A wordcloud of all the composers whose music I’ve heard in concerts this year
My concert hits (and misses) of 2015
‘Tis the season for “top 10” and “best of” the year lists (indeed, such is the popularity of these lists that it would appear that every music critic at The Guardian has issued their own Top 10 Concert/Operas of 2015).
Once again, I have enjoyed a busy year of concerts, reviewing 21 concerts in London for Bachtrack.com, plus various concerts at St John’s Smith Square, the 1901 Arts Club, St Mary’s Perivale and my local music society in Teddington.
“Hits” of 2015 include all five Prokofiev Piano Concertos in a single concert at the Proms, a musical marathon for the orchestra (LSO) and audience alike, with particularly fine performances by Daniil Trifonov and Arcadi Volodos. Other stand out Proms were Sibelius first and second symphonies, Thierry Escaich playing the Albert Hall organ, and Bernard Haitink conducting the Chamber Orchestra of Europe in Mozart’s Piano Concert K488, with Maria Joao Pires as soloist (an exquisitely measured and elegant performance), and Schubert’s ‘Great’ C Major Symphony, D944. My enjoyment of many of the Proms I attended this year was undoubtedly enhanced by my concert companions.
At the Wigmore, Garrick Ohlsson’s Skryabin Focus residency proved enlightening and insightful, with Ohlsson revealing himself as a sensitive and colouful interpreter of this curious, sensuous and often totally over the top music. This was definitely an opportunity to surrender oneself to the composer’s unique soundworld in the hands of a most capable and modest pianist.
Another revealing concert was given by Antonii Baryshevskyi, winner of the Arthur Rubinstein International Piano Master Competition. He presented an engaging programme which made interesting links between Scarlatti and Ligeti, together with music by Chopin, Messiaen and Schumann which revealed Baryshevskyi to be a pianist at home with a wide variety of repertoire and styles.
Maria Joao Pires gave a delightfully intimate and atmospheric joint concert with one of her protegés, Pavel Kolesnikov, in music by Beethoven, Schubert and Schumann (both solo works and music for piano 4 hands).
One of the most eagerly anticipated concerts of 2015 – and not necessarily for all the right reasons – was Ivo Pogorelich’s “this is not a comeback” concert at the Festival Hall in February. It was a curious curate’s egg of an evening, with some very uneven, eccentric and clumsy playing combined with a blistering and masterful rendition of the Brahms Paganini Variations. The critics were universally damning, yet I felt rather sad that Pogorelich had been submitted to such vitriol. Whatever one may think about the quality of his playing, together with some very strange interaction with the page turner, it was undoubtedly an “interesting” concert, and somewhat refreshing to hear such personal piano playing as opposed to the “louder faster” school of pianism one encounters rather too often these days…..
Talking of which, against my better judgement I decided to hear Lang Lang at the Royal Albert Hall, and for me the first time I’d heard the Chinese poster boy pianist since 2002. There were flashes of insight and sensitivity, particularly in the slow movement of the Bach Italian Concerto, but the Chopin Scherzi were a vehicle for his trademark flashy, overblown virtuosity, the subtlety of Chopin’s writing lost in a whirlwind of noise and velocity. ‘The Seasons’ by Tchaikovsky was simply the wrong repertoire for the size of venue, but here there were also moments of beauty and hints of a more mature approach.
Which leads me to my “miss” of 2015, the much-lauded young Polish Canadian pianist Jan Lisiecki who played much by Mozart, Mendelssohn, Liszt and Chopin’s Opus 25 Etudes at the Wigmore Hall in October. I had read much about Lisiecki, very fulsome and often gushing praise and I was curious to hear him live. Sadly, most of his concert was a display of youthful arrogance and immaturity which manifested itself in some very ugly and unsubtle playing. Jan is only 20 and he has plenty of time to develop as an artist – and I sincerely hope he does.
In addition, I’ve also enjoyed fine performances this year by Jeremy Denk, Murray Perahia, Stephen Hough (including the premiere of his new Piano Sonata), Marc-André Hamelin, Yevgeny Sudbin, François-Frédéric Guy, Peter Donohoe, Steven Osborne and Warren Mailley-Smith. 2016 seems set to begin on a high with concerts at the Wigmore by Pavel Kolesnikov, Steven Osborne, Piotr Anderszewski, Denis Kozukhin, and the continuation of Warren Mailley-Smith’s survey of Chopin’s complete piano music at St John’s Smith Square, a lovely venue for piano music. Further ahead in 2016, I am very much looking forward to Andras Schiff’s ‘Last Sonatas’ programmes at the Wigmore, exploring the final three sonatas of Haydn, Mozart, Beethoven and Schubert, and Daniil Trifonov in June. There is much to enjoy in 2016 and I think my concert diary is likely to be as busy as it has been this year.
Link to all my Bachtrack reviews and articles
Meet the Artists……Naomi Sullivan & Neil McGovern of Syzygy Quartet
Who or what inspired you to take up the saxophone, and pursue a career in music?
Naomi Sullivan: Heather Sullivan (my mother). My family all play music, although I’m the only person who pursued it as a career. My mother gave us recorder lessons, then I played flute until I got irritated that it felt so quiet compared to the brass band playing we all did. I tried a friend’s tenor saxophone, which seemed more cathartic and I’ve stuck with it. I still uphold that my siblings are far more talented than me, but they are possibly a little wiser, (as to finances).
Neil McGovern: The sound of the saxophone was something that really struck me as a young child. It really drew me in and appealed to me though I hadn’t actually heard it very much. Pursuing a career in music felt like the right decision for a long time. Performing became very normal and pursuing excellence in this was always a great aim for me.
Who or what have been the most important influences on your musical life and career?
Naomi: Jim Muirhead taught me at Chetham’s and suggested auditioning at the Royal College of Music. Which is why I ended up studying with Kyle Horch who is still hugely influential in both my teaching and playing. I spent a year at Northwestern University and studied with Fred Hemke. His sense of fun, knowledge and presence is ever so powerful. I can’t imagine a better list of teachers, three very different but all brilliant, kind and inspiring musicians.
Also, all the music I listened to growing up has to be an important factor. I suppose it builds a strong sense of musical connection that becomes a lasting and positive part of your essence or sense of self, if that’s not too whimsical.
And as I get longer in the tooth, my students constantly surprise, challenge, motivate and amuse me. I’ve been very lucky.
Neil: All my teachers – Kyle Horch, Alistair Parnell, and those who gave me so much in the early years too. My parents provided the material and financial means to study music, but primarily they were relentless encouragers and supporters. The interests, and often the intensity of certain fellow students significantly shaped my own musical goals and directions.
What have been the greatest challenges of your career so far?
Naomi: Other than paying the bills? Not giving up or running away from being so regularly out of one’s comfort zone. The unrealistic expectations you can put on yourself and the self-criticism that can go with that.
Neil: I feel very blessed to have been able to work in music since the day I finished Music College. Not everyone in life will like you or how you play, that’s fairly obvious. Sometimes fatigue or illness can hamper performances, other times it can strangely help them! I think learning to say no to certain things is hard, often musicians idolise the gig, the concert above anything else, no matter how poorly paid or uninspiring it actually is. Trying to maintain some values and purpose in what you’re doing is probably the hardest thing. There’s an awful lot of cynicism and jaded feeling around which is easy to slip into.
Which performance/recordings are you most proud of?
Naomi: I am quietly confident that the ultimate Syzygy performance is yet to come… Away from the quartet, I have really enjoyed playing with duo partner, Masahito Sugihara and am proud that we always managed to find energy to play despite always being on a demanding schedule. We’ve had some good adventures. I am grateful for his friendship, musicianship, generosity and patience.
Neil: I’ve come away from the majority of performances happy with the overall impact. Unusual performances stand out, such as Syzygy’s concert in a National Portrait Gallery room playing music specifically related to the artwork there. The Huddersfield Contemporary Music Festival was a wonderful surprise because we were on so early in the day and were expecting a couple of enthusiasts only in the audience, but the place was packed and the atmosphere buzzing. Recordings can be very difficult, with the tyrannical expectation of perfection looming over every session, but Syzygy’s Maslanka recording has been a really great experience for me personally, because of the exceptional talent of my friends in the quartet and the mastery of the producer, Simon Hall who made everything come together so well.
Which particular works do you think you play best?
Naomi: Speaking for Syzygy, I think we all like playing extrovert, intense pieces and when we’re all on the same wavelength in regard to energy and enjoyment, I do think it makes for better chamber music. But the saxophone is a remarkable instrument in it’s potential to create such an extreme range of sounds, colours and voices, it’s quite difficult to pick one genre or particular work.
Neil: Syzygy really is at its best with involved and cutting edge repertoire. The group really got its teeth into the Xenakis quartet (Xas) early on and this sort of set the precedent for playing difficult and substantial music. The concentration and connection involved when playing together is quite remarkable – I remember this feeling especially during intensive rehearsals of the Andriessen quartet ‘Facing Death’, but also with the Maslanka’s ‘Songs…’.
How do you make your repertoire choices from season to season?
Naomi: It normally comes from either a new commission, or finding a theme we feel works. And can vary, depending on who has asked us to play. I like concerts or projects that have a theme or offer the chance to draw on and learn from other art forms – literature, art, architecture. This is particularly useful when playing so much contemporary music.
Neil: I think we’re always looking for something new and unusual, trying to contribute something of note to the canon. Hopefully over time there will be more and more great works for saxophone quartet. We make decisions based on the music we really feel is worthwhile.
Do you have a favourite concert venue to perform in and why?
Naomi: Performing in informal or unusual venues currently seems popular way of engaging with wider audiences. I definitely feel more at home in informal environments (especially those with a flattering acoustic), where people are free to listen or not. Such as the National Gallery or Royal Academy of Arts. Syzygy played at Proud in Camden once, that was an interesting night.
Neil: I think the soon to be demolished Adrian Boult Hall will always be a special place to me, it’s where Syzygy first performed live and where we recorded the Maslanka.
Favourite pieces to perform? Listen to?
Naomi: I’m not sure I have a favourite as it depends on so many factors, i.e. what one is doing or if one needs to have a mood brightener or a good wallow. I suppose one of my favourite aspects of music (listening/performing) is its ability to trigger extremely powerful memories, emotions and connections through abstract sounds. Or performing when you feel fully immersed in a feeling of energised focus, full involvement, and enjoyment. It makes things better. If you’re cooking, you cook better with Dr. John to listen to.
Neil: To perform: probably Joe Cutler’s ‘Screaming 229a’. To listen to I would say Alex Buess’ ‘ata-9’.
Who are your favourite musicians?
Naomi: Again, it’s very hard to be specific but the first musician’s that spring to mind include: Flaming Oh, John Cage, Robert Wyatt, Margaret Price, Nick Drake, Frans Brüggen, Archie Shepp, Horovitz and all my chamber music friends.
Neil: I love a German avant-garde jazz group called ‘Der Rote Bereich’, and also harpsichordist Elisabeth Chojnacka, but really there are too many to name.
What is your most memorable concert experience?
Naomi: With regard to Syzygy, a few years ago we played on the Southbank as part of the Park Lane Group Young Artist’s Series. The programme was challenging (Xennakis: Xas and David Bedford’s Fridiof Kennings) and called for us to use 13 saxophones and a tambourine. There was a full audience, which is always a refreshing surprise at saxophone concert. I remember feeling the best sort of nervous – when you feel as prepared as you can be and excited about the music you’re playing.
Neil: Having finished a soundcheck for a gig, walking out of the venue’s front door only to be greeted by Animal Rights protestors chanting “Blood, blood, blood on your hands,” at us. Quite bewildering.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Naomi: Find your own way and try to work out what part of the music industry suits you and how you can contribute something. However, try not to say ‘no’ to any opportunity as I suppose we find our own voice from our experiences. Be proactive, communicative, curious, don’t loose energy and don’t always take things too seriously. You really can’t please everyone; you can only do your best. But try to be honest with yourself as to what your ‘best’ is.
Neil: Work really hard and keep going. Develop good taste and play music that has some substance to it.
What is your idea of perfect happiness?
Naomi: Finding my house keys when I believe they are lost. Especially if I think I’ve left the oven on.
Where would you like to be in 10 years’ time?
Neil: As a group, I’d like Syzygy to have made a number of recordings and had some great new music written for saxophone quartet. I think we’ve scratched the surface of what the group is capable of, but there’s potentially so much more.
What do you enjoy doing most?
Naomi: Playing chamber music.
Naomi Sullivan is Soprano Saxophone in Syzygy Quartet.
Neil McGovern is Baritone Saxophone in Syzygy Quartet.
Syzygy Quartet’s album Songs for the Coming Day by David Maslanka is available to buy from Amazon now. Read a review here
Syzygy saxophone quartet were formed after playing together at the 2009 World Saxophone Congress in Bangkok with the London Saxophone Ensemble. The quartet was established with the aim to promote and perform established contemporary works, alongside new music written especially for the ensemble.
Syzygy’s debut performance was in the Adrian Boult Hall, Birmingham, as part of the Frontiers & Andriessen Festival, where they performed Louis Andriessen’s Facing Death. Since then the quartet have gone on to perform at major chamber concert venues across the UK, including performances at the Huddersfield Contemporary Music Festival, and at the Purcell Room as part of the Park Lane Group Young Artists New Year Series. They made their debut at St Martin-in-the-Fields in July 2012 and have performed at the National Portrait Gallery and the Royal Academy of Art. They have also conducted workshops and performed at Chetham’s School of Music, Trinity College of Music, and Birmingham Conservatoire.
They recently recorded their debut CD, being the only ensemble in Europe to be awarded the performing and recording rights for David Maslanka’s ‘Songs for the Coming Day’, a captivating work which will be released in the near future. They were supported by the Help Musicians UK (formerly MBF) from whom they received an Emerging Excellence award.
What’s the point of reviewing concerts?
A lively debate is developing over on the Music Haven blog in response to an article by conductor/artistic director Tom Hammond in which he questions the usefulness of reviewing concerts when it seems that the main focus is on “big name” artists and venues in the big cities (i.e. London) and scant attention is paid to out of town or smaller scale and amateur performances.
As a reviewer myself, for this blog and also for a major concert and opera listings site, I regularly question the value of reviewing concerts, and it troubles me that certain reviewers seem to focus an undue amount of attention on the big names and almost none on lesser-known or more unusual artists and ensembles. Personally, I see my role as an “enabler” – enabling artists, audiences and reviewers to connect, engage and communicate via my blog and my reviewing. As the British pianist Peter Donohoe said in his own earlier article on music critics, ultimately we should all be on the same side – that of the music – and I feel we have a responsibility as reviewers and music bloggers to support the rich musical landscape we are so lucky to have here in the UK.
And read my response to Tom’s article
The Cross-Eyed Pianist 