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)

'Energetic and energizing' : At Lunch Two with Britten Sinfonia

This is a review of Britten Sinfonia's recital At Lunch Two on 14 February 2017

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
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14 February

This is a review of Britten Sinfonia with At Lunch Two at West Road Concert Hall, Cambridge, at 1.00 p.m. on Tuesday 14 February 2017

Programme :

1. Igor Stravinsky (1882-1971) ~ Three Pieces for String Quartet (1914¹) [4 players]

2. Mark-Anthony Turnage (1960-) ~ Prayer for a great man (2010) [2 players]

3. Oliver Knussen (1952-) ~ Cantata for oboe and string trio (1977) [4 players]

4. Maurice Ravel (1875-1937) ~ Introduction and Allegro (1905) [7 players]

5. Turnage ~ Col (2016) [8 players]

6. Stravinsky ~ Concertino for String Quartet (1920) [4 players]



Stravinsky I ~ Three Pieces for String Quartet (1914¹)

1. Danse

2. Eccentrique

3. Cantique


(1) Vibrant tone-colour from Jacqueline Shave (1st violin) and vigorous pizzicato on cello (Caroline Dearnley) characterized the first impression of the work, with Miranda Dale (2nd violin) making lively interjections in the brief Danse. Even so, we hear that Stravinsky’s writing is of a contrasting nature, and – in the overall somewhat atrophied sounds of the opening bars of Eccentrique – is juxtaposing inertia and lyricism. Before, that is, the intense flowering of the development section, and a return to this quirky form of spikiness, and the opening material’s serving partly as punctuation, partly as an ending.

Last, sensitively rendered by the violinists and more mournful, Cantique resembles a less-uninformed version of Beethoven as processed in Strauss’ Metamorphosen : quicker, but a mutated theme. Again, the writing relies on a contrast between passages and their affective colouring, but evoking a memory that is rooted, not in nostalgia, but in grief.



Turnage I ~ Prayer for a great man (2010)

(2) Prayer is uplifted, and positive, if stoic – it is, as with the preceding work, a fascinating blend of sounds, those of cello and of the horn – Martin Owen – with all its connotations of the martial, the inward, and the rustic. As the short piece progressed, we were aware how Caroline Dearnley’s freely-flowing cello-line worked with the latter : in the string legato, melding tones, although there was a deliberate, gentle mismatch with the horn’s timbre. A final, muted, section perhaps seemed to speak of adieu, or farewell.



Knussen ~ Cantata for oboe and string trio (1977)

Before Oliver Knussen’s instrumental (3) Cantata, the statesman-like tone and appearance of Nicholas Daniel (later, in a post-concert workshop (with / for Jago Thornton’s prize-winning composition), maybe less so ?), who said that we could expect to hear some of the instruments in tempo, others playing ‘out of time’ : as he put it, Strict, but flexible – parenting, I suppose ?

Nicholas Daniel also told us that he favoured – over Knussen’s own account of the work – when Knussen had shared, with Sinfonia players, that it is ‘like a series of diary-entries’, but ones that are technically connected. Compared with other works, rehearsing this one had apparently been more intense, but also more rewarding, and, although Daniel says that he is usually hesitant to say the word ‘masterpiece’, he promised (not wrongly) that Cantata was one - and jewel like…


Characterizing – or trying, and failing, to characterize – the mood or feel of such diary-entries, when Knussen is deliberately being holistic with them, would not let his work be the centre-piece that it was of this superbly wrought and planned Sinfonia recital. Here, the incalculably strong overall effect of a moving entity, comprising people and a feeling of place, of being placed into the timeless eternity of Time :

As one would know from typically thoughtful Sinfonia programming, pairing how the Stravinsky ends with Turnage’s reaction to the passing of his father-in-law naturally fits with Knussen’s conception of Cantata - with all the changeability that we are aware of with, say, Bach’s portraits of the facets of the seeking of a soul in penitence [counter-tenor Robin Blaze with BWV 170, Vergnügte Ruh, beliebte Seelenlust], or Handel’s Un’alma inamorata, HWV 173 [Mhairi Lawson, with La Serenissima (LaSerenissimaUK)].

Or, of course, it could be Handel’s much more famous and beautiful da capo aria Lascia ch’io pianga [Almira / Il trionfo del tempo e del disinganno / Rinaldo], or Bach’s even more famous Erbarme dich, so beautiful where it comes in St Matthew Passion (BWV 244) : at such times, what is Time ?



Ravel ~ Introduction and Allegro(1905)

Maurice Ravel, though, has a radiance that is rarely outshone, and so we aptly heard next, in the familiar (4) Introduction and Allegro, his feeling for poesie and fantasie in the intensity of an imagined world : in the first harp solo, it became very clear that Ravel, in being commissioned to write this work to show off a new make of harp (pace Donald Macleod on Radio 3, that self-same day, with the evening repeat of Composer of the Week [#COTW]), is scoring in the spirit of writing for piano.

Further on, and starting with the delicacy of the cello (Caroline Dearnley), the other players (Miranda Dale and Clare Finnimore) joined her in pizzicato to accompany Jacqueline Shave's bowed violin, before another gorgeous, rapt harp solo from Lucy Wakeford. With the ensemble embodying faerie and fruitfulness, we came to the flowering and fecundity of the Allegro section – with the very lovely phrasing of Lucy Wakeford, who was given a well-earnt accolade by her fellow Sinfonia performers.



Turnage II (1960-) ~ Col (2016)

A tradition in music of The British Isles that goes back well before Elgar’s variations presents portraits in music (of a sort, Façade (1918-1923) is also one). Unfortunately, this is what Mark-Anthony Turnage does in (5) Col, in a piece that starts in open terms, but becomes first ruminative, and then – with or at the return of that initial material – becomes downright maudlin.

This is unlike the spirit of Ravel’s Tombeau de Couperin (1914-1917), Arvo Pärt in In memoriam Benjamin Britten (1977), or Stravinsky’s Epitaphium (Für das Grabmal des Prinzen Max Egon zu Fürstenberg) (1959), for flute, clarinet and piano, [or Double Canon ‘Raoul Dufy in Memoriam’ (1959)], and, rather, a requiem that is yet a birthday cake, but which serves as neither : though it is imperfect, one may be better hearing Colin Matthews the man, by watching Barrie Gavin’s Colin Matthews at 70 [seventy minutes or so of film about Colin Matthews, as screened at 2016’s Aldeburgh Festival of Arts and Music² (on which, see more, below)]…



Stravinsky II ~ Concertino for String Quartet

NB The programme-notes (by Jo Kirkbride) credit the (6) Concertino as dating to 1952 – having wondered about this, and then checked more authoritatively than on the Internet³ [Wikipedia®], the Concertino actually dates to 1920⁴, and its arrangement for small ensemble to 1952…

Given that L’histoire du soldat (The Soldier’s Tale) (1919) was from the year before 1920, it seems to endorse the comment above that one can hear hints of that work here. The Britten Sinfonia String Quartet plays the Concertino with aplomb : they happen, all, to be women, but the important point is that they are excellent musicians and communicators, and it is by their quality, not their gender, that one would commend their musicianship⁵.

Starting from a high level of excellence, Jacqueline Shave, Miranda Dale, Clare Finnimore and Caroline Dearnley keep on impressing...

— THE AGENT APSLEY (@THEAGENTAPSLEY) February 14, 2017

In this work, as brought out here, the motivic elements underlie, but do not belie, its meditative qualities – the recapitulation that we heard was brimful of feeling, and tacitly contradicts a conception of Stravinsky as cool and unemotional. Just as did, one reflects, this string quartet with the Stravinsky piece(s) with which it / they opened a tribute to Louis #Andriessen at Milton Court last year (at The Barbican).


End-notes :

¹ Please see the note at the beginning of the section (below) for the second Stravinsky work for string quartet (and its dependent end-note⁴).

² One way in which the Festival is on a human scale is that, during the interval of a concert that had featured Matthews' work last year, one had the informality to address him on the stairs - to shake his hand, and briefly thank him.

@lucieskeaping @yorkearlymusic Kindly signing my York programme didn't give that impression - scary being on air at St Margaret's !#Coughs

— THE AGENT APSLEY (@THEAGENTAPSLEY) January 1, 2017

Sadly, at some more 'protective' venues - unlike, for example, The National Centre for Early Music (NCEM / @yorkearlymusic) - one may not approach performers, even though they are just a small distance away (though not evident, stewards are there to prevent it) : those on stage have to be at a signing, or otherwise choose to come out into the foyer, for approaching them to be permitted.

³ In Roman Vlad's monograph entitled Stravinsky, pp. 79-81 (Oxford University Press, London (1978)).

⁴ With Three Pieces for String Quartet, it initially seemed that they were written in 1914, revised in 1918, but probably not published until 1922.

Roman Vlad (ibid, p. 50), after saying ‘Although very little known, these pieces are extremely significant as far as Stravinsky’s stylistic development and inner artistic motivation are concerned’, and then devoting several pages to them [in which, by analysing them, Vlad explains their importance to Stravinsky's and other composers' works], goes on to tell us (p. 54) :

Stravinsky himself was always greatly attached to [the Three Pieces], so much so that in 1917 he transcribed them for orchestra under the titles of ‘Danse’: ‘Excentrique’ : ‘Cantique’ [my emphasis] […].

⁵ On which point, initiatives such as Holly Tarquini's F-Rating (F-Rated (@F__Rating)) at Bath Film Festival (@BathFilm), or Cambridge's Reel Women (@ReelWomenUK), might take pause ? [Unless, of course, one claims that inclusion in a programme at the latter, or the former's Festival, is an absolute guarantee, per se, of outstanding quality.]


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

Vaughan Williams and Blake

More views of - or before - Cambridge Film Festival 2012
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4 May

[For what it is worth, Wikipedia® would probably call this posting 'a stub']

After a performance, earlier in the week, by Nicholas Daniel and Mark Padmore of Ten Blake Songs by Vaughan Williams, and as someone who enjoys the composer's music, and is interested in the painter / engraver / writer's works, I wanted to know more about the genesis of these settings.

It is clear that I shall have to borrow an authoritative and detailed biography of VW to know more about the subject, but, in the meantime, the notes that appear on a page on hyperion's web-site are a useful starting-point.


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