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Founded in 1923 by Sir Compton Mackenzie and Christopher Stone as ‘an organ of candid opinion for the numerous possessors of gramophones’
Two legends to reward, one to remember
One of the privileges of Gramophone is that we get to celebrate some of the greats of our age, and know that readers and colleagues in the music world will celebrate with us. This year’s Gramophone Classical Music Awards placed two such artists particularly prominently on a pedestal for applause: Sir James Galway, winner of our Lifetime Achievement Award, and Sir Neville Marriner, recipient of an Outstanding Achievement Award. It is not a privilege we take lightly (nor, clearly, do others – no lesser figures than violinist Kyung-wha Chung and pianist Alfred Brendel offered their time to present each with their Awards).
In all such cases, we honour artists whose lifetime’s contribution has profoundly enhanced music-making in some way. In Galway’s case the flute – its reception, reputation and repertoire – is richer than it was back at the beginning of his career when he played under Karajan as Principal Flute of the Berlin Philharmonic. Marriner’s imprint, meanwhile, can be found in hundreds of superb recordings which brought eclectic repertoire to many followers, not least in concertos where his wisdom and generosity of spirit have encouraged many soloists of younger generations to great heights of attainment. As with Galway, the role of recording has been a vital part of his career, part of his advocacy of music, but also approached specifically and separately as an art in its own right.
Developing music, nurturing the next generation, relishing recording. These things can also be said of another great figure, the conductor and harpsichordist Christopher Hogwood, whose death was announced just as we were preparing to send this edition of Gramophone to the printers.
Hogwood was one of the driving forces of the early music movement, which, from the 1970s onwards, radically transformed both our knowledge of a whole era of repertoire, but also our understanding of how that music, and indeed all music, should be played. ‘If anybody deserves the title of a pioneer, Christopher Hogwood does,’ says Barbican Managing Director Sir Nicholas Kenyon in his opening to an hour-long podcast made for Hogwood’s 70th birthday three years ago (currently available to listen to on our website). His fascination with exploring performance techniques leaves a legacy not just in period ensembles such as the Academy of Ancient Music which he founded, but also in the sound of many groups, of myriad sizes and specialisms. Far from just an early music expert, he was also an advocate of more modern composers, including Martin≤, who themselves were fascinated with the music of the era with which Hogwood had made his name.
As for the next generation, the AAM – since 2006 in the hands of those he did so much to inspire – will continue not as a monument to his name, but to his belief in the continual progression of music-making. And recording? Hogwood was prolific, not least for Decca’s L’Oiseau-Lyre label. A 50-CD retrospective released by the label in May (the first of a series), of which 37 recordings feature Hogwood and the AAM, is a perfect place to explore his brilliance. We will pay full tribute in our next edition. email@example.com
THIS MONTH’S CONTRIBUTORS
‘I •irst heard Zino Franchescatti play Walton’s Violin Concerto when I was a teenager and instantly fell in
‘Writing my Specialist’s Guide was a great chance to immerse myself in a broad assortment of love with what must be one of his most passionately felt works,’ says JEREMY DIBBLE, author of this month’s Collection. ‘It ’s fascinating to see how the performing tradition has developed since its premiere with Heifetz in 1939.’
extraordinary music and excellent performances on disc,’ says DAVID VICKERS. ‘It was a rewarding way to personally commemorate the 250th anniversary of the death of Rameau – the greatest of all French Baroque composers!’
GEOFFREY NORRIS, author of this month’s pro•ile on Vasily Petrenko, has always found him impressive in conversation: ‘You can see how his drive, musical excellence and charm have had such an impact on the RLPO,’ he says. ‘I was fascinated to •ind out how he might bring this potent amalgam of qualities to bear on his new job in Oslo.’
THE REVIEWERS Andrew Achenbach • Nalen Anthoni • Mike Ashman • Philip Clark • Alexandra Coghlan • Rob Cowan (consultant reviewer) • Jeremy Dibble • Peter Dickinson • Jed Distler • Duncan Druce • Adrian Edwards Richard Fairman • David Fallows • David Fanning • Iain Fenlon • Fabrice Fitch • Jonathan Freeman-Attwood Caroline Gill • Edward Green•ield • David Gutman • Lindsay Kemp • Philip Kennicott • Tess Knighton • Richard Lawrence • Ivan March • Ivan Moody • Bryce Morrison • Jeremy Nicholas • Christopher Nickol • Geo•frey Norris Richard Osborne • Stephen Plaistow • Peter Quantrill • Guy Rickards • Malcolm Riley • Marc Rochester • Julie Anne Sadie • Edward Seckerson • Pwyll ap Siôn • Harriet Smith • Ken Smith • David Patrick Stearns • David Threasher David Vickers • John Warrack • Richard Whitehouse • Arnold Whittall • Richard Wigmore • William Yeoman gramophone.co.uk
Gramophone, which has been serving the classical music world since 1923, is irst and foremost a monthly review magazine, delivered today in both print and digital formats. It boasts an eminent and knowledgeable panel of experts, which reviews the full range of classical music recordings. Its reviews are completely independent. In addition to reviews, its interviews and features help readers to explore in greater depth the recordings that the magazine covers, as well as o fer insight into the work of composers and performers. It is the magazine for the classical record collector, as well as for the enthusiast starting a voyage of discovery.
GRAMOPHONE OCTOBER 2014 3