Beatriz and Eduardo, the opera’s doomed lovers, and an eerie cradle song. These brought a wide range of colour and virtuosity from Power, with Crawford-Phillips providing expertly judged punctuation. The first Berceuse movement (26:30) was down at heel, with wispy outlines from the viola, then the second (29:44) had more expansive phrases, ending with crushing left hand octaves from Crawford-Phillips. The ghostly ‘round’ of the third (34:04) had the most memorable melody, ending on a decidedly macabre note as a mother cradling a dead lamb rather than her son attempted to rock it to sleep. Power’s harmonics on the viola were cold indeed.

A second group of homages followed, Power switching to violin for the duration. It was piano alone for Stravinsky’s brief but poignant Le tombeau de Claude Debussy (39:56), setting the chorale theme from his Symphonies of Wind Instruments. Crawford-Phillips managed the voicing of the parts beautifully. Tributes to Debussy followed from Erik Satie and the poet Federico Garcia Lorca, Power reading the poem Debussy before Crawford-Phillips played the Satie Élégie (41:59). We then moved to a much more substantial tribute to the Spanish poet in the form of Poulenc’s troubled Violin Sonata.

The work itself had a tricky germination, its composer rejecting a couple of versions while not settling for the completed work either, returning to it in 1949. It is a dramatic piece, paying homage to the poet Lorca in assertive music that spills over into aggression in the first movement (44:10). In the second, an Intermezzo (50:37), Power and Crawford-Phillips painted exquisite shades through the bittersweet musical language, while the finale (56:38) was powerfully wrought, even more so when apparently hitting a wall (59:58) and sinking into desolation. A commanding performance proved Power’s aptitude in switching between musical instruments.

Repertoire

This concert contained the following music (with timings on the BBC Sounds broadcast in brackets):

François Couperin Prélude from Première Suite pour viole (1728) (3:09)
Ravel, arr. Power & Crawford-Phillips Menuet from Le Tombeau de Couperin (1914-17) (6:40)
Benjamin Le tombeau de Ravel (1958) (10:58)
Adès Three Berceuses from The Exterminating Angel (2018) (UK premiere) (26:30)
Stravinsky Le tombeau de Claude Debussy (1920) (39:56)
Lorca Debussy (1921-24) & Satie Élégie from Quatre petits melodies (41:59)
Poulenc Violin Sonata (1942-3, rev. 1949) (44:10)

Further listening

You can listen to most of the music heard in this concert in the available versions on Spotify below, with the exception of the Adès, which has understandably not yet been recorded:

Meanwhile Lawrence Power and Simon Crawford-Phillips can be heard in Arthur Benjamin’s Le tombeau de Ravel as part of this collection on Hyperion, where Power once again switches instruments for the composer’s violin works.

Poulenc‘s instrumental sonatas represent some of his very finest work, and this collection from the London Conchord Ensemble brings them all together:

Wigmore Mondays – Barry Douglas & Borodin Quartet – Shostakovich: Piano Quintet

Barry Douglas (piano, above), Borodin Quartet [Ruben Aharonian and Sergei Lomovsky (violins), Igor Naidin (viola), Vladimir Balshin (cello)] (below)

Wigmore Hall, Monday 14 October 2019 (lunchtime)

You can listen to this concert on the BBC Sounds app here (opens in a new window)

Review and guide by Ben Hogwood

For the 2019-20 season many of the BBC Radio 3 lunchtime concerts at the Wigmore Hall have taken on a playlist appearance. This all-Russian programme was no exception, with Tchaikovsky miniatures acting as a prelude to Shostakovich’s most successful chamber work, the Piano Quintet.

Tchaikovsky‘s The Seasons are a lovely set of miniatures for piano, characterising each month of the year rather than the four seasons. Barry Douglas, who has recently recorded the cycle, clearly holds the collection dear, and his accounts of March (the Song of the Lark) and October’s Autumn song were haunting and thoughtful by turn.

The Borodin Quartet followed with Tchaikovsky’s famous Andante cantabile for strings. The previous week they had given it in context, the second movement of four in the composer’s String Quartet no.1 in D major Op.11, where it is most effective. Here the silvery, muted textures were lovely, and the central section evoked a light dance, but the work’s placement felt constricted knowing the main act was still to come.

All that was emphatically put to bed by a storming performance of the Shostakovich Piano Quintet, as authentic an account as you could wish to hear. The first incarnation of the Borodin Quartet worked closely with the composer on many of his string quartets, and they performed the quintet with the composer on several occasions. The first-hand experience of their predecessors has not diluted the intensity of the experience in transition, and this was a searing account of one of 20th century chamber music’s most powerful utterances.

The Prelude (20:36) and Fugue (25:27) dovetailed beautifully, the former section imposing and powerfully wrought, the latter gathering a mood of grim resilience as the elements of its theme became ever more closely interwoven. This carried through to the outburst that is the Scherzo (35:28). Here Douglas came to the fore, striking the octaves in the upper right hand with shrill clarity, the quartet responding in kind as the textures veered towards the orchestral.

A graceful Intermezzo (39:12) was deeply poignant, the combination of bittersweet violin and simple plucked cello affecting from the outset. Emotions bubbled just under the surface throughout this movement, threatening to break loose at any moment. As the music slipped effortlessly into the finale (45:17) it shifted up a gear, with time for another big theme (46:35) before navigating to the calmer waters of the coda, where resolution was finally found in spite of the slightly ghostly string tone.

This was a tremendous performance, with every ounce of feeling communicated to the audience, occasionally at the expense of tuning in the upper violin area but with an unwavering intensity. The audience loved the repeat of the Scherzo as an encore.

Repertoire

This concert contained the following music (with timings on the BBC Sounds broadcast in brackets):

Tchaikovsky The Seasons Op.37a: March (2:00), October (4:31) (Barry Douglas solo)
String Quartet no.1 in D major Op.11, Second movement (Andante cantabile) (11:12) (Borodin Quartet)
Shostakovich Piano Quintet in G minor Op.57 (1940) (20:36) (Barry Douglas, Borodin Quartet)

Further listening

You can hear the music from this concert on the Spotify playlist below, containing recorded versions by the artists. The Borodin Quartet released Shostakovich’s Piano Quintet with pianist Alexei Volodin for Decca in 2018 – and here it is prefaced by one of the group’s several recorded versions of the Andante cantabile. Barry Douglas’s Tchaikovsky is part of an album of the complete cycle of The Seasons:

Another Russian chamber music powerhouse can be heard below. Tchaikovsky’s Piano Trio, written in memory of pianist Nikolai Rubinstein, is a deeply expressive piece full of pain and resilience. Here it is from Trio Wanderer:

Shostakovich was not done with his piano-based chamber music, adding a substantial Second Piano Trio four years later. You can hear it below with pianist Vladimir Ashkenazy, violinist Zsolt-Tihamér Visontay and cellist Mats Lidström – part of a very impressive all-Shostakovich disc:

Wigmore Mondays – Jess Gillam & Zeynep Özsuca

Jess Gillam (soprano and alto saxophones, above), Zeynep Özsuca (piano, below)

Wigmore Hall, Monday 7 October 2019 (lunchtime)

You can listen to this concert on the BBC Sounds app here

Review and guide by Ben Hogwood

Saxophonist Jess Gillam is proving to be a breath of fresh air for BBC Radio 3 and for classical music in general. Her combination of passionate artistry, technical flair and down to earth presentation is ideal, and brought colour to a dull Monday in October. Her spoken introductions between the pieces in this concert had a nicely judged patter, showing someone at ease with an audience and enthusiastic about the music she plays. The refreshing lack of pretence fed into the inspiring performances too. Gillam was helped by a very well chosen programme of music showing off the versatility of her instrument, in doing so covering a rich variety from the last 300 years.

The Pequeña Czarda of Pedro Iturralde was an ebullient first piece and a sign of things to come, placing the first earworm as well as showing off Gillam’s technique and Zeynep Özsuca’s colourful accompaniment. It draws the odd parallel to Midnight In Moscow in its slow passages, and both performers caught the contrast between these and the helter-skelter faster music.

The Marcello Oboe Concerto in D minor, transposed down a tone into C, illustrated how well works for oboe can transcribe for the saxophone, especially when played with as much control as there was from Gillam and Özusca here. The saxophone is a much louder instrument but Gillam really enjoyed the subtle colours available, and this worked especially well in the famous Adagio (11:08 on the broadcast link). In the outer movements Özusca found great clarity to bring the part writing to life.

Anna Clyne’s new piece Snake and Ladder introduced electronics to the equation, reminding us how the saxophone is one of the most versatile instruments between classical and rock music. Written for saxophone and distortion pedal, it was an effective and enjoyable piece, though sat at the back of the hall we had what sounded like wow and flutter from the breathing.

This led through a bit of a stylistic jolt to Poulenc’s Oboe Sonata, which appeared to be presented in original form without an arrangement – certainly none was credited. Gillam clearly loves this piece and played it beautifully, though the more plaintive oboe tone from which the third movement especially benefits was understandably more difficult to find (from 30:06). This movement, an elegy to Poulenc’s great friend Prokofiev, is effectively the last music he wrote and as such is very profound. Gillam did however do a brilliant job with the fast central movement (25:56 on the broadcast), with spiky counter thrust from Özsuca, while the first movement had established the mood.

We then heard from composer Rudy Wiedoeft, an American composer who raised the profile of the saxophone worldwide. His Valse Vanite, an original piece, drew on his love of transcribing other composers, and it was as though Chopin had taken a vacation in Harlem. Both musicians clearly have a lot of affection for this piece, and Gillam’s ornamentation was exquisitely done.

A reduced version for saxophone and piano of John Harle’s RANT! followed, this enjoyable and tuneful piece drawing on folk tunes from Gillam’s native Ullswater. That the composer, also Gillam’s teacher, was in the audience said much for the bond and mutual respect the two enjoy.

A soulful Pièce en forme de habanera followed, Ravel leading nicely into Gillam’s party piece. Milhaud‘s Scaramouche is the work she played in orchestral form at the Last Night of the BBC Proms in 2018, though it is arguably more effective in partnership with piano. Özsuca was a little far back in the mix to begin with but the fast movement was still hugely enjoyable, followed by a thoughtful slow movement and perky Brazileira (58:48), Gillam breaking into a grin once more as she played the catchy tune.

The audience would have been happy with this as the final earworm with which to leave, but a bonus was in store in the form of Duke Ellington’s In a Sentimental Mood (not on the broadcast), the encore showing off Gillam’s remarkable breath control in slower music.

This was a really enjoyable concert, and it was so refreshing to see another younger artist throwing off any shackles that classical music might present, and offering it out as music, pure and simple. Proof if it were ever needed that music should be there for everyone to enjoy!

Repertoire

Jess Gillam and Zeynep Özsuca played the following music (with timings on the BBC Sounds broadcast in brackets)::

Iturralde Pequeña Czarda (2:03)
Marcello Oboe Concerto in D minor (7:34)
Clyne (Snake and Ladder) for saxophone and electronics (19:27)
Poulenc Sonata for oboe and piano (21:05)
Wiedoeft Valse Vanité (35:00)
Harle RANT! (40:27)
Ravel Pièce en forme de habanera (47:53)
Milhaud Scaramouche Op. 165b (51:13)

Further listening

Some of the music played in this concert can be heard on Gillam’s debut album Rise. This includes the orchestral version of John Harle’s RANT!, and the works by Iturralde, Marcello and Wiedoeft – and of course the finale of the Milhaud:

Gillam’s teacher John Harle has a very impressive recorded legacy, raising the profile of the classical saxophone in contemporary classical music. The Sax Drive album (one in a series of PR own goals when it comes to saxophone album titles!) is well worth exploring for the three concertos it holds from Stanley Myers, Richard Rodney Bennett (his Concerto for Stan Getz) and Michael Torke:

Meanwhile if you liked the music of Milhaud you will find this hugely attractive collection from EMI to be very much your thing: