GSCENE 43
CLASSICAL
NO TE S B Y NIC K B O STO N
REVIEWS ) The GOULD PIANO TRIO have released a third volume of Beethoven Piano Trios – but in fact this disc is a little different, in that there is only one single movement here (the Variations on Ich Bin Der Schneider Kakadu) performed by the full Gould Piano
Magnificat, for four, five and six incredibly beautiful work, lasting just over 40 minutes. In six voices, voices. They couldn’t be more varied in their settings, with the the parts have enormous ranges, four-voice the most dramatic and stretching the singers and imitative, and the five-voice the requiring remarkable stamina to most subtle, almost soothing. In perform. Taverner’s writing is pianist, Benjamin Frith for the six-voice, understandably, hugely architectural, and this Bowen’s Clarinet Sonata, and then Taverner makes greater use of further requires the Gould string players, Lucy variety of textures, with complex sustained Gould & Alice Neary, joined by intensity, which passages for all six parts Mia Cooper (violin) and David contrasted with sections for fewer director Peter Adams (viola), with Plane this voices. Overall, this disc Phillips time on bass clarinet for Bowen’s demonstrates the technical certainly elicits Phantasy Quintet. The rest of the from the singers here. As ever, the brilliance and profound depth of disc is given over to the Gould Taverner’s writing, and The Tallis blend is impeccable, and the Piano Trio alone, with the Piano Scholars have chosen a fitting way unfailing continuity of line is Trio in E minor, the single to celebrate their 40 years of impressive. The Benedictus is a movement Rhapsody Trio, and bringing such music to our ears. another single movement from an perfect example of Taverner’s Long may this continue. Gimell ability to stretch his text setting, unfinished Piano Trio in D minor, CDGIM045 which the Goulds have edited and and the ‘in nomine’ here became the basis of many other composers’ prepared for performance. All the Reviews, comments and events: settings, such was its regard. The works here are within a latenicks-classicalremainder of the disc is given over romantic idiom, with an obvious notes.blogspot.co.uk line back to Brahms, and a strong to three settings of the Email: nbclassical@hotmail.co.uk flavour of Rachmaninov (Bowen was even referred to in his day as the ‘English Rachmaninov’). This is perhaps most evident in his Piano Trio in E minor, a towering work, BRIGHTON FESTIVAL www.brightonfestival.org with a particularly virtuosic piano ) Read last month’s column for Brighton Festival recommendations. part, of which Frith demonstrates If there are still tickets available, don’t miss The Hilliard Ensemble full command here. with the City of London Sinfonia, under Stephen Layton; the
) Late last year, as part of their 40th birthday celebrations, The Tallis Scholars released a magnificent recording of the Missa Gloria tibi Trinitas by John Taverner (c1490-1545). This is an incredibly challenging yet
) If you have space left in your diary, do explore the Brighton Fringe. Highlights include pianist Johan de Cock playing Chopin (4pm, Sat 17, Sat 24, & Sat 31), Friends Meeting House, Ship St; the Camellia Flute & Harp Duo performing Debussy, Piazolla and Saint-Saëns (7.30pm, Fri 9), St Luke’s, Queens Park Rd; the Canticle Chamber Choir singing Handel’s Dixit Dominus; and Monteverdi’s Beatus Vir (7.30pm, Mon 19), The Meeting House, Sussex University. JOHAN DE COCK
The Phantasy Quintet is an equally impressive work, and Bowen makes imaginative yet unobtrusive use of the bass clarinet, blending it with the string textures expertly. The Clarinet Sonata which opens the disc again demonstrates Bowen’s skill at creating a seamless flow through his compositions, and for all the virtuosity required here from both clarinet and piano (amply supplied by Plane & Frith), this is a remarkably coherent work. Plane and the Gould Piano Trio have worked together extensively, and this is highly evident in their consummate performances on both of these discs. Chandos CHAN10805
) Also, check out the Music Of Our Time series, Sounds of War – Instruments of Peace at St Nicholas Church, with concerts by the Heath Quartet (Fri 16), pianist Julian Trevelyan (Sun 11) and the Ireland Trio playing music by Frank Bridge. www.musicofourtime.co.uk
) St Michael & All Angels Church in Hove and the Chapel Royal in Brighton both have excellent series of lunchtime concerts too.
CAMELLIA FLUTE & HARP DUO
BRIGHTON FRINGE www.brightonfringe.org
HEATH QUARTET
) The same forces have also recorded a survey of chamber works by York Bowen (18841961). This time, the forces are slightly more varied, with Robert Plane accompanied by the Gould’s
Brighton Festival Chorus at All Saints Church for Tavener, Bryars and Pärt (Wed 21); or pianist Jean-Efflam Bavouzet with the Philharmonia Orchestra; and the Brighton Festival Chorus once again, in Bernstein, Ravel and Stravinsky, conducted by John Wilson (Sat 24). Also, pianist Jonathan Biss (Fri 16), the Elias String Quartet (Sat 3 & Sat 17), and Harry Bicket, The English Concert and Lucy Crowe (Fri 9).
JONATHAN BLISS
CONCERTS
Trio. The other two works, the Op. 11 and Op. 38 Trios, are for clarinet, cello and piano – so the Trio’s founder, violinist Lucy Gould gets a bit of a rest, replaced by clarinetist Robert Plane. The Op. 38 Trio is actually Beethoven’s own arrangement of Op. 20 Septet, one of his most successful chamber works. It is more like a serenade, with real variety across its six movements. The scherzo which follows the central set of variations is full of energy, and following a slow introduction, the finale really takes off with rousing Presto. This is jovial Beethoven, and the players are clearly having fun here. The Op. 11 trio was in fact written first for the clarinet, cello & piano combination, but it was published with an additional violin part too. It is a light, almost lyrical work, and the duet in the Adagio is particularly well suited to the clarinet and cello, with a beautiful tone from Plane here. In between, we have the Variations, with the humour of the original popular song (I Am The Tailor Cockatoo) exploited throughout. Whilst none of the works are the most profound of Beethoven’s utterings, these spirited live recordings do full justice to their lighter, joyful nature. Somm SOMMCD0135