Isata Kanneh-Mason: Childhood Tales (Decca)
Vaughan Williams: Fantasia on a theme by Thomas Tallis, Elgar: Introduction and Allegro etc Sinfonia of London/John Wilson (Chandos)
This concert was advertised as the completion of an Elgar symphony cycle, though in the absence of the reconstructed Third, that meant the second of two. Both were planned with interesting concerto couplings. The First Symphony was presented with the Tippett Piano Concerto earlier in the week, and early publicity for this concert promised a new piano concerto from Mark Simpson, with Icelandic pianist Víkingur Ólafsson.
Quite apart from the stunning range of colours and phrasing, Pavel Kolesnikov’s recitals always give you much more than the programme promises. A golden thread through shorter pieces has been one approach, but here he did something different – sailed for the deep waters only in three chameleonic masterpieces, but suggested the connections by unveiling an unnamed work he asked us to listen to in “metaphorical darkness”.
The Ulster Orchestra’s Prom finished early to accommodate a late-night concert by the esteemed Tredegar Band – but by then, we’d already enjoyed one spectacular brass showcase. Under its justly-praised chief conductor Daniele Rustioni (formerly assistant to Antonio Pappano at Covent Garden), the Belfast-based outfit crackled and glowed in every department but especially at the back, where a robust, assured and often lyrical brass team delighted a virtually full house.
Dublin is feted as the city of the word, peaking on Bloomsday, 16 June, in celebration of Ulysses’ centenary. Yet its concert and opera scene is broadening in brilliance. Had I known before yesterday that the vivacious Peter Whelan and his Irish Baroque Orchestra were performing Bach’s B minor Mass in Christ Church Cathedral, I might not have chosen to hear what until recently was called the RTÉ National Symphony Orchestra of Ireland – and wouldn’t have known what I’d missed.
Had he never written a note of his own, George Walker would still have left a record of trailblazing achievements. Born in Washington DC in 1922, he studied piano at Oberlin College and the Curtis Institute (the conservatoire that notoriously rejected Nina Simone). He was taught by Rudolf Serkin and, in 1945, debuted as a soloist first at the New York Town Hall and then, playing Rachmaninov’s third concerto, with the Philadelphia Orchestra under Eugene Ormandy.
Comparisons might have been odious between three of the world's most cultured players – pianist Jitka Cechová, violinist Jan Talich and cellist Jan Páleníček of the Smetana Trio – and the young, British-based Minerva Piano Trio (Annie Yim, Michal Ćwiżewicz and Richard Birchall).
From a distance, the pianist Christian Blackshaw bears an uncanny resemblance to Franz Liszt, silver hair swept back à la 19th century. At the piano, though, you could scarcely find two more different musicians. There seems not to be a flamboyant bone in Blackshaw’s body.
Ole Bull: Stages of Life Annar Follesø (violin), Norwegian Radio Orchestra/Eun Sun Kim, with Wolfgang Plagge (piano) (2L)