{"id":19792,"date":"2022-10-04T00:00:00","date_gmt":"2022-10-03T22:00:00","guid":{"rendered":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/?post_type=purple_issue&p=19792"},"modified":"2022-10-06T11:46:29","modified_gmt":"2022-10-06T09:46:29","slug":"instrumental-reviews","status":"publish","type":"post","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/2022\/10\/04\/instrumental-reviews\/","title":{"rendered":"Instrumental reviews"},"content":{"rendered":"\n

Instrumental<\/h2>\n\n
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INSTRUMENTAL CHOICE<\/h4>\n\n\n\n

Magical Debussy from Steven Osborne<\/h3>\n\n\n\n

David Nice <\/strong><\/em>is riveted by the pianist\u2019s selection of early and late compositions <\/p>\n\n\n\n

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Debussy in safe hands:<\/strong> Osborne\u2019s programme is beautifully considered <\/figcaption><\/figure>\n\n\n\n

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Debussy<\/span><\/strong>
Suite bergamasque; Images oubli\u00e9es; Deux arabesques; Pi\u00e8ce pour l\u2019oeuvre du \u2018V\u00eatement du bless\u00e9\u2019 etc <\/strong>
Steven Osborne (piano)
Hyperion CDA68390 71:04 mins <\/em><\/p>\n\n\n\n

Any recital recording that programmes only shortish pieces runs a risk, and even more so when they\u2019re all by the same composer. I shouldn\u2019t have worried with Steven Osborne in command. Not only are there plenty of lively dances on here to counter the clich\u00e9 of the \u2018wispy\u2019 Debussy, but the contrasts between tracks and the clarity at any dynamic level \u2013 and of course Osborne can play with magical refinement \u2013 are wondrous. I\u2019m indebted to the pianist for a revelation: among the pieces I didn\u2019t know are the three Images oubli\u00e9es <\/em>(so-named to distinguish them from the later and more familiar two sets of Images <\/em>piano pieces). One of the most beautiful dedications I\u2019ve ever read, which I wish I could quote in full \u2013 it\u2019s to 17-year-old Yvonne Lerolle and mentions \u2018\u201cconversations\u201d between the Piano and Oneself\u2019 (the descriptions in the score, not all given here, are a pleasure to read, too). Composed in 1894, the first two feel like delicate tendrils from the forest of Pell\u00e9as et M\u00e9lisande, <\/em>which Debussy had already begun. <\/p>\n\n\n\n

The inclusion of Images oubli\u00e9es is a revelation <\/span><\/p><\/blockquote>\n\n\n\n

In fact there are really middle-period pieces here as well as early, with a handful of late miniatures forming a mysterious coda. Only in the Valse romantique <\/em>and the Ballade slave <\/em>does the level drop slightly, but Osborne rivets ones attention. R\u00eaverie <\/em>is probably the first piece you\u2019ll recognise, but it comes from another world and sounds utterly different; \u2018Clair de lune\u2019 works best surrounded by light-filled neoclassical companions in the Suite bergamasque. <\/em>Total delight, whether you listen to it in one or more sittings. <\/p>\n\n\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605\u2605 <\/span><\/p>\n\n\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605\u2605 <\/span><\/p>\n<\/div><\/section>\n\n

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JS Bach <\/span><\/strong>
6 Solo Cello Suites (arr. Serino) <\/strong>
Giuliano Carmignola (violin)
Arcana A533 138:43 mins (2 discs) <\/em><\/p>\n\n

When Rachel Podger\u2019s inspirational Channel Classics recording of Bach\u2019s cello suites appeared back in July 2019, there were those for whom the cello\u2019s soundworld and physical proclivities were so deeply ingrained that the necessary adjustments to pitch and fleet-fingered agility proved almost insurmountable. The following year, Johnny Gandelsman (In a Circle) went even further, playing with such a spring in his tail that any association with the music\u2019s origins all but vapourised.<\/span><\/p>\n\n

Employing the same key transpositions as Podger (the final suite stays rooted firmly in D), Marco Serino\u2019s 2015 transcription presents two solutions to the scordatura (adjusted tuning) of the Fifth Suite \u2013 Giuliano Carmignola elects to go with lowering the top (E) string by a tone. Right from the timeless arpeggiations that characterise the G\/D major suite\u2019s opening Prelude, Carmignola asserts his own special interpretative proclivities: the magical musical intakes of breath during and at the ends of phrases, the endlessly flexible handling of dynamics, and a temporal elasticity that refuses to settle into any form of generic patterning. If more traditional accounts of these priceless scores tend to smooth over the music\u2019s dancing origins, and those of a more authentic hue home in on their en pointe gesturing, Carmignola creates the impression of living through each phrase as though it is part of an over-arching choreographic narrative. In the timeless phrases of the C\/G minor suite\u2019s Sarabande, one can almost sense him moving gently to the music with exquisite poise, while in the Gigue finale of the D major suite, he seems on occasion to stamp his feet and clap, so evocative is his semantic gesturing. Julian Haylock <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605\u2605 <\/span><\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605\u2605 <\/span><\/p>\n\n

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Debussy <\/span><\/strong>
Piano Duets \u2013 Petite Suite; Premi\u00e8re Arabesque; Six \u00e9pigraphes antiques; La mer; Ballade slave etc
<\/strong>Louis Lortie, H\u00e9l\u00e8ne Mercier (piano)
Chandos CHAN 20228 81:24 mins <\/em><\/p>\n\n

Piano duets were central to music-making in Debussy\u2019s time. They were the only way to encounter much repertoire and this generously filled new disc from H\u00e9l\u00e8ne Mercier and Louis Lortie gives some sense of the genre\u2019s range of uses within Debussy\u2019s repertoire. The two substantive works written specifically for piano duet, the Petite Suite <\/em>and <\/span>Six \u00e9pigraphes antiques, <\/em>face stiff competition, not least from Steven Osborne and Paul Lewis\u2019s outstanding recent album of French duets (Hyperion). While they have their own charms, Mercier and Lortie fall some way short. Fussiness upsets the easy-going insouciance of the <\/span>Petite Suite, <\/em>the genial boat trip of \u2018En bateau\u2019 encountering decidedly choppy waters. It is an impression compounded by the piano often sounding veiled and a touch podgy.<\/span><\/p>\n\n

Fortunately, the broader vistas of La <\/em>mer <\/em>fare much better, heard here not in Debussy\u2019s own duet arrangement, but the more intricate two-piano transcription made by his close colleague Andr\u00e9 Caplet. Mercier and Lortie nuance each detail while maintaining an eye on the sweeping seascapes. <\/p>\n\n

Of the five shorter works, three are transcriptions of solo works, namely the Ballade slave, La fille aux cheveux de lin <\/em>and Premier arabesque. <\/em>They are interesting only in confirming the adage of too many cooks spoiling the broth, the additional pair of hands hampering Debussy\u2019s solo writing. The Marche \u00e9cossaise <\/em>and Andante cantabile <\/em>are genuine duets, though the latter is, puzzlingly, played on two pianos. Nonetheless, it is a charming performance amidst an otherwise mixed bag. Christopher Dingle <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605<\/span><\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605\u2605 <\/span><\/p>\n\n

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Kaija Saariaho <\/span><\/strong>
Works for Cello \u2013 Petals; Spins and Spells; Pr\u00e8s; Sept Papillons; Neiges <\/strong>
Joanna Gutowska (cello)
Dux DUX 1686 62:37 mins <\/em><\/p>\n\n

Based in London, cellist Joanna Gutowska recently completed doctoral studies in Krakow on \u2018new qualities of sound and expression\u2019 in Saariaho\u2019s cello works. In this enterprising solo album she translates the insights gained onto the instrument itself, tracing the composer\u2019s thinking over a critical 12 years, 1988-2000. <\/p>\n\n

Two of the five works here incorporate electronics, while a third \u2013 Neiges <\/em>(1998) \u2013 is scored for eight (or 12) cellos, with Gutowska multitracking each part. What may be lost in the coming together of different performers is made up for in single-minded intensity, as the abstracted snow of the title falls, freezes, drips and crunches through an array of textures, now dense, now diaphanous. It\u2019s an approach echoed in different ways across the album, whose range of colour is huge. In Petals <\/em>(1988) and Pr\u00e8s <\/em>(1992), the electronics unmoor the cello in a multitude of ways while enhancing its visceral physicality \u2013 and it\u2019s the localised tension between these poles that Gutowska most effectively captures throughout. <\/p>\n\n

The scordatura of Spins and Spells <\/em>(1996) adds a different resonance still. But it\u2019s the acoustic, concert-tuned Sept Papillons <\/em>(2000) that prove most potent in all their fluttering, abrasive nuance; miniature in form yet vast in expressive power. Steph Power <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605<\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605<\/p>\n\n

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Telemann <\/span><\/strong>
12 Fantasias for Solo Violin <\/strong>
Alina Ibragimova (violin)
Hyperion CDA68384 63:45 mins <\/em><\/p>\n\n

Telemann\u2019s 12 Fantasie per il violino senza basso <\/em>date from 1735. They belong to a variety of compositions which the composer engraved, printed and issued under his own supervision during the 1730s. While approaching neither the complexity nor the sustained thought and development of Bach\u2019s unaccompanied violin music, Telemann\u2019s Fantasias <\/em>lack neither technical interest nor melodic allure. Multiple stopping is frequently called for and the harmonies, real and implied, make the term Fantasia <\/em>apt. Each piece is variously cast in three or four short movements. <\/p>\n\n

Alina Ibragimova enters an arena in which several violinists have preceded her, among them Arthur Grumiaux, Maya Homburger, Andrew Manze and Rachel Podger. Modest in dimension though these pieces are, each musician discovers a field providing scope for individual expression. Ibragimova favours brisk tempos, in this respect corresponding more closely with Grumiaux than, for example Podger whose tempos are more spacious and, on occasion, allow for a more multi-dimensional expressive palette. Where Ibragimova is often at her most appealing is when addressing dance metres. Here her lightly articulated bowing and her softly spoken melodic declamation make for considerable appeal. These virtues are especially prominent in the second half dozen of the <\/span>Fantasias, <\/em>where the dance assumes prominence over the contrapuntal dominance of the first. Elsewhere Ibragimova demonstrates a playful agility in enlivening the kaleidoscope of Telemann\u2019s canvas. One of the most colourful of the <\/span>Fantasias <\/em>is the Sixth, where a strikingly chromatic <\/span>Presto <\/em>is followed by a lyrical \u2018Siciliana\u2019, one of only two instances among the 12 of a named dance.<\/span> Nicholas Anderson <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605<\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605\u2605 <\/span><\/p>\n\n

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In London Town <\/span><\/strong>
Works by Judith Bingham, Elgar, Ireland, Tallis, Walton et al <\/strong>
Benjamin Sheen (organ)
CRD CRD3541 77:44 mins <\/em><\/p>\n\n

Benjamin Sheen takes the title of his recording from Elgar\u2019s Cockaigne Overture, <\/em>the centrepiece of his programme and a work played here (in an arrangement by the organist\u2019s father) with musicianly flair. Both the music and this performance exploit all the possibilities of the magnificent Dobson organ at St Thomas Church, Fifth Avenue in New York, completed as recently as 2018. But the subtitle, \u2018British Organ Music\u2019, stretches things a little since several of the works are arrangements of music not intended for organ, and it seems politically unaware: does a 2022 release really need to open with Walton\u2019s March for A History of the English-Speaking Peoples <\/em>\u2013 the composer at his most superficially flashy \u2013 and end with Elgar\u2019s Imperial March? <\/em><\/p>\n\n

The original organ pieces make a bitty impression, with the likes of Percy Whitlock and Herbert Howells brought up to date by Judith Bingham. All are very well played by Sheen, who worked at the New York church under the late John Scott, memorialised here by Andrew Carter in his moving Lacrimae. <\/em>In another fitting memorial, though recorded before Simon Preston\u2019s death, the selection also includes his Alleluyas, <\/em>a clever riff on Messiaen and good to hear revived \u2013 alleluia to that! John Allison <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605<\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605<\/p>\n\n

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A Percussionist\u2019s Songbook <\/span><\/strong>
Works by Graham Fitkin, Dario Marianelli, John Metcalfe, Gabriel Prokofiev, Dobrinka Tabakova et al
<\/strong>Joby Burgess (percussion)
Signum Classics SIGCD722 49:42 mins <\/em><\/p>\n\n

Combining a multi-genre passion for contemporary western music with explorations of ancient global traditions, Joby Burgess has done much to foster the art of percussion. For this highly personal solo album, he\u2019s drawn on his 1980s youth, when the \u2018narrative \u2026 hook\u2026 [and] emotion\u2019 of pop song drove it as \u2018perfect short form music\u2019 to the fore of his eclectic loves. <\/p>\n\n

The \u2018songs without words\u2019 duly commissioned honour those roots while being stylistically wide-ranging, showcasing seven composers with whom Burgess has formed close relationships. Each has been inspired by some kind of text, and many use electronics with creative flair. John Metcalfe\u2019s Love <\/em>Without <\/em>Hope <\/em>riffs on Graves\u2019s gentle yearning with lopsided postminimal patterns, while Dario Marianelli takes the Unequal <\/em>into socio-political realms, alternating wrong-note layers with chopped up recordings of philosopher Michael Sandel. More topical still, Graham Fitkin\u2019s Species <\/em>addresses population growth with UN statistics chillingly delivered via vocoder alongside boppy rhythms turned queasily threatening. In its light, the lush Sahara of ages past melodically summoned by Dobrinka Tabakova\u2019s Desert <\/em>Swimmers <\/em>seems distant indeed. <\/p>\n\n

Saudi folk tale meets funky electronica in Yazz Ahmed\u2019s wonderfully witty Throw Your Pumpkin (& Pick Me Up), <\/em>while echoes of communal singing combine evocatively with glassy West African gongs and more in Tunde Jegede\u2019s The Ancestors Are Within. <\/em>From another, glitchy ominous future in Dr Calvin Remembers <\/em>\u2013 Gabriel Prokofiev\u2019s brilliant take on Asimov \u2013 Burgess\u2019s own Come Sweet Death <\/em>and Take Me Home <\/em>return us to more comforting personal memories and childhood. Steph Power <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605<\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605\u2605 <\/span><\/p>\n\n

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The Salzburg Recital <\/span><\/strong>
Berg: <\/strong>Piano Sonata, Op. 1; Chopin:<\/strong> Impromptus; Scherzos Nos 1 & 2 etc; Gershwin: <\/strong>Preludes; Khrennikov: <\/strong>Five Pieces for Piano, Op. 2 etc; plus works by Debussy, Kissin and Mendelssohn <\/strong>
Evgeny Kissin (piano)
DG 486 2990 94:47 mins (2 discs) <\/em><\/p>\n\n

Evgeny Kissin boldly steps out of his comfort zone in the first half of his Salzburg Festival recital by featuring an unexpected sequence of early-20th-century works. Opening his programme with Alban Berg\u2019s emotionally intense Piano Sonata, Kissin delivers a powerfully controlled interpretation that places the greatest emphasis on structural cohesion and textural clarity, but at the same time tends to minimise the dramatic contrasts in mood and tempo indicated in the score. He follows this with strongly characterised performances of some surprisingly modernist early piano pieces by the Russian Tikhon Khrennikov. Khrennikov\u2019s obvious indebtedness to Prokofiev and Shostakovich in these works is deeply ironic considering his 1948 speech as General Secretary of the Union of Soviet Composers, when he publicly denounced both men. Then comes Gershwin\u2019s exhilarating Three <\/em>Preludes, <\/em>the first and third of which are dispatched with phenomenal technical control if insufficient sense of swing and joie <\/em>de <\/em>vivre. <\/em><\/p>\n\n

With its generous selection of works by Chopin, the second half of Kissin\u2019s recital finds the pianist on much more familiar ground. The performances of the B major Nocturne and the Three Improvisations <\/em>are spellbinding, as is the prodigious dexterity of fingerwork in the two Scherzos (the latter presented as an unusually generous encore) and the marshalling of consecutive octaves in the A flat major Polonaise. <\/em>My only caveat here is a tendency for some of the more full-blooded textures to sound a bit aggressive, a fault perhaps of DG\u2019s rather bright recording. On the other hand, audience noise is kept to a minimum until the wildly enthusiastic bursts of applause that follow Kissin\u2019s many encores. Erik Levi <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605<\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605<\/p>\n\n

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Tristan <\/span><\/strong>
Henze: <\/strong>Tristan*; plus works by Liszt, Mahler and Wagner <\/strong>
Igor Levit (piano); *Gewandhausorchester Leipzig\/ Franz Welser-M\u00f6st
Sony Classical 19439943482 99:59 mins (2 discs) <\/em><\/p>\n\n

The cover presents a hazy scene in sepia monochrome with Igor Levit standing behind a piano, his shadow in view, light dancing through the smoke. This is a recording haunted by half-lights and the deep dark of the night, of the shadow self and uncontrollable emotions. It brings together music grappling with one of the most inf luential operas ever written, Wagner\u2019s Tristan <\/em>und <\/em>Isolde, <\/em>and the dissonant chord that destabilised music history. If I had to pick one word to describe this recording, it would be \u2018intense\u2019. <\/p>\n\n

The major work is Henze\u2019s Tristan, <\/em>a concerto-like collection of six preludes for piano, electronic tapes and orchestra that responds to Wagner over a century later. Where Wagner is \u2018incandescent and exclusive\u2019, said Henze, his music is \u2018cool, as if it were early morning, and the questioning and longing are expressed with muted voice\u2019. Levit offers exactly those qualities in this excellent account with the Leipzig Gewandhaus and conductor Franz Welser-M\u00f6st, making sense of its post-modern recollections of Brahms, Chopin, Renaissance polyphony and birds, its scream \u2018of the whole suffering world\u2019. <\/p>\n\n

Hearing the Prelude to Tristan und Isolde, <\/em>arranged by Zolt\u00e1n Kocsis, afterwards is a strangely unmoving experience, despite the intelligence of Levit\u2019s performance. It seems even a pianist of his calibre can find it hard to replicate the febrile quality of a whole orchestra, of quivering strings, at a percussive, solo piano. The same problem scuppers the Adagio <\/em>to Mahler\u2019s Symphony No. 10, another work haunted by death and love, but leaving little emotional trace. At least there\u2019s Liszt. An unsentimental, unshowy and rather lovely Liebestraum <\/em>No. 3 opens proceedings; a cathartic Harmonies du soir <\/em>concludes them. Rebecca Franks <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605<\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605<\/p>\n\n

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From the archives<\/h3>\n\n\n\n

Andrew McGregor <\/em><\/em>revisits Musica Antiqua K\u00f6ln\u2019s still startlingly fresh recordings under Reinhard Goebel<\/h6>\n\n\n\n
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Contrary conductor: <\/strong>the maverick Reinhard Goebel in 2017<\/figcaption><\/figure>\n\n\n\n
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\u2018I was a troublemaker\u2019 says Reinhard Goebel, when asked what made the sparks fly in rehearsals with Musica Antiqua K\u00f6ln, the period instrument ensemble the 21-year-old violinist founded in 1973. It\u2019s that sense of pushing the envelope, refusing to accept the bland or routine that always invigorated their recordings. So much of this set of Musica Antiqua K\u00f6ln: Complete Recordings <\/em>(Archiv 486 <\/em>2063; <\/em>75 <\/em>CDs) <\/em>is still startlingly fresh. The box begins with JS Bach\u2019s Brandenburg <\/em>Concertos <\/em>in exhilarating performances, the last movement of Brandenburg <\/em>3 taking off with breathtaking vigour. You could never take their Bach for granted, as anyone who heard their pioneering Art <\/em>of <\/em>Fugue <\/em>will know. Even in the 1990s they were bringing forgotten repertoire to life; I remember the impact of Dresden concertos by Heinichen, and Telemann\u2019s wind concertos before he was more fashionable. <\/p>\n\n\n\n

MAK\u2019s musicians constantly changed, which kept things fresh, and I\u2019d forgotten how many recordings they made with excellent singers: Bach cantatas with Christine Sch\u00e4fer, Dorothea R\u00f6schmann and Christoph Genz, and laments by the wider Bach family with Magdalena Ko\u017een\u00e1. Other favourites are the double harpsichord concertos by Bach\u2019s sons in vivacious accounts from Andreas Staier and Robert Hill, and Goebel and Manfred Kraemer in Biber\u2019s violin music, plus his spectacular Salzburg Mass with McCreesh and the Gabrieli Consort. MAK\u2019s last recording was Telemann quartets in 2004; Goebel disbanded them two years later, and a physical condition forced him to switch hands, teaching himself to play violin \u2018the wrong way round\u2019, which tells you a lot about his tenacity. He gave up playing, but as Goebel celebrates his 70th birthday this year, he\u2019s still ruffling feathers… \u2018I see the future of Baroque orchestral music in the hands of modern ensembles \u2013 the fetish of the \u201coriginal instrument\u201d has had its day\u2026for it isn\u2019t the instrument that makes the music, but the head!\u2019 <\/p>\n\n\n\n

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Andrew McGregor is the presenter of Radio 3\u2019s Record Review, <\/em>broadcast each Saturday morning from 9am until 11.45am<\/p>\n<\/div><\/section>\n\n

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You can access thousands of reviews from our extensive archive on the BBC Music Magazine website at www.classical-music.com<\/a><\/strong><\/p>\n\n

BEN EALOVEGA, GETTY<\/p>\n","protected":false},"excerpt":{"rendered":"

Instrumental JS Bach 6 Solo Cello Suites (arr. Serino) Giuliano Carmignola (violin) Arcana A533 138:43 mins (2 discs) When Rachel Podger\u2019s inspirational Channel Classics recording of Bach\u2019s cello suites appeared back in July 2019, there were those for whom the cello\u2019s soundworld and physical proclivities were so deeply ingrained that the necessary adjustments to pitch […]<\/p>\n","protected":false},"author":24,"featured_media":20220,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ub_ctt_via":"","purple_page_number":"103","purple_custom_meta_purple_page_number":"103","purple_seq_number":"1","purple_custom_meta_purple_seq_number":"1","purple_source_article":"article_103-1.xml","purple_custom_meta_purple_source_article":"article_103-1.xml","purple_source_issue":"November-2022","purple_custom_meta_purple_source_issue":"November-2022","purple_external_id":"November-2022-103-1","purple_custom_meta_purple_external_id":"November-2022-103-1","purple_issue_code":"|0000086188||","purple_custom_meta_purple_issue_code":"|0000086188||","purple_android_product":"com.im.bbcmusic.380","purple_custom_meta_purple_android_product":"com.im.bbcmusic.380","purple_ios_product":"com.im.bbcmusic.380","purple_custom_meta_purple_ios_product":"com.im.bbcmusic.380","purple_web_product":"","purple_custom_meta_purple_web_product":"","purple_publication_id":"5b9287a1-9911-4f59-a9d7-30a805560f3d","purple_migrated":"","kt_blocks_editor_width":"","apple_news_api_created_at":"2022-10-06T09:46:40Z","apple_news_article-theme":"","apple_news_api_id":"c92f3a63-44ad-48e5-91e7-334984ebedb5","apple_news_api_modified_at":"2022-10-06T09:46:40Z","apple_news_api_revision":"AAAAAAAAAAD\/\/\/\/\/\/\/\/\/\/w==","apple_news_api_share_url":"https:\/\/apple.news\/AyS86Y0StSOWR5zNJhOvttQ","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":true,"apple_news_is_preview":true,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_article_theme":"","apple_news_sections":"[]"},"categories":[19],"tags":[13],"apple_news_notices":[],"featured_image_src":"https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/2103SOsborne_BenEalovega_cmyk-e1664551037557.jpg","author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"acf":{"readingTimeMinutes":"15","apple_news_title":""},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/2103SOsborne_BenEalovega_cmyk-e1664551037557.jpg",1590,1065,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/2103SOsborne_BenEalovega_cmyk-e1664551037557-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/2103SOsborne_BenEalovega_cmyk-e1664551037557-300x201.jpg",300,201,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/2103SOsborne_BenEalovega_cmyk-e1664551037557-768x514.jpg",768,514,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/2103SOsborne_BenEalovega_cmyk-e1664551037557-1024x686.jpg",800,536,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/2103SOsborne_BenEalovega_cmyk-e1664551037557-1536x1029.jpg",1536,1029,true],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/2103SOsborne_BenEalovega_cmyk-e1664551037557.jpg",1590,1065,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"Instrumental JS Bach 6 Solo Cello Suites (arr. 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