ALEXANDER MARKOVICH - Franz Xaver Scharwenka – Complete Piano Concertos

This is one of those albums that has really ‘got’ to me. I took my time with it, since I know nothing of Scharwenka’s compositional output and wanted to understand it properly. Each time I listen to the album it is fresh: there are things which surprise me and make me want to play one of these pieces! 

Scharwenka was a Polish composer who had a flourishing performing career, most of which has been forgotten. He was also a composer, though his output was not large. This album of two CDs brings together his four piano concertos for the first time. 

One thing noticeable throughout this album is that you will find many parallels with the ‘great’ composers. The opening Piano Concerto No. 1 in B flat minor draws many comparisons to Liszt, to whom Scharwenka dedicated this piece. The orchestra breathes life into this work, providing competition for Markovich to wrestle the spotlight away, drawing focus back to the virtuosic elements infused throughout. The final movement is mysterious, with a beautiful clarinet solo nearly managing to outshine the final moments of the piano running rings around the orchestra! 

A more muted Piano Concerto No. 2 in C minor follows the brilliant opening. This one is not my favourite, but still has its merits. The Adagio is the highlight of this concerto. A beautiful opening by the strings, contemplative and serene, balance out the entry of the piano: all of a sudden it becomes less of a competition between orchestra and piano, instead having them briefly uniting to create some moments of beauty and colour. Some folk influences are heard in the final movement, with a small nod back to the first movement’s key. 

The third concerto: Piano Concerto No. 3 in C sharp minor, has strong resonances with Rachmaninov’s work. Opening with a brass fanfare, the piano becomes a force of nature barging in through the orchestra. Finishing this concerto is a dainty dance-like melody which keeps the orchestra on their toes, until the final bars which revisit and close with the opening movement’s themes. 

Piano Concerto no.4 in F minor finishes this album, and this was perhaps Scharwenka’s most famous work. Rachmaninov and Tchikovsky seem to have influenced him in this piece. It drifts dreamily in between structure and no structure at all, which is refreshing and makes the listening experience a journey through ideas. The overall finale begins in the third movement; almost melancholy in its beginning – a sad farewell. The pace gradually quickens to a rollercoaster ending: a battle between the orchestra and the piano, with the piano triumphant at the end. 

This album is more of a celebration of a composer who has been forgotten, and it manages to do this extremely well. Alexander Markovich’s performance is truly virtuosic and breathes life into pieces of music which have not had the recognition that they deserve. Listen to this if you are a fan of any of the ‘great’ composers and see how many parallels you can find.  

Words: Emma Longmuir

BARRY DOUGLAS - Schubert: Works for Solo Piano, Volume 1

The latest release by Barry Douglas is a volume of piano works by Schubert, incorporating some very well known pieces of his compositional output, alongside other, lesser known pieces.

The ‘Piano Sonata in B flat’ is a quiet and reflective way to open the album, broadening out to becoming more majestic towards the end of the first movement then becoming withdrawn and full of stasis in the next. The third movement becomes full of life, and then finishes with another reflective movement. This is an interesting opening to Douglas’ album, and paves the way for piano playing which is both quiet and unassuming, moving towards an extrovert character in other parts of the album.

I am a huge fan of lieder: I love the style of having a piano and a voice which, to me, is such a simple way to experience music. I was excited to see that two lieder features on Douglas’ album. However, in this case, they are transcribed for solo piano by none other than Franz Liszt,. ‘Du bist die Ruh’ is a slow, moving piece of music which has a slight sentimentality to it which Douglas’ manages with great care, climbing up from the quietness to the grand crescendos and back again with careful consideration. The next, ‘Ungeduld’ focusses more on a quick tempo with a melody line which soars above the accompaniment in a playful way. Douglas pulls around with this a little, slowing down and speeding up again before the audience expects it, putting his stamp on a piece of music which has been beautifully transcribed by Liszt. 

The last piece, ‘Fantasy in C major’ is a safe choice, and showcases one of Schubert’s favourite styles to write in: a fantasy. The album notes suggest that he was drawn to this form because the title was ‘non-prescriptive’ and because the form did not have to be prescribed such as with sonata form. Douglas’ playing throughout the whole fantasy conveys the wandering freedom of , drawing out the lyricism (especially in the second movement) and virtuosity. Every movement runs together flawlessly, and the listener has the sense of wandering in and out of various musical thoughts and moods with Douglas. 

Overall this is a ‘nice’ album: it is not anything massively flamboyant and manages to showcase various aspects of Barry Douglas’ playing, without being too much of a ‘show-off’ about it. 

Words: Emma Longmuir

CONCERT PREVIEW - SAMLING MASTERCLASS at Sage Gateshead - 26th-29th March 2014

For the past 18 years Samling has attracted the best in the world to its prestigious Masterclass programme for outstanding young classical singers and pianists.

From the 250 plus artists who have benefitted from the residential courses to the world class stars who lead them, North East audiences have been treated to an experience that is usually out of reach, and given the chance to see, close up,  world class performances as they are created.

World renowned North East baritone Sir Thomas Allen will lead Samling’s second Masterclass of 2014, with acclaimed accompanist Malcolm Martineau and the American vocal guru Stephen King, who comes to Samling for the first time from Houston Grand Opera in the United States.  

The expert team will be working with six singers and three pianists in a public Masterclass on Wednesday 26 March at 2pm in Northern Rock Foundation Hall, Sage Gateshead and the intensive week reaches its climax in a concert on Saturday 29 March at 7pm in Hall Two, Sage Gateshead in a lively programme of opera arias, ensembles and song.

Tickets are priced £10 for Masterclass and £15 for the Concert, with a joint ticket for both events £22 and are available from Sage Gateshead

SIBELIUS Violin Concerto, Karelia Suite, Finlandia, Valse triste, Andante festive, Valse lyrique, The Swan of Tuonela – Jennifer Pike with Bergen Philharmonic Orchestra conducted by Sir Andrew Davis

Jennifer Pike shot to fame in 2002 when she became the youngest ever winner of the prestigious BBC Young Musician of the Year at the tender age of 12. Since then she has studied at the Guildhall and Oxford University and released numerous recordings including a world premiere of Schulz violin concerto by the contemporary Australian composer.

I know the Sibelius concerto well, having been given a recording featuring eminent South Korean Dong-Suk Kang as a young violinist myself. Pike to my ear has the exact right style for the Finnish composer’s only full length concerto – a somewhat sinuous tone which slides and glides wrought with passion over the full range of the violin. The tricky nature of the concerto is neither made to sound too easy nor strained, rather I was left in awe at her technique and poise. 

The violin enters on a shimmering carpet of strings, beautifully balanced (to the point of disappearing). The beginning of this first movement feels like the calm before the storm, and Pike’s tone initially very much matches the tone of the orchestra. Soon, however, Sibelius develops things in a more agitated direction, leading to the tuneful and interactive cadenza between violin and orchestra. The slow movement features the woodwind and horns interspersing with the solo violin. Although the key is B flat major there is throughout an ominous presence, emphasised by the heavy bass line and the pulsing strings. Pike’s playing in this movement has an urgency and commitment which truly makes her stand out as the violinist of her generation. In the bouncy final movement, once compared to ‘a polonaise for polar bears’, the orchestra feels expertly guided by Sir Andrew Davis, leading into a glorious rendition of the triumphant melody.

A selection of Sibelius’ orchestral works form the rest of the Super Audio CD. Most of these are familiar jolly works full of brass fanfares and soaring string sounds, although there are also calmer treats such as the beautiful Swan of Tuonela (cor anglais Hege Sellevåg, cello Jonathan Aasgard) and the moving Andante festivo scored for string orchestra and timpani. It seems a shame Jennifer Pike is not featured any further, but the Bergen Philharmonic certainly make the recording their own with these tracks and enjoy the warmth and tonality of Sibelius.

Words: Katie Lodge

ELENA URIOSTE at Sage Gateshead - 16th February 2014

On the 16th February I was lucky enough to be able to attend a BBC Radio 3 New Generations concert at Sage Gateshead. The BBC New Generation Artists scheme is one which talented musicians can be a part of for two years, giving them opportunities to perform throughout the UK. Elena Urioste, a violinist in her first year of the scheme, travelled to The Sage Gateshead from America to perform, and this will be broadcast on BBC Radio 3 at a later date. Her programme was devised from the fact that she travels frequently between America and the UK, which was a lovely personal touch.

Beginning the concert was Elgar’s ‘Concerto in E minor’. The start was full of vitality, with quick passages and vibrato soaring above Michael Brown’s piano accompaniment. It was clear that Brown and Urioste have worked for a long time together, and each brought character and emotion into the piece, darting between different colours throughout. Noticeable in Urioste’s playing is how she seems to make time for herself for notes to sing, making any silences stand out prominently. 

Following the serious Elgar, was Aaron Copland’s ‘Nocturne’. Urioste and Brown spent some time at the beginning talking to the audience about this, obviously being inspired from the time they have been based in New York. The modern jazz with the ‘smoky’ element to it were clear throughout; Urioste’s part almost improvisatory over the constant theme chiming from the piano. 

Benjamin Britten’s ‘Suite for violin and piano’ is, admittedly, not my favourite piece by Britten, but it was played extremely well by Urioste and Brown. The first movement in particular stood out for the interaction between the piano and violin: the spiky sections weaved throughout with intricacy. Movement three, with its trance-like qualities suited Urioste’s style, and she captivated the audience with her mastery of a beautiful tone suspended in stasis. 

To finish was Paul Schoenfield’s Four Souvenirs pieces which allowed Urioste and Brown to really show their sense of fun. It was clear that the audience had fun too, with a laugh being raised at the end for the ‘barn dance’ inspired piece.  

This was a superb concert, and it is clear that Urioste will go far in her violin career, with a performance with BBC Philharmonic scheduled for a few days after this performance had taken place. Indeed, the audience enjoyed it so much, she earned herself an encore, playing George Gershwin’s ‘It Ain’t Necessarily So’ beautifully, earning her another long applause. Listen out for the BBC Radio 3 broadcast if you can, because you will be in for a treat. 

Words: Emma Longmuir

WHITLEY WOMEN'S COMMUNITY CHOIR - LOCAL FEATURE

Born on the anniversary of Lewis Carroll’s death, Whitley Women’s Community Choir was always going to have something of a ‘Wonderland’ feel about it. Both events occurred on January 14th – the choir formed in 2009 and Carroll’s death in 1898.

Happy coincidence, you might think?

But, in a world where coincidence is brushed aside as an every day occurrence, Whitley Women’s Community Choir simply couldn’t ignore one other fact. A fact so amazing that they had to get out the calculator.

By sheer chance, plumb in the middle of 2014, the North Tyneside based choir will also have been singing together for exactly 2014 days. 

The coincidences are starting to stack up.

Having sung at many prestigious locations, including Alnwick Garden, Seaton Delaval Hall and The Sage, Gateshead, the choir, led by Gilly Love, and who have entertained all over the North East, couldn’t believe the statistic and so have prepared an uplifting repertoire to help celebrate their ‘2014 Days of Song.’

First up is an international event. Invited by Eurokoor, a hugely successful choir based in The Netherlands who perform all over Europe, Whitley Women are off to Amsterdam and Leiden. ‘Adventures in The Netherlands’, you could say. On 28th March, they are to sing with Eurokoor in a specially commissioned event in Leiden, followed by an outdoor sing at the celebrated Keukenhof Flower Gardens in Lisse, South East of Amsterdam.

Music Leader, Gilly, said, “Keukenhof is the most beautiful spring garden in the world, with more than seven million tulips, daffodils and hyacinths, filling over 32 hectares with spectacular colour and fragrance. It is the perfect place to fill the air with beautiful springtime music.”

Upon their return, Whitley Women go immediately into rehearsals for a spring-time concert on home turf. This time they will perform on April 11th at St Andrew’s Church in Monkseaton, where a full house is expected for their ‘Happy Together’ production, where you can expect to hear a fusion of classic and contemporary music, including a special ‘2014 Days of Song’ series of medlies from the Sixties, Seventies and Eighties. Many of the songs will be familiar, including ‘Make You Feel My Love’, ‘I’ll Be There’, ‘Ashgrove’ and ‘Only You’. Not only will there be music and entertainment, but a generous raffle and the chance for a sing-along with a subsidised glass of wine.

If that doesn’t have you grinning like a Cheshire Cat, then later in the year, the choir are pulling together a summer spectacular to continue their ‘2014 Days of Song.’ They are in the process of mounting a photo exhibition and a ‘Song Stories’ event which will celebrate their time together and the ‘Wonderland’ nature of singing together.

The choir is always happy to welcome new members – and there are no auditions. Meetings are twice a week and all women are welcome regardless of age or experience.

Tickets for the ‘Happy Together’ event on April 11th are available by contacting the website, or please telephone Meg on 07542 524345

Words: Lesley Anne Collins

LIVE TRANSMISSION Joy Division Reworked - Sage, Gateshead - 2nd October 2013

LIVE_TRANSMISSION is an audio-visual tribute to Joy Division. The show came to Sage on 2nd October in the 1640 capacity Hall One. 

The performance combines the strings and horns of the Heritage Orchestra and the musical mastery of Robin Rimbaud, better known as electronic artist, Scanner along with members of Three Trapped Tigers and Ghostpoet. The collection of musical talent is topped off by visual projections by artist, Matt Watkins, whose work is married perfectly along with the music.

Despite the original concept sounding like conflicting genres jumbled together, the show comes across as a tasteful blend of styles that have been united perfectly. The sanctity of Joy Division is well kept as the cheap clichés of modern electronic music are kept to a minimum, not a bass drop or auto-tuned vocal in sight.  The visuals at times seem like a direct insight into the mind of Ian Curtis, showing dark, twisted urban landscapes and industrial style machinery which is contrasted by moments of wonder and beauty at times.

Upon entry of the venue there was an ominous drone accompanied by a cloud of smoke, setting the tone for the performance instantly. As the lights dimmed, the drones gradually intensified before cutting out to the choppy bass riff of ‘Transmission’.  This was the first glimpse of how the classic new wave anthems were reborn with the new orchestral arrangements. The interpretations of the songs we’re only loosely based on the originals, allowing for artistic flare to shine through and impress rather than simply playing the original melodies with a string section.

Blocky, analogue synth tones filled the venue for one of the more electronic style covers before a minimalist, eerie version of ‘She’s Lost Control’. The haunting, celestial vocals from the 2 man choir and projections of the lyrics being jotted onto the smokescreen had the audience mesmerised. This was followed by some stunning artwork of the Unknown Pleasures album cover reincarnated as a mountain range which moved in such a way that it was like the audience was travelling through it.

The performance continued with some sort of Skrillex-esque breakdown backed with swooping dynamics from the orchestra with erratic trombone accents which showed just how well the genres had been married together. After this dramatic burst of energy came the orchestrated adaptation of ‘Atmosphere’, the euphoric blend of sustained notes and subtle percussion intensified into a wall of sound before fading to black which seemed metaphorical for the death of Ian Curtis.

Just when it seemed like the performance was over, the lights and projections started up again before a heart-wrenching rendition of ‘Love Will Tear Us Apart’ with the original vocal track sampled over the delicate tones of the sting section. The performance was under a hour long which may seem short at first, but  Joy Division are a band that released only two albums, yet still had such a large impact on music today, and thus seems rather appropriate.

Words: Alex Greenup

THE ROYAL NORTHERN SINFONIA - Season Preview

The Royal Northern Sinfonia have another exciting season coming up which will feature both a world premiere  and the return of many well-loved classics. Stephen Oliver reviews  the 2013/14 season which has just gone on general sale and talks to Musical Director Thomas Zehetmair.

The forthcoming season will see Musical Director Thomas Zehetmair say “Auf Wiedersehen” for the final time, bringing the end to a relationship that started in 2002. Back then The Guardian reported Zehetmair’s appointment as “the best signing since Alan Shearer”.  A lot has changed for Britain’s only full-time chamber orchestra in that time – the most notable being the move across the River Tyne from Newcastle City Hall to Sage Gateshead. A number of recordings have been made which show the virtuosity and range of the music that Royal Northern Sinfonia play. The programme for the new season mirrors this range and does not shy away from including new work too. In June 2013 it was announced that the Queen has bestowed the title "Royal" on Northern Sinfonia, the first such title to be awarded in more than 20 years. Thomas Zehetmair remarked that “It is a wonderful title! I am very grateful to Her Majesty for rewarding these outstanding musicians. I feel very honoured too! The North East has become an important mark on the cultural map, and it makes me proud to be a part of it.”

The seven movements of Johannes Brahms' A German Requiem kicks the season off on Sunday 29^th September. This was Brahms' longest work and represents a major large scale work for Zehetmair to lead both the Sinfonia and the Sinfonia Chorus, which was formed 40 years ago.  Soprano Elizabeth Atherton, who was described by Rupert Christiansen of The Daily Telegraph as someone who “sings with consummate intelligence”, completes the line up. Unusual for a Requiem, Brahms chose to produce the libretto in German rather than in Latin. Thomas notes that a large scale production has its challenges: “We have developed a very distinct language for Brahms during our enthusiastically received Brahms - Schumann Cycle, and to perform Brahms' most important choral work now is the logical consequence. I look forward to working again with the excellent Northern Sinfonia Chorus in this piece as well as in Beethoven's Missa Solemnis and in Bach's St. Matthew's Passion.”

Whilst Christmas is still a fair way off it is worth noting that the Royal Northern Sinfonia will be performing a number of events which have a tendency to sell very well and hence early booking is recommended. The Christmas concerts starts on Sunday 1^st December with Handel’s Messiah. On the weekend of the 14^th and 15^th December Angela Rippon will be the guest presenter for “Rejoice!” which is the annual festive concert with Royal Northern Sinfonia and Chorus led by the wonderful Simon Halsey. Expect seasonal music, readings and carols to join in with.  The New Year begins with 2 performances of a stunning array of traditional Viennese waltzes, polkas and marches from the wonderful Johann Strauss. The Conductor for this New Years Day event is the well travelled Joseph Swensen.

Once again the Sinfonia will be performing The Snowman (23-27^th December) which is always extremely popular and is an ideal introduction to live music for the younger members of the family. There are 6 opportunities to hear the orchestra perform Howard Blake’s score live whilst watching the film on the big screen.

Another highlight will be to see the charismatic Leader, Bradley Creswick bringing the stunning and ever popular The Lark Ascending to life. Ralph Vaughan Williams piece continues to feature in all time lists around the world. The subtle elegance of the piece is in start contrast the Great War which was starting around the time that it was composed.  It is still possible to buy the EMI recording of this piece with former Artistic Director Richard Hickox conducting and Bradley Creswick with the Royal Northern Sinfonia in full flow. The performance on the 21^st February also features work from Mozart (Overture: Cosi fan Tutte & Piano Concerto No. 21) and Beethoven’s second symphony.

June brings the classical season at the Sage to the close with 2 magnificent shows. Zehetmair’s finale as Musical Director is on the 11^th June with four well chosen pieces. The show will include Mozart’s Don Giovanni Overture and one of Bartok’s final works - his powerful Viola Concerto featuring Ruth Killius on the viola. Killius founded the Zehetmair Quartet with Thomas Zehetmair in 1994 and has performed numerous times with him. Royal Northern Sinfonia has a reputation for showcasing new music and there will be the world premiere of Bradford born John Casken’s That Subtle Knot.  Thomas Zehetmair believes that this represents a significant new work: “Every violin-viola duo will be grateful to The Sage Gateshead and to Ruth and me for having co-commissioned a new double concerto! The great composer John Casken has been very close to the Northern Sinfonia and the Sage for several years, Ruth and I can't wait to premiere That Subtle Knot! New good music is an important sign that our music scene is alive and blossoming.” Representing the popular end of the classical spectrum, Beethoven’s Fifth Symphony, featuring possibly the most famous classical introductions of them all, closes the historic evening.

A number of other orchestras will also feature at the Sage including Manchester’s Halle. The Orchestra and Chorus of the Opera North will perform the final chapter of Wagner’s Ring Cycle with the Huddersfield Chorus on the 28^th June. Gotterdammerung is a powerful opera and the production will reach new levels of intimacy and spectacle.

Royal Northern Sinfonia, who celebrated their 50^th Anniversary in the 2008/09 season continue to go from strength to strength. The new programme is varied and will be challenging for the highly skilled performers. It will be a privilege to hear them in the season ahead.  The Sinfonia also takes an active role in the Young Musicians Programme at the Sage and this encourages the next generation of performers to train. Multibuy discounts are offered on 4 or more concerts bought at the same time. The fabulous acoustics of the Sage mean that even the cheaper seats present an opportunity to hear great live music by an orchestra at the top of their game.

So how long will it be before we see Thomas performing at the Sage again once the season finishes? He replied “The orchestra and I have created a very strong relationship; it will be my pleasure to return regularly!”

Words: Stephen Oliver

Picture: Mark Savage

COMMUNITY CHOIRS - an introduction

Do you feel like there’s an irresistible urge for your voice to come out of your body, releasing your mind and letting out emotions you cannot even imagine yet? Or in other words, are you just tired of singing in the shower? And you probably think it’s such a pity that nobody is enjoying your vocal qualities… You could then consider joining a choir. There’re lots in the North East area catering for every type of singer.

Many professional coaches and singing theorists advocate the idea that EVERYONE can sing, so if the thought of doing so has been niggling at you for a while but you’re scared, joining a choir could be a risk free opportunity to try and see what happens.

You don’t need to be great to join in, everyone is welcome, no matter what your experience or background, there’s only one requirement that’s essential: the love of singing.

Many choirs have close links to churches but that doesn’t mean it’s always about classical and religious music. Benton Community Choir, for instance, meets every Friday evening at 7 pm in St. Andrews Church to sing many different kinds of music including Folk, Abba Songs, African Freedom Songs etc.

Heaton Voices, is a secular choir with 70 members that started 13 years ago to offer the local community a chance to be in a singing group. They sing a variety of musical styles from Classical to Rock. You can contact them via their website for more information.

One of the oldest singing groups in the area is Newcastle Choral Society, with nearly 60 years of history the choir currently boasts 110 regular singers. They perform three concerts every year.

Maybe you can picture yourself singing with that energy and enthusiasm that Gospel choirs usually emanate, in that case, your place is the Northeast Gospel Choir. A group that came from the 20.000 Voices Singing Project and that is directed by Sharon Durant, who’s got an endless experience working with choirs and is a member of the learning and participation team of The Sage Gateshead. They meet monthly in the Trinity Christian Community Centre.

The little ones are also welcome in choirs such as Ousburn Young Voices. This choir has around 60 members and it’s open to anyone from year 4 to year 10 at the beginning of every school term. They meet every Thursday at Hotspur Primary School in Heaton.

If you are a woman in search of a choir and you live by the sea then you could try joining Whitley Women Community Choir. It formed in 2009 becoming the first community choir in Whitley Bay and it’s open to any woman (with experience or not) over the age of 16 who wants to share her voice in a female choir. Gilly Love is in charge of the group, as well as the head of the Adult Programme at The Sage Gateshead. They meet weekly and their next event is a Christmas Choir rehearsal on 13th of October.

Last but not least there’s Tynemouth Choral Society. It was founded in 1964 and they meet every Monday at the Chapel in King’s School in Tynemouth. Their next forthcoming event will be a ‘Classical Masters’ concert, including Beethoven, Haydn and Mozart. Will take place Saturday the 16th of November at Augustine’s Church in North Shields.

No need for auditions so no possibility of rejection. The options are out there so have a think to choose which suits you best and see how it goes. And well, if in the end you seem to don’t be enjoying it, don’t worry, you can always go back to your shower but please, don’t ever stop singing.



Words: Berta Manau
Picture: Chris Crowder