The planned song recital to be given by the Icelandic mezzo-soprano Gudrún Ólafsdóttir did not take place due to a very late cancellation by the singer due to a throat infection. We are indebted to Michael Hampton, the pianist in this recital, for arranging a replacement concert at very short notice in which he was joined by the viola player Matthew Jones (the Bridge Duo) for an interesting programme of works mainly by English composers.
They commenced with a Romance by Vaughan Williams, a lyrical piece in this composer's idiom. This was followed by four pieces by Frank Bridge: this was attractive salon music in which Jones provided a warm, mellow tone, particularly noticeable in the third songlike piece. A major work came next, Arthur Bliss' Sonata inspired by the famous viola player Lionel Tertis. This was a demanding work in which both performers came through with flying colours. The energetic sections were effective as were the more lyrical events which Bliss included within each movement and, in total, a convincing and impressive performance.
After the interval the duo performed an arrangement by the celebrated Russian viola player Vadim Boriskovsky of excerpts from Prokofiev's ballet Romeo and Juliet. Considering that the original version of this music was written for a large orchestra, these transcriptions proved to be surprisingly effective: Jones and Hampton successfully conveyed the essence and atmosphere of these pieces.
For the final two items in the programme we returned to works by English composers. Rebecca Clarke's Morpheus is a most attractive piece, well constructed and balanced, no doubt due to Clarke having been a viola player herself, in which the opening section in which the viola player uses the mute was sympathetically performed by Jones. The final work in their programme was a Phantasy by York Bowen in which a light-hearted first section was balanced by the middle section more in the English Romantic style and a more relaxed third section before the rapid and exciting finale: in this both players acquitted themselves well, particularly in maintaining the balance in the louder, more intense passages.
It was disappointing that we were denied the unusual and interesting song recital planned for this occasion, but in the event the Bridge Duo provided an acceptable and enjoyable alternative concert for members.
LO
©Woking Concert Society
It was a pleasure to welcome a number of young people to a Society event, and to find that an unamplified guitar recital had attracted Woking students of the instrument as well as many members. Miss Kotzia took full advantage of the excellent acoustic and proved to be a player of delicacy and impressive technical command, and a relaxed communicator between the items.
Much of the first half programme came from the composers of Miss Kotzia's native Greece, and featured quiet music which deserved the subtly controlled, reflective performances she gave. There was little hint of the popular Theodorakis works one recalls from visits to Greece in the Four Epitaphs. A delightful surprise moment in the Boudounis work (dedicated to Eleftheria) came when she added her voice in song, all too briefly. The Tedesco and Fampas dances were further works unfamiliar to regular members, showing the wealth of fine 20th century classical guitar writing outside Spanish lands, now available to players.
After the interval we seemed to move into more familiar compositions with pieces by Bodorova, Rodrigo, de la Maza and Tarrega, as we reached Spanish inspiration. The audience took delight in the raised tempo displays of arresting virtuosity our artist presented. A final work by Dyens and an Asturias encore drew prolonged, warming applause, as hands were withdrawn from sleeves with enthusiasm in the rather chilly Kemp Room.
DW
©Woking Concert Society
The March recital, given by the young and talented Russian pianist Sophia Lisovskaya, was an exciting and stimulating event. She commenced with the sixth Partita for keyboard by J S Bach in which her lively approach breathed musical life into a composition that in less enthusiastic hands can be little more than an arid technical exercise. Her considerable dynamic range immediately became apparent with a positive approach to the improvisatory nature of the initial Toccata and clear handling of the fugal passages. Her forthright rendering of the earlier movements was complemented by the light touch she used for the Gavotte, and her execution of the canon passages in the final Gigue was notable.
This was followed by Schumann's well-known, if not hackneyed, Arabesque. Lisovskaya gave us an unusually idiosyncratic performance with much rubato in the main sections of the work, contrasted by the more serious central section. Your reviewer enjoyed this approach as a welcome change from the rather bland renderings more often given - it was certainly in the Romantic spirit - but perhaps too individualistic for some!
Next came four of Chopin's Nocturnes well executed and understood. In particular the beat was maintained during the highly decorated passages (not always achieved) and the strong contrasts asked for in Chopin's scores were well marked. Special mention also for her scrupulous observance of the staccato base in the second Op 48 Nocturne, which in performance can be blurred by use of the sustaining pedal.
The high point of the evening, however, was Lisovskaya's performance of the complete set of 13 Preludes Op 32 by Rachmaninov. Here her Russian training was evident in what can only be described as an authoritative and commanding performance of these invigorating scores. Exceptional virtuosity and poetic sensitivity are called for in these pieces, as would be expected from a composer who was a world-standard pianist of his day. Lisovskaya negotiated the fearsome technical difficulties which abound with ease and assurance and displayed the strength needed for the fortissimo passages notably in Nos 1 and 6. The very rapid finger-work required in No 3 was clearly executed and the dance-like atmosphere of No 11 well captured. The better known and romantic Nos 5 and 10 were given appropriately lyrical renderings, and she concluded the set in a suitably sombre vein for No 13 which is marked 'Grave' by the composer although there is a contrasting, rapid centre section. This was undoubtedly an exciting and authentic performance by Lisovskaya in which the spirit of Rachmaninov and Russian Romanticism were strongly evoked. For encore she gave us some Scriabine (requested by your reviewer!), reflecting the excellent performances on her CD of this composer's work.
LO
©Woking Concert Society
The young Russian pianist Irina Lankova, now living in Woking, gave the opening concert of the Society's 2008/09 season to a large and enthusiastic audience in the Kemp Room on Sunday 12 October. She commenced her recital with a forthright and confident performance of the well-known early Op 3 Prelude by Rakhmaninov which bore all the stylistic hallmarks of the famous Gnessin Music College in Moscow from whence she graduated in 1996 with highest honours. She continued with four of Rakhmaninov's Op 23 Preludes in which the contrasting moods of these works, reflecting those of the composer himself, were most effectively conveyed, from the wistful nature of numbers 4 and 6, in which the important inner parts were clearly heard, to the martial number 5 and the furious and virtuosic number 7.
Two works by Chopin followed, both large scale dramatic pieces far removed from his popular salon music. In the Op 48/1 Nocturne with its tempestuous central section of pounding octaves Lankova gave a performance full of the drama which this work needs to be effective, and in the first Ballade Op 23 the romantic nature of the work with its contrasting passages of serenity and excitement was well realised.
The initial work after the interval was Skryabin's Op 28 Fantasie, an attractive piece which, composed before he developed his 'mystic chord' which pervades all his later works, reflects the Chopin style although with a Russian flavour. Irina Lankova demonstrated her sympathy and understanding of this unique composer, notably in the long legato phrases and unusual bass accompaniments he uses.
The final work in the programme was Chopin's third Sonata, a serious and demanding work in which Lankova rose to the challenges presented by this music. The long and varied first movement was successfully accomplished, the following Scherzo was given the required lightness of touch and the soulful Largo which follows on directly from the Scherzo realised the poetry inherent in this music. The finale, marked Presto, non tanto, seemed a little too rapid for clarity but this is a minor quibble in what was a masterful performance of this uneven work.
For her encore, Lankova played the famous Fantasie-Impromptu of Chopin, a most agreeable tailpiece to our initial concert which was evidently much enjoyed by the audience.
LO
©Woking Concert Society
Our first concert in 2009 saw the welcome return of the Tagore String Trio - Frances Mason (violin), Brian Schiele (viola) and James Halsey (cello), and on this occasion joined by the eminent flautist Christopher Hyde-Smith. Their concert commenced with a flute quartet composed by the Italian violin virtuoso Viotti whose 29 violin concertos are rarely heard these days. This work in three movements proved to be a pleasant, if not particularly inspiring, piece in classical style. Notable were the legato flute passages in the first movement, the dancing duo for flute and violin in the second (minuet), and the clearly executed runs in the vivace finale in which the momentum was maintained to the end.
There followed six delightful Shakespearean Sketches for string trio by Gordon Jacob, well played and characterised by the Tagore from the initial 'night music' of the first sketch to the rollicking dance of the last.
Next came an unfamiliar work by Beethoven, a Serenade for the unusual combination of flute, violin and viola suggesting that this was a work written for a private patron with a penchant for the flute. It commenced with a lively introduction and a classic minuet reminiscent of the earlier piano sonatas, followed by a short, rather stern allegro, in all of which the flute was prominent. There followed a set of variations in which each player was featured in turn enabling them to demonstrate their evident musicianship. The dotted rhythms in the succeeding scherzo were accurately observed resulting in a lively approach which continued in the exuberant finale.
After the interval the Tagore performed a string trio by Alwyn, preceded by an interesting introduction by the 'cellist in which he indicated the influence of 12-tone technique on the work. The initial firm Allegro was followed by a molto vivace in which the trio gave a vigorous and exciting performance. The following cavatina which at times suggested Ravel-like sonorities and harmonies was played with passion and the finale with its contrasting slower passage in the middle of generally energetic movement was most effective. This work was evidently much enjoyed by both performers and audience. Further acquaintance with this work would be much appreciated but this will have to await its first recording.
The final item in the programme was one of Mozart's flute quartets, that in A major, K298. This is perhaps less familiar than the earlier K285 works but shows the same facility and craftsmanship in combining the flute and strings. In the opening andante the flute plays a leading role which was given a smooth and sympathetic rendering by Christopher Hyde-Smith. This was followed by a bright and lively minuet in which all players entered into the spirit of the piece and finally topped off with a short rondo.
As an encore an arrangement of an andante in F, originally for musical clock, was performed suggesting that the mechanism required must have been of considerable complexity! In all a satisfying and enjoyable start to the Society's New Year.
LO
©Woking Concert Society
| George Butterworth | . . . | Six Songs from 'A Shropshire Lad'
Loveliest of Trees When I was One and Twenty Look not in my eyes Think no more, lad The Lads in their Hundreds Is my Team Ploughing? | |
| Johannes Brahms | . . . | An den Mond Minnelied Meine Liebe ist grün | |
| Sergei Rachmaninov | . . . | In the silence of the secret night
Christ is risen Spring Waters | |
| Chopin | . . . | Ballade no. 4 in F minor, Op. 52 (piano solo) | |
| Beethoven | . . . | An die ferne Geliebte | |
| John Jeffreys | . . . | I was young and foolish | |
| Dilys Elwyn Edwards | . . . | The cloths of heaven | |
| Herbert Howells | . . . | King David | |
| Erich Korngold | . . . | Pierrot's Tanzlied (Die tote Stadt) |
In view of the problems experienced in the genesis of this recital (a mezzo becoming pregnant and a soprano losing her voice only a few days beforehand), the ultimate concert might be described as ‘third time lucky’, in fact very lucky indeed. Whilst the inclement weather evidently deterred some from attending, those who braved the snow and ice to be present were treated to a first class recital by a superb young baritone supported by an equally young and sympathetic pianist in a wide ranging programme of songs both familiar and unfamiliar. They commenced with George Butterworth’s deeply felt settings of six stanzas selected from A E Housman’s ‘A Shropshire Lad’. The excellent diction and impressive dynamic range of Butt Philip was immediately apparent and Lane made the most of the accompaniments to these poignant songs: a moving performance that more than one member of the audience admitted brought one close to tears. This was followed by a group of three songs by Brahms, romantic in nature at least as far as this inhibited composer could manage, sung with fervour and good, audible German diction. Another group of three songs, this time by Rakhmaninov, came next, again given a first class performance by both artists. Sung in Russian, these soulful songs, typical of this composer’s oeuvre, enabled the audience to appreciate fully Butt Philip’s extensive dynamic range with excellent tone throughout from pianissimo to fortissimo, and matched by Lane’s agile piano playing always demanded by this composer, notably in the last song the familiar ‘Spring Waters’.
The first item after the interval was a piano solo in which Lane performed Chopin’s fourth Ballade where the contrast between the more dreamlike, romantic passages and the vigorous, virtuoso sections was well observed, always with clear fingerwork and welcome restraint in the use of the sustaining pedal. Beethoven’s ground breaking song cycle ‘An die ferne Geliebter’ came next. Not the most frequently performed song cycle, this work is considered difficult to bring off convincingly, but on this occasion David Butt Philip and Simon Lane succeeded so that Beethoven’s wistful longing was most effectively communicated with beautiful and serene singing at the more reflective moments. Three more examples of British song writing followed, two settings of W B Yeats’ lines by contemporary composers John Jeffreys and Dilys Elwyn Edwards respectively and then Herbert Howells’ masterly ‘King David’ in which the regretful tone of Walter de la Mare’s poem is perfectly matched by this composer’s melancholy style, well judged by the performers. The last item was the pierrot’s song from Korngold’s opera ‘Die tote Stadt’, currently receiving its first performances at Covent Garden although composed in 1920 which, with its late romantic style and suggestion of Viennese operetta, provided a pleasant conclusion to the concert. This was a highly enjoyable evening of first class musicianship and communication which, in this reporter’s opinion, was by far the highpoint of our season so far.
LO
©Woking Concert Society
The Society's 2009/2010 season opened with a violin and piano recital given by Katie Stillman (a member of the excellent Barbirolli String Quartet who performed for us last season) and Simon Lane, who also performed for us last season accompanying baritone David Butt Phillip and Eyal Kless.
They commenced with an early Schubert sonatina which clearly owed much to the examples of earlier masters, notably Josef Haydn. After a vigorous first movement, the mellow tone of the second was well realised by the duo. The jolly, bucolic third movement conjured up visions of lederhosen-clad dancers and the final allegro was performed with an enjoyable Schubertian liveliness.
This was followed by a most welcome performance of 'our' Ethyl Smyth's early sonata for violin and piano. This was given an enthusiastic and convincing performance by Katie and Simon. In the first movement romantic and dramatic episodes reminiscent of Robert Schumann's style were well brought out and this was again noticeable in the rapid scherzo. The rocking tempo of the third movement romanza was enhanced by the serene violin line provided by Katie, and the final allegro was given an exciting rendering by both artists. It is most pleasing to learn that they will be recording this work next year.
After the Interval, Janácek's violin sonata provided a complete contrast in his inimitable style. The melodic snatches and abrupt comments were well managed, bringing out well both the folk inspired episodes and the sometimes furious interpolations. The last movement with its sad melody interrupted by short outbursts by the violin and the fade-away ending were played with intensity and feeling by the duo.
The final item in the programme was Ravel's violin sonata. This typically quirky work, almost bitonal at times, and with a wide variety of styles, was given a performance full of Gallic verve. The second movement blues came over well and in the final allegro Katie gave an impressive display of rapid fingerwork ably supported by Simon.
This was a highly enjoyable and satisfying concert by these impressive young musicians to initiate our new season.
LO
©Woking Concert Society
Helen commenced her recital with six of the early Opus 11 preludes by Alexander Skryabin in which she included both the romantic and driven aspects of this fascinating composer, employing the wide dynamic range required for the different moods and tempi of these short but intense pieces. This was followed by a study by Cecilia McDowall entitled 'Colour is the Keyboard' in which the relationship between colour and key used by Skryabin was further explored using three colour/chords - yellow (D), red (C) and blue (F sharp). Helen gave a convincing performance of this work, which she had commissioned, from the vigorous start to the tranquil ending where all three chords coalesce.
Next came a major, but infrequently performed, work by Robert Schumann, 'Faschingsschwank aus Wien', Opus 26. The opening movement was given an appropriately lively rendering as marked (sehr lebhaft) and followed by the contrasting dreamy romance containing beautiful melodic lines typical of this composer. The scherzo was given a suitable breezy rendering followed by the intermezzo in which the melodic line was well maintained above the busy accompaniment. The finale was a tour de force with notable clarity in the rapid virtuosic passages. This excellent performance caused one to question why this romantic work is not more often included in piano recitals.
The recital recommenced after the interval with 'The Rokeby Venus' by Dominic Sewell. This proved to be an attractive piece featuring independent melodic lines and with a suggestion of Ravel's piano style.
Next came one of Beethoven's late sonatas, his Opus 110. This performance was notable for its clean fingerwork throughout, even during the later complex passages. There was plenty of power when required and the abrupt contrasts called for by the composer were well observed. The more serene adagio was most effective.
Finally two pieces by Debussy, an unfamiliar early nocturne followed by L'Île Joyeuse in which Helen excelled. She clearly understands and appreciates this composer's idiom and gave an outstanding performance.
As an encore she performed 'Minstrels' from the first book of Debussy's preludes.
Helen negotiated the considerable technical difficulties in her programme with ease, whilst successfully conveying mood and meaning to the audience, and her short prefatory introductions were much appreciated. This was a most enjoyable piano recital from a talented young pianist who should go far.
LO
©Woking Concert Society
Planned as a suitably upbeat account of love and loving for St. Valentine’s Day, this recital commenced with Roger Quilter’s Seven Elizabethan Lyrics, given a sympathetic and beautifully sung rendering in the traditional English song style by David Butt Philip and Simon Lane. This was followed by a captivating and highly enjoyable performance of Gabriel Fauré’s superb song cycle La bonne chanson. This work is a challenging undertaking for singer and pianist, both of whom rose to the occasion technically and interpretatively. From the beginning the optimistic mood of Verlaine’s poems and Fauré’s brilliantly matching settings were captured by our artists who successfully created the happy atmosphere only adequately described by the French expression ‘très agréable’. Both excitement and serenity were present where appropriate throughout this performance from the thoughtful, wistful first song Une sainte en son auréole to the final joyous, exuberant L’hiver a cessé (a situation we are all looking forward to!). This was an excellent performance of this masterwork of French song composition, delighting the audience present in communicating the feelings and sentiments of the poet and composer with a directness and intimacy only possible through the human voice.
After the interval, Simon Lane performed the set of 13 piano miniatures by Robert Schumann entitled Kinderszenen in which he comprehensively conveyed the wide variety of moods covered by these pieces, ranging from the calm, well known Träumerei, the vigorous Hobbyhorse and the creepy Frightening to the final, rather solemn The poet speaks. David then rejoined Simon to sing a selection of English folk song settings by Benjamin Britten performed with elan and giving rise to a murmur of amusement from the audience from time to time. Finally they gave us four songs by Paolo Tosti, once very popular in Britain and still much treasured by Italian male singers today. David really entered into the spirit and style of these songs with clear Italian pronunciation and the ringing tones needed to bring off these songs successfully.
For your reviewer, however, the high point of this memorable recital remains their performance of Gabriel Fauré’s magical, uplifting tribute to love, La bonne chanson.
LO
©Woking Concert Society
There was an above average audience for the return of this accomplished young trio who won plaudits in the romantic repertoire of their first Woking concert in November 2008. It is a delight to report that they play the classical works with sparkling skill and commitment. The opening Haydn trio received a full-blooded performance appropriate to its 1790s composition, with details of wit and grace picked out for our enjoyment. The Andante was given surprising depth, and the chase was spirited in the scintillating finale.
The performance of Schubert's E flat major was quite overwhelming. The slow movement, ominous and profound, is one of the great pieces of chamber music. The Erato players were beautifully co-ordinated in their delivery here. The playing in the remaining movements had many felicities and the balancing of the parts was highly pleasing and harmonious.
Between these classical masterpieces the Erato Trio did its utmost to reveal the Trio by Alfred Schnittke, completed in 1991 after his escape from Russian musical conservatism, as a worthy addition to 20th century repertoire. The audience was prepared for "an uneasy listen" and the composer's trademark "quotation" of the styles of famous predecessors, and frequent dissonance. The bleakness of the tundra (Shostakovich) marked the early stages of each movement and was followed by episodes of challenging variety. I felt full involvement when a grotesque marching momentum developed, threatening full development and a convincing cadence, nailed down as in Shostakovich. Sadly, it was on to the next item in the kaleidoscope as though the short attention span of the very young suited a mature audience. At the interval I quizzed a nearby listener who gave opinion that the Schnittke trio had something in parts, but he had no idea what the composer meant. Lewis Orchard can advise on a well-recorded CD, if you wish to hear more.
Overall, pianist John Paul Ekins delivered accomplished, often shimmering, playing throughout, and the strings took their opportunities to please with some brillant technique and well-tuned work. Mastery of classical period performance is theirs, and I hope we shall see them again in the future. A performance for the Society of Beethoven's Archduke Trio heads my wish list, and the trios of Haydn an excellent choice for the Erato's CD debut.
DW
©Woking Concert Society
This highly talented young string quartet commenced their programme with Vaughan Williams’ first string quartet, a lyrical and evocative work clearly in the early twentieth century English musical renaissance style and displaying the flair for writing for string ensemble for which RVW is renowned. The Stanfords established the nostalgic mood of this fine work from the start with notably accurate ensemble playing and a serene line in the opening Allegro moderato. In the vivacious Minuet and Trio the individual contributions from each player were well judged and correlated, and the third movement Andante sostenuto was notable for the beautiful sonorities at the beginning and end of this movement surrounding the emotional central section. The last movement Allegro molto with its dancing dotted rhythm and intimations of English folk dance and triumphant ending was given an admirable performance.
The second work in this programme was William Walton’s sole essay in the string quartet genre. The Stanfords immediately made the significant change into this composer’s much more astringent but still essentially English style. The typically restless rhythms were well managed and the individual lines in the fugal passages were clearly audible. The spirited second movement Presto with passages reminiscent of his symphony was played with the required degree of excitement which was then contrasted by the serious (for Walton) third movement in which the satisfying mellow tone of all players was evident. The urgent, energetic finale Allegro molto was given an effective performance completing a compelling and invigorating rendering of this work.
The programme after the interval was devoted to Ethel Smyth’s major work in the genre, her string quartet of 1902/1912. Although closer to the central European style than the previous works in the programme, as might be expected given her apprentice years in Germany, this music is much more episodic and innovative than the rather academic, formulaic cast typical of much composed there at that time. The Quartet produced excellent tone and a good melodic line in the robust first movement Allegretto lirico, and the time changes in the second movement Allegro were accurate and effective. The more reflective third movement Andante was notable for their serene tone and faultless intonation throughout the continuous development which served to emphasise the unusual harmonies used by Smyth. The handling of the fugato passages in the last movement again demonstrated the clarity and accuracy achieved by the Stanfords. In all this was a splendid performance in which a high level of communication was sustained throughout this extended work by ‘our’ composer.
This was an extremely enjoyable concert by this brilliant young string quartet of whom we shall undoubtedly hear much more in the future.
LO
©Woking Concert Society
Ivana commenced her recital with Liszt’s ‘Three Petrarch Sonnets’, works combining romantic imagery with virtuosic pianism. She was equally at home in the melodic song-like passages (the work also exists in a song cycle version) and in the rapid Lisztian piano embroidery typical of this composer, and she achieved a wide dynamic range from a beautiful pianissimo to forceful forte passages. Next came Schubert’s A minor sonata D784 where again the contrasts between the placid melodic lines and the furious, desperate forte outbursts were fully realised: indeed this excellent performance made the composer’s intentions very clear to the audience such that the meaning of this A minor work (a key Schubert uses elsewhere for his darker thoughts) was communicated most effectively. I particularly noted the crisp semi-quavers and accurate triplet figures in the first movement and the menacing, disturbing bass rumbles in the second movement Andante. This was definitely a performance to be savoured and remembered!
The recital continued after the interval with a superb performance of Janácek’s ‘In the Mists’ suite. Every aspect of this composer’s unique style was explored with feeling and understanding, from the simple folk-like melodies to the more forthright, astringent passages. It was the best performance I have experienced of this intriguing and enjoyable suite. The next work, although by a composer also from the Czech area, Josef Suk, could hardly have been in greater contrast. Entitled ‘Longing’ from his suite ‘Spring’, it proved to be much more in the style of a concert piece by Rubenstein or Moskovsky with surprisingly little evidence of specifically Czech references (despite his being taught by and later becoming Dvorák’s son-in-law). Nevertheless it is a pleasant piece in which the rippling accompaniment was performed with clarity. Finally Ivana performed three pieces by Rakhmaninov. The first was the well known Prelude Op.23/4 in which the romantic melody was well maintained above the florid accompaniment. This was followed by two of his Op.16 ‘Moments Musicaux’, in effect concert studies notwithstanding the relaxed title. The andante cantabile, third in the set, was given an appropriately mellifluous rendering and the Op.16/4 presto revealed a veritable tour de force of technical virtuosity. In summary then, Ivana Gavric gave us a first class, highly enjoyable piano recital leading to audience members requesting her return to WCS for a future recital.
LO
©Woking Concert Society
This recital covered almost the entire span of German lieder from Franz Schubert to Richard Strauss in one evening (note that the Wigmore Hall is following our lead, currently presenting a series of lieder recitals covering virtually the same period from 1810 to 1910!). Our recital commenced with the three ‘Ellen’ songs for soprano from the cycle of seven which Schubert composed setting parts of Sir Walter Scott’s narrative poem ‘The Lady of the Lake’; Elizabeth Hull’s fresh, young voice was admirably suited to these, particularly the famous third one, Ave Maria, which often suffers from a mawkish, even funereal interpretation. There followed four lieder by Robert Schumann setting excerpts from Goethe’s novel Willhelm Meister concerning the strange waif-like girl Mignon. These settings are much less familiar than those of the same texts by Schubert and Wolf, and this was a welcome opportunity to hear these examples of the song writing genius of Robert Schumann convincingly performed by Hull and Stafford. Three of this composer’s seven fuguettes for solo piano were then performed by Pauline Stafford: these pieces illustrate this romantic composer’s less well-known interest in established musical forms and were given an appropriately clear performance. Clara Schumann’s compositions are perhaps not so familiar but really deserve to be performed more regularly, especially her excellent piano trio and her songs, three of which continued our programme: these were performed with care and feeling, supporting critical opinion that her lieder can stand favourable comparison with her husband’s.
Our recital continued after the interval with six lieder by Hugo Wolf, two setting Goethe poems, and two each from the Spanish and Italian songbooks. These masterpieces of the song-writer’s art were given enjoyable performances, although there was a slight hiatus in the middle of In dem Schatten meiner Locken, but the group ended well with an appropriately carefree rendering of Ich hab in Penna with the difficult postlude well rendered by Pauline Stafford. The final group of four lieder by Richard Strauss included Morgen sung with the quiet confidence this glorious song requires, and Wiegenlied in which the beautiful rippling piano line of this cradle song produced further evidence of Stafford’s sympathetic accompanying.
This was a highly enjoyable lieder recital by two young performers who brought a welcome freshness to these vocal masterpieces.
LO
©Woking Concert Society
The second half of Woking Concert Society's 2010/2011 season commenced with a highly enjoyable recital of French 'cello and piano compositions. The duo commenced with Debussy's 1915 sonata for 'cello and piano which was given a fresh and vibrant performance by these two young artists. In the first movement the sensitive 'cello line was well executed, in the second where Debussy allows his inherent sarcasm to surface in the Serenade their playing was suitably acerbic and in the fast (animé) last movement the duo ably demonstrated their virtuosity. This was followed by three short pieces for piano solo by the tragically short-lived Lili Boulanger. Marisa Gupta gave a sensitive, poetic rendering of these atmospheric miniatures. There followed Fauré's second sonata for 'cello and piano, a major work for this idiom incorporating the innovative harmonic and melodic ideas of his late period. The duo gave a vigorous start to the work with the themes clearly observed above the busy piano undertow typical of this composer, and with a good exchange of the material between the performers. The Andante was performed sympathetically with a sonorous melodic line from the 'cello and accurate piano playing in the difficult central section of this movement. The finale Allegro with its taxing technical requirements and unusual chromatic shifts was given a convincing, highly competent performance. This was an excellent performance of the whole sonata, one which a French critic would doubtless have described as 'formidable'!
Their recital recommenced after the interval with a movement from the famous 'Quartet for the End of Time' by Messiaen entitled 'Louange a l'éternité de Jesus'. Victoria Simonsen produced a movingly soulful tone for this deeply serious work. The large dynamic range required by the composer was well observed and the relentless piano chords well realised by Marisa Gupta made their timeless effect. The final work in their programme was the sonata for 'cello and piano by Poulenc. Here the duo successfully captured the vivacious style and the abrupt changes of the first movement. In the following Cavatina a suitably singing tone from both 'cello and piano achieved the complete change of mood in this movement, only to be followed by the quirky, jokey music hall style often affected by this composer. The finale gave the performers another chance to exhibit their excellent interplay of themes, and their wide dynamic range and technical proficiency.
Your reviewer has no hesitation in stating that we were treated to a superb recital of French 'cello and piano music, indeed of a standard one expects at a Wigmore Hall concert!
LO
©Woking Concert Society
The fifth concert in Woking Concert Society's 2010/11 season was given by the talented, young Rivoli String Quartet. They commenced with one of Haydn's mid-period quartets, his opus 33 number 2 nicknamed 'The Joke'. The Rivoli's excellent ensemble playing was in evidence right from the start of this light-hearted work. The bucolic mood of the second movement scherzo was well observed, notably in the trio where the stolid 3/4 dance suggested visions of lederhosen and dirndl skirts reminiscent of 'The Seasons' where Haydn's down-to-earth love of the countryside is also evident. The third movement largo was sympathetically performed initially by viola and cello followed by duo violins, and the sudden sforzandi and abrupt rests (perhaps looking forward to Beethoven?) were accurate and effective. The well known presto finale was performed with clarity and dexterity and the amusing ending which gives this work its subtitle did not catch out anyone in the audience on this occasion!
The second work in the programme, Britten's third and final string quartet, could hardly have been a greater contrast with its searching melodic lines and acerbic harmonies. The Rivoli realised well the essence of this introspective music imbued with Britten's sense of solitary existence (interestingly a leading concern of the Romantic era of the previous century). The first movement set the scene for the remainder and the second was notable for the well managed pizzicato passages. In the third movement the Rivoli's plaintive first violin line above the lower cello effectively created an empty, desolate scene suggesting a vast, Russian landscape, perhaps reflecting the composer's regret at the death of Shostakovich with whom he was very friendly. The final movement with its quotation from his opera 'Death in Venice' and eventual fading away seemed a commentary on human impermanence, a theme in much of Thomas Hardy's poetry which the composer loved and set. The Rivoli gave an impressive and moving account of this sombre work.
Finally, the Rivoli performed the second of Beethoven's three Op. 59 'Razumovsky' string quartets. Comparison with the first work in the programme showed how far Beethoven had moved ahead from Haydn both dramatically and harmonically. A vigorous rendering of the first movement allegro showed that the Rivoli appreciated this: their ensemble playing displayed accurate control of the wide dynamic contrasts, sudden sforzandi and abrupt rests. This was followed by slow, smooth bowing in the serious, but not sad, second movement adagio which was most effective. Their performance of the third movement allegretto which, although not stated as such, is in scherzo form with its trio composed of successive statements of a well-known Russian folk song (which also appears in a number of Russian compositions), worked well. The finale with its leaping tune and requiring virtuoso playing over a large range was carried off with panache and enthusiasm. The whole concert was of a high quality and evidently much appreciated by the audience as demonstrated by their warm response.
LO
©Woking Concert Society
The last concert in our 2010/2011 season was given by the Mediterranea Piano Trio, who performed a programme of nineteenth-century piano trios. They commenced with Mendelssohn's second work in this genre, Opus 67, written in 1845 only two years before his early, untimely death. The Mediterranea made a good, confident start with the rapid piano part clearly and nimbly negotiated by pianist Elenlucia Pappalardo and a ringing string tone from violinist Markella Vandoros and cellist Alessandro Sanguinetti. The second movement Andante featured a duet for violin and cello in which the atmosphere, reminiscent of this composer's "Songs Without Words", was effectively created. The third movement, a fast Scherzo, similar to that in Mendelssohn's music for "A Midsummer Night's Dream", was given a vivacious, well co-ordinated performance and in the final Allegro the interplay of the theme between the instruments was achieved with clarity.
The next work performed was Smyth's 1880 piano trio, written during her time in Leipzig studying composition. The difference in style was immediately apparent, more episodic and chromatic suggesting, perhaps, Robert Schumann (Smyth came to know Schumann's widow, Clara, very well during her stay in Germany). The Mediterranea's playing clearly reflected this right from the initial Allegro, with the mood well established by the cello in the leading melody. The singing tone of the cello was also notable in the second movement Andante, and the rapidly repeated notes in the Scherzo were well managed by all players. The many musical ideas and key changes in the final Allegro vivace came over well in this performance of this interesting and attractive work.
After the interval the Mediterranea performed the early Opus 8 Piano Trio of Brahms. Again, an immediate change was obvious in the older, more academic style adopted by this composer, clearly pre-Schumann in innovation and development. Unsurprisingly, in this work the piano is dominant, but the mellifluous tone of the cello and later the violin came through well in the long first movement Allegro with a real sense of excitement created by the ensemble. The following Scherzo was suitably lively, despite the sometimes hefty piano part. The contrasting Adagio was given a sympathetic introduction in the soulful theme introduced by the piano and then taken up by the other instruments. In the final Allegro vivace the rippling piano part was well done.
Finally, as their encore, the Mediterranea performed "Summer" from Piazzolla's "Four Seasons of Buenos Aires", a most pleasing musical sorbet to end the evening after the Brahms plum pudding! This was an excellent concert performed to a very high standard to conclude the season.
LO
©Woking Concert Society
The opening concert of Woking Concert Society's 2011/12 season was given by the talented young pianist, John Paul Ekins, in the Kemp Room of the H.G. Wells Centre. He commenced his recital with one of Mozart's keyboard sonatas, K311, in which his clear articulation in the first and third movements was most appropriate for the style and was a suitable foil for the unsophisticated simplicity of the second movement Andante. He followed this with a passionate performance of Chopin's Polonaise-Fantasie in which the changes of mood and tempo of this important late work were impressive.
His recital continued after the interval with a brilliant performance of Schumann's Op.22 sonata in which the rapid virtuoso passages were executed with confidence, whilst the romantic side of this fascinating composer was brought out well in the beautiful Andantino. Then followed a short, attractive Nocturne by Smyth in which her ability to compose in a lyrical vein was clearly demonstrated. Two of Liszt's Swiss "Années de Pèlerinage" followed in which John Paul demonstrated his deep understanding of the works with passages of intense poetic feeling, juxtaposed with sections of fearsome virtuosity. He concluded his recital with a work by the contemporary French-Canadian composer, François Morel, his second "Study in Sonority" revealing in places the influence of Messaien. This was a first class recital, fully up to Wigmore Hall standard, evidently much enjoyed by the audience, who clearly appreciated John Paul's introductory remarks before each work and who requested an early return of this accomplished young pianist.
LO
©Woking Concert Society
The Society's October concert featured the fine young baritone Duncan Rock in a recital of Russian and French songs ably supported by Joe Middleton's impressive piano playing. They commenced with a group of five songs by Tchaikovsky demonstrating this composer's ability to set widely differing poems with understanding and sympathy equal to the best of German lieder and French melodies. Ranging from the restless 'Don Juan's Serenade' to the reflective 'At the Ball' and to Mignon's yearning in 'None but the Lonely Heart', Duncan Rock's rich and expressive voice did full justice to these deeply felt works. This group was followed by four of Rakhmaninov's equally soulful songs from his considerable oeuvre. Again Rock and Middleton penetrated to the heart of these works requiring pianistic virtuosity and a very large dynamic range for the singer from fortissimo to a meltingly beautiful, long held pianissimo at the end of 'In the Silent Night'.
The second half of their recital was largely devoted to French melodies by Hahn and Duparc. These works required a very different approach from those in the first half and both performers convincingly embraced the rather specialised style called for. In 'Trois Jours de Vendange' they were most effective in recreating the mood of the poet remembering a past love and ultimately her funeral cortège, with Duncan Rock quietly suggesting the regret assisted by Joe Middleton's appropriately subdued accompaniment. The second work by Hahn, 'Les Cygnes', was typical of this composer's generally lighter touch and was given a serene performance. There followed three of Duparc's vocal masterpieces. In 'La Vague et la Cloche' Rock's strong voice was most effective in this vigorous, almost operatic song with Joe Middleton dealing expertly with the fearsome piano part. In a complete change of mood the reflective, meltingly beautiful 'Phidylé' was given a superb performance which will remain long in the memory. The recital ended with two operatic excerpts, one from 'Billy Budd' the other from 'Don Giovanni', in which Duncan Rock demonstrated his operatic prowess in a convincing and communicative manner.
This was a top class song recital of Wigmore Hall standard greatly enjoyed by those present. It is clear that these young artists have a scintillating future before them in the concert halls and doubtless Duncan Rock's name will feature in the future programmes of the major opera houses of the world. The Society is both lucky and privileged to have experienced a live performance by these highly talented artists at this early stage in their careers.
LO
©Woking Concert Society
The last concert of 2011 was given by the Marylebone Wind Quintet and Timothy End, post-graduate students of the Royal Academy of Music. They commenced with a suitably breezy account of Malcom Arnold’s Three Sea Shanties for Wind Quintet in which the inebriated and witty aspects were well brought out. This was followed by an excellent performance of Beethoven’s Horn Sonata Op. 17 by Elise Campbell, who negotiated the demanding horn part with confidence and musicality, and Tim End who easily mastered the piano part Beethoven wrote for himself to play. Next came the enchanting trio for oboe, bassoon and piano by Poulenc in which Mea Wade, Dominic Tyler and Tim End clearly relished the quirky style of this composer, giving a thoroughly enjoyable performance of this music.
The concert recommenced after the interval with Carl Nielsen’s well-known wind quintet. This work, arguably the highlight of the programme, was given a convincing rendering with the individual characteristics of the instruments well brought out, as intended by the composer who knew well the musicians for whom he wrote the piece. The three pieces for wind quintet by Ibert in the twentieth century Gallic wind style with instrumental flourishes interspersed with simplistic melodic passages were sympathetically performed by the Marylebone. Finally came a Tarantella for flute, clarinet and piano by Camille Saint-Saëns, a typical French salon piece taken at an exhilarating gallop by Rehana Browne, Max Welford and Tim End. This concert, given by this highly talented group of young musicians, was greatly enjoyed by the substantial audience present.
LO
©Woking Concert Society
Our March concert was given by the young, highly talented Lawson Trio - Fenella Humphreys (violin), Rebecca Knight (cello) and Annabelle Lawson (piano). The first work in their programme was the very early (D28) Sonatensatz by Franz Schubert, given a fresh, lively performance ideally suited to this music with confident, accurate playing of the frequent rapid passages. This was followed by the interesting work ‘Around Three Corners’ by modern composer Roxanna Panufnik which was given an enthusiastic performance by The Lawson Trio. Based on a theme and variation structure this piece evidently appealed to members who were later heard enquiring whether a recording is available (not yet, apparently).
The first half of the concert was completed by another early work, this time by Debussy, a four movement work only recently rediscovered (in the 1980s) in the USA. This attractive work was given an engaging performance in which the developing style of the composer was explored in all four movements, notably the fluid writing for the piano in the first movement, the melodic passage for cello and violin in the second Andante and above all in the Finale:Appassionato in which the throbbing 6/8 tempo, well maintained by the Trio, certainly looked forward to Debussy’s later works.
The whole of the second half of the concert was devoted to one of Schubert’s two massive piano trios, the one in B flat, D898. The Trio gave a performance of this work that was exciting, moving and technically highly accomplished. Notable was the vigorous start with well maintained tempo, wide dynamic range and excellent ensemble playing. The full range of this composer’s feelings from ebullient to soulful and back again expressed in this music were explored with confidence. Especially effective were the important, accurately observed rests producing the breathless dramatic effect which is one of the hallmarks of Schubert’s genius. This was a standard of performance that one would normally need to travel to Wigmore Hall to experience and we are indeed lucky to have had the benefit of this excellent performance by The Lawson Trio here in Woking.
LO
©Woking Concert Society
The Society’s fifth concert in its 2011-12 season was given by Timothy Orpen (clarinet) and John Reid (piano) who presented a wide-ranging programme of music for this combination. They commenced with the Five Bagatelles by Gerald Finzi in which both the lively and the more thoughtful aspects of these attractive pieces were sympathetically realized by this excellent young duo. This was followed by an arrangement for clarinet and piano of one of Mozart’s violin sonatas (K378): this worked well in this form and was performed with grace and élan by the duo, with clarity in both clarinet and piano parts and effective ensemble playing. The third work in their programme was the Fantasiestücke for clarinet and piano by Robert Schumann. The romantic style of this composer was clearly appreciated by the duo with a beautiful singing clarinet line and rich piano accompaniment, and with the final movement Rasch und mit Feuer given an appropriately vigorous and fiery performance.
The concert recommenced after the interval with the second of the two well known, late clarinet and piano sonatas Op 120 by Brahms. Here, Tim Orpen provided the rounded mellifluous tone of the clarinet to which Brahms had been attracted on hearing the playing of Mühlfeld, and John Reid successfully negotiated the substantial and complex piano part which this composer almost always includes in his chamber works. They provided the wide dynamic range required by this music and the interchange between them in the final variations was very well managed. The final work in their programme was the Grand Duo Concertante by Weber, a demanding work which requires and received a virtuoso performance by both musicians. After an appropriately vigorous start, the legato, more romantic second movement with its extended line for the clarinet was an effective contrast, and the brilliant finale with rapid ensemble passages was both accurate and exhilarating. This was another first class concert for the Society by top class performers, clearly and audibly greatly enjoyed by the large audience present.
LO
©Woking Concert Society
The final concert in our 2011/12 season was given by the highly talented Piatti String Quartet on Sunday 13 May. They commenced with Haydn’s Op.76 No.1, known as the ‘Emperor’, and it was immediately apparent why this young quartet has won so many accolades and prizes. Technical excellence, punctilious observance of rests, meaningful phrasing, a wide dynamic range and first class ensemble playing were all in evidence in the Piatti’s performance of this attractive work. It is difficult to single out individual aspects of this most enjoyable performance but the beautiful tones in the second movement cantabile and the rapid fingerwork and accurate chordal passages in the presto finale were particularly noticeable.
The second work in the programme was Smetana’s first string quartet ‘From my life’. Here the Piatti excelled in conveying the wide range of feeling in this music from the haunting opening viola theme, the remembered romantic and musical joys, apprehension and eventual resignation to his fateful deafness. Again this was a meaningful and moving performance in which the desperate increase in tempo before the spine-chilling high E in the last movement signifying his approaching deafness made its full effect -- this was a definitive performance of this most moving work.
The final work in the Piatti’s programme for the Society was one of Beethoven’s late string quartets, his Op.132 in A minor. This is deep and complex music demanding the utmost attention from both players and audience which was held spellbound by the artistry and musicianship exhibited. The intricate interplay and abrupt mood changes in the first and second movements were very well made and the contrasting, introspective third movement Adagio was entirely convincing. After the dance-like march of the fourth, the vigorous, swirling fifth movement was given an appropriately appassionato rendering by the Piatti to complete their performance of this major work in the string quartet repertoire.
This concert was a superb finale to the Society’s first class 2011/12 season and can rightfully be described as outstanding by any measure. We are indeed fortunate to have experienced the Piatti’s masterful performance here in Woking at this stage of what will undoubtedly be a highly successful international career.
LO
©Woking Concert Society