Trifonov in rehearsal

The Philharmonia Orchestra is playing proud host to the pianist Daniil Trifonov at the moment. He's playing all the Rachmaninov concertos. Last week I was lucky enough to catch the concert that included both No.4 and the Rhapsody on a Theme of Paganini. The Observer's critic didn't mince her words: "He is, no other word, a phenomenon." Hear hear.

The orchestra has been sharing a video clip of the rehearsal for the 'Rach Pag', and it was such astonishing playing that really you have to see it too - it's here.

The Trif is back on Thursday: beg, borrow or steal a ticket.

Oranges, lemons and La Calinda...

I'm counting the days until the Wexford Opera Festival. Ten at present. Very pleased to be going back this year to an event of which I've loved every minute the times before that I have been there, and this year they're doing Delius's Koanga, a blink-and-you-missed-it rarity (it was done once at Sadler's Wells in 2007 and I blinked and missed it - or may have been away in Bosnia at the time - a pity one can't be in several places all at once). Posted below is a short piece I wrote for yesterday's Independent about why it's so special. 

First, here's Sir Malcolm Sargent, with an introduction to 'La Calinda' that isn't terribly accurate about its setting. The opera is set in Louisiana. It was Delius himself who was on an orange plantation in Florida...of which more in a mo.

Delius’s Koanga is the opera I have waited all my life to see. Stagings are so rare that if you blink, you miss it. Yet the work contains one of the composer’s best-loved pieces, ‘La Calinda’, with its irresistible oboe solo that seems all mingled smiles and tears; my husband and I both love it so much that we walked out to it after our wedding ceremony. Now, at last, Koanga is being presented complete at the Wexford Festival, Ireland – the best friend anywhere of deserving, under-performed operas.

Delius, 1907

Unfortunately it is rare for a good reason: its distinctly tricky story, based partly on the novel The Gradissimes by George Washington Cable. Koanga is an African king and Voodoo priest who has been brought to Louisiana as a slave. He loves Palmyra, the mulatto daughter of a slave girl and a white plantation owner, and agrees to convert to Christianity to marry her. But the overseer wants Palmyra for himself; everything goes horribly wrong and the tale concludes in tragedy.

Just imagine the problems such a scenario presents for a creative team in 2015. Its director, Michael Gieleta, whose staging of Maria by Roman Statkowski took Wexford by storm in 2011, nevertheless points out that the issues Koanga raises are absolutely current: religion, sexual abuse, power and of course race.

Blacking up is not an option. “The characters are defined not by their skin colour, but by their body language and by their relationships,” Gieleta says. “This is about captors and captives.” Koanga and Palmyra are played by two exciting young singers, the American baritone Norman Garrett and the South African soprano Nozuko Teto; and Gieleta’s preparations for the production included holding dance workshops in South Africa.

Back in 1895, Koanga might have seemed an unlikely topic for a British composer – but Delius had his own reasons for choosing a tragic love story set amid the toxic race relations of the Deep South. Born to a German immigrant family in Bradford, he moved to Florida in 1884, aged 22, to run an orange plantation. Here he fell in love with an African-American girl, whose family would previously have been slaves – and she bore his child. Later he returned to the US to look for her and their son. They had vanished. She may have gone into hiding for fear he would take the boy away.

This startling episode was confirmed by Eric Fenby, Delius’s amanuensis, in a recorded phone conversation with the violinist Tasmin Little, who researched the topic in 1997. Fenby was well aware, too, of how close Koanga was to its composer’s heart. “Usually, once a work was written, Delius's interest in it would wane,” he wrote. “For Koanga, however, he showed concern as though it held some secret bond that bound him to his youth in Florida. It was the one work he deplored in old age he was never likely to hear again...”

Clearly Fenby regarded Koanga as the work that was inspired by Delius’s lost love and the child he never knew. Its conductor at Wexford, Stephen Barlow, confirms the special nature of the work: “The libretto may be a bit clunky,” he says, “but some of the music has the great, sensual sweep of Delius at his finest.”

And if ‘La Calinda’ feels like smiles through tears, perhaps that was with good reason all along.  

Koanga, Wexford Festival Opera, Ireland, 21-30 October. Box office: +353 53 912 2144

You know that nightmare that you're turning pages for Brahms and this happens?

Page-turning may be the most terrifying job in classical music, but the other day violinist Anna Reszniak - in normal life concertmaster of the Nürnberg Symphony Orchestra - stepped into that role and saved the day for violin and piano duo Christian Tetzlaff and Lars Vogt as they tacked Brahms's Scherzo from the 'FAE Sonata'. Her cool head and professional demeanour kept the music on the rails - and the stands - at the Sendesaal Bremen, and earned her a guest star spot at the curtain calls. Brava, Anna!

We know FAE stands for Joseph Joachim's motto 'frei aber einsam' (free but lonely), but I bet there were some alternatives interpretations flying around after that...

The Brontës' piano comes to life

Linger - Ailís Ní Ríain @ The Bronte Parsonage Museum from Ailís Ní Ríain on Vimeo.

Tomorrow the Irish composer Aílís Ní Ríain launches a fascinating new project at the home of the Brontë family in Haworth, Yorkshire. She has written six new pieces specifically for the literary siblings' own piano - the sound that might have lived alongside the creation of Emily's Wuthering Heights, Charlotte's Jane Eyre and Anne's The Tenant of Wildfell Hall.

Aílís and the Brontës' piano

The project, entitled Linger, has been recorded and its component pieces will be played in the various rooms of the Brontë Parsonage Museum, where they can be heard until 4 January. There'll also be a concept album based on The Tenant of Wildfell Hall.

Aílís, who was born in Cork and whose composition teachers included Nicola LeFanu, Kevin Malone and Adam Gorb, has lived in northern England for 20 years and is currently based near Haworth. She says:

The pieces are composed to 'lock into each other' when heard at a distance. In essence, Linger is a large work for six intertwining, contrapuntal voices which are separated into six rooms in the Brontë home. Elements of each piece will 'drift' or 'leak' out of each room forming a sonorous space all of its own on and near the stairwell. Visitors are invited to dwell in quiet contemplation and thought; to linger.”

The piano itself has undergone a three-year restoration process and Aílís says it is "beautiful".

Scriabin and gone, but marvellous

Stunning encounter with Scriabin's Third Symphony at the RFH the other night made me realise I never posted on JDCMB the article I wrote about him during the Proms, all about the grandiose excesses and giant dreams of this very tiny Russian (honestly, you should see his evening suit, which is on display in his flat in Moscow...). Oliver Knussen, who was conducting the Poem of Ecstasy and arranged some piano pieces for orchestra which were played on Saturday evening, had some fascinating things to say, too. It was in the Independent on 1 August. Here goes.

Scriabin's Bechstein, in the composer's Moscow apartment

A tiny man with a vast imagination, Alexander Scriabin is possibly the most intriguing of the composers whose anniversaries are marked at this year’s Proms. He died aged only 43 exactly a hundred years ago and the Prom on 6 August features his Poem of Ecstasy, a work that represents the very pinnacle of his exotic, even erotic musical language.

The late Ken Russell once wrote a radio play entitled The Death of Alexander Scriabin, in which the composer encounters the occultist Aleister Crowley; the notion is fictional, yet has its appeal, for the spellbinding darkness of Scriabin at his best can resemble musical black magic. From an aristocratic and military family in Moscow, he started out composing piano music much influenced by Chopin, but later became preoccupied with mysticism and theosophy. He dreamed of creating as his magnum opus a multimedia work, Mysterium - “a grandiose religious synthesis of all arts which would herald the birth of a new world,” he wrote – for performance in the Himalayas, but did not live to complete it.

The British composer Oliver Knussen is conducting the Poem of Ecstasy at the Proms; he says he has been under Scriabin’s spell since boyhood. “The uniquely sensuous and hypnotic harmonic world, fabulous orchestral colours, and textures teeming with Fabergé-like detail have exerted a powerful attraction for me since my teens,” Knussen says. “It's especially seductive music to accompany the time when one's hormones are ragingly active – but the fascination has deepened over the years. 

The museum curator displays Scriabin's lightbox

“Scriabin’s mystical side was of enormous creative importance to him; his writings belong firmly in the world of Madame Blavatsky, et al; and the self-glorifying messianic ambitiousness certainly got out of control towards the end of his life,” he remarks. “But it is the quality and originality of the music itself that is most important. Scriabin made his own surprisingly rational way into a world of extreme chromaticism completely independently of Schoenberg. One wonders how this might have developed had he not died at 43.” 

Scriabin’s Moscow apartment is now a museum: the composer’s piano takes pride of place and is often played by visiting pianists making a pilgrimage; and his diminutive evening suit is on display - he was just over five feet tall. On his desk stands a wood-mounted circle of six different-coloured electric bulbs, which can light up in various combinations. 

This modest device aided and abetted Scriabin as he composed his Prometheus – The Poem of Fire, an attempt to bring his synaesthesia (the correlation of two senses, here sound and colour) directly into his music. Colour in relation to tone is written in to the score at one point; orchestras sometimes attempt to include it with the use of coloured light. Knussen does not quite approve: “It’s most often an embarrassment unless done with great care and taste,” he says. “Scriabin's music is too strange and subtle to be treated as some sort of proto-hippie/rave lightshow.” 

It is also too significant and influential for that. The Poem of Ecstasy was considered startlingly modern on its first hearing in 1908: “Prokofiev in his diary says that he went to a rehearsal together with Miaskovsky and that neither of them understood it at all,” Knussen recounts. “But Stravinsky certainly did; although he was rude about Scriabin in later life, neither The Firebird or Le Rossignol would sound as they do without Scriabin in the background. 

“I myself have been profoundly influenced by Scriabin’s harmony,” he adds,  “which to me is embarrassingly easy to hear in, for example, my Third Symphony, Where the Wild Things Are, and especially my piano music. As I said, once you're hooked, you're hooked.”