Innholdsfortegnelse for July 2025 i BBC Music Magazine

There’s something of the night about this year’s BBC Proms season. From Claudia Winkleman’s ‘The Traitors’, celebrating scheming and treachery in classical music, to Anna Lapwood’s all-night ‘From Dark Till Dawn’, there’s a mischievously macabre vein running throughout the eight-week programme – even the CBeebies Prom tells ‘A Magical Bedtime Story’. But if, thematically, the world’s greatest festival of music is treading a dark path, there’s still plenty of sunny, passionate and uplifting music to suit all tastes, as revealed in our full Proms Listings on page 24. Plus, if you’ve ever wondered what it takes to perfectly synchronise camera and sound during the dazzlingly complicated Proms televised broadcasts, on page 32 Andrew Green meets the producers and technicians on hand to catch that crucial flute solo or cymbal crash.…

Tom Service’s mind boggles as he explains how science has enabled an American composer to continue writing music… some four years after his death I t already seemed like science fiction in 1965: the US composer Alvin Lucier’s Music for Solo Performer, in which Lucier strapped electrodes onto his scalp and the amplification of his brainwaves resonated through speakers and the skins of percussion instruments. Lucier was making music as if by magic, using only movement of the electrical impulses of his brain activity, without his hands, his feet or his breath, conjuring composition and performance more immediately than any musician had previously achieved. He made musical telepathy real. And despite the fact that Lucier died in 2021 at the age of 90, he’s still doing it. Or rather, his…

When people talk about the excitement of live music making, as opposed to sitting at home with your earphones in, they usually mean the thrill of sound being created while you watch, with all the unpredictability that accompanies any human activity, no matter how well prepared. And probably they also mean seeing great performers in person. There’s almost a Doubting Thomas element about that. We all know how easily recordings are ‘tidied up’ into an unreal perfection. I’m sure I am not alone in acclaiming genius only when I’ve encountered it in the flesh. But there’s another vital dimension to live music making, and that’s the power – acoustical, social, architectural, historic, even spiritual – of the place where the music making is happening. To take a topical example, would…

It was the Viennese critic Hermann Bahr who likened Mahler’s arrival in a hotel lobby to a gust of wind forcing open a window, or water bursting from a pipe. There’s something similarly elemental about Rafael Payare, though in our case we are meeting in a less-than-glamorous back room at the Royal Opera House. The Venezuelan is in town to rehearse Puccini’s Turandot, and despite having had his nose to the ice princess’s grindstone for seven-or-so hours he shows no signs of flagging. Animated, turbo-charged even (at one point he apologises, entirely unnecessarily, for his own exuberance), Payare marries charm with thoughtfulness. Beneath the luxuriant shock of hair, there’s a calm, bespectacled profile. He laughs a lot – sometimes uproariously – and he’s a perceptive observer of his peers. To…

Much about Henriëtte Bosmans’s life and music is remarkable. But one event stands out as emblematic of her character and strength. Our scene is Amsterdam in 1944, when the Nazis’ grip was on the Dutch capital. Bosmans, now nearly 50, had been born to a Catholic father, Henri, who had died before she turned a year old, and a Jewish mother, Sara, now 83. One day, in a climate of constant threat, the worst happened: Sara was arrested by the Gestapo. Taken to the Westerbork transit camp, the last stop for many before they were deported and murdered at Auschwitz-Birkenau and Sobibor, her fate seemed sealed. Bosmans went to the Gestapo headquarters in Amsterdam to plea for her mother’s life Bosmans went to the Gestapo HQ in Amsterdam to plea…

OPERA CHOICE Salieri satire is brought to stylish life George Hall enjoys this studio take on the composer’s colourful banned opera Salieri Cublai, gran kan de’ Tartari Mirco Palazzi, Marie Lys et al; Les Talens Lyriques/Christophe Rousset Aparté AP379 159 mins (2CD) A rival to Mozart – and in many ways enjoying a more successful international career – Antonio Salieri (1750-1825) has suffered from damaging myths about spurious connections he is said to have had with the greater creative figure’s utimely death. Salieri eri himself knew disaster when his Italian comic opera Cublai, gran kan de’ Tartari was banned due to changes in the political landscape prior to its planned Viennese premiere in 1788. A satirical work to a libretto by the estimable Giovanni Battista Casti making mockery of the…

CHAMBER CHOICE An appetising selection of cello works Pablo Ferrández serves up a perfectly played and curated menu, says Jo Talbot Moonlight Variations Works by Tchaikovsky, Liszt, Schumann, Chopin et al Pablo Ferrández (cello), Martin Fröst (clarinet) et al Sony Classical 19802898632 60:05 mins Listening to this album it’s easy to imagine yourself on an evening visit to a Viennese café, gorging on a feast of Sacher torte. What’s not to like? But just in case the programme seems too saccharine, Pablo Ferrández has included the Tchaikovsky Rococo Variations as the final item. This glorious staple of the cello repertoire combines haunting and evocative invention with dazzling technical bravura passages, not least in the finale where the passagework is tricky but flamboyant. Ferrández doesn’t drop a stitch – his spiccato…

Beethoven’s Conversation Books, Vol. 5 Edited by Theodore Albrecht Boydell & Brewer 464pp (hb) £45 No biography ever took this form: readers need to imagine Beethoven’s barked commands, and growling replies to questions. Yet we learn quite a lot about him, and his nephew Karl, who is best known for his botched suicide attempt. Karl fancies himself as an intellectual, keen to flourish his knowledge of Greek and Roman history, and at one stage offering to write a play which his famous uncle could set to music (we don’t get Beethoven’s response to that, but we can imagine it). And Karl is full of pianistic gossip, at one point suggesting that the improvisational exploits of Ignaz Moscheles – one of Beethoven’s most regular visitors – are actually pre-composed. A great…

Jeremy Pound Deputy Editor, BBC Music Mag ‘The history of castration is full of gaps, which tells its own story: while the jolly romps of castrati who made it big are well reported, the tales of those for whom the operation brought only misery, and even death, remain largely hidden.’ Page 36 Abigail Frymann Rouch Freelance journalist and editor ‘It has been inspiring to see how much joy music-making in groups can give to people in prison. And when it’s delivered by people committed to raising inmates’ aspirations, it really can help to transform lives.’ Page 54 Peter Somerford Writer and editor ‘Seeing musicians connect one-on-one with hospital patients in intensive care showed the power of music to make a difference to people in the most vulnerable and stressful of…

THIS MONTH Johanna Wallroth Soprano CONCERT HEAVEN Barber Knoxville: Summer of 1915 Johanna Wallroth (soprano); Royal Stockholm Philharmonic/Sakari Oramo Konserthuset Stockholm (March 2021) I was really excited to be singing Samuel Barber’s Knoxville for the first time, with the Royal Stockholm Philharmonic Orchestra and Sakari Oramo conducting. I was asked, ‘What would you like to sing with them?’ That was crazy to me, getting to choose something! It happens more now, but that was the first time, so it was really exciting, particularly with that music, which has many childhood memories for me. I’d heard Knoxville long before I started to study singing. I first listened to the Dawn Upshaw recording; the way she sings inspired me tons and I now sing a lot of her repertoire. So everything came…

All Proms will be broadcast on BBC Radio 3, many of them live; check schedules for details. For detailed ticket prices and booking fees, visit bbc.co.uk/promstickets Note: booking fee is not included in ticket prices. 2025 BBC PROMS: LONDON ROYAL ALBERT HALL FRIDAY 18 JULY First Night of the Proms 2025 6.45pm £26-£86 Bliss Birthday Fanfare for Sir Henry Wood Mendelssohn Overture ‘The Hebrides’ Sibelius Violin Concerto Errollyn Wallen The Elements (BBC commission: world premiere), Vaughan Williams Sancta civitas. Lisa Batiashvili (violin), Caspar Singh (tenor), Gerald Finley (bass-baritone); BBC Singers, BBC Symphony Chorus, London Youth Choirs, BBC Symphony Orchestra/Sakari Oramo SATURDAY 19 JULY The Great American Songbook and Beyond with Samara Joy 7pm £11-£56 Samara Joy (vocals), BBC Concert Orchestra/Miho Hazama SUNDAY 20 JULY Vivaldi and Bach 11am £11-£56 Vivaldi Violin Concertos in…

Male readers may want to look away now, or at least cross their legs. We are, you see, going to begin by explaining how to make a castrato. It’s an uncomfortable subject, for sure, so if you’re of a nervous disposition, do feel free to rejoin us in a few paragraphs, where we’ll be exploring what a successful snip could lead to. But now, to the operating table. Place: the Italian peninsular. Time: roughly, the beginning of the 17th century to the mid-19th century – an era when the science of anaesthetisation had still some way to go. And here we go. Before making the first cut, a surgeon would send a patient into a semi-comatose state by plying him with an opium-based drink or compressing his carotid arteries. Then…

Rafael Payare has worked with young musicians throughout his life, from his early experiences with El Sistema and conducting the Simón Bolívar Orchestra to this year’s Edinburgh Festival where he will lead NYO2 – one of Carnegie Hall’s three national youth ensembles – in its European debut. It will be the inauguration of a three-year partnership between the two organisations. Wherever he goes, education initiatives have a habit of popping up, such as the recent launch of an El Sistema-inspired programme in Montreal: ‘It’s part of who I am to be working with youth’. It was a lesson he learned young. In Venezuela, El Sistema orchestras were regularly conducted by the likes of Simon Rattle, Claudio Abbado and Lorin Maazel. ‘Those conductors never approached us as a youth orchestra,’ he…

Sir Neville Marriner is recognised as one of the greatest and most famous conductors of all time. But the Academy of St Martin in the Fields, the orchestra he founded in 1958, was arguably his greatest achievement. The ASMF represented Sir Neville’s vision of the true potential for orchestral music. It was a runaway success and remains a cherished global brand, synonymous with artistic excellence. The Academy, as it is affectionately known to its players, has historically worked with star soloists, but was also in the habit of making stars of its own musicians. Iona Brown’s name will, for example, live on as one of the most successful and dynamic violinist/directors in musical history. Alan Loveday’s benchmark recording of Vivaldi’s Four Seasons sold more than half a million copies, and…

I have often thought we should give an award for the best album cover, and (perhaps cheekily) one for the worst… I’ve seen some crackers, and some howlers, over the years. It’s heartening to see albums like Hyperion’s Honey-coloured Cow – Moosic for Bassoon (reviewed p88), its charming playfulness proving that classical music doesn’t have to take itself quite so seriously all the time. There’s more ‘play’ to be found in György Kurtág’s Játékok (Games) cycle, which is delivered with great spirit by his longtime friend, pianist Pierre-Laurent Aimard (see ‘Recording of the Month’ opposite). And there are more memorable titles this issue, with the likes of Pentatone’s Organised Delirium, Cédille’s Standard Stoppages and Alpha’s Electric Fields. What fun! This month’s critics John Allison, Nicholas Anderson, Terry Blain, Kate Bolton-Porciatti,…

ORCHESTRAL CHOICE A remarkable selection of Sibelius symphonic works Malcolm Hayes is impressed by the surefootedness and attention to detail in this Finnish performance Sibelius Symphony No. 5; Swanwhite Suite etc Christian Tetzlaff (violin); Finnish Radio Symphony Orchestra/Nicholas Collon Ondine ODE 1468-2 77:16 mins One of the features of Finland’s impressive music education system is the steady flow of conductors it continues to produce. So it is interesting that the chief conductor of the nation’s leading radio orchestra has for several years now been England’s Nicholas Collon. Whether or not there were ever any raised Finnish eyebrows about this, the level of music-making presented here tells its own story. This is a Sibelius recording that’s up there with the finest of any era. For all its relative simplicity of harmony,…

CHORAL CHOICE No holds barred in this intense St John’s recording Ashutosh Khandekar is impressed by new music director Christopher Gray’s ambitious album debut Lament & Liberation Works by Joanna Marsh, Roxanna Panufnik, James MacMillan, Dobrinka Tabakova et al The Choir of St John’s College, Cambridge/Christopher Gray et al Signum Classics SIGCD893 68:02 mins Christopher Gray’s first album with St John’s College is an unflinchingly serious programme of contemporary music, ambitious and challenging for both singers and listeners alike. James MacMillan’s Cantos Sagrados (1989), is a furiously terse protest against political brutality, the outer sections based on the graphic poetry of the Argentinian-born writer Ariel Dorfman, while the central section is a lilting prayer-like setting of Ana Maria Mendoza’s poem Virgin of Guadalupe. The choir’s account of MacMillan’s sprawling, highly…

INSTRUMENTAL CHOICE A thrilling modern take on Purcell keyboard gems Kate Bolton-Porciatti believes pianist Cristian Sandrin has set the bar with these complete works Purcell Complete Suites and Other Music for Keyboard Cristian Sandrin (piano) SOMM Recordings SOMMCD0702 61:09 mins In the first complete recording of Purcell’s eight keyboard suites on the modern piano, Romanian pianist Cristian Sandrin sets the bar impressively high. His accounts blend an instinctive grasp of Baroque rhetoric with the expressive breadth of the piano, revealing the ever-changing affects of these jewel-like works. They’re interspersed with popular numbers from The Musick’s Hand-Maid, making for a delightful journey. A Romantic sensibility infuses many of his readings. In the G minor Suite, the Prelude glows with impressionistic colours, its chromaticisms highlighted by the piano’s resonance, while the yearning…

ARCHIVE CHOICE Pollini’s perfect pianism These virtuosic accounts of Chopin Études by a teenage Maurizio Pollini remain revelatory Chopin Études Opp. 10 & 25 Maurizio Pollini (piano) Warner Classics 2173248288 59 mins When an Italian teenager won the prestigious International Chopin Competition in Warsaw in 1960, the great Artur Rubinstein – a legendary Chopin player himself, and chair of the jury – is reported to have remarked: ‘That boy plays better than any of us!’ Maurizio Pollini was 18 years old, already an uncompromising and strong-minded virtuoso. He recorded both sets of Chopin Études a few months later for EMI, and producer Peter Andry remembered the sessions as ‘a spine-tingling experience… pianism of the very finest kind’. But the young Pollini vetoed their release without giving a reason, and his…

THE QUIZ We have a mountain of questions we’d like to ask… 1. ‘In the Hall of the Mountain King’ is a movement from which orchestral suite, published in 1888? 2. Which large-scale orchestral work of 1915 was inspired by its composer’s experience of climbing up and down a mountain as a teenager in 1878? 3. ‘Les collines d’Anacapri’ (The Hills of Anacapri) is one of which set of solo piano works, composed in 1909? 4. When not playing the violin, the musician pictured above is an avid mountain climber. Who is she? 5. Which composer intended for his multi-sensory work Mysterium, left unfinished at his death in 1915, to be performed in the foothills of the Himalayas? 6. Whose Et Exspecto Resurrectionem Mortuorum for wind and brass ensemble was…

Write to: The editor, BBC Music Magazine, Eagle House, Bristol, BS1 4ST Email: music@classical-music.com Socialmedia: contactuson Facebook and X(Twitter) LETTER of the MONTH Rubbra soul I was interested to read Rob Ainsley’s fascinating article on British musical life during World War II (Keep calm and compose; May). However, it may be of interest to readers to expand a little on his brief mention of Edmund Rubbra (pictured left). Rubbra joined the regular army in 1941 at the age of 40 and initially trained as a gunner, where he met fellow composer Alan Rawsthorne on the same training exercise! However, he was soon asked to form a Classical Music Group, which he did with other talented musicians, including the cellist William Pleeth. Pleeth became a lifelong friend for whom he wrote…

Composer Noah Max talks about the inspiring friendship he enjoys with Boy in the Striped Pyjamas author John Boyne I read The Boy in the Striped Pyjamas when I was at school, so John had taken on the figure of a great writer in my imagination. If you told me I was going to meet with him, or work with him, I probably would have laughed. By the time we met I’d already written the opera [based on the book], but he was tremendously helpful, enthusiastic and supportive. I had assumed that John was the sort of person one could not just get in touch with, and when I heard that he was interested in what I was doing and having a conversation I was flabbergasted. We chatted and he…

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To hear what a castrato actually sounded like, we are reliant on the recordings of just one singer: Alessandro Moreschi, who went behind the microphone in 1902 and ’04, either side of Pius X outlawing his voice type for good. To many, it may not be a hugely appealing sound – hooty in parts, reedy in others, with a tendency to swoop. But in mitigation, the 40-something Moreschi may have been past his best, nor is he helped by the fluffy, crackly sound quality of the recording. The recordings do, however, have a sense of occasion to them – Moreschi was doubtless aware that this may be the first and last time the sound of the castrato voice could be committed to posterity. As it happened, he continued to sing…

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Moralising influence, morale booster or educational tool – music has played different roles in prisons at different times. In the early 19th century, many British prisons enforced silence. However, the 1823 Gaols Act made rehabilitation an aim of imprisonment, recruiting teachers ‘who could also lead prisoners in psalmody [singing Biblical psalms],’ notes Rosalind Crone, professor of history at the Open University. Interest in the education and rehabilitation of prisoners waned in the second half of the 19th century. But in 1910, home secretary Winston Churchill encouraged convict prisons – where sentences involved hard labour – to stage lectures and concerts. In the US, a prison in Texas began broadcasting a weekly radio show, ‘Thirty Minutes Behind the Walls’, in 1938, in which inmates played the blues, country songs and hymns…

The work Gargantuan in scope and scale, Busoni’s Piano Concerto is ferociously complex – demanding both virtuosic solos and expansive accompaniment from its pianist – and structured in a way that makes Beethoven and Mahler seem cautiously unambitious. This is a work that clambers past everything that had been put in place during the late-19th century, reaching the summit of Romanticism where the views are dazzling, the armchairs are squishy and the refreshment is whatever you want it to be. In 1904, when the Piano Concerto was first performed, more is more, and Ferruccio Busoni is a majestic maximalist. This is a concerto that reaches the summit of Romanticism, where the views are dazzling In a letter to his wife sent in 1902, Busoni includes a sketch to illustrate the…

RECORDING OF THE MONTH Kurtág’s life’s work is in the safest of hands Michael Church enjoys Pierre-Laurent Aimard’s wholehearted performance of the Hungarian’s epic piano cycle Játékok György Kurtág Játékok Pierre-Laurent Aimard (piano) Pentatone PTC 5187 030 125:12 mins (2CD) The longest item in this collection of 79 pieces lasts three minutes and 48 seconds, and it consists of a few angry cluster-chords. Its title is ‘Rituale – Kálmán Strém in memoriam’: one of many funeral laments for members of György Kurtág’s circle of friends. We never learn anything about these people, nor even anything about the composer’s late wife Márta, who has been his lifelong muse. Those of us who witnessed their final four-hand recital at the Southbank Centre a few years ago got a privileged – and very moving…

CONCERTO CHOICE Captivating performances for an unusual pairing Violinist Hans Christian Aavik makes light work of Bruch and Erkki-Sven Tüür, says Michael Jameson Bruch • Erkki-Sven Tüür Bruch: Violin Concerto No. 1; Erkki-Sven Tüür: Violin Concerto No. 2 Hans Christian Aavik (violin); Odense Symphony Orchestra/Gemma New Orchid Classics ORC100380 51:39 mins It was an audacious move to forego the familiar Mendelssohn coupling here, and instead pair Max Bruch’s perennial G minor Concerto with Estonian composer Erkki-Sven Tüür’s second Violin Concerto, ‘Angel’s Share’ (2017). Both receive consummate performances from the acclaimed Estonian violinist Hans Christian Aavik, with the Odense Symphony under Gemma New. Bruch’s First Concerto, an essential rite of passage for any solo violinist, is among the most over-subscribed works in the catalogue, though its enduring popularity shouldn’t blind us…

VOCAL CHOICE An imaginative tribute to an iconic legend of Lieder Benjamin Appl’s heartfelt album homage to Dietrich Fischer-Dieskau is cherishable, says Natasha Loges Works by Brahms, Schubert, Wolf et al Benjamin Appl (baritone), James Baillieu (piano) Alpha Classics ALPHA1131 79 mins Many listeners for whom the German lied is forever associated with Dietrich Fischer-Dieskau will adore this homage. The repertoire traces a ‘life-in-works’ in a wide range of repertoire, including music composed by Fischer-Dieskau’s brother and father, as well as commissions the baritone attracted. The catholic approach to curation embraces arrangements for piano (eg from Britten’s War Requiem), as well as Fischer-Dieskau’s own translations of French and English repertoire – both insightful inclusions. Like Fischer-Dieskau’s own discography, the result sets fine discoveries (the Bruno Walter song is a treat)…

JAZZ CHOICE Life-affirming Blues… Taj Mahal and Keb Mo join forces for an elegant melting pot that will raise your spirits TajMo Room On The Porch Taj Mahal, Keb Mo (vocals and guitar), Ruby Amanfu, Wendy Moten (vocals) Concord 7267800 43.51 mins With so much excellent jazz of various types discussed in the round-up it may seem perverse to choose a blues album (albeit one drawing on other genres including jazz) as this month’s ‘Choice’, but this one really raised my spirits. Track eight, which features a splendid sax solo by Jeff Coffin, says ‘Blues’ll Give You Back Your Soul’ and I said ‘Amen’. Mahal (real name Henry Saint Claire Fredericks) claims, ‘If you take the African imprint out of Western music for the last 500 years, there’s almost nothing…

With Lorin Maazel conducts the Cleveland Orchestra – The Complete CBS Masterworks Recordings (Sony Classical 19802819982) we are presented with, for the first time, the American conductor’s albums for the label in one box. The 15 discs showcase Maazel’s flair and poise on the podium, new to Cleveland audiences in 1972 when he took over from George Szell. A relative unknown he might have been at home, but Maazel had cut his teeth in Europe and he brought something of a European sensibility to works by Strauss and Beethoven. The latter’s symphonies form the heart of this handsome collection, which also features a rare 1973 live recording from the new Sydney Opera House and an unexpected album of songs with French pop artist Serge Lama. His is the name (and…

JULY’S RADIO 3 LISTINGS Schedules may be subject to alteration. For up-to-date listings see BBC Sounds and iPlayer 1 TUESDAY 6.30-9.30am Breakfast 9.30am-1pm Essential Classics 1-4pm Classical Live CHOICE 4-5pm Composer of the Week Satie 5-7pm In Tune 7-7.30pm Classical Mixtape 7.30-9.45pm Radio 3 In Concert from King’s College, Cambridge. Verdi Requiem. Francesca Chiejina (sop), Claire Barnett-Jones (mez), David Junghoon Kim (ten), James Platt (bass), City of London Choir, Men of King’s College Cambridge, BBC Concert Orchestra/Daniel Hyde 9.45-10pm The Essay 10-11.30pm Night Tracks 11.30pm-12.30am ‘Round Midnight 2 WEDNESDAY 6.30-9.30am Breakfast 9.30am-1pm Essential Classics 1-3pm Classical Live 3-4pm Choral Evensong CHOICE 4-5pm Composer of the Week Satie 5-7pm In Tune 7-7.30pm Classical Mixtape CHOICE 7.30-9.45pm Radio 3 In Concert from Bridgewater Hall, Manchester. Mahler Symphony No.3. Jess Dandy (contralto), Hallé…

My mum was not a professional pianist, even though she came from a musical family – her father was a conductor and composer. She played Chopin, Bach preludes and some Schumann on an upright piano at home. There is one piece that was very important for my musical development, and that was CHOPIN’s ‘Raindrop’ Prelude. The sound of the piano – it was a Petrof from the 1950s with a very soft tone – day after day, was like how rain goes into stone and creates a hole after months hitting the same place. The same thing happened to my soul; I was on my bed reading a comic and I realised there was a strange emotion in my chest that was coming from this music I’d heard many times…