What makes this album truly special is the culmination of many years of collaboration between Bernard Hughes and pianist Matthew Mills, who commissioned and premieres Partita Contrafacta on the disc. The two musicians have been working together for years, resulting in a deep understanding of each other’s artistic vision and an unparalleled ability to bring Hughes’ compositions to life on the piano, which he does masterfully with colour and vigour, humour and warmth.
Beat poetry: Rick Simpson, ‘Twice Shaded’
After a few listens, this album feels like a heroically original achievement: without doubt, a jazz record, but unpredictable in ways one wouldn’t have predicted. Warm yet inscrutable; modest in approach but confident and fizzing with ideas: it’s improvised music that feels as though it’s always existed. How can something so spontaneous feel so permanent?…
Self-portrait: Berthe Morisot – ‘Shaping Impressionism’, Dulwich Picture Gallery
As this fascinating exhibition points out in its opening text panel, Berthe Morisot (1841-95) was an active participant in the Impressionist movement, fully-appreciated and successful in her lifetime. She presented her work in all but one of the major Impressionist exhibitions, missing only 1879, after giving birth to her daughter a few months earlier. There…
An inspired pairing: Schubert piano sonatas D537 & D959 | Garrick Ohlsson
Ten years separate the composition of these two piano sonatas by Franz Schubert. The earlier one, in A minor, was completed in 1817 when Schubert was just twenty, but had already written some 250 lieder. Having left several incomplete piano sonatas in the preceding years, he returned to the form with renewed enthusiasm, perhaps inspired…
Past and present collide: Saariaho, ‘Innocence’, Royal Opera House, London
Perhaps the most compelling testament to the impact of ‘Innocence’ is that I’ve thought about little else since the curtain fell. Knowing I would want to write about it, I’ve felt the intricacies of the piece turning round in my mind, dovetailing with each other, not unlike the interlocking 3D jigsaw of a set that…
‘the music of evaporation’ – Música callada | Federico Mompou | Stephen Hough, piano
Federico Mompou’s piano work Musica Callada is a set of twenty-eight short pieces that were written between 1959 and 1967. It was the last piece of piano music published in the composer’s lifetime The title, borrowed from the Cantica spiritual by the Spanish mystic and Carmelite friar St John of the Cross, translates as “Silent…
A Bad Night in Los Angeles – piano music by Robert Matthew-Walker
The title alone invites further exploration of this interesting, varied disc of piano music by Robert Matthew-Walker, a British composer and an influential part of the classical music recording industry for more than half a century (he ran marketing and publicity departments for leading record labels CBS and RCA, and has been editor of the…
Lightbulb moments: Mike Nelson, ‘Extinction Beckons’, Hayward Gallery
Has dystopian unease ever been so much fun? Mike Nelson’s exhibition is as serious and sinister as it needs to be. But I felt strong notes of dark humour, and the interactive elements display unchecked, unabashed brio. * ‘Extinction Beckons’ is a suitably foreboding name for an exhibition that – as the accompanying text makes…
Interview with Composer Noah Max
Noah Max came to the notice of the wider public this year when his opera A Child in Striped Pyjamas, based on the book, The Boy in the Striped Pyjamas by John Boyne, premiered at the Cockpit theatre. He was interviewed on Radio 4 and his opera received glowing reviews. Max is now set to premier his String Quartet…
Three dolours trilogy: Puccini, ‘Il trittico’, Scottish Opera
‘Il trittico’ – or, ‘The Triptych’ – is made up of three one-act operas, each roughly an hour long, that on the surface appear totally distinct. So much so, in fact, that companies often break the work up into something more manageable: presenting two parts as a double-bill, for example, or pairing one of the…
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