Concert reviews are sent to the Cumberland News soon after each concert. They are maintained here for information and interest.
Reviews: 2017-18 Season
Alena and Niklas Walentin and Viv McLean - March 22nd, 2018
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
Leah Nicholson, piano - February 22nd, 2018
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.
The next concert in this series will be on 22nd March and will feature a welcome return of flautist Alena Walentin (nee Lugovkina) and violinist Niklas Walentin, who will be accompanied by Viv McLean (piano).
Martin Johnson
Christopher Underwood, baritone and Michael Hancock, piano - January 25th, 2018
Four years ago, Christoper 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.
Next concert: 22 February Leah Nicholson, piano.
Mary Hitch
Attard-Zerafa Duo - November 23rd, 2017
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!
Carlisle Music Society’s next concert will be on 25th January, 2018 and will feature Christopher Underwood (baritone) and Michael Hancock (piano).
Justin Kent
Ashley Fripp - October 26th, 2017
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!
CARLISLE MUSIC SOCIETY –next concert: Philip Attard, saxophone and Christine Zerafa, piano.
Thursday, 23rd Nov, 7.30pm St Cuthbert’s Church
Ian France
Consone Quartet - September 28th, 2017
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
2016-17 Season
March 9th Mauro Lo Conte
February 16th Trio Derazey
January 26th Cassia String Quartet
November 17th Ugne Tiskute (viola) and Alexandra Vaduva (piano)
October 27th Riyad Nicolas (piano)
October 6th Jack McNeill (clarinet) and the Gildas String Quartet
2015-16 Season
March 16th Trio Martinů
February 11th Jane Lindsay (cello) and Jennifer Hughes (piano)
January 14th Lugovkina, Walentin, Timofeyevsky Trio
November 19th Pomegranate Piano Trio
October 29th James Willshire (piano)
October 8th Atesh String Quartet
2014-15 Season
March 19th Manus Noble (guitar)
February 19th Emma Abbate and Julian Perkins (piano duet)
January 22nd Tadashi Imai (piano)
November 27th The Zelkova String Quartet
October 23rd Adelia Myslov (violin) and Craig White (piano)
September 25th Jack McNeill (clarinet) and David Quigley (piano)
2013-14 Season
April 3rd Magdalena Loth-Hill (violin) and Simon Lane (piano)
February 20th Christopher Underwood (baritone) and Michael Hancock (piano)
January 16th The Eblana String Trio with David Curington (oboe)
November 21st The Busch Ensemble
Alena and Niklas Walentin and Viv McLean - March 22nd, 2018
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
Leah Nicholson, piano - February 22nd, 2018
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.
The next concert in this series will be on 22nd March and will feature a welcome return of flautist Alena Walentin (nee Lugovkina) and violinist Niklas Walentin, who will be accompanied by Viv McLean (piano).
Martin Johnson
Christopher Underwood, baritone and Michael Hancock, piano - January 25th, 2018
Four years ago, Christoper 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.
Next concert: 22 February Leah Nicholson, piano.
Mary Hitch
Attard-Zerafa Duo - November 23rd, 2017
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!
Carlisle Music Society’s next concert will be on 25th January, 2018 and will feature Christopher Underwood (baritone) and Michael Hancock (piano).
Justin Kent
Ashley Fripp - October 26th, 2017
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!
CARLISLE MUSIC SOCIETY –next concert: Philip Attard, saxophone and Christine Zerafa, piano.
Thursday, 23rd Nov, 7.30pm St Cuthbert’s Church
Ian France
Consone Quartet - September 28th, 2017
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
2016-17 Season
March 9th Mauro Lo Conte
February 16th Trio Derazey
January 26th Cassia String Quartet
November 17th Ugne Tiskute (viola) and Alexandra Vaduva (piano)
October 27th Riyad Nicolas (piano)
October 6th Jack McNeill (clarinet) and the Gildas String Quartet
2015-16 Season
March 16th Trio Martinů
February 11th Jane Lindsay (cello) and Jennifer Hughes (piano)
January 14th Lugovkina, Walentin, Timofeyevsky Trio
November 19th Pomegranate Piano Trio
October 29th James Willshire (piano)
October 8th Atesh String Quartet
2014-15 Season
March 19th Manus Noble (guitar)
February 19th Emma Abbate and Julian Perkins (piano duet)
January 22nd Tadashi Imai (piano)
November 27th The Zelkova String Quartet
October 23rd Adelia Myslov (violin) and Craig White (piano)
September 25th Jack McNeill (clarinet) and David Quigley (piano)
2013-14 Season
April 3rd Magdalena Loth-Hill (violin) and Simon Lane (piano)
February 20th Christopher Underwood (baritone) and Michael Hancock (piano)
January 16th The Eblana String Trio with David Curington (oboe)
November 21st The Busch Ensemble
