Gramophone October 2021

This Gramophone article from October 2021 profiles Dame Imogen Cooper following her damehood announcement in the Queen's Birthday Honours. The feature focuses on her latest recording 'Le temps perdu' (Lost Time), a personal artistic project that returns to music she learned as a teenager studying at the Paris Conservatoire in 1961. At age 12, Cooper moved to Paris to study with Jacques Fevrier, Yvonne Lefebure, and Germaine Mounier, among others, leaving behind her London schooling. The album, released on Chandos, features French repertoire including Ravel's Valses nobles et sentimentales, Sonatine, and Jeux d'eau; Liszt's Les jeux d'eaux à la Villa d'Este, Hungarian Rhapsody No. 13, and Réminiscences de Donizetti; Faure's Thème et variations; and Respighi's Notturno. Cooper explains that she had essentially ignored this Parisian repertoire for over 50 years while focusing on her career as a specialist in Beethoven, Schubert, and Brahms. The recording represents an exploration of how these formative pieces have evolved within her musicianship, prompted initially by a friend's suggestion before the pandemic. The article also discusses her establishment of the Imogen Cooper Music Trust in 2015 to support young artists, and her subsequent studies with Alfred Brendel in Vienna.

This Gramophone feature profiles Anna Meredith, a British composer born in 1978 who has carved out a distinctive niche in contemporary music by blending classical, pop, and experimental elements. Meredith studied at the University of York and Royal College of Music, where she developed a bold, uncompromising compositional style inspired by Gerald Barry and Louis Andriessen. Her approach prioritizes visceral, bodily responses to music—seeking excitement, energy, and anxiety in her creative process. She is known for works like Axeman (2004), which reimagines the bassoon through a distortion pedal, and her graphic mapping process for structuring compositions before standard notation. Meredith's career encompasses diverse projects including orchestral commissions (notably Five Telegrams for the BBC Proms), film scores (Bo Burnham's Eighth Grade), and her own electronic pop albums. Her piece Nautilus has become her most popular work with nearly two million Spotify streams, featured on the Varmints album. Her five-piece band (clarinet, tuba, cello, electric guitar, and drums) allows her to develop parallel sound worlds alongside commissioned works. She received an MBE in 2019 and has held residencies with the BBC Scottish Symphony Orchestra and Sinfonia Viva. Meredith remains deliberately anti-establishment, refusing categorization across genres. Her body percussion work Handsfree challenges classical musicians to communicate directly with audiences without hiding behind scores. She cites Björk as a major influence and comfortably bridges classical, pop, and experimental music scenes.

The article profiles Polish countertenor Jakub Józef Orliński and his third solo album 'Anima aeterna' for Erato. Orliński, who discovered his countertenor voice almost by accident as a teenager when drafted into singing high parts in a vocal ensemble, has built his recording career on presenting rare and lesser-known Baroque sacred music rather than mainstream Handel or Vivaldi arias. His approach reflects his desire to express his artistic identity through his own choices rather than following expected paths. The album features works by virtually unknown composers like Bartolomeo Nucci (whose music was likely never recorded before) and Gennaro Manna, alongside more familiar names such as Zelenka, Fux, and Almeida. Recorded with the period ensemble Il Pomo d'Oro under Francesco Corti, the program follows the same philosophy as his previous albums 'Anima sacra' and 'Facce d'amore' in bringing forgotten musical treasures back to life. Orliński emphasizes that while he sings major Baroque roles on stage, he prefers for his recordings to explore repertoire that is 'more unknown, more me,' reserving the iconic Handel arias for a future project.

This Gramophone feature from October 2021 presents a retrospective on Dean Dixon (1915-1976), the pioneering African American conductor who built his career in Europe after facing racial discrimination in the United States. Born in Harlem to West Indian parents, Dixon overcame significant obstacles to study at Harvard and Columbia, eventually founding his own orchestra for African American musicians in 1932. After moving to Europe in 1949, he served as chief conductor of orchestras in Gothenburg, Frankfurt, and Sydney, becoming particularly renowned for his interpretations of Bruckner and his work with the Hessian Radio Symphony Orchestra in Frankfurt (1962-1974). The article highlights his forthright conducting style, his scrupulous rehearsal methodology that allowed ensembles to retain their native character, and his advocacy for living composers during his tenure across Europe. The article examines Dixon's recorded legacy and notes that while CD availability is limited, streaming services offer broader access to his Supraphon recordings from Prague (Brahms, Beethoven, Mozart, Haydn) and Westminster recordings from Vienna (Schumann, Schubert). His 1962 Beethoven Ninth with the Hessian RSO is highlighted as the best available example of his forthright style, featuring an Adagio phrased as a love song and a finale of earthy exuberance. Despite facing racism—both in America where he was told he would struggle "if he were as white as Lenny Bernstein," and in Europe where he was refused service on a ferry—Dixon maintained defiant optimism. His legacy has grown since Rufus Jones Jr.'s 2015 biography, and recent appointments of Black conductors like Ryan Bancroft suggest progress in the field.

The Gramophone October 2021 feature previews the 2021-22 European orchestral and opera season, showcasing ambitious programming across major institutions. The Berlin Philharmonic opens under Jakub Hrůša with Olga Neuwirth's new work alongside Bruckner's Symphony No. 4, with Patricia Kopatchinskaja as Artist-in-Residence. The Czech Philharmonic under Semyon Bychkov embarks on a Mahler cycle (Symphonies No. 5 and 9) for Decca, while the Danish National Symphony Orchestra under Fabio Luisi continues its Nielsen symphony cycle for Deutsche Grammophon. World premieres include Bent Sørensen at Aalborg Symphony, Hans Abrahamsen's Ten Pieces for Orchestra with the Danish ensemble, and Thomas Larcher's works at Bergen Philharmonic. The Bavarian State Opera welcomes Vladimir Jurowski as Music Director with new productions including Shostakovich's The Nose and Janáček's The Cunning Little Vixen, while Dresden's Semperoper offers rareties alongside Peter Konwitschny productions. The feature demonstrates European orchestras' commitment to balancing core repertoire with contemporary commissions and innovative programming.

This Gramophone feature from October 2021 profiles composer Anna Meredith, highlighting her unique position in contemporary music that defies easy categorization. The article examines three of her significant works: 'Songs for the M8' (2005), a five-movement string quartet suite inspired by journeys along the M8 motorway between Edinburgh and Glasgow, which employs extended string techniques alongside traditional pentatonic folk melody; 'Anno: Four Seasons' (2016), a bold reworking of Vivaldi's famous concertos where she transforms material while maintaining fidelity to other sections, blending classical and electronic elements; and 'Tripotage Miniatures' (2016), six short chamber pieces characterized by a Ligeti-like quirkiness and playfulness. The feature positions Meredith as an artist who successfully bridges classical composition with club culture, demonstrating that such genre fusion can indeed work effectively. The works discussed showcase her distinctive approach to sound, incorporating both avant-garde techniques and accessible melodic elements.

In the October 2021 Gramophone interview, Icelandic pianist Vikingur Olafsson discusses Mozart’s Rondo in F major (K 494) and the later version that became the finale of Piano Sonata No. 15 (K 533). Olafsson explains that Mozart originally composed the rondo in 1786, liked it so much that he re‑used the material two years later for the sonata, adding an elaborate fugato ending that gives the movement a stronger, Bach‑influenced weight. The pianist notes that while the first movement of K 533 strikes him as overly contrapuntal, the Rondo itself exemplifies Mozart’s genius: a seemingly simple Alberti bass turned upside‑down, tiny modular repetitions that never repeat exactly, and a central excursion into the tonic minor that feels almost ecclesiastical. Olafsson also remarks on the piece’s high register, the dramatic low‑F pedal point in the fugato, and how the work sounds more like a string‑quartet conversation than a solo piano piece. Olafsson’s new album “Mozart & Contemporaries” opens with this Rondo, juxtaposing it with music by Baldassare Galuppi, C. P. E. Bach, Domenico Cimarosa and Joseph Haydn, placing Mozart in the context of his contemporaries. He records the piece on a modern Steinway but owns a 1785 Longman & Broderip square piano, whose limited range underscores the dramatic shift when Mozart finally descends to the low F. The interview emphasizes that Mozart’s later works were deeply shaped by his discovery of J.S. Bach in 1781, and that listening to Mozart alongside his peers can strip away the accumulated baggage we bring to his music. The feature closes by directing readers to the review of Olafsson’s “Mozart & Contemporaries” on page 78, underscoring the album’s aim to present Mozart’s Rondo not as a museum piece but as a vibrant, structurally innovative work that continues to reveal new facets on each hearing.

This Gramophone article previews the 2021-22 concert season across major North American orchestras following pandemic disruptions. The Boston Symphony Orchestra opens under Andris Nelsons with Bartók's Concerto for Orchestra and Anne-Sophie Mutter performing John Williams's Violin Concerto No. 2. Several orchestras feature contemporary works including world premieres from Magnus Lindberg and Missy Mazzoli with the Chicago Symphony Orchestra, while the Metropolitan Opera presents Terence Blanchard's Fire Shut Up In My Bones, the company's first commissioned opera from a person of color. Notable programming includes Florence Price's Symphony No. 3 appearing at multiple orchestras, and celebrations of composers like Bryce Dessner and Anna Clyne. Several conductors make notable transitions, including Rafael Payare beginning his tenure with Orchestre symphonique de Montréal and Jader Bignamini inaugurating his directorship with the Detroit Symphony. The season also features significant Baroque performances from ensembles like Handel and Haydn Society, alongside standard Romantic repertoire from Beethoven, Mahler, and Brahms. The LA Phil's season titled 'The Homecoming' signals a return to live performance at Walt Disney Concert Hall, with Gustavo Dudamel leading Beethoven's Fidelio in collaboration with Deaf West Theatre.

This article is a comprehensive season preview from Gramophone magazine (October 2021), showcasing the 2021-22 concert programming from orchestras and music institutions across the Asia-Pacific region and beyond. The featured ensembles include the Auckland Philharmonia Orchestra, Hong Kong Philharmonic, Orquestra Sinfonica do Estado de Sao Paulo (OSESP), Melbourne Symphony Orchestra, New National Theatre Tokyo, New Zealand Symphony Orchestra, NHK Symphony Orchestra, Shanghai Symphony Orchestra, Singapore Symphony Orchestra, Suntory Hall, Sydney Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, and West Australian Symphony Orchestra. The programming features a mix of classical and Romantic repertoire, including numerous Beethoven cycles, major symphonies by Mahler, Bruckner, and Tchaikovsky, as well as Baroque and operatic offerings. Notable contemporary elements include James MacMillan's Christmas Oratorio with the Melbourne Symphony, the world premiere of Tim Finn's opera "Star Navigator" by New Zealand Opera, and new works by living composers Lisa Illean and Troy Kingi featured in various programs.

The Gramophone October 2021 issue features the shortlist for the 2021 Gramophone Classical Music Awards, announcing 36 recordings across twelve categories. The winners would be revealed on September 22 at gramophone.co.uk, with Recording of the Year announced on October 5. The categories span from established genres like Orchestral, Opera, and Chamber, to specialized areas including Early Music, Song, and the newly introduced Spatial Audio category. Notable mentions include James Ehnes and Andrew Armstrong's Beethoven Violin Sonatas in the Chamber category, and Les Arts Florissants' latest Gesualdo recording in Early Music. The article highlights various artists and ensembles, with photography credits to Benjamin Ealovaga, Gregor Hohenberg/Sony, and Maxim Abrossimow. The featured composers range from classical mainstays like Beethoven, Bach, and Mahler to contemporary figures including Louis Andriessen and Michael Finnissy in the dedicated Contemporary section. Download information for a free digital magazine with full reviews is provided alongside viewing details for the awards ceremony broadcast.

The Gramophone October 2021 feature previews the UK 2021-22 concert season as orchestras and ensembles return to full programming post-pandemic. Major orchestras announce new leadership: Sakari Oramo continues with BBC Symphony Orchestra, Simon Rattle launches the LSO season with new music including Julian Anderson's world premiere and Judith Weir's revival, and Domingo Hindoyan becomes Chief Conductor of Royal Liverpool Philharmonic following Vasily Petrenko. The season features numerous contemporary premieres: Mark-Anthony Turnage's 'Up For Grabs' about the 1989 Arsenal-Liverpool football match (BBC Symphony), Tom Coult's 'Pleasure Garden' (BBC Philharmonic), and Laura Bowler's climate-change theatre piece 'Houses Slide' powered by bicycle energy (London Sinfonietta). English National Opera begins Richard Jones's new Ring cycle with The Valkyrie. Programming emphasizes living composers, female composers (Sally Beamish, Eleanor Alberga, Errollyn Wallen in the 'Beacon Project'), and innovative approaches like Aurora Orchestra performing Beethoven's Seventh from memory. The season blends world premieres, revivals of overlooked works (Ruth Gipps, Dora Pejačević), and diverse repertoire from South American to Baroque music.

Each month the Gramophone “What Next?” column helps listeners expand beyond familiar works. In the October 2021 issue Richard Lawrence uses Beethoven’s Ninth Symphony as a springboard to suggest 15 lesser‑known pieces that echo its themes, structures or historical impact. The feature is divided into five thematic sections. “Aspects of Joy” gathers works that radiate exuberance – Bach’s Christmas cantata BWV 63, Beethoven’s Choral Fantasy and Gounod’s Hymne sacrée, each paired with a top recording. “Darkness into Light” juxtaposes Mozart’s Piano Concerto No. 20, Wagner’s Das Rheingold and Mahler’s Symphony No. 2, showing how composers have transformed struggle into triumph. “Choral warhorses” links Mendelssohn’s “Lobgesang” Symphony and Brahms’s German Requiem, while “Come again?” explores Berlioz’s Harold en Italie and Bruckner’s Fifth, both quoting earlier material. The final section, “Within living memory”, presents Schoenberg’s A Survivor from Warsaw, Pärt’s Nunc dimittis (2001) and Rubbra’s Symphony No. 9, works from the 20th‑21st centuries that confront Beethoven’s legacy. The article highlights Paavo Järvi’s recent recording of the Ninth as a modern‑instrument benchmark and supplies catalogue numbers for all recommended performances, encouraging readers to embark on a rich musical journey.