What was your last concert?

[Jonathan]

Last night we went to the Sir Jack Lyons concert Hall in York and saw the young Swiss pianist Louis Schwizgebel playing Mozart (Sonata in D, K311), Beethoven (Moonlight Sonata, Op.27 no.2) and Schubert (Sonata in A minor, D845). He also gave us a Schubert / Liszt transcription as an encore (Standchen). He really is a marvellous pianist and played fantastically well with great feeling and, where required virtuosity (especially in the finale of the Moonlight Sonata!)

A marvellous concert!

[MrGongGong]

Colin Walsh at Lincoln Cathedral: MESSIAEN, LA NATIVITE DU SEIGNEUR
totally wonderful , I always want it to go on for ever and would be more than happy to sit up all night in the cold

[Dave2002]

Bach
Christmas Oratorio Parts 1-3, 6
Thomaner, Julia Sophie Wagner (Soprano)
Britta Schwarz (Alto)
Benjamin Bruns (Tenor-Evangelist)
Wolfram Lattke (Tenor-Arien)
Matthias Weichert (Bass)
Thomanerchor Leipzig
Gewandhausorchester Leipzig
Thomaskirche,Leipzig

The church is a lot larger than I expected it to be. Bach was also responsible for the Nikolaikirche - that is two large churches!

[Ferretfancy]

Maxim Vengerov was joined by friends at the Barbican last night, including Lawrence Power, Antonio MenesesIlya Gringolts, Eduard Brunner and Itamar Golan.

They began with Prokofiev's Overture on Hebrew Themes. I found the Barbican acoustic made the music sound rather over bright in this, and Brunnes clarinet rather strident in its upper register, but maybe I needed to adjust. Next came a riveting performance of Shostakovich's Piano Trio No. 2, with extraordinary sensitivity playing, particularly the rapport between Vengerov and Meneses with lovely pianism from Golan. This was the evening's highlight for me.

After the interval came the Brahms Clarinet Quintet, quite forceful where required but not overlooking the autumn mood of the piece. Again I found the clarinet a little uncomfortable when high and loud.

I did get the feeling once or twice that for all their marvellous playing we were missing that sense of a regular chamber music group who completely understood each other's approach, but it was certainly an exciting evening. It's a pity that the Barbican acoustic lacks much of a warm glow, I would certainly have liked more in the Brahms

[teamsaint]

I was at the second installment of the Andris Nelsons RFH Brahms cycle with the Philharmonia last night, although this of course was the first performance with Nelsons at the helm after he missed the series opener with illness.
Helene Grimaud was at the piano for the Brahms PC#2. With its massive first movement, its surely a daunting undertaking for all concerned.
This was the first time seeing Nelsons. His style is easy on the eye, and he conducts with the air of a man who knows or feels that all the work has been done in rehearsal, and that what is needed for these excellent players is a little nudge here and there.
It was a good performance, although maybe, just maybe a tad underwhelming in places. However, at the rear of the stalls you do lose a little impact, so that might be a little unfair. That said, there were moments to treasure, and they came in the third movement. The playing of Principal Cello Timothy Walden was quite exquisite, and he got a big response from the near full house for his efforts. This movement truly was" close your eyes and let your senses be overwhelmed" stuff.

Symphony #4 after the interval was the stronger performance, for my money. Nelsons seems to choose fairly sedate tempi, and that's the way the first movement felt. More importantly, he seemed to be encouraging an approach that emphasised the continuities and connections between lines, above the drama. A very definite feeling of a continuous whole, and successfully done.
The third movement had its lighter side brought to the fore, and made for a good contrast to the finale. I suppose how you feel about a performance depends on how you feel about the piece . To me , this movement always seems to present portents of hard times ahead, and its as if Brahms is struggling to contain the overwhelming truth of what he knows, but dare only reveal in part. Anyhow, be that as it may, there is so much drama to reveal, that the problem for the conductor is surely to hold it in check , rather than let it run amok. This felt just right to me, with the passion just held under control, without diminishing the sheer power of the vision.
There were good responses for Guest Principal Flute Katherine Bryan, and Smithy on timps, of course. Imagine being a professor of Timps. Dream job !!

A fine evening,both outside the hall (with a beautiful winter view over the Thames) and inside. Well worth the trip.

[Thropplenoggin]

I was at the second installment of the Andris Nelsons RFH Brahms cycle with the Philharmonia last night, although this of course was the first performance with Nelsons at the helm after he missed the series opener with illness.
Helene Grimaud was at the piano for the Brahms PC#2. With its massive first movement, its surely a daunting undertaking for all concerned.
This was the first time seeing Nelsons. His style is easy on the eye, and he conducts with the air of a man who knows or feels that all the work has been done in rehearsal, and that what is needed for these excellent players is a little nudge here and there.
It was a good performance, although maybe, just maybe a tad underwhelming in places. However, at the rear of the stalls you do lose a little impact, so that might be a little unfair. That said, there were moments to treasure, and they came in the third movement. The playing of Principal Cello Timothy Walden was quite exquisite, and he got a big response from the near full house for his efforts. This movement truly was" close your eyes and let your senses be overwhelmed" stuff.

Symphony #4 after the interval was the stronger performance, for my money. Nelsons seems to choose fairly sedate tempi, and that's the way the first movement felt. More importantly, he seemed to be encouraging an approach that emphasised the continuities and connections between lines, above the drama. A very definite feeling of a continuous whole, and successfully done.
The third movement had its lighter side brought to the fore, and made for a good contrast to the finale. I suppose how you feel about a performance depends on how you feel about the piece . To me , this movement always seems to present portents of hard times ahead, and its as if Brahms is struggling to contain the overwhelming truth of what he knows, but dare only reveal in part. Anyhow, be that as it may, there is so much drama to reveal, that the problem for the conductor is surely to hold it in check , rather than let it run amok. This felt just right to me, with the passion just held under control, without diminishing the sheer power of the vision.
There were good responses for Guest Principal Flute Katherine Bryan, and Smithy on timps, of course. Imagine being a professor of Timps. Dream job !!

A fine evening,both outside the hall (with a beautiful winter view over the Thames) and inside. Well worth the trip.

A lovely read, TS. What should one read into the glaring lack of 'Grim all day' from your excellent notes?

[Beef Oven!]

I was at the second installment of the Andris Nelsons RFH Brahms cycle with the Philharmonia last night, although this of course was the first performance with Nelsons at the helm after he missed the series opener with illness.
Helene Grimaud was at the piano for the Brahms PC#2. With its massive first movement, its surely a daunting undertaking for all concerned.
This was the first time seeing Nelsons. His style is easy on the eye, and he conducts with the air of a man who knows or feels that all the work has been done in rehearsal, and that what is needed for these excellent players is a little nudge here and there.
It was a good performance, although maybe, just maybe a tad underwhelming in places. However, at the rear of the stalls you do lose a little impact, so that might be a little unfair. That said, there were moments to treasure, and they came in the third movement. The playing of Principal Cello Timothy Walden was quite exquisite, and he got a big response from the near full house for his efforts. This movement truly was" close your eyes and let your senses be overwhelmed" stuff.

Symphony #4 after the interval was the stronger performance, for my money. Nelsons seems to choose fairly sedate tempi, and that's the way the first movement felt. More importantly, he seemed to be encouraging an approach that emphasised the continuities and connections between lines, above the drama. A very definite feeling of a continuous whole, and successfully done.
The third movement had its lighter side brought to the fore, and made for a good contrast to the finale. I suppose how you feel about a performance depends on how you feel about the piece . To me , this movement always seems to present portents of hard times ahead, and its as if Brahms is struggling to contain the overwhelming truth of what he knows, but dare only reveal in part. Anyhow, be that as it may, there is so much drama to reveal, that the problem for the conductor is surely to hold it in check , rather than let it run amok. This felt just right to me, with the passion just held under control, without diminishing the sheer power of the vision.
There were good responses for Guest Principal Flute Katherine Bryan, and Smithy on timps, of course. Imagine being a professor of Timps. Dream job !!

A fine evening,both outside the hall (with a beautiful winter view over the Thames) and inside. Well worth the trip.

Great summary teamsaint, you make me wish I'd gone

[teamsaint]

Cheeky monkey, @Noggo.
Helene was poised, stylish, interacted beautifully with all concerned, and played all the right notes. I can find nothing to offend in her excellent playing. I did try, too !! The audience loved her, some even left at the interval !!
I do wish she would buy a new outfit or two, though.
Isabelle Faust could teach her a thing or two in that regard, though to be fair lady fiddlers have it easier in sartorial terms.

That didn't come out the way I intended !!

[Thropplenoggin]

Cheeky monkey, @Noggo.
Helene was poised, stylish, interacted beautifully with all concerned, and played all the right notes. I can find nothing to offend in her excellent playing. I did try, too !! The audience loved her, some even left at the interval !!
I do wish she would buy a new outfit or two, though.
Isabelle Faust could teach her a thing or two in that regard, though to be fair lady fiddlers have it easier in sartorial terms.

That didn't come out the way I intended !!

To use the damnable parlance of 1896, I am audibly chortling, sir. I wonder if you have added the space 'twixt word and exclamation marks in honour of Mlle. Grimaud*?

Speaking of sartorially risqué lady fiddlers, Vilde Frang's plunging neckline drew snorts of derision from some members of the audience when I saw her. It left little to the imagination, especially when she took a bow, and rather distracted from the music she was making.

*French spacing

[teamsaint]

To use the damnable parlance of 1896, I am audibly chortling, sir. I wonder if you have added the space 'twixt word and exclamation marks in honour of Mlle. Grimaud*?

Speaking of sartorially risqué lady fiddlers, Vilde Frang's plunging neckline drew snorts of derision from some members of the audience when I saw her. It left little to the imagination, especially when she took a bow, and rather distracted from the music she was making.

*French spacing

@Noggo, I have no idea what you are talking about in the main, (re punctuation) but if you hear that Frang is playing anywhere in Hampshire soon, please PM me !!

[EdgeleyRob]

That's a super review ts.

[Thropplenoggin]

@Noggo, I have no idea what you are talking about in the main, (re punctuation) but if you hear that Frang is playing anywhere in Hampshire soon, please PM me !!

I hear she's playing next in Chester-le-Street, thence onto Buxheim, Germany.

.

.

.

[muzzer]

I was at the RFH last Thursday and loved almost every minute of it. There was a dissenter - French - a few rows behind me who clearly was not an HG fan. "Massacre" was I believe the word I heard as the audience rose for the interval. I have to say that I thought there was a slight disconnect between various passages but that is just quibbling and I was possibly over-listening. HG is a thrilling performer and it was electrifying. I agree with teamsaint - great review - that the second half was better. Nelsons was almost shimmying across the podium at times, having a whale of a time, and the band was much expanded which added to the overall atmosphere. The 4th symph is a major fave in this house and I couldn't have asked to hear music-making of a higher quality. The featured players were outstanding. Am hoping for another similarly great Thursday tomorrow at the Barbican.

[MrGongGong]

invisiblEARts @ DMU in Leicester this evening
some wonderful stuff indeed

invisiblEARts are a group of composers whose primary aim is to nurture acousmatic music-making and performance within Scotland.

Formed in 1996 by Simon Atkinson, Robert Dow, Alistair MacDonald and Pete Stollery, with a debut performance specifically conceived for Edinburgh's Filmhouse, they are committed to continued exploration into the presentation of acousmatic music within Scotland and abroad, by creating unique performance situations, using innovative venues and encouraging inter-disciplinary collaborations.

invisiblEARts performances include Alte Schnmiede, Vienna; Fylkingen, Stockholm; Rien à voir (13), Montreal; Florida Electroacoustic Music Festival; Swedish National Radio; BBC Radio Scotland; SoundAsArt, and sound in Aberdeen and the Soundings... festival, Edinburgh.

A programme of acousmatic music from Scotland, including:

Alistair MacDonald - Scintilla (2013) and Wunderkammer (2010)
Robert Dow - Uncertain Memory (2010)
Pete Stollery - Three Cities (2013) and Still Voices (2005)
- See more at: http://www.dmu.ac.uk/dmu-students/ho....FLziS1Cd.dpuf

and you get to hang out in the pub before the gig
and afterwards
and it's free

[Ferretfancy]

A splendid concert at the Barbican last night with the LSO and Antonio Pappano, it was also broadcast. The platform had been extended by about six feet in order to accomodate the extra young musicians from the Guildhall school and LSO On Track. There were extra high risers at the back filled with a large wind and brass group. All this was for Peter Maxwell Davies's Fanfare: Her Majesty's Welcome which was a noisy and exhilarating opening to the evening.

The orchestra was on top form to accompany Janine Jansen in the Brahms Violin Concerto. I suspect that the balance for her playing might have been better on air, as from my seat on the side of the hall some of her beautiful quiet playing was rather hard to hear. She doesn't have a full blooded sound, but the performance was very good.

The highlight was the LSO's performance of Walton's First Symphony, which was stunning, with the sort of huge impact that this work should make but sometimes does not. I wondered whether the impact was enhanced with the extended platform, since the strings in particular seemed to benefit from not being in that oddly shaped funnel which is such a liability in this hall.

Altogether a great evening.

I would be interested to know how the broadcast sounded, in the hall the sound was more spacious than usual.