A Comments note from Ken Nielsen in Oz asks where to start with Korngold. Here we go:
START with the films - Adventures of Robin Hood, The Sea Hawk, The Private Lives of Elizabeth and Essex, Deception. You'll probably find you've heard them before, somewhere in your distant past. Next, the Violin Concerto is the best-known orchestral piece: try Gil Shaham with the LSO and Andre Previn. Happy? Now for his best opera, Die tote Stadt, in the recording by Erich Leinsdorf (don't bother with el cheapo Naxos, recorded live in Sweden complete with stage clonkings and swingeing cuts). If you get along with that, move on to Das Wunder der Heliane, the most ambitious of the operas and the work he regarded as his masterpiece - and turn the volume up high! If you can swallow Heliane, you are truly a Korngold person...
In which case, you can gorge happily on all those beautiful but underplayed orchestral works like the Sinfonietta, the Abschiedlieder, the Symphony in F sharp, the Cello Concerto (here with hot young cellist Zuill Bailey), and the Piano Concerto for the left hand (with the glorious Marc-Andre Hamelin); and the songs, gloriously sung by Anne Sofie von Otter (this recording also features some of the chamber music, which is interesting, but not really the best place to begin).
Er, Ken, do I take it you've read my book already? If not, here's the Amazon link...
Sunday, October 10, 2004
Sunday morning in blogland
Did you know that Saint-Saens has the same birthday as John Lennon? It was yesterday. This pithy info is from Ionarts, where there's also a wonderful picture of Cantankerous Camille playing the organ.
There is more useful information to be gleaned almost everywhere today. There's news of a production of Zauberflote in New York by Julie Taymor - she's a producer unfamiliar, I'm afraid, to me here in London, but apparently this is so stunning that both Alex Ross and ACD are in agreement (unusual in itself!) that she must now do The Ring. Zauberflote is notoriously difficult to bring off. Glyndebourne has had two disasters with it, the worst when Peter Sellars set it under a Los Angeles motorway, in an Ashram seemingly dependent upon sign language. The Covent Garden production has its moments, but is set within a distinctly gloomy background. ENO's is so successful that they've stuck with it for years and years and YEARS. And that is before you even start wondering what to do with the music - to vibrate or not to vibrate...
Meanwhile Helen Radice has an alarmingly interesting post about whether something called Il Divo is any good (not). She has also learned how to switch on her oven (sorry, hob!).
Given that TV news on a Sunday morning consists of wall-to-wall football coverage, utterly depressing pictures from Iraq, Egypt and Israel and robotic people telling you that personal debt in this nation is over a trillion pounds, if you want to keep up with the latest in the arts, there is now only one way to do it. Read the blogs!
There is more useful information to be gleaned almost everywhere today. There's news of a production of Zauberflote in New York by Julie Taymor - she's a producer unfamiliar, I'm afraid, to me here in London, but apparently this is so stunning that both Alex Ross and ACD are in agreement (unusual in itself!) that she must now do The Ring. Zauberflote is notoriously difficult to bring off. Glyndebourne has had two disasters with it, the worst when Peter Sellars set it under a Los Angeles motorway, in an Ashram seemingly dependent upon sign language. The Covent Garden production has its moments, but is set within a distinctly gloomy background. ENO's is so successful that they've stuck with it for years and years and YEARS. And that is before you even start wondering what to do with the music - to vibrate or not to vibrate...
Meanwhile Helen Radice has an alarmingly interesting post about whether something called Il Divo is any good (not). She has also learned how to switch on her oven (sorry, hob!).
Given that TV news on a Sunday morning consists of wall-to-wall football coverage, utterly depressing pictures from Iraq, Egypt and Israel and robotic people telling you that personal debt in this nation is over a trillion pounds, if you want to keep up with the latest in the arts, there is now only one way to do it. Read the blogs!
Wednesday, October 06, 2004
It was 20 years ago today
Well, yesterday. That was the day I went away to university. Thinking back I can't help noticing how much has changed in that time, not only in the world in general but music in particular. But the most obvious thing is that I well remember how chilly the weather was in early October 1984. I wandered around college in thick sweaters (including some knitted by my mother). And there'd be frost on the grass by the river when we walked back after concerts across town. Today the forecasters say it'll be 17 degrees and I'm at home in a tee-shirt. Makes you wonder what global warming will have done to us after another 20 years.
Otherwise, here are my top 10 musical changes:
1. The buzz-word then was 'authenticity'. Nobody talks about 'authenticity' any more because the concept has been so severely discredited. Now it's called 'historically informed performance' instead - a term that snobbily implies that any other kind of performance must be historically ignorant, which is nonsense. But in those days also, you could still hear a normal orchestra play Haydn and Mozart under great conductors in a style that didn't require toothgritting (some of those early instruments have the same physical effect on my teeth as chalk on blackboard). Today that is almost impossible - they are too frightened.
2. The buzz orchestra was the CBSO, rising and shining with Simon Rattle. If there is a buzz orchestra now, it's probably the LSO, though my ears tell me the only absolute edges they have over certain other bands are lots more money, a fantastic horn section and very classy PR.
3. My next-door neighbour in college used to put on recordings of Sibelius 5, Mahler 2 or the Saint-Saens Organ Symphony with the volume RIGHT up and we'd have a good wallow. I have a horrible feeling that music students today would probably say 'Who's Saint-Saens?'
4. A paradox, this, after No.3: rare repertoire was - well - rare. Hardly anyone had heard of Korngold and if they had, they weren't interested. Musicians just wanted to churn out the war-horses. Underrated composers are viewed, happily, in a far more upbeat way now.
5. There weren't many foreign music students, and in the orchestras there weren't many foreign players. Now, at least in the orchestras, they are pouring in from Russia, Poland, Hungary, China, Romania, not to mention France, Germany and Japan. Standards have rocketed commensurately as competition has increased. I was talking the other day to a young girl who is finishing her uni course and wants to go on to music college. She told me the postgrad entrance requirements - vastly more demanding than anything I had to do in 1987.
6. Conductors still alive included Tennstedt, Solti, Bernstein and Karajan. Pianists Richter, Arrau and Gilels (just). Violinists Milstein, Szeryng and, er, Menuhin. Special note for P: Krystian Zimerman had already made the big time and was 27 years old.
7. 20 years ago there was a massive split between academic music and practical music in this country. Each looked down its nose at the other. These days you can take a BA degree at the Royal Academy or specialise in playing an instrument at a university (though not at Cambridge, surprise surprise.)
8. It was quite difficult to find historical 'golden age' recordings in those days. Today they are as important as new ones and many young musicians cite them as their favourites.
9. The record industry was booming.
10. We did not yet have Symphony Hall Birmingham, the Bridgewater Hall Manchester or the new hall in Glasgow. Today most of Britain's major cities have a top-class, full-sized concert hall. Except, of course, for London.
Any more contributions to the list?
Otherwise, here are my top 10 musical changes:
1. The buzz-word then was 'authenticity'. Nobody talks about 'authenticity' any more because the concept has been so severely discredited. Now it's called 'historically informed performance' instead - a term that snobbily implies that any other kind of performance must be historically ignorant, which is nonsense. But in those days also, you could still hear a normal orchestra play Haydn and Mozart under great conductors in a style that didn't require toothgritting (some of those early instruments have the same physical effect on my teeth as chalk on blackboard). Today that is almost impossible - they are too frightened.
2. The buzz orchestra was the CBSO, rising and shining with Simon Rattle. If there is a buzz orchestra now, it's probably the LSO, though my ears tell me the only absolute edges they have over certain other bands are lots more money, a fantastic horn section and very classy PR.
3. My next-door neighbour in college used to put on recordings of Sibelius 5, Mahler 2 or the Saint-Saens Organ Symphony with the volume RIGHT up and we'd have a good wallow. I have a horrible feeling that music students today would probably say 'Who's Saint-Saens?'
4. A paradox, this, after No.3: rare repertoire was - well - rare. Hardly anyone had heard of Korngold and if they had, they weren't interested. Musicians just wanted to churn out the war-horses. Underrated composers are viewed, happily, in a far more upbeat way now.
5. There weren't many foreign music students, and in the orchestras there weren't many foreign players. Now, at least in the orchestras, they are pouring in from Russia, Poland, Hungary, China, Romania, not to mention France, Germany and Japan. Standards have rocketed commensurately as competition has increased. I was talking the other day to a young girl who is finishing her uni course and wants to go on to music college. She told me the postgrad entrance requirements - vastly more demanding than anything I had to do in 1987.
6. Conductors still alive included Tennstedt, Solti, Bernstein and Karajan. Pianists Richter, Arrau and Gilels (just). Violinists Milstein, Szeryng and, er, Menuhin. Special note for P: Krystian Zimerman had already made the big time and was 27 years old.
7. 20 years ago there was a massive split between academic music and practical music in this country. Each looked down its nose at the other. These days you can take a BA degree at the Royal Academy or specialise in playing an instrument at a university (though not at Cambridge, surprise surprise.)
8. It was quite difficult to find historical 'golden age' recordings in those days. Today they are as important as new ones and many young musicians cite them as their favourites.
9. The record industry was booming.
10. We did not yet have Symphony Hall Birmingham, the Bridgewater Hall Manchester or the new hall in Glasgow. Today most of Britain's major cities have a top-class, full-sized concert hall. Except, of course, for London.
Any more contributions to the list?
Wednesday, September 29, 2004
Exciting young musicians to watch
Late September is a hectic time on the London concert circuit. I'm writing a 'round-up' review for The Strad of five concerts this week, all of which feature superlative artists; and I've been lucky enough to hear some exceptional youngsters just starting out on their careers.
Alina Ibragimova is 19 years old and was clearly born to play the violin. She's the daughter of Rinat Ibragimov, principal double bass in the LSO, and studied at the Menuhin School and Guildhall. I first heard her about three years ago in a prizewinners' concert at the South Bank and was struck by her natural musicality, but since then she has developed into something very special. On Friday she performed the Britten concerto - a tall order for any musician, let alone someone so young - at St Luke's, the LSO's education centre in the City. She looks delicate and unaffected on the platform, but nothing stands in the way of her music when she begins to play; the violin becomes part of her and the music pours out straight from the soul. Mesmerising.
Jonathan Biss, a young American pianist who is one of the musicians featured by the Borletti-Buitoni Trust, an organisation that helps selected young artists to become established. Mitsuko Uchida is helping to spearhead the trust and on Sunday she played at the QEH with some of the award winners, including Jonathan, who accompanied fellow-winner the soprano Emma Bell in some Schumann Lieder and later played the Mozart A minor Rondo. It's a brave man indeed who plays that Mozart, a very 'revealing' piece: nothing to hide behind if you can't phrase everything perfectly, balance your counterpoint or convey the subtlest of emotions. Jonathan can, however, and does - with deep sensitivity, beautiful singing tone and real poetry. He too was born to play: his parents are Miriam Fried and Paul Biss and his grandmother was the cellist Raya Garbusova. He's studied at Curtis and even before he was snapped up by BBC Radio 3 New Generations I had heard great things about him from people in the US whose opinions I trust and value. They were right. Emma Bell, too, is someone to watch: bags of personality and a super voice with a big range and great versatility.
The rush continues. To St John's Smith Square this evening for the Chilingirian Quartet and Stephen Coombs (Faure! Yes!), then Truls Mork at St Luke's tomorrow lunchtime, Vengerov and the LSO at the Barbican tomorrow evening, the BBC Symphony Orchestra launching its season with Mahler 2 at the Barbican on Friday and the LPO and Masur doing Beethoven on Saturday. Next week the Wigmore Hall is reopening after its latest refit (and its boss Paul Kildea tells me that, among other things, they have a new chef, which can only be a good thing...). All this confirms what I've always felt: the London music scene really is incredible. I don't believe there's anywhere in the world to match it in terms of quality, quantity and variety.
Alina Ibragimova is 19 years old and was clearly born to play the violin. She's the daughter of Rinat Ibragimov, principal double bass in the LSO, and studied at the Menuhin School and Guildhall. I first heard her about three years ago in a prizewinners' concert at the South Bank and was struck by her natural musicality, but since then she has developed into something very special. On Friday she performed the Britten concerto - a tall order for any musician, let alone someone so young - at St Luke's, the LSO's education centre in the City. She looks delicate and unaffected on the platform, but nothing stands in the way of her music when she begins to play; the violin becomes part of her and the music pours out straight from the soul. Mesmerising.
Jonathan Biss, a young American pianist who is one of the musicians featured by the Borletti-Buitoni Trust, an organisation that helps selected young artists to become established. Mitsuko Uchida is helping to spearhead the trust and on Sunday she played at the QEH with some of the award winners, including Jonathan, who accompanied fellow-winner the soprano Emma Bell in some Schumann Lieder and later played the Mozart A minor Rondo. It's a brave man indeed who plays that Mozart, a very 'revealing' piece: nothing to hide behind if you can't phrase everything perfectly, balance your counterpoint or convey the subtlest of emotions. Jonathan can, however, and does - with deep sensitivity, beautiful singing tone and real poetry. He too was born to play: his parents are Miriam Fried and Paul Biss and his grandmother was the cellist Raya Garbusova. He's studied at Curtis and even before he was snapped up by BBC Radio 3 New Generations I had heard great things about him from people in the US whose opinions I trust and value. They were right. Emma Bell, too, is someone to watch: bags of personality and a super voice with a big range and great versatility.
The rush continues. To St John's Smith Square this evening for the Chilingirian Quartet and Stephen Coombs (Faure! Yes!), then Truls Mork at St Luke's tomorrow lunchtime, Vengerov and the LSO at the Barbican tomorrow evening, the BBC Symphony Orchestra launching its season with Mahler 2 at the Barbican on Friday and the LPO and Masur doing Beethoven on Saturday. Next week the Wigmore Hall is reopening after its latest refit (and its boss Paul Kildea tells me that, among other things, they have a new chef, which can only be a good thing...). All this confirms what I've always felt: the London music scene really is incredible. I don't believe there's anywhere in the world to match it in terms of quality, quantity and variety.
Monday, September 27, 2004
A critic's best friend...
...is his/her cat. Alex Ross's cat, Penelope, looks as if she could be our Solti's little sister. Apparently she helps Alex with Bartok. Solti has proved his worth on many occasions, most notably over piano recordings. He hates bangy pianists. A couple of years ago I undertook a big comparative review for International Piano Magazine of about 50 different recordings of the Chopin B minor Sonata. Solti curled up near the CD player and sat twitching his ears happily through several top choices - Lipatti, Cortot, Katchen, etc. Enter Nikita Magaloff, however, and he was out of the room in moments.
He was also up in arms (or whiskers?) when I had to do a phone interview with another conductor the other day - and this cat has developed a meow loud enough to be heard through piano and violin being played together. I had to ask Martyn Brabbins to hang on while I shut cat in kitchen so we could have some peace, and added that the cat is called Solti. 'No wonder he won't let you talk!' exclaimed my interviewee.
Paws for thought...
He was also up in arms (or whiskers?) when I had to do a phone interview with another conductor the other day - and this cat has developed a meow loud enough to be heard through piano and violin being played together. I had to ask Martyn Brabbins to hang on while I shut cat in kitchen so we could have some peace, and added that the cat is called Solti. 'No wonder he won't let you talk!' exclaimed my interviewee.
Paws for thought...
Subscribe to:
Posts (Atom)