In this intensely Romantic programme, the choice of music pointed to the ways in which art and life can be closely intertwined, from Wagner's Idyll to celebrate the birth of his son (also called Siegfried), to Joachim's fingerprints in the Brahms concerto or Strauss's tone poem on Death and Transfiguration.
There is a remarkable story about Portugese pianist Maria João Pires and a Mozart concerto, which she was due to perform with Riccardo Chailly in Amsterdam. The orchestra played the opening bars of the D minor concerto; however, this was not the one Pires was expecting to play. Miraculously, Pires continued to give an assured performance, revealing her extraordinary musical capacity.
In an age where most performers dedicate their whole life to music, Stephen Hough is a remarkable exception. Something of a Renaissance man, not only is he one of the world's foremost concert pianists, but he also paints, composes, writes poetry and blogs. This evening's programme on the theme of 'strange sonatas' was framed by two of the best-known works by Beethoven and Liszt.
It's not often in classical music that the performers themselves are the main focus of our attention; more often than not they are at the service of the composer. But this evening was an exception to the rule, showcasing the multi-talented Joanna MacGregor and Arve Henriksen.
There was much to enjoy in this evening's concert by the LSO, who were performing this programme for the second time this week. The two piano concertos of Shostakovich were suitably contrasted - though neither takes itself too seriously, the Second is lighter in character, with a tender slow movement to rival the popular concertos of Rachmaninov.
In his lunchtime recital, Polish pianist Peter Jablonski selected a programme that clearly included some his personal favourites. The result was an affectionate performance that felt less like a public recital and more like sharing the enjoyment of music with a friend.
For the few of us who chose not to spend the warm afternoon picnicking in the park, instead we enjoyed the cool art deco interior of Cardiff’s Temple of Peace while watching the sunlight streaming in through the full-length windows. The Welsh Sinfonia’s light programme was framed by two Classical symphonies and the event was preceded by free tea and cake.
A rare sunny afternoon in Cardiff Bay was the ideal setting for this afternoon’s concert: an all-French programme in the intimate surroundings of the Wales Millennium Centre’s Hoddinott Hall.Having long been overshadowed by the Rite of Spring (which received its premiere two weeks later), Debussy’s ballet Jeux has been unjustly neglected.
This evening’s programme showed us two aspects of Prokofiev’s output – his serious concert works for the stage and on the other hand his more populist music composed for film. Both were highly exciting, colourful works, and both typical of Prokofiev in different ways.The First Violin Concerto was a curious mixture of the ethereal and rustic.
There was a distinct buzz in the air prior to this evening’s highly anticipated recital, a rare solo appearance by American pianist Murray Perahia. His recital at the Barbican Hall sold out months ago, with tickets selling fast before the programme had even been announced.
This evening’s programme of Messiaen and Bruckner ought to have come with a health warning beforehand – caution: not for the fainthearted. Following on from Strauss’ Death and Transfiguration last month, the LSO’s programming seems to be continuing in a similar vein, with this concert united by the theme of death and religious conviction.
Pianists Charles Owen and Katya Apekisheva presented a lively recital programme in what might be better described as ‘an orchestral concert for two pianos’; such was the range of sounds the two were able to conjure from their instruments.Milhaud’s Scaramouche Suite was a frothy, joyful opener, as one might expect from a member of ‘Les Six’ in a work based on theatrical music.
In this programme packed with Romantic intensity, the Russian Lomeiko-Zhislin duo demonstrated their versatility and ingenuity in crafting a programme of varied instrumental combinations.First they were joined by pianist Katia Skanavi for three pieces by Bruch, whose skill as a miniaturist was reminiscent of Grieg and Dvorak in its persuasive lyricism.
Throughout history, artists and composers have been known to cause controversy with groundbreaking new works that shocked and challenged audiences. Yet some, like Tchaikovsky (whose Piano Concerto was rejected by his mentor Rubinstein), managed to maintain the strength of their musical convictions in the face of public rejection.
The LSO presented two lengthy, challenging works in this evening’s concert dedicated to the late Maurice Murphy, former principal trumpeter. No doubt Murphy would have been proud of the orchestra’s efforts on this occasion, with the brass section particularly excelling themselves in the Mahler.
23-year-old Georgian pianist and current BBC Radio 3 New Generation artist performed a demanding solo recital to a packed Wigmore Hall. She opened with a thoughtful account of the Fantasy by Schumann (who celebrates his 200th birthday this year). This was by far the most engaging performance in the recital, often contemplative and with a very individual response to the music.
The BBC Symphony presented a packed programme for this concert in celebration of their 80th anniversary. The performances were interspersed with two short films looking back at the orchestra’s illustrious history, with former principal conductors such as Adrian Boult and Pierre Boulez.
The London Sinfonietta presented a fascinatingly diverse programme for this concert, one of three themed ‘Remix’ evenings at King’s Place in collaboration with the Orchestra of the Age of Enlightenment. Both ensembles are renowned for their expertise in music of a particular period, but this evening the stylistic boundaries were rather more blurred.
For the final concert in LSO St. Luke’s Chopin 2010 series, Benjamin Grosvenor’s programme was framed by the first two Scherzos, with the lengthy Fourth Scherzo forming the centrepiece of the recital. A current BBC Radio 3 New Generation Artist, at eighteen Grosvenor can no longer be classed as a child prodigy, yet, regardless of age, his is still a remarkable achievement.
In the second Lord Mayor’s concert held at the Barbican this weekend, the 2010 appeal called for donations for a new initiative called ‘Pitch Perfect.’ This scheme provides opportunities to take part in music and cricket for children in the most deprived East London boroughs, where the LSO is widely involved in community projects.
