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  • A rare performance of Kullervo in a concert dedicated to Kurt Sanderling » Christopher Gunning
    the official language So the emergence of nationalist sentiment is crucially important in appreciating Kullervo the story of a mythological character with magical powers who falls from grace seduces a woman who turns out to be his sister and eventually commits suicide Essa Pekka Salonen is obviously on home territory with this score and it was impossible not to be carried along with the performance from beginning to end If he has occasionally been described as cool there was certainly no evidence of it here and this was an absolutely terrific performance the Philharmonia was faultless and the Orphei Drängar male chorus flown in from Sweden simply stunning Monica Groop and Jukka Rasilainen from Finland had to stand with nothing to do for long periods but when their moments came they too were well matched for their roles despite vocal writing that is perhaps not the strongest aspect of the score Rasilainen was particularly convincing in the moments of self hate when he bemoans the shame he has brought on his whole family to the accompaniment of some wonderfully Sibelian crashing chords Stirring stuff Prior to the main items on the agenda Salonen made a heartfelt tribute to Kurt Sanderling who was associated with the Philharmonia for many years He dedicated the concert to the great conductor describing Sanderling s performances as being the truth a sentiment which I heartily endorse it was in this very hall some years ago that Sanderling first opened my eyes and ears to Mahler s Ninth Symphony in one of the most memorable moving and thankfully unshowy performances I have ever experienced It was entirely fitting that Salonen and the Philharmonia treated us to an extra item Melisande s death from Sibelius s Pelleas and Melisande in which we admired the beautiful piannisimo of

    Original URL path: http://www.christopher-gunning.co.uk/2011/09/25/a-rare-performance-of-kullervo-in-a-concert-dedicated-to-kurt-sanderling/ (2016-02-16)
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  • More ‘Music for People’ at the Purcell room » Christopher Gunning
    start the concert the delightful Juliet Fraser sang Only with a haunting tone and perfectly sure intonation This is a very short setting of the Rilke poem composed when Feldman was only 21 and is largely in the Dorian mode with some telling foreign notes Without a break we were thrust into James Weeks Inscription for two female and two male singers and string quartet It is a setting of a text by Fernando Pessoa all work is futile and futile is all work Weeks employs high register clusters to good effect and there is some fine writing for both singers and instrumentalists but unfortunately it rather outstays its welcome for those not fully attuned to music which hardly develops over a long period and it became somewhat tiring Feldman s Voices and Cello with two female voices and a lone cello is one of Feldman s more static pieces employing clusters and chromatic movement delicate soft and strange it almost stops several times It was beautifully performed although in this and some other pieces one would have preferred a more spacial acoustic than the Purcell Room offers Andrew Hamilton s Right and Wrong was something of a blessed relief after so much quietly static music A setting of a text from The Untroubled Mind by Agnes Martin this is exciting dynamic music and complex in an effective way One admired not only the composer s considerable skill but also the extraordinary virtuosity of the Exaudi singers and Endymion players for whom this piece is a brilliant showcase Following the interval we were back in Feldman territory with his late Clarinet and String Quartet At over forty minutes this is one of his substantial works and it s also an exercise in maintaining a consistent atmosphere over a long span Devotees find enormous depths in this and other late works dissonant clusters and highly repetitive short phrases there is no melody as such continue ad infinitum and sympathetic souls lose themselves in the quietly hypnotic quality of it all I m afraid my reaction is slightly different For me this was close to torture and possibly the most tedious listening experience I have ever subjected myself to I counted the spotlights on the ceiling the planks of wood on the platform the number of seats per row praying that it would end I mused that it was the Ennaudi of serious music will someone please explain the success of Ennaudi and longed for something dramatic or at least interesting to happen Nevertheless no blame should be ascribed to the wonderfully sensitive clarinetist Mark van de Wiel or the lovely quartet from Endymion their devotion to the music was obvious and maintaining the required level of concentration and precision cannot be easy Is Feldman s music vitally important or no more than a curious backwater I know what I think but there remain plenty who would sharply disagree and at least Endymion and Exaudi should be congratulated on bringing his work

    Original URL path: http://www.christopher-gunning.co.uk/2011/09/21/more-music-for-people-at-the-purcell-room/ (2016-02-16)
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  • ‘Music for People’ at the Purcell room » Christopher Gunning
    quartet the second violinist is required to play a perfect fifth drone throughout and after the opening leitmotif the other players weave their parts in harmonics These were not quite secure in tonight s performance but never mind things became far more confident as the piece progressed into more normal registers and the episodes became more expressive But you have to use words like expressive rather carefully The piece never changes dramatically but flows along at the same tempo with the same rate of movement It is sad modal and altogether bleak fans revel in its quiet peacefulness In Joanna Bailie s Artificial Environment No 6 the quartet was joined by two singers from EXAUDI and a prepared tape It was a little difficult to make sense of the somewhat pretentious programme note but we were prepared for motorway noises and birdsong and heard both very clearly the roar or drone of the former frequently dominating the proceedings A spoken text appeared and disappeared and notes from the tape were picked up by the two singers and the string quartet What we ended up with was a collage of effects separated by periods of silence effective in its way of creating a rather mesmeric sound picture but lacking a strong musical idea Pärt s Wallfahrtslied Pilgrim s Song is a setting for tenor or baritone and string quartet of Psalm 121 It s main oddity is that the Psalm is intoned on one of two notes while the quartet provides all the musical interest Endymion and Simon Wall performed beautifully and you either find enormous spirituality in the work or dare I say find it frankly somewhat boring after a while Numbers 76 80 Tristan und Isolde by Philip Venables began in a striking fashion with the quartet bashing out perfect fifths fortissimo as the piece develops the excellent EXAUDI singers spoke most of Simon Howard s strangely exciting if rather baffling poem There s genuine wit here and pathos and really terrifically flamboyant writing for the instrumentalists What a thrilling moment there was when the singers suddenly burst into song rather than the spoken word This composer is gaining a great reputation for original and sometimes quite brutally exhilarating music and it s well worth watching out for him Pärt s Summa was originally composed in 1978 as a setting for voices and organ of the Credo We believe in one God and later rearranged for string quartet stripped of its text Admirer s love the timelessness and mystery of the haunting modal harmonies I was struck by its similarities to aspects of Vaughan Williams s work especially in its modality though it has to be said that VW would never have continued in precisely the same vein for so long and it is the very lack of dramatic direction which gives this music its special spiritual quality And so to the major work of the evening Pärt s Stabat Mater In this work Pärt s allegiance to the

    Original URL path: http://www.christopher-gunning.co.uk/2011/09/19/music-for-people-at-the-purcell-room/ (2016-02-16)
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  • Gergiev shakes the LSO through Prokofiev and Dutilleux » Christopher Gunning
    to be anything but rather thrown away The performance was not without some strong points there were some individually delightful contributions from the woodwind and one sensed that there was a superb performance just around the corner How frustrating Dutilleux fared much better as one might expect with the outstanding violinist Leonadas Kavakos on stage for L Arbre des Songes Although dressed in a designer suit and now with copious amounts of jet black hair he is naturally modest and plays with astonishing musicality his tone in this work was not massive but absolutely convincing in its sense of line phrase and sure intonation This has long been a favourite work of mine with its exotic orchestral colours breathing everything French and the LSO rose to the occasion with superbly judged interplaying between soloist and orchestra and a particularly outstanding contribution from Christine Pendrill in the notoriously difficult oboe d amore solos How the piece constantly unfolds its tree of dreams with a continual development of melodic phrases always surprising yet somehow logical is a source of wonder Moreover the orchestration of this piece an integral part of the composition of course is absolutely gorgeous sensuously beautiful but frequently acidic rather like a superb Sancerre or Montrachet with twists of lemon from the cimbalom and delicately tinkling percussion A delightful surprise was the crystal clarity with which everything sounded in the often chaotic acoustic of the Albert Hall Fabulous music superbly performed The rarely performed Slava s Fanfare composed for the 70th birthday of Mstislav Rostropovich proved to have many of Dutilleux s hallmarks perhaps a fanfare that only Dutilleux could write A lot of interplay between the trumpets and trombones precedes a brief reference to Dvorak s Cello Concerto and then suddenly it s all over An interesting four minute novelty brief and very much to the point The Fifth Symphony of Prokofiev a big undertaking for any orchestra or conductor was described by Prokofiev as a hymn to free and happy Man to his mighty powers his pure and noble spirit He added that it clamoured for expression it filled my soul Composed towards the end of the 2nd World War in a safe place provided by the State it is the composer s reaction to world events nevertheless it is also tight in its construction and is by turns darkly dramatic nostalgically emotional and ironically witty It is no mean feat to judge the tempi and character of the various trains of thought effectively this performance certainly had impressive moments of suitably dark drama and there was much to admire in the LSO s characteristically incisive performance generally But here again Gergiev s waffly rather than sure direction provided too many opportunities for the orchestra to break ranks The horns came adrift near the beginning and there were other brief moments of uncertainty This would not happen in other hands and although one cannot question Gergiev s seriousness of purpose and magnetic presence question marks concerning the

    Original URL path: http://www.christopher-gunning.co.uk/2011/08/23/gergiev-shakes-the-lso-through-prokofiev-and-dutilleux/ (2016-02-16)
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  • The Proms celebrate Sir Richard Rodney Bennett’s 75th birthday » Christopher Gunning
    later music of Debussy which he has always loved The ensemble consisting of flute oboe cor anglais clarinet bass clarinet bassoon horn trumpet harpsichord piano celesta harp violin viola cello and double bass is even inspired by Debussy s late sonatas the French composer had intended to write a series of six sonatas for small chamber groups but only finished three Bennett includes the intended instruments of the unwritten pieces as well as the finished works There are other influences of Debussy pervading Bennett s score Syrinx for solo flute and reminiscences of other pieces such as Masques 1904 which provides the rhythmic basis of the second movement But this music doesn t sound like Debussy it is composed in Bennett s freely wandering semi atonal style which being the superb musician he is always has harmony and harmonic momentum The performance was excellent from the fluently autumnal nature of the first movement to the more jumpy rhythmic character of the second and Sir Richard sitting in the audience looked very happy The French theme continued with the second piece Dutilleux composed the first part of Les Citations in 1985 when composer in residence at the Aldeburgh Festival and it contains a brief reference to Peter Grimes by way of homage to Peter Pears Then in 1990 he composed the second movement and added a double bass to the instrumental ensemble of oboe percussion and harpsichord There is a quotation from one of Dutilleux s composer colleagues who was killed in action during World War II Jehan Alain and another quotation from a theme and variations by Alain with a motif ascribed to Janequin used in one of his organ pieces This seldom performed piece makes considerable demands of the four players It is composed with Dutilleux s acute ear much in evidence and as always with Dutilleux there is plenty for the listener to hang on to even when the music becomes extremely intense Gareth Hulse negotiated the extraordinarily difficult oboe part with panache and the ensemble between all four players was immaculate it was a marvellous performance Next came an opportunity for Paul Silverthorne to display his command of the viola in the hugely neglected Elizabeth Maconchy s Romanza with a chamber ensemble of five wind instruments with string quartet and double bass Bennett has enduring respect and admiration for Maconchy s music and the two became good friends until her death in 1994 Here we were in a predominantly autumnal mood again the viola weaving long expressive lines over a richly orchestrated backdrop but there s much variety here too and a good deal of contrapuntal writing It is difficult to understand why Maconchy s music is not better known it is attractive expressive and superbly crafted For those who do not know the string quartets there are no less than thirteen I can thoroughly recommend them All change on the platform and now the London Sinfonietta suddenly became an ensemble of top London jazz musicians Jazz

    Original URL path: http://www.christopher-gunning.co.uk/2011/08/13/the-proms-celebrate-sir-richard-rodney-bennett%e2%80%99s-75th-birthday/ (2016-02-16)
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  • Concert Reviews » Christopher Gunning
    Runnicles came on and waited for silence It never quite came so the languid flute solo of L après midi was accompanied by somebody behind me dropping a particularly large object clatter clatter clatter and the rest of the opening was virtually ruined by various outbreaks of the unstifled coughing which has become a real bugbear of this season s Proms It was an awful pity because from what I could hear the piece was played with real attention to dynamics and tone colour and the woodwind solos were beautifully done Runnicles paced the music well neither too fast or slow and it could have been so enjoyable if only the audience would have allowed us to hear it without indiscreet interruptions every couple of bars Even more coughing was to accompany the great American cellist Lynn Harrell in his completely authoritative performance of the Dutilleux It is heart warming to see Dutilleux now in his 95th year being programmed more frequently for there can be little doubt that he is now properly recognised as France s leading composer and the true successor to both Ravel and Debussy He shares with them a sensuousness and a love of orchestral colour although of course the nuts and bolts of his language are very different Above all Dutilleux has the most phenomenal ear even when the music becomes fearsomely complex there are reference points harmonically so that the listener need never lose his or her way It is enthralling stuff There are five movements Enigme Regard Houles Miroirs and Hymne The second and fourth are slow while the first and fifth are more dynamic The central movement takes material from the first and develops it and further developments take place in the last What emerges is akin to an overall mirror like shape and Dutilleux s fascination with mirrors is also evident in the internal developments of his material frequently in Dutilleux one finds a series of notes repeated only in reverse But nothing in his music is ever pat and nothing is ever quite what it seems in other words there is always something more for Dutilleux to do with his material it s ever changing But lest I m making this sound like a continual series of intellectual processes let s put any such ideas to rest immediately Dutilleux s music in this piece as well as his work generally possesses enormous beauty excitement and immediacy You can listen to it knowing nothing of his methods and thoroughly enjoy it And the audience despite their coughs and wheezes certainly warmed to Lynn Harrell s performance tonight Dutilleux makes fierce demands of the soloist it was originally commissioned by Rostropovich but is relatively kind in terms of balance the problems of setting one solo cello against a symphony orchestra are dealt with effectively and Runnicles and his Scottish crew partnered the soloist admirably Harrell responded to his warm reception with a short encore of unaccompanied Bach beautifully played and with marginally less coughing An interval would have been welcome after this but instead we had to sit through what can only be described as an appalling failure The snare drum at the beginning of Ravel s Bolero was completely inaudible No it was not because of the coughers although they were busily continuing with their own concerto it was because the snare drummer had presumably been directed to play as quietly as possible The result Silence apart from cough cough cough Then when the first flute arrived with the famous tune it quickly emerged that the tempo was too fast And still there was no evidence of the drum and the cello pizzicati were also inaudible What a mess Admittedly there have been wide variations of tempo in various performances and recordings durations have varied between 13 minutes Toscanini and 18 minutes Ravel s friend Pedro de Freitas Branco but Ravel himself preferred 60 66BPM with a duration of about 15 minutes and that s surely what it should be Runicles was nearer 76BPM By the time we eventually heard the snare drum things were unfortunately beyond redemption and with no real sense of the insistent hypnotic rhythm which is the very backbone of the piece the best thing to do was to get outside and hope that things after the interval would fare better I ve since listened to the broadcast and with the benefit of microphones you CAN just hear the snare drum and the celli pizzicato but they re still too quiet The sound quality of the recorded concert is incidentally otherwise rather unflattering though the coughs are well reproduced This reviewer was now decidedly nervous Daphnis and Chloë is one of my favourite works I have spent hours and hours pouring over the intricate orchestration in wonder at how every single effect works so brilliantly And it isn t just a feat of orchestration the music itself is so consistently inspired and so darned gorgeous I have also come to realise that it is one of the most difficult scores to get right in performance with any number of awkward corners for the conductor and a sense of where each phrase is heading constantly needed The audience coughed and shuffled its way through the first hushed bars then the choir entered pianissimo and magic From then on we were transported on the most enchanting journey through Ravel s miraculous score and I could hardly fault a single thing The choir continued to bewitch the woodwind sang their solos captivatingly the brass were spot on and the strings were resplendent or quietly beguiling as occasion demanded The famous daybreak scene had me choking back tears and the Danse General at the end had me wanting to get up and shout The unaccompanied choral section in the middle was perfectly in tune and perfectly eerie too incidentally how could anyone ever think of performing this music without the wordless choir I would not quarrel with any of Runnicles s tempi apart from some of the more affecting moments perhaps being decidedly on the brisk side The piece long at 55 minutes certainly works for me although I am aware that others prefer the two orchestral suites which Ravel prepared For my part I vastly prefer to hear the whole thing because the first suite misses out far too much of the great music which follows and the second suite feels somewhat unbalanced And that daybreak scene with which the second suite commences is so wondrously effective coming after the desolate music which precedes it in the full version Curiously the only staged performance I ve ever seen at Covent Garden did not work so well for once I think it was a question of the choreography not living up to the standard of the music Maybe it s so complete in itself that anything visual is rendered superfluous As an aside to all this if you haven t already done so may I suggest a visit to the Ravel museum at Montfort l Amaury It is in a lovely little house purchased by Ravel in 1921 and this is the place where he wrote the two piano concertos and L Enfant et les sortilèges among other works It is full of Ravellian idiosyncrasies musical boxes a hidden music library a downstairs bedroom with upside down pillars and a charming little garden I was shown over the house by a lady who knew Ravel when she was a child and I even attempted to play Ravel on Ravel s piano For anyone who loves his music as I do it is a deeply affecting experience to be there http website lineone net jdspiers belved htm Christopher Gunning Share on Tumblr July 3 2011 Prom 24 Tasmin Little shines in Elgar and in a Nutshell Grainger delights Elgar Grainger and Richard Strauss Tasmin Little violin BBC Singers BBC Symphony Orchestra Sir Andrew Davis conductor Royal Albert Hall 2 7 2011 CG Elgar There is sweet music op 53 no 1 1907 Elgar Violin Concerto in B Minor op 61 1909 10 Grainger Irish Tune from County Derry 1902 arr 1912 Grainger Suite In a Nutshell 1916 first performance at the Proms Richard Strauss Till Eulenspiegels lustige Streiche op 28 1894 5 When thinking about Elgar s Violin Concerto my mind goes back to the BBC s Maida Vale studios where back in the 60 s I used to attend the BBC Symphony Orchestra s Sunday afternoon concerts The violinist on one particular occasion was Alan Loveday who had emigrated from New Zealand as a child prodigy and later became a leading member of Neville Marriner s St Martins in the Fields His performance of the Elgar concerto seemingly not available on record moved me profoundly and I believe he had mastered the work s central emotional character grandness coupled with an all important heart rending sweetness Later I got to know Yehudi Menuhin s famous recording of 1932 with the composer conducting and several other interpretations A glance at a record catalogue now reveals that this concerto is one of the most recorded American Russian European Japanese and Korean violinists tackle it including some extremely famous names Heifitz Kyung Wha Chung Nigel Kennedy and Zukerman to name but four And the first performance was given by the work s dedicatee no less a figure than the legendary Fritz Kreisler who had asked Elgar to write him a concerto in 1907 Even when Elgar s work has been out of fashion the concerto has continued to be played It has been partially eclipsed periodically by the much later Cello Concerto of 1919 but it is probable that it remained Elgar s own favourite and not only because the first performance of the Cello Concerto was apparently under rehearsed and shambolic The concerto is a challenge on many many levels a gigantic piece a real concerto of Brahmsian proportions It demands complete virtuosity in the fiery passages but also extreme musical sensitivity and the various interpretations available tend to emphasise the brilliant at the partial expense of the quietly emotional or vice versa Fortunately for us there were no disappointments tonight Tasmin Little has already recorded the concerto clearly knows it backwards and this was completely confident playing and not just technically so she handled the gorgeously romantic passages with a marvellously warm tone always expressive but never sentimental and her tempi seemed to this listener just right If anything she majored on the introspective but this is not to suggest that her command of the difficult dramatic passages was ever less than brilliant In all this she was partnered quite excellently by Andrew Davis who drew from the BBC Symphony Orchestra strength in the more robust orchestral passages as well as a touching tenderness in the quieter moments The slow movement was a pure delight not too slow but simply hushed and softly expressive and it rose to its impassioned climax perfectly naturally For me the heart of the work lies in the extraordinary cadenza towards the very end of the work as the violin remembers themes from earlier and the strings of the orchestra throb with pizzicato tremolando It is one of Elgar s most touching original and effective passages and tonight it was utterly spellbinding What superb music making The concert had opened with small scale Elgar There is sweet music is one of his choral songs composed for choral societies and festivals and is remarkable in that the male singers are notated in G major but the female in A flat major Elgar was thus paving the way for other composers to take up the cudgels of polytonality It is a sleepy piece with apparently 5 4 and 10 4 time signatures helping to produce a somewhat odd blurred effect It was well done by the BBC Singers and a million miles in style and content from the grandeur of the concerto to follow Rather interesting programme planning too to open with Elgar s private world before embarking on the bigger more public statement Further oddities were provided by the two pieces by Percy Grainger the first of these being a short setting sung by the BBC Singers of the famous Londonderry Air This was a Proms favourite for several years following its first performance by Grainger himself in 1913 and it has recently been revived Personally I find it rather unremarkable but the same could not be said of the second item In a Nutshell which proved to be something of a revelation Grainger almost always used folksong as the basis of his work but here there is almost none Moreover the music and especially the orchestration of it is highly unusual and original The four movements are sharply contrasted but achieve some measure of unity by the use of some extraordinary percussion instruments and a common theme of diversity central to Grainger s thinking The first Arrival Platform Humlet is supposed to represent the sort of thing one might hum on a station platform waiting for one s sweetheart to arrive from foreign parts it s very lively and is essentially a monody orchestrated for various instrumental groups Grainger even prepared an alternative version for solo viola alone The second Gay but wistful is an evocation of the music hall and yes it s gay but wistful The third Pastorale is the longest and most interesting after a folk like melody played on the oboe things become progressively disturbed with cross rhythms and bitonality much in evidence as well as some strange specially manufactured tuned percussion instruments It is terrifically exciting before it settles into a rather Scriabin esque quiet ending The last movement which bears the title The Gum Sucker s March refers to the practice of some natives of the state of Victoria Australia of sucking the gum from eucalyptus leaves to provide refreshment from the great heat It is short and sweet and jolly and sounded quite American to me In fact it struck me that the whole work has some American tinges and I was frequently reminded of Aaron Copland or perhaps the jazzy pieces by Constant Lambert Davis and the BBCSO performed this music in celebration of the fiftieth anniversary of the unjustly neglected composer s death with huge panache Till Eulenspiegels lustige Streiche Strauss s fifth large tone poem has always been a concert favourite Davis s was a terrific performance with the BBCSO once again excelling in all departments Fun quirky and a showpiece for almost everyone taking part it was great to hear all of Strauss s kaleidoscopic colours presented so vividly and the intricate counterpoint so clearly defined Michael Bryant s solo violin Andrew Webster s E flat clarinet and Nicholas Korth s principal horn deserve special mention but everyone taking part helped to confirm that the BBCSO is a terrific orchestra currently at the very top of its game A brilliant concert then marred for me by two niggles Niggle one the coughing at this year s Proms is out of control At times you begin to wonder if the entire audience needs to visit the A E department of the nearest hospital but when you observe the coughers more closely you realise that mostly they re idle coughs with no attempt whatever at stifling It is time for an announcement before each concert asking people not to cough unless absolutely necessary and then please to cough into a handkerchief a coat sleeve or ANYTHING Niggle two There was clapping between each movement of the Elgar concerto and In a Nutshell It is unnecessary interrupts any continuity of thought and is not what the composer wanted So I also think it s time for an announcement suggesting that applause be saved until the very end of each work Christopher Gunning Share on Tumblr July 2 2011 Prom 49 2008 t s interesting that several people attending the same concert can have widely differing views Prom 49 was a case in point The National Youth Orchestra conducted by Antonio Pappano played Ameriques by Varese Rachmaninov s 4th piano concerto with Boris Berezovsky as soloist and Aaron Copland s 3rd symphony I went along with 4 friends and we all came out walking on air agreeing that it was one of the most inspiring concerts we d ever attended I was even moved to express my enthusiasm on the BBC Proms reviews page http www bbc co uk proms 2008 interactandreviews reviews 23aug shtml On the same page I was astonished to read one person saying rather disappointing and another complaining that I find it truly tragic that this fine orchestra has been stuck with Varese who he later describing the Rachmaninov as 4th rate and saying that the whole thing seemed to me singularly ineptly conceived That this person had never heard of Varese already speaks volumes Why not Varese was one of the most influential composers of his day and the pioneering spirit of his work is evident for all to hear Yes it is sometimes uncomfortable but what is the point of art that stays rigidly within a fake comfort zone This programme was not inept it was inspirational All three works widely different in character were composed at roughly the same time yet inhabit completely different sound worlds and thus offer a fascinating view of the times as seen by three composers from very different cultures The Rachmaninov may not have the huge tunes of the 2nd concerto but some would say it s the more meaningful for it Nobody would argue for having no tunes but strong melodies with beginnings middles and ends also create huge problems of form Beethoven and Sibelius were two composers who discovered this There isn t a more effective sonata form movement than the 1st movement of the Eroica and yet all the building blocks are quite brief Likewise in Sibelius 7th symphony there are no massive tunes as

    Original URL path: http://www.christopher-gunning.co.uk/category/concert-reviews/page/4/ (2016-02-16)
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  • 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/at-work/thumbnails/page/2 (2016-02-16)
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  • 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/at-work/page/1/slideshow (2016-02-16)
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