Showing posts with label Handel. Show all posts
Showing posts with label Handel. Show all posts

Monday, March 12, 2018

JDCMB Reader Competition: Win tickets to see Handel’s Messiah from Bristol Old Vic at your local cinema!

With Easter round the corner, here's a lovely competition for Handel fans and those eager to see what transpires when drama meets oratorio...


Bristol Old Vic’s dramatisation of Handel’s most iconic work is being screened in 300 cinemas around the UK & Ireland on 28 March – and to celebrate, distributors CinemaLive have 2 pairs of tickets to give away to JDCMB readers.

For a chance to win, simply email your venue of choice to kat@cinemalive.com by Monday 19 March. Winners will be contacted the very next day with details on how to claim their prize.

Full list of participating venues can be found here: http://cinemalive.com/index.php?p=view&id=241

Directed by Bristol Old Vic’s Tony Award-winning Artistic Director Tom Morris (War Horse), Messiah from Bristol Old Vic explores the drama and struggle of faith, showing a bereaved community whose grief at the loss of their leader is transformed into hope through a narrative of resurrection. Recorded in the theatre in 2017, it features internationally renowned soloists Catherine Wyn Rogers and Julia Doyle, The Erebus Ensemble (Songs of Hope) and the celebrated Baroque orchestra The English Concert.

★★★★★ “Immersive and soaring” - The Reviews Hub

★★★★ "Refreshingly direct and impactful” - The Times


★★★★ “Astonishingly beautiful” - The Stage

Friday, April 18, 2014

"Mache dich..."

Pick an occasion - any occasion - in the history of music at which you'd have liked to be present... Today I'll choose the Bach St Matthew Passion as conducted in 1829 by the 20-year-old Felix Mendelssohn. The performance was organised by the young composer and his actor friend Eduard Devrient and the work enjoyed probably its first outing since the death of Bach himself, some 80 years earlier.

Apparently they only used about half of it, and Mendelssohn made plenty of changes to the harmonies, orchestration and vocal lines - but it still had the required effect. Goethe, hearing of the occasion, sensed its significance, saying: "It's as if I heard the roaring of the sea from afar."

Mendelssohn's aunt, a friend of CPE Bach's wife, a pupil of WF Bach and hostess of one of Berlin's finest artistic salons, had a number of Bach's manuscripts in her possession, including the St Matthew Passion. She presented it to her gifted nephew when he was 16 and consequently changed the course of history. Imagine a new world hearing it - even half of it - for the first time. "To think that it took an actor and a Jew's son to revive the greatest Christian music for the world!" Mendelssohn remarked.

Mendelssohn, born into a Jewish family, raised as a Lutheran after his parents' conversion, and a practising Christian for the rest of his life, saw no need for a conflict between his background and his faith. He achieved a unique point of balance that allowed him to embrace both - despite the widespread atmosphere of low-level anti-Semitism around him (I'm sorry to see that even Clara Schumann made snide remarks behind his back). In the bicentenary year, 2009, Sir Peter Maxwell Davies once remarked that he regarded Mendelssohn as "the prophet of light". I'm with him on that.

As for Bach, he takes us into another world. The St Matthew Passion makes us live the story and its processes as if from the inside. It offers music that cleanses the soul; even if you approach it as drama rather than religion, it doesn't seem to mind and will still work its wonders. It offers, too, an oasis of calm, reflection and redemption, along with a massive dramatic catharsis that might be felt especially keenly by anyone who has lived through the loss of a loved one. When my mother died, 20 years ago, I could listen to nothing else for months.

Here is the last aria of the St Matthew Passion, "Mache dich mien Herze rein". It's a marvel in its own right, heard alone; but at the end of the whole it arrives as a purifying sunrise after three hours (or so) of anguish, soul-searching and tragedy. It's sung here by the great baritone Thomas Quasthoff. Have a good Easter, all.






Monday, December 19, 2011

Not Messiah

It's not Handel's Messiah. It's a playlist from a very naughty music-lover.


I've been listening to the thing again - it's hard to avoid it at this time of year - and OK, yes, it does have that certain je ne sais quoi. It's a great piece. He wrote a good old tune or several. But just every so often, wouldn't you like to hear something else instead, or even as well? Leave aside obvious substitutes like Bach’s Christmas Cantata, Britten’s A Ceremony of Carols and much nice music by John Rutter; as for The Nutcracker or The Four Seasons – Tchaikovsky and Vivaldi are great, but enough’s enough. My list features some seasonal music that rarely gets a look in, having been shouldered aside by wall-to-wall Hallelujah Choruses.

Elizabethan Christmas music
If ideal Christmas music is decorative, celebratory and sumptuous on one hand, and intimate, domestic and fun on the other, then the Elizabethan era had it all. Families with space and cash tended to be musically literate in those days, and they might have gathered on winter evenings to sing madrigals or play music for viol consort. Red Byrd and the Rose Consort of Viols recorded their selection of Elizabethan Christmas Music in 1989, complete with a quirky attempt at ‘authentic’ pronunciation. Composers include William Byrd, Orlando Gibbons, Thomas Tomkins and more.
Recommended recording: Elizabethan Christmas Anthems, Red Byrd, Rose Consort of Viols, AMON RA CD-SAR46

Praetorius: Renaissance Christmas Music
Michael Praetorius (1571-1621) was a Lutheran from North Germany. His works are characterised by rich and sympathetic choral writing, similar at times to his greatest contemporary, Claudio Monteverdi – but Praetorius’s music remains rooted in Lutheran chorales, so the effect is gentler, simpler and more streamlined than that of the musical lion of Venice. His most often-performed work is probably the gorgeous carol ‘Es ist ein Ros’ entsprungen’, but I’ve picked a recording of some Christmas-friendly choral pieces that doesn’t include it.
Recommended recording: Viva Voce, BIS, BISCD1035

Bach transcriptions for piano
The term ‘Baroque’ was originally coined to evoke something extravagant, irregular, complex and extraordinary. If you enjoy musical pearls at their most baroque in every sense, then try transcriptions for solo piano of movements from Bach’s cantatas, violin works and concertos, made by some of the finest virtuoso composer-pianists of the 19th and early 20th centuries. There are hundreds, and Hyperion has been releasing a substantial series of CDs of them. The latest disc features transcriptions by Saint-Saëns and Isidor Philipp: life-enhancing, high-spirited triumphs of virtuosity that would spice up any Christmas.
Recommended recording: Bach transcriptions, Vol 10: Saint-Saëns and Isidor Philipp, Nadejda Vlaeva (piano), Hyperion CDA76873.

Liszt: Weinachtsbaum (Christmas Tree Suite)
Franz Liszt’s bicentenary is nearly over, but not quite. It’s a good excuse to seek out his Christmas Tree Suite, a set of 12 short piano pieces based on carols and lullabies, including ‘In dulci jubilo’ and ‘Adeste Fideles’. Written in 1866, they are tender, charming and lyrical, far indeed from the barnstorming heft of the Hungarian Rhapsodies and the romantic tumult of his B minor Sonata. Instead, this is Liszt as besotted grandfather: he dedicated the suite to his five-year-old granddaughter, Daniela. Coincidentally, her mother – Liszt’s daughter, Cosima, who later eloped with Wagner – had been born on Christmas Eve in 1837.
Recommended recording: Alfred Brendel (piano), Regis RRC1378

Saint-Saëns: Christmas Oratorio
This is a real buried treasure. Possessing extraordinary gifts himself, maybe the 23-year-old Saint-Saëns, writing in 1858, also expected much from his performers: the solo parts are extremely demanding to sing, which might be why the ten-movement work doesn’t pop up often enough. Involving chorus, five soloists, organ and a small orchestra with prominent role for the harp, it strikes a lovely balance between Bach-inspired churchliness and the boulevardier charm that came so easily to Saint-Saëns. Christmas with the French bourgeoisie at its tasty best.
Recommended recording: Noël, French Romantic Music for Christmas – Bachchor Mainz, L’Arpa Festante München/Ralf Otto, Deutsche HM 88697366582

Honegger: Une cantate de Noël
The Swiss-born Arthur Honegger (1892-1955) was among Gabriel Fauré’s last pupils at the Paris Conservatoire. This short Christmas cantata was his final composition and has proved one of his most popular – not that that is saying much, since his works remain shamefully neglected. Written in 1953, it captured something of the spirit of the times. The opening section, on the words ‘De profundis clamavi’, seems a postwar evocation of an existential ‘dark night of the soul’. But from there the music opens out, as if candlelit by the succession of carol fragments that flicker through the musical fabric, weaving a spell of increasing enchantment. Combining texts in French and German, it’s perhaps a message of hope for lasting peace.
Recommended recording: James Rutherford (baritone), Robert Court (organ), Tewkesbury Abbey Schola Cantorum, Dean Close School Chamber Choir, BBC National Orchestra & Chorus of Wales/Thierry Fischer, Hyperion CDA67688

Messiaen Vingt Regards sur l’enfant Jésus
Messiaen’s most famous piano work – 20 ‘regards’, or meditations, on the image of Baby Jesus – includes a movement entitled ‘Noël’, but there is far more to this pianistic tour-de-force than that; more, too, than the vivid colours, crunchy textures and dizzying intricacies of the French composer’s unmistakeable style. Messiaen, a devout Catholic, wrote these astonishing pieces for Yvonne Loriod, whom he later married: she was a virtuoso pianist whose abilities inspired him to new heights of invention. His passion for her, for God and for music unite in a kind of mystical celebration that has rarely been matched. Super-demanding yet also super-rewarding, Messiaen’s music can cast Christmas in a whole new light.
Recommended recording: Steven Osborne (piano), Hyperion CDA67351/2

Piazzolla: Cuarto Estaciones Portenas (Four Seasons of Buenos Aires)
Who needs Vivaldi’s The Four Seasons when you can have Astor Piazzolla’s? The Argentinian composer, who would have been 90 this year, studied in Paris with the eminent professor Nadia Boulanger. He aspired to haut-classical grandeur, but Boulanger spotted that his heart lay in the music of his homeland and advised him to go home to Buenos Aires and explore it. His personal sound-cocktail mingles sophisticated classical expertise with the sultry flavour of the tango.  His Four Seasons were inspired by Vivaldi’s; the ‘Winter’ Tango is a wonderful example of vintage Piazzolla.
Recommended recording: Tianwa Yang (violin), Nashville Symphony Orchestra/Giancarlo Guerrero, Naxos 8572271

Elgar: A Christmas Greeting
A gentle parlour song accompanied by a piano and two violins, this is the most intimate of all these Christmas suggestions: a setting by Elgar of a poem by his wife, Alice. It seems to conjure a cosy and very British type of Christmas in its domestic, hearthside greeting from one partner to the other and back again. And it is heartrendingly Elgarian, with those wonderful arched melodic contours and sense of yearning characteristic of his finest music.
Recommended recording: Worcester Cathedral Choir, Donald Hunt (conductor), Jeremy Ballard (violin), Robin Thurlby (violin), Keith Swallow (piano), Hyperion CDA66271/2

MacMillan: Veni, veni, Emmanuel
James MacMillan’s percussion concerto, taking its title from the medieval plainchant for Advent on which it’s based, was written for Dame Evelyn Glennie in 1991-1992. It is possibly the celebrated Scottish composer’s biggest hit, clocking up hundreds of performances. Structured in one arch-shaped movement, it lasts some 25 minutes, fills with mesmerising rhythmic trickery and marvellously imagined noises, with percussion instruments both pitched and unpitched, from vibraphone to cowbells. Impress your Christmas guests with your contemporary music savviness by playing it full blast.
Recommended recording: Evelyn Glennie (percussion), Scottish Chamber Orchestra /James MacMillan, RCA 828766428520

Tuesday, December 13, 2011

Yehudi plays Handel in 1929

You know that feeling when the captain says "Cabin crew, ten minutes to landing," and they dim the lights...but 25 minutes later you're still reeling about over Stansted in high winds and for once the Ryanair staff have stopped trying to sell you burgers or scratchcards and are eerily quiet? Oh - you don't? Lucky you. Me, I thought we were all gonna die.

Glad to be alive the next day, so it seems a good idea to celebrate. I was looking for a nice historical clip of Handel's Messiah so that we can be suitably seasonal - also, I, er, gatecrashed a rehearsal of it in in Aarhus yesterday and, um, it's a really, really good piece, even without the singers. The adorable Maestro Giancarlo Andretta was filling in the vocal lines quite spectacularly from the podium.

But while I was looking for Messiah, I found this. It was recorded by the young Yehudi Menuhin in 1929. Let's have it instead, because it's to die for (only not in a plane...).