An enquiry into the nature of things : Chamber music with Anna Dennis, Nicholas Daniel and Mahan Esfahani in The Britten Studio

Chamber music with Anna Dennis, Nicholas Daniel and Mahan Esfahani in The Britten Studio on Holy Saturday

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
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8 April

Holy Saturday at Snape – An enquiry into the nature of things :

Chamber music with Anna Dennis, Nicholas Daniel and Mahan Esfahani in The Britten Studio

Such a lovely time to be back at Snape, for the first time after a few nights in Suffolk for Aldeburgh Festival in 2019 !

To some, things from former times may more aptly feel to be part of New Year (or Hogmanay), but Easter is – without needing to invoke the opening lines of T. S. Eliot's 'grumble with life' in which he said that he gave us 'The Waste Land' – just as good a time to remember the old and be inspired by it to undertake new things :

In Love & Endings (2022), at an early moment in to-night's programme, we heard Elena Langer's three settings (for soprano, oboe and harpsichord) of two anonymous texts and a poem by Mayakovsky, juxtaposing writing from the sixteenth century and in Middle English* with a head-on confrontation with love that has turned to enquiry, recrimination, but perhaps also resolution.


We had begun with what Handel gave us by way of a Sonata for Oboe, with harpsichord accompaniment – a diamond of a miniature in C Minor that makes us both think and smile – and were to come to a close with arias in which he had set texts by Brockes.

In these, and in arias from two Cantatas by [Johann Sebastian] Bach at something like a midpoint in the eighty-minute recital, the sensitivity of Anna Dennis and the clarity of her expressiveness and diction, were all that one expected from having heard her before (on one of those occasions, in another work by Langer).

Apart from Anna Dennis' excellent German diction, both Arias were highpoints of each Part (as well as those of @Yorksbass (William Gaunt) and David Allsopp (counter-tenor) in Part II), so raiding YouTube :https://t.co/MwEfs3tinlhttps://t.co/XfXJUiUCgDhttps://t.co/5thifyqQIj https://t.co/DqLHehobkh

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) March 28, 2018

[From Tweets from Easter at King's 2018]

Before returning for the Bach, Dennis left Nicholas Daniel and Mahan Esfahani, both of whom had stories to tell about their involvement or engagement with Sven-Ingo Koch, to perform his Die Frage nach der Dinglichkeit (2018), a Ding an sich in relation to which Daniel had attempted a characterization, but whose power and resistance to classification were apparent. As when performing the Langer, Bach and Handel with Dennis, there was also no doubting the respect for and artistic accommodation of each other's role, or the very high quality of interpretation for which one comes and looks to Britten Pears Arts.


Perhaps, by contrast, wrongly responding to the six solo harpsichord pieces by Michael Berkeley that he collectively described as a haiku as if they were witticisms**, and which made one remember that Debussy saved his 'titles' and intended them to appear after each piece in his Préludes. (There is no way that Berkeley's Snake, for solo cor anglais and which he heard next, is programmatic as such, even if he has responded to the tenor of what Lawrence's probably deliberately petit-bourgeois narrator reports thinking about what he sees.)


Of the two concluding Brockes settings, their order reversed - to fit better - from the printed programme, one praised the sweet and tender nature of eternal quietude, and one, to end, unmistakingly found God's handiwork in a rose.

We, with the quietness of thoughts of another at sea, words that asked what were fitting tones for a joyful marriage or the highly conflicted thoughts of the person to whom Berkeley gave voice in reading Lawrence's poem, had truly engaged with the question what makes something what it is.

Happy Easter !

Since posting the above, #UCFF has seen that The Guardian also carried this contemporaneous review by Andrew Clements : 'Anna Dennis / Nicholas Daniel / Mahan Esfahani review – poetry and animal magic'


End-notes :

* The first, without being by John Donne, strangely and pithily full of explicit desire ; the second, thinking of the seasons and of life in relation to their patterns, and of how there is both a consistency and continuity of experience, and a time in life for each thing that it brings us (echoic of Ecclesiastes).

** From a row or two back, a comment reinforced the literalism with which the audience seemed to have responded to 'The Fly', suggesting that it had been swatted in the final gesture.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Yorick and Ludwig’s Thanksgiving* at Robinson

This is an account of Tanya Bannister's recital for Cambridge Summer Music Festival

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
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7 August

This is an account of a recital given by pianist Tanya Bannister, as part of Cambridge Summer Music Festival, in the chapel of Robinson College on Wednesday 29 July at 8.00 p.m.

There were two UK premieres in the hour-long programme for Cambridge Summer Music Festival (@cambridgemusic) :

Handel (1685–1759) ~ Suite No. 2 in F Major, HWV 427

Harold Meltzer (1966–) ~ Iconography

Sidney Corbett (1960–) ~ Yorick’s Skull

Beethoven (1770–1827) ~ Piano Sonata No. 31 in A Flat Major, Op. 110

Of course, no Cambridge audience without someone being superior to the music or the performance, @cambridgemusic, with slighting comparisons

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 29, 2015

Tanya Bannister (@TanyaBannister) had mounted the scores of both premieres on large pieces of cardboard – not elegant, but eminently practical (as she told us) to avoid relying on a page-turner being able to follow them (and so daunting him or her) :

One was reminded, not a little, of Pierre-Laurent Aimard's sensational recital at Aldeburgh Festival (@aldeburghmusic) in 2014, passing folded-out score after score of Études by Debussy, Chopin, Bartók, Scriabin, and, most of all, Ligeti from in front of him – all in his determined order of playing – to the music student next to him.

(Or, during this year’s Aldeburgh Festival, of the fragments that – indeed – confronted Florent Boffard (except that, a few double-takes apart, he seemed to be confidently in control of them) on the music-stand for Boulez’ Piano Sonata No. 3 during the Boulez Exploration, hosted highly informatively by Julian Anderson (with knowledge about, and recordings of, all things Boulez)**.)


The second work, not just through being longer, made a stronger impression : it felt as though Sidney Corbett might have been studied with Messiaen (or just have studied his work ?), because one heard some of the latter’s typical, mature chordal structure (and even sounds that occur in some of Messiaen’s more inaccessible works for piano). However, Corbett also made much use of repeats, both repeated passages, and chords that were played several times, and those repeated chords were handled very well by Bannister, making them meaningful, and not in any way merely dutiful :

Her playing, and the chapel’s acoustic, suited Yorick’s Skull perfectly, and, fearless of the density and challenge of the work (as was Bannister), it was well received by the Cambridge audience. Despite the programme-notes for (Meltzer’s and) Corbett's works, one might not have been able to hear much of Beethoven’s Opus 110 in the composition, but it was certainly a fitting preparation for its spirit and sensitivities, and one would welcome the opportunity to hear it again.


If one had felt that Bannister was not in touch with Handel***, one had no hesitation in realizing that this was not only untrue of Beethoven (or of these contemporary composers with whom she had collaborated), but that this was actually one of the so-called late Beethoven sonatas with which one was not very familiar. (Piano Sonata No. 32, Op. 111, and the one known as Hammerklavier (Piano Sonata No. 29, Op. 106) do tend to steal the limelight ?)

One listened for the material from / via Corbett and Meltzer a little, but most one listened to Bannister playing music that must have presented some puzzle to contemporaries (as one had remarked, the week before, with Melvyn Tan’s playing of the immediately preceding work with Opus numbering, Piano Sonata No. 30 in E Major (Op. 109) (as part of a concert in the Festival with The Škampa Quartet)) :

The playing convinced one of a connection with Beethoven, and what he was about here with this sometimes fragmented (and often thought-provoking) music, although much of the detail has been lost to – what legal circles call – effluxion of time. Suffice to say, though, and before going on to what else marked it out, that the performance deserved better than the reluctantly middling approval of the woman (referred to by the opening Tweet) who had facetiously dismissed the new works with a laconic phrase each : one has to be strong to restrain homicidal thoughts that anyone could be so grudging of pianist and composer’s work.


The very open sounds of the ruminative first movement feel, in harmonic terms, as if they are buzzing to modulate and develop, and Bannister gave direction to that emanation : through such things as being assured both in executing runs and in establishing the role that Beethoven had given them there, throughout she showed a very definite sense of the work as a whole. Even into the brief second movement, Beethoven is keeping much material in reserve, rather than ‘opening it out’ : it may begin with a definite impression of itself, but it is one that proves far less certain, even tentative (in ways that slow movements in sonatas from ‘the middle period’, although likewise in the minor key, are not).

With the closing Adagio ma non troppo, just as we could hear Bannister bringing out some of the inner parts in the writing, which meant that we did not just follow the upper line(s), so the programme-notes also usefully drew our attention to elements of the construction of the fugal sections (not just by describing it as an elaborate slow-movement-plus-fugue sandwich, but by expanding on that summary, and analysing the use of thematic material).

Perhaps, unlike the sonata (from 1820) that Tan had played days before, which found comparative freedom in the variations with which it closed, this one (whose autograph score is dated 25 December 1821) elaborates a mixture of complexity and finding resolution by employing the form of the fugue. (Just as Beethoven was to do in 1825, with its original placing within the String Quartet in B Flat Major (Op. 130) of what separately became the Grosse Fuge, Op. 133.) In Bannister’s rendition, not only was the performance of extremely high technical quality, but, in its musical arc, we were able to trust her to guide us, and the emotional depths of the work were therefore always readily apparent.


End-notes

* The notes about the pieces, in the Festival programme, had reminded one of ‘the historical nexus’ against which Beethoven wrote latter works of this kind (i.e. his life – please see below), and [der] Heiliger Dankgesang of the third movement of his String Quartet No. 15, Op. 132. [In full, Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart (not to be mistaken, by non-Germanists, for the earlier Heiligenstadt Testament… – please see below).]

One reads on the web-page for the quartet on Wikipedia® :

Beethoven wrote this piece after recovering from a serious illness which he had feared was fatal because he had been afflicted with intestinal disorder during the entire winter of 1824–5. He thus headed the movement with the words, "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" (Holy song of thanksgiving of a convalescent to the Deity, in the Lydian Mode).


** One thing, amongst many, that we learnt about the Piano Sonata from Anderson was that contemporaries of Boulez had condemned him for using something as eighteenth century as the trill (just as Boulez had sought to correct Xenakis and Cage – without referring to them by name, in an essay, before producing this work – by showing how a piece could be written whose structure would vary between performances, but without resorting to chance). However, it is a sound that one associates with his writing for piano, without it ever seeming like a relic of the baroque or classical past, and a device that Corbett was happy to use.

(In the morning session of Boulez Exploration, also in The Britten Studio at The Maltings at Snape, Anderson had been with Quatuor Diotima, for a presentation about, and performance of, Livre pour quatuor.)

*** In all honesty, before Tanya Bannister explained her programme (and how Beethoven had looked to Handel, more than to Bach, for his fugues), one could already tell that she does not normally play Handel.

NB The paragraphs that follow are principally for those who wish to know more in a critical vein Movements that resembled what Scarlatti sonatas sound like, when over-romanticized by a modern style of playing, had alternated with Glenn Gould’s fast Bach take on, say, movements of The Goldberg Variations (BWV 988) [or French Suites (BWV 812–817)], i.e. Handel had marked it Allegro, but it was being played more like Vivace, if not Presto :

Somehow, though, Gould has an air about him that carries it off (or, depending on one’s point of view, he ‘appears to get away with it’), but there is, of course, a debate to be had about what ground there is for expecting Mozart, say, to be performed in more or less the same way that we perceive to be Mozartian - with or without modern performance practice / instruments.

Yet, at Aldeburgh in 2014, Ian Bostridge gave us A swaying, snarling, even spitting Schubert for our times, effectively so. However, on the other hand, one had to say of Sollazzo Ensemble, the winners of the Young Artists’ Competition at York Early Music Festival in 2015 : If one were told that this was not meant to be a Balkanized take on works by fourteenth-century composers, or that they had set texts in Italian, one could not credit it.



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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)