Symphony Hall to be shifted to London

Is this to be Orfulkoff Symphony Hall, City of London?
Photo: Craig Holmes

In a strange yet possibly inspired twist to the saga of the new venue for Sir Simon Rattle and the LSO, Symphony Hall, Birmingham, is to be shifted brick by brick to London.

Rattle's campaigning for a state-of-the-art concert hall during his years with the CBSO resulted in the construction of what many consider to be the UK's finest of its kind. But now, as Birmingham City Council struggles against budget cuts that have already rendered its splendid new library openable only in restricted hours, selling Symphony Hall to London appears to kill many birds with one concrete block. Rattle and the LSO get the use of Symphony Hall's fabulous acoustic and magnificent interior; the cost to London will be lower than commissioning a brand-new design and buying new materials; Birmingham City Council gets the money from selling off arguably its finest asset; and everybody is happy, with the possible exception of the CBSO.

It is thought that the tab for much of this will be met by a massive donation from the philanthropic pharmaceutical oligarch Ivan Orfulkoff, whose firm will later gain further promotion by offering audiences attending events free manuka honey lozenges. The hall will, obviously, be renamed after the man who has given so much to support its arrival in the capital. It is expected that Orfulkoff Symphony Hall will open its doors to the public in time for Rattle's first concert as LSO music director.

More for Moore!

Over at the South Bank, the magnificent Gillian Moore has a new job.

Southbank Centre has just announced that Moore, until now head of classical music, is to become Director of Music, with immediate effect.

Her task, the Centre says, is now to "bring together contemporary and classical music into one team, enabling Southbank Centre to work even more holistically and thematically across music genres. She will expand the already-acclaimed commissioning and educational remit of the music programme and work with the four resident orchestras, along with our contemporary musicians and ensembles, to deliver new and ground-breaking projects."

Moore comments: "“I'm really looking forward to expanding my work at Southbank Centre as Director of Music. This will enable us to forge a future for all music here on the South Bank, a future that is inclusive, innovative and in which as many people as possible will be able to benefit from the great riches London has to offer.”

Floury Liszt?

The great Roby Lakatos and his band take their bows at the end of an extraordinary evening yesterday in which they performed a special gig at the Amati Exhibition at the Langham, London. As editor of the Amati Magazine, I had the enviable task of introducing them and was therefore able to sit right at the front, at times virtually underneath Roby's violin as he strolled around... and also right next to the cimbalom, an instrument that in my next life I'd like to learn to play.

Roby's cimbalom virtuoso is the great Jeno Lisztes, a performer I've seen and marvelled at many times over. Yesterday his performances included a version of The Flight of the Bumble Bee which...well, I'm sorry, Yuja, but you've got competition there. Having been curious about his name and any possible relation to a certain other Hungarian name that is similar but shorter, I finally got to ask him the billion-pound question, "So, has 'Lisztes' got anything to do with Franz Liszt?"

Now, here's a little correction. "Liszt", he says, means "flour" in Hungarian. "Lisztes" means "floury". I heard "flower" and "flowery", but an eagle-eyed, Hungarian-literate reader has put me straight...

 So...yes and no. And a smile. And, perhaps, a mystery. But if the piano had Liszt, the cimbalom has Lisztes. That much is clear.

For this occasion Roby played the "Ex-Stevens" Strad of 1690, lent by Florian Leonhard for the occasion. In the glass case towards the back of the room is the 'Barjansky' Strad cello, likewise of 1690, which Julian Lloyd Webber has put up for sale (also via Leonhard). Standing in front of it is its bodyguard!

RIP Ronald Stevenson (1928 - 2015)

The sad news has just reached us that one of the giants of contemporary music in the UK has died. The great Ronald Stevenson, composer and pianist - indeed, composer-pianist - was described by some as a Lisztian figure for our times. A composer outside the mainstream, with Busoni among his most powerful influences, he held true to the integrity of his own voice throughout, was immensely loved and respected, and has been deeply influential - and will remain so for years to come.

Learn more about Stevenson and his life and music at the Ronald Stevenson Society, here.

Here is an introduction to one of his most celebrated pieces, the gigantic Passacaglia on D-S-C-H, from Marc-André Hamelin and Stevenson himself.



And here is an incredibly beautiful piece entitled 'In the Silent Night', from L'art nouveau de chant appliqué au piano, Vol 1, played by Stevenson's friend and devoted advocate, Murray McLachlan.

Oh, all right then...

... it's Friday, it's gone 4 o'clock and it's high time we had a quick look at what Jonas Kaufmann is up to.

Singing Walther in Meistersinger in Munich, that's what - on the near horizon. Opening night is 16 May 2016, Kirill Petrenko conducts, Sara Jakubiak sings Eva and Wolfgang Koch is Hans Sachs.

It will be Kaufmann's first time in the role on stage - he sang it once before in concert at the Edinburgh Festival - and the Bayerische Staatsoper has issued this trailer in which he and the director David Bösch talk about the challenges that Wagner's glorious opera poses for them both. (With English subtitles.)