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BERLIOZ
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CHOPIN’SFUNERALMARCHLISZT’SLOSTOPERA
ThetraumaticstorybehindthePolishcomposer’siconicworkTheremarkablerediscoveryofSardanapalo
Theworld’sbest-sellingclassicalmusicmagazine
BERLIOZ
TheFrench
Banished
revolutionarybyBess
Howthecomposer’sSymphonieThesorryfate
fantastiqueshookthemusicalworldofElizabethan
musicians
KungFupianist!
Howcanmartialarts
Charles-ValentinAlkanimproveperformance?
Thereclusivepianogenius
HighscoresRachelPodger
TomServiceongamingTheviolinistlooksback
onherbestrecordings
JamesConlon
MusicthatchangedmeOdalinedelaMartinez
ThestoryofSteinway
ChristianGerhaher
110reviewsbythe
world’sfinestcritics
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THISMONTH’SCONTRIBUTORS
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‘I’vealwayslovedBerliozsince‘IfElizabethanCatholic‘Chopin’s“FuneralMarch”
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BBCMUSICMAGAZINE3
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highlights
ContentsSeep128
MARCH2019
FEATURES
28Coverstory:HectorBerlioz
RogerNicholsandsixleadingperformerscelebratethe
uniqueworksofoneofmusic’sgreatrevolutionaries
38TheBBCMusicMagazineInterview
ConductorOdalinedelaMartinezwithJamesNaughtie
44Tuningin
Wediscoverthevariousmeansbywhichconcert
performersgetintoperfectphysicalandmentalshape
50Elizabethanexiles
ElinorCooperonthemiseriesenduredbyCatholic
composersplyingtheirtradeunderaProtestantqueen
54Lisztandfound
GeorgeHallreportshowanoperaleftunfinishedby
Liszthasbeencompletedandbroughttothestage
58Animalmagic
Avintagegalleryofmusicianswithbeastlychums
EVERYMONTH
8Letters
13TheFullScore
London’sconcerthallplans;majormaestromoves
27RichardMorrison28HectorBerlioz
Canwereallyjudgeoperasingersbyvoicealone?
74MusicalDestinations
JeremyPoundisinspiredbySalisbury
CoverCDeditorAlicePearson
76ComposeroftheMonthMauriceDuruflé
MalcolmHayesonAlkan,thereclusivevirtuosoListingseditorPaulRiley
JSBach
82BuildingaLibrarySubscriptions￡64.87(UK);￡65(Europe);ArteditorDavLudford
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selectsthebestrecordingsofChopin’sEDITORIALDesigneriamMcAuleyL
‘FuneralMarch’sonata;plussimilarworkstotrynextPlusweeachnameacomposerthatPictureeditorSarahKennett
wewishedhadwrittenanoperaThankstoDanielJaffé
126LiveeventsEditoriverCondyOlMARKETING
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ChristianGerhaher
singsSchumann
86RecordingoftheMonth
Frage:Schumannsongs
ChristianGerhaher
‘Gerhaherremainsoneofthe
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88Orchestral93Concerto96Opera
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LETTER
Vivaldichampions:
KarlMünchingerandoftheTheirresistibleriseofVivaldi
theStuttgartChamberMONTHYourinterestingarticleonVivaldi’sFourSeasons(January)
Orchestra,1955hadacuriousomission:nomentionofthe1951DeccaLPby
KarlMünchingerandtheStuttgartChamberOrchestra.The
RecordGuidebyESackville-WestandDShawe-Taylorofthat
yearlistsallthatwaspreviouslyavailableofVivaldi’smusic
onrecordsinBritain–just14minutes!(BernadinoMolinari’s
1942recording,madeinItaly,wasstillnotavailablehere).
Thenthefollow-upRecordYearin1952bythesameauthors
liststhatnewDecca
WORTH￡170!LP,andtheysaidit
was‘anearlyexample
ofprogrammemusic
whichlendscolourtothe
contentionthatVivaldiis
stillanunderestimated
composer’.ThatLPwas
asensation,andforthe
generalpublicturned
WINADIGITALRADIO!
EverymonththeeditorwillVivaldifromanunknown
awardaPureEvokeH4(retailcomposerintooneofthe
value￡170–seewww.pure.mostfamous.Boththose
com)tothewriterofthebestrecordslaterbecame
letterreceived.TheeditoravailableasbudgetCDs.
reservestherighttoshortenDavidGwynWatts,
lettersforpublication.
MilfordHaven
Agradereliefreturnedtothechancelandhisitselftothefirstcandidateonatakinggradedmusicexams.
AndrewStewart’sGradeBritainfirstwordstomewere‘Doyoufreezingmorning)andshortlyDespitethetraumainvolved,
feature(February)tookmeknowthehistoryofthestainedafterwardsGrade8organ.Nowthememoriesseemtobe
backto1960andmyGrade5glasswindows?’I’mafraidIinmymid-sixtiesIhavetakenlargelypositive!
organexamatIngoldisthorpedidn’t,butthankfullyIpassedupthedoublebassandtook
ParishChurchinNorfolk.ThewithMerit.myfirstexam(Grade5)almostNotapremiere
examwasprogressingquiteJonathanRussell,viaemail50yearstothedaysincethatHavinggreatlyenjoyed
wellwhenIwassuddenlyorganexam.AndIpassed–hersuperbWigmoreHall
awarethattheexaminerwasAceofbasswithfullmarksfortheaurallunchtimeconcertonlytwo
wanderingaroundthechurchI’dliketostakeaclaimfortests.Thiswasquitearelieffordaysearlier,Iwasdelighted
asIplayedthesetpieces.Ithebiggestgapbetweenaretiredclassmusicteacher!tofindLeilaJosefowicz’s
wasconcernedthathemightAssociatedBoardexams!InDavidHansell,SurreyinterviewbyClemency
notbegivingmuchattentionmymid-teensItookGrade8Theeditorreplies:ManyBurton-HillinyourFebruary
tomyefforts.Attheendofapiano(examinedbyHerbertthankstosomanyofyouforissue.Thearticle,however,
GETTYchallengingBachfugueheHowells,noless–kindnesssharingyourrecollectionsofclaimsthatJosefowicz’slatest
8BBCMUSICMAGAZINE
albumisa‘premiererecording’IonaBrownbutalltheother
ofBerndAloisZimmermann’smembers,especiallythecellos
ViolinConcerto.Butunlessandtheharpsichord.Ilistened
Iammistaken–unlikely,Itothewholeofthediscwithout
confess,asIpossessacopy–areallyintendingto.There
recordingofthisconcerto,weresomanyfelicitiesinthe
performedbyThomasplaying,withornamentsI’ve
ZehetmairandtheWDRneverheardbeforebutwhich
SimfonieorchesterK?lnweresorightforthemusic.The
conductedbyHeinzHolliger,whollyspontaneousapplause
wasreleasedbyECMin2008.attheendwassowelldeserved.
Veryfineitis,too.IdowishI’dbeenthere.
GeoffAndrew,LondonNickMorrowBrown,
Cirencester
Finzifailing
YourFebruaryCDwasoneofHoward’sway
yourbest,muchofwhichIhadI’mmostgratefultoLeslie
neverheardbefore.However,Howard(BBCMusicMagazine
thepresentationwasadisaster.Interview,December)and
TherewerenowordstoanyofHyperionforproducingsuch
thesongsandthemainwork,adefinitiveeditionofLiszt’s
Finzi’sEarthandAirandRain,pianomusic.Overtheyears
hadnotracks.Thereshouldthatthis100-discprojecttook
havebeenten.Wefrequentlyplace,Howardwasknown
play‘ToLizbieBrowne’onitstoreachouttohisfansin
owninRoderickWilliams’srespondingtolettersand
recordingontheNaxoslabel.emails–hewrotetomethis
Onyourdisc,however,itiswayand,inhintingthatthe
relativelyinaccessibleso,initial48-discestimatewas
goodasAshleyRiches’sfarfromcomplete,suggested
recordingis,wewillhavetothatevenhewasamazedat
staywithWilliams’sequallyhowmuchmorematerialthere
fineperformance.wasthathadneverbeforebeen
JohnEdwards,WoodfordGreenpublishedorrecorded.
Theeditorreplies:ApologiesMichaelMcCutchin,
fortheratherinconvenientSanMateo,CA,US
trackdivisionfortheFinzi
songcycle.Attheveryleast,Classiccollection
weshouldhaveprovidedtrackIwasveryinterestedtoread
listingsforit.PrintingtheyourarticleonFinchcocks
textsisalittlebittrickier,as(Christmasissue)andto
copyrightcoststendtospiraldiscoverthatRichardBurnett
atthatpoint.Butpointstaken,haddecidedtosellthehouse
andweshalldobetter!andcollection.Iwas,however,
surprisedtodiscoverthatno
Seasonstobecheerfulmentionwasmadeoftheseries
CongratulationsonJanuary’sofhighlyregardedrecordings
coverdiscofVivaldi’sFourthatRichardmadeonthese
SeasonsandtheOp.6Handelhistorickeyboardsfrom1977-
ConcertGrossobythe91.Thesewereissuedbythe
AcademyofStMartinintheAmonRalabel(sisterlabel
FieldswiththewonderfulIonaoftheever-eclecticSaydisc
Brown,livefromthePromsinRecords)intheir‘Finchcocks
1984.Iinitiallythought‘NotCollection’series,andarewell
theFourSeasonsagain!’,butworthhuntingout.
oh,theplaying–notonlybyTabithaMiggins,Bristol
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RisingStars
Labourleaderaimsforamelodiousdelivery
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Musicalhero:ComposerNadiaBoulanger,
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Batonchanges
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theprincipalconductoratOpéraNational
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joiningherfellowFinnSakariOramo,the
orchestra’schiefconductor.
Littlefarewell
IfeitherRustioniorStasevskawanttoMajorsecond:
conductTasminLittleintheirnewpositions,Steinway’spremises
they’llneedtobequickaboutit.TheonWalkerSt;(below)
popularviolinisthasannouncedthatsheHeinrichSteinweg
istoretirefromthestageinthesummerof
2020,bringinganendtoatop-flightcareer
ofmorethan30years.In‘bowingout’(her
pun),shesaysthatshewillbefocussingherMARCH1853
attentiononotheractivitiessuchasmedia
workandchampioningmusiceducation.Steinway&Sonssetsup
Classicalrise
Recentlyreleasedfigureshaverevealedthat
salesofclassicalmusicin2018increasedshopinNewYorkCity
atafasterratethananyothertypeof
music.Streamingofclassicalmusicrose
byahuge42percentovertheyearasspopularuprisingsspreadWhenrecriminationsandarrests
listenersexploredthewealthofrecordingsthroughoutadiscontentedfollowedtheeventsof1848,Heinrich
thatarenowavailableonline.However,AEuropein1848,CharlesSteinweg,whohadbeenmaking
commanding60percentofthemarket,Steinweg,the19-year-oldsonofaandsellingpianosinthesmallmid-
CDsstillleadthewayandshownosignofGermancraftsman,headedoutGermantownofSeesensince1836,
slowingdown–salesroseby6.9percent.
intothestreetstojointhefray.reckoneditmightbebestif,forhis
AcaseforthefutureItwasadecisionthatwouldownsafety,hissongothimselfoutof
TheSwedishrecordlabelBISistostarthavefar-reachingimplications.thecountryforawhile.ButHeinrich
packagingitsCDsinamoreenvironment-Notforthepoliticalreasonsalsohadanothermotives.With
friendlytypeofcase.InsteadofplasticthatSteinwegmayhavebusinesslookingdecidedlyslow
boxes,BISwillinsteadstartusing‘ecopaks’wished–theauthoritarianathome,Charlescouldbesenton
madeofcertifiedcardboard,soyink,eco-regimesthattherebellionsafact-?ndingmissiontoseeif
friendlyglueandwater-basedvarnish.‘If
thishelpstherecordingbusinessmoveawaywereaimedatremainedprospectswereanybrighteron
fromplasticpackaginginfavourofmorelargelyintact–but,inatheothersideoftheAtlantic.
ecologicalalternatives,Iwillbehappy,’saysroundaboutway,fortheNotallwasrosyinNewYork
thelabel’sowner,RobertvonBahr.COURTESYOFSTEINWAY&SONS,GETTYpianoindustry.whenSteinwegJnrarrived
16BBCMUSICMAGAZINE
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Businesssoonboomed,andSteinway
Earlylead:
&SonswerenotatVarickStforlong.USPresident
By1854,thecompanywasalreadyFranklinPierce
buildingtwopianosaweekanddemand
wasoutstrippingsupply.Assistants
weretakenonboardandnewpremises
foundonthenearbyWalkerSt,
previouslyoccupiedbypianocompany
Pirssonandthereforealreadysetupto
manufacturepianos.Rentwasprovided
freeforsixmonths–avaluablebuffer.
Andbeingawardedthegoldmedalat
the1855NewYorkAmericanInstitute
Keepingtabs:Steinway’sserialnumberlogbookFairprovidedanadditionalboost.
When,in1860,Steinway&Sons
thereinJune1849–thecitywasmovedagain,thistimetoalargenew
polluted,disease-riddenandblighted
bycivilunrest.However,itwasalsoaNotallwasrosyinNewAlsoinMarch1853
placeofopportunity.Thesteady?owof
immigrantsfromEuropehadbroughtYorkwhenSteinwegJnr4th:FranklinPierceisinauguratedasthe
abouta?ourishingmusicscene,while14thUSPresident.At48,heistheyoungest
arrivedthereinJune1849personthusfartohaveheldthepost.
theincreasinglywealthyAmericanTheopeningweeksofPierce’stenureare,
middle-classwasprovinggratifyinglyfactoryonFourthAvenue,itwasagrandhowever,atimeofsadness,asinJanuary
keentolavishitscashonshowpieceaffair,celebratedwithchampagne,roasthis11-year-oldsonBenjaminwaskilledina
possessions–suchaspianos.‘Comeandfowlandmarinatedoysters.Sixyearsrailwayaccident.‘Youhavesummonedmein
joinme,’wasCharles’smessagehome,afterthat–andjust13yearssincethemyweakness,’Piercesaysathisinauguration;
carefullyomittingmentionofthecity’scompany’slaunch–the2,000-seat‘youmustsustainmebyyourstrength.’
lesssalubriousside.SteinwayHallconcertvenueopened6th:ThepremiereofVerdi’satraviataL
receivesahostilereceptionatVenice’sLa
HeinrichSteinwegdidnotsetupitsdoorsforthe?rsttime.ASteinwayFeniceoperahouse.ThoughsopranoFanny
anewbusinessimmediatelyuponsalesroomandconcerthallinLondonSalvini-Donatellienjoysamurmurofapproval
reachingtheUSinsummer1850,butfollowedin1875,andaSteinwayfactoryasViolettaValéry,tenorLodovicoGraziani
insteadbidedhistimewhileworkinginHamburgin1880.CharlesSteinway,andbaritoneFeliceVaresistruggleasAlfredo
asacraftsmanforLeuchte,aGermanwhodiedin1865,didn’tgettoenjoytheandGiorgioGermont.‘Latraviatalastnighta
instrumentmaker.Histhreesonspoliticalrevolutionhecravedin1848,failure,’wroteVerdi.‘Wasthefaultmineorthe
–Charles,HenryJnrandWilliambuthisfather’s?rmundoubtedlydiditssingers’?Timewilltell.’
–alsofoundemploymentwithNewbittorevolutionisethepianoworld.10th:UndertheleadershipofHongXiuquan,
afailedcivilservantwhobelievesheis
Yorkpianocompanies.AllwerepaidathesonofGod,over1,000,000fanatical
pittance,however,andafterthreeyearsTaipingrebelforcescapturetheChinesecity
decidedthatitwastimetogoitalone.ofNanjingfromtheQinggovernment.The
Itwason5March1853that,inasmalldefendinggarrisonareexecutedandthecity
buildingat85VarickStonthewestsiderenamedTianjing,meaning‘heavenlycapital’.
ofManhattan,Steinway&Sonsopened17th:TheAustrianphysicistand
forbusiness,theanglicisednamemathematicianChristianDopplerdiesaged
adoptedtoaddlocalappeal.Production49.HeismostfamousfortheDopplereffect,
proposedinhis1842thesisOnthecoloured
wasonasmallscaleandconsistedatlightofthebinarystarsandsomeotherstars
?rstentirelyofsquarepianos–thenow-oftheheavens.Thisistheeffectinwhich
famousSteinwaygrandswouldhavetothefrequencyorlengthofawavechangesin
waituntilthreeyearslater.Thenamerelationtomovementbythesourcetowards
andlocationofhiscompanymightbeorawayfromtheobserver.
new,butHeinrichSteinwegnonetheless29th:Manchesterbecomesacity.Since
gavethe?rstSteinwaypianotheserial1847,theLancashiretownhashada
cathedralanditsowndiocese,andits
number483,followingonfromthe482boroughcouncilhasbeeninformallycallingit
instrumentsthathehadmadebackina‘city’.However,followingavisitfromQueen
Seesen.No.483wassoldtoaNewYorkVictoria,apetitionisnowmadeforthat
familyfor$500.Frameatlast:workersattheSteinwayfactory,1934elevatedstatustobemadeof?cial.
BBCMUSICMAGAZINE17
CDA68239AvailablenowCDA68201Availablenow
AtroikaofRussiangreats:masterpiecesandmakeweightsfromArareandwonderfulrecordingofSaint-Sa?ns’Lafoi—trulya
Shostakovich,ProkofievandKabalevsky.StevenIsserlisandOlli‘neglectedmasterpiece’ifevertherewasone—provessomuch
Mustonennavigatetheunsettlingambiguitiesofthismusicwithmorethanapreludetoaresplendentaccountofthe‘organ’
unerringprecision.symphony.
CDA68202AvailablenowCDA68279AvailablenowCDA68252Availablenow
AnextraordinaryprogrammeoflateLisztinwhollyFromdarknesstolight:PeterPhillips’journeyenlistssomeMusicfromoneoftheundisputedmastersofseventeenth-
sympatheticaccountsfromCédricTiberghien.ofthegreatestnamesfromacrossRenaissanceEurope.centuryPortuguesepolyphony.
CDA68243AvailablenowCDA68253AvailablenowCDA68226Availablenow
Eager,alertperformancesofacomposerlessoftenAperfectlyplannedrecitalofEnglishmusicfromoneofthisGarrickOhlsson’sformidablepianismheardtounforgettable
associatedwithchambermusic.Adelight.country’sleadingcellists.effectinlateBrahms.
OTHERLABELSAVAILABLEFOR
DOWNLOADONOURWEBSITECDs,MP3andlosslessdownloadsofallourrecordingsare
availablefromwww.hyperion-records.co.uk
GimellHYPERIONRECORDSLTD,POBOX25,LONDONSE91AX·info@hyperion-records.co.uk·TEL+44(0)2083181234
Thefullscore
MEETTHECOMPOSER
GavinHiggins
Seizetheday:
‘Iusedtocompose
onlyafteritgotdark’
Wherethere’spuck,there’sbrass
AsthisissueofBBCMusictoaforthcomingCardiffDevils
Magazinegoestopress,welearnicehockeygamewithapre-match
thatthebrassplayersoftheBBCrenditionofRavel’sBolero,the
NationalOrchestraofWalespiecetowhichTorvillandDean
areputtingontheirskatesandfamouslyice-dancedtoOlympic
preparingtoheadoutontotheicegoldin1984.MighttheBBC
rink.The14-strongsectionhasNOWinspiretheDevilstosimilar
beeninvitedtoaddalittlepizzazzsuccess?It’saniceidea…
GavinHigginshasbeencommissionedbyensemblesincluding
theBBCSymphonyandLondonPhilharmonicorchestrasandisa
formerRPSawardnominee.HisoperaTheMonstrousChild,based
onFrancescaSimon’snovel,willopentheRoyalOperaHouse’s
DéJàVUnewlyrefurbishedLinburyTheatrefrom21February–3March.
Historyjustkeepsonrepeatingitself…
ComposingissomethingIhalf-corpse.She’sforcedinto
On24March,Oslo’sTrinityChurchwill
wantedtodofromayoungage.asituationshedoesn’twantto
bestagingtheEuropeanpremiereof
AtschoolinManchesterIfoundbein,andweseehercoming
UponthisHandfulofEarthbyGisle
outaboutaballetproductionoftotermswithwhosheisand
Kverndokk(left).Theopera,whichwill
Stravinsky’sRiteofSpringdownlearningtobeabetterperson.It’s
beperformedbyacastofover100
theroad.Ididn’tknowmuchbeenachallengetoportraythe
people,takesitstitlefroma3,500-year-
classicalmusic,butIknewaboutstory’shugethemeswithasmall-
oldSanskrittextbutaddressesavery
theRitebecauseofDisney’sscaleensemble,butIthinkwe’ve
currentsubject–thechallengesposed
Fantasia.AfriendandIsneakedpulleditoff.
byclimatechange.Coveringvarious
outofschoolandgotticketstoI’veonlyrecentlyadopteda
otherenvironmentalthemesalongthe
seeit.Ileftthattheatreknowingcomposingroutine.
way,includingfrackingandoilpollution,
IwantedtobeacomposerandtoIusedtocomposeonlyafteritgot
Kverndokk’spieceprovidesmuchfoodforthought,thoughisby
writeforthestage.dark,butthatallchangedwhen
nomeansthe?rsttoaddressenvironmentalissues…
So,I’vebeenthinkingaboutImanagedforthe?rsttimeto
InthescoreofhisBecomeOcean,JohnLutherAdamsexplainswritinganoperaforalongtime.worksomewherethatwasn’tmy
thetitlethus:‘Asthepolaricemeltsandsealevelrises,weIt’saplacewhereIfeelverybedroom!NowIwalkmydog
humans?ndourselvesfacingtheprospectthatonceagainwecomfortable–Ilikeworkingwiththroughtheparkinthemorning,
mayquiteliterallybecomeocean.’Theworkwas?rstperformedchoreographersandlibrettists.haveacoffeeandtrytogettomy
inSeattlein2013.Theyearbeforethat,SalisburyCathedralIt’salonelylifebeingacomposerdeskfor9.Those?rstthreehours
hostedthepremiereofJonathanDove’sheoperaWalkfromT–youspendalotoftimehavingofthedayaresoimportant.
theGarden(seep74),inwhichAdamandEve’sbanishment
JONTYCLARKconversationswithyourself.I’vejust?nishedatrombone
fromEdenservesasanallegoryforman’simpactontheWhenyoucollaborate,though,concerto,TheBookofMiracles,
planet.2017,meanwhile,sawVincentCortvrintandtheRoyalyou’resharingthatcreativefortheBBCSO.
ConcertgebouwpremiereErkki-SvenTüür’solastalgiaSforburdenandhavingconversationsIt’sbeingpremieredaweek
ILLUSTRATION:
piccoloandorchestra–itstitle,awordcoinedbyphilosopheroutloudwithpeoplewhohavebeforetheoperabytheBBC
GlennAlbrecht,means‘aformofpsychicorexistentialdistressdifferentperspectives.Symphony’sprincipaltrombonist
causedbyenvironmentalchange’.Finally,there’s2013’sSongMynewchamberoperaTheHelenVollam.It’sher?rstconcert
ofourWarmingPlanet,inwhichDanielCrawfordconvertedMonstrousChildisacoming-of-withtheorchestraandshe’ssuch
globaltemperaturedatadatingbackto1880intoascoreforagestory.abrilliantperformer.Ireally
solocello.TheDailyTelegraphdescribeditas‘plodding’.It’saboutanodd,out-of-placewanttoshowoffherplayingas
OWENRICHARDS,ANNC.ERIKSENC.ANNRICHARDS,OWENteenagegirlwho’shalf-alive,muchasIcan.
BBCMUSICMAGAZINE19
Thefullscore
StudioSecretsAteameffort:
RachelPodgerand
BreconBaroquerecord
Newmusic:Bach’sArtofFugue
composer
CarolineShaw
Werevealwho’srecording
what,andwhere…
CalaRecordshasembarkedona
collaborationwithSignumClassics.
Foundedin1990,Calahasanimpressive
backcatalogueofreleases,includingthosein
itspopular‘NewYorkLegends’and‘London
Sound’series.Allitsfuturerecordings(and
reissues)willbereleasedasCalaSignum.
NonesuchandNewAmsterdamRecords
alsojoinforcesthisyeartoreleasearound
threealbumsperyear.Thepartnership
re?ectstheNewYork-basedlabels’shared
values,supportingthenewworkofseveral
generationsofAmericancomposers.The?rst
releaseswillbebycomposersCarolineShaw,
WilliamBrittelleandDanielWohl.
Followingthesuccessoftheirrecording
ofBeethoven’sViolinSonatasNos6and9,
violinistJamesEhnesandpianistAndrew
Armstrongreturntothestudiotocapture
moreofthemaster’sworksforOnyxRecords.REWIND
InMarchtheyrecordNos8and10(which
joinapreviouslyrecordedFifthSonataonGreatartiststalkabouttheirpastrecordings
disc),thenthefollowingmonththeyrecord
Nos1,2and3.violinist
DeutscheGrammophonhasjustThismonth:RACHELPODGER
announcedthesigningofNorwegian
violinistMariSamuelsen.Anewalbum,
recordedwithJonathanStockhammerandMYFINESTMOMENTsoloist,soitfelt
theKonzerthausorchesterBerlin,featuresVivaldiLaStravaganzaliketherighttime.
musicbyJSBach,MaxRichter,JóhannRachelPodger(violin);ArteDeiSuonatoriTheyseemedtolike
Jóhannsson,BrianEnoandPeterGregsonChannelClassicsCCS19503(2006)theideaofdoing
andwillbereleasedinthesummer.TheIknewIwantedtorecordBaroqueacompleteset,so
signingwasmarkedwiththereleaseofaLaStravaganza
single,November,byMaxRichter.concertosandhadn’tthatreallysetthe
DeccaEloquenceceleratesits20thbeenrecordedverymuch.Therewasprecedentfordoing
anniversarythisyear,andtomarkitstwo-nopointrecordingtheSeasonsstraightcompletesets.Theslowmovement
decademilestoneaseriesofboxedcollectionsaway,whichofcourseIonlyjustdidfromthe?rstconcertowasjustoneof
willbereleased.Theyincluderecordingslastyear.Thiswasmy?rstmajorthosemomentswhereIfeltsofreeand
bypianistsEduardodelPueyoandMourarecordingonmyownwithabandandinthezone;wewereallenjoyingitso
Lympany,theViennaPhilharmonic’sIreallyenjoyedplayingwiththePolishmuchanditdidn’tfeellikework.We
completeBrucknercycle,KurtMasur’s
BrahmscyclewiththeGewandhausorchesterorchestra;wejusthadareallyfantasticrecordeditinthechapelofthisamazing
Leipzig,nottomentionthecompletePhilips,rapport.I’ddoneafairbitofrecordingmonasteryinPoland;itwasavery
Decca,DGandAccordrecordingsmadebywithchambergroups,butanythingornaterococochapelwithbeautiful
KAITMORENO,JONASSACKS,BALAZSBOROCZ,SIMCANETTY-CLARKEBOROCZ,BALAZSJONASSACKS,KAITMORENO,conductorCharlesMunch.orchestralI’ddoneIhadneverbeentheacoustics.Westayedthereforabout
20BBCMUSICMAGAZINE
Thefullscore
intheRockyMountains–theyhadBuriedTreasure
aprogrammewhereyoucouldgofor
afewmonthsandhaveasabbatical.OrganistRogerSayer
Ihadmyownstudioanditwastheintroducesthree
mostfantasticexperience.Therewererecordingsfromhis
concertseverydayandIperformedtherecordcollection
Cmajorforthe?rsttime,whichwasthe
hardestthingI’dRheinbergerOrganSonatas
everdone.IactuallyRogerSayer(organ)PrioryPRCD1165
hadthiskindofRheinberger’s20organsonataswere
out-of-bodything;allinvogueonceuponatime,buthave
it’sabitclichédbutnowgoneoffthe
it’strue.Igotpulledradar.Iabsolutely
couldn’tstandhis
alongwiththemusicwhenIwas
intensityofthemusicandIfeltatoneyounger;itseemedso
withit.Icamebackandwentstraightacademicandstuck
intorecordinganditjustfeltwonderfulinitsway,butit’s
todo.Itreallyfeltlikeanaturalthing;nottrue.Althoughit’sheavilyGermanic
itdidn’tfeellikeastruggle.I’dbeenandRomantic,it’sactuallylikeBrahms;
immersedinitforsolongbythattime.there’salotofclassicismandit’sfullof
melodyandgreatcraftsmanship.People
feeltheyhavetomessaroundwithit,but
I’DLIKEANOTHERGOAT…it’strulyhonestmusic.
JSBachTheArtofFugue
Karg-ElertJesu,meineFreude
RachelPodger(violin);BreconBaroque
StefanEngels(organ)
ChannelClassicsCCSSA38316(2016)PrioryPRCD1074
I’dliketodoTheArtofFugueagain,not
Karg-Elertpushedtheorganinadirection
becauseIdidn’tenjoyit,butbecausenooneelsedid.He’sinthesametime
Ienjoyeditsomuch!Ofcourse,it’szoneasReger,buthe’smuchmore
goodmusic,veryspiritualandkindofadventurousand
ethereal.Youcancompletelyletgoofthrowsthetextbook
yourego,becauseyouareonepart,acogoutthewindow.Jesu,
inawheel.YouhavetoknowexactlymeineFreudesortof
capturesthisgiant
howtomovesothatalltheothercogsapproachtoorgan
11days;werehearsed,didaconcert,canmove,andIdiditwithwonderfulplaying;whenIsay
recordedandevenatewiththemonks!playerswhoarealsoverygreatfriends.giant,Imeanapproachingtheorgan
TherewasahalfdayoffandIrememberWegotthroughitintwodaysandIasasymphonicinstrumentwithavast
playingfootballwiththeorchestra.Itturnedaroundtothemandsaid‘mytapestryofdynamicrange–goingfrom
hadverysimpleaccommodation,soitgoodness,it’sincrediblysad,wegottopianissimointoferoceinabouttwobars.
wasgoodforfocusing.I’vebeenverytheend!’Ijustdidn’twantittobeover,Itcatchesyourbreathandyoudon’tquite
knowwhereit’sgoingnext.
lucky,recordinginbeautifulplaces.andpartlybecause
ofthewaythatpieceReubkeSonatainCminor
MYFONDESTMEMORYends–wellthere’sRogerFisher(organ)
AmphionPHICD198
JSBachSonataNo.3inCmajornotanend,isthere?
BWV1005We’dthoughtofReubkewasapupilofLiszt,whoI
canimaginebeingcompletelybowled
RachelPodger(violin)doingoneofthe
overwhenhispupilbroughtthisorgan
ChannelClassicsCCSSEL2498(2002)
completionsandsonatatohim.It’s
Thiswasmy?rstmajorsolorecordingputtingthatonthedisc,butIjustwasn’textraordinary;he
andpeoplehaveaskedmewhyIdidn’tconvinced,sowejustdiditasitis.Tousedthetextof
startwithsomethingeasier.Itdidn’t?nishlikethatseemedthemosthonestPsalm94forthe
seemlikethatatthetime;itjustfeltthingtodo.Ijustloverecording;Ilovepieceandhefollows
right.WhenIwasatschoolinGermanytheexperienceofitandbeingableitveryclosely.It’sall
–I’mhalf-German–Itoldmyteachertoimmerseyourselfinthemusic.Soaboutquestioning
God’spurposeforhumankind;it’svery
IwantedtoplayBachandhesaid‘ohmuchofourlivesisspentmultitasking,turbulentandverypianistic.Althoughit
nonotyet,you’vegottobereallywisepreparingforlotsofdifferentthingsathasbeenwidelyrecorded,theonethat
andmature;youcanonlydothatwhenthesametime.Itseemslikealuxurytoinspiredmethemostwasarecording
you’reabout40’.Iwasabout25whenhavethatonethingtofocuson.byRogerFisher,whowastheorganist
IwasaskedtodoitsoIwonderedifIRachelPodger’snewalbumofJSBach’satChesterCathedralatthetime.Itjust
waswiseenough!Toprepare,IwentCelloSuitesarrangedforviolinissetmywholeimaginationgoingandI’ve
lovedthepieceeversince.
toBanff’sbeautifulconferencecentrereleasedbyChannelClassicson26April
BBCMUSICMAGAZINE21
Thefullscore
THELISTENINGSERVICE
Areyoureadytoplay?
Videogameshavebecome
themostsophisticatedof
modernentertainments,
anddemandcomplexand
richsoundtrackstomatch,
suggestsTomService
ILLUSTRATION:MARIACORTEMAIDAGAN
nwhichmediumcanyou?ndthe
greatestcreativityincontemporary
Icomposition?Ofcourse,it’s
thereinconcerthallsandonfestival
programmes,butifyoureallywantto
knowwherethefrontiersoftheart-form
are,Ithinkyouneedtogetplaying.
AndImeanreallyplaying,immersing
yourselfinanenvironmentinwhich
musicisacontinuallyevolving,self-
generatingPandora’sBoxofwonders
thatareneverthesameovercountless
hours.I’mtalking,ofcourse,about
videogames.
It’snoaccidentthatweusethesame
verbaboutparticipatinginmusicand
gaming:weplaygames,justasweare
doinstrumentsorpiecesofmusic.Thethemysteryofwhathappenedtocauseandthemesandsuitesoftunesthat
differenceisthatconventionalrepertoirethedisappearanceofeveryonefromnowselloutorchestralconcertsallover
isusuallymadefrompiecesthatremainanEnglishvillage–theprocessiseventheworld.NobuoUematsu’smusicfor
relativelystatic,withtherightnotesmoresubtle.Curry’sscorecomposesthelong-runningFinalFantasyseries,
in(hopefully)therightorder,whetheritselfinfrontofyourears,generatingthescoresfromtheZeldagames,forthe
that’smusicbyBachorAmyBeach,abespokealgorithmicsoundtrackPokémon,DragonQuest,orUncharted
JohnWilliamsorHansZimmer.Butinthatoutstripsanythingavant-gardeseries:orchestrasknowtherearehuge
gaming,nosingleplayer’sexperienceaudiencesfortheserepertoires.
ofthelivingmusicalenvironmentsMusicforvideogamesMusicforvideogamesisanessential
ofgamessuchasTheLegendofZelda:partofallofourmusicalfutures.Here
BreathoftheWild,orEverybody’sGonetoisanessentialpartofaremypredictions:inconcerthalls,
theRapturewillbethesame.allourmusicalfuturesgamemusicwillrivalandoutstrip
That’sbecauseyourjourneyconcertsof?lmmusicinpopularityand
throughtheseeminglyin?nitevirtualcomposerslikeCageorStockhausenimportance,andintermsofinnovation,
landscapesandpuzzlesofBreathofthecoulddowithmodularcomposition.compositionforvideogameswilltake
WildmeansthatthesoundandmusicThesegamesareamongthecurrentmusicintonewdimensionsmore
cuesyouhearwillbemeldedtogetherinhighpointsofanart-formthathasitscompletelythananywhereelseonthe
asequenceuniquetoyourplaythrough,rootsinthechiptunesoundtracksmadecreativespectrum.Youheardithere
yourparticularperformanceoftheduringthetechnologicalconstraints?rst:getoutthere,andgetplaying.
game.InJessicaCurry’smusicforofthe1970sand’80s,forgameslike
Everybody’sGonetotheRaptureSpaceInvadersPac-Man
–oneofand.AndtheTomServiceexploreshow
themoststunningpiecesofvideo-game40-yearhistoryofvideogamemusicmusicworksinTheListening
artinrecentyears,asyouplungeintoisfullofstone-coldclassics:melodiesServiceonSundaysat5pm
22BBCMUSICMAGAZINE
FAREWELLTO…
Filmphenomenon:
composerMichel
Legrandin1980
MichelLegrandBornb1932Composer,pianist
Thoughperhapsmostreadilylabelledacomposer,MichelLegrandwas
alsoagiftedpianist,conductorandarrangerwhocouldturnhishand
toanything,justaslongasitwasmusic.Hetrulylivedamusicallife,
writingfilmscores,songs,musicals,balletandevenanoperabuffa.A
self-confessedslavetomelody,hedidn’trecognisemusic’sapparent
boundaries;hesimplycomposed,arranged,playedandsanghisway
rightthroughthem.StudyingattheParisConservatoirefromtheage
often,Legrandeventuallyworkedasanaccompanist,travellingthe
worldwithMauriceChevalier.Heenjoyedsuccessinhisownright
inhistwentieswithaNo.1albumintheUSchartsin1954(‘ILove
Paris’)andsoonrodeFrenchcinema’s‘NewWave’withdirectorssuch
asJacquesDemy,Jean-LucGodardandAgnèsVarda.HisfirstOscar
nomination,forLesParapluiesdeCherbourg(1964),wasfollowedbya
further12plusthreewins–forthesong‘TheWindmillsofYourMind’
(1968)andoriginalscoresforSummerof’42(1971)andYentl(1983)–not
tomentionfiveGrammys.
JohnJoubertb1927Composer
ChristmaswasinevitablythetimewhenJohnJoubert’smusicenjoyed
itswidestpopularity–hiscarolsTorchesandThereisnoroseofsuch
virtuehavebecomefavouritesoftheAnglicanchoralrepertoire.
However,theSouthAfrican’scompositionaltalentsstretchedfar
beyondchurchmusic,withanoutputthatincludedorchestral
works,chambermusicandnofewerthaneightoperas.Muchofit
hasbeenrecorded.BornandeducatedinCapeTown,Joubertwona
scholarshipin1946tostudyattheRoyalAcademyofMusicinLondon.
HeremainedinEngland,firsttocontinuehisstudiesatDurham
UniversityandthentobecomealectureratBirminghamUniversity,
wherehestayedforover20yearsbeforeretiringtoconcentrateon
composing.HismajorworksincludedhisSecondSymphony(1970),
dedicatedtothevictimsofSouthAfrica’sSharpevilleMassacre,and
hisAnEnglishRequiem,commissionedbyandpremieredatthe2010
ThreeChoirsFestivalinGloucesterCathedral.
NoelRawsthorneb1929Organist,composer
Verymuchattheheartofthecity’smusic-making,NoelRawsthorne
servedasorganistatLiverpoolCathedralfor25years,from1955-
80.HethenpresidedovertheconsoleatStGeorge’sHalluntil1984.
Acelebratedplayerwhomadenumerousrecordings,hewasalso
atalentedcomposerandtranscriber,hiscompositionsverymuch
partoftheorganrepertoiretoday.Beyondperforming,helecturedat
StKatherine’sCollege,supervisedtherefurbishmentofPhilharmonic
Hall’sRushworthorganandreceivedanhonorarydoctoratefrom
LiverpoolUniversity.OnDesertIslandDiscsin1972hechosetotake
GETTYmusicbyBach,asurvivalbookandaharpsichord.
Thefullscore
particularlyloveColdplay’searly
Greatdeal:FelicityPalmerstuff,whichwasabitmoreraw
andVladimirStoyanovinthantheirlatermaterial.
Tchaikovsky’sQueenof
SpadesatCoventGardenAndalso…I’vejustfinished
readingMichaelCaine’sfirst
autobiography,What’sItAllAbout?
Thefirsthalfdealswithhis
childhoodgrowingupinElephant
andCastle,thefactthathewas
asoldierintheKoreanWarand
theyearsandyearsofstruggles
hehadtobecomeanactor.It
isjustbrilliantlytold.Iwould
recommendittoanyone.
WilliamSitwellappearsin
Part2ofOurClassicalCentury
onBBCFour
MadeleineMitchellViolinist
Iwenttosee
Tchaikovsky’s
QueenofSpades,an
operaIhadn’tseen
before,attheRoyal
OperaHouse
recently.Itseemedquiteballetic,
andthenIrealiseditwasfrom
1890andthatTheNutcrackerwas
writtenthefollowingyear.Mozart
operaisprobablymyfavourite
music,andtherewerereferencesto
itinTheQueenofSpades.Itdoesn’t
Musictomyearshavethebigromanticsweepof
EugeneOnegin,butIfoundit
Whattheclassicalworldhasbeenlisteningtothismonthgrippingandchilling.
Acoupleofweeksago,Iwas
givenaspecialsetofBrahms
WilliamSitwellJournalistREADERCHOICEthescore,andoneofmyfavouriterecordings.It’sToscanini’sBrahms
IfirstheardmomentsiswhenthebrassycyclewithJaschaHeifetzplaying
CassandraList,
Mozart’sSymphonyBerlin,Germanymusicgivesthesenseofachubby,theViolinConcertolivewiththe
No.29whenIsawaUnderthebatonofjovialFalstaffdancingandfallingPhilharmonicSymphonySociety
schoolperformanceEduardTopchjan,thearoundtheplaceinaninn.TheofNewYorkin1935.Theykeep
ofPeterShaffer’sArmenianNationalmusicthenchangesasyoungHalitmovingbuttheyaresomuch
Amadeus,withPhilharmonicdelivershisdevastatinglysavageonthesamewavelengththatit’s
DominicWestasSalieri.WhatOrchestra’sdebutspeechinwhichhedispenseswiththrilling.Yougetthefeelingofline
concertBerlin’s
struckmeaboutthesymphonyisKonzerthaushisoldfriend–itstirstheheartandsometimesofdance.There
justhowmuchrhythmtherecansurpassedalllikenothingelse.arethesemagicalfleet-footed
beinclassicalmusic–Iusedtoexpectations.SergeiThefirsttimeIcameacrossmoments.AndthatHeifetzsound
putitonveryloudlyathomeandKhachatryan’sthebandColdplaywaswhensoars–it’ssublime!
playalongwithitonaneight-pieceperformanceoftheyperformed‘Yellow’onJoolsInevertireoflisteningtoBill
Khachaturian’straitinJazzPor
drumkit.ThefirstbarcapturesViolinConcertowasHolland’sTVshowmanyyearsEvans’salbum.
you,andit’sapiecewithsuchvirtuosicandyetago.OnSpotify,I’vebeenlisteningThefirstchordof‘ComeRainor
energy,verveandvigour.Itstillemotional,bringingtothemplaythesongataconcertShine’getsmeeverytimeasit’sso
meansalottome.anunmistakablyinBuenosAires.Whatitsosubtleandinteresting.Myother
HenryVArmenianfeelto
Walton’sfilmscoreforKhachaturian’spoignantaboutitisthatyoucanfavouritetrackis‘WhenIFallin
showshimathismostnaturallycolourfulmelodieshearthewholecrowdsingalongLove’.ThereasonIloveEvansso
brilliant.There’sarecordingininthisinfrequentlyinEnglishandthenChrisMartin,muchisalotdowiththechords
whichChristopherPlummerperformedwork.theleadsinger,talkstotheminandthesophisticated,intoxicating
narratesthedialoguealongsideSpanish–thecrowdgoeswild.Irhythms.WhenIwasakidI
24BBCMUSICMAGAZINE
Thefullscore
usedtolovesittingatouruprightplayedthefirstpage,heapologisesREADERCHOICEeverheard.Becausehe’sleading
piano,experimentingwithchords,andstartsagain.It’swhatIlistentotheorchestraaswellasplaying,
findinginterestingoneswhichhadwhenIwanttoberemindedtoyougetthesensethatyou’re
aparticularsound.recordthingswithmorefreedom.listeningtoamusicianratherthan
Andalso…WhenI’montourI’mThisideaoftranscendingaperformance.It’stheantithesis
morelikelytobefoundinanarttraditionisalsoobviousinArtofan‘authentic’performance,
gallerythanataconcert.IhaveTatum’sperformanceofChopin’sbecauseit’sveryRomanticinstyle.
eclectictastes,fromVermeertoWaltzinCsharpminor.Hedoesn’tThecadenzaisamomentofpure
MatissetoHodgkin.Irecentlyevenplaytherightnotes;hejustgenius–everyonemustlistentoit!
revisitedtheTurnersattheTate.makesitup.HeevensaidhimselfHiewTzejia,Andalso…I’vebeentoso
Iespeciallylikethelate,abstractthatthere’snosuchthingasaGlasgowmanyballetsinthelastyear.
translucentpaintings.They’rewrongnote.BothRachmaninovProkofiev’sWinterChoreographerMatthewBourne’s
BonfirehasbeenSwanLake
fromroundaboutthe1840s,andandHorowitzclaimedhewassuchadiscoveryforatSadler’sWellsfollows
theboldcoloursaresobeautiful,meoverthepastfewmy‘rule-breaking’theme.Theall-
asisthelight.IgetsomuchfromRachmaninovandmonths.Iheardthemalecastissuchaboldapproach.
justlookingatthem.It’sapureentirepieceperformedUllman’sdebutdiscofTchaikovsky,
visualconnection.HorowitzclaimedthatbyRoyalScottishProkofievandStravinskywill
NationalOrchestra
MadeleineMitchell’salbumofbereviewedinafutureissue
ArtTatumwastheandtheRSNOJunior
GraceWilliams’sViolinSonataisChorusconductedby
releasedon1MarchonNaxosgreatestpianistaliveThomasS?nderg?rd
inGlasgowandit
AlexanderUllmanPianistthegreatestpianistalive,andwasheart-warming
beyondwords.Asfor
I’vebeenthinkinghistechniqueissounusual–norecordings,Ican’tstop
latelyaboutotherclassicalmusiciancanplaylisteningtoFauré’s
breakingrulesinlikehim.He’sgotsuchfreedomBalladeinFsharp
performanceandofthought.AlthoughtheseOp.19recordedby
howtopushtwointerpretationsarealmostYujaWang,aswellas
Ravel’sValsesNobleset
boundaries.TheunnecessarilyextremeexamplesSentimentalesrecorded
pianistVladimirdePachmannaboutpushingboundaries,IwantbytheLondon
wassuchaneccentricandoneoftochallengemyselfinasimilarSymphonyOrchestra
theearliesttomakerecordingsofway.Iwanttofeeluncomfortable.underthebatonofthe
hiswork;hisrecordingofWilhelmFurtw?ngler’slateClaudioAbbado.
ThereisjustsomuchTrueRomance:
Chopin’sG-flatEtudeisveryinterpretationofBach’spoiseandelegance!Furtw?ngler
funny.HetalksthroughouttheBrandenburgConcertoNo.5isonedirectslushBach
performanceandevenafterhe’softhemostspecialrecordingsI’ve
OurChoicesTheBBCMusicMagazineteam’scurrentfavourites
OliverCondyEditorJoséCura’srecentlyshorntitlecharacterasMichaelBeekReviewseditor
WhenI’msupposedtobeworking,IIrevisitmy1998recordingofSaint-Sa?ns’sI’vebeenenjoyingthemusicarchiveonBBC
sometimesendupsurfingYouTubeinsteadSamsonetDalila.TheexquisitelymournfulariaiPlayeroflate;it’sabitofanAladdin’scave.
formusicalinspiration.Transcriptionsofold‘Voismamisère,hélas’fitsmymoodtoateeasThereareBBCProms(ofcourse),otherconcerts
jazzperformanceshaveheldsomethingofaIgloomilyanticipateanotherencounterwiththeanddocumentaries.Iparticularlyenjoyeda
fascinationformeeversinceIsawAndrewLittonscissorsofdoom.2001broadcastfromtheBarbicanofmusic
bravelyandbrilliantlyperformaselectionofbyPhilipGlass,inwhichtheBBCSymphony
OscarPetersonsolosafewyearsago.ThisRebeccaFranksManagingeditorOrchestraperformapairofsymphonies–
time,myimaginationhasbeencaughtbyWhodoesn’tloveareallywell-chosenincludinghisbrilliantThird–andhisConcerto
youngAmericanjazzpianistEldar,whoseencore?PianistRichardGoodegotitspotFantasyforTwoTimpanists&Orchestra.
performanceofatranscriptionofArtonatarecentrecitalhegaveinBBCMusic
Tatum’sTigerRagisquitespectacular.Magazine’shomecityofBristol.TheFreyaParrEditorialassistant
HeevenperformsitonTatum’soldprogrammeincludedanintenseAspartofmypilgrimagefollowingMarinAlsop
SteinwayB,whichaddsfurthermagicperformanceofBerg’sPianoSonata,aroundtheUK’sconcerthallsinamildly
toitall.Absolutelythrilling.alongwithBeethoven,Bachandfanaticalmanner,IsawherconducttheLPOin
Chopin.SotherewassomethingadynamicprogrammeofpremieresatRoyal
JeremyPoundDeputyeditordeliciouslyrefreshingabouthisFestivalHall.AndersHillborg’soundSAtlas
Forme,fewexperiencesinthischoiceofmusicfromanearlierreallystoodoutwithitscinematiclandscapeand
worldareastraumaticasthatofepochtoroundthingsoff–aPavanconstantlyevolvingsoundworlds.Stunningstuff.I
havingahaircut.Ihave,therefore,andGalliardfromByrd’sLadyeMyadmiredhismusicalstyleandoutstandinglywell-
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Opinion
RichardMorrison
It’sunrealistictoexpectoperahouses
toauditionforrolesbyvoicealone
sthesonofamanwhoItwasyearslater,whenIstartedtheyproduce,andnotbytheirage,
conductedaveryfinebrassreportingonthewiderworldofmusic,colour,weight,physique,attractiveness,
Aband,IwasexposedatatenderthatIrealisedthatthiseminentlyeducationorsocialconnections.And
agetooneofthemostterrifyingritualsfairwayofevaluatingperformanceswithclassicalmusicstillplayingcatch-
intheartisticfirmament.I’mreferringwasverymuchtheexception.Someupwithregardsto,forinstance,itsblack
tothebrassbandcontest,inwhichAmericanorchestrasconductauditionsandethnicminorityrepresentation,that
asmanyas20ensemblesfolloweachwithprospectivecandidatesplayingisalaudableaim.
otherontothestage,playexactlythebehindacurtain,butgenerallytheButoperaisacomplexartform.It’snot
same,technicallyfiendish(butusuallypeopledecidingwhogetstheprizesjustaboutthesinging.Thesetdesignand
musicallyarid)11-minute‘testpiece’,andinmusiccompetitions,ortherolesindirector’sstaging,theactingand,yes,
bemarkedoutof100withmicroscopicoperas,cannotonlyseethecompetingthephysicalappearanceofthesingers
exactitudebyanadjudicator.candidatesbutalsoexaminetheirCVs.allhaveabigimpactonanaudience’s
WhatthenfollowsisakintothedaySohoweverunbiasedtheymaythinkenjoyment.Wecanargueforeverabout
ofjudgment:alcohol-fuelledecstasyfortheyare,theirjudgmentsmaywellbehowmuchasinger’slooksshould
thewinningbandanditssupporters;matter–andIacceptthependulummay
anguisheddespondencyforthelosers,haveswungtoofarinfavouroffilm-
especiallyifyouhappentobe,say,theThephysicalappearancestarglamourandslimbodies–butit’s
sopranocornetplayerwhofluffedaunrealistictosuggestthatcastingshould
singletopnote,costingyourbandnotofthesingershasabedone‘byvoicealone’.
justmarksontheday,butthepossibilityMelanieLodge,whosewebsite
ofhumiliating‘relegation’toalowerbigimpactonanAuditionOracleisbehindthe
division,justasinfootball.competition,clearlywantstosee
Iencounteredallthisbackintheaudience’senjoymentsingersofallshapesandsizes,races
1960s,andImustconfessIhaven’tanddisabilitiesgettingroles.‘Ifyou
attendedmanybrassbandcontestsinfluencedbyfactorsotherthanjustthegoandwatchashowandyoucan’tsee
since.AsDvo?áksaidwhentakentosoundproducedbythatperson,thatday.anythingofyourselfupthereonstage,
hearpsalmssungtoAnglicanchantatIwasfascinatedtolearn,then,aboutawhywouldyouconnectwithit?’she
StPaul’sCathedral:‘WhydotheykeepnewsingingcompetitiontitledByVoiceasks.Hmm.Nobodyevermistookme
onrepeatingthesameterriblemusic?’Alone(byvoicealone.com),inwhich–foraconsumptivewaif,butthatdoesn’t
Buttheonethingthathasstayedinmyforthefirstroundanyway–thejudgesstopmyeyesgettingmoistwhenMimì
mindwastheeffortthebrass-bandwillbeassessingwhattheyhearwithoutdiesinLabohème.Themainthingisthat
contestorganisersmadetoensurethatknowingwhatthecompetitorslooklikesingersappearcredibleintherolesthey
theadjudicatorsremainedimpartial.(theywillsingbehindascreen),orwhatareportraying.
Theywouldbeenclosedinasmall,theyhavedoneintheircareerstodate.Andactually,Lodgeappearstacitly
windowlesscabininthecentreoftheAsthosejudgeswillincludequiteafewtoacknowledgethis.Thefirstround
hall,sotheycouldhearbutnotsee.ofthepeoplecastingshowsforBritain’sofhercompetitionmaybeheldbehind
Andjusttomakecertaintherewasnoleadingoperacompanies,ByVoicescreens–butthesingerswillbein
‘dodgybusiness’,theadjudicatorsalsoAlonecouldbeavaluableplatformforfullviewforthesecondroundandthe
didn’tknowtheorderinwhichthesesingerswhohithertohaven’tbeenabletofinal.Quiterighttoo.Idealistsmay
fiercelycompetitivebands–BlackDyke,breakintothemagiccircle.deploreit,butinanysphereofpublic
Grimethorpe,Cory,BrighouseandtheSoshouldtheconceptshouldbeperformance–fromoperatopolitics–
rest–wouldplay.Nordidthebandsunreservedlywelcomed?Certainly,looksdocount.Alot.
themselves,untiltheadjudicatorswereifoursoleconcernistoensurethatRichardMorrisonischiefmusiccritic
safelyshutaway.singersarejudgedonlybythesoundsandacolumnistofTheTimes
BBCMUSICMAGAZINE27
Vive
ladifférence!
Composer,conductorandcriticHectorBerliozwasaman
wholovedtoflouttherules.RogerNicholscelebratesthe
astoundingachievementsofaFrenchmusicrevolutionary
Frenchfigureheads:
thecomposerHectorBerlioz
tookon19th-century
Paris;(right)caricaturists
ruthlesslylampoonedboth
LouisXVIIIandCharlesX
GETTY
28BBCMUSICMAGAZINE
HectorBerlioz
hesignificanceoftheyear
1789hasneverentirelyfaded
inthememoryoftheFrench,
aseventsoverthesepast
fewmonthshaveshown.
TIfNapoleon’sdefeatatWaterlooputan
endtohisambition,LouisXVIIIand
CharlesX,thetwobrotherswhowerethe
figureheadsoftheensuingRestoration,
werenotthesharpesttoolsintheroyal
box:thehistorianAlfredCobbansays
ofthemrespectively,‘Immenselyfat
andwalkingonlywithdifficulty,
heoccupiedthethronelikeanold
idol,self-sufficientindivinely
sanctionedegoism’;and‘[he]had
forgottenlittle;inintellectual
goodshismindwassosparsely
furnishedthattherewaslittle
forhimtoforget’.Parisinthe
1820sbecameimpatientfor
somethingbetter,spurredon
byCharles’srigidbeliefinthe
divinerightofkings.
BBCMUSICMAGAZINE29
ONEGOODTHINGLouishaddonewas
tosettlealifetimepensiononayoungpoet
calledVictorHugo,notforeseeingtherole
Hugowouldplayinfomentingdissent.He
didthisinparticularinthelongPreface
hewrotetohisdramaCromwellwhich
becameamanifestoofthenewspirit,
claimingamongotherthingstobe‘the
voiceofasolitaryapprenticeofnatureand
truth’andthat‘thebeautifulhasonlyone
type,theuglyhasathousand’.Readers
wonderingwhatBerliozhastodowithall
thismaybesoothedbyHugo’sobservation
inhisPrefacethat‘itisthegrotesque
whichimpelstheghastlyanticsofwitches’
revels’.BerliozcertainlyknewthatPreface
andwasalsoamongtheaudiencefor
Hugo’splayHernanion25February1830
which,blatantlymixingtragedyand
Berliozlearntthe
?DJHROHW?XWHDQG
JXLWDUEXWKLVIDWKHU
IRUEDGHWKHSLDQR
comedy,lastedfor39increasinglynoisy
performances,settingdie-hardsagainst
youngradicals.Hugoreturnedhomeone
nighttofindabulletholeinhiswindow.
Violencewasintheair,andon27July
CharlesXleftforexile.AndBerlioz?
TheyoungHector’seducation,apart
fromtwoyears,wasentirelyatthehandsGrenoble,Hectordreamtoftravellingtomusicwouldbethefirstandworstcause
ofhisfather.Helearnttheflageolet,theexoticplacesandbeing‘thevoiceoftheofdissensionbetweenoldandyoung.In
fluteandtheguitar,butPapaforbadethesolitaryapprenticeofnatureandtruth’,anattempttopleasePapa,Berliozwentto
piano–nooneknowswhy,butBerliozwiththeaccenton‘solitary’.HerewasbornParisandbeganmedicalstudies,butblood
laterwasgratefulfor‘theluckthatmadeitthelonelydreamer,escapingfromallthatandseveredlimbsweretoomuchforhim.
necessaryformetocomposesilentlyandwasvulgarandhumdrumintoamoreBackhome,heannouncedthathewas
freely,shieldingmefromthetyrannyofperfectworld–whichistosay,aworldgoingtobeacomposer.Hismotherwho,
digitalhabits,sodangerousforthought’.designedbyhimforhimself.inhisownwords,thought‘Iwassetting
OverallthegreatvirtueofthisprivateAndherelaythedeficiencyofhisfootonapaththatledtodisreputeinthis
education,atthehandsofsomeoneheeducation.Ashehimselflateradmitted,worldanddamnationinthenext’,shrieked
revered,wastostimulatehisimagination.asasingleboywithtwoyoungersisters,heathimto‘goanddragyourselfthroughthe
Hereadvoraciously:Virgilaboveall,neverhadtolearntheartsofnegotiationfilthofParis,dishonouryourname,leave
thestoryofDidoandAeneaspromptingandcompromise(Mendelssohnhadtheyourfatherandmothertodieofshame
hisgreatoperasome40yearslater,butsameproblemsforthesamereason).Hisandmisery.Youarenolongermyson!
alsoWalterScott,FenimoreCooperand,father,aconscientiousandmuchlovedIcurseyou!’
lateron,Goethe’sFaustandShakespearedoctor,wasnottobearguedwith.StillItcouldwellbethatfromthisencounter
who,likeHugo,hadthebadmannerstolesswashismother,astaunchCatholicinaboveallBerliozlearnttobehisown
mixhighandlowlife,Danishprincestheancientmould.Andthosewhoknowman,alessonthatbroughttriumphand
GETTYandgravediggers.FromhisvillagenearBerlioz’smusicwillnotbesurprisedthatunhappinessinaboutequalmeasure.
30BBCMUSICMAGAZINE
HectorBerlioz
Hefallsinlove;wheneverhisthoughts
turntohisbelovedthesamethemecomesPeriodofrevolution
tomind;shehauntshimataballandin
thecountryside;undertheinfluenceofThelifeandtimesofBerlioz
opiumhedreamsthathehaskilledher1803HectorBerliozis
andisbeingledtothescaffold;finallyheisbornon11Decemberin
presentamongwitchesathisownfuneral.thesouthernFrenchtown
SuchrevolutionaryideasclearlycalledofLaC?te-Saint-André.
forunconventionalmusic,andBerliozHisfatherisadoctor.
obliged.Takethethemeofthebeloved–1804The35-year-old
sinceitreappearsregularlythroughoutNapoleonBonaparte(right)
thesymphony,ithasbecomeknownasiscrownedemperorof
Franceon2December.
the‘idéefixe’.Sinceit’s32barslong,you
1815Defeatedbythe
can,ifyoutryhard,splititupintofour
DukeofWellington’sforces
regulareight-barpatterns.Butthat’satWaterloo,Napoleonis
notwhatwehear:thereareellipsesandexiledtoStHelena,where
expansions,aswellastwoaccelerandoshediessixyearslater.
andarallentando,sothatthewholetheme1821BerliozissenttoParistostudyat
radiatesinstability.TheaccompanimenttheEcoledeMédecine.
tooisinitiallygrotesque,ascratchyfigure1825Hisfirstmajorwork,theMesse
onstringsthatdoesn’tstarttilltheseventhsolennelle,isperformedattheChurch
bar,thenstops,thenstartsagain,thenofSaint-Roch(left).
stops,likeanoldcarincoldweather.The1830TheJuly
balltheme,thoughitbeginstraditionally,Revolutionin
andmostattractively,soonundergoesFranceleadsto
similartreatmentthatwouldfoxanytheabdicationof
dancer.‘TheSceneintheFields’findsKingCharlesX.In
thecomposerreflectingonhisisolation,October,Berlioz
winsthePrixthe
whichmaysoonbeover.Butdoesshe
Romewithhis
reallylovehim?‘TheseideasofhappinesscantataLamort
disturbedbyblackpresentimentsform
Tumultuoustimes:(top)chaosandviolencedeSardanapale.
unfoldedatthepremiereofVictorHugo’sHernani,thesubject’ofthemovement.HereBerlioz1833HemarriesactressHarriet
atwhichBerliozwaspresent;(left)an1846wasrememberingBeethoven’sPastoralSmithson,theinspirationbehindhis
caricaturetookaimatBerlioz’spenchantforSymphony,andthe‘blackpresentiments’,1830Symphoniefantastique.
noisiness;thecomposerfellpassionatelyinlove
withtheactressHarrietSmithson(above)paintedbydissonantthunderontimpani,1842Heembarksonanextensive
relatetothecelloanddoublebasspassagesconductingtourofBelgiumand
inthePastoralwhere,asBerliozlaterGermany,duringwhichhemeets
Againsthisimaginingswererangedtheremarked,thefiverisingnotesonlowSchumann(below)forthefirsttime.
realitiesofParismusicmaking,inwhichcellosaremessilymatchedwithfouron1848AnotherrevolutioninFrance
figureslikeAuber,CherubiniandRossinidoublebasses:heremusicisgivingwaytobringsanendtotheJulyMonarchy.The
heldprideofplace,andtheyoungweresheernoise.SecondRepublicreplacesit.
expectedtoknowtheirs.Noiseanddisruptionaremuchin1851LouisNapoleon
Nonetheless,on5December1830,evidenceinthelasttwomovements.Instagesacoupd’état,soon
somefourmonthsafterthelastkingof‘TheMarchtotheScaffold’,completewithdeclaringhimselfEmperor
NapoleonIII.
Francehadbeenexpelledandwiththeguillotinecuttingofftheheadofthe‘idée
PrixdeRomeinBerlioz’spocketafterfixe’,twochordsalternatingfourtimes1854HarrietSmithson
diesaftersevere
severalattempts,theworldfirstheardareenoughtoproclaim‘revolution’:Dflat
Symphoniefantastiqueillness.Berliozmarries
his.Asymphony,majoragainstGminor,DflattoGbeingthesingerMarieRecio
fine.Buta‘fantasticsymphony’?Sure,‘thedevil’sinterval’.Asfor‘TheWitches’sevenmonthslater.
theBeethovensymphoniesthatwereSabbath’andthescreechedversionofthe1863Berliozfinally
atlastbeingplayedinPariswerenotall‘idéefixe’onE-flatclarinet,‘ignoble,trivialarrangesthestagingof
easylistening,someindeedweredeemedandgrotesque’saysBerlioz,herewasthethreeactsofhisopera
incomprehensible,buttheyweren’tCromwellprefaceinsound.AfinalblowLesTroyensatParis’sThéatreLyrique.
‘fantastic’.Well,thisonewas.toconventioncamewiththequotationof1869BerliozdiesinParison8March.
Forastart,thiswasthefirstsymphonytheDiesIraeplainsong,BerliozhavinglongHeisburiedinthecity’sCimetièredu
evertofigurethecomposerassubject.abandonedreligion,nodoubtpartlyNord,Montmartre.
BBCMUSICMAGAZINE31
HectorBerlioz
Dramaticlegends:
CharlesCastronovo
andFlorianBoeschin
LadamnationdeFaust
Unpopularopinions
Berliozonhisfellowcomposers
OnHérold’sZampaoverture:
‘It’sapotpourri,notanoverture.
Themelodiesareneithernew
norremarkable.Thenexttolast
aidedbyhismother’sintransigence.Ifonehavesurprisedhim.ButParisianonesstrikesmeaswretchedly,stupidly
oftheaimsofrevolutionistopointapathwereadifferentmatter.Saint-Sa?ns,coquettish.’(1835)
tothefuture,thenthisuseoftheDiesIraewritingin1899,rememberedthatBerliozOnRossini’sTheBarberofSeville
didjustthat,thethemebeingtakenupby‘demanded,fromorchestrasfarinferiorto(picturedabove):
anynumberofcomposersoverthelastthoseoftoday,effortsthatwerepositively‘IfIhadhadthemeanstoput
coupleofcenturies,includingLiszt,Ysa?esuperhuman.Ihaveseenhimtake20,30gunpowderundertheSalleLouvois
andRachmaninov,tonamebutthree.rehearsalsforasinglework,tearinghisandblowitup,setsandall,during
TheclashbetweenBerlioz’simaginationhair,wreckingbatonsandmusicstands,TheThievingMagpieorTheBarber
andtherealitiesoflifetookmanyforms.withoutgettingtheresulthewanted.TheofSeville,Iwouldnothave
WithregardtotheFantasticSymphony,hesitatedtodoso.’(1834)
itwasembodiedinhisreal-lifeloveforOnAlexandreMontfort’sballetLa
theIrishactressHarrietSmithsonwhom‘IhaveseenhimChattemétamorphoséeenfemme
hehadseenasOpheliaandJulietin1827‘Icouldnotdetecttheslightest
andwhowastheunwittingobjectofthehintofcommonsenseinthis
Symphony.Inhismemoirs,aheadingtearinghishair,
tellsthestoryinbrief:‘Iamintroduceddamnedballet.’(1837)
toMissSmithson.Sheisruined.ShewreckingbatonsOnanunnamedpieceforviolinand
breaksherleg.Imarryher.’AcarefulloverorchestrabyJosephMayseder(below):
wouldhaverealisedthatone’sabilitiestoandmusicstands’‘Itisunfortunatetohavetosit
conveypassiononstagearenotnecessarilythroughanentirepiece,one
thequalitiesrequiredforacomfortablepoororchestralplayersdideverythingofhundredsstreamingfrom
companion.Heractingneverrosetothetheycould,butthetaskwasbeyondthem.’Mayseder’sgreatmill,allinhis
sameheightsagainandBerliozlookedThen,asmentionedalready,therewasinvariablekeyofE,withhislong
afterherfortherestofherlife.Then,ofthewholecontentiousmatterofnoise.drum-majorstretches…andthe
course,therewasthenatureofhismusicAgoodidea,hesometimesseemedtobestereotypicalorchestralplatitudes
itself.Thosepartsofitthatstillstrikeussaying,couldonlybemadebetterbybeinghecallstutti.’(1835)
asexcitingtendedtostriketheperformersplayedmoreloudly,thoughthatcertainly
OnthePreludetoWagner’s
ofthetimeasterrifying.Hisfirstopera,wasnotalwaysthecase,asinthesong
BenvenutoCelliniNuitsd’étéTristan&Isolde:
,isstilltaxingtoday,cyclewhichwascomplicitin‘Ihavereadandrereadthis
notleastforitscomplexrhythms.Afterlaunchingthemélodieasapurveyorof
someearlyshocks,hetooktoconductingseriousmusic.Sizeofmusicalforcescuriouspage;Ihavelistened
hismusichimself,andhereagainanofcourseentailedmoney,thelackoftoitwiththemostprofound
unwillingnesstonegotiatecouldcausewhichwasan‘idéefixe’inBerlioz’sattentionandastrongdesire
problems.WithGermanandBritishlife.Themassiveoutlaysforthetodiscoveritsmeaning;well,it
orchestrashewasingeneralhappy,andSirRequiemandtheSymphoniefunèbrehastobeadmitted,Istillhaven’t
ColinDavis’ssensational,epoch-makingettriomphalewerepaidforbythefaintestideawhathewas
engagementwithhismusicwouldnotthestate,butotherwisethetryingtosay.’(1860)
BBCMUSICMAGAZINE33
HectorBerlioz
maturecomposerwasarevolutionaryincuriously,thatthosewhoreallytook
thatheorganised,conductedandpaidforumbrageathisslightswerenotthose
almostalltheconcertshegaveinParis.whosemusichecastigated,norindeed
Asever,thiswasahit-and-missaffair:Laignored,butthosewhomhedamned
damnationdeFaustwasatotalflop,leavingwithfaintpraise.Atalleventshetended
himprettywellbankrupt(‘nothinginmytoshootfromthehipand,inintellectual
artisticcareerhassogrievouslywoundedPariswhichhasoftenbeenlikenedtoa
measthisunexpectedindifference’),whilenestofsnakes(or,byBerlioz,to‘astinking
thegentlerL’enfanceduChristwasahugebog’),thisdidhimnofavours.Few
Berliozmemorial:success.TotheendofhislifeheregrettedParisianswouldhavewelcomedhisview,
JohnNelsondirectsanAminorSymphonywhosedetailscameexpressedinanotherpublicationafew
thehugeRequiem
tohimindreamstwonightsrunning,butyearsearlier,that‘inthebushmanasin
whichhedarednotwritedown,knowingthepeasant,melodicfeelingissometimes
Berliozintheconcerthalltheproblemssuchanenterprisewouldaccompaniedbyaveryacutesenseof
entail.Bythethirdnightthemusichadexpression,which,incontrast,occursonly
Thisyear’sbestanniversaryeventsvanishedintothinair...seldomamongcitydwellers.’Nosurprise
Requiem(GrandeMessedesmorts)Afinalarenainwhichimaginationthereforethatnoneofhisthreeoperas
Marking150yearstothedaysincetheandrealityclashedwasthatofwords.wasperformedbytheParisOpérainhis
deathofBerlioz,JohnNelsonconducts
theRequieminthemonumentalsetting
ofStPaul’sCathedral.TenorMichael
SpyresjoinsthePhilharmoniaOrchestraBerlioztendedtoshootfromthehip,
(8March,seep126forfurtherdetails).
SymphoniefantastiqueandinParisthisdidhimnofavours
Berlioz’svividorchestralmasterpiece
isbeingplayedacrosstheUKintheFrom1835Berliozwasfornearly30yearslifetime.LesTroyensfinallyreceivedthis
nextfewmonths.HerbertBlomstedt
acontributorofreviewsandarticlestoaccoladein1921.
joinsthePhilharmoniaOrchestraatJournaldesdébats
London’sRoyalFestivalHall(11April)theinfluential.HeTohislastdayshecherished
foraperformancethatpairsthepiececursedthelabourthisentailedandtheimprovementstothewaymusicwas
withBeethoven’sPastoralSymphony.musicthatconsequentlyheneverwrote,organisedandplayed,especiallyinParis.
ElsewhereinLondon,theLSOandbutthemoneywasneededanditdidTheConservatoireshouldhaveclassesin
SimonRattlesetBerliozalongsidegivehimaforumforhisideasincluding,conductingand(modestlynotmentioning
JohnAdams’spost-modernsymphoniclesshelpfully,thoseonthemusicofhisownTraitéd’instrumentation)in
exploration,Harmonielehre(5May).hiscolleagues.Hemaintained,ratherorchestration(itdid–by1914);andsingers
AndMarkElderwillleadtheHalléeverywhereshouldhaveclassesinrhythm.
inanumberofperformancesoftheHislegacyhasalwaysbeencontestedin
SymphoniefantastiqueatManchester’ssomequarters,andwemayfindsomewry
BridgewaterHall(16,19,22May)and
StDavid’sHallinCardiff(18May).amusementintheeffortsofhissuccessors
tounderstandhim:Fauréevincingdistaste
LadamnationdeFaust
forthe‘mediocrethemes,Baroqueinform
Berlioz’s‘légende
andvulgarinsonority’oftheBenvenuto
dramatique’Cellini
inspiredbyGoethe,overtureandbeingrappedoverthe
isafavouritethisknucklesbySaint-Sa?ns;Debussyfinding
anniveresaryyear.theFantasticSymphonyamasterpiecebut
SaimirPirgu(left)lamentingBerlioz’spenchantfor‘artificial
takesontheroleofflowers’;Ravelcallinghim‘ageniuswho
FaustwiththeCBSOatkneweverythingbyinstinct,exceptwhat
Birmingham’sSymphonyHall(26June),everyConservatoirestudentcandoonthe
whilePeterHoarestepsupwiththespot:writeadecentbasslinetoawaltz’.
PhilharmoniaOrchestraatGloucesterMorehappilyPierreCitron,theeditor
CathedralaspartoftheThreeChoirs
ofBerlioz’sCorrespondance,invitesus,
Festival(27July).Forafully-staged
version,headtoGlyndebourne,wherethroughreadinghismemoirs,to‘discern,
AllanClaytonheadsthecastforRichardsometimesdisplayedopenly,sometimes
Jones’sproduction,withRobinTicciatimorediscreetly,thefaceandvoiceof
conductingtheLondonPhilharmonicanartistwhowasfree,proud,honest,
Orchestra(18May-10July).Heroworship:PaganinibowstoBerliozin1838demanding:aprince.’
34BBCMUSICMAGAZINE
18MAY–MANONLESCAUT(newproduction)18,21,25,28,30May
TOSCA19,29May
10JUNEMESSADIGLORIA/LEVILLI20May
LAFANCIULLADELWEST22,24May
MADAMABUTTERFLY23,25May
LARONDINE(newproduction)26,27May
EDGAR(newproduction)1,6June
LABOHèME2.02,5June
ILTRITTICO3,4June
TURANDOT7,9June
PUCCINISONGRECITAL4June
CHRYSANTHEMUMS,ORTHEDEATHOFLIù(worldpremiere)8,9June
CLOSINGCONCERTWITHGREGORYKUNDE10June
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