Concert reviews are sent to the Cumberland News soon after each concert. They are maintained here for two years, for information and interest.
2018-19 Season
March 28th, 2019 - The Consone Quartet
The Adagio in the Harp Quartet by Beethoven is beautifully melodic and melancholic. It has an assured seriousness that is deeply moving. As it was played in St Cuthbert’s Church by the Consone Quartet on the evening of Thursday, 28th March, this was particularly the case. The Consone play on period instruments. They use strings made of sheep-gut which produces a softer, less brilliant sound than metal strings. The result is that their playing becomes more intimate, more shared as they seem to turn inward. We felt that we were privileged to eavesdrop on the emotional turmoil that Beethoven resolves into the beautifully nuanced variations in the last movement.
In writing his Quartet in E flat, Mendelssohn drew on Beethoven’s Harp Quartet, but his work has a genial seriousness. The lovely melody of the first movement was followed by the Canzonetta in which the strings danced lightly over the slow resonant drone of the cello. The very fast final movement was played with a confident brilliance, constantly surging forward until it ended with an achieved peacefulness.
In contrast to the closely argued quartets of Beethoven and Mendelssohn, the two Boccherini quartets were from the eighteenth century.. They are attractively rhythmic and melodic and the Consone Quartet displayed a particular sensitivity to the nuanced colours of their melodies.
Tonight’s concert was marked by the assurance and intimacy of the playing. The music seemed to flow from a shared and thoughtful understanding.
The Consone are a young quartet who are rapidly establishing themselves on the world circuit. Magdalena Loth-Hill, who is the second violin, is from Brampton, and it was very pleasing to see a successful musician returning to her native city.
Steve Matthews.
The Adagio in the Harp Quartet by Beethoven is beautifully melodic and melancholic. It has an assured seriousness that is deeply moving. As it was played in St Cuthbert’s Church by the Consone Quartet on the evening of Thursday, 28th March, this was particularly the case. The Consone play on period instruments. They use strings made of sheep-gut which produces a softer, less brilliant sound than metal strings. The result is that their playing becomes more intimate, more shared as they seem to turn inward. We felt that we were privileged to eavesdrop on the emotional turmoil that Beethoven resolves into the beautifully nuanced variations in the last movement.
In writing his Quartet in E flat, Mendelssohn drew on Beethoven’s Harp Quartet, but his work has a genial seriousness. The lovely melody of the first movement was followed by the Canzonetta in which the strings danced lightly over the slow resonant drone of the cello. The very fast final movement was played with a confident brilliance, constantly surging forward until it ended with an achieved peacefulness.
In contrast to the closely argued quartets of Beethoven and Mendelssohn, the two Boccherini quartets were from the eighteenth century.. They are attractively rhythmic and melodic and the Consone Quartet displayed a particular sensitivity to the nuanced colours of their melodies.
Tonight’s concert was marked by the assurance and intimacy of the playing. The music seemed to flow from a shared and thoughtful understanding.
The Consone are a young quartet who are rapidly establishing themselves on the world circuit. Magdalena Loth-Hill, who is the second violin, is from Brampton, and it was very pleasing to see a successful musician returning to her native city.
Steve Matthews.
February 28th, 2019 - Jack McNeill (clarinet), Viv McLean (piano), David Le Page (violin) and Clare O'Connell (cello)
A large audience at St. Cuthbert’s Church, Carlisle, was treated to a memorable Carlisle Music Society concert on Thursday. Carlisle-born clarinettist Jack McNeill was joined by pianist Viv McLean and string players David Le Page and Clare O’Connell, in a powerful performance of one of the twentieth century’s most outstanding works, Olivier Messiaen’s Quartet for the End of Time.
The work’s apocalyptic title reflects the conditions under which the French composer wrote it. He was a prisoner of war in the Nazis’ Stalag VIII-A camp.
Messiaen wrote a peculiar and violent work. It was scored for an unusual combination of instruments because these were the musicians available to perform with Messiaen in the concentration camp. Its first performance took place outdoors on a rainy day in January 1941, with an audience of prisoners and guards.
The Quartet is an emotionally exhausting work for audience and performers, an expression of protest and of longing. This was most movingly demonstrated in the long solo clarinet movement, where Jack McNeill’s crescendos from an almost inaudible pianissimo were spine-tingling.
Prior to one other short work for the same combination of instruments, Thomas Ades’s Court Studies from “The Tempest”, we heard two trios. Igor Stravinsky’s The Soldier’s Tale tells of how a soldier traded his violin to the Devil. This is a very exciting work, in which David Le Page’s violin playing was magnificently devilish.
Beethoven’s early trio for clarinet, cello and piano, opus 11, sat a little oddly with the rest of the concert. These musicians were utterly compelling in the later works, and the programme would perhaps have benefitted from a more contemporary opening choice.
Kenneth Wilson
A large audience at St. Cuthbert’s Church, Carlisle, was treated to a memorable Carlisle Music Society concert on Thursday. Carlisle-born clarinettist Jack McNeill was joined by pianist Viv McLean and string players David Le Page and Clare O’Connell, in a powerful performance of one of the twentieth century’s most outstanding works, Olivier Messiaen’s Quartet for the End of Time.
The work’s apocalyptic title reflects the conditions under which the French composer wrote it. He was a prisoner of war in the Nazis’ Stalag VIII-A camp.
Messiaen wrote a peculiar and violent work. It was scored for an unusual combination of instruments because these were the musicians available to perform with Messiaen in the concentration camp. Its first performance took place outdoors on a rainy day in January 1941, with an audience of prisoners and guards.
The Quartet is an emotionally exhausting work for audience and performers, an expression of protest and of longing. This was most movingly demonstrated in the long solo clarinet movement, where Jack McNeill’s crescendos from an almost inaudible pianissimo were spine-tingling.
Prior to one other short work for the same combination of instruments, Thomas Ades’s Court Studies from “The Tempest”, we heard two trios. Igor Stravinsky’s The Soldier’s Tale tells of how a soldier traded his violin to the Devil. This is a very exciting work, in which David Le Page’s violin playing was magnificently devilish.
Beethoven’s early trio for clarinet, cello and piano, opus 11, sat a little oddly with the rest of the concert. These musicians were utterly compelling in the later works, and the programme would perhaps have benefitted from a more contemporary opening choice.
Kenneth Wilson
January 24th, 2019 - Cristian Sandrin (piano)
This was a unique piano recital given by Cristian Sandrin, a young and gifted Romanian pianist.
It opened with Haydn’s Variations in F minor, a deep and profound work and undoubtedly one of Haydn’s masterpieces for piano. Cristian caught its tragic intensity and intimate poignancy with his ranges of colour and voicing. Following this were Mozart’s two delightful Sonatas, K279 and K330. Each movement of them was nicely shaped and played fluently with supple and fast fingers, though the 1st movement of K330 was slightly hurried.
After the interval Ravel’s Miroirs was beautifully performed. This was composed in 1904-1905, and has five characterful movements. The entire work has a distinctively impressionistic flavour, full of imagination, mood and expression. Cristian played this musically and technically demanding piece with exquisite sound, rhythmic vitality and musical imagination; especially its 2nd and 4th movements were sublime. The programme concluded with Argentine composer Ginastera’s dynamic, driven and challenging Sonata No.1 op22, which was superbly executed. Once again Cristian skilfully handled both the ferocious technical demands and the “ mood”of this distinctive piece incorporating Argentine folk rhythms and melodies.
The encore was the last movement of Romanian composer Enescu’s Sonata in F sharp op24 no1. It was a mesmerising performance - what a treat!
Noriko Moffat
This was a unique piano recital given by Cristian Sandrin, a young and gifted Romanian pianist.
It opened with Haydn’s Variations in F minor, a deep and profound work and undoubtedly one of Haydn’s masterpieces for piano. Cristian caught its tragic intensity and intimate poignancy with his ranges of colour and voicing. Following this were Mozart’s two delightful Sonatas, K279 and K330. Each movement of them was nicely shaped and played fluently with supple and fast fingers, though the 1st movement of K330 was slightly hurried.
After the interval Ravel’s Miroirs was beautifully performed. This was composed in 1904-1905, and has five characterful movements. The entire work has a distinctively impressionistic flavour, full of imagination, mood and expression. Cristian played this musically and technically demanding piece with exquisite sound, rhythmic vitality and musical imagination; especially its 2nd and 4th movements were sublime. The programme concluded with Argentine composer Ginastera’s dynamic, driven and challenging Sonata No.1 op22, which was superbly executed. Once again Cristian skilfully handled both the ferocious technical demands and the “ mood”of this distinctive piece incorporating Argentine folk rhythms and melodies.
The encore was the last movement of Romanian composer Enescu’s Sonata in F sharp op24 no1. It was a mesmerising performance - what a treat!
Noriko Moffat
November 15th - Trio Martinu
Making a welcome return to St Cuthbert’s after an absence of more than two years, Trio Martinu comprising Jaroslav Matejka (cello), Pavel Safarik (violin) and Petr Jirikovsky (piano) presented a programme of three sharply contrasting masterpieces, showcasing the consummate musicianship of these wonderful players. They started with a 20th century trio by their namesake, the Czech composer Bohuslav Martinu whose highly individual style incorporates inventive rhythms and harmonies, and affectionate homage to his native folk tunes. This is a substantial work with orchestral sounding textures in abundance, a challenging start for performers and listeners alike. Following this was Mendelssohn’s trio no. 1, dating from the early romantic period and containing a generous mix of all the well-loved Mendelssohn ingredients; lyrical melodies, coherent structure, filigree note-spinning, and passages of barnstorming virtuosity for the pianist. After the interval we were treated to the ‘Archduke’ Trio by Beethoven, arguably the greatest piano trio of all, (certainly for this reviewer). Few other works in this genre achieve such a perfect partnership of equals, in which the three instruments are given many opportunities to display their individuality whilst blending together in numerous miraculous ways, and the players’ response to this was very evident. The gorgeous hymn-like slow movement variations and the witty finale provided the perfect ending to this superb concert.
Martin Johnson
Making a welcome return to St Cuthbert’s after an absence of more than two years, Trio Martinu comprising Jaroslav Matejka (cello), Pavel Safarik (violin) and Petr Jirikovsky (piano) presented a programme of three sharply contrasting masterpieces, showcasing the consummate musicianship of these wonderful players. They started with a 20th century trio by their namesake, the Czech composer Bohuslav Martinu whose highly individual style incorporates inventive rhythms and harmonies, and affectionate homage to his native folk tunes. This is a substantial work with orchestral sounding textures in abundance, a challenging start for performers and listeners alike. Following this was Mendelssohn’s trio no. 1, dating from the early romantic period and containing a generous mix of all the well-loved Mendelssohn ingredients; lyrical melodies, coherent structure, filigree note-spinning, and passages of barnstorming virtuosity for the pianist. After the interval we were treated to the ‘Archduke’ Trio by Beethoven, arguably the greatest piano trio of all, (certainly for this reviewer). Few other works in this genre achieve such a perfect partnership of equals, in which the three instruments are given many opportunities to display their individuality whilst blending together in numerous miraculous ways, and the players’ response to this was very evident. The gorgeous hymn-like slow movement variations and the witty finale provided the perfect ending to this superb concert.
Martin Johnson
October 25th - James Willshire (piano)
Igniting the piano music of Debussy, sending cascades of notes soaring round the church of St. Cuthbert’s was the brilliant James Willshire. The dots and lines on the music page were instantly distilled and conjured into life by our pianist’s flying fingers. All the concentrated musical magic of Debussy was offered flawlessly into the night, despite the hugely demanding technical difficulties embodied in the writing.
Of course, this romantic, impressionistic music is punctuated with humour, in the preludes “General Lavine”, “Homage to S.Pickwick” and “Wine Door” and the dance, “Passepied” from Bergamesque.
There were contemplative episodes of calm, played without affectation, letting the music work its own charm. (rare)
Between collections, James introduced some of the music he was playing and explained Debussy’s fondness for children, illustrated by “Jumbo’s Lullaby” and “Serenade of the Doll”.
He also mentioned the fact that he was playing, in various concerts this year, the entire piano works of Debussy, commemorating the centenary of the composer’s death.
In the second half of the concert, playing 12 preludes might have seemed, at first, a marathon. Nonetheless, despite the huge technical challenges and physical demand of these pieces, James played them with flawless passion and delightful sensitivity.
This varied collection maintained a consistent tonal language and the listener was well convinced and, needless to say, amazed and satisfied, judging by the enthusiastic applause.
The last two pieces were played with such speed and fury, the last piece being called “Fireworks, that I checked the piano afterwards for any smouldering embers!
An amazing, brilliant evening and if you weren’t there – you should have been!
Ian Warnes
Igniting the piano music of Debussy, sending cascades of notes soaring round the church of St. Cuthbert’s was the brilliant James Willshire. The dots and lines on the music page were instantly distilled and conjured into life by our pianist’s flying fingers. All the concentrated musical magic of Debussy was offered flawlessly into the night, despite the hugely demanding technical difficulties embodied in the writing.
Of course, this romantic, impressionistic music is punctuated with humour, in the preludes “General Lavine”, “Homage to S.Pickwick” and “Wine Door” and the dance, “Passepied” from Bergamesque.
There were contemplative episodes of calm, played without affectation, letting the music work its own charm. (rare)
Between collections, James introduced some of the music he was playing and explained Debussy’s fondness for children, illustrated by “Jumbo’s Lullaby” and “Serenade of the Doll”.
He also mentioned the fact that he was playing, in various concerts this year, the entire piano works of Debussy, commemorating the centenary of the composer’s death.
In the second half of the concert, playing 12 preludes might have seemed, at first, a marathon. Nonetheless, despite the huge technical challenges and physical demand of these pieces, James played them with flawless passion and delightful sensitivity.
This varied collection maintained a consistent tonal language and the listener was well convinced and, needless to say, amazed and satisfied, judging by the enthusiastic applause.
The last two pieces were played with such speed and fury, the last piece being called “Fireworks, that I checked the piano afterwards for any smouldering embers!
An amazing, brilliant evening and if you weren’t there – you should have been!
Ian Warnes
September 27th - Clair de Lune Duo (violin and piano)
Carlisle Music Society has a well deserved reputation for choosing outstanding performers, and the Clair De Lune Duo of Japanese violinist Hitomi Inujima and London based Russian-born pianist Julia Sinani beautifully performed a delightful programme opening the new season in the marvellous acoustics of St. Cuthbert’s.
The audience was swept by the first piece, the famous miniature Schön Rosemarin by Kreisler, played with elegance and charming rubato. Great colours and dynamic contrasts emphasised by refined details, such as the violinist’s excellent glissandi, vibrato colours and immaculate bow articulation in Debussy's Violin Sonata made it sound vibrant and fresh. Elgar’s Romance and Chanson de Nuit were played with enchanting English warmth and lyricism, reminding us Hitomi studied her Master’s Degree with the Royal Academy's renowned professor Richard Deakin. The 'Nocturne' and ‘Cortege’ by feminine composer Lili Boulanger were a real discovery - everything was magically transformed with the Nocturne’s atmospheric ostinato and expressive melody. It was striking how the young feminine performers genuinely and beautifully interpreted this music! Clara Schumann's charismatic Three Romances were followed by Brahms’ lyrical Second Violin Sonata, and it was a pleasure to hear a gorgeous rich singing tone in the instrumental ‘dialogues’, where you could also sense the pianist’s Russian piano school roots with her deep velvety touch and artistic approach to sound. The concert finished with Brahms' famous Scherzo in C minor, played with bold dynamics and passion.
Elena Nicholson
Carlisle Music Society has a well deserved reputation for choosing outstanding performers, and the Clair De Lune Duo of Japanese violinist Hitomi Inujima and London based Russian-born pianist Julia Sinani beautifully performed a delightful programme opening the new season in the marvellous acoustics of St. Cuthbert’s.
The audience was swept by the first piece, the famous miniature Schön Rosemarin by Kreisler, played with elegance and charming rubato. Great colours and dynamic contrasts emphasised by refined details, such as the violinist’s excellent glissandi, vibrato colours and immaculate bow articulation in Debussy's Violin Sonata made it sound vibrant and fresh. Elgar’s Romance and Chanson de Nuit were played with enchanting English warmth and lyricism, reminding us Hitomi studied her Master’s Degree with the Royal Academy's renowned professor Richard Deakin. The 'Nocturne' and ‘Cortege’ by feminine composer Lili Boulanger were a real discovery - everything was magically transformed with the Nocturne’s atmospheric ostinato and expressive melody. It was striking how the young feminine performers genuinely and beautifully interpreted this music! Clara Schumann's charismatic Three Romances were followed by Brahms’ lyrical Second Violin Sonata, and it was a pleasure to hear a gorgeous rich singing tone in the instrumental ‘dialogues’, where you could also sense the pianist’s Russian piano school roots with her deep velvety touch and artistic approach to sound. The concert finished with Brahms' famous Scherzo in C minor, played with bold dynamics and passion.
Elena Nicholson
2017-18 Season
March 22nd, 2018 - Alena Walentin (flute), Niklas Walentin (violin) and Viv McLean (piano)
It is on rare occasions indeed that the quality of the music-making is matched by the generosity of spirit of the performers to such an extent that the whole evening is a real joy.
Led by the irrepressible Alena Walentin on flute, her husband Niklas on violin and accompanied at the piano by Viv McLlean this concert offered a variety of flute, violin and piano repertoire of a light and entertaining character and two substantial works.
Alena was a smiling, engaging guide through the programme. She explained to the large and appreciative audience that early twentieth-century composer Mel Bonis, was really Melanie and her Trio made for relaxed easy-listening. Flute and violin took turns, blending effortlessly with the sympathetic piano accompaniment. Similarly, Cui’s Five pieces for flute, violin and piano contained some delightful salon music miniatures and the same combination brought the concert to a close with the Four Sketches by Eugene Goosens (English Pastoral).
Earlier Alena introduced the Prokofiev Flute Sonata by playing the Bird’s theme from “Peter and the Wolf”. The sonata did not disappoint with Alena performing the delicate, free-flowing passages and toccata-like perpetual motion responses with aplomb.
The last word goes to husband Niklas who together with his excellent accompanist Viv McLean gave a gripping performance of the Cesar Franck Violin Sonata. From the magical opening chords, through the tempests and despair of the inner movements to the sheer joy of the finale with its well-known tuneful canon, Niklas produced rich tone inspiring those in the balcony to stamp their feet at the rousing conclusion.
Ian France
It is on rare occasions indeed that the quality of the music-making is matched by the generosity of spirit of the performers to such an extent that the whole evening is a real joy.
Led by the irrepressible Alena Walentin on flute, her husband Niklas on violin and accompanied at the piano by Viv McLlean this concert offered a variety of flute, violin and piano repertoire of a light and entertaining character and two substantial works.
Alena was a smiling, engaging guide through the programme. She explained to the large and appreciative audience that early twentieth-century composer Mel Bonis, was really Melanie and her Trio made for relaxed easy-listening. Flute and violin took turns, blending effortlessly with the sympathetic piano accompaniment. Similarly, Cui’s Five pieces for flute, violin and piano contained some delightful salon music miniatures and the same combination brought the concert to a close with the Four Sketches by Eugene Goosens (English Pastoral).
Earlier Alena introduced the Prokofiev Flute Sonata by playing the Bird’s theme from “Peter and the Wolf”. The sonata did not disappoint with Alena performing the delicate, free-flowing passages and toccata-like perpetual motion responses with aplomb.
The last word goes to husband Niklas who together with his excellent accompanist Viv McLean gave a gripping performance of the Cesar Franck Violin Sonata. From the magical opening chords, through the tempests and despair of the inner movements to the sheer joy of the finale with its well-known tuneful canon, Niklas produced rich tone inspiring those in the balcony to stamp their feet at the rousing conclusion.
Ian France
February 22nd, 2018 - Leah Nicholson (piano)
This was a truly magical piano recital which held the audience spellbound throughout. Among the many memorable encounters along our musical journey were the vibrant rhythms of Prokofiev's sonata no.7, in stark contrast to the calm serenity of Beethoven's opus 110 and the solemn measures of Bach's sarabande from partita no.6. Next came two of Rachmaninov's etudes tableaux, opus 39 no. 5 and opus 33 no.1, passionate, stormy and ferociously difficult, followed by the romantic lyricism of Tchaikovsky's Meditation opus 72 no.5, its closing seamless trills played with wonderful sensitivity. A special highlight for me was Stravinsky's 'Firebird', transcribed by Guido Agosti, in which the vivid orchestral colours of the original score flowed from the Steinway grand piano under Leah's fingers in a manner little short of miraculous. Following this tour de force Leah spoke to the audience, paying tribute to her first teacher, Alicja Fiderkiewicz, expressing a particular joy to be returning to St. Cuthbert's, and thanking us all for coming. She responded to enthusiastic demands for an encore by playing Liszt's transcription of Schubert's song Gretchen am Spinnrade. At 16 years of age Leah has achieved total mastery of her instrument and possesses that rare combination of talent, dedication, capacity for hard work, and humility which promise a brilliant international career, and we wish her every success.
Martin Johnson
This was a truly magical piano recital which held the audience spellbound throughout. Among the many memorable encounters along our musical journey were the vibrant rhythms of Prokofiev's sonata no.7, in stark contrast to the calm serenity of Beethoven's opus 110 and the solemn measures of Bach's sarabande from partita no.6. Next came two of Rachmaninov's etudes tableaux, opus 39 no. 5 and opus 33 no.1, passionate, stormy and ferociously difficult, followed by the romantic lyricism of Tchaikovsky's Meditation opus 72 no.5, its closing seamless trills played with wonderful sensitivity. A special highlight for me was Stravinsky's 'Firebird', transcribed by Guido Agosti, in which the vivid orchestral colours of the original score flowed from the Steinway grand piano under Leah's fingers in a manner little short of miraculous. Following this tour de force Leah spoke to the audience, paying tribute to her first teacher, Alicja Fiderkiewicz, expressing a particular joy to be returning to St. Cuthbert's, and thanking us all for coming. She responded to enthusiastic demands for an encore by playing Liszt's transcription of Schubert's song Gretchen am Spinnrade. At 16 years of age Leah has achieved total mastery of her instrument and possesses that rare combination of talent, dedication, capacity for hard work, and humility which promise a brilliant international career, and we wish her every success.
Martin Johnson
January 25th, 2018 - Christopher Underwood (baritone) and Michael Hancock (piano)
Four years ago, Christopher Underwood and Michael Hancock gave a stunning performance of Winterreise, and it was wonderful to be offered another chance to hear them again.
After two Purcell songs, the first half was Dichterliebe, a song cycle by Schumann. Christopher Underwood deliberately did not give the audience a direct translation of the songs, but summed up the meaning for us to encourage us to watch. Even those with imperfect German could understand that this helped us engage in the emotional journey of the cycle. There were some wonderful interpretations – for example, perhaps the most famous song, Ich Grolle Nicht, is often sung angrily, the performance is often quite aggressive. Christopher Underwood sang this song with a melancholy that was most moving. There were some beautiful pianissimo moments and the piano postlude at the end of the cycle was delicately and sensitively played by Michael Hancock.
After the interval, we heard Le Bestiaire by Poulenc, settings of seven tiny, quirky poems by Apollinaire, followed by two songs from Ravel’s Histoire Naturelle, the Peacock and the Kingfisher. These are not so much descriptive as humorous, and both pianist and singer demonstrated each character’s piquant personality with great charm.
The final song cycle was Gerald Finzi’s Shakespeare songs. These are a lovely, accessible group, performed with wonderful clarity – and with wonderful introductions – who knew, for example, that ‘Who is Sylvia?’ is actually a love song addressed to Sylvia herself? The concert finished with the hilarious and melancholy Flanders and Swan Armadillo.
Mary Hitch
Four years ago, Christopher Underwood and Michael Hancock gave a stunning performance of Winterreise, and it was wonderful to be offered another chance to hear them again.
After two Purcell songs, the first half was Dichterliebe, a song cycle by Schumann. Christopher Underwood deliberately did not give the audience a direct translation of the songs, but summed up the meaning for us to encourage us to watch. Even those with imperfect German could understand that this helped us engage in the emotional journey of the cycle. There were some wonderful interpretations – for example, perhaps the most famous song, Ich Grolle Nicht, is often sung angrily, the performance is often quite aggressive. Christopher Underwood sang this song with a melancholy that was most moving. There were some beautiful pianissimo moments and the piano postlude at the end of the cycle was delicately and sensitively played by Michael Hancock.
After the interval, we heard Le Bestiaire by Poulenc, settings of seven tiny, quirky poems by Apollinaire, followed by two songs from Ravel’s Histoire Naturelle, the Peacock and the Kingfisher. These are not so much descriptive as humorous, and both pianist and singer demonstrated each character’s piquant personality with great charm.
The final song cycle was Gerald Finzi’s Shakespeare songs. These are a lovely, accessible group, performed with wonderful clarity – and with wonderful introductions – who knew, for example, that ‘Who is Sylvia?’ is actually a love song addressed to Sylvia herself? The concert finished with the hilarious and melancholy Flanders and Swan Armadillo.
Mary Hitch
November 23rd, 2017 - Philip Attard (saxophone) and Christine Zerafa (piano)
Dynamic Display of virtuosity from London based duo Philip Attard, Saxophone and Christine Zerafa, piano
Carlisle Music Society’s first ever classical saxophone recital surprised and delighted an audience largely unfamiliar with the instrument played in this genre. A diverse programme exposed the versatility of both soprano and alto saxophones in wonderful collaboration with the piano.
The programme opened with Saint-Saëns’ Sonata for Oboe and Piano in D major. The melancholic simplicity of the opening movement was masterfully portrayed by the delicate touch of the piano combined with the rich dark colour of the soprano saxophone producing a controlled elegance. The molto allegro was a brilliant display of virtuosity, allowing a dialogue to develop between pianist and saxophonist, both playfully skipping along in tandem, intertwining and responding to each other’s phrases through intricate passages of finger work.
In contrast to the speed of the Saint-Saëns, Eugene Bozza’s Bach-inspired Aria displayed Philip’s ability to control the melodic line on alto saxophone. His breathing never interrupted the shape of the phrases and worked in symbiosis with Christine’s sparsely placed chords to send sounds floating away.
Following Decruck’s Sonata for Saxophone and Piano, filled with shimmering pentatonic melodies weaving together, the first half ended with Demersseman’s Carnaval de Venise. Here, Philip’s phenomenal melodic fluency and evenness throughout the registers was amplified by Christine’s sensitive touch creating the space needed to contrast with the dramatic saxophone line.
The highlight of the second half had to be Yoshimatsu ‘s Fuzzy Bird Sonata. Imitating the rhythm and sound of birds, this demanding work for both players was delivered with exacting precision. The opening dialogue showed impressive rhythmic accuracy, clearly illustrating the telepathy and connection between both performers. Apparently effortlessly, Philip soared through the registers of the alto saxophone, right up through the altissimo register, exhibiting extended techniques such as slap tonguing and multiphonics with ease. Underpinning this was the intense rhythmic piano driving the music along with a sense of urgency and strong pulse.
Simply sensational!
Justin Kent
Dynamic Display of virtuosity from London based duo Philip Attard, Saxophone and Christine Zerafa, piano
Carlisle Music Society’s first ever classical saxophone recital surprised and delighted an audience largely unfamiliar with the instrument played in this genre. A diverse programme exposed the versatility of both soprano and alto saxophones in wonderful collaboration with the piano.
The programme opened with Saint-Saëns’ Sonata for Oboe and Piano in D major. The melancholic simplicity of the opening movement was masterfully portrayed by the delicate touch of the piano combined with the rich dark colour of the soprano saxophone producing a controlled elegance. The molto allegro was a brilliant display of virtuosity, allowing a dialogue to develop between pianist and saxophonist, both playfully skipping along in tandem, intertwining and responding to each other’s phrases through intricate passages of finger work.
In contrast to the speed of the Saint-Saëns, Eugene Bozza’s Bach-inspired Aria displayed Philip’s ability to control the melodic line on alto saxophone. His breathing never interrupted the shape of the phrases and worked in symbiosis with Christine’s sparsely placed chords to send sounds floating away.
Following Decruck’s Sonata for Saxophone and Piano, filled with shimmering pentatonic melodies weaving together, the first half ended with Demersseman’s Carnaval de Venise. Here, Philip’s phenomenal melodic fluency and evenness throughout the registers was amplified by Christine’s sensitive touch creating the space needed to contrast with the dramatic saxophone line.
The highlight of the second half had to be Yoshimatsu ‘s Fuzzy Bird Sonata. Imitating the rhythm and sound of birds, this demanding work for both players was delivered with exacting precision. The opening dialogue showed impressive rhythmic accuracy, clearly illustrating the telepathy and connection between both performers. Apparently effortlessly, Philip soared through the registers of the alto saxophone, right up through the altissimo register, exhibiting extended techniques such as slap tonguing and multiphonics with ease. Underpinning this was the intense rhythmic piano driving the music along with a sense of urgency and strong pulse.
Simply sensational!
Justin Kent
October 26th, 2017 - Ashley Fripp (piano)
What joy to spend an evening listening to the prodigiously talented pianist Ashley Fripp. Here is a pianist you can trust to put the music first, with no showy flamboyance, and yet his thoughtful restraint allied to the warmest tone allowed each piece to speak as it should.
Ashley’s enthusiasm for his chosen programme was clear from the start and it was both helpful and a delight to hear him explaining the background to Ravel’s “Gaspard de la Nuit” by reading the poems on which it is based. (by A. Bertrand, similar to Edgar Allan Poe).
In “Ondine” Ashley caught Ravel’s macabre and mysterious watery world with fast right-hand figurations. In “le Gibet” Ravel depicts a man hanging from the gallows. Here Ashley created the grotesque nature of the scene with careful balance of texture and impressionistic chords.
Finally in “Scarbo” a devilish goblin is portrayed. This tour de force of pianism has many difficult repeated notes, some created due to Ravel’s agile thumb (!): Ashley’s fingers and thumbs were always equal to the challenge and the enthralled audience showed their appreciation.
Earlier, Ashley had captured the Baroque style in Bach’s Partita no.2.
An all Chopin second half to the recital proved a treat. Ashley admitted to his strong liking for the Berceuse and the Barcarolle and Chopin’s filigree decorations came across engagingly. Ashley made a strong case for the unfamiliar 3rd Chopin Sonata.
Then Ashley had to dash-train to Glasgow-plane to Florence. So glad he came to Carlisle!
Ian France
What joy to spend an evening listening to the prodigiously talented pianist Ashley Fripp. Here is a pianist you can trust to put the music first, with no showy flamboyance, and yet his thoughtful restraint allied to the warmest tone allowed each piece to speak as it should.
Ashley’s enthusiasm for his chosen programme was clear from the start and it was both helpful and a delight to hear him explaining the background to Ravel’s “Gaspard de la Nuit” by reading the poems on which it is based. (by A. Bertrand, similar to Edgar Allan Poe).
In “Ondine” Ashley caught Ravel’s macabre and mysterious watery world with fast right-hand figurations. In “le Gibet” Ravel depicts a man hanging from the gallows. Here Ashley created the grotesque nature of the scene with careful balance of texture and impressionistic chords.
Finally in “Scarbo” a devilish goblin is portrayed. This tour de force of pianism has many difficult repeated notes, some created due to Ravel’s agile thumb (!): Ashley’s fingers and thumbs were always equal to the challenge and the enthralled audience showed their appreciation.
Earlier, Ashley had captured the Baroque style in Bach’s Partita no.2.
An all Chopin second half to the recital proved a treat. Ashley admitted to his strong liking for the Berceuse and the Barcarolle and Chopin’s filigree decorations came across engagingly. Ashley made a strong case for the unfamiliar 3rd Chopin Sonata.
Then Ashley had to dash-train to Glasgow-plane to Florence. So glad he came to Carlisle!
Ian France
September 28th, 2017 - Consone Quartet
CONSONE QUARTET WOWS CARLISLE AUDIENCE
The Consone Quartet, a remarkable group of young but mature players were greatly enjoyed at the Carlisle Music Society's opening concert of the season.
Their sense of line, warmth, elegance, superb intonation and interesting phrasing immediately engaged the audience.
Haydn's op 54 no 2 was, as is usual with Haydn, full of quips, jokes and the unexpected. It was most beautifully and sensitively played with lightness of spirit; the slow movement was recitative-like, sombre and thought provoking.
Mendelssohn's op 81 consisted of four separate pieces, sold by the publisher as one, which in this writer's opinion, wasn't entirely satisfactory. All were interesting with the Quartet's continued superb ensemble, but the movements didn't relate to each other. They are more "stand alone" pieces.
Schubert's "Rosamunde" Quartet written during the last year of his life was again wonderfully played. The first movement was full of melodies with unanswered questions, mysteries and sorrow. The second with the "Rosamunde" theme was noticeable for its feeling of kindness. More unanswered questions and sadness were evident in the Trio, whilst the fourth movement was jolly and cheery.
The encore, a wacky scherzo from another late quartet by Schubert, full of fun, was a great way to end a fabulous evening! We look forward to a return visit from the Consone Quartet!
Joy Hall
CONSONE QUARTET WOWS CARLISLE AUDIENCE
The Consone Quartet, a remarkable group of young but mature players were greatly enjoyed at the Carlisle Music Society's opening concert of the season.
Their sense of line, warmth, elegance, superb intonation and interesting phrasing immediately engaged the audience.
Haydn's op 54 no 2 was, as is usual with Haydn, full of quips, jokes and the unexpected. It was most beautifully and sensitively played with lightness of spirit; the slow movement was recitative-like, sombre and thought provoking.
Mendelssohn's op 81 consisted of four separate pieces, sold by the publisher as one, which in this writer's opinion, wasn't entirely satisfactory. All were interesting with the Quartet's continued superb ensemble, but the movements didn't relate to each other. They are more "stand alone" pieces.
Schubert's "Rosamunde" Quartet written during the last year of his life was again wonderfully played. The first movement was full of melodies with unanswered questions, mysteries and sorrow. The second with the "Rosamunde" theme was noticeable for its feeling of kindness. More unanswered questions and sadness were evident in the Trio, whilst the fourth movement was jolly and cheery.
The encore, a wacky scherzo from another late quartet by Schubert, full of fun, was a great way to end a fabulous evening! We look forward to a return visit from the Consone Quartet!
Joy Hall
