web-archive-uk.com


Web directory, archive
Search web-archive-uk.com:


Find domain in archive system:
web-archive-uk.com » UK » C » CHRISTOPHER-GUNNING.CO.UK

Total: 117

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • Gallery » Christopher Gunning
    No images may be used without permission October 11 2011 Home About Christopher Buy CDs Film TV scores Concert Music Listen Discography Shop Videos Reviews Gallery Writings My Works Concert Reviews Blog Contact Follow Me HOME ABOUT BUY CDs FILM

    Original URL path: http://www.christopher-gunning.co.uk/gallery/nggallery/main/flowers-in-the-garden/slideshow (2016-02-16)
    Open archived version from archive


  • Gallery » Christopher Gunning
    No images may be used without permission October 11 2011 Home About Christopher Buy CDs Film TV scores Concert Music Listen Discography Shop Videos Reviews Gallery Writings My Works Concert Reviews Blog Contact Follow Me HOME ABOUT BUY CDs FILM

    Original URL path: http://www.christopher-gunning.co.uk/gallery/nggallery/main/winter-20102011/slideshow (2016-02-16)
    Open archived version from archive

  • Gallery » Christopher Gunning
    images may be used without permission October 11 2011 Home About Christopher Buy CDs Film TV scores Concert Music Listen Discography Shop Videos Reviews Gallery Writings My Works Concert Reviews Blog Contact Follow Me HOME ABOUT BUY CDs FILM TV

    Original URL path: http://www.christopher-gunning.co.uk/gallery/nggallery/main/portraits/slideshow (2016-02-16)
    Open archived version from archive


  • Gallery » Christopher Gunning
    images may be used without permission October 11 2011 Home About Christopher Buy CDs Film TV scores Concert Music Listen Discography Shop Videos Reviews Gallery Writings My Works Concert Reviews Blog Contact Follow Me HOME ABOUT BUY CDs FILM TV

    Original URL path: http://www.christopher-gunning.co.uk/gallery/nggallery/main/awards/slideshow (2016-02-16)
    Open archived version from archive

  • PROM 34: Bychkov revels in Strauss, and the Labéques battle through Dubignon. » Christopher Gunning
    Concerto composed for tonight s soloists calls for an unusual orchestral layout with the forces divided into two quite separate halves although the overall instrumentation is that of a standard symphony orchestra with a few additions One half to the left features high winds and includes a bass guitar the second to the right lower winds Thus each pianist has her own orchestra Dubignon s idea is that the two pianists and their orchestras face each other and do battle The composer s starting point was a painting by the 15th century Florentine artist Paolo Uccello entitled Battaglia di San Romano Insofar as it follows the events of a make believe battle Dubugnon s piece is programmatic and theatrical and Dubugnon s notes help you follow the battle s events without too much difficulty without them the work might have felt too rambling Balcony trumpet players left and right sound calls During the next twenty five minutes the two pianists announce their individual themes and elaborate on them widely never joining with the same material until the very end There are cadenzas parades battles a funeral a triumphal march a peaceful section of reconciliation and finally a feast The piano and orchestral writing is often florid flashy and fearfully difficult with elements of perhaps Messaien Bartok Ravel jazz rock you name it From that point of view it s ideally suited to the Labéque sisters with their extraordinarily varied musical enthusiasms and it s highly entertaining in a fairly chaotic kind of way The sisters tackled it with characteristic verve with Bychkov who is married to Marielle Labéque marshalling his forces admirably Hearing it a second time on BBC iPlayer I made a lot more sense of the piece ideas come and go continually and the warlike nature of most of the music certainly comes across vividly with more contemplative passages offering welcome relief Whether the material really adds up I m not so sure and I will delve into it some more but I worry that with so many influences clearly discernible the composer s own personality is hard to pinpoint Ein Hldenleben after the interval was a real treat In an introductory talk on Radio 3 Bychkov reminded us that the proper translation of ein Heldenleben is A Heroic Life and not just A Hero s Life thus the sentiment behind the piece could be said to be that every life is heroic to some extent Strauss was not merely thinking of himself then and although there are obviously autobiographical aspects perhaps he sought a bigger picture At the age of 51 Strauss was entering a new period in his creative life the twentieth century had not yet begun and he was still to write Electra Yet in ein Heldenleben Strauss looks forward to the new century and one is struck by how much this work belongs to the 20 th rather than the 19 th with its huge orchestra spectacular orchestration daring harmonies and operatic drama Bychkov

    Original URL path: http://www.christopher-gunning.co.uk/2012/08/09/prom-34-bychkov-revels-in-strauss-and-the-labeques-battle-through-dubignon/ (2016-02-16)
    Open archived version from archive

  • PROM 16: Hugh Wood’s Piano Concerto and British and French Sea Music » Christopher Gunning
    night jazz but never sounding exactly like it Think Bartok s nocturnal music and you re some of the way there but this is Wood through and through I enjoyed this immensely and the last movement too with it s good natured counterpoint and sprightly rhythms Macgregor was a lively and sympathetic soloist and seemed to be completely in tune with Wigglesworth and the splendid National Orchestra of Wales it was good to see the composer on the platform afterwards receiving the very warm applause The rest of the programme was a grand cocktail of English and French sea or seaside music Elgar s In the South composed at great speed while Elgar stayed in Italy to avoid the miseries of the English winter got the concert off to a bright start receiving an enthusiastic performance with the influence of Richard Strauss abundantly clear how lovely the themes are how engaging the counterpoint is and how brilliantly the piece is orchestrated This is Elgar at his sunniest and most confident just the thing after a baking hot day in a London suffused with Olympic fever Then after the interval Ravel s Une Barque sur l océan reminded us that Ravel was human after all and could occasionally compose pieces lacking the absolute perfection achieved in his main output Yes it s effective enough in its portrayal of a sailing ship tossing on the waves and it offers a glimpse of what was to come with its delightful touches of instrumental colour but it s no more than a pleasing miniature It is the third of his piano pieces Miroirs and the orchestrated version played tonight was withdrawn by Ravel after its first unsuccessful performance never to be performed again until after his death Ravel was smarting from failing to win the coveted Prix de Rome and being unfavourably compared to his senior compatriot Claude Debussy Conductor and orchestra did their best with the piece tonight but perhaps Ravel was wise to withdraw it after all But there was far worse to come Sir Henry Wood s orchestration of La Cathédrale Engloutie is pretty awful There s a special skill involved in orchestrating Debussy s piano music with its exquisite pianistic colours and extensive use of the sustaining pedal and on the strength of this Sir Henry didn t have it It is grossly over orchestrated complete with organ pedal notes trombones tuba percussion the works Frankly it s almost laughable This performance was not helped by Wigglesworth s rather fast tempi but the main problem was Sir Henry s use of everything bar the proverbial kitchen sink to express what is in its original form primarily a touchingly suggestive and on the whole rather delicate piece Sanity was restored with La Mer Debussy s definitive symphonic portrait of the sea in all its moods This was very well done I don t mean that Wigglesworth and his orchestra offered any amazing revelations here but that they simply gave us a

    Original URL path: http://www.christopher-gunning.co.uk/2012/07/27/prom-16-hugh-woods-piano-concerto-and-british-and-french-sea-music/ (2016-02-16)
    Open archived version from archive

  • PROM 13: Barenboim’s Beethoven and Boulez Cycle reaches its penultimate stage. » Christopher Gunning
    The final movement was fast and furious its complex form seeming straightforward in comparison to some more laboured views Another success then This symphony a favourite of composers as diverse as Tchaikovsky and Stravinsky really needs no apologies whatsoever Among its more remarkable attributes is that Beethoven composed this predominantly sunny work when already seriously troubled by deafness and other life events Yet its optimism shines through even in this somewhat darker more serious reading and he himself sometimes said he preferred it to his 7 th Most of the Boulez works during this series have been for solo instruments or small ensembles Tonight it was left to Barenboim s son Michael who leads the orchestra to give us Anthèmes 2 an extended piece for solo violin and electronics The Royal Albert Hall is proving an unexpectedly marvelous space in which to appreciate Boulez s small scale opuses tonight we had the lone violinist on stage surrounded by loudspeakers pinned high on the walls broadcasting music and effects devised by a sound designer and an engineer from IRCAM Boulez says that in choosing the title he was influenced by his childhood memories of psalms sung during Holy Week the Lamentations of Jeremiah This often beautiful work enthralled for most of its twenty five minutes with antiphonal effects whizzing around the hall sometimes there are masses of pizziccatti sometimes lyrical lines and sometimes aggressive scraping noises It s virtually impossible to describe you have to hear it Michael Barenboim deserves a Victoria Cross for his dedicated performance and the audience should be congratulated for remaining so silent during a piece which eventually strained their powers of concentration If in the end the piece outstayed its welcome never mind it was another experience not to be missed Back to Beethoven and the mighty Symphony no 7 this was another big performance and if I wondered if things in general were perhaps a little on the hurried side irrepressible energy was the other side of the coin The dynamic contrasts now loved by Beethoven and an essential ingredient in his middle and late styles are very much in evidence here and in the wrong hands they can feel overbearing That I only began to feel that way towards the very end may be a tribute to Barenboim and his wonderful orchestra and let s not forget that commentators have found the finale the work of a complete madman It wasn t of course but that a kind of demonic fury marks passages in that movement is undeniable Along with the opening of the 5 th Symphony the Ode to Joy and the Moonlight Sonata the Allegretto from the 7 th Symphony will be to many their best loved of Beethoven pieces it turns up all over the place including incongruously to my taste in the King s Speech Tonight it commenced with no pause after the first movement a shame I thought because it seemed to diminish the movement s initial effect It

    Original URL path: http://www.christopher-gunning.co.uk/2012/07/25/prom-12-barenboims-beethoven-and-boulez-cycle-reaches-its-penultimate-stage/ (2016-02-16)
    Open archived version from archive

  • PROM 12: Barenboim’s Beethoven and Boulez Cycle continues. » Christopher Gunning
    seemingly nothing the genius couldn t achieve and his mind was taking him in many directions at once The 5th Symphony was no less revolutionary than the 6th but here is a work that is quite deliberately on an enormously grand scale for the time Barenboim gave us a performance with plenty of rhythmic vitality and power The first movement was taken at a perfect tempo for the famous rhythm to make its mark restless but not hurried The horns were magnificent and the oboe s unexpected solo in the recapitulation a touch of genius was meltingly done There was much grace and humanity to admire from the cellos in the second movement and in the closing stages of the third movement you could have heard a pin drop This provided an excellent foil for the entry of the last movement where the brass blew my head off There were plenty of other touches to admire too all manner of delights in phrasing and I ve never heard the piccolo stand out quite so well at the end of the whole symphony In co creating and working with the West Eastern Divan Orchestra Barenboim has melded his group of impressive musicians into his very own instrument which he plays with superb musicianship The overall tone may not be quite as full bloodied as say the Berlin Philharmonic or the Bavarian Radio Symphony but it is certainly not lacking in power or expressiveness The woodwinds make big soloistic sounds the brass are vibrant the strings warm The degree of understanding between conductor and orchestra allows Barenboim to adopt an extraordinary conducting style Everything is obviously very well rehearsed leaving Barenboim to conduct in his own highly unorthodox manner Sometimes he stops beating altogether Sometimes he ll shape a particular phrase while ignoring others Sometimes he ll simply waggle a finger Sometimes there s a baton sometimes not And so on there s hardly anything conventional about it For the most part it works presumably because of all that rehearsal but sometimes it doesn t quite Ensemble is not always super precise By and large it doesn t matter at all because the energy and musicality of the performances carries us through the occasional blemish In the Boulez works sandwiched by the Beethoven symphonies Barenboim was more apt to beat time the complexity of the music demands that he does so I noticed this very different approach most noticeably in the performance of Dérive 2 at Prom 9 reviewed by Mark Berry in Seen and Heard The two Boulez works performed tonight are exquisitely beautiful pieces and both received thoroughly confident performances Mémoriale explosante fixe Originel in which the outstanding soloist was Guy Eshed has accompanying parts for three violins two violas a cello and two horns The part for the flute is extremely florid with a lot of flutter tongueing and the other instruments pick out notes quietly forming a halo around the flautist You might think it wouldn t work

    Original URL path: http://www.christopher-gunning.co.uk/2012/07/24/prom-12-barenboims-beethoven-and-boulez-cycle-continues/ (2016-02-16)
    Open archived version from archive



  •  


web-archive-uk.com, 2017-12-14