Peter Quantrill

Peter Quantrill  |  May 31, 2022  |  0 comments
This month we review: Les Siècles/François-Xavier Roth, Le Concert des Nations/Savall, Elisabeth Leonskaja and Todos los Tonos y Ayres.
Peter Quantrill  |  May 10, 2022  |  0 comments
Sacred or secular? Ritual or drama? Peter Quantrill tackles some of the big questions while exploring a sublime but ever-controversial opera on record and film

Iwas not thinking of the Saviour when I was composing Parsifal', wrote Richard Wagner to his wife Cosima – dismantling one of many misconceptions held about his last music drama. One practical motivation, having contemplated the subject matter for over 30 years, was an inheritance to Cosima and their children which would secure both their financial future and that of the theatre at Bayreuth which he had built to stage the Ring.

Peter Quantrill  |  May 03, 2022  |  0 comments
This month we review: Dmitri Sinkovsky, La Voce Strumentale, Benjamin Alard, COE/Harnoncourt and Anna Netrebko, La Scala/Chailly.
Peter Quantrill  |  Apr 12, 2022  |  0 comments
Music that's icy but never cold, new but strangely familiar... Peter Quantrill explores the enchanting and uncanny world of the perfectionist Danish composer

What does snow do? Snow dazzles, conceals, melts. Snow is as much defined by the paths and pitfalls you can't see beneath as its surface crunch and glitter. So it is with Schnee, the composed 'Snow' chamber-cycle of Hans Abrahamsen. A dry summary would enumerate five pairs of canons divided by three intermezzi of open fifths, scored for nine instruments, but Schnee is much more slippery than that.

Peter Quantrill  |  Mar 30, 2022  |  0 comments
This month we review: Cleveland Orch/Franz Welser-Möst, Shani Diluka, Ensemble Pro Victoria/Toby Ward and Cecilia Bartoli; basel CO/TANG.
Peter Quantrill  |  Mar 10, 2022  |  0 comments
A sense of both physical space and conceptual time is essential in order to realise fully the beauties of this essence of Englishness in music, says Peter Quantrill

It would be hard to overstate the impact of the Tallis Fantasia on both listeners and composers of the last 70 years, for many of whom it has opened a great wooden door on to both Vaughan Williams and a wider world of music that feels spiritual in character without being tied to a particular faith or religion.

Peter Quantrill  |  Mar 03, 2022  |  0 comments
This month we review: Tonhalle Orch Zürch/Paavo Järvi, Trinity Hall Choir, Cambridge, Et Al/Andrew Arthur, Lilit Grigoryan and Martha Argerich.
Peter Quantrill  |  Feb 03, 2022  |  0 comments
War and heartbreak colour the backdrop to this ever-popular sketch of Spain, but the best recordings are rooted in Baroque fantasy and formality, says Peter Quantrill

The Concierto de Aranjuez was composed in exile from one war and first performed in the shadow of another. Joaquín Rodrigo began writing it in 1939, having fled to Paris with his wife Victoria from the Spanish Civil War. The couple had met in the French capital a decade earlier, she a recent piano graduate from the Conservatoire and he a student of Paul Dukas at the École Normale. They married in Valencia in January 1933, against her father's wishes, and took a honeymoon in Aranjuez, a town south of Madrid dominated by its royal palace and gardens.

Peter Quantrill  |  Jan 31, 2022  |  0 comments
This month we review: Philharmonia Zürich, Nikolaus Harnoncourt, Thélème, Jean-Christophe Groffe, ARC Ensemble and Alena Baeva, Persimfans.
Peter Quantrill  |  Dec 30, 2021  |  0 comments
This month we review: Ehnes Quartet, Sueye Park, Filippo Gorini and Michelle Deyoung, Et Al, Shanghai SO/Long Yu.