In concert – Gould Piano Trio @ Wigmore Hall

Gould Piano Trio [Lucy Gould (violin), Richard Lester (cello), Benjamin Frith (piano)]

Mozart Piano Trio in G major K564 (1788)
Clarke Piano Trio in E flat minor (1921)
Ravel Piano Trio in A minor (1914)

Wigmore Hall, London, 29 October 2020

Reviewed by Richard Whitehouse

This latest event in the Wigmore Hall season saw a welcome recital by the Gould Trio, now well into its third decade and whose frequent appearances at this venue have always featured music from right across the medium of the piano trio; with tonight’s programme no exception.

A medium to which Mozart came relatively late in his career, producing five such works in little more than two years. Last in this sequence, K564 has rather remained in the shadow of its predecessors; unfairly so, as motivic interplay across and between its three movements is comparable to any of his more imposing pieces of this time. Such was affirmed in a reading which brought out the muscular interplay of its Allegro, the wistful elegance of its Andante then the relaxed nonchalance of a final Allegretto as ranks among Mozart’s most endearing.

Would that Rebecca Clarke had followed up her solitary contribution; the Piano Trio belonging to a clutch of pieces that should have laid the basis for a composing career but were destined to remain the peak of her achievement. The influence of Debussy and Ravel is often cited, but the vehemence of Bartók’s music from this period is equally evident – witness the emotional volatility of the first movement (which predates the similarly conceived opening movement of the Hungarian composer’s First Violin Sonata), fraught eloquence of the central Andante then driving impetus of the final Allegro; its powerful culmination subsiding into a resigned coda whose defiant ending feels almost in spite of itself. A fine performance by an ensemble which was championing this piece well before it attained the recognition it now justly enjoys.

If Ravel’s Piano Trio has never lacked for advocacy over the century and more since it was first performed, it remains a tough challenge both technically and interpretively. The present account was perhaps a shade under-characterized in the simmering dance rhythms of the first movement, with the Scherzo’s deft syncopations similarly downplayed at least until the sheer effervescence of its closing bars. No doubts, though, as to the ensuing Passacaglia – building methodically yet irresistibly to its baleful climax before winding down into the depths of the piano, from whence the finale steals in. The latter movement has been criticized for exuding near-orchestral sonorities, but Ravel’s handling of this is astutely judged – not least in a coda whose hard-won triumph in the face of encroaching adversity was powerfully conveyed here.

It certainly made for an impressive conclusion to this recital, just the sort of programme that feels necessary at such a time as this. Hopefully, these next few weeks will bring no cessation on the part of Wigmore Hall or the Gould Trio – their activities necessary now more than ever.

This concert can be streamed again until 29 November via the YouTube link above, or through the Wigmore Hall website here

These Wigmore Hall concerts are free to view but the venue is relying on the generosity of its audience to make them possible. If you do watch the concert, please consider making a donation, either at the Wigmore Hall website or via PayPal

Online music recommendations – Wigmore Hall’s new season

The Last Night of the Proms is a defining point in the musical calendar; once it has past summer literally becomes autumn where classical music venues are concerned, bringing with it a whole new set of possibilities.

Except this is 2020 of course, and the rulebook for live events has not just been completely rewritten but is subject to endless revisions, as the Coronavirus pandemic regulations change and as the government resets its guidelines.

In the midst of this confusion and with (sadly) a lack of constructive action and urgency from the Department for Culture, Media & Sport, the Wigmore Hall’s unveiling of a packed new season of concerts is all the more impressive.

The hall led the return to live classical music back in June, which already seems a long time ago – and the sight of Stephen Hough playing to an empty venue might have been bittersweet but was also unexpectedly moving. Building on the success of that venture, the new season is even more ambitious.

Starting tonight, with Christian Gerhaher and Gerold Huber performing Berg and Schubert, the season runs right the way through to 22 December. During September each weekday will have two concerts, with an hour’s lunchtime recital at 1pm, broadcast by BBC Radio 3, and the evening concert at 7.30pm. All will be streamed on the Wigmore Hall channel and on YouTube.

Happily there are too many highlights for Arcana to list here – but during September you would be well advised to keep near a screen! The first lunchtime recital, on Monday 14 September, will see Alban Gerhardt and Markus Becker playing Shostakovich, Schumann and Beethoven – while other highlights of the first week include a concert from Rachel Podger and Kristian Bezuidenhout on Tuesday 15 September, with Bach and Froberger, and a richly imaginative song recital from Dame Sarah Connolly and Malcolm Martineau, the next lunchtime.

Later we have a characteristically imaginative recital from guitarist Sean Shibe (Friday 18), an all-Bach masterclass from pianist Angela Hewitt (Saturday 19), Quatuor Danel continuing their Shostakovich and Weinberg series (Wednesday 23) and a fascinating juxtaposition of Ravel and Couperin from pianist Cédric Tiberghien (Thursday 24). The following evening sees a combination of French and American songs from baritone Gerald Finley and pianist Julius Drake.

And that’s just the first week! With so many riches in store, head to the Wigmore Hall website – where you can get planning. If you’re lucky enough to live closer to London you might be considering attending in socially distanced person, but if not then the online concerts will be rich and stimulating indeed.

In order to watch the Wigmore Hall’s online content, you need to head to their website and create a free account here. Once set up, you’re ready to roll! Alternatively you can watch at the Wigmore’s own YouTube channel

In concert – Steven Isserlis & Mishka Rushdie Momen @ Wigmore Hall

It must have been extremely special for Steven Isserlis to be playing the music of three of his favourite composers at the Wigmore Hall on this day – even more so as the date fell on the birthday of one of them, Robert Schumann.

He is one of the cellist’s greatest musical loves, and the sense persists that Isserlis is still discovering more things that make it so. One of Schumann’s many strengths is the versatility of his music, meaning pieces such as the 3 Romances Op.94, originally written for oboe and piano and given to his wife Clara as a Christmas present in 1849, can easily be performed with violin or, indeed, the cello.

Schumann’s birthday was marked by a performance of unaffected romantic beauty from Isserlis and pianist Mishka Rushdie Momen, very much on an equal footing playing the composer’s first instrument. The pair caught the doleful and slightly inquiring nature of the first romance beautifully, while the surge of feeling in the central music of the second was a strong cumulative wave. The third, its theme given in a darker shade, was briefly introspective in its unison phrases but then more overtly passionate.

Before Schumann came another ‘birthday’ composer. Beethoven’s 250th is not likely to receive quite so much live coverage as it would have done in a year without a pandemic, but what it lacks in quantity it will surely make up for in quality. The Sonata for piano and cello no.1 in F major, the first of a pair published as the composer’s Op.5, is the ideal concert opener. It begins in slight trepidation of what it is about to discover, but then, on establishing what is effectively a new form of writing for the cello and piano together, throws itself headlong into the rapids.

The Allegro that comes after that first sense of discovery was joyous indeed, with lovely dialogue in play between the two protagonists. Isserlis smiled frequently, as though revelling in the combination of favourite music and venue once again, while Momen’s clear phrasing dovetailed neatly with the cello’s, owning some of the really tricky right hand runs with fearless accuracy.

The second movement had a terrific burst of energy, the sun breaking through at every possible opportunity when its catchy theme made several reappearances. The pair also gave a nice air of mystery when Beethoven suddenly departed from ‘home’ and ended up in a number of seemingly unrelated tonal centres, before reassuring us with the warmth of the home key once again.

As he introduced his favourite 20th century cello sonata, there was a sense of Isserlis’ heart almost bursting with the chance to play music live again. He described his discovery of Fauré’s late music as ‘being outside a door but then passing through and wondering why on earth I had been outside’, before the pair played the Cello Sonata no.1 in D minor Op.108, the first of two such works from the Frenchman.

This was a very fine performance indeed, Isserlis and Momen watchful and urgent at the start, its music wracked with uncertainty but nonetheless pushing forward with great conviction. The Andante slow movement began lost in thought, the bell-like toll of the piano matched by Isserlis’ rich legato tone, before reaching heights of passion that the final movement also delivered, the performers now glorying in the major key and Fauré’s bursts of sunshine, the strong resolve of the first movement bringing its ultimate reward.

The pair finished with a profound account of Isserlis’ own transcription of a Bach chorale prelude, Ich ruf’ zu dir, Herr Jesu Christ, in which – as the cellist noted – Bach says it all.

In concert – A week locked into Wigmore Hall

At 1pm on Monday June 1st, live music-making returned to the Wigmore Hall and BBC Radio 3.

While we have been incredibly fortunate to enjoy live streams of music from around the world since lockdown began, this felt like something extra special. A whole month of lunchtime concerts, served up by our finest chamber music venue in conjunction with BBC Radio 3, and streamed on the Wigmore Hall website. With a selection of top class artists, all of whom live close enough to journey in and play, all that was missing was the audience – but this added extra poignancy, offering us private moments with the musicians in our own home, a deluxe version of what BBC Radio 3 has been giving us for decades. A note should be made for presenter Andrew McGregor‘s broadcasting manner, expertly paced and perfectly weighted.

The musical riches in the first week have been many and varied. The first concert was ideally placed, Steven Hough giving us Busoni’s epic realisation of Bach’s Chaconne in D minor and Schumann’s lovelorn Fantasie in C major. In some performances of the Bach-Busoni the virtuoso elements of the piece take over at the expense of feeling, but not here. Hough shaped the phrases with great care, bringing out the gusto when it was needed but giving an incredibly well-balanced account of a familiar showpiece.

With Schumann’s Fantasie he gave a flowing performance of a notoriously difficult work, made all the more poignant because of its circumstances, written in isolation by a composer pining for his wife Clara. There was joy, too – the march theme of the second movement ringing out with bell-like clarity, while the resolution at the end, softly voiced, left a lasting smile.

Tuesday’s song recital from soprano Lucy Crowe and pianist Anna Tilbrook had the themes of Hope and Longing – appropriately in the awful context of world events, which saw the concert begin with a two-minute period of reflection on racial inequality and violence.

Crowe began on high, judging her vibrato beautifully for Thomas Arne’s aria O ravishing delight, before three Schumann songs found her vocal control matched by her communication with the audience, in spite of the empty hall. The sound world of Berg’s 7 frühe Lieder is very different, with challenges of tricky melodic intervals and words by seven different poets, but the soprano handled them effortlessly, helped by Tilbrook’s painterly application of light and shade for the corners of Berg’s nocturnal settings.

The pair moved on to a selection of poignant folk songs, none more so than the unaccompanied She moved through the fair, before English lyrics old and new from Thomas Dunhill, Ivor Gurney, Vaughan Williams and Madeline Dring. It was a touching recital with both soprano and pianist clearly on the same page.

Few guitarists would expect to receive compliments on the quality of their quiet playing…but that was what stood out immediately from Sean Shibe’s solo recital on the Wednesday. With a collection of attractive Scottish dances the listener was drawn in from the start and borne to the beauty of the Highlands, the tunes carrying on the air in performances of extraordinary intimacy.

The same could be said for Shibe’s performance of Bach’s Lute Suite in E minor, carefully studied but delighting in the expressive interplay between the parts, bringing Bach’s notes clean off the page. Steve Reich’s Electric Counterpoint was even better, Shibe moving to a Fender to play the 12th part of this multilayered composition. The waves of sound echoing around the Wigmore as the guitarist, now barefoot, completely lost himself in the music.

Oboist Nicholas Daniel and pianist Julius Drake, both Wigmore regulars and musical partners for 40+ years, crammed their Thursday lunchtime with music old and new, all of personal significance.

They included two short premieres, the wide open textures of Huw Watkins’ haunting Arietta and the uncertainties of Michael Berkeley’s A Dark Waltz, written in lockdown. There was a rarity,too, in the first broadcast performance of Liszt’s darkly coloured Élegie, originally written for cello and piano but here in a recently unearthed version with for cor anglais.

Howard Ferguson’s arrangement for oboe and piano of Finzi’s substantial Interlude was beautifully paced and deeply felt in that slightly elusive way in which the composer writes, Drake absorbing the extra parts with ease. Meanwhile Ferguson’s arrangements of three pieces for pedal piano by Schumann studies were also nicely done. Later we heard three attractive shorter pieces from Madeline Dring, and finally Nicholas Daniel showed off the oboe’s versatility in three rewarding arrangements of popular songs, including The Girl From Ipanema and capped by All The Things You Are. A note, too, for the pair’s deeply felt and beautifully observed Bach encore, Jesu, Joy of Man’s Desiring, prefaced by a sensitive introduction.

Last but not least, Pavel Kolesnikov and Samson Tsoy reminded us what an intimate form of communication the piano duet can be. As the pair live together they have experienced isolation in each other’s company, and that in itself brought an extra poignancy to their lovingly played selection of BrahmsLiebeslieder Waltzes, a profound Schubert Impromptu in A flat from Tsoy and a bittersweet clutch of six Waltzes, Ländler & German Dances from Kolesnikov.

Together the pair enjoyed the humour and lightness of touch in Beethoven’s 8 Variations on a theme of Count Waldstein, but the best was saved for last and a wonderful performance of Schubert’s Fantasia in F minor. Recognised as one of the finest works in the piano duet repertoire, it received a performance led by Tsoy that moved from almost painful introspection to passionate outbursts five minutes later. The scherzo section had plenty of cut and thrust, while the whole piece, ideally paced, built to an almost overwhelming strength of feeling, capped by an intensely dramatic pause before the softly voiced opening theme returned.

What a musical week it has been – and looking at the roll call it looks like we are in for another three weeks of equally fine and moving insights. You can catch up with all the concerts on the links above and are strongly advised to do so, for there are some incredibly fine performances waiting to be heard. Live concerts may not be with us for a while yet, but in the meantime these intimate hours with some of our best classical music artists are an ideal substitute.

You can see the schedule for forthcoming Wigmore Hall livestreams here, the series resuming courtesy of cellist Steven Isserlis and pianist Mishka Rushdie Momen on Monday 8 June.

Music online – BBC Radio 3 to restart Wigmore Hall concerts behind closed doors

Since its beginnings five years back, Arcana has made a big deal of the BBC Radio 3 Lunchtime Concerts at the Wigmore Hall on Mondays, covering the majority of recitals given in that time. The concerts bring a great deal of pleasure to listeners not just in the hall but at home, brightening up a dreary Monday on many occasions. Their availability on catch-up through BBC Sounds only heightens the xpe

Very happily the concerts are to return to our homes. With the Wigmore Hall closed to the public until September, Alan Davey, Controller of BBC Radio 3 and John Gilhooly, Director of Wigmore Hall, have today confirmed the first live classical music broadcasts on BBC Radio 3 from Wigmore Hall, following the nationwide lockdown.

A series of 20 concerts will take place at 1pm every weekday throughout the month of June, starting on Monday 1st. The series will mark Wigmore Hall’s temporary re-opening, as well as BBC Radio 3’s return to live concert broadcasting, part of their Culture in Quarantine initiative.

Programmes are to be confirmed, but rather excitingly the artists confirmed include a wide array of British-based talent, listed alphabetically below:

James Baillieu (piano), Benjamin Baker (violin), Iain Burnside (piano), Allan Clayton (tenor), Michael Collins (clarinet), Imogen Cooper (piano), Lucy Crowe (soprano), Nicholas Daniel (oboe), Iestyn Davies (countertenor), Julius Drake (piano) Benjamin Grosvenor (piano), Angela Hewitt (piano), Stephen Hough (piano), Elizabeth Kenny (lute), Pavel Kolesnikov (piano), Paul Lewis (piano), Michael McHale (piano), Joseph Middleton (piano), Mark Padmore (tenor), Hyeyoon Park (violin), Timothy Ridout (viola), Sean Shibe (guitar), Anna Tilbrook (piano), Samson Tsoy (piano), Ailish Tynan (soprano), Mitsuko Uchida (piano), Adam Walker (flute), Roderick Williams (baritone)

Arcana will be looking to cover a number of these concerts, offering listening guides as we have done for five years. See you in the virtual concert hall!

Ben Hogwood