> ## Content Index > Fetch the complete content index at: https://www.scenemag.co.uk/llms.txt > Use this file to discover other available public pages before exploring further. # CLASSICAL NOTES: Nick Boston tunes into the best classical music - URL: https://www.scenemag.co.uk/classical-notes-nick-boston-tunes-into-the-best-classical-music-5/ - Published: 2022-05-25T13:00:20.000Z - Updated: 2022-05-25T10:45:53.000Z - Description: Reviews and previews from classical music columnist, Nick Boston - Author: Nick Boston - Tags: Arts, Brighton Early Music Festival, Music, BREMF, Brighton & Hove, classical, classical music, music, Nick Boston ### REVIEWS In 2018, conductor **John Wilson** relaunched the **Sinfonia of London**, a session orchestra with a long history, particularly in recording film music, and for their second recording with **Chandos**, they focus on German and Austrian composers, post World War II. **Richard Strauss** (**1864-1949**) composed his **Metamorphosen, for 23 solo strings** in 1945, and it is a heartfelt elegy and a musical realisation in many ways of the horrors that had been experienced in the preceding war. ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/classic2.jpg) Chandos CHSA5292 The Sinfonia of London strings here produce a deeply resonant and rich sound, and Chandos deserve credit for achieving precision in the balance, especially when all 23 lines are active. No detail is obscured, and Wilson steers the dynamic swells expertly too. In Strauss there are many climactic moments, and it can lose direction, but here there is a definite trajectory to the warmer major passionate centre, before the opening tragic lamenting material returns following a sudden violent stop. Yet despite the title, there is no metamorphosis into a positive new world – Strauss marks the end *In Memoriam*, and the subside into quiet darkness is achingly sad. ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/sinfonia-of-london-e1653417589988.jpg) Sinfonia of London The short **Intermezzo for String Orchestra, Op. 8** by **Franz Schreker** (**1878-1934**) is an interesting work, with an opening reminiscent of **Schoenberg**’s *Verklärte Nacht* (written at around the same time), but moments of sweet, pastoral string writing too, and perhaps less overall bite. It is given a richly sensitive reading here, with Wilson’s attention to dynamic contrasts providing shape to its overt romanticism. The second half of the disc is given over to the **Symphonische Serenade, op. 39** by **Erich Korngold** (**1897-1957**)**.** This was composed just before Korngold returned to Austria from the US, during which time he had carved out a successful career in Hollywood, pretty much establishing the Hollywood movie soundworld of the time. Its opening movement shows an immediate shift from the more obvious ‘Hollywood’ sound, with some strident harmonies and tensely dramatic writing. ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/philharmonia_bac_june_1178-e1653417662964.jpg) John Wilson conductor The second movement *Intermezzo* has virtuosic pizzicato writing, and here the Sinfonia of London players excel, with tight ensemble and rhythmic energy, making the strange brief interjections of glassy bridge bowing and swoops stand out even more. The *Lento religioso* is heartfelt, but with a Mahlerian profundity that is arresting, and Wilson and the players give this sumptuous weight without any wallowing, and the repeated notes throb with insistent intensity. The violent outburst which interrupts the solace of the central solo passage is positively shocking here, and Wilson certainly extracts maximum drama from the score. The *Finale* sets off at a cracking pace, and is full of urgent energy. Wilson and the Sinfonia of London are highly impressive throughout these performances, bringing energy, precision and a glorious string sound to this rich repertoire. ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/classic1.jpg) First Hand Records FHR122 Now for Bach with a difference. The ensemble **incantati**, which consists of **Emma Murphy** (recorders), **Rachel Stott** (viola d’amore) and **Asako Morikawa** (viola da gamba), have collected together a selection of **J. S Bach’s** (**1685-1750**) keyboard works to perform in various combinations of instruments. Pianists will be familiar with the **Two-Part Inventions** and **Sinfonias** – basically pieces with two and three separate lines, with an educational intent, to develop playing the independent lines together. ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/asako-349_web.jpg) Asako Morikawa The same applies to his **Trio Sonatas**, or Organ Trios as they were actually written, which involve three parts – essentially two hands and the feet. In playing these with two or three separate instruments, immediately the individual lines come into their own, and no fluidity is lost through trying to negotiate playing them together on a keyboard. But it is in the different timbres of the instruments that add something new here. And that’s where the flexibility of Murphy’s different recorders and voice flutes is a bonus – so sometimes a warm tenor recorder is matched with the sonorous viola da gamba, or a brighter soprano recorder is paired with the slightly more brittle sound of the viola d’amore. ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/s627577378143413463_p9_i1_w640.jpg) Emma Murphy They are also careful here in their selection, with the darker, more sombre pieces (eg. the **Sinfonia No. 4**, or the mournfully sighing **No. 9**) contrasted with the bright, lighter examples (**Inventions Nos. 1* *and 2**, for example). There are also beautiful renditions of Bach’s chorale tune arrangements, such as the prayerfully lilting **Allein Gott in der Höh sei Ehr**, and the joyful, dancing ***Herr Jesu Christ*, *dich zu uns wend.*** They end their disc with the ***Trio Sonata No. 3***, with more virtuosic lines for the alto recorder in its first movement, a lightly singing central movement, and a bright (if slightly stately for ‘vivace’) finale. This is then followed by a wonderfully graceful reading of the **Aria** from the **Goldberg Variations**, with the viola d’amore this time taking centre stage, and the tenor recorder and viola da gamba providing subtle inner and lower lines. A delightful collection, highly recommended. ### CONCERTS **Brighton Early Music Festival (BREMF) – Midsummer Season** ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/bremf-e1653417775558.jpg) Following a highly successful midsummer season last year, BREMF are back this summer with a weekend of events exploring ***Transition*,** which will form a year-round theme for the festival. The weekend begins with **In Transit to the Baroque** – ensemble **In Echo** perform music by **Semisy, Willaert, Bertali** and **Frescobaldi,** exploring instrumental music’s journey from the Renaissance into the Baroque periods (**7.30pm, Friday, June 24, St Bartholomew’s Church, Brighton**). ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/bremfconsort.jpg) BREMF Consort of Voices Later that night, **BREMF Consort of Voices** perform sacred music and chant from the night Offices of Compline and Matins, with music by **Tye, Tallis, White, Sheppard, Browne, Palestrina** and **Victoria** (**9pm, Friday, June 24, St Bart’s**). Puppets and instruments combine for a performance by **Rust & Stardust** for ‘primary-aged children and the young in spirit’ – **Endo the Earthworm** explores nature in transition, with two performances (**Saturday, June 25, 11am at Royal Spa, Brighton and 2.30pm at The Crew Club, Whitehawk**). ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/joglaresa.jpg) Joglaresa **Joglaresa** are joined by the **BREMF Community Choir** for **¡Bailemos!**, celebrating in style the legacy of founder **Belinda Sykes**, who sadly passed away recently. Expect a joyful party of music-making! (**5pm**, **Saturday, June 25**, **Royal Spa**). **Folk in Transition** explores music from the British Isles to the New World, with traditional ballads, Irish jugs, Scottish reels and Appalachian bluegrass, performed by Brighton folk trio **Hope Cove** (**8pm, Saturday, June 25, Royal Spa**). ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/aradhana.png) Aradhana Arts **Aradhana Arts** perform Indian classical music and dance in **The Daksha Yagna**, a powerful mythological story from the ancient Hindu scriptures (**3pm, Sunday, June 26, Royal Spa**). And the Midsummer Season ends with **Fair Oriana** peforming ***Eliza is the Fairest Queen*,** with popular songs from the reigns of two queen Elizabeths, including Tudor-tinted arrangements of Vera Lynn, Aretha Franklin and The Beatles (**6pm, Sunday, June 26, Royal Spa**). ![](https://www.scenemag.co.uk/content/images/wp-content/uploads/2022/05/fairoriana-e1653418155115.jpg) Fair Oriana Some tickets voluntary, with suggested donations or pay what you can – [check for details](http://bremf.org.uk/?ref=scenemag.co.uk). Chamber choir **Brighton16** perform **Tales of Love**, the world premiere of a new English translation by **Matt Jelf** and **Christopher Goldsack** of **Brahms’** *Liebeslieder Waltzes* (**5pm**, **Saturday, June 4**, **Brighthelm Centre**, **Brighton – free admission**). ### MORE INFO **For more reviews, comment and events, [CLICK HERE ](http://www.nicks-classical-notes.blogspot.co.uk/?ref=scenemag.co.uk)** **Twitter @nickb86uk** **Email –** [**nbclassical@hotmail.co.uk**](mailto:nbclassical@hotmail.co.uk)