Poor old Schumann! Of course he had no way of seeing Shostakovich coming when he wrote his quartets, and therefore didn't feel the need to overtly externalise the flamboyant, turbulent side of his nature in much of his music, especially in a medium which was generally regarded as a vehicle for expression of a reasonably circumspect provenance. True, he had Beethoven's magnificently virile example as a writer of quartets to refer to as exemplars of a more cosmic and elemental style and effect - but Schumann was no Beethoven, being a split personality far more seriously troubled by the demands...  Read More »

Moky Gibson-Lane, visiting home in New Zealand from her various commitments as a performer in Europe, gave a delightful recital in Wellington's Central Baptist Church, one which stimulated as much audience pleasure as a similar concert she gave on a home visit a year previously. She's currently playing with the Berlin Staatskapelle, frequently conducted by Daniel Barenboim, and is a foundation member of the Stabrawa Ensemble, led by the Berlin Philharmonic's concert-master, Daniel Stabrawa. She makes frequent Arts Channel television appearances in Germany, and has recently taken part, with Barenboim, in the Berlin premiere of Mosaic, a new work by...  Read More »

Who says piano recitals can't pack 'em in any more? True, if any pianist can here in Wellington, Michael Houstoun can, and especially so when the programme features the music of two composers whose spirit seems to exemplify music's Romantic Age. This concert was a celebration of the year 1810, during which both Chopin and Schumann were born, Michael Houstoun unexpectedly and cleverly drawing these otherwise disparate figures together by way of JS Bach, whose music both of these composers revered. So we were given Bach's celestial C Major Prelude from Book One of the Well-Tempered Clavier by way of...  Read More »

Because JS Bach's Mass in B Minor is such an established part of the choral repertoire, it's interesting to reflect on the somewhat piecemeal origins of the work - as an entity it was assembled by the composer in 1749, one year before his death, but parts of it were actually composed up to almost thirty years before, with some of these parts intended for other works - the Sanctus dates from 1724, and the Kyrie and Gloria come from 1733, used by the composer in one of his "Lutheran" Masses - though ironically the Latin settings suggest the Catholic...  Read More »

A lovely concert - framed by two adorable works for string orchestra, with centres spliced by plenty of tangy wind-band textures. One of those tangy centres was a work I had not heard for some years, Britten's Soirées Musicales (orchestrations of Rossini's music), and never as a work for winds only, as here (the arrangement made by the composer). Another work, the Tchaikovsky Serenade, I had never actually heard live in concert (hard to believe, really, especially considering how well I know it!). So, there was plenty of interest there for me, and, I would have thought, for others, though,...  Read More »