Philip Langridge CBE (1939-2010)

Another sad piece of news – the passing of Philip Langridge. A wonderful, intelligent English tenor, with a distinctive voice, great musicality and a huge range of repertoire (BBC Radio 3 marked his passing with ‘Comfort ye / Every valley’ from Handel’s Messiah – beautifully sung of course, and repertoire I had never associated with him before. How typical).

Probably my earliest memory of him is as Tom Rakewell in a student production of Stravinsky’s The Rake’s Progress in Cambridge, probably in 1969 or 70.  (The conductor was Antony Beaumont, director David Pountney, harpsichordist Mark Elder.)   Besides Philip’s voice, I remember his cream-and-brown ‘co-respondent’ shoes (it was a modern dress production).

All I ever want is to be true to the piece, the words and the character; to the whole thing, its meaning and so on. When we are true to what we do that is what makes great art. If you try and nudge it in a certain way to try and make it better for you or make you more famous then that’s boring. The public are not stupid and they may not have studied many hours what you are performing – some have, but many haven’t – but you can always tell when somebody means something and when they don’t.

Communication is also an important thing and if we do not communicate what we are doing – or what the music is doing – what is there left?
[from the interview referred to below]

Modest, unassuming, never a diva, always ready with a smile and a friendly word – Philip was one of music’s gentlemen.  I am proud to have worked with him at Glyndebourne, ENO and the Royal Opera. In the ground-breaking production of Janáček’s Osud at ENO he gave a harrowing performance as the composer Zivny, playing the tricky onstage piano part himself. With his wife Ann Murray he made a memorable double-act in Berlioz’s Beatrice and Benedict at ENO.

I treasure his recordings of Britten and Tippett and others, and memories of live performances including Schubert’s Winterreise at Blackheath Halls (with David Owen Norris). I also treasure the postcard he sent me from Aldeburgh (a watery watercolour scene with ‘Dawn’ from Britten’s Sea Interludes in a stave across the sky) in response to my congratulations on his CBE in 1994.

Energetic to the end, he could be seen leaping around the stage as Loge in Wagner’s Ring, or in more sedate (but vocally demanding) roles in Berg’s Lulu or Birtwistle’s The Minotaur.  Ever ready to learn new or unfamiliar music, at the age of 70 it seemed he would go on for ever.

Farewell, Philip.  And thank you for the music.

Deepest condolences to his wife Ann Murray, and his children including Anita and Stephen.

Obituary by Barry Millington here:

http://www.guardian.co.uk/music/2010/mar/07/philip-langridge-obituary

and a nice interview with Philip:

http://www.musicweb-international.com/SandH/2009/jan-jun09/langridge_interview.htm

Sorry, chaps

So many wonderful things since I last wrote – pressure of work and other activities has prevented me blogging them, much as I wanted to.  So here is a list of what I should have written about, for your edification and delight…

Covent Garden Chamber Orchestra concert, Saturday 4 October – especially the Schumann Konzertstück for four horns, magisterially played by Richard Lewis, Jo Towler, Duncan Gwyther and Liz Kadir.  Wow.

Haydn’s Creation at the Korean Full Gospel Church in Raynes Park, Sunday 12 October – lots of fun, the Koreans charming and lovely, my contra bottom B flat much appreciated!

The English Chamber Orchestra at Cadogan Hall, Wednesday 15 October – Tippett, Britten (Les Illuminations with stunning young soprano Mary Bevan), plus some works by Arab composers including the brilliant and hilarious Saxophone Concerto by Waleed Howrani – a perfect Last Night of the Proms piece?

Celebrity Recital at Cadogan Hall, Sunday 19 October – Emma Johnson, Julian Lloyd Webber, John Lill, surprisingly not a full house:  a treat of Beethoven and Brahms clarinet trios, the Weber Grand Duo Concertant, Julian playing two of his father’s pieces (with Andrew in the audience), and John Lill scorching our eyebrows off with the Chopin C minor Nocturne and the amazing Prokofiev Toccata

Rossini’s Matilde di Shabran at the Opera House, with Juan Diego Florez

Our very own Phoenix Orchestra concert (see previous post) on Thursday 23 October, especially the wonderful and inexhaustible Tom Poster in the Rachmaninov 3rd Piano Concerto

The Esbjerg Ensemble at Cadogan Hall, Sunday 26 October:  Nonet by Louise Farrenc, Poulenc’s Sextet for piano and wind (fantastic), the Schumann Piano Quintet (wonderful as ever).  Slightly dour Danish group, lifted to a higher plane by the tiny, sparky, beaming and incredibly accomplished pianist Marianna Shirinyan (who she??)

And the Brodsky Quartet at Cadogan Hall on Wednesday 29 October – Beethoven Razumovsky No. 1 (what a wonderful piece), Tchaikovsky Quartet No. 1, and two little Stravinsky numbers (Concertino and Three Pieces) which were spellbinding.

Now I’m off to rehearse contra in Boléro (don’t ask)…

Normal service one of these days!

thanks for the picture, Diana…

Southbank Sinfonia (twice)

 The Southbank Sinfonia is a brilliant idea – a ‘semi-professional’ orchestra employing young instrumentalists between college and a professional career.  To judge by their list of alumni now in orchestral positions, it works.

The orchestra is the brainchild of conductor Simon Over.  It has no state funding (surprise surprise!) and is maintained by a large roster of generous supporters and huge amounts of goodwill, particularly through partnerships with ‘grown up’ orchestras such as the Academy of St Martin in the Fields, the BBC Concert Orchestra and the Orchestra of the Royal Opera House, who provide coaching, playing opportunities and ‘sit-ins’ alongside professional players.  And imaginative sponsors like accompanist Malcolm Martineau who provides free refreshments at concerts – hooray!

Monday’s concert was part of the lunchtime recital series at the Royal Opera House, though moved into the spacious (and echoey) surroundings of the Paul Hamlyn Hall (formerly the Floral Hall).  A slightly rum programme…

It began with a Vivaldi Concerto for Two Trumpets, bravely performed without a conductor.  The soloists (Christopher Seddon and Rob Wallace) were two cool dudes to whom evidently nothing was a problem – they enjoyed every minute and played faultlessly, stationing themselves antiphonally either side of the band.

Two quibbles:  how could anyone think it’s OK to perform any kind of baroque concerto without a keyboard continuo??  Just because it ‘sort of’ works to have just a cello and bass accompanying the soloists, that doesn’t make it right.  And no, the slow movement is not just ‘a mere six bars long… a passage of modulation played by the strings alone’ – which is how they played it, earnestly and meaninglessly:  no, it’s the basis for something – keyboard improvisation?  Violin improvisation?  (Probably not the trumpets, as they need the rest.)  Something has to happen, and somebody has to take a decision about what.  Awful sinking feeling that STILL nobody in the music colleges is taught anything beyond the received nineteenth-century ways of playing things.

They need to read a certain series of helpful books…

The orchestra was joined by Australian soprano Anita Watson, a rising star in the ROH’s firmament and a radiant smiling presence (I previously enjoyed hearing her in Donizetti’s Rita – read more here).  Her choice of arias – Mozart’s ‘Nehmt meinen Dank’ and the ‘Et incarnatus’ from the C minor Mass, and Richard Strauss’s ‘Morgen’ – suited her to perfection.  Lovely violin solo in the Strauss, from leader Tatiana Byesheva.

In between Anita Watson’s items, Graham Sheen conducted his arrangement of five Danzas Gitanas by Joaquin Turina.  The rather vague programme note did not describe the individual movements or even tell us what forces Graham had arranged them for.  As far as I could see, it was a wind decet (flutes, oboes, clarinets, bassoons, horns) with extras – piccolo, cor anglais – plus two trumpets and a double bass.  Smashing arrangements, full of vivid colours and rhythmic life.  I slightly felt that the clarinets had a raw deal – perhaps because the trumpets had grabbed their share of the melodic interest?  Very nice anyway, and must have been great fun to play.  I hope they’ll be published.

And a definitely rum item to finish – Manuel de Falla’s Seven Spanish Popular Songs, but with no singer!  Hamlet without the Prince?  I am reliably informed that it was never intended that Anita Watson should sing these.  But they sounded distinctly ‘so-what’-ish in their orchestral guise.  Ah well.

* * * *

Then yesterday (Thursday) –