The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
The voices of six women composers are celebrated by baritone Jeremy Huw Williams and soprano Yunah Lee on this characteristically ambitious and valuable release by Lontano Records Ltd (Lorelt).
As Paul Spicer, conductor of the Royal Birmingham Conservatoire Chamber Choir, observes, the worship of the Blessed Virgin Mary is as ‘old as Christianity itself’, and programmes devoted to settings of texts which venerate the Virgin Mary are commonplace.
Ethel Smyth’s last large-scale work, written in 1930 by the then 72-year-old composer who was increasingly afflicted and depressed by her worsening deafness, was The Prison – a ‘symphony’ for soprano and bass-baritone soloists, chorus and orchestra.
‘Hamilton Harty is Irish to the core, but he is not a musical nationalist.’
‘After silence, that which comes closest to expressing the inexpressible is music.’ Aldous Huxley’s words have inspired VOCES8’s new disc, After Silence, a ‘double album in four chapters’ which marks the ensemble’s 15th anniversary.
A song-cycle is a narrative, a journey, not necessarily literal or linear, but one which carries performer and listener through time and across an emotional terrain. Through complement and contrast, poetry and music crystallise diverse sentiments and somehow cohere variability into an aesthetic unity.
One of the nicest things about being lucky enough to enjoy opera, music and theatre, week in week out, in London’s fringe theatres, music conservatoires, and international concert halls and opera houses, is the opportunity to encounter striking performances by young talented musicians and then watch with pleasure as they fulfil those sparks of promise.
“It’s forbidden, and where’s the art in that?”
Dublin-born John F. Larchet (1884-1967) might well be described as the father of post-Independence Irish music, given the immense influenced that he had upon Irish musical life during the first half of the 20th century - as a composer, musician, administrator and teacher.
The English Civil War is raging. The daughter of a Puritan aristocrat has fallen in love with the son of a Royalist supporter of the House of Stuart. Will love triumph over political expediency and religious dogma?
Beethoven Symphony no 9 (the Choral Symphony) in D minor, Op. 125, and the Choral Fantasy in C minor, Op. 80 with soloist Kristian Bezuidenhout, Pablo Heras-Casado conducting the Freiburger Barockorchester, new from Harmonia Mundi.
A Louise Brooks look-a-like, in bobbed black wig and floor-sweeping leather trench-coat, cheeks purple-rouged and eyes shadowed in black, Barbara Hannigan issues taut gestures which elicit fire-cracker punch from the Mahler Chamber Orchestra.
‘Signor Piatti in a fantasia on themes from Beatrice di Tenda had also his triumph. Difficulties, declared to be insuperable, were vanquished by him with consummate skill and precision. He certainly is amazing, his tone magnificent, and his style excellent. His resources appear to be inexhaustible; and altogether for variety, it is the greatest specimen of violoncello playing that has been heard in this country.’
Baritone Roderick Williams seems to have been a pretty constant ‘companion’, on my laptop screen and through my stereo speakers, during the past few ‘lock-down’ months.
Melodramas can be a difficult genre for composers. Before Richard Strauss’s Enoch Arden the concept of the melodrama was its compact size – Weber’s Wolf’s Glen scene in Der Freischütz, Georg Benda’s Ariadne auf Naxos and Medea or even Leonore’s grave scene in Beethoven’s Fidelio.
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"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.
A landmark recording because it reflects the Scharoun Ensemble's years of experience with Henze and his music. Their relationship began in 1983, shortly after the ensemble was formed. Kammermusik 1958 is one of their signature pieces. "It soon became clear" they write "that the composer's interpretation of Kammermusik 1958 was freer than the written score. Henze took some tempi more slowly, which resulted in more songful, indeed quite romantic music". This performance is outstanding, more assured and more idiomatic than the original recording made in November 1958 with Peter Pears and Julian Bream. Though Henze himself conducted that premiere, he was young, still very much in thrall to Britten, Pears and their cliquey circles. As Henze developed, he became himself, finding the freer, more poetic approach this recording honours. Obviously the first recording is part of the archive, but this new performance opens horizons: very much in the spirit of the poetry of Hölderlin's text and of Henze's mature work. This performance also uses Henze's 1963 revision of the score.
Kammermusik 1958 is also a landmark because it represents a period in which Henze made a creative breakthrough. It connects to the sensuality of Undine and to the esoteric Being Beauteous, but also explores ideas which Henze would develop in later years. The piece begins with a horn call, which is repeated more quietly, as if in response — a deliberate reference to Britten's Serenade for tenor, horn and strings. Almost immediately, though, Henze breaks into new territory — long, shimmering lines that seem to stretch into endless space. The clarinet leads, like the call of a shepherd's flute sounding out over distance.
From this evolves the first song with its long, arching lines that rise expansively, accompanied by guitar. The text is abstract, almost impressionistic in its evocation of colour and mood. "In lieblicher Blue blühet mit dem metallenen Dache der Kirchtum." Hölderlin in his tower, singing to the moon, Andrew Staples and Jürgen Ruck, eternal troubadours. Hölderlin's poetry fascinates modern composers.This particular hymn has also been set by Wilhelm Killmayer and Julian Anderson (whose version will be heard 21/10/17 at the Barbican.) Staples's singing is pristine, for "Reinheit aber ist auch Schönheit". Two Tentos for solo guitar frame the second song in which Henze sets another section of Hölderlin's hymn. Innen aus verschiedenem entsteht, where the poet connects humble mankind with the vastness of the universe. "als der Mensch, der heisset ein Bild der Gottheit". Ruck's playing creates intimacy, cradling the song with protective warmth. It also recreates the flowing rhythms of Tento I which Henze titled "Du schönes Bächlein", a reference to images in the text, which resurface in the third song, where the pace picks up. Staples sings the phrase "Du schönes Bächlein" with minimal accompaniment, as if the poet were transfixed by a vision.
As the voice falls silent, the ensemble emerge in a short Sonata for the ensemble, brisk, turbulent figures that seem to have a life of their own. "Möcht ich ein Komet sein?" Staples sings. Key phrases like "eine schöne Jungfrau" deliciously savoured. The final line "Myrten aber gibt es in Greichenland" shone with intense light, for this epitomizes Hölderlin's concepts of beauty, from the ideals of antiquity far into the future. For Henze, the guitar is more than a “Mediterranean" device. It connects to the lute of Orpheus and all that implied in classical mythology. An inventive cadenza, where the strings dance and cor and bassoon moan, until strong chords in ensemble introduce the next song, "Wenn einer in den Spiegel siehet". which flows with great freedom, as if the clarity of the mirror were drawing ideas into sharper focus. The tento for guitar, which follows, is titled "Sohn Laios" which connects to the references to Oedipus in this and the final song, "Wie Bäche reißt des Ende von Etwas mich dahin". Henze creates a stream of consciousness, weaving text, music, ideas and images together in a stream that's at once elusive yet intriguing. Hölderlin contemplates the destiny of suffering. "Leben ist Tod , und Tod ist auch ein Leben". Long, plaintive vocal lines,yet oddly affirmative, merging into a beautiful wind melody, which might suggest ancient flutes. Horn, cor, bassoon and contrabass create mysterious atmosphere, lightened by strings. This last Epilogue, added by Henze in1963, is extraordinarily moving, very "inwards", true to Hölderlin and his visionary imagination. In the notes, Jürgen Ruck comments on the connections between the Oedipus legend and Henze's socio-political views and his work in music theatre. In some ways, the Oedipus theme might also apply to other things in Henze's life, including his relationship to Britten.
The Scharoun Ensemble Berlin paired this Henze Kammermusik 1958 with Henze's Neue Volkslieder und Hirtengesänge (183/1996) for Bassoon, Guitar and String Trio. Excellent choice, for these extend the idea of Arcadian "Shepherd" songs and fit well with Hölderlin. These songs were premiered by the Scharoun Ensemble Berlin in 1997, presumably with Henze himself in attendance.
Anne Ozorio