Culture

Erich Korngold was what you might call an early adopter. As a child prodigy in Habsburg Vienna, he’d astonished the world: a schoolboy composing orchestral scores that made Elektra sound tame. Jump ahead three decades, and Korngold, in his fashion, was still ahead of the curve. He was one of the first residents of Toluca

The two most depressing words in contemporary classical music? That’s easy: holy minimalism. I know, I know. Lots of people love the stuff, and I wish them joy. But the notion that one simply jettisons the whole western tradition of struggle, of purpose, of wholehearted emotional argument — and that the greatest and most crucial

How many people are celebrating the fact that, last week, one of Europe’s most inspired writers about music, modern art and aesthetics celebrated his 90th birthday? The answer is relatively few, which might seem surprising. He is a world-renowned authority on the grotesque and the absurd — territory through which he darts mischievously in his

The best moment in the Vienna Philharmonic’s annual New Year’s Day Concert comes after the end of the advertised programme. The conductor gives a tiny gesture, the violins start a shimmer of tremolando, and a ripple of applause spreads through the hall. At this point, if you’re watching with first-timers, they’ll look at you, surprised.

One of the few social activities not yet prohibited under lockdown laws is four-handed piano playing. I don’t mean sitting side-by-side at one keyboard. That would risk infection and, if snitched on, the possibility of sharing a prison cell with Piers Corbyn. No, the four hands must be divided equally across two pianos, and the

For an orchestra to lose one anniversary concert may be regarded as unfortunate. To lose two? Welcome to 2020. The City of Birmingham Symphony Orchestra gave its first ever concert on 5 September 1920. But that was only a warm-up, a sort of soft opening if you like. The big public fanfare came two months

The sounds that Franz Schmidt made while learning the trumpet were pretty much unbearable, or so the story goes. In order to practise he would leave his home in the Lower Austrian town of Perchtoldsdorf and walk up to the heath, a grassy hillside above the town. There, far from unappreciative neighbours, and looking down

It is amazing what fine performances you can get beamed to your computer these days. Slightly less amazing is the packaging these events come in, when they do. ENO relayed free a concert of Mozart’s Requiem, but it was preceded by a snatch of Strictly, with a row of muscular young guys ripping off their

Praising the grand old maestri of the podium isn’t a good look, as they say on Twitter. Conductors such as Herbert von Karajan, Leonard Bernstein and Georg Solti used to be lauded for the thrilling energy and sumptuous sound of their performances and recordings. These days if anyone mentions their names it’s only to list

The timing couldn’t be better. Just as the gates clang shut on another national lockdown, trapping us all indefinitely with our nearest and dearest, the London Symphony Orchestra serves up an opera that’s pure domestic horror — a story about what happens when we lock all the doors, close the curtains tightly, and turn and

Offenbach at Glyndebourne! Short of Die Soldaten with a picnic break or a period-instrument revival of Jerry Springer: The Opera, it’s hard to imagine a less probable operatic outcome— even this year. I mean, Offenbach: the saucy skewerer of middle-class pretension; the dazzling, vulgar arriviste of 19th-century opera. It couldn’t have been more incongruous had

Anyone who invited the Russian composer Mily Balakirev to dinner had to be jolly careful about the fish they served. How had it died? Balakirev — mentor of Mussorgsky and Rimsky-Korsakov and regarded as the founder of the Russian nationalist school of music — would want to know. If the fish had perished on a

I went to a concert! Not a livestream or download: a real concert, with real musicians, a real conductor, a real audience, and the real sound of Waitrose cava bottles popping open in the late afternoon. In some ways, this open-air gala from Opera Holland Park made it feel as if the summer season were

First there were the home recitals: musicians playing solo Bach in front of their bookshelves, wonkily captured on iPhones. Next came the Zoom ensembles, and near-infinite quantities of editing time and digital processing power achieved what, for a millennium up until March this year, could be produced instantaneously by putting some musicians in the same

If you want to understand Beethoven, listen to his piano sonatas. Without them, you’ll never grasp how the same man could write the hummable, easy-listening Septet of 1799 and the scraped dissonances of the 1825 Grosse Fuge, which even today scares Classic FM listeners. It’s the 32 sonatas, not the nine symphonies or 16 string

Liverpool’s last ocean liner lies half a mile inland, on the crest of a hill. The Philharmonic Hall, home of the Royal Liverpool Philharmonic Orchestra, sits between two cathedrals on Hope Street, its towers jutting over the city like twin prows. It’s an unavoidable metaphor: when you enter the Hall on a concert night, the

Remember when 2020 was going to be Beethoven year? There were going to be cycles and festivals, recordings and reappraisals; and if you weren’t actively promoting old Ludwig Van there was money to be made whinging about overkill. So was Stephen Hough’s decision to end his Wigmore Hall recital last Monday with Schumann’s Fantasie in

At the start of Elgar’s Second Symphony the full orchestra hovers, poised. It pulls back; and then, like a dam breaking, the music surges forward in wave upon wave of golden sound. ‘Rarely, rarely, comest thou, Spirit of Delight!’ writes Elgar, quoting Shelley, at the top of the score, and you won’t hear that spirit

It’s 1771, you’re in Milan, and your 14-year-old genius son has just premièred his new opera. How do you reward him? What would be a fun family excursion in an era before multiplexes or theme parks? Leopold Mozart knew just the ticket. ‘I saw four rascals hanged here on the Piazza del Duomo,’ wrote young

As Joseph Haydn was getting out of bed on the morning of 10 May 1809, a cannonball landed in his back garden. Napoleon’s armies were closing on Vienna, and Haydn’s suburban home was in the line of fire. His valet recorded that the bedroom door blew open and every window in the house rattled. Shaking

There’s a certain merit in bluntness. ‘Quarantine Soirées’ was what the Budapest Festival Orchestra called its response to the crisis, and if the name conveyed a certain bleak Magyar humour, the resourcefulness couldn’t be faulted. Elsewhere, orchestras were still talking optimistically about broadcasting concerts from empty halls, and (even more optimistically) about persuading online viewers

For a patriotic German in the decades before Bismarck, Britain’s power was an object of envy. But there was one thing, at least, that you could always hold over the Anglo-Saxons on their foggy little island. On 1 January 1837, Robert Schumann sat down in Leipzig to hear a new piano concerto by the 20-year-old

Beethoven wears a feather boa and pink shades. He wrangles an electric guitar. A red lightning flash streaks across that familiar, scowling face. ‘Genius before Elton. Radical before Prince. Iconic before Bowie’ proclaimed the posters for the Barbican’s Beethoven Weekender, and apparently there’ve been complaints about them, which probably means that they’ve got the tone

‘Popular’ classical music is a relative term. Show me someone who thinks Beethoven is surefire box office, and I’ll show you someone who’s never tried to sell tickets for the Op. 9 string trios. Even Mahler, the blockbuster concert phenomenon of the past four decades, has his limits. Audiences love him, sure. But in 2011,

In the summer of 1878 Johannes Brahms finally succeeded in growing a beard. It was his third attempt. ‘Prepare your wife for the grisly spectacle, for something so long suppressed cannot be beautiful,’ he wrote to a friend, and by all accounts he wasn’t wrong. Clara Schumann pleaded with him to shave it off. She’d

This year marks the centenary of a pianist whom London orchestral players nicknamed ‘Ashtray Annie’. Only at the keyboard did she have a cigarette out of her mouth. Annie Fischer (1914–1995) was one of those female pianists who, despite their spinsterish appearance, possessed far richer imaginations than splashy male virtuosos. Clara Haskil and Marcelle Meyer