Alexandre Tharaud Recital

4th November, 2014
Queen Elizabeth Hall, London, United Kingdom

SCHUBERT 6 Moments Musicaux
MAHLER Symphony No. 5 - Adagietto (transcribed by Alexandre Tharaud)
COUPERIN 5 pieces
RAVEL Miroirs

Alexandre Tharaud (piano)



When was the last time you were so absorbed by a performance (music or otherwise) that you completely lost the sense of time? I know his playing style quite well, but listening to Alexandre Tharaud live is transcendental, and this was a strikingly unusual, powerful and original programme. One would realise how vacuous most so-called virtuosos in the business are when one hears him play. There were all the classical grace in Schubert's "Moments Musicaux" and his signature clarity, control and wit in the Couperin pieces, encompassing everything from the joyful, vivid and militant to the tranquil, introspective and deliberately understated beauty - all played on the same Yamaha. Everything was thoughtful and extremely sensitive, so delicate that it was on the verge of being brittle. His own unrecorded transcription of the "Adagietto" from Mahler's "Fifth Symphony" was breathtaking, in which he managed to generate and sustain the seamless serenity of the music on the keyboard almost effortlessly, making the piece completely fresh and full of heartfelt passion. Ravel's "Miroir" was never overdone, and he used silence just as outstandingly as his virtuosity, which was never showcased just for the sake of it. It was astonishing that the resonance of a single note at the beginning of "Oiseaux tristes" could be so powerful in the 40%-full QEH. "Une barque sur l'océan" was captivating by default, only more potent live when one gets to hear all the arpeggios so clearly played on the left-hand. The encore was Scarlatti's famous D minor, as if Couperin's "Le Tic-Toc-Choc" and Ravel's "Alborada del gracioso" were insufficient to demonstrate that he was able play repeated notes at lightning speed with unbelievable lightness, control and clarity. PHEW and WOW, to conclude succinctly.



This entry was originally published in my private Instagram account.

BBC Proms 2014: Prom 73 - Mahler: Symphony No. 3 (Gewandhausorchester / Gilbert)

11th September 2014
Royal Albert Hall, London, United Kingdom

MAHLER Symphony No. 3

Gerhild Romberger (mezzo-soprano)
Leipzig Opera and Gewandhaus Choir (women's voices)
Leipzig Gewandhaus Children's Choir
Leipzig Gewandhaus Orchestra
Alan Gilbert (conductor)



My "Prom date" abandoned me at the last minute (duh) and as such I had to go through the epic journey that was Mahler 3 alone. I kept asking myself during the concert, am I too much of a modernist to enjoy 19th century grace, too immature to appreciate the implication of the music or that this odd mixture of musical writing has lost its intended edge in the eyes of 2014? I don't know. In any case, the performance by the Leipzig Gewandhaus Orchestra and Choruses under Alan Gilbert (substituting in for Riccardo Chailly) was thoroughly stunning. The 2-hour work went through everything from the joyous and dynamic to the static and introspective. Whether it was the shimmering strings, the whimsical winds or the brilliant brass, or the soloist and the choruses, the playing was breathtaking and pristine throughout. The suspension in the last movement was heart-stopping. This was orchestral playing at the very highest level. I am coming back for another round tomorrow. Hopefully I will be able to get in.

BBC Proms 2014: Prom 70 - Sir Peter Maxwell Davies Birthday Concert

8th September 2014
Royal Albert Hall, London, United Kingdom

MAXWELL DAVIES Concert Overture 'Ebb of Winter'
MAXWELL DAVIES Strathclyde Concerto No. 4
MAXWELL DAVIES An Orkney Wedding, with Sunrise

Dimitri Ashkenazy (clarinet)
Scottish Chamber Orchestra
Ben Gernon (conductor)



Sir Peter Maxwell Davies celebrates his 80th birthday today and there is a late night Prom for his music. I made a fuss about his music before and here is why, without being analytical about it. He writes too much about inanimate objects (e.g. shorelines, lighthouses, paintings) so whilst the music is evocative for 2 min, it gets tiring for the remaining 28. Three PMD works back-to-back after Brahms night were quite heavy. Max described the "Strathclyde Concerto No. 4" as "a long, torturous journey to F#" for the clarinet soloist, and was perhaps true for the audience as well. The last piece, "An Orkney Wedding, with Sunrise," complete with bagpipes and all that, was so ridiculous that I could not stop laughing through it. It put Mozart's "A Musical Joke" and Ligeti's "Aventures" to shame. Whilst I did not appreciate his music for aesthetic reasons, it was very cool to see the composer enjoying his own music on stage (with presenter Tom Service), tapping his feet, waving his arms and banging his head to the beat. The birthday song encore was actually rather well orchestrated.

BBC Proms 2014: Prom 69 - Brahms: Symphony No. 2 (Cleveland / Welser-Möst)

8th September 2014
Royal Albert Hall, London, United Kingdom

BRAHMS Tragic Overture
JORG WIDMANN Teufel Amor
BRAHMS Symphony No. 2

Cleveland Orchestra
Franz Welser-Möst (conductor)



Second round of Franz Welser-Möst and The Cleveland Orchestra doing Brahms. I last saw Brahms 2 live in Helsinki, and this magnificent work provided the necessary warmth for the chill, both physically and mentally. Hearing this work in this beautiful Mid-Autumn evening is very uplifting. As with last night, the playing was thoroughly graceful, the strings were impeccable and precise and the orchestra was overall excellently balanced and played with great momentum. The audience welcomed it with thunderous applause. Tonight's Widmann was less offensive than last night's, but I can do without 30 minutes of aimless wandering. The Brahms was well-worth it though.

BBC Proms 2014: Prom 68 - Brahms: Symphony No. 1 (Cleveland / Welser-Möst)

7th September 2014
Royal Albert Hall, London, United Kingdom


BRAHMS Academic Festival Overture
JORG WIDMANN Flûte en suite
BRAHMS Symphony No. 1

Joshua Smith (flute)
Cleveland Orchestra
Franz Welser-Möst (conductor)



I am desperate for an antidote to Respighi and BPO playing Stravinsky, and two doses of Brahms is just perfect. I don't know my Viennese tradition, but The Cleveland Orchestra under Franz Welser-Möst playing Beethoven 10 was rather fine (at least he did not quit this job). III was particularly elegant and IV was exceptionally precise, if the sound was slightly too tender on the whole for RAH. The uncharacteristic flute concerto by Widmann, however, is completely negligible. The Bach "Badinerie" quotation sounded rather offensive. As contemporary composition goes, it is frankly worse than most.

BBC Proms 2014: Prom 64 - Stravinsky: The Firebird (BPO / Rattle)

5th September 2014
Royal Albert Hall, London, United Kingdom

RACHMANINOV Symphonic Dances
STRAVINSKY The Firebird

Berliner Philharmoniker
Sir Simon Rattle (conductor)



Berliner Philharmoniker. Sir Simon Rattle. Rachmaninov and Stravinsky. Enough said.

BBC Proms 2014: Prom 60 - Respighi: The Roman Trilogy (RPO / Dutoit)

1st September 2014
Royal Albert Hall, London, United Kingdom

BERLIOZ Overture 'Le carnaval romain'
WALTON Sinfonia concertante
RESPIGHI Roman Festivals
RESPIGHI Fountains of Rome
RESPIGHI Pines of Rome

Danny Driver (piano)
Royal Philharmonic Orchestra
Charles Dutoit (conductor)



"Whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoolalalalalalalalalala" was the message I sent to my friend immediately after the concert. Some of my friends know that I have been a bit of a Respighi advocate for a while, and to be able to hear the Roman Trilogy in its entirety live is a rare opportunity (especially the "Roman Festivals"). Charles Dutoit gave us a sensational "La mer" and "D&C Suite No. 2" with the same orchestra last year and as such I have been looking forward to this Prom since it was announced. What are the chances of hearing eight trumpets, six French horns, a piano, the RAH organ and eleven percussionists going at each other at the same time in such fabulous unity and pace? There was even a mandolin solo. It was a shame we did not get to see eight buccines but one cannot have everything. The first half (Berlioz and Walton) was irrelevant. This is a Prom to remember, and my latest victim agrees.

BBC Proms 2014: Prom 50 - Dvořák: Cello Concerto; Beethoven: Symphony No. 7 (Weilerstein / Czech PO / Bělohlávek)

24th August 2014
Royal Albert Hall, London, United Kingdom

JANACEK Overture from 'From the House of the Dead'
DVORAK Cello Concerto
BEETHOVEN Symphony No. 7

Alisa Weilerstein (cello)
Czech Philharmonic
Jiří Bělohlávek (conductor)



I don't have a huge amount to say for the Dvořák "Cello Concerto" or Beethoven 7, but I think the audience was no less speechless after a rather astonishing performance by Alisa Weilerstein, who demonstrated a captivating palette of tone colours throughout the Dvořák (more reason to get her latest recording). The performance was all more special when she was supported by the very fine Czech PO. I do have some questions though - why were the eight double basses placed at the back on the left? Is it a Czech convention or is it customary because it was a cello concerto? Also, how do you pronounce Jiří Bělohlávek?

BBC Proms 2014: Prom 48 - Classical Tectonics (Biss / Iceland SO / Volkov)

22nd August 2014
Royal Albert Hall, London, United Kingdom

TOMASSON Magma
SCHUMANN Piano Concerto
LEIFS Geysir
BEETHOVEN Symphony No. 5

Jonathan Biss (piano)
Iceland Symphony Orchestra
Ilan Volkov (conductor)



I always find it very touching that a symphony can still get an audience, regardless of age and musical background, to erupt in applause, natural joy and excitement 200 years after its composition, and such was the case after an excellent performance of Beethoven 5 by the Iceland SO. This simple case of musical magic is particularly potent if you consider that it was conducted by the anti-war Israeli conductor of Ukrainian and German ancestry, Ilan Volkov. The program also featured two curious Icelandic works - Tómasson's "Magma" which saw a continuously evolving soundscape that at one point involved the tuba and the trombone battling it out in a toccata against a vast array of percussion and piano which recall the birdsongs of Messiaen; and Leifs' "Geysir" which featured two sets of timpanies going at each other à la Nielsen 4. The concert was crowned by an eruption of passion in the form of the Schumann PC, gracefully handled by Jonathan Biss, who played the flowery arpeggios with such effortless tenderness that gave the concerto a rare chamber-like intimacy, which was all so fabulous and precious in the vast RAH. All in all, a thoroughly stunning Prom. Volkov was so passionate about the music he knocked down his score mid-performance.

BBC Proms 2014: Prom 35 - Walton: Violin Concerto; Sibelius: Symphony No. 5 (Ehnes / BBC NOW / Søndergård)

12th August 2014
Royal Albert Hall, London, United Kingdom

MAXWELL DAVIES Caroline Mathilde – suite from Act 2
WALTON Violin Concerto
SIBELIUS The Swan of Tuonela
SIBELIUS Symphony No. 5

Mary Bevan (soprano)
Kitty Whately (mezzo-soprano)
James Ehnes (violin)
BBC National Orchestra of Wales
Thomas Søndergård (conductor)



How merciless can a composer be to his soloist in a concerto? Well, it might be Heifetz but the Walton "Violin Concerto" is a fiendish masterpiece that calls upon every virtuosic technique of the soloist. This man, James Ehnes, gave a meticulous and assured performance, which caused even the sky to applaud for him in the form of heavy rain in the second movement. On the other hand, there is something gravitational about Sibelius 5, which draws one in and engulfs the listener in a quiet storm of latent joy. It reminded me of the lucky opportunity to visit Ainola a few years ago where I got to see Sibelius' residence in both rain and shine. The last movement is particularly moving. The Maxwell Davies was not as unbearable as I anticipated, but it did go on for a but in a slow march.

BBC Proms 2014: Prom 32 - Beethoven: Symphony No. 1; Bruch: Violin Concerto No. 1; Walton: Henry V (Bell / ASMF / Marriner)

10th August 2014
Royal Albert Hall, London, United Kingdom

BEETHOVEN Symphony No. 1
BRUCH Violin Concerto No. 1
WALTON (arr. C. Palmer) Henry V: A Shakespeare Scenario

Joshua Bell (violin)
John Hurt (narrator)
Trinity Boys Choir
London Philharmonic Choir
Academy of St Martin in the Fields
Sir Neville Marriner (conductor)



How often can one get to see a 90-year-old conductor on stage? What an honour to see Sir Neville Marriner conducting ASMF in Walton's "Henry V", a work he premiered himself. Great harmonic writing. Top-notched performance and the RAH organ made a stunning blast at the end. The fact that an animated and inspired Joshua Bell directed a well-balanced and thrilling Beethoven 1 from the first desk without score followed by a fantastic performance of Bruch 1 in the first half is completely irrelevant. People are happy.

BBC Proms 2014: Prom 26 - Berio: Sinfonia; Shostakovich: Symphony No. 4 (EUYO / Petrenko)

5th August 2014
Royal Albert Hall, London, United Kingdom

BERIO Sinfonia
SHOSTAKOVICH Symphony No. 4

London Voices
European Union Youth Orchestra
Vasily Petrenko (conductor)



I must not forget it, I have not forgotten it, but I must have said it before, since I say it now. Where now? When now? It is a public show, where people pay to stand for 2 hours. Perhaps it is not free, not a free show, and perhaps it is not compulsory, not a compulsory show. KEEP GOING! It may well be good enough to hear the chord of "Pli selon Pli" [BANG]. Keep going, going on, call that going, call that on. They can't stop the tenor from messing up or stop the violas from going out of tune either. KEEP GOING! And after the group disintegration of Berio's "Sinfonia", the sounds of Shostakovich 4 hang in the clean air. Let us collect ourselves, for the unexpected is always upon us. Merci, Herr Petrenko.

BBC Proms 2014: Prom 18 - Ravel: Concerto for the Left Hand; Mahler: Symphony No. 5 (Tharaud / BBC Philharmonic / Mena)

30th July 2014
Royal Albert Hall, London, United Kingdom

BIRTWISTLE Night's Black Bird
RAVEL Piano Concerto for the Left Hand
MAHLER Symphony No. 5

Alexandre Tharaud (piano)
BBC Philharmonic
Juanjo Mena (conductor)



Alexandre Tharaud played the Ravel LH with his signature grace and elegance, though at an unbelievably lightning speed for this concerto (massive credits to the bassoonist who kept up with him in the 6/8 section), thus depriving it of the spiritual depth and tragedy it requires, which is a bit disappointing. The lightness of the playing, as amazing as it is, does not carry in the RAH. Standing through the Birtwistle in this packed hall is an absolute torture and I have very little interest in Mahler 5 so I am going to Marks and Spencer now.

BBC Proms 2014: Prom 15 - Dove: Gaia Theory; Mozart: Piano Concerto No. 23; Ravel: Daphnis et Chloe (Fliter / BBC SO / Pons)

28th July 2014
Royal Albert Hall, London, United Kingdom

JONATHAN DOVE Gaia Theory
MOZART Piano Concerto No. 23
RAVEL Daphnis and Chloe

Ingrid Fliter (piano)
BBC Symphony Chorus
BBC Symphony Orchestra
Josep Pons (conductor)



There are certain pieces of music one is grateful to be alive to be able to hear, and the divine "Daphnis et Chloé" in its original form with the vocalise choir is definitely one of them. What brilliant woodwind playing at the Sunrise section. As if that is not enough, it was preceded by Mozart PC23 (the middle movement is the only F# minor piece he wrote apparently). The classical elegance was complimented by the gigantic work "Gaia Theory" by the Cambridge graduate Jonathan Dove. The portrayal of the goddess of Earth began with his signature fantastic/dream-like writing. Lush harmonies and sumptuous orchestration throughout. A real musical treat.

BBC Proms 2014: Prom 14 - Ravel: Valses; Simon Holt: Morpheus Wakes; Duruflé: Requiem (Pahud / BBC NOW / T Fischer)

27th July 2014
Royal Albert Hall, London, United Kingdom

RAVEL Valses nobles et sentimentales
SIMON HOLT Morpheus Wakes
RAVEL La Valse
DURUFLE Requiem

Emmanuel Pahud (flute)
Gerald Finley (baritone)
Ruby Hughes (soprano)
BBC National Chorus of Wales
National Youth Choir of Wales
BBC National Orchestra of Wales
Thierry Fischer (conductor)



The revival and death of the waltz in the form of Ravel's "Valses nobles et sentimentales" and "La valse" - a bit too rushed tonight. The legendary Emmanuel Pahud, principal flute of the BerlinPhil, premiered an odd flute concerto which required him to switch flutes in the last movement, and the performance was jaw-droppingly good. The concert ended with a concert performance of the poignant Duruflé "Requiem" - overly dramatic "Pie Jesu" but incredibly powerful "Libera me". Lacking in spiritual depth, if you ask me, but it is rare to hear it outside a religious setting.

BBC Proms 2014: Prom 10 - Moeran: Violin Concerto; Elgar: Enigma Variations (Little / BBC Philharmonic / Mena)

25th July 2014
Royal Albert Hall, London, United Kingdom

WALTON Variations on a Theme by Hindemith
MOERAN Violin Concerto
DAVID HORNE Daedalus in Flight
ELGAR Enigma Variations

Tasmin Little (violin)
BBC Philharmonic
Juanjo Mena (conductor)



After battling Graph Theory all afternoon, I (literally) ran to see a very British programme - the Walton "Hindemith Variations" is very fine; the Moeran concerto is slightly dubious and forgettable though brilliantly performed by Tasmin Little and the Elgar "Enigma Variations" is top-notched.

BBC Proms 2014: Prom 8 - Pet Shop Boys: A Man from the Future

23rd July 2014
Royal Albert Hall, London, United Kingdom

PET SHOP BOYS Overture to 'Performance' (arr. R. Niles)
PET SHOP BOYS Four Songs in A minor (orch. A. Badalamenti)
('Vocal', 'Love is a Catastrophe', 'Later Tonight', 'Rent')
PET SHOP BOYS A Man from the Future (orch. S. Helbig)

Pet Shop Boys
Chrissie Hynde (vocalist)
Juliet Stevenson (narrator)
BBC Singers
BBC Concert Orchestra
Dominic Wheeler (conductor)



Thus beginneth le Proms binge 2014! I could not make it in time for Prom 7, but I thought I should stay for the Pet Shop Boys Prom anyway, as I have a tiny bit of interest in the Alan Turing work. Sadly, it was musically vacuous, conceptually thin and linear and completely relentless. They have done better stuff - perhaps the orchestra is not the right medium for them. It was particularly painful to listen to an amplified orchestra when you are facing one.