Summer’s lease hath all too short a date, but there’s still time for one last opera festival. Vache Baroque popped up in 2020 during that weird first release from lockdown, but to be honest, if you were starting a new festival, late August is probably the best part of the calendar to colonise. The big
Regarding Frederick Delius, how do we stand? In the 1930s, Sir Henry Wood believed that Proms audiences much preferred Delius to Holst, and most critics back then would have described him as a major British composer. Times change: if you took your music GCSE in the late 1980s, you’ll have sensed that the Bradford lad
No one wrote programme notes quite like the English experimentalist John White. ‘This music is top-quality trash,’ proclaims his 1993 album Fashion Music. ‘We kindly ask the users of this CD to play it at the volume of a suburban Paris soundmachine or a London underground discman earphone as used by the kid next door.’
The Edinburgh International Festival opened with John Tavener’s The Veil of the Temple, and I wish it hadn’t. Not that they were wrong to do it; in fact it was an heroic endeavour. Drawing on three large choirs, members of the Royal Scottish National Orchestra and a sizeable team of soloists, this eight-hour performance was
The Welsh composer William Mathias died in 1992, aged 57. I was a teenager at the time, and the loss felt personal as well as premature. Not that I knew him; and nor was he regarded – in the era of Birtwistle and Tippett – as one of the A-list British composers (John Drummond, the
In middle age Alfred Brendel looked disconcertingly like Eric Morecambe – but, unlike the comedian in his legendary encounter with André Previn, he played all the right notes in the right order. OK, so perhaps I’m selling the maestro a bit short: I do think Brendel, who died on 17 June at the age of
These days the heart sinks when Deutsche Grammophon announces its new releases. I still shudder at the memory of Lang Lang’s 2024 French album, in which he drooled over Ravel’s Pavane pour une infante défunte; when I reviewed it I suggested that if the poor girl wasn’t dead when he started, then she certainly was
It’s funny what you see at orchestral concerts. See, that is, not just hear. If you weren’t in the hall during Poulenc’s Stabat Mater would you even realise that the tuba uses a mute in the final chord? Visually, it’s hard to miss – the thing’s huge, whether standing on the floor or being heaved
‘When you’re not offensive in life, you obtain absolutely nothing,’ declares a twinkly-eyed Pierre Boulez in one of the archive films that the Barbican were screening to celebrate the composer’s centenary. What a joy to be reminded of the young Boulez – the unashamed elitist, the unbeatable snob. Not even allies such as Schoenberg (too
It’s Arvo Part’s 90th birthday year, which is good news if you like your minimalism glum, low and very, very slow. Lots of people seem to. The London Philharmonic’s concert on Saturday night was a reminder of an earlier, less ingratiating Part: the dissident composer in Soviet-controlled Estonia. Hannu Lintu revived Part’s First Symphony of
Puccini’s Turandot is back at the Royal Opera in the 40-year old production by Andrei Serban and… well, guilty pleasure is an unfashionable notion these days, but I still feel a batsqueak of shame at enjoying it so much. It’s not the chinoiserie – anyone who believes that an opera based on an 18th-century Italian
Last week, Barbara Hannigan conducted the London Symphony Orchestra in Haydn, Roussel, Ravel and Britten, though to be honest she had me at Haydn. It’s still relatively unusual to encounter him in a symphonic concert, and more than one promoter has told me that Haydn is ‘box office poison’, which is a shocking description of
The photograph on the cover of Jessica Duchen’s magnificent new biography of Dame Myra Hess shows a statuesque lady sitting at the keyboard, hair swept back into the neatest of buns. Add a pair of half-moon spectacles and she could be Dr Evadne Hinge, accompanist to Dame Hilda Bracket. This isn’t to imply that Dame
Stephen Hough’s new piano concerto is called The World of Yesterday but its second ever performance offered a dispiriting glimpse into the world of tomorrow. A couple of minutes into the finale Hough stopped playing and the orchestra fell silent. ‘I’m very sorry,’ he explained. ‘My iPad is going crazy.’ A murmur of sympathy, mingled
My Piano Concerto, The World of Yesterday, began with an email during one of the darker days of the pandemic: would I like to write a score for a movie about a concert pianist writing a piano concerto. As I looked at my concert diary, blank but for Zoom calls, it seemed like a wonderful
Three projects shedding light on the sacred music of J.S. Bach are nearing completion. The first consists of an epic 25-year project to record all the composer’s vocal works – passions, masses, motets and more than 200-odd cantatas – in electrifying performances supplemented by lectures and workshops. At the helm is a Swiss choral conductor
The overture to The Flying Dutchman opens at gale force. There’s nothing like it; Mendelssohn and Berlioz both painted orchestral seascapes but no one before Wagner had flung open the sluices and let the ocean roar into the opera house with quite such elemental power. Garry Walker and the orchestra of Opera North dived into
They do things their own way in Liverpool; they always have. In 1997 the Royal Liverpool Philharmonic Orchestra launched a contemporary music group called Ensemble 10:10 (the name came from the post-concert time-slot of their early performances). For a decade now, they’ve also administered the Rushworth Prize, an annual competition for young composers based in
It’s a right mess, the classical piano trio; the unintended consequence of one of musical history’s more frustrating twists. When the trio first evolved, in the age of Haydn, the piano (or at any rate, its frail domestic forebear) was the junior partner, and the two string instruments, violin and cello, were added to make
Sir Antonio Pappano began 2024 as music director of the Royal Opera and ended as chief conductor of the London Symphony Orchestra. Around the middle of the year, there was a sort of retrospective; a stock-taking, if you like, as he made the transition to this third act of his career. Warner Classics released a
