Browsing: Lebrecht Weekly

Lukas Foss was a classmate of Leonard Bernstein’s at the Curtis Institute and a lifelong friend, though never an equal. While Bernstein blazed to national glory in his annus mirabilis of 1944, Foss was quietly composing his first symphony in the bucolic tranquility of the MacDowell Colony. His Curtis teacher Fritz Reiner premiered the symphony in Pittsburgh a year later but without wider acclaim. Foss’s Americana style sounded both dated and derivative. Aaron Copland did this stuff so much better, and a decade sooner. Foss also composed three ballets that year, but he lacked Bernstein’s On the Town recklessness and…

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There used to be a drivetime programme on BBC Radio 3 called Mainly for Pleasure. They changed the title when too many musicians referred to it as Strictly for Cash, but the formula got thrown away with the concept. We forget that music exists primarily for pleasure and we tend to disparage those albums and concerts that aspire to no higher purpose. Here’s one. Tim Posner, principal cellist of the Amsterdam Sinfonietta, has chosen three works for cello and orchestra for a signature release. Two are very Jewish and familiar, the third less so. Posner brings a freshness to all…

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There was a time when I could not get through the month without experiencing Elgar’s music in the flesh. So English, so reassuring, so easily chiming with a young man’s frustrations and aspirations. These days, there is much less Elgar about and I have no idea where one might turn for instant comfort. The arrival of two Elgar sets in the same week is both encouraging and challenging: might there be two paths to Elgar in a century of cultural retrogression? Mark Elder conducts both symphonies at the end of a quarter-century as music director of the Hallé, an orchestra…

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I was never a fan of viola jokes. Just because the instrument is neither one thing nor the other doesn’t make it any funnier than a mezzo-soprano or a bass-baritone. It is what it is, with benefits. The viola spares you squeaky irritations of a violin and lugubrious growls of a mishandled cello. I like the viola. There, I’ve said it. What’s special about this release is the eclectic menu assembled by a young Jamaican-American, Jordan Bak, who is clearly going places. Bak opens with a three-minute Chant by Jonathan Harvey, dinking back and forth between tonal and post-tonal contemplation.…

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If you’ve never heard of the composer Walter Kaufmann, you are not alone. A Czech Jew in Hitler’s Germany, Kaufmann was hired as a composer by an Indian friend who was founding a film company in Bombay. He was soon promoted to head of music at All India Radio, co-founded (with Meli Mehta) Bombay’s Chamber Music Society and lectured at the University. As political winds shifted, he migrated in 1946 to London, where he composed for Arthur Rank Films. He moved on again to become the first music director in Winnipeg, Canada, and again in 1957 to teach at Bloomington,…

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