Sequeira Costa at the Wigmore by ProQuest

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									Concerts and Recitals
                                                                                                                             Sequeira Costa



           Maazel hits the Anvil                    ears, fragments at first                                                       the Philharmonia. At
                                                    which gradually built                                                           any rate at Basingstoke
  n case you live anywhere near Basingstoke and     into an aural and intell-                                                       we had to listen for half-
I haven’t yet visited the Anvil Concert Hall
(opened 1994) let me wave a flag for it. First-
                                                    ectual edifice. The tonal
                                                    juxtapositions and sub-
                                                                                                                                   an-hour to his Music for
                                                                                                                                   Violoncello and Orchestra.
class acoustic, comfortable, accessible (car-park   sequent resolutions that                                                      On the positive side, this
handy), nice walk-about, helpful bars, interest-    Sibelius composed are deeply                                               was a good show piece for
ing programmes and events, 1,350 seats. Basic       satisfying to heart and mind.                                           the orchestra wherein all dep-
shoe-box shape but no right angles behind               Do you, listener, sometimes                                     artments played with consummate
platform (Rudolf Steiner would have approved).      wish that the finale’s grand tune would                    skill. The work is not discordant all the time
    On April 3 I heard a concert given by the       come back a third time? But no doubt there are         but it seems contrived by a clever mind with no
Philharmonia Orchestra (regular visitor) con-       cogent reasons why Sibelius ended the work the         heart. The composer writes that a subtitle could
ducted by Lorin Maazel, the most fascinating        way he did; granite-faced old Finn, he knew            be Dreamscape. Hm! My subtitle might echo
director to watch because his technique must        what he was doing. And so did Maazel and the           the title of an old musical: One Damn Thing
be the surest in the world. He is not always the    Orchestra; it was superb.                              After Another (ODTAA). The cellist Han-na
most enjoyable to hear because                                   The evening had begun with                Chang was faultless, coping with every
sometimes he can pull the music                                     Fauré’s touching, tender and           difficulty Maazel had thrown her way; but for
about. I find his rehearsals                                           apposite incidental music for       quite long periods her cello was silent while
more interesting than his                                                 Maeterlinck’s play, Pelléas      trumpets screamed, strings sounded air-raid
concerts, there being no                                                    et Mélisande, after which      warnings, tom-toms tom-tommed, a lady
audience to watch him.                                                       we were regaled with an       rushed about the platform playing a harpsi-
    On this Hampshire                                                         example of Maazel’s third    chord and other keyboard instruments,
visit, however, Maazel                                                        occupation. For he began     although we could not hear the sounds she
did not play to the                                                          his career as a child         made, any more than we could hear a player
gallery and his perform-                                                    prodigy violinist and          fingering an accordion.
ance of the main work of            Lorin Maazel                           nowadays his compositions       John Amis
the evening, Sibelius’s Sym-                                            figure in his programmes.
phony No 2, was exemplary,                                           Skuttlebutt has it that he paid           Sequeira Costa at the Wigmore
every detail cared for, but never at                            Covent Garden a quarter-of-a-
the expense of the trajectory of the music as a       million pounds to put on his Orwell opera                 o judge from his showing on 28 June,
whole; amazing to be able to follow a cogent
argument in sound, the material laid before our
                                                    1984 which nobody seemed to enjoy [Ed: not
                                                    entirely true – I did]. Perhaps he has a deal with
                                                                                                           T    Sequeira Costa is more attuned to Chopin
                         
								
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