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✨Book your tickets for the @wigmore-hall.org.uk upcoming 'Ina Boyle: A Rediscovery' concert, Tue 10 March 1pm!

Part of Wigmore Hall's 125th anniversary season, this concert is a historic moment for Ina’s legacy!

🎟️https://www.wigmore-hall.org.uk/booking/60911

#Wigmore #Ina

Anja Mittermüller, Richard Fu, Wigmore Hall review - a glorious hall debut Helping to build the careers of superb young singers is what Wigmore Hall has done for decades: I still remember Olaf Bär’s debut in the hall in 1983, having won the Walther Gruner Lieder competition,...

★★★★ #AnjaMittermüller #RichardFu @wigmore-hall.org.uk - A glorious #Wigmore debut, as the Austrian #mezzo shines - at the age of 22 - 'The clarity, agility and joy of this 22-year-old’s remarkable and youthful voice are just stupendous', says @seb-scotney.bsky.social theartsdesk.com/classical-mu...

If you live in the Gillingham and Rainham constituency, ask your MP Naushabah Khan which campaigns she worked on (and for which clients) before you hand her your vote again 🗳️
#Rainham #Gillingham #Twydall #Wigmore #Medway #Kent

Stylistic irreverence and eclecticism: Zygmund de Somogyi & Temporal Harmonies Inc at Wigmore Hall --- Zygmund de Somogyi Composer, interdisciplinary artist and writer Zygmund de Somogyi (Zyggy) is one of eight composers on the 2025 Royal Philharmonic Society (RPS) Composers programme. Each composer on the programme gets a paid commission and premiere with a noted ensemble, venue or festival, along with dedicated mentoring, and professional support. Zyggy's time at on the programme culminates in a concert co-created with the trio, Temporal Harmonies Inc (Lydia Walquist, flute, Xiaowen Shang, piano, Mikolaj Piszczorowicz, cello) at Wigmore Hall on 19 April 2025. _Music for the Quarter-Life Crisis_ feature's the premiere of Zyggy's _music for the quarter-life crisis (synth étude)_ , and _IN THE EVENT THAT YOU STAY: Trio for flute, cello, and piano, no. 1_ (RPS commission), along with music by Caroline Shaw, Kaija Saariaho, Lowell Liebermann, and London Sinfonietta 'Writing the Future' composer Ashkan Layegh. They describe the programme thus, "We’re aiming to capture a musical distillation of 21st-Century repertoire reflective of today's cultural zeitgeist as experienced by many of our peers: a playful-sincere exploration of satire and resistance, and attempt to find groundedness in the precarious feeling that maybe, just maybe, there’s hope at the end of it all." Full details from the Wigmore Hall website.

Stylistic irreverence and eclecticism: Zygmund de Somogyi & Temporal Harmonies Inc at Wigmore...

www.planethugill.com/2025/03/stylistic-irreve...

#preview #RPS #Wigmore #Hall

Event Attributes

Taking us on an emotional journey: Solomon's Knot in Bach's 1725 version of the St John Passion at Wigmore Hall --- St Nicholas Church, Leipzig Where Bach's _St John Passion_ first performed Bach: _St John Passion_ (1725); Solomon's Knot; Wigmore Hall Reviewed 26 February 2025 **Sung from memory with remarkable emotional directness, at times this was close to a concert staging and very much a powerful communal experience** We know frustratingly little about the details of Bach's actual performance practice in Leipzig. For instance, when Bach revived the _St John Passion_ in 1725, having first performed it in 1724, how many of the performers were the same? We can make assumptions, but we don't know. This has relevance because for 1725, Bach made significant changes to the work, replacing the opening and closing choruses, adding and replacing arias. Given his musicians' workload, you might have assumed he would want to rely on their remembering the music. We also don't know why he made the changes. The 1725 version, whilst not wildly different, has a couple of 'new' arias that make the reaction to Christ's Passion journey seem rather angrier. And for a modern listener the start of the piece is disorientating as the new opening chorus eventually found a permanent home in the _St Matthew Passion_. Easter seems to be starting early this year, and on Wednesday 26 February 2025, Solomon's Knot gave us our first Passion of the year, Bach's _St John Passion_ in its 1725 version at Wigmore Hall. Whilst the hall's acoustic is nothing like that of the churches in Bach's Leipzig. The very full platform, with eight singers and 13 instrumentalists, must surely have echoed the organ loft in Bach's performances. One quibble, an eternal one with Passion (and oratorio) performances in concert halls, we missed the characteristic depth sound of Bach's organ and had to live with a chamber one. The singers sat in an arc facing the audience, with the instrumentalists behind. Given that the singers were performing the work from memory, this meant that there was nothing between singer and audience, the performance was directly to us. Inevitably there was an element of concert staging, thought had been given about what the singers were actually to do. They created a sense of communal experience, during most of the recitative the other singers remained standing, turning to look at the Evangelist. This also had the wonderful advantage that this performance lacked the annoying popping up and down that usually happens. This was true of arias too, with sometimes a sense that the other singers were reluctant to sit down, to let things go. This communal experience extended to the role of Evangelist which was shared between the two tenors, Thomas Herford and Ruari Bowen. I would happily have heard a complete work from either of them, both made compelling Evangelists. Herford perhaps the more thoughtful, considered of the two with Bowen more up front, giving us a more story-teller aspect. Both brought clarity to the words and if you know the German you were well set. There was a directness too, perhaps a lack of artifice, particularly with Herford's performance, along with a sense that they were setting the scene and it was in the arias and choruses that the meat happened. The tenor solos were sung by the singer who was Evangelist at the time, making them extensions of the narrative, the Evangelist's personal response. At the end of Part One, Bowen gave a vividly vigorous and, at times, intense account of 'Zerschmettert mich' (Smash me, you rocks and hills) one of the new arias, and Herford brought real urgency to 'Ach, windet euch nicht so' (Ah, do not wind yourselves thus) in Part Two, throwing off the more virtuoso passages, and Bowen made the arioso 'Mein Herz', towards the end, into an intense extension of his earlier recitatives. Frederick Long was Christus. Long was still using a score but his performance was highly communicative, and he made a sober Christus, bringing strength and defiance into his long scene with Johnny Sells' Pilatus. In Part One, Long got one of the new arias, displaying remarkable anger in 'Himmel reisse' (Heaven, tear apart! Earth shake!) performing with a youthful energy. And in Part Two he sang the aria 'Eilt, ihr angefochtnen Seelen' (Hasten, ye harassed souls) in a vivid performance taken at quite a lick. Hastening indeed. As the second bass soloist, Sells was something of the Lord High Everything Else, contributing strong accounts of Petrus and Pilatus, as well as taking over Double Bass duties when Jan Zahourek moved to viola da gamba. He also brought great thoughtfulness to 'Mein teurer Heiland' (My dear Saviour), forming a great quintet with the four singers of the chorale in a way that just does not happen when you have a large choir. That viola da gamba solo was of course in 'Es ist vollbracht' (It is finished) which was sung by Kate Symonds-Joy with full tone and really serious intent, yet suddenly fast and vivid in the central section. Earlier in the work, Michal Czerniawski had contributed a lovely fluid account of 'Von der Stricken' (From the chains of my sins) with a terrific contribution from the wind players. Zoe Brookshaw brought bright tone and a sense of serious delight to 'Ich folge dir' with fabulous contributions from the two flautists, Eva Caballero and Marta Goncalves). The other soprano, Clare Lloyd-Griffiths finally got her moment in her plaintive account of 'Zerfliesse, mein Herze' (Melt, my heart), the work's final aria. In the choral sections, I very much enjoyed the balance with the vivid performance from the singers part of a whole rather than a chorus dominating. Throughout the instrumental performances brought character and feeling to the piece, many of the arias being about the interaction between singer and players rather than a single soloist. In particular, bassoonist Inga Maria Klaucke and oboists Rachel Chaplin and Robert de Bree did sterling work. This was Bach's _St John Passion_ performed as a coherent whole rather than as a series of linked threads and you felt drawn into the performers' collective emotional journal. At the end we had Jacobus Handl's motet _Ecce quomodo moritur justus_ which Bach included after each performance of his passions. Solomon’s Knot Soprano Zoë Brookshaw, Clare Lloyd-Griffiths Alto Kate Symonds-Joy, Michał Czerniawski Tenor Thomas Herford, Ruairi Bowen Bass Jonathan Sells (artistic director), Frederick Long Violin 1 Magdalena Loth-Hill (leader), Agata Daraškaitė Violin 2 George Clifford, Gabi Jones Viola Joanne Miller Cello Sarah McMahon Double Bass / Viola da Gamba Jan Zahourek Flute Eva Caballero, Marta Gonçalves Oboe Rachel Chaplin, Robert de Bree Bassoon Inga Maria Klaucke Harpsichord / Organ James Johnstone **Never miss out** on future posts by following us **The blog is free,** but I'd be delighted if you were to show your appreciation by buying me a coffee. _**Elsewhere on this**_**blog** * **Notes of Old:** Helen Charlston & Sholto Kynoch draw together a variety of composers, echoing common themes in music that they love - concert review * **Vivid detail & white-hot performances: **Gavin Higgins' _Horn Concerto_ & _The Faerie Bride_ now on disc - record review * **Musical magic moments:** Bellini's _The Capulets & the Montagues_ at English Touring Opera takes us into 1950s New York's mean streets **-**opera review** ** * **Two violas:** Peter Mallinson on exploring the surprisingly fertile ground of music for two violas with fellow viola player Matthias Wiesner - interview * **Real musical riches** : Thea Musgrave's _Mary, Queen of Scots_ returns to the UK after an embarrassing period of neglect - opera review * **Philip Glass Festival:** the Hallé & Royal Northern College of Music proudly mounted a three-day mini-festival - concert review * ** _Reclaiming Love: An Alternative Valentines_** Song in the City's contribution to LGBT History Month including rare Smyth & Grieg plus Brahms' _Love Song Waltzes_ - review ** ** * **An enormously intense, personal experience:** composer Michael Zev Gordon on writing _A Kind of Haunting_ , his new piece inspired by his family's experience of the Holocaust - interview * **Letter from Florida:** It is hard to imagine any orchestra getting closer to playing as one, though, than The Cleveland Orchestra **-**concert review** ** * **A woman on the edge:** Cherubini's _Médée_ in the original French version yet given a powerful modern twist with Joyce El-Khoury - opera review * **Home**

Taking us on an emotional journey: Solomon's Knot in Bach's 1725 version of the St John P...

www.planethugill.com/2025/02/taking-us-on-emo...

#concert #review #Wigmore #Hall

Event Attributes

Konstantin Krimmel in overwhelming form for Schubert's Birthday at Wigmore Hall, with a welcome group of Carl Loewe too <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwDQAbYargS1W1lRKZRCOzHOD-fhCSOtbK4l_KnbpLicjfGSWHpnUQZeC1Tp572-gVYIwaABeZssQA5GVHK4pFdpwHnm46kmlLj41YalgWp51fe7IxFm6PbtTCbmKu-c_I-zut1eZxVc69UW-NNgD0RSFcgZ-NWoeLQNDtTCu069t8FhNEXpbn2w/s1743/KK.png" style="margin-left: auto; margin-right: auto;"><img alt="Schubert Birthday Concert - Ammiel Bushakevitz, Konstantin Krimmel - Wigmore Hall (Image from Live Stream)" border="0" data-original-height="1002" data-original-width="1743" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwDQAbYargS1W1lRKZRCOzHOD-fhCSOtbK4l_KnbpLicjfGSWHpnUQZeC1Tp572-gVYIwaABeZssQA5GVHK4pFdpwHnm46kmlLj41YalgWp51fe7IxFm6PbtTCbmKu-c_I-zut1eZxVc69UW-NNgD0RSFcgZ-NWoeLQNDtTCu069t8FhNEXpbn2w/w640-h368/KK.png" title="Schubert Birthday Concert - Ammiel Bushakevitz, Konstantin Krimmel - Wigmore Hall (Image from Live Stream)" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Schubert Birthday Concert</i> - Ammiel Bushakevitz, Konstantin Krimmel - Wigmore Hall (Image from <a href="https://www.wigmore-hall.org.uk/whats-on/202501311930" target="_blank">Live Stream</a>)</td></tr></tbody></table><span style="font-family: verdana; font-size: medium;"><i>Schubert Birthday Concert</i>: Schubert, Loewe; Konstantin Krimmel, Ammiel Bushakevitz; Wigmore Hall<br/>Reviewed 31 January 2025</span><div><span style="font-family: verdana; font-size: medium;"><br/></span></div><div><span style="font-family: verdana;"><span style="font-size: medium;"><b>Schubert's Birthday at Wigmore Hall with the young German baritone Konstantin Krimmel on overwhelming form in some of Schubert's most powerful and knottiest pieces, including <i>Prometheus</i>, <i>Totengräbers Heimweh, </i><i>Gruppe aus dem Tartarus </i>and <i>Erlkönig</i> from Schubert and Loewe</b></span><br/></span><div><p><span style="font-family: verdana;">Friday 31 January 2025 was Schubert's 228th birthday, and the celebrations at <a href="https://www.wigmore-hall.org.uk/" target="_blank">Wigmore Hall</a> featured baritone <a href="https://konstantinkrimmel.com/" target="_blank">Konstantin Krimmel</a> and pianist <a href="https://www.bushakevitz.com/" target="_blank">Ammiel Bushakevitz</a> in a programme of songs by Schubert and Carl Loewe. First we heard Schubert's <i>Der Wanderer </i>D489, <i>An den Mond </i>D193, <i>Hoffnung </i>D637, <i>Der Jüngling an der Quelle </i>D300 and <i>Auf der Donau </i>D553, then Carl Loewe's <i>Herr Oluf </i>Op. 2 No. 2, <i>Der du von dem Himmel bist (Wandrers Nachtlied II) </i>Op. 9, <i>Erlkönig </i>Op. 1 No. 3, <i>Geisterleben</i> Op. 9, and <i>Der Totentanz </i>Op. 44 No. 3, then finally Schubert's <i>Prometheus </i>D674, <i>Am Bach im Frühling </i>D361, <i>Der König in Thule </i>D367, <i>Totengräbers Heimweh </i>D842, <i>Gruppe aus dem Tartarus </i>D583, <i>Nachtstück </i>D672, and <i>Erlkönig</i> D328.</span></p><p><span style="font-family: verdana;">It was a meaty programme with some substantial and powerful pieces, including a compare and contrast between Schubert and Loewe's <i>Erlkönig</i> settings alongside other large-scale works that showcased Schubert far from the simply lyrical. And it was welcome to hear a substantial group of Loewe's songs, including the first performance of <i>Der Totentanz</i> at Wigmore Hall.</span></p><p><span style="font-family: verdana;">Throughout the concert, it was impressive the way Krimmel brought so much character and intensity to the songs without ever distorting or breaking the vocal line. His darkly focused tone was finely fluid with intensity to it throughout, a great lower register and admirably easy top whilst the range of colours and timbres he brought to the music was enviable.<span></span></span></p><a name="more"></a><p></p><p>We began with Schubert. <i>Der Wanderer</i> was sober and serious, with lovely phrasing and of course superb words. Krimmel and Bushakevitz developed from nothing to fast intensity before the touchingly plangent conclusion. We moved straight from the wanderer to the moon, the suggestion being this wanderer addressed the moon in such beautifully floated, seductive tones, yet Bushakevitz piano was darkly characterful and there was urgency in the middle, but beauty returned. There was a sense of yearning to <i>Hoffnung</i> (Hope), but with an underlying seriousness. We continued our wanderer's travels with <i>Der Jüngling an der Quelle </i> (the youth by the spring), light and focused with the performers drawing you in to the song end the ending, where the youth sighs for his love, pure magic. The final Schubert song in this group took us to the Danube, deceptively light at first but developing into something darker and intense.</p><p>We then moved on to Carl Loewe, born the year before Schubert but surviving for a further 40 years (imagine what 19th century music would have been like if Schubert had lived until 1870 or so!). He is known for his ballads, but there is a lot more to him. We began on relatively familiar territory, the ballad <i>Herr Oluf</i>, with it darkly magical seduction and threat from the Erlking's realm. Bushakevitz brought vivid character to the piano introduction and throughout both artists gave a strong sense of story telling as Krimmel moved between characters, his singing full of contrasts, his Erlking's daughter scarily seductive and Sir Oluf strong and resolute. So the light hearted wedding celebrations end suddenly and bleakly in death. </p><p>Then came the shorter, <i>Der du von dem Himmel bist</i> setting Goethe, sober yet with real lyric intensity. We then returned to the Erlking's realm, for Loewe's account of Goethe's ballad, and it can be argued that Loewe's account is truer to the poem, but it lacks the sheer terror of Schubert. Krimmel and Bushakevitz gave us strong character, vivid colours and powerful story telling, with vividly magical moments. The magic continued with <i>Geisterleben</i> where the focused otherworldly calm of Krimmel's voice hovered over Bushakevitz's lovely piano. Finally came the setting of Goethe's <i>Der Totentanz</i>, lyrical yet full of character at first, but then as the dance started both performers giving us something of a musical and dramatic tour de force, the music with a sense of constant onward, inexorable pressure yet full of force of character.</p><p>We returned to Schubert after the interval for some of his large-scale knotty pieces, music that is hardly song at all. The Goethe setting, <i>Prometheus</i> had the feeling of an operatic accompanied recitative, with drama and vivid intensity along with a sense of darkness. The piece felt like one long, sustained speech with Krimmel holding us rapt until the end, and making serious, intent points until the defiant ending, confirming what we thought, that the piece was about defying the Gods. As a break, we had the quiet concentrated beauty of <i>Am Bach im Frühling.</i> Then we returned to Goethe for <i>Der König in Thule </i>, sober and thoughtful, but with a steady build throughout, Krimmel giving us some wonderfully resonant tone. The climax brought a thrilling combination of power and character, but then suddenly the performers fined things right down.</p><p><i>Totengräbers Heimweh </i> (Gravedigger's Longing) took us on a remarkable journey, from the urgent, yet relatively lighter early verses through bleakness to the restlessly questing yet profound beauty of the remarkable closing section. This was one of those performances that really made the transcendence of Schubert's song register. And we stayed with that sense of the other with a setting of Schiller's <i>Gruppe aus dem Tartarus</i>, which became a piece of concentrated drama with intense words and an underlying power and restlessness. </p><p>The setting of Mayrhofer's <i>Nachtstück </i>(Nocturne) took us to a world of lyric beauty, yet still with a darkly concentrated sense. And we finished with a return to <i>Erlkönig. </i>Whilst Krimmel brought out the various characters, including the lighter, seductive wheedling Erlking himself, this was not one of those showy 'funny voices' performances. Instead we had focused story-telling and a steady intensity that built into something overwhelming.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitpJYXqGZy705KdTcT7NP1yAXymwJb7Pmsr8unYRLE8AOQthHEOoOyKVqzPczepSX3IRAu7wqBjkx8bOePpV2scaJWUm-yF7f1lHHmDwvDi5r_NXW3t4NIvtVIA7I7Ad2HzY1klKvby8aGDifsYzykSNZP4X-sYRqX9JQCaPGJaQ3uTSPgIvorgw/s916/KK%201.png" style="margin-left: auto; margin-right: auto;"><img alt="Schubert Birthday Concert - Ammiel Bushakevitz, Konstantin Krimmel - Wigmore Hall (Image from Live Stream)" border="0" data-original-height="916" data-original-width="769" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitpJYXqGZy705KdTcT7NP1yAXymwJb7Pmsr8unYRLE8AOQthHEOoOyKVqzPczepSX3IRAu7wqBjkx8bOePpV2scaJWUm-yF7f1lHHmDwvDi5r_NXW3t4NIvtVIA7I7Ad2HzY1klKvby8aGDifsYzykSNZP4X-sYRqX9JQCaPGJaQ3uTSPgIvorgw/w336-h400/KK%201.png" title="Schubert Birthday Concert - Ammiel Bushakevitz, Konstantin Krimmel - Wigmore Hall (Image from Live Stream)" width="336"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ammiel Bushakevitz, Konstantin Krimmel - Wigmore Hall <br/>(Image from <a href="https://www.wigmore-hall.org.uk/whats-on/202501311930" target="_blank">Live Stream</a>)</td></tr></tbody></table><p>The near capacity audience was rightly enthusiastic. Krimmel's performances were not operatic, though his voice has operatic amplitude, he remained firmly on the lieder platform, yet projected with a vivid sense of style and absorption. He did the entire programme from memory, so this really was from him to us, and with his fine diction and attention to colour, everything counted. </p><p>We were treated to two encores, first the Mayrhofer setting <i>Abendstern</i> and then a return to the wanderer with the Goethe setting, <i>Wanderers Nachtlied (Über allen Gipfeln)</i>.</p><p>And we even got to see the two performers' matching Schubert-themed socks (see image to the right)</p><p><span style="font-size: medium;">The concert was recorded and streamed by Wigmore Hall and is available on <a href="https://www.wigmore-hall.org.uk/whats-on/202501311930" target="_blank">their website</a>, though please do give <a href="https://www.wigmore-hall.org.uk/support-us/donations/audience-fund">a donation</a> if you do watch. </span></p><p><span style="font-size: medium;">And if you want the recital for your own library, then their July 2024 release <i><a href="https://outhere-music.com/en/albums/mythos-schubert-loewe" target="_blank">Mythos</a></i> on Alpha Classics covers much of the same, overwhelming repertoire.</span></p><p><span style="font-size: medium;"><br/></span></p><div><br/></div><p><span style="font-size: medium;"></span></p><div><div><br/></div><div><p><br/></p><p><br/></p><p><br/></p><p><br/></p><p><br/></p><div><span style="font-family: verdana;"><b>Never miss out </b><span style="font-family: verdana;">on future posts by <a href="https://follow.it/planethugill?action=followPub." target="_blank">following us</a></span></span></div><p><span style="font-size: medium;"><span style="font-family: verdana;"></span></span></p><p><span style="font-family: verdana; font-size: medium;"></span></p><p><span style="font-family: verdana;"></span></p><p><span style="font-family: verdana;"></span></p><div><p style="font-family: verdana;"><span style="font-family: verdana;"><b>The blog is free,</b><span style="font-family: verdana;"> but I'd be delighted if you were to show your appreciation by <a href="https://www.buymeacoffee.com/planethugill" target="_blank">buying me a coffee</a>.</span></span></p><p style="font-family: verdana;"><span style="font-family: verdana;"><font size="4"><span style="font-size: large;"><i><span style="font-size: large;"><b>Elsewhere on this </b></span></i><span style="font-size: large;"><b>blog</b></span></span></font></span></p><ul><li><span><span style="font-family: verdana;"><b>Bruckner's obsession with death, Scottish Gaelic folk poetry &amp; a grumpy gaboon</b><b style="font-style: italic;">: </b>Scottish composer Jay Capperauld, Scottish Chamber Orchestra's associate composer - <a href="https://www.planethugill.com/2025/02/bruckners-obsession-with-death-scottish.html">interview</a></span></span></li><li><b style="font-family: verdana; font-style: italic;">Letter from Florida: </b><span style="font-family: verdana;">a study in contrasts, Gounod’s </span><i style="font-family: verdana;">Roméo et Juliette</i><span style="font-family: verdana;"> at Palm Beach Opera - </span><a href="https://www.planethugill.com/2025/02/letter-from-florida-study-in-contrasts.html" style="font-family: verdana;">opera review</a><span style="font-family: verdana;"></span></li><li><span style="font-family: verdana;"><i><b>1775 - A Retrospective</b></i>: Ian Page &amp; The Mozartists on terrific form in a deep dive into the sound-world of Mozart's 1775 - <a href="https://www.planethugill.com/2025/01/1775-retrospective-ian-page-mozartists.html">concert review</a></span></li><li><span style="font-family: verdana;">Canadian composer Jacques Hétu's final symphony in a new recording with three of Canada's major ensembles -</span> <a href="https://www.planethugill.com/2025/01/canadian-composer-jacques-hetu.html" style="font-family: verdana;">record review</a><span style="font-family: verdana;"></span></li><li><b style="font-family: verdana;">Personal night time musings &amp; reflections: </b><i style="font-family: verdana;">Eight Nocturnes</i><span style="font-family: verdana;"> from violist &amp; composer Katherine Potter commissioned by ABC Classic - </span><a href="https://www.planethugill.com/2025/01/personal-night-time-musings-and.html" style="font-family: verdana;">cd review</a><span style="font-family: verdana;"></span></li><li><b style="font-family: verdana;">Reynaldo Hahn looks back</b><span style="font-family: verdana;">: Belle Époque in Kaleidoscope Chamber Collective's programme centred on Hahn's </span><i style="font-family: verdana;">Piano Quintet</i><span style="font-family: verdana;"> - </span><a href="https://www.planethugill.com/2025/01/reynaldo-hahn-looks-back-real-belle.html" style="font-family: verdana;">concert review</a></li><li><span style="font-family: verdana;">Anna Dennis' </span><i style="font-family: verdana;">Susanna</i><span style="font-family: verdana;"> was rightly the main focus of John Butt &amp; Dunedin Consort's involving account of Handel's neglected oratorio - </span><a href="https://www.planethugill.com/2025/01/Anna-Dennis-Susanna.html" style="font-family: verdana;">concert review</a></li><li><b style="font-family: verdana;"><i>Figures outside a Dacha, with Snowfall, and an Abbey in the Background</i>: </b><span style="font-family: verdana;">from Andrei Tarkovsky's </span><i style="font-family: verdana;">Nostalghia</i><span style="font-family: verdana;"> to Steven Daverson's new work for orchestra and live electronics - </span><a href="https://www.planethugill.com/2025/01/daverson.html" style="font-family: verdana;">interview</a><span style="font-family: verdana;"></span></li><li><b style="font-family: verdana;">Beyond Ravel: </b><span style="font-family: verdana;">Mathias Halvorsen comprehensively demonstrates it is well worth exploring Paul Wittgenstein's commissions - </span><a href="https://www.planethugill.com/2025/01/beyond-ravel-mathias-halvorsen.html" style="font-family: verdana;">record review</a><span style="font-family: verdana;"></span></li><li><span style="font-family: verdana;"><b>Johann Christoph Friedrich Bach</b> is undeservedly squashed between his brothers, but this disc shows his music well worth exploring - <a href="https://www.planethugill.com/2025/01/johann-christoph-friedrich-bach-is.html">record review</a></span></li><li><b style="font-family: verdana;"><a href="http://www.planethugill.com/">Home</a></b></li></ul></div></div></div></div></div> <div style="clear: both;"></div>

Konstantin Krimmel in overwhelming form for Schubert's Birthday at Wigmore Hall, with a welco...

www.planethugill.com/2025/02/konstantin-krimm...

#concert #review #Wigmore #Hall

Event Attributes

Have booked my appointment with "that" cheese toastie #Wigmore

R3 just played Benjamin Luxon turning Rasbach's mawkish ballad "Trees" into solid gold, and inexplicably moving. This musical alchemy was one of Luxon's special gifts, one granted to very few artists. #benjaminluxon #wigmore