Peter Stadlen News
British pianist
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2024-04-24
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2024-04-10 09:31:00
Dramatic Britten, athletic Watkins and high-energy Mozart: Britten Sinfonia, Ben Goldscheider and Nicky Spence at Milton Court
Britten: Serenade for tenor, horn & strings - Ben Goldscheider, Nicky Spence, Britten Sinfonia - Milton Court (Photo: Shoel Stadlen)Judith Weir: Heroic Strokes of the Bow, Britten: Serenade for tenor, horn and strings, Huw Watkins: Horn Concerto, Mozart: Symphony No. 35 'Haffner'; Nicky Spence, Ben Goldscheider, Britten Sinfonia, Max Baillie, Michael PapadopoulosAn imaginative and appealing programme centred on Ben Goldscheider's peerless horn-playing with Nicky Spence in fine, story-telling formUndeterred by funding issues thanks to Arts Council England's shortsightedness, Britten Sinfonia returned to the Barbican's Milton Court concert hall on Tuesday 9 April 2024 for two concerts. At 6pm, the ensemble launched its 2024 Magnum Opus development scheme with a concert featuring music by three composers joining the scheme for 2024, Alex Groves, Anibal Vidal and Eden Lonsdale, plus music by Salvatore Sciarrino and Caroline Shaw.Then at 7.30pm there was an imaginative programme that featured horn player Ben Goldscheider in the world premiere […]
2021-10-09 15:38:00
Wigmore Hall Byrd: Prelude and Ground a 5: ‘The Queen’s Goodnight’ O Lord, how vain Fantasia a 5: ‘Two parts in one the fourth above’ O that most rare breast Gibbons: Two Fantasias of 3 parts Now each flowery bank of May Byrd: My mistress had a little dog Purcell: Two Fantazias in 4 parts O solitude, my sweetest choice, Z406 Gibbons: Two In Nomines Faire is the rose Purcell: Two Fantazias in 4 parts Oedipus, King of Thebes: ‘Music for a while’ The Fairy Queen: ‘When I have often heard young maids complaining’ Lucy Crowe (soprano)Fretwork (Richard Boothby, Asako Morikawa, Sam Stadlen, Emily Ashton, Joanna Levine) Thomas Mace’s Musick’s Monument, or, A remembrance of the best practical musick, both divine and civil, that has ever been known to have been in the world divided into three parts, looked back wistfully at an age of English music almost passed. Conservative, […]
2021-10-08 07:51:25
Musick's Monument: Lucy Crowe and Fretwork in consort songs by Byrd, Gibbons and Purcell
William Byrd Musick's Monument - Byrd, Gibbons, Purcell; Lucy Crowe, Fretwork; Wigmore Hall Reviewed by Robert Hugill on 7 October 2021 Star rating: 4.0 (★★★★) Still somewhat underappreciated, the consort songs from the Golden Age of English viol music were presented alongside fantasias, in nomines and more in a thoughtful and engaging programmeThe consort song, a voice accompanied by four or five viols, was a distinctively English form from the late 16th century, William Byrd wrote plenty but it gradually fell out of favour as more Continental models wielded influence. For their programme Musick's Monument at Wigmore Hall on Thursday 7 October 2021, Fretwork (Richard Boothby, Asako Mirokawa, Sam Stadlen, Amily Ashton, Joanna Levine) had the intriguing idea of pairing music for viols from the Golden Age of English viol music with songs by the same composers. So soprano Lucy Crowe joined Fretwork for music by William Byrd, […]
2021-03-29 11:19:00
Super-excellent Gabrieli and RVW on viols: National Centre for Early Music's Awaken festival
[…] Hollingworth conducted I Fagiolini, the English Cornett & Sackbut Ensemble and former members of the The 24 in Super-excellent a programme of multi-choir pieces by Giovanni Gabrieli, Joan Cererols, Alessandro Grandi, Juan de Araujo, Palestrina arranged Giovanni Battista Bovicelli, Edmund Hooper, and Heinrich Schutz, which was inspired by the writings of the 17th century traveller Thomas Coryat. Saturday saw Iestyn Davies and Fretwork (Emily Ashton, Richard Boothby, Joanna Levine, Asako Morikawa, and Sam Stadlen viols, Silas Wollston organ, virginals) at St Margaret’s Church, Walmgate, York. They began with an intriguing arrangement of RVW's Silent Noon with the viols accompanying Iestyn Davies. Having just heard Kitty Whately singing this at Leeds Lieder [see my review] with piano, the change in sound-world was fascinating, with Iestyn Davies finely controlled vocal line contrasting with the timbres of the viols. Next came a suite for viols by Johann Hermann Schein (1586–1630), […]
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