Beethoven faces up to Matthews and wins with Oramo and the BBC SO

‘Sakari Oramo’s first season as Principal Conductor of the BBC Symphony Orchestra is now well under way, and Wednesday night’s concert at the Barbican demonstrated his musical intelligence not only in performance but also in programming. A new work by Colin Matthews, Traces Remain, explores the relationship between harmony’s tonal past and its atonal present through a network of quotations; similarly, Schumann’s Konzertstück for four horns and orchestra finds a voice for the newly-chromatic valved horn, but one proudly indebted to the instrument’s outdoor, signalling history. Though it may seem an odd choice, Oramo never allowed Beethoven’s monumental third symphony, theEroica, to rest on its laurels. Rather, it was an Eroica for the modern day, saturated with the traces of the end result of Beethoven’s savage dissonances and rhythmic dislocations. Curiously, it was this latter work, rather than the new commission, that shone as the highlight of the programme. Too clever by half, Matthews’ myriad tonal quotations stalled rather than invigorated the music, and an appealingly individual compositional voice was all but lost under references that were all too explicit’

Read the whole review at Bachtrack here.


John Lill in excellent form for the second concert of his Beethoven piano sonata cycle

‘The second concert of John Lill’s Beethoven piano sonata cycle saw this national treasure back in the form that has earned him his reputation. After a slightly disappointing first outing, it was refreshing to hear such commitment throughout a concert, even in the smaller Piano Sonatas (nos. 3, 6 and 10); never did these earlier works feel lesser than their sprawling companion,Piano Sonata no. 21 in C major, ‘Waldstein’ (so-called after its dedicatee). Relishing Beethoven’s unheard-of piano textures and colours, and with deeply nuanced expression, this was a performance in which every note sounded fresh and totally original, as if we were hearing these works for the first time.’


Read my whole review at Bachtrack here

The Appassionata opens John Lill’s Beethoven sonata cycle at Cadogan Hall, 7/10/13

‘The first of concert of John Lill’s Beethoven piano sonata cycle at Cadogan Hall saw a warhorse of the concert platform performing one of the great warhorses of the piano repertory. Alongside the concluding Op. 57 sonata – theAppassionata – we heard three lesser-known works, namely Op. 10 no. 3 in D, Op. 22 in B flat, and Op. 54 in F, presented in chronological order. Introducing Lill’s idiosyncratic programming, chosen, according to his prefatory note, to demonstrate in each concert something of the progression of Beethoven’s style, the earliest sonata came first and the Appassionata last, the latter paired with the practically unheard Op. 54 after the interval. Although a reasonable idea to ensure variety in each of a whopping eight concerts, such “big names last” programming often leads to a lack of focus in the earlier works on the programme, and the disparity in standard between first and second halves was rather disappointing, particularly from one who puts Beethoven first in his repertoire to such an extent as Lill.’

Read the whole review at Bachtrack here.

A lesson in orchestral technique from Orchestra Mozart and Haitink in their London debut, 1/10/13

‘It was only through a litany of roster changes that the Orchestra Mozart’s London debut at the Royal Festival Hall took place at all. Beginning with Claudio Abbado and Martha Argerich down to play Haydn and Mozart, a dual cancellation meant Bernard Haitink and Maria João Pires had to step in at what may as well have been the last minute. With them changed the programme, leaving us with an all-Beethoven concert contrasting the high drama of the second Leonore overture with the relatively unrestrained optimism of the Second Piano Concerto and the Fourth Symphony, both in B flat and with not a minor-key movement between them.’

Read the whole review at Bachtrack here.

Busoni, Beethoven, Liszt, Mussorgsky; Paul Lewis, Sarratt Village Hall 28/9/13

  • Bach-Busoni: Nun komm der Heiden Heiland BWV 659
  • Beethoven: Piano Sonata op. 27 no. 1 in Eb
  • Bach-Busoni: Ich ruf’ zu dir, Herr Jesu Christ BWV 639
  • Liszt: Schlaflos! Frage und Antwort S.203; Unstern! sinistre, disastro S.208; Richard Wagner- Venezia S.201
  • Mussorgsky: Pictures at an Exhibition


The Sarratt Music Festival is a bit of an odd bird. A programme of two weekends of 2 concerts each with 5 days of children’s concerts in between, all in a sleepy part of rural Hertfordshire, does not sound the most conducive environment to great music-making. However, with appearances this year from the Hilliard Ensemble, the Budapest Café Orchestra, Leon McCawley (with LPO principal Peter Schoeman and principal horn and local David Pyatt), and none other than Paul Lewis, the Festival is an unexpected delight. Saturday’s concert saw Lewis in typically brilliant form in a programme juxtaposing the worlds of reality and ‘fantasy’, the prostrate humanity of Bach’s chorale preludes (as transcribed by Busoni) contrasted with the freewheeling structures of Beethoven’s two Quasi una Fantasia piano sonatas op. 27, the otherworldliness of late Liszt with the earthen vitality of Mussorgsky’s Pictures at an Exhibition.

Lewis’s playing was, as ever, irreproachable. From the first note of Nun komm der Heiden Heiland his mastery of tone was obvious, Busoni’s transcriptions requiring, in general, the most expressive thumbs or fifth fingers of any music in the repertoire. The chorale melodies, though surrounded by heavy, solemn octaves and delicate outer parts, always sang through with human warmth. One can hardly match the range of colours possible on the organ, but Lewis came pretty close in finding an effortlessly expressive vocality of lines often shared awkwardly between hands.

However, it was what Lewis did apart from playing that bothered me. I don’t really mind that we occasionally call Beethoven’s piano sonata op. 27 no. 2 the ‘Moonlight’. Clearly, something in Ludwig Rellstab’s description of the first movement as like moonlight over Lake Lucerne struck a chord with the general public, and the sobriquet stuck. Of course, such ‘inauthentic’ titling is an apt target for the lofty chuckling of those who would really love to think they know better, and Lewis’s preamble, in which he asserted the piece ‘has nothing to do with moonlight’ to knowing harrumphs from the audience, seemed a shame, especially since his interpretation had quite a lot to do with it.

Say what you will about the title, but Rellstab’s Romantic image has influenced our understanding of the first movement for years, and if one is going to laugh it off as external to the music, one should at least have the consistency to play what’s written, to ‘get back to the music’. Lewis’s reading of the first movement was in a familiarly dirge-like 4, not in Beethoven’s written alla breve 2, and the march rhythms – it is, after all, a funeral march – were consequently indistinct. To be clear, this was beautiful, elegant playing, just as we had heard in op. 27 no. 1; my issue is that it sounded exactly the same as all the performances in which ‘Moonlight’ sits unchallenged in the programme. Andràs Schiff explains this in his Guardian lecture series*, and demonstrates how an ‘authentic’ interpretation might be crafted. Schiff may be forthright and more than a little dogmatic, but he is admirably consistent in the link from his thinking to his playing.

The Moonlight (take that, Paul Lewis!) also showed a problem with the Sarratt Music Festival’s commendable selection of performers: big names need proper instruments, and proper instruments need big halls. The full-length Steinway Lewis played on was far too large for Sarratt’s impressive but still provincial village hall, especially for a player who can project a gorgeous tone to the back of the biggest concert halls in the world. As such, the finale of the Moonlight, though absolutely thrilling and improvisatory in its deftness, was often unpleasantly loud, especially Beethoven’s clangorous punctuating chords.

So too in an otherwise exemplary Pictures, where by the end of the Great Gate of Kiev the constant hammering of much of Mussorgsky’s lumpen piano writing had come to feel a bit of an assault on the ears. This is through no fault of Lewis’s, of course, merely a misfortune of ambitious event planning. Indeed, though his reading was rather conventional, there was practically nothing to fault in it. Particularly effective were the contrasting sonorities of Catacombae, the cavernous underbelly of a city and the sorrow of the buried dead chillingly and effortlessly evoked by Lewis’s now muscular, now delicate performance. Despite an over-loud piano, this was really exciting stuff, and a long ovation afterwards drew Lewis back to the piano for some late Liszt, the Klavierstuck, a quiet, meditative, and short piece showcasing his intensely, achingly lyrical tone and effortlessly aristocratic style.

It was in fact the short pieces of late Liszt which were the highlight of the evening. Experimental in form to the point of formlessness, under the right fingers these are arresting works, with Richard Wagner – Venezia (inspired by the death of said Wagner) the only one approaching anything like grandeur. With visionary harmonies and a whispered, totally sincere profundity, these short pieces seemed to descend on the post-interval silence from another world, and the silence reigning at the end was a measure of the intense focus Lewis drew out of audience that, though occasionally chatty, was mostly reverential of such an obviously unimpeachable artist.

*Schiff’s lectures on the whole set of Beethoven sonatas are worth a listen for anyone wishing to learn a thing or two about these pieces, or at least to have something to be outraged about. Find the whole series here.