Posted tagged ‘Ligeti’

Endymion at Blackheath

January 27, 2008
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Up the road again this morning, to a Blackheath Sunday concert by ENDYMION (who seem to have misguidedly adopted a new logo which plays fast and loose with the Greek alphabet – no doubt a source of great distress to linguists everywhere, who are still trying to recover from ‘TOYS “YA” US’.  You’re not called ‘SNDPSMIPHN’, are you?  Well then).

The Burghers of Blackheath remain a mystery to me.  Some Sundays, they will collectively decide the concert is not for them, and there may be just a couple of dozen people huddled in the recital room.  Today they were out in force – almost a full house, chattering excitedly.  The average age seems to be about 150 (where will the next generation of audiences come from??), so there was much clattering of sticks and whistling of hearing aids before the music began.    Thereafter, however, you could hear a pin drop (well, actually you could hear an infuriatingly running tap or overflow somewhere, which didn’t get turned off until the interval).

The Endymion Ensemble (founded in 1979 by my dear friend, bassoonist John Whitfield), used to be resident at Blackheath Halls, with an office in the lobby.  Good to welcome them back.  Today’s incarnation consisted of Michael Dussek (piano), Krysia Osostowicz (violin) and Stephen Stirling (horn) – who, if I am not mistaken, was playing in Britten’s Midsummer Night’s Dream in the Linbury Studio at the Royal Opera House yesterday – busy fellow.

Beethoven’s last Violin Sonata (No. 10 in G, Op. 96) is so blithe and laid-back and generally un-Beethovenian that you catch yourself wondering ‘What did he mean by that?’  Nick Breckenfield’s programme note describes the first movement as ‘an intimate, relaxed, long-breathed soirée’ – which is nice.  His theory is that the Sonata was a ‘therapeutic’ response to Beethoven’s stormy relationship with the mysterious ‘Immortal Beloved’.

Krysia Osostowicz played the Sonata with an expression that flitted between rapt concentration and a beatific smile.  In the past, her sound has sometimes seemed to me to be a touch lean and stringy, but not today – rich, secure and expressive.  Perhaps she has a new fiddle?  For once, the Hall’s priceless jewel of a Bösendorfer grand sounded too plummy for Beethoven.  Maybe put the lid on the short stick (i.e. half open)?

Then we had György Ligeti’s Trio (1982) – strong meat (more…)

Vienna Philharmonic at the Proms

September 9, 2007

Once upon a time, orchestras from different countries – or even cities – had their own immediately identifiable characteristics:  London, Paris, Prague, Moscow…  These days, the Vienna Philharmonic is almost the last upholder of a regional tradition.  The clarinettist no longer has his reed tied on with string, and I couldn’t see whether the oboes were the Viennese ‘cotton-reel’ variety, but they still use rotary-valve trumpets and distinctive Viennese horns (even if they are made by Yamaha), and the double basses bow with an ‘underhand’ action (which is historically authentic, since double basses are technically members of the viol family, which bowed underhand, and the other string instruments belong to the upstart violin family.  End of history lesson).

I got excited to see 14 double basses and only 12 cellos listed in the programme;  here was living proof of the contention that Beethoven would have had more basses than cellos in his orchestra.  But alas, there were never more than eight basses on the platform at any one moment.
 
(‘Tradition’ has its bad aspects too.  Still ‘saucepan lid’ cymbals and poor percussion generally;  still very few women in the band, mostly tucked away on back desks;  and no named harpist in the programme, despite two on the platform – if you haven’t yet been accepted as a permanent member of the orchestra, you don’t get your name in the programme [unless you are ‘on trial’ at the State Opera] even if you have played with them for many years, like the hapless lady harpist in the 1970s.)

Anyway, it was a treat to hear the VPO at the Proms last week.  Silky strings, gorgeous brass, characterful woodwind;  impeccable tuning, immaculate phrasing, a suavity of music making based on 165 years of playing together… The combined pressures of the day job and a London Underground strike kept me away from Barenboim’s first Prom with the VPO last Monday, an echt-Viennese treat of Schubert and Bruckner.  The Bruckner (4th Symphony) sounded absolutely glorious on Radio 3.  I wish I had been there, but after Mahler 7 the night before I would not physically have been able to stand up for another 75-minute symphony! (more…)