The Wigmore Hall’s 2017/18 season has been announced, and in addition to a really splendid variety of chamber music and performers, piano fans can look forward to a fantastic line up of pianists including Sir Andras Schiff, Peter Donohoe, Imogen Cooper, Steven Osborne and Angela Hewitt, as well as young rising stars Daniil Trifonov and Pavel Kolesnikov, amongst many others. 

Sadly, there are only four women pianists in this impressive roster.

The full list is here: 

Another music-filled year, many hits, a few misses, some new discoveries – musicians, venues, repertoire and people – and a couple of memorable performances of my own, solo and with colleagues…..

January

Pavel Kolesnikov (Wigmore Hall) – What impressed me in Pavel Kolesnikov’s performance was his clarity, control, lightness of touch and musical understanding which revealed the hidden nuances and subtle embroideries in Debussy’s writing. His elegant, sensitive pianism created a concert which was highly engaging and deeply intimate. Review here

The Pink Singers (Cadogan Hall) – a gloriously uplifting evening of fine singing and the premiere of a piece for choir written by a colleague of mine.

Deyan Sudjic (Wigmore Hall) – This was the pianist who asked the Washington Post to remove what he felt was an unfavourable review, and I admit I was curious to hear this pianist after reading about this furore….. Review here

Warren Mailley-Smith (St John’s Smith Square) – A concert in Warren’s series exploring Chopin’s complete piano music.

February

Steven Osborne (St John’s Smith Square) – The first of two wonderful concerts by this exceptional pianist which I enjoyed in 2016. Review here

Piotr Anderszewski (Wigmore Hall) – Always a pleasure to hear this thoughtful and sensitive pianist – and an added pleasure was meeting him briefly after the concert. Review here

Nikolai Demidenko (Cadogan Hall) – Chopin Piano Concerto No. 1. Review here

Mark Swartzentruber (Kings Place) – music by Bach, Ravel and Schubert (D959- one of the may performances of this work which I have been studying)

Divine Fire – The Story of Chopin and Sand told in music and words, performed by Viv McLean (piano) and Susan Porrett (narrator). More about this 7 Star Arts mixed media concert here

Denis Kozhukin (Wigmore Hall) – “sweet sonorities and ravishingly spacious phrases, creating a sense of relaxed ecstasy” Review here

March

Akhenaten (ENO/Coliseum) – an enthralling new production of Philip Glass’s opera. Review here

Leif Ove Andsnes & Friends (Dulwich Picture Gallery) – an engaging and varied concert of music by Nordic composers to coincide with an exhibition of paintings by Nikolai Astrup. Review here

Francoise-Green Duo (St John’s Smith Square) – part of the FG Duo’s Viennese Salon residency, appropriately as I flew to Vienna the day after this concert. Review here

Pierre-Laurent Aimard (Vienna Konzerthaus) – I couldn’t go to Vienna and not go to a concert! A romantic and uplifting performance of Beethoven’s 5th Concerto by PLA.

Nazrin Rashidova (violin) & Daniel Grimwood (piano) (St James’s Piccadilly) – lovely mixed programme of music by Mozart and Poulenc, plus Daniel’s Nocturne, which was, for me, redolent of Liszt and Ravel. Beautiful colourful playing by Nazrin, sensitively accompanied by Daniel. I was lucky enough to hear this fine duo again in November in Wimbledon.

Peter Jablonski (Cadogan Square) – Ravel’s glorious G major Piano Concerto and Gershwin’s exuberant hommage to New York, Rhapsody in Blue, performed by a pianist whom I had the pleasure to meet and interview shortly before the concert.

Beethoven Choral Fantasy Op 80 & Brahms German Requiem – a wonderful performance of Beethoven’s Choral Fantasy by my friend Elspeth Wyllie, followed by an absorbing German Requiem, at St Luke’s Balham

St John Passion/Bach (SJSS) -Polyphony and the OAE, conducted by Stephen Layton. A stunning and very moving performance of Bach’s greatest Passion, on Good Friday.

April

Andras Schiff, The Final Sonatas (Wigmore Hall) – the penultimate piano sonatas of Haydn, Mozart, Beethoven & Schubert. My first encounter with Andras Schiff live in concert. Review here

Iphigénie en Tauride (Drayton Arms Theatre) – startling and immediate “opera in a pub”, by Euphonia Opera Co. Review here

St John Passion/Bach (SJSS) -Polyphony and the OAE, conducted by Stephen Layton. A stunning and very moving performance of Bach’s

Rolf Hind (Wigmore Hall) – unusual and sometimes challenging contemporary music for piano by the pianist with the deepest, most elegant bow in London 🙂

Pierre-Laurent Aimard/Vingt Regards (Milton Court) – my first visit to Milton Court at Guildhall. A remarkable concert in a fine acoustic. Review here

May

The Dark Mirror: Zender’s Winterreise with Ian Bostridge (Barbican Theatre) – a wonderfully quirky yet sensitive and highly atmospheric reworking of Schubert’s late great song cycle. Review here

Concert for North-West Music Trust (Altrincham) – me at the piano in this instance, playing music by Mendelssohn, Cheryl Frances-Hoad and Schubert (D959). My first “proper” concert of my fellowship diploma programme to a very friendly audience and lovely welcoming hosts.

BBC Young Musician Final – an inspiring and uplifting final to the 2016 BBC Young Musician Competition. Review here

Richard Goode – Schubert’s Last Three Sonatas (Royal Festival Hall) – a perfect evening of beautiful piano playing. The finest reading of the D959 for me….. More here

Steven Osborne/The Music of Silence (Milton Court) – back to Milton Court for music by George Crumb and Morton Feldman. Review here

June

The Threepenny Opera (National Theatre) – a delightfully dirty, louche, foul-mouthed and witty production with fine performances by Roy Kinnear and Haydn Gwynne

Piano 4-hands at Conchord Festival (St Mary’s Twickenham) – a new local music festival in Twickenham. Review here

July

Daniel Grimwood/Markson Pianos Series – Sonatas by Schubert, including the great G major, D894, performed on a magnificent Bosendorfer piano by a pianist who really understands this repertoire

August

Louis Lortie/Chamber Prom (Cadogan Hall) – my first live encounter with this pianist whose programme spoke of Italian holidays and sunshine. Review here

Scenes from the End (Camden Peoples Theatre) – one-woman opera with Heloise Werner. Review here

The Makropoulos Case/Proms

September

Proms in the Car Park – a very unusual concert experience: music by Steve Reich performed in a disused multi-storey carpark in Peckham. Review here

Music Marathon (St John’s SMith Square) – I was delighted to have the chance to perform at SJSS, albeit for 15 minutes (!) as part of the music marathon for London Open House weekend. Great to hear and meet other pianists and I made new friends too!

Nick van Bloss (Wigmore Hall) – intense and athletic Beethoven, and lovely to meet Nick in person afterwards

Igor Levit/Beethoven (Wigmore Hall) – the launch of Levit’s Beethoven sonatas cycle. Review here

October

Steven Isserlis & Olli Mustonen (Wigmore Hall) – a chance to catch up with a friend who used to be my most regular concert companion (now resident in Spain).

Liszt’s B minor Sonata – lecture & concert (Kings Place). An insightful and revealing talk by Alfred Brendel followed by a performance of a sonata which I have never liked! Review here

Two-Piano Extravaganza (Kings Place) – Part of the inaugural London Piano Festival, this concert was a feast of high-class pianism. Review here

Don Giovanni (ENO/Coliseum) – a splendidly raunchy production, made even better by our Secret Seats in the front row of the Dress Circle, plus interval champagne!

Quartet for the End of Time (SJSS) – a privilege to turn the pages for my friend the pianist Daniel Grimwood, and to enjoy the pianist’s perspective of this extraordinary work. Profound and moving.

Dina Duisen and Friends (1901 Arts Club) – music for piano and clarinet at my favourite small venue

The Prince Concert with Stephen Hough (Wigmore Hall) – atmospheric and varied songs by Stephen Hough, including the premiere of his ‘Dappled Things’. Review here

November

Steve Reich (Barbican Hall) – Electric Counterpoint amongst other minimalist wonders

Lulu (ENO) – a visually stunning new production by William Kentridge

Winterreise in English (Wigmore Hall) – revelatory performance by Roderick Williams and Christopher Glynn, the English translation bringing a startling immediacy to the narrative of Schubert’s song cycle.

December

Concert for SPIN/Specialists in Pain International (St John’s Waterloo) – I performed in a fundraising concert with a pianist colleague and soprano Anna Cavaliero. A really wonderful evening of shared music making (www.spiners.org)

Melvyn Tan at Spitalfields Music (St Leonard’s Spitalfields) – fine pianism and three premieres. Review here

Helen Burford (St Nicholas, Brighton) – a typically eclectic and imaginative concert of “global exotica” including a Tarantella for Toy Piano by Stephen Montague. Atmospheric,  quirky and elegantly presented

Russian Winter Weekend Concert (Dorich House, Kingston) – Russian music arranged for flute and harp with Alena Lugobvkina (flute) and Anne Denholm (harp) and a chance to explore the Art Deco home of artist Dora Gordine. A delightful evening

In addition, I have also enjoyed….

Discovering the organ at St John’s Smith Square (more here)

Some fine concerts at my local music society by performers including Ben Socrates, Joseph Tong, Peter Murdock Saint and Jennifer Heslop, Jelena Makarova, amongst many others

The Magic Flute (directed by Simon Burney) at ENO. Magical, quirky and beguiling.

Fine performances at London Piano Meetup Group events by people who are not professional musicians but for whom the piano is a passion, an obsession and more….

Brave (and occasionally tearful!) performances by adult amateur pianists at my workshop at the 1901 Arts Club on 3 December

Accompanying one of my students who played Massenet’s ‘Meditation’ from Thaïs in a special retirement mass for her headmistress, and accompanying a friend at her Grade 5 French Horn exam (which she passed with distinction!).

Making new friends via social media who are proving enjoyable and stimulating concert companions.

The launch of the Music into Words project which explores writing about classical music today – next event is on 12 February 2017 with a great line-up of speakers (book tickets)

And I am very much lo0king forward to 2017 when I will hear

Martha Argerich (for the first time)

Daniil Trifonov

Anna Tsybuleva (winner of the Leeds Piano Competition)

Boris Berezovsky

Pierre-Laurent Aimard

And no doubt much more besides…..

 

 

 

 

Stephen Hough, composer and pianist with The Prince Consort at Wigmore Hall, Friday 28th October 2016

An evening of music for piano and voice by pianist and polymath Stephen Hough, performed by The Prince Consort, with Hough himself playing in the second half, promised to be something intriguing and special, especially as the programme included the world premiere of Hough’s song cycle Dappled Things, dedicated to John Gilhooly, director of Wigmore Hall.

In setting poetry to music, Hough is working within a fine English song tradition that includes composers such as Purcell, Elgar, Delius, Vaughan Williams, Butterworth and Britten, and indeed there were fleeting musical glimpses of these composers within Hough’s works

Read my full review here

20160806_bkp001_0
(picture: The Economist)

news-3412Who or what inspired you to take up composing and pursue a career in music?

I was surrounded by music from a young age and went to a music school (city of Edinburgh Music school, then St Mary’s Music School) where everyone was encouraged to compose. It’s difficult to put my finger on what exactly inspired me to pursue composing but I think it was this ethos combined with individuals such as the pianist, Peter Evans and ecat (Edinburgh Contemporary Arts Trust at the time)taking an interest and performing as well as commissioning me.

Who or what are the most significant influences on your musical life and career?

Coming to London and studying with Julian Anderson and Edwin Roxburgh made a real shift. They introduced me to so many composers as well as ideas and techniques, and this really instilled me with a desire to always be ambitious with he music I write. Studying in Tanglewood (2008) and working closely with composers Oliver Knussen, Augusta Read Thomas and others was also a very important time for me, not least because I was immersed in the music of Elliott Carter during their celebration of his centenary.

What have been the greatest challenges/frustrations of your career so far? 

Having my son, in 2013, has been a real challenge, although not a frustration. I was used to devoting any or all my time to composing and this had to change, I’m much happier for it though!

What are the special challenges/pleasures of working on a commissioned piece? 

Each commission has its own challenges, this may be linked to a brief. It often feels like you have to learn composing anew for each piece and that’s tough. Another challenge can be the pressure you feel to produce your best work and not to let the commissioner/organiser/individual/performers down, this can be very daunting at the beginning of the composing process.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

Working with musicians for the first time, whether soloists, singers or orchestras can be very exciting but also completely nerve racking. I want so much for them to respond well to what I’m doing and also enjoy learning and performing my music. My music (everyone tell me) is pretty difficult and detailed, even when I fell I’m doing something very simple. I know it takes a huge amount of energy and time to embrace a new sound world and am always incredibly grateful when musicians seem to get what I’m doing and really believe in it.

Which works are you most proud of?

It takes me a long time to feel really comfortable with a piece and it might take several years and different performances for me to let go and enjoy it. For this reason it’s a difficult question, also, how I feel about a piece can be linked to other people’s reactions at the time or the performance. I think I’m most proud of some chamber pieces such as Aviary Sketches for string trio and my Three Whistler Miniatures for Piano trio. I am proud of my Violin Concerto just now, but it’s not receiving its premiere until December so I will have to wait and see! Often I’ve had particular compositional challenges in these works but don’t feel I’ve had to compromise on my language or original vision for the piece.

How would you describe your compositional language?

My language is detailed and intricate. I am drawn to rich harmonies, initially influenced by Messiaen, Takemitsu and Boulez, and long expressive musical lines. I love to create different layers in my music and often slow music exists at the same time as fast music. Clarity and focus, as well as a dedication to always get exactly the right notes, are always paramount for me.

How do you work?

I work in a spare bedroom and spend a lot of time sketching on manuscript and using piano. Once I have developed and discarded a lot of material as well as discovered what I want to try to achieve in a piece, I start using Sibelius software alongside, always moving back and forth manuscript to rework and draft passage. This is usually pretty extensive.

Who are your favourite musicians/composers?

Difficult to say, but Ravel, Stravinsky, Janacek, Byrd, Bach,Ligeti, Knussen feature pretty highly- obviously there are many others, living and dead, but these are composers whose music I love in its entirety.

What is your most memorable concert experience?

Berg violin concerto with Christian Tetzlaff when I was an usher at the Usher Hall during the the Edinburgh International Festival.

What advice would you give to aspiring musicians and composers?

To always keep a core of self belief and never ever give up, even in really tough times. Keep an open mind but always be true to your musical identity and don’t compromise on that.

What is your idea of perfect happiness?

Snuggled by an open fire with a good glass of red and a good book on a winter day.


Born in 1981, Helen studied oboe with John Anderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto, and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as all the major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas. Grime was a Legal and General Junior Fellow at the Royal College of Music from 2007 to 2009. She became a lecturer in composition at the Department of Music at Royal Holloway, University of London, in January 2010.
 
Helen has had works commissioned by some of the most established performers including London Symphony Orchestra, BCMG, Britten Sinfonia, BBC Scottish Symphony Orchestra and the Tanglewood Music Center. Conductors who have performed her work include Daniel Harding, Pierre Boulez, Yan Pascal Tortelier and Sir Mark Elder. Her work Night Songs was commissioned by the BBC Proms in 2012 and premiered by the BBC Symphony Orchestra, conducted by Oliver Knussen. In 2011 she was appointed Associate Composer to the Hallé Orchestra for an initial tenure of three years. Her first commission for them, Near Midnight, was premiered on May 23, 2013 and a recording of her orchestral works performed by the Hallé was released as part of the NMC Debut Disc Series in 2014, which was awarded ‘Editors Choice’ by Gramophone Magazine. 
 

Igor Levit is, along with Daniil Trifonov, the pianist du jour. Lauded for his disc of the Goldberg Variations and Diabelli Variations and Rzewski’s The People United Will Never Be Defeated, and with a slew of critical superlatives for his debut disc of late Beethoven piano sonatas, Levit is a pianist who concerns himself with the most serious edifices of piano literature, while Trifonov tends towards the more romantic virtuoso repertoire.

Beethoven’s 32 piano sonatas represent the loftiest Himalayan peaks of the repertoire, both in terms of the arc of their composition (three distinct periods which mirror significant stages in the composer’s life, artistically and emotionally), and the demands these works place on the pianist. The complete Beethoven cycle, a performance of all the piano sonatas, usually over eight concerts, is a Herculean task, not to be undertaken lightly. It fully tests the mettle of any performer, but the perennial appeal of presenting these works in a cycle is a mark of their significance and the special reverence they have accrued.

On Wednesday night, Igor Levit embarked on his Beethoven sonatas cycle at the Wigmore Hall, bringing his intelligent and distinctive approach to these great works. 

Read my full review here 




(Photo © Igor Levit)

Mozart, Piano Sonata in B flat major, K570

Beethoven, Piano Sonata no. 31 in A flat major, Op.110

Haydn, Piano Sonata in D major, Hob XVI:51

Schubert, Piano Sonata no. 20 in A major, D.959

Wigmore Hall, London, Wednesday 6th April 2016

Sir András Schiff is traversing the final three piano sonatas of Haydn, Mozart, Beethoven and Schubert in concerts across America and Europe. Twelve sonatas in total are spread across three concerts which celebrate the sonata form, “one of the greatest inventions in Western music” (Schiff), a structure central to the oeuvres of all four composers and a means by which we can observe their development at key stages in their creative lives.

andras-schiff

The triptych of concerts also explores the notion of “late style”. In considering Haydn, Mozart, Beethoven and Schubert, lateness is relative, almost a philosophical construct. Haydn and Beethoven were long-lived (by the standards of their day), while Mozart and Schubert died young. But it is the intensity of their lives and creativity that matters here: for example, in the last year of his life, Schubert’s output was astonishing – the string quartets and Symphony in C major, the ‘Schwanengesang’ song cycle and many other works in addition to the three final piano sonatas.

Read my full review here