The great Greek composer is known for unforgettable film scores – Zorba, for instance – and overwhelming song cycles – Ballad of Mauthausen – each of them amounting to a cultural history of his country in the 20th century. Theodorakis, who died in 2021, was politically active to the last. His concert music was overshadowed by his status as national icon and prisoner of conscience. Theodorakis was twice held in concentration camps, during the civil war of the late 1940s and under the colonel’s regime two decades later. The manuscript of his first symphony was mislaid in his 1949 incarceration,…
Browsing: Lebrecht Weekly
If ever you need proof that the best is the enemy of the merely good, listen no further than pianist Clare Hammond’s new release of quasi-concertos by three of Britain’s most celebrated composers. William Walton won renown in 1923 with Façade, a poetry-with-chamber music ‘entertainment’ and enjoyed a long life of mixed achievement. His viola and violin concertos were outstanding, as was his first symphony. His music for Laurence Olivier’s Henry V was epic; the rest of his output less so. Sinfonia Concertante, for piano and orchestra, was acclaimed in 1929 as ‘unmistakably original’ by the august Wagnerian critic Ernest…
The attack on a British synagogue on Yom Kippur pushed me to relisten to a release of Hebrew choral music by the vocal ensemble of Southwest German Radio. The album is a mix of traditional songs in contemporary settings, alongside original works by such formidable composers as Odön Partos (d. 1977), Yehezkel Braun (d. 2014) and Zvi Avni (still with us at 98). My first reaction was to marvel at a mixed German chorus singing Hebrew with greater precision than many Israeli ensembles, let alone synagogue choirs. Every syllable is clinically enunciated, every unexpected off-beat observed. Absolutely amazing: take a…
It’s not often one gets the opportunity to review two composers who slept together, so I’ll grab this chance with both hands. In 1938, the Czech composer Bohuslav Martinu was living in Paris, watching his country disappear. His wife Charlotte, a French seamstress, kept them in food and clothes. Along came a friend’s daughter Vitezslava Kapralova, seeking lessons. She was 22 and already performed by Rafael Kubelik and the Czech Philharmonic. Before long, they became lovers; before much longer she dumped him for a man her own age, the journalist Jiri Mucha. The Martinus made it to America. Kapralova died, aged…
I grew up listening to Rubinstein and Horowitz play Chopin, followed by the Russians Richter and Gilels. The next generation included Martha Argerich, Daniel Barenboim and Vladimir Ashkenazy. I reached a mid-life point where I wondered if there was much more to say in Chopin and practically gave up listening. This was not altogether a false perception. Unless you are Polish and buy into national-hero worship, Chopin does not have much more to say in his music beyond a certain introverted sentimentality and post-coital sadness. Or so it seems to me. So I never attended the Chopin Competition in Warsaw…
Silenced by Communism in his prime, the Estonian composer Arvo Pärt delved into a personal religious faith whose musical language pre-dated the Reformation. He turned 90 this week. The vocal works on this birthday album are all devotional, some resembling early Anglican worship, others of a profound personal character. I was amagnetised by Sieben Magnificat-Antiphonen, where Pärt explores pre-Christian monodies in a unified world without doctrines and divisions, let alone dialectical materialism. He does unexpected things with voices and echoes, creating a sound that is at once tranquil and haunted. What Pierre Boulez once dismissed as ‘holy minimalism’ proves irresistibly…
The first thing anyone learns about Galina Ustvolskaya is that her composition teacher, Dmitri Shostakovich, asked to marry her in the early 1950s. She rejected him, saying once that ‘he killed my best feelings’. He remembered her warmly enough, however, to quote a trio of hers in his fifth string quartet, and again in the late Michaelangelo Suite. That was the closest Galina came to a fame she never sought. She taught music for thirty years at the Leningrad Conservatory, lived alone and let no-one into her apartment. Her works were of a religious character, unacceptable to the Soviet authorities.…
Sitting in the dental hygienist’s chair, my ears slathered with Classic FM, I cried out for something like this richly varied album where one composer was born in 1656 and another in 1996. I kept thinking as the polisher whirred that there must be a seat in hell for a DJ who programs Stanley Myers’ guitar Cavatina from The Deer Hunter alongside Beethoven’s phone-ring Für Elise. (If there isn’t, I’ll endow one.) Arirang opens with a solo cello piece by Marin Marais (1656-1928) and follows with another by Caroline Shaw (born 1982). The three sections of Ernest Bloch’s suite From…
It’s a mark of how far Naxos have come under new ownership that a label which once churned out the complete waltzes of Johann Strauss now gives us piano works by the ultra-serious Pierre Boulez. Also under changed management, the Swedish label BIS continues its three-decade exploration of the Russian outcast, Alfred Schnittke. The results are mixed. Two early Boulez piano works date from 1945 when he was in his second college year are consistently curious, if not at all radical. Theme and Variations for the Left Hand, though technically serial, is both playful and easily playable. Boulez’s teacher at…
I am not sure if the title of this album is even legal in Britain and the US. These days we refer to a particular ethnicity as ‘Roma’ or ‘travelling people’. But this recording was made in the Czech Republic, where social tensions run high and the terminology can be a bit behind the times. What we have here is a riveting selection of itinerant melodies set by composers in that part of the world and involving string quartet with occasional cimbalom and double-bass. The Talich Quartet are world class. The way they play is almost too polished for these…
