Concert Reviews
2024-25 Season
20th March 2025 - Sarah Gait, cello and Simone Tavoni, piano
In the final concert of the season it was a delight to welcome back to the Fratry Hall our
very own home-grown talent - Cumbrian cellist Sarah Gait, partnered with Italian-born
pianist Simone Tavoni. It was very fitting that Sarah dedicated the concert to that great
supporter and encourager of home-grown talent, the much-missed David Jones. Sarah
and Simone have since spread their wings from their respective native homelands and
taken to the world stage, both of them being award-winning performers in a number of
concert halls and with various orchestras. Although throughout all this, Sarah has
always retained a keen interest in promoting the cultural life of her own home county,
and also involves herself with projects to promote classical music among young people.
But tonight it was just the two of them together: cello and piano, in an intimate concert
which gave us the opportunity to hear the full extent of the cello's own unique voice.
The concert opened with a flashing chord as the duo dived straight into Beethoven's
cello sonata in G minor Op 5 No. 2. Emotive and dynamic, filled with moments ranging
from tender and fragile, to impassioned and excited, the cello filled the hall with warmth
and heartfelt emotion, while the piano romped along brilliantly in accompaniment.
The second work stood in complete contrast, being Sarah's own composition, a work
named Ilex, after the rare Ilex Sapiiformis which has been recently rediscovered in
Brazil. The piece was commissioned last year by the Brazilian embassy, and it explores
the theme of conservation in our damaged world. The Fratry hall was at once filled with
the wild, exotic sounds of the rainforest, with delicate trilling as of bird calls. There was
much use of sustained harmonics on the cello strings, and of the sostenuto pedal on the
piano, punctuated by sudden splurges of sound and aggressive pizzicati on the cello
which resonated with a woody sound. Sarah's compositions stem from her extensive
improvisation work, and there was a freshness about this piece, which gave the
impression of it having been newly created especially for us.
The second dedication of the evening was to Reinhold Gliere. This under-performed
Ukrainian composer is being celebrated in Kyiv in his 150th anniversary year, but has
rarely been heard in this country. He deserves to be better-known. It was wonderful to
be given here the full set of his 12 Album Leaves Op 51. Combining lush romanticism,
lyricism, contrasts of beauty, passion, joy and melancholy, it gave the cello the perfect
opportunity to show off its fine singing qualities.
The programme ended with a brilliant rendition of Shostakovich's sonata for cello and
piano in D minor Op 40, with its driving rhythms, moments of intense stillness, wild and
stormy passages, and all of it given with tremendous energy and virtuosity from both
players.
Finally, we were generously treated to an encore – a lighter moment, Sarah's own fun
and playful arrangement of Gershwin's song But Not for Me.
Over the course of the evening it felt as if we had met the full personality of the cello –
at times wild and passionate, then tender, sometimes surprising, soulful, as well as fun-
loving, singing like a mezzo-soprano – Sarah and Simone brought it all to us, and it was
an absolute joy. David Jones would have been delighted to have had such a concert
dedicated to his memory.
very own home-grown talent - Cumbrian cellist Sarah Gait, partnered with Italian-born
pianist Simone Tavoni. It was very fitting that Sarah dedicated the concert to that great
supporter and encourager of home-grown talent, the much-missed David Jones. Sarah
and Simone have since spread their wings from their respective native homelands and
taken to the world stage, both of them being award-winning performers in a number of
concert halls and with various orchestras. Although throughout all this, Sarah has
always retained a keen interest in promoting the cultural life of her own home county,
and also involves herself with projects to promote classical music among young people.
But tonight it was just the two of them together: cello and piano, in an intimate concert
which gave us the opportunity to hear the full extent of the cello's own unique voice.
The concert opened with a flashing chord as the duo dived straight into Beethoven's
cello sonata in G minor Op 5 No. 2. Emotive and dynamic, filled with moments ranging
from tender and fragile, to impassioned and excited, the cello filled the hall with warmth
and heartfelt emotion, while the piano romped along brilliantly in accompaniment.
The second work stood in complete contrast, being Sarah's own composition, a work
named Ilex, after the rare Ilex Sapiiformis which has been recently rediscovered in
Brazil. The piece was commissioned last year by the Brazilian embassy, and it explores
the theme of conservation in our damaged world. The Fratry hall was at once filled with
the wild, exotic sounds of the rainforest, with delicate trilling as of bird calls. There was
much use of sustained harmonics on the cello strings, and of the sostenuto pedal on the
piano, punctuated by sudden splurges of sound and aggressive pizzicati on the cello
which resonated with a woody sound. Sarah's compositions stem from her extensive
improvisation work, and there was a freshness about this piece, which gave the
impression of it having been newly created especially for us.
The second dedication of the evening was to Reinhold Gliere. This under-performed
Ukrainian composer is being celebrated in Kyiv in his 150th anniversary year, but has
rarely been heard in this country. He deserves to be better-known. It was wonderful to
be given here the full set of his 12 Album Leaves Op 51. Combining lush romanticism,
lyricism, contrasts of beauty, passion, joy and melancholy, it gave the cello the perfect
opportunity to show off its fine singing qualities.
The programme ended with a brilliant rendition of Shostakovich's sonata for cello and
piano in D minor Op 40, with its driving rhythms, moments of intense stillness, wild and
stormy passages, and all of it given with tremendous energy and virtuosity from both
players.
Finally, we were generously treated to an encore – a lighter moment, Sarah's own fun
and playful arrangement of Gershwin's song But Not for Me.
Over the course of the evening it felt as if we had met the full personality of the cello –
at times wild and passionate, then tender, sometimes surprising, soulful, as well as fun-
loving, singing like a mezzo-soprano – Sarah and Simone brought it all to us, and it was
an absolute joy. David Jones would have been delighted to have had such a concert
dedicated to his memory.
Review by Carolyn Fyfe, 23rd March 2025
27th February 2025 - The Paddington Trio ~
Tuulia Hero, violin; Patrick Moriarty, cello and Stephanie Tang, piano
Tuulia Hero, violin; Patrick Moriarty, cello and Stephanie Tang, piano
The multi-award-winning Paddington Trio, held their audience enthralled in this season’s most recent concert. Indeed, I find myself in danger of running out of superlatives when expressing my admiration for these performers! The challenging technical demands of the music were executed with unfailing accuracy, the sense of ensemble was impeccable and playing was always expressive and colourful, ranging from passionate to melancholic and beautiful. I was particularly impressed by the pianist who, despite suffering from a wrist injury, performed many inordinately difficult passages with a very precise, clean, delicate touch.
The evening began with Sam Perkins’ ‘Freakshow’, a modern piece of seven short movements in which an imaginative variety of instrumental and body sounds brought to life the exhibits of the seven ‘shows’. The atmospheric music ranged from the grotesque to spooky; from fiery to bright and magical. The whole was amusing and intriguing, one wondered whatever would come next, and each idea was portrayed perfectly and with apparent ease.
Both of the evening’s two piano trios had impassioned sections aplenty, but these were interspersed with moments of lyrical tenderness. It is, for me, some of the quiet moments which stand out in my memory. The interplay between parts was always seamless and the two string players produced an exquisite , rich tone with perfect intonation and a warm vibrato which was never overdone. After a perfectly executed opening movement of Mendelssohn’s Piano Trio No 2 in C minor, the piano introduced the second movement with a very peaceful melody, its lilting rhythm reminiscent of Mendelssohn’s ‘Songs without Words’, whilst soaring above this came a beautifully phrased, mellifluous sound from the ‘cello. The technical demands of an impossibly fast Scherzo provided no problem for this trio whilst a startling opening to the majestic Finale soon became both playful and wistful and led to an interlude where we heard a Lutheran style Chorale before the piece gathered momentum to reach a majestic climax.
Schumann’s Piano trio in D minor with all its thematic variation and glorious melodies was very much of the Romantic era. In the opening movement we were immediately engaged by a restless melody on the violin accompanied with sweeping arpeggio figures on the piano. At the height of this emotional drama we were suddenly introduced to a ghostly passage with strings playing soulful melodies sul ponticello - near the bridge: this was magical indeed! The Scherzo opening duet between violin and piano was beautifully shaped and the ensuing canonic imitation of dotted rhythms between players flawlessly performed. The beginning of the third movement was for me a ‘stand-out’ moment; a mournful, haunting lament on the violin, accompanied by piano, was truly atmospheric. This was continued by ‘cello, with each part subsequently being given their ’moment’. The trio’s flawless performance continued in the Finale which built steadily towards a typically Romantic impassioned ending where the sense of excitement was fully communicated to a very satisfied audience.
The evening began with Sam Perkins’ ‘Freakshow’, a modern piece of seven short movements in which an imaginative variety of instrumental and body sounds brought to life the exhibits of the seven ‘shows’. The atmospheric music ranged from the grotesque to spooky; from fiery to bright and magical. The whole was amusing and intriguing, one wondered whatever would come next, and each idea was portrayed perfectly and with apparent ease.
Both of the evening’s two piano trios had impassioned sections aplenty, but these were interspersed with moments of lyrical tenderness. It is, for me, some of the quiet moments which stand out in my memory. The interplay between parts was always seamless and the two string players produced an exquisite , rich tone with perfect intonation and a warm vibrato which was never overdone. After a perfectly executed opening movement of Mendelssohn’s Piano Trio No 2 in C minor, the piano introduced the second movement with a very peaceful melody, its lilting rhythm reminiscent of Mendelssohn’s ‘Songs without Words’, whilst soaring above this came a beautifully phrased, mellifluous sound from the ‘cello. The technical demands of an impossibly fast Scherzo provided no problem for this trio whilst a startling opening to the majestic Finale soon became both playful and wistful and led to an interlude where we heard a Lutheran style Chorale before the piece gathered momentum to reach a majestic climax.
Schumann’s Piano trio in D minor with all its thematic variation and glorious melodies was very much of the Romantic era. In the opening movement we were immediately engaged by a restless melody on the violin accompanied with sweeping arpeggio figures on the piano. At the height of this emotional drama we were suddenly introduced to a ghostly passage with strings playing soulful melodies sul ponticello - near the bridge: this was magical indeed! The Scherzo opening duet between violin and piano was beautifully shaped and the ensuing canonic imitation of dotted rhythms between players flawlessly performed. The beginning of the third movement was for me a ‘stand-out’ moment; a mournful, haunting lament on the violin, accompanied by piano, was truly atmospheric. This was continued by ‘cello, with each part subsequently being given their ’moment’. The trio’s flawless performance continued in the Finale which built steadily towards a typically Romantic impassioned ending where the sense of excitement was fully communicated to a very satisfied audience.
Review by Avril Tisdall, 5th March 2025
23rd January 2025 ~ Charlotte Spruit, violin, and Xiaowen Shang, piano
At the end of the concert Charlotte Spruit and Xiaowen Shang gave each other a discreet, congratulatory hug. It was well deserved. They had played their challenging programme quite brilliantly – two people passionate about the music they played, who understood, that amid the often torrential flow of sound, it is the slow, still moments which are most deeply affecting.
The E minor sonata by Mozart was written at the time of his mother’s death. It is restrained and disciplined but almost breaks down with the weight of grief. The Tempo di Menuetto was courageous in the face of tragedy.
Beethoven’s 10th sonata retains the energy and playfulness that begins in its opening trill as violin and piano answer each other with sunny vivacity. The second movement, Adagio Expressivo, however, with its solemnity and serenity, is the very heart of the sonata. The wilful Scherzo, was followed by an imaginative and inventive set of variations that seemed to unite the playfulness and serenity of the first two movements.
Schumann’s second sonata is a far more overtly passionate work full of tumultuous, surging piano playing and aspiring melodies on the violin that finds its still centre in the gentle third movement to be played Leise, einfach, that is, quiet, simply. The first performance was given by Joseph Joachim and Clara Schumann. I felt that Charlotte and Xiaowen sensed their spirit watching over their performance.
At the very heart of the concert, played after the interval and before the Schumann, was a short piece by Huw Watkins composed in 2020. In the Arietta, the violin plays a melody that slowly develops above the piano’s sympathetic harmonies. It was simple and quite lovely and played with a shared love for the music by both players.
It summed up what was most beautiful about this concert.
The E minor sonata by Mozart was written at the time of his mother’s death. It is restrained and disciplined but almost breaks down with the weight of grief. The Tempo di Menuetto was courageous in the face of tragedy.
Beethoven’s 10th sonata retains the energy and playfulness that begins in its opening trill as violin and piano answer each other with sunny vivacity. The second movement, Adagio Expressivo, however, with its solemnity and serenity, is the very heart of the sonata. The wilful Scherzo, was followed by an imaginative and inventive set of variations that seemed to unite the playfulness and serenity of the first two movements.
Schumann’s second sonata is a far more overtly passionate work full of tumultuous, surging piano playing and aspiring melodies on the violin that finds its still centre in the gentle third movement to be played Leise, einfach, that is, quiet, simply. The first performance was given by Joseph Joachim and Clara Schumann. I felt that Charlotte and Xiaowen sensed their spirit watching over their performance.
At the very heart of the concert, played after the interval and before the Schumann, was a short piece by Huw Watkins composed in 2020. In the Arietta, the violin plays a melody that slowly develops above the piano’s sympathetic harmonies. It was simple and quite lovely and played with a shared love for the music by both players.
It summed up what was most beautiful about this concert.
Review by Steve Matthews, 24th January 2025
14th November 2024 ~ JohnTurner, recorders, Richard Simpson, oboe and Janet Simpson, piano
We were treated to a master class of musicianship by three very experienced and
talented musicians, all extremely well known in their specialist fields. A large and
very appreciative audience sat spellbound as John Turner (recorder), Richard
Simpson (oboe) and Janet Simpson (piano) ranged from the 18 th century music of
Telemann and Handel to the 20 th century works of Benjamin Britten, Michael Head
and others, including folk and jazz elements.
However, the centre piece of the whole concert was a world premiere performance of
a specially composed work by Helen Leach for recorder, oboe and piano. “Hill Top”
was written as a homage to Beatrix Potter. Although short (about four minutes), it
captured perfectly the sweeping landscapes of the Lake District and allowed each of
the instruments to contribute to create the visual images we were encouraged to
see. This work deserves to have a lot more performances! Adding to the interest
was the fact that the composer, Helen, was present and talked about the commission
and what she was trying to convey.
John Turner has had a long career popularising the recorder, from the days of David
Munroe’s Early Music Consort to performing modern pieces, sometimes
commissioned by him. He showed superb technical mastery on a range of
recorders, and especially memorable was “Skye Blue” for solo recorder by John
Purser when evoking a Scottish background.
Richard Simpson also has had a distinguished career as Principal Oboe in the Halle
and in the BBC Symphony Orchestra, as well as being equally at home in many
chamber music activities. His mellifluous tone on the oboe was admired by all who
have tried to play the instrument. He was equally at home in Telemann and Handel
as with Benjamin Britten’s challenging “Metamorphoses after Ovid” depicting six
Greek gods.
And we must not forget the pianist! Janet Simpson has enjoyed an illustrious career
accompanying and performing as soloist. She had a demanding role and her
accompanying always showed a sympathetic awareness of style and technical
ability.
So – the concert was a huge success . The organisers should be congratulated on
this and the two previous concerts this autumn.
talented musicians, all extremely well known in their specialist fields. A large and
very appreciative audience sat spellbound as John Turner (recorder), Richard
Simpson (oboe) and Janet Simpson (piano) ranged from the 18 th century music of
Telemann and Handel to the 20 th century works of Benjamin Britten, Michael Head
and others, including folk and jazz elements.
However, the centre piece of the whole concert was a world premiere performance of
a specially composed work by Helen Leach for recorder, oboe and piano. “Hill Top”
was written as a homage to Beatrix Potter. Although short (about four minutes), it
captured perfectly the sweeping landscapes of the Lake District and allowed each of
the instruments to contribute to create the visual images we were encouraged to
see. This work deserves to have a lot more performances! Adding to the interest
was the fact that the composer, Helen, was present and talked about the commission
and what she was trying to convey.
John Turner has had a long career popularising the recorder, from the days of David
Munroe’s Early Music Consort to performing modern pieces, sometimes
commissioned by him. He showed superb technical mastery on a range of
recorders, and especially memorable was “Skye Blue” for solo recorder by John
Purser when evoking a Scottish background.
Richard Simpson also has had a distinguished career as Principal Oboe in the Halle
and in the BBC Symphony Orchestra, as well as being equally at home in many
chamber music activities. His mellifluous tone on the oboe was admired by all who
have tried to play the instrument. He was equally at home in Telemann and Handel
as with Benjamin Britten’s challenging “Metamorphoses after Ovid” depicting six
Greek gods.
And we must not forget the pianist! Janet Simpson has enjoyed an illustrious career
accompanying and performing as soloist. She had a demanding role and her
accompanying always showed a sympathetic awareness of style and technical
ability.
So – the concert was a huge success . The organisers should be congratulated on
this and the two previous concerts this autumn.
Review by David Ferriby, 17th November 2024
24th October 2024 ~ A Pocket Opera with CarmenCo
Flautist and mezzo, Emily Andrews. Guitarists, David Massey and Francisco Correa
Flautist and mezzo, Emily Andrews. Guitarists, David Massey and Francisco Correa
‘Unique’ is a word often scattered about like wind-blown confetti, often no more than a random synonym for ‘unusual’, but my head is boldly above the parapet in declaring the concert in the Fratry on October 24 unequivocally deserving of the epithet. It’s not easy to put a stamp on what this glorious evening actually was; ‘hybrid’ comes pretty close. The pre-show publicity blurb declared that it occupied “the borders between a play and a concert”. Indeed it did. But more than that, it was a sort of musical chimera that enthralled a full house with music, the spoken word, a few anachronistic gags and a bit of phoney mind-reading thrown in for good measure!
But what music!
The inspiration for this tantalising confection was Bizet’s opera Carmen, arguably the most famous and best-loved opera of all time. Mind you, Prosper Merimee, who wrote the original novella on whose librettists Bizet based his opera, managed to get a sidelong mention as well, which was fair!
“I am Carmen!” declared our eponymous heroine, transfixing her audience as if daring them to disagree. Suitably costumed, and with an accent that set her firmly in the alleyways of Seville, she led her willing listeners through the story of this capricious, ill-fated fiery gypsy, delivered from her own point of view.
“How can I tell a story of love, romance and vengeance without music?” she asked. And music there was, in abundance. Bizet’s unforgettable tunes shared the stage with captivating pieces by Albeniz, Rodrigo, Garcia Lorca and Ravel, played with consummate professionalism and sensitivity by Francisco Correa and David Massey on classical guitars. ‘Carmen’ herself (aka Emily Andrews) painted the scenes with her rich mezzo singing, as well as joining the others with her accomplished flute playing.
This Hispanic tapas induced, by turns, sober contemplation and unbridled laughter. Emily’s phoney attempt at mind-reading was a hoot, as was her confident assertion that Don Jose was what every woman wanted – a guitarist! She also brought the roof in by declaring that she and Don Jose travelled round the countryside selling their CDs and tea-towels!
And, of course, there was the Toreador’s Song. First heard off-stage, David Massey’s playing shocked Carmen into admitting that she’d forgotten to tell Don Jose that she was “a little bit married”. David appeared, suitably attired as Escamillo, and sporting an outrageous stick-on moustache. We were then treated to a spirited duel between the two guitars, making brilliant use of Manuel de Falla’s Ritual Fire Dance as ammunition!
And so it went on, a buffet of musical morsels, served with an infectious mixture of respectful reverence and impish send-up; an evening that will linger long in the memory.
In short – unique.
Review by John Davies, 12th September 2024
26th September 2024 ~ Piano Recital with Dominic Degavino
The opening concert of the new season was a celebration, complete with fireworks – at least, Dominic Degavino's piano playing felt like nothing short of a firework display at times. Billed as a celebration of Liszt, it was also a celebration of the piano recital, as Dominic took us on a journey of recital music through time, from Mozart to Liszt.
It began in a deceptively calm mood, with Mozart's Sonata no 4 K282 which starts, unusually, with a stately Adagio. But by the Allegro of the third movement, we were beginning to get a hint of some of the playing that was to come: clean, crisp, technical precision, coupled with outpourings of emotion; tender delicacy at times, thundering passion at others.
This opened up more fully in the Hummel which followed. Hummel was one of those composers to cross over from the classical period to the romantic, and his Etudes, written at the end of his life, require all the precise technical ability that might be expected of a piano study, and yet are also filled with character and emotion. Dominic described no 21 as “cheeky” while no 22 was more “mysterious”.
Schubert was one of the great composers of the romantic era and his songs are full of lyricism and passion. Liszt arranged many of them and we were treated to three of them here: Du Bist Die Ruh (you are rest); Auf Dem Wasser Zu Singen (to be sung on the water); and Die Junge Nonne (the young nun). Liszt's arrangements place great demands on the pianist and it was fascinating to watch Dominic's hands as he simultaneously held the lyrical lines of the song whilst also darting his hands around each other, chasing Liszt's embellishments up and down the keyboard.
The second half was all Liszt, beginning with his Legende no 1, St Francis Preaching to the Birds. Here, in one of Liszt's later works, was the Impressionism of composers who came after him, with the trilling and fluttering sounds of the birds, and the sonorous tones of St Francis' preaching.
So to the climax of the evening: Liszt's mighty Piano Sonata in B minor, a huge work encompassing all that the piano can possibly do as an instrument, interweaving snatches of melody with passages of restless energy, wild excitement, tender romance, and dark brooding. Liszt was reputed in his day to play with brilliance, strength and precision, all of which qualities Dominic displayed to a remarkable extent, along with the same sensitivity, delicacy and passion that he had brought to the earlier works.
Liszt was one of the celebrities of his day, creating such a phenomenon of “Listzomania” that his legendary personality often eclipsed even his own virtuosic playing. “Le concert, c'est moi!” he declared. Not so in this concert: Dominic's quiet, humble stage presence contrasting with his passionate piano playing gave the piano, rather than him, centre stage and let it speak for itself. And speak it did. “Le concert, c'est le piano” would be the phrase.
In Dominic's capable hands, what a remarkable instrument it is.
It began in a deceptively calm mood, with Mozart's Sonata no 4 K282 which starts, unusually, with a stately Adagio. But by the Allegro of the third movement, we were beginning to get a hint of some of the playing that was to come: clean, crisp, technical precision, coupled with outpourings of emotion; tender delicacy at times, thundering passion at others.
This opened up more fully in the Hummel which followed. Hummel was one of those composers to cross over from the classical period to the romantic, and his Etudes, written at the end of his life, require all the precise technical ability that might be expected of a piano study, and yet are also filled with character and emotion. Dominic described no 21 as “cheeky” while no 22 was more “mysterious”.
Schubert was one of the great composers of the romantic era and his songs are full of lyricism and passion. Liszt arranged many of them and we were treated to three of them here: Du Bist Die Ruh (you are rest); Auf Dem Wasser Zu Singen (to be sung on the water); and Die Junge Nonne (the young nun). Liszt's arrangements place great demands on the pianist and it was fascinating to watch Dominic's hands as he simultaneously held the lyrical lines of the song whilst also darting his hands around each other, chasing Liszt's embellishments up and down the keyboard.
The second half was all Liszt, beginning with his Legende no 1, St Francis Preaching to the Birds. Here, in one of Liszt's later works, was the Impressionism of composers who came after him, with the trilling and fluttering sounds of the birds, and the sonorous tones of St Francis' preaching.
So to the climax of the evening: Liszt's mighty Piano Sonata in B minor, a huge work encompassing all that the piano can possibly do as an instrument, interweaving snatches of melody with passages of restless energy, wild excitement, tender romance, and dark brooding. Liszt was reputed in his day to play with brilliance, strength and precision, all of which qualities Dominic displayed to a remarkable extent, along with the same sensitivity, delicacy and passion that he had brought to the earlier works.
Liszt was one of the celebrities of his day, creating such a phenomenon of “Listzomania” that his legendary personality often eclipsed even his own virtuosic playing. “Le concert, c'est moi!” he declared. Not so in this concert: Dominic's quiet, humble stage presence contrasting with his passionate piano playing gave the piano, rather than him, centre stage and let it speak for itself. And speak it did. “Le concert, c'est le piano” would be the phrase.
In Dominic's capable hands, what a remarkable instrument it is.
Review by Carolyn Fyfe, 28th September 2024
2023-24 Season
21st March 2024 ~ Concert with Wild Men of the Baroque
(Piers Adams, recorders and David Wright, harpsichord)
(Piers Adams, recorders and David Wright, harpsichord)
The final concert in the Carlisle Music Society`s 2023/24 season featured the dynamic duo under the umbrella title, The Wild Men of the Baroque. In a change to the previously advertised Ruth Slater Baroque Ensemble concert, cancelled at short notice due to illness, Piers Adams recorders and David Wright harpsichord (who together form half of the highly successful group Red Priest) offered a generous, eclectic and entertainingly presented programme of 15 `wild` composers ranging from the 16 th to 20 th century in the suitably ambient Fratry, Carlisle Cathedral. Piers Adams put his arsenal of recorders through their paces and if their opening Three Dances by the 16 th century composer Andrea Falconieri was anything to go by, the audience was in for a captivating evening. Performing from memory throughout, some breathtaking finger-work, dextrous articulation and boundless energy was on show, with the richly decorated Sonata Seconda by Dario Castello suitably darting between moods and tempi. The recorder`s penchant for imitating birds did not go unnoticed, with 17 th century Jacob van Eyck`s virtuosic The Nightingale complimenting Hans Martin Linde`s 1968 Music for a Bird, here evoking sounds of the African jungle using a variety of special effects. Debussy`s iconic Syrinx on the bass recorder, though breathy in the higher register unlocked a hauntingly dark sound world in the lower, with a slow vibrato adding to the impressionistic tonal colours. Adams` partner in crime, David Wright, proved an equal match on his smooth and mellow-toned harpsichord, accompanying with flare and imagination, with his own solos no less varied and characterful. Louis Couperin`s refined Chaconne in C (surely one of his finest compositions), proving that it`s `better to move than to astonish,` while at the other end of the musical spectrum, the Hungarian-Austrian Gyӧrgy Ligeti`s Continuum, also dating from 1968, added a hypnotic and shimmering timbre to the evening. Heinrich Biber`s Sonata no 3 in F, originally written for the violin, provided a dazzling final flourish, with Adams changing effortlessly between various recorders, sometimes playing two at once in a bid to emulate the violin`s double stopping. With the audience in favour of a slow encore, J S Bach`s Andante movement from his Sonata in E minor provided a moment of calmer reflection on what had been a thoroughly enjoyable and entertaining evening.
Review by Katharine May, 27th March 2024
8th February 2024 - Concert with Maxim Calver and Kumi Matsuo
The lights dimmed in the packed Fratry, as Kumi Matsuo (piano) filled the hall with the haunting opening statement of the Debussy Cello Sonata. Maxim Calver soon joined, the powerful resonance of his cello filling the hall, with the audience being taken through the intriguing, elusive journey of this impressionist masterpiece. As a cellist myself, unusually, I wasn’t too familiar with this piece - it was such a privilege to listen to the Debussy properly for the first time with such a dynamic duo. From the very start of the recital, it was clear that these two musicians had been working together for a while as they made the sheer range of emotions and dynamics so enthralling to listen to. I have been listening to this sonata on repeat ever since and that was only the opening! Then we went back fifty years to the Brahms E minor sonata, for piano and cello. From the breath-taking opening phrase, it was such a delight to hear this sonata with every last note filled with passion. Maxim need not have said that this was one of his favourites.
After the interval, we were greeted by the joyous opening of Mendelssohn’s second cello sonata, written at a similar time to the Brahms. This again was such a pleasure to listen to, with equally beautiful moments on both the piano and cello: the piano solo which opened the slow movement was particularly moving, a moment where Kumi particularly shone. The vibrant finale of the sonata was contrasted heavily by Schumann’s poignant Abendlied (evening song) which brought the concert to a close. I am sure that I was not the only one anticipating an encore, however as Max and Kumi ended the serene, peaceful Schumann I knew that this was the perfect way to end such an excellent recital - each audience member took a breath as we were left in a blissful, profound moment of silence before erupting with applause.
Review by Will Archibald, 18th February 2024
After the interval, we were greeted by the joyous opening of Mendelssohn’s second cello sonata, written at a similar time to the Brahms. This again was such a pleasure to listen to, with equally beautiful moments on both the piano and cello: the piano solo which opened the slow movement was particularly moving, a moment where Kumi particularly shone. The vibrant finale of the sonata was contrasted heavily by Schumann’s poignant Abendlied (evening song) which brought the concert to a close. I am sure that I was not the only one anticipating an encore, however as Max and Kumi ended the serene, peaceful Schumann I knew that this was the perfect way to end such an excellent recital - each audience member took a breath as we were left in a blissful, profound moment of silence before erupting with applause.
Review by Will Archibald, 18th February 2024
18th January 2024 - Concert with the ADLibitum (Andrea and Djordje Gajic)
What a joy and delight it was to listen to Andrea and Djordje Gajic’s musical performance in the warmth and grandeur of the Fratry, in Carlisle Cathedral on a freezing cold January evening. We were treated to crowd-pleasing popular pieces and some less familiar music all so cleverly arranged for the unusual combination of violin and accordion. Djordje’s skilful arrangements showed off the qualities of both the violin and accordion, and the couple’s extraordinarily accomplished virtuoso and evocative playing made for a special and memorable concert.
I noticed someone in the row in front of me visibly shiver to the icy sounds of the Winter Movement of Vivaldi’s four seasons - and he was sitting over the floor grates that were pushing out hot air from the Fratry’s efficient heating system! Andrea made an exquisite sound with her Italian Galliano violin, accompanied by gentle and soft tones from the accordion. If we had thought that the accordion was an instrument only for the fair ground and ceilidh dancing, Djordje’s arrangements and playing demonstrated otherwise! He explained that he wanted to play Bach’s Organ Toccata and Fugue in D minor as it lent itself so well to the acoustic of the Fratry. In arranging this he had tricked his accordion to sound like an organ, and indeed the audience too were tricked into thinking, surely this sound is coming from an organ. The second half had a Spanish theme and included Andrea playing one of the technically hardest pieces in the violin repertoire, Sarasate’s Carmen Fantasy.
They made the audience feel they were performing especially for us, treated us to an encore of a charming Hungarian dance to send us into the cold night and stayed and greeted every audience member before leaving despite needing to travel back to Glasgow that night.
Review by Sarah Wilson, 21st January 2024
What a joy and delight it was to listen to Andrea and Djordje Gajic’s musical performance in the warmth and grandeur of the Fratry, in Carlisle Cathedral on a freezing cold January evening. We were treated to crowd-pleasing popular pieces and some less familiar music all so cleverly arranged for the unusual combination of violin and accordion. Djordje’s skilful arrangements showed off the qualities of both the violin and accordion, and the couple’s extraordinarily accomplished virtuoso and evocative playing made for a special and memorable concert.
I noticed someone in the row in front of me visibly shiver to the icy sounds of the Winter Movement of Vivaldi’s four seasons - and he was sitting over the floor grates that were pushing out hot air from the Fratry’s efficient heating system! Andrea made an exquisite sound with her Italian Galliano violin, accompanied by gentle and soft tones from the accordion. If we had thought that the accordion was an instrument only for the fair ground and ceilidh dancing, Djordje’s arrangements and playing demonstrated otherwise! He explained that he wanted to play Bach’s Organ Toccata and Fugue in D minor as it lent itself so well to the acoustic of the Fratry. In arranging this he had tricked his accordion to sound like an organ, and indeed the audience too were tricked into thinking, surely this sound is coming from an organ. The second half had a Spanish theme and included Andrea playing one of the technically hardest pieces in the violin repertoire, Sarasate’s Carmen Fantasy.
They made the audience feel they were performing especially for us, treated us to an encore of a charming Hungarian dance to send us into the cold night and stayed and greeted every audience member before leaving despite needing to travel back to Glasgow that night.
Review by Sarah Wilson, 21st January 2024
9th November 2023 - Concert with the Trio Meister Raro
In November, a packed Fratry hall was treated to an evening of musical story-telling by the
wonderful musicians who are Trio Meister Raro - Robert Plane (clarinet) Rachel Roberts (viola) and
Tim Horton (piano).
The name Meister Raro is taken from Robert Schumann who created pen names to describe
different aspects of his personality: the exuberant and extroverted Florestan, the introverted poet
Eusebius, and Meister Raro himself, the wise, observant mediator between the other two opposing
characters.
But before entering the fantasy world of Robert Schumann, the trio opened with another German
Romantic – Max Bruch. A selection from his 8 Pieces for clarinet, viola and piano, Op 83,
demonstrated beautifully how the warm, mellow voices of all three instruments blend so well
together. It was as if the audience were listening to an intimate conversation between two old
friends represented by the viola and clarinet, with a third – the piano - commenting in the
background.
The next piece, in dramatic contrast, was Gyorgy Kurtag's Hommage a Robert Schumann Op 15d.
Written in 1990, it is an extraordinarily complex set of six pieces referencing Schumann's three pen
names, as well as reflecting aspects of his compositional traits. Not that this is a lyrical or romantic
piece, rather, more of an experimental soundworld that stretches the capacities of all three
instruments and all three performers to their limits. Not an easy piece to understand, especially on
first hearing, nevertheless the audience could appreciate the passion with which it was performed,
as well as feeling the thrill of watching the musicians skilfully mastering the technical difficulties and
bringing out the full force of the drama and emotion.
Following this was a piece by Robert Schumann, the master story-teller himself, with a beautiful
performance of his Marchenbilder (Fairy tale Pictures) Op 113, for viola and piano. The two
instruments vividly conjured up the story-book world of Rapunzel and Rumpelstiltsken, with
moments of breath-taking speed as if of wild horses galloping, then with vigorous stamping fairy
dances and finally the sweet lyricism of a happy ending.
After the interval came the story of a woman composer struggling to make her mark on the musical
world. Rebecca Clarke wrote her trio Prelude, Allegro and Pastorale in 1942, but it was not published
until 2000. During her lifetime, works published under her own name were dismissed by the critics
while work published under the male pseudonym of Anthony Trent were well received. It was
something of a happy ending, then, to hear this work performed under her own name, the musicians
brilliantly bringing out all its beauty, joy, and vibrant colours.
The evening concluded with a delightful performance of Mozart's Trio for clarinet, viola and piano K
498, “Kegelstatt” – ending where the story effectively began, Mozart being the founding father of
this particular trio of instruments.
From Mozart to Kurtag, with everything in between – where will the story take us next? The
incredible range and dynamism of the Trio Meister Raro suggests that there are seemingly endless
possibilities for these remarkable instruments in the hands of these three accomplished and skilful
performers.
Review by Carolyn Fyfe, 14th November 2023
In November, a packed Fratry hall was treated to an evening of musical story-telling by the
wonderful musicians who are Trio Meister Raro - Robert Plane (clarinet) Rachel Roberts (viola) and
Tim Horton (piano).
The name Meister Raro is taken from Robert Schumann who created pen names to describe
different aspects of his personality: the exuberant and extroverted Florestan, the introverted poet
Eusebius, and Meister Raro himself, the wise, observant mediator between the other two opposing
characters.
But before entering the fantasy world of Robert Schumann, the trio opened with another German
Romantic – Max Bruch. A selection from his 8 Pieces for clarinet, viola and piano, Op 83,
demonstrated beautifully how the warm, mellow voices of all three instruments blend so well
together. It was as if the audience were listening to an intimate conversation between two old
friends represented by the viola and clarinet, with a third – the piano - commenting in the
background.
The next piece, in dramatic contrast, was Gyorgy Kurtag's Hommage a Robert Schumann Op 15d.
Written in 1990, it is an extraordinarily complex set of six pieces referencing Schumann's three pen
names, as well as reflecting aspects of his compositional traits. Not that this is a lyrical or romantic
piece, rather, more of an experimental soundworld that stretches the capacities of all three
instruments and all three performers to their limits. Not an easy piece to understand, especially on
first hearing, nevertheless the audience could appreciate the passion with which it was performed,
as well as feeling the thrill of watching the musicians skilfully mastering the technical difficulties and
bringing out the full force of the drama and emotion.
Following this was a piece by Robert Schumann, the master story-teller himself, with a beautiful
performance of his Marchenbilder (Fairy tale Pictures) Op 113, for viola and piano. The two
instruments vividly conjured up the story-book world of Rapunzel and Rumpelstiltsken, with
moments of breath-taking speed as if of wild horses galloping, then with vigorous stamping fairy
dances and finally the sweet lyricism of a happy ending.
After the interval came the story of a woman composer struggling to make her mark on the musical
world. Rebecca Clarke wrote her trio Prelude, Allegro and Pastorale in 1942, but it was not published
until 2000. During her lifetime, works published under her own name were dismissed by the critics
while work published under the male pseudonym of Anthony Trent were well received. It was
something of a happy ending, then, to hear this work performed under her own name, the musicians
brilliantly bringing out all its beauty, joy, and vibrant colours.
The evening concluded with a delightful performance of Mozart's Trio for clarinet, viola and piano K
498, “Kegelstatt” – ending where the story effectively began, Mozart being the founding father of
this particular trio of instruments.
From Mozart to Kurtag, with everything in between – where will the story take us next? The
incredible range and dynamism of the Trio Meister Raro suggests that there are seemingly endless
possibilities for these remarkable instruments in the hands of these three accomplished and skilful
performers.
Review by Carolyn Fyfe, 14th November 2023
12th October 2023 - Concert with Amber Emson and Leah Nicholson
On Thursday the 12th of October I was sat once again with my son in a packed Fratry, eagerly anticipating another evening of beautiful music. As Amber and Leah walked up, they were greeted with an enthusiastic and clearly excited round of applause. Amber introduced the first half of the programme slightly timidly, but with an obvious passion for the music to which we were about to be treated. From the first graceful slide of her bow across the strings all signs of timidity and nerves completely vanished, and the sweet, enveloping sound of her violin spoke of a player of great experience, as if she had been performing to audiences for decades. At times it seemed impossible, the sheer energy and volume that Amber was able to coax out of her instrument! Throughout the whole evening I don’t think I heard a single lapse in intonation, with every note cared for equally, and accompanied by an impeccable vibrato. And speaking of accompanying: for every beautiful note played by Amber, she was equalled by her counterpart, Leah. The two of them were so perfectly matched, always sounding balanced and completely in harmony with each other, both technically and intellectually, playing as one with the utmost taste and feeling. Watching Leah at the piano was exciting to say the least. At times she would lift completely from the piano stool, demanding great volumes of sound from the instrument; then her hands would be rippling up and down the piano with perfect dexterity and finesse. I felt that I could have listened to them for days on end without ever growing tired, and judging by the audience’s reaction after the performance, I feel sure that they were of the same mind too! Despite having given what seemed like more than humanly possible, we were then treated to a delightful encore of Debussy, a piece we were told that they particularly loved to play together. Well, we particularly enjoyed listening to it! I only hope that after reaching the lofty heights to which they are surely destined, they deem Carlisle worthy of another performance in the future.
Review by Matthew Knibbs, 16th October 2023
On Thursday the 12th of October I was sat once again with my son in a packed Fratry, eagerly anticipating another evening of beautiful music. As Amber and Leah walked up, they were greeted with an enthusiastic and clearly excited round of applause. Amber introduced the first half of the programme slightly timidly, but with an obvious passion for the music to which we were about to be treated. From the first graceful slide of her bow across the strings all signs of timidity and nerves completely vanished, and the sweet, enveloping sound of her violin spoke of a player of great experience, as if she had been performing to audiences for decades. At times it seemed impossible, the sheer energy and volume that Amber was able to coax out of her instrument! Throughout the whole evening I don’t think I heard a single lapse in intonation, with every note cared for equally, and accompanied by an impeccable vibrato. And speaking of accompanying: for every beautiful note played by Amber, she was equalled by her counterpart, Leah. The two of them were so perfectly matched, always sounding balanced and completely in harmony with each other, both technically and intellectually, playing as one with the utmost taste and feeling. Watching Leah at the piano was exciting to say the least. At times she would lift completely from the piano stool, demanding great volumes of sound from the instrument; then her hands would be rippling up and down the piano with perfect dexterity and finesse. I felt that I could have listened to them for days on end without ever growing tired, and judging by the audience’s reaction after the performance, I feel sure that they were of the same mind too! Despite having given what seemed like more than humanly possible, we were then treated to a delightful encore of Debussy, a piece we were told that they particularly loved to play together. Well, we particularly enjoyed listening to it! I only hope that after reaching the lofty heights to which they are surely destined, they deem Carlisle worthy of another performance in the future.
Review by Matthew Knibbs, 16th October 2023
21st September 2023 - Concert with Elena Walentin and Niklas Johansen
The opening concert of the 2023/2024 season in Carlisle Cathedral’s Fratry turned out to be a masterclass in rapport on several levels. Two Danish exports, at the zenith of their illustrious careers, demonstrated with facility a complete rapport with the music, with the creative objectives of their chosen composers, with the instruments they played, and with the audience. But equally, each had a quasi-telepathic rapport with the other, a mesmeric communion that gave the impression of one instrument with two voices. Together they exuded grace and joy in equal measure. Alena Walentin’s flute and Niklas Johansen’s classical guitar beguiled a good-sized audience for almost two hours with an intelligent and captivating set of solos and duets that left no doubt as to the virtuosity and mastery of instruments and players. The skill on display was breath-taking as they charmed the listeners with a musical journey that featured a reverential hymn by Nielsen, an impossibly challenging flute solo by Eugene Bozza and the brooding landscape of Etude no. II for solo guitar by Villa-Lobos. Katherine Hoover’s Canyon Echoes created musical magic with its evocative and surprising harmonies, while the grand finale was Histoire du Tango by the Argentinian composer Astor Piazzolla. For the inevitable encore these two luminaries eschewed the expected dazzling showpiece and offered instead a beautifully serene account of Harold Arlen’s Over The Rainbow. It was a masterstroke, a fitting end to an evening in which the audience had truly been face-to-face with the crock of gold.
Review by John Davies, 25th September 2023
The opening concert of the 2023/2024 season in Carlisle Cathedral’s Fratry turned out to be a masterclass in rapport on several levels. Two Danish exports, at the zenith of their illustrious careers, demonstrated with facility a complete rapport with the music, with the creative objectives of their chosen composers, with the instruments they played, and with the audience. But equally, each had a quasi-telepathic rapport with the other, a mesmeric communion that gave the impression of one instrument with two voices. Together they exuded grace and joy in equal measure. Alena Walentin’s flute and Niklas Johansen’s classical guitar beguiled a good-sized audience for almost two hours with an intelligent and captivating set of solos and duets that left no doubt as to the virtuosity and mastery of instruments and players. The skill on display was breath-taking as they charmed the listeners with a musical journey that featured a reverential hymn by Nielsen, an impossibly challenging flute solo by Eugene Bozza and the brooding landscape of Etude no. II for solo guitar by Villa-Lobos. Katherine Hoover’s Canyon Echoes created musical magic with its evocative and surprising harmonies, while the grand finale was Histoire du Tango by the Argentinian composer Astor Piazzolla. For the inevitable encore these two luminaries eschewed the expected dazzling showpiece and offered instead a beautifully serene account of Harold Arlen’s Over The Rainbow. It was a masterstroke, a fitting end to an evening in which the audience had truly been face-to-face with the crock of gold.
Review by John Davies, 25th September 2023
2022-23 Season
16th March 2023 - Concert with The Elmore String Quartet
For the last concert of the current season, the Fratry Hall was once again packed to capacity for a
superb concert given by the Elmore String Quartet.
Xander Croft (violin) Pijus Jonusas (violin) Inis Oirr Asano (viola) and Felix Hughes (cello) first formed
their Quartet at the Royal Northern College of Music in 2017, and have already won numerous prizes
and plaudits around the country. In the midst of a busy 2023 schedule of concerts and music
festivals, both in the UK and abroad, they came to Carlisle with an exhilarating programme of 19 th
Century string quartets, beginning with Schubert at the start of the century, via Beethoven, and
finishing with Brahms, bringing to life all the intensity and simmering passion of the Romantic era.
From the moment they began with the pulse-racing opening bars of Schubert’s Quartettsatz, they
filled the hall with their dynamic and yet also intimate playing, ably encompassing the full range of
the 19 th Century soundworld - sometimes sweet lyricism, other times, raw emotion.
The Schubert was followed by Beethoven’s string quartet in D major, Op. 18, no. 3. With its
deceptively simple opening bars, it could easily be overlooked as an early experiment in quartet
writing, but as ever with Beethoven, it wasn’t long before excitement and drama, bubbling beneath
the surface, broke out in surprising ways. The Elmore Quartet took the audience on the roller-
coaster of all Beethoven’s rapidly changing moods, ending with the unexpected and delightful quiet
closing bars.
After the interval, it was the turn of Brahms, whose string quartet in A minor Op. 51 no.2, published
in 1873, drew on the earlier composers for inspiration. There were plenty of challenges across the
four movements, which the accomplished Elmore Quartet negotiated with enormous skill. This work,
serious and soulful, passed through contrasting moments of deep melancholy, intense stillness, wild,
conflicting rhythms and passionate outbursts. The Elmore Quartet carried off the final burst of
emotion with aplomb, and ended, as they had begun, with the audience enraptured by their playing.
Review by Carolyn Fyfe, 18th March 2023
superb concert given by the Elmore String Quartet.
Xander Croft (violin) Pijus Jonusas (violin) Inis Oirr Asano (viola) and Felix Hughes (cello) first formed
their Quartet at the Royal Northern College of Music in 2017, and have already won numerous prizes
and plaudits around the country. In the midst of a busy 2023 schedule of concerts and music
festivals, both in the UK and abroad, they came to Carlisle with an exhilarating programme of 19 th
Century string quartets, beginning with Schubert at the start of the century, via Beethoven, and
finishing with Brahms, bringing to life all the intensity and simmering passion of the Romantic era.
From the moment they began with the pulse-racing opening bars of Schubert’s Quartettsatz, they
filled the hall with their dynamic and yet also intimate playing, ably encompassing the full range of
the 19 th Century soundworld - sometimes sweet lyricism, other times, raw emotion.
The Schubert was followed by Beethoven’s string quartet in D major, Op. 18, no. 3. With its
deceptively simple opening bars, it could easily be overlooked as an early experiment in quartet
writing, but as ever with Beethoven, it wasn’t long before excitement and drama, bubbling beneath
the surface, broke out in surprising ways. The Elmore Quartet took the audience on the roller-
coaster of all Beethoven’s rapidly changing moods, ending with the unexpected and delightful quiet
closing bars.
After the interval, it was the turn of Brahms, whose string quartet in A minor Op. 51 no.2, published
in 1873, drew on the earlier composers for inspiration. There were plenty of challenges across the
four movements, which the accomplished Elmore Quartet negotiated with enormous skill. This work,
serious and soulful, passed through contrasting moments of deep melancholy, intense stillness, wild,
conflicting rhythms and passionate outbursts. The Elmore Quartet carried off the final burst of
emotion with aplomb, and ended, as they had begun, with the audience enraptured by their playing.
Review by Carolyn Fyfe, 18th March 2023
16th February 2023 - Concert with Sophie Rosa, violin, and Ian Buckle, piano
What a privilege it was to be at the marvellous recital given by Sophie Rosa, violin and Ian Buckle, piano. Two consummate artists who combined to give us some really awe inspiring music making. Three vastly different sonatas were played with total stylistic and technical accomplishment. The wow factor was very much in evidence and the audience listened intently and were clearly transported into another realm.
It was wonderful again to see the beautiful Fratry Hall almost packed to capacity and there was a real sense of atmosphere and occasion.
Next season is almost fully planned and we will look forward to sharing the details shortly. We ask for your continued support to ensure the continued success of this important musical series here in Carlisle,
Michael Hancock.
It was wonderful again to see the beautiful Fratry Hall almost packed to capacity and there was a real sense of atmosphere and occasion.
Next season is almost fully planned and we will look forward to sharing the details shortly. We ask for your continued support to ensure the continued success of this important musical series here in Carlisle,
Michael Hancock.
19th January 2023 - Piano Recital with George Needham
Franz Liszt can take the credit for many things in music performance, bad haircuts, the regular and repeated use of the quadruple forte dynamic, the so-called transmogrification of themes, the introduction of the octatonic scale to classical music. Two things stand out, which in some peoples’ view (at least mine) have caused incalculable damage to the performance of classical piano music: the insistence on use of the piano stool, replacing the comfortable and convenient high-backed chair beloved of Mozart and Beethoven among others, and above all the insistence on performing from memory. It’s tough for pianists and indeed until comparatively recently playing from memory was a requirement to gain a professional qualification. Even now the ABRSM states (in its usual weaselly prose) that “Although there is no specific requirement to perform from memory, you are encouraged to do so if you consider it will enhance your Recital.”- for which read “if you don’t play from memory, we’re going to come down on you like a ton of bricks.“ Many professional pianists nowadays choose to use the score and examples from history include such stellar pianists as Sviatoslav Richter – and Beethoven, who once severely told off Carl Czerny for playing from memory. Many more pianists secretly hide an iPad in the body of the instrument just below the sight line of the audience, as an aide memoire. And why on earth not?
I labour this point, because George Needham’s recital might well have been excellent had it not been marred by memory lapses and inaccuracies. These must have been unsettling for him; more to the point, they were unsettling to the audience. The programme itself was heavy and demanding: Bach’s E minor partita was written for the composer himself to play in concert, (and later to make money from the sheet music), and contains some of the most complex examples of fugue that he wrote. Mr Needham found this unsettling, as did we, which was a great shame as some of his phrasing and finger work particularly in the upper register were delightful and faultless in their execution. His choices of ornamentation in the slow movements were not only appropriate but sublimely artistic.
Sadly, the same problems with accuracy persisted with the Brahms Opus 10 Ballades. These works sound far more demanding than in fact they are, but where they do make demands is in one’s approach to the structure of the pieces and the set as a whole. I feel Mr Needham may have a few more months of study to do on these works: it’s not enough simply to play the notes; these are the most intimate outpourings of young unrequited love for a woman Brahms knew very well he could never possess; and their poetry, their agony and their beauty must be audible in order for the pieces to work at all.
The Debussy Images suffered the same fate as the rest of the programme; again, some of the chiaroscuro finger work was often delightful, but was disturbed by an uncomfortable and pedestrian approach to the underlying metre of the music. It was no surprise that the pianist ended the recital with no encore.
We should thank him profoundly for having taken the trouble to put himself under such pressure to share his work in progress with us. As a pianist I know how difficult, how nerve-wracking and how unrewarding this can sometimes be.
But by the simple expedient of employing the score, I think we could all have had a much better evening.
Review by Nick Butters, 24th January 2023
I labour this point, because George Needham’s recital might well have been excellent had it not been marred by memory lapses and inaccuracies. These must have been unsettling for him; more to the point, they were unsettling to the audience. The programme itself was heavy and demanding: Bach’s E minor partita was written for the composer himself to play in concert, (and later to make money from the sheet music), and contains some of the most complex examples of fugue that he wrote. Mr Needham found this unsettling, as did we, which was a great shame as some of his phrasing and finger work particularly in the upper register were delightful and faultless in their execution. His choices of ornamentation in the slow movements were not only appropriate but sublimely artistic.
Sadly, the same problems with accuracy persisted with the Brahms Opus 10 Ballades. These works sound far more demanding than in fact they are, but where they do make demands is in one’s approach to the structure of the pieces and the set as a whole. I feel Mr Needham may have a few more months of study to do on these works: it’s not enough simply to play the notes; these are the most intimate outpourings of young unrequited love for a woman Brahms knew very well he could never possess; and their poetry, their agony and their beauty must be audible in order for the pieces to work at all.
The Debussy Images suffered the same fate as the rest of the programme; again, some of the chiaroscuro finger work was often delightful, but was disturbed by an uncomfortable and pedestrian approach to the underlying metre of the music. It was no surprise that the pianist ended the recital with no encore.
We should thank him profoundly for having taken the trouble to put himself under such pressure to share his work in progress with us. As a pianist I know how difficult, how nerve-wracking and how unrewarding this can sometimes be.
But by the simple expedient of employing the score, I think we could all have had a much better evening.
Review by Nick Butters, 24th January 2023
17th November 2022 - Concert with the Mithras Trio
What a great privilege it was to have three most wonderful musicians to play for another capacity audience here in Carlisle. These are Ionel Manciu, Leo Popplewell and Dominic Degavino, together making up the fabulous Mithras Trio. One could never hear music more exquisitely played, more beautiful, more powerful, more thrilling! From the very first notes of their first piece, Frank Bridge’s gorgeous Phantasie Trio, one knew that here were three players of the first order. Their timing and intonation are perfection – striking that whirling first phrase with power and precision, and the next moment revealing so much more, as the music moved into a beautiful, expressive passage. Leo and Ionel’s vibrato so beautiful and in perfect union, Dominic’s very lovely piano playing setting the tender mood, the voices of the three instruments moved flawlessly together through the lush music, captivating the hushed audience. Such delicious playing - the three displayed great taste and heartfelt sympathy for this luxuriant late romantic masterpiece. In these masters’ hands, this work was utterly beautiful and very moving!
Jump back exactly one hundred years from 1907 to 1807 with Beethoven’s wondrous piano trio in D major, known as the Ghost. How superbly these exceptional young men moved into the late classical style, adapting their playing to produce a most authentic Beethoven sound! The vibrato, the piano pedalling, the timing – all absolutely right. This very impressive work was showcased with great feeling for its depth of meaning in each of the beautiful and contrasting movements. Beethoven spoke to us so eloquently through his music so exquisitely played! It is wonderful to watch them, enjoying each other’s music, and playing completely as one. The largo assai ed espressivo movement, which earned the trio’s “Ghost” nickname, was played with such deeply felt and intense expression - certainly eerie and ominous at times, but also beautiful and very moving indeed. The presto movement concluding this master-work is full of exuberance and was played with thrilling virtuosity!
After the intermission were two lovely pieces, new to me, by Lili Boulanger, who very tragically died at the age of twenty-four. Listening to these played with such compassion and supreme skill revealed a composer who surely must have gone on to even greater things had she lived. Emotional works with very beautiful writing for the strings, and the harmonies, especially for the piano part, imparting a very modern flavour compared with the Frank Bridge, written just a few years earlier. Very powerful works from such a young writer, and her death shortly after these were finished, such a terrible loss! It was wonderful to hear these works brought to life so brilliantly.
For the crowning finale of this extraordinary evening, Leo, Dominic and Ionel performed one of the most amazing works for a piano trio ever written. Beautiful in the extreme, staggeringly powerful: Ravel’s Piano Trio in A minor. Words just cannot describe this work, or how fabulously these three performed it. Three movements, all utterly wonderful, and executed to perfection. You just had to be there, as nothing can convey the thrilling effect of hearing this performance. The work ends with an astonishing double climax, the piano and strings sounding almost like a whole orchestra. The applause from the clearly enthralled audience was tremendous, with bravos, hoorays and stamping of feet. What a night it was, and I wish I could experience it all over again!
We are again very grateful to the Countess of Munster Musical Trust for its support, which so greatly contributes toward bringing superlative performances of quality music to so many. Our thanks to them, and to the great Mithras Trio for this incomparable experience.
Review by Ben Knibbs, 20th November 2022
Jump back exactly one hundred years from 1907 to 1807 with Beethoven’s wondrous piano trio in D major, known as the Ghost. How superbly these exceptional young men moved into the late classical style, adapting their playing to produce a most authentic Beethoven sound! The vibrato, the piano pedalling, the timing – all absolutely right. This very impressive work was showcased with great feeling for its depth of meaning in each of the beautiful and contrasting movements. Beethoven spoke to us so eloquently through his music so exquisitely played! It is wonderful to watch them, enjoying each other’s music, and playing completely as one. The largo assai ed espressivo movement, which earned the trio’s “Ghost” nickname, was played with such deeply felt and intense expression - certainly eerie and ominous at times, but also beautiful and very moving indeed. The presto movement concluding this master-work is full of exuberance and was played with thrilling virtuosity!
After the intermission were two lovely pieces, new to me, by Lili Boulanger, who very tragically died at the age of twenty-four. Listening to these played with such compassion and supreme skill revealed a composer who surely must have gone on to even greater things had she lived. Emotional works with very beautiful writing for the strings, and the harmonies, especially for the piano part, imparting a very modern flavour compared with the Frank Bridge, written just a few years earlier. Very powerful works from such a young writer, and her death shortly after these were finished, such a terrible loss! It was wonderful to hear these works brought to life so brilliantly.
For the crowning finale of this extraordinary evening, Leo, Dominic and Ionel performed one of the most amazing works for a piano trio ever written. Beautiful in the extreme, staggeringly powerful: Ravel’s Piano Trio in A minor. Words just cannot describe this work, or how fabulously these three performed it. Three movements, all utterly wonderful, and executed to perfection. You just had to be there, as nothing can convey the thrilling effect of hearing this performance. The work ends with an astonishing double climax, the piano and strings sounding almost like a whole orchestra. The applause from the clearly enthralled audience was tremendous, with bravos, hoorays and stamping of feet. What a night it was, and I wish I could experience it all over again!
We are again very grateful to the Countess of Munster Musical Trust for its support, which so greatly contributes toward bringing superlative performances of quality music to so many. Our thanks to them, and to the great Mithras Trio for this incomparable experience.
Review by Ben Knibbs, 20th November 2022
3rd November 2022 - Concert with Meera Maharaj, flute, and Dominic Degavino, piano
The concert on 3rd November was another stunning success! Our delightful guest performers, Meera Maharaj and Dominic Degavino, charmed and thrilled the capacity audience with a most colourful and varied programme, performed with vivacity, great taste and dazzling skill. We are very grateful to the Countess of Munster Musical Trust for its support, which enabled so many to hear these two amazingly talented musicians.
The opening piece was a beautifully played Handel sonata made up of seven elegant and refined dances. Handel’s sustained flute melodies were extremely beautiful with Meera's lovely control of her instrument, and so joyful in the livelier movements. Dominic's accompaniment played with precision and delicacy, exactly in keeping with the work. Together they brought this rarely heard music to vivid life - the effect was enchanting.
Then followed a piece from the 1930s by William Grant Still. A dreamy movement from his suite, Three Visions, with the title Summerland. Again, Meera's beautiful control of the languorous melody conjured a world of summery dreams. Dominic's rippling accompaniment completing the glimmering scene.
Following on was a piece that I personally found the most revelatory and movingly beautiful work of the evening - a Samuel Barber piece, Canzone. Meera explained that this short work Barber derived from his Piano Concerto's slow movement - and what a gorgeous duet this made! In this, piano and flute are equal partners in the loveliest of conversations. In their hands this music clearly demonstrates what a brilliant and inspired composer Samuel Barber was. The music was not only profoundly beautiful, it was also deeply moving - it speaks to one's heart.
Then came Aaron Copland's duo for flute and piano - a substantial and technically challenging work, lyrical with typical Copland harmony and melodic style. Three contrasting movements, all handled wonderfully by Meera and Dominic, who play with such evident concord of thought and understanding.
After the intermission there was a marked change of style, starting with the hauntingly beautiful Out of the Cool by Dave Heath and a sonata by Andy Scott. There was very impressive playing by the duo for this work - a lovely song-like central movement flanked by dynamic and opening and concluding movements that looked extraordinarily difficult!
As a wonderful finale, there was some fabulous jazz improvisation based on a few well known popular songs. The performance demonstrated their consummate mastery of this genre! No jazz clichés here - genuine originality. Meera danced almost as much as she played, and Dominic's hands moved with unbelievable rapidity and power - almost wild and yet with utter accuracy and rhythmic exactness. It was as amazing to watch as it was to hear as this fantastic pair took us to the concert’s exhilarating conclusion. The audience expressed their delight and appreciation with enthusiastic applause!
Review by Ben Knibbs, 7th November 2022
The opening piece was a beautifully played Handel sonata made up of seven elegant and refined dances. Handel’s sustained flute melodies were extremely beautiful with Meera's lovely control of her instrument, and so joyful in the livelier movements. Dominic's accompaniment played with precision and delicacy, exactly in keeping with the work. Together they brought this rarely heard music to vivid life - the effect was enchanting.
Then followed a piece from the 1930s by William Grant Still. A dreamy movement from his suite, Three Visions, with the title Summerland. Again, Meera's beautiful control of the languorous melody conjured a world of summery dreams. Dominic's rippling accompaniment completing the glimmering scene.
Following on was a piece that I personally found the most revelatory and movingly beautiful work of the evening - a Samuel Barber piece, Canzone. Meera explained that this short work Barber derived from his Piano Concerto's slow movement - and what a gorgeous duet this made! In this, piano and flute are equal partners in the loveliest of conversations. In their hands this music clearly demonstrates what a brilliant and inspired composer Samuel Barber was. The music was not only profoundly beautiful, it was also deeply moving - it speaks to one's heart.
Then came Aaron Copland's duo for flute and piano - a substantial and technically challenging work, lyrical with typical Copland harmony and melodic style. Three contrasting movements, all handled wonderfully by Meera and Dominic, who play with such evident concord of thought and understanding.
After the intermission there was a marked change of style, starting with the hauntingly beautiful Out of the Cool by Dave Heath and a sonata by Andy Scott. There was very impressive playing by the duo for this work - a lovely song-like central movement flanked by dynamic and opening and concluding movements that looked extraordinarily difficult!
As a wonderful finale, there was some fabulous jazz improvisation based on a few well known popular songs. The performance demonstrated their consummate mastery of this genre! No jazz clichés here - genuine originality. Meera danced almost as much as she played, and Dominic's hands moved with unbelievable rapidity and power - almost wild and yet with utter accuracy and rhythmic exactness. It was as amazing to watch as it was to hear as this fantastic pair took us to the concert’s exhilarating conclusion. The audience expressed their delight and appreciation with enthusiastic applause!
Review by Ben Knibbs, 7th November 2022
September 22nd, 2022 - Recital of Beethoven and Bach by Martin Roscoe, piano
Another thrilling evening with the Carlisle Music Society!
On Thursday last week, a jam-packed Fratry was treated to an evening of excitement and delight by the exquisite playing of pianist Martin Roscoe. His relaxed, easy going manner set the audience at ease, while also whetting our appetites with an enthusiastic description of what was to come as he introduced the programme.
I was imagining that the first two Beethoven sonatas would be pleasant but a bit too familiar to really evoke much emotion. How wrong I was! I was riveted from the start by the expressive and virtuosic playing of Martin, making the well-worn Pathétique and Appassionata sonatas fresh and exhilarating to listen to, as if I were listening to them for the first time. The audience were clearly of the same mind, evidenced by the thunderous applause upon the conclusion of each sonata.
After the intermission we were then further treated, to Bach’s Goldberg Variations. Martin’s assured placement of each note with wonderful sensitivity and feeling in the initial theme set the scene beautifully for the twenty-nine incredibly imaginative variations that followed. His fingers masterfully weaving up and down the keys, seemingly defying physics, with both hands frequently in the same place at the same time. Again, it was clear that the audience (including my son and me) was absolutely enthralled, and we could not express enough our appreciation by our applause… but we did our best!
Matthew Knibbs, 27th September 2022
Another thrilling evening with the Carlisle Music Society!
On Thursday last week, a jam-packed Fratry was treated to an evening of excitement and delight by the exquisite playing of pianist Martin Roscoe. His relaxed, easy going manner set the audience at ease, while also whetting our appetites with an enthusiastic description of what was to come as he introduced the programme.
I was imagining that the first two Beethoven sonatas would be pleasant but a bit too familiar to really evoke much emotion. How wrong I was! I was riveted from the start by the expressive and virtuosic playing of Martin, making the well-worn Pathétique and Appassionata sonatas fresh and exhilarating to listen to, as if I were listening to them for the first time. The audience were clearly of the same mind, evidenced by the thunderous applause upon the conclusion of each sonata.
After the intermission we were then further treated, to Bach’s Goldberg Variations. Martin’s assured placement of each note with wonderful sensitivity and feeling in the initial theme set the scene beautifully for the twenty-nine incredibly imaginative variations that followed. His fingers masterfully weaving up and down the keys, seemingly defying physics, with both hands frequently in the same place at the same time. Again, it was clear that the audience (including my son and me) was absolutely enthralled, and we could not express enough our appreciation by our applause… but we did our best!
Matthew Knibbs, 27th September 2022
2021-22 Season
April 7th, 2022 - Manu Brazo, saxophone and Prajna Indrawati, piano
The sound came out of the shadows and filled the medieval Fratry, but it was more than the sound of the saxophone: it was a voice, a resonant, flexible voice that seemed to speak so many languages.
Manu Brazo is from Spain and his piano accompanist, Prajna Indrawati, from Indonesia. Together, they seemed to speak with the sounds and rhythms of many lands, of Spain and Morocco, Greece, France, Hungary and Romania, of Argentina and North Africa. Like the saxophone itself, an instrument that more than any other wind instruments can reach across musical genres, the music they played accommodated so much else within its classical form, drawing on folk songs, on jazz and ethnic dance rhythms.
Federico Garcia Lorca, the great Spanish poet and playwright, collected folksongs and the arrangement of Tres Morillas expressed the plaintive longing that comes from dispossession.
Pedro Iturralde’s Suite Helenique, written in 2001, moved from a Funky movement to a Waltz movement. In Aria, by the French composer, Eugene Bozza, Manu showed a remarkable control of intonation as he responded to a melodic line that drew on the music of Bach.
This contrasted very strongly with the six Romanian Dances which Bartok collected in Transylvania. Each one is very brief, but each one has a rhythm of its own that tests the agility of both pianist and saxophonist.
After the interval, Manu and Prajna opened with Memorias, a piece which Iturralde had written fifty years earlier when he was a teenager. It began with the sad yearning of a Portuguese fado, but it took us on a musical journey through swing and boogie-woogie and Algerian folk music before it returned to Spain.
With Ave Maria and Muerte del Angel, by Astor Piazzola, famous for his tangos, we travelled to Buenos Aires to hear music that moved from plaintive sadness to rhythmic ferocity. Manual de Falla collected folksongs with Lorca. His beautiful Nana is a lullaby and Manu revealed the depth of tenderness that can be coaxed from a saxophone. The next moment, he and Prajna were launched into all the diabolic vigour of the Devil’s Rag by the Tunisian composer Jean Matitia.
And finally, as an encore, to prove our journey wasn’t yet over, Mano, played an arrangement of a Hungarian Czardos in the crowd-pleasing version by the Italian Vittoria Monti. It has seven changes of tempo and sudden changes of mood.
It demonstrated, if we needed any further demonstration, what a wonderfully flexible voice the saxophone possesses when it is in the hands of a master.
Steve Matthews
The sound came out of the shadows and filled the medieval Fratry, but it was more than the sound of the saxophone: it was a voice, a resonant, flexible voice that seemed to speak so many languages.
Manu Brazo is from Spain and his piano accompanist, Prajna Indrawati, from Indonesia. Together, they seemed to speak with the sounds and rhythms of many lands, of Spain and Morocco, Greece, France, Hungary and Romania, of Argentina and North Africa. Like the saxophone itself, an instrument that more than any other wind instruments can reach across musical genres, the music they played accommodated so much else within its classical form, drawing on folk songs, on jazz and ethnic dance rhythms.
Federico Garcia Lorca, the great Spanish poet and playwright, collected folksongs and the arrangement of Tres Morillas expressed the plaintive longing that comes from dispossession.
Pedro Iturralde’s Suite Helenique, written in 2001, moved from a Funky movement to a Waltz movement. In Aria, by the French composer, Eugene Bozza, Manu showed a remarkable control of intonation as he responded to a melodic line that drew on the music of Bach.
This contrasted very strongly with the six Romanian Dances which Bartok collected in Transylvania. Each one is very brief, but each one has a rhythm of its own that tests the agility of both pianist and saxophonist.
After the interval, Manu and Prajna opened with Memorias, a piece which Iturralde had written fifty years earlier when he was a teenager. It began with the sad yearning of a Portuguese fado, but it took us on a musical journey through swing and boogie-woogie and Algerian folk music before it returned to Spain.
With Ave Maria and Muerte del Angel, by Astor Piazzola, famous for his tangos, we travelled to Buenos Aires to hear music that moved from plaintive sadness to rhythmic ferocity. Manual de Falla collected folksongs with Lorca. His beautiful Nana is a lullaby and Manu revealed the depth of tenderness that can be coaxed from a saxophone. The next moment, he and Prajna were launched into all the diabolic vigour of the Devil’s Rag by the Tunisian composer Jean Matitia.
And finally, as an encore, to prove our journey wasn’t yet over, Mano, played an arrangement of a Hungarian Czardos in the crowd-pleasing version by the Italian Vittoria Monti. It has seven changes of tempo and sudden changes of mood.
It demonstrated, if we needed any further demonstration, what a wonderfully flexible voice the saxophone possesses when it is in the hands of a master.
Steve Matthews
March 3rd, 2022 - Reiko Fujisawa, piano
Despite the cold and the ever-present fear of Covid, there was a near-full house to hear this imaginatively conceived and programmed recital. Reiko Fujisawa began her programme with Ferruccio Busoni’s transcription (some might say, adaptation) of Bach’s Chaconne from the D Minor Partita for violin. Busoni revered, even worshipped Bach, and yet could never resist the urge to “improve” on the original. It was a strange and strained relationship which at times gave birth to coherent masterpieces such as this. As Reiko notes in the programme, this has remained in the concert pianist’s repertoire for over a century and it makes fearsome demands on the technique of the performer – and the stamina of the listener! It has fallen into neglect recently, and it was good to hear it given an airing, particularly in such a vigorous and spirited interpretation, which I’m sure is true to Busoni’s original intentions.
This was followed by Weber’s “Invitation to the Dance”, an early example of the concert waltz, written for listening rather than for dancing. In terms of style and musical language, Weber was a consolidator rather than an innovator, saving his innovations for structure and dramatic expression, and it was delightful to hear these simpler transparent textures brought to the fore.
Clara (Schumann) Wieck’s Op10 Scherzo and Op21 No3 Romance followed on from the Weber. These were loose in form and limpid, almost luminous in texture – music very different from that of her more famous husband - and were particularly well suited to Fratry Hall’s somewhat watery acoustic, allowing the nascent sense of pre-impressionism in these pieces to float over and around the listener, to great effect.
Chopin’s impromptus in F sharp minor and A flat major closed the first half of the programme. These well-known and well-loved works were given an uncoloured reading, concentrating more on the form and harmonic structure - an aspect of Chopin’s craft which is often unfairly overlooked.
The second half of the recital comprised Schubert’s Four Impromptus, D.899, which despite their name are substantial works. The often quoted “heavenly length” of Schubert’s imagination and extrapolation were well served by a reading which was respectful to their original conception, and the pieces featured well-judged tempi and dynamics.
This was a great pleasure to listen to – particularly on such a cold, wet evening! – and I hope we get the opportunity to welcome Reiko Fujisawa again in the near future.
Nicholas Butters
Despite the cold and the ever-present fear of Covid, there was a near-full house to hear this imaginatively conceived and programmed recital. Reiko Fujisawa began her programme with Ferruccio Busoni’s transcription (some might say, adaptation) of Bach’s Chaconne from the D Minor Partita for violin. Busoni revered, even worshipped Bach, and yet could never resist the urge to “improve” on the original. It was a strange and strained relationship which at times gave birth to coherent masterpieces such as this. As Reiko notes in the programme, this has remained in the concert pianist’s repertoire for over a century and it makes fearsome demands on the technique of the performer – and the stamina of the listener! It has fallen into neglect recently, and it was good to hear it given an airing, particularly in such a vigorous and spirited interpretation, which I’m sure is true to Busoni’s original intentions.
This was followed by Weber’s “Invitation to the Dance”, an early example of the concert waltz, written for listening rather than for dancing. In terms of style and musical language, Weber was a consolidator rather than an innovator, saving his innovations for structure and dramatic expression, and it was delightful to hear these simpler transparent textures brought to the fore.
Clara (Schumann) Wieck’s Op10 Scherzo and Op21 No3 Romance followed on from the Weber. These were loose in form and limpid, almost luminous in texture – music very different from that of her more famous husband - and were particularly well suited to Fratry Hall’s somewhat watery acoustic, allowing the nascent sense of pre-impressionism in these pieces to float over and around the listener, to great effect.
Chopin’s impromptus in F sharp minor and A flat major closed the first half of the programme. These well-known and well-loved works were given an uncoloured reading, concentrating more on the form and harmonic structure - an aspect of Chopin’s craft which is often unfairly overlooked.
The second half of the recital comprised Schubert’s Four Impromptus, D.899, which despite their name are substantial works. The often quoted “heavenly length” of Schubert’s imagination and extrapolation were well served by a reading which was respectful to their original conception, and the pieces featured well-judged tempi and dynamics.
This was a great pleasure to listen to – particularly on such a cold, wet evening! – and I hope we get the opportunity to welcome Reiko Fujisawa again in the near future.
Nicholas Butters
February 17th, 2022 - Fitzroy Quartet
Dynamically led by Dan-Iulian Drutac, with Joseph Griffin an excellent stand-in on viola and Michael Newman on ‘cello, alternately a sturdy bass or a lyrical tenor, there was something of the Three Musketeers about them, in the sense that these three seemed to be having all the fun, whilst Laura Custodio, on 2nd violin often had to keep chugging away with accompaniment figures.
The opening starter, Haydn’s op.33 no.4 Quartet, had all the best Classical features - poise, grace, and sparkling wit. Communication between the players was most effective, with eyes smiling and tight ensemble playing. Attention to dynamics gave vitality the performance. The beautiful slow movement showed 1st violin and viola at their lyrical best and the joyous finale ended with a typical Haydn touch of humour - a sudden pause then pizzicato.
The main course, Beethoven’s 10th Quartet, was meaty indeed, with an epic slow movement and a scherzo reminiscent of the 5th Symphony. Classical order was restored with the accented dynamics of the theme and its contrasting variations in the finale.
If Mendelssohn’s op.44 no.2 was the sweet course, he certainly did sweetly sentimental/religioso during the breaks between impassioned, aspiring openings.
What the Fitzroy Quartet gave us was effectively the history of the string quartet over fifty years. The playing was of a high order and they certainly gave their all but I would have liked a more contrasting programme, with a wider historical reach.
Ian France
Dynamically led by Dan-Iulian Drutac, with Joseph Griffin an excellent stand-in on viola and Michael Newman on ‘cello, alternately a sturdy bass or a lyrical tenor, there was something of the Three Musketeers about them, in the sense that these three seemed to be having all the fun, whilst Laura Custodio, on 2nd violin often had to keep chugging away with accompaniment figures.
The opening starter, Haydn’s op.33 no.4 Quartet, had all the best Classical features - poise, grace, and sparkling wit. Communication between the players was most effective, with eyes smiling and tight ensemble playing. Attention to dynamics gave vitality the performance. The beautiful slow movement showed 1st violin and viola at their lyrical best and the joyous finale ended with a typical Haydn touch of humour - a sudden pause then pizzicato.
The main course, Beethoven’s 10th Quartet, was meaty indeed, with an epic slow movement and a scherzo reminiscent of the 5th Symphony. Classical order was restored with the accented dynamics of the theme and its contrasting variations in the finale.
If Mendelssohn’s op.44 no.2 was the sweet course, he certainly did sweetly sentimental/religioso during the breaks between impassioned, aspiring openings.
What the Fitzroy Quartet gave us was effectively the history of the string quartet over fifty years. The playing was of a high order and they certainly gave their all but I would have liked a more contrasting programme, with a wider historical reach.
Ian France
November 18th, 2021 - Tempest Quartet
70th Anniversary concert
My first glance at the programme generated a heady mixture of anticipation and uncertainty. What kind of an evening were we in for? Admittedly Purcell and Max Bruch sounded reassuringly familiar, but what of the others? Oliver Knussen, Clara Sanabras, Ryan Latimer, Jörg Widmann and Paul Moravec, names unfamiliar to my somewhat sheltered ears. I needn’t have worried, a real treat was in store!
Interestingly the three Purcell fantasias which opened the evening fitted in remarkably well with the predominantly contemporary music which followed, a reminder of how far ahead of his time this composer indeed was. He wouldn’t have heard of the clarinet, of course, but I’m sure he would have enjoyed the new sound which this brought to his music. The Knussen which followed, a brief homage to Purcell, featured a frenzied ostinato which had me on the edge of my seat. Following this, a selection from Max Bruch’s eight pieces opus 83, full of the gorgeous lyricism that we expect from him, proved a well-planned contrast. Beautiful cello playing by Clare O’Connell reminded me of another piece by Max Bruch, his well-known ‘Kol Nidrei’. Returning to the 21st century our musical journey continued with works by Clara Sanabras ‘The Tempest Himself’, and Ryan Latimer ‘The Anatomy of Legerdemain’, written in 2016 and 2019 respectively. These highly contemporary compositions proved most enjoyable, with spiky inventive rhythms contrasting with periods of soulful introspection and featuring some lovely violin sounds from David Le Page.
After the interval, Jack McNeill treated us to a stunning performance of Jörg Widmann’s Fantasie for solo clarinet, an extremely challenging tour de force which showcased every conceivable sound and nuance of which the instrument was capable and demanding the utmost from performer and listener. Over the years legendary performers such as Jack Brymer, Benny Goodman and Emma Johnson, to name but a few, have raised the profile of the clarinet to superstar status. That our own Jack McNeill rightly joins these illustrious names is a great source of pride.
Last, but by no means least the Tempest Fantasy by Paul Moravec proved a wonderful choice, in which all four virtuosi played in equal partnership. Pianist Viv McLean’s breathtaking contribution to the furious barnstorming finale was particularly memorable.
Martin Johnson
70th Anniversary concert
My first glance at the programme generated a heady mixture of anticipation and uncertainty. What kind of an evening were we in for? Admittedly Purcell and Max Bruch sounded reassuringly familiar, but what of the others? Oliver Knussen, Clara Sanabras, Ryan Latimer, Jörg Widmann and Paul Moravec, names unfamiliar to my somewhat sheltered ears. I needn’t have worried, a real treat was in store!
Interestingly the three Purcell fantasias which opened the evening fitted in remarkably well with the predominantly contemporary music which followed, a reminder of how far ahead of his time this composer indeed was. He wouldn’t have heard of the clarinet, of course, but I’m sure he would have enjoyed the new sound which this brought to his music. The Knussen which followed, a brief homage to Purcell, featured a frenzied ostinato which had me on the edge of my seat. Following this, a selection from Max Bruch’s eight pieces opus 83, full of the gorgeous lyricism that we expect from him, proved a well-planned contrast. Beautiful cello playing by Clare O’Connell reminded me of another piece by Max Bruch, his well-known ‘Kol Nidrei’. Returning to the 21st century our musical journey continued with works by Clara Sanabras ‘The Tempest Himself’, and Ryan Latimer ‘The Anatomy of Legerdemain’, written in 2016 and 2019 respectively. These highly contemporary compositions proved most enjoyable, with spiky inventive rhythms contrasting with periods of soulful introspection and featuring some lovely violin sounds from David Le Page.
After the interval, Jack McNeill treated us to a stunning performance of Jörg Widmann’s Fantasie for solo clarinet, an extremely challenging tour de force which showcased every conceivable sound and nuance of which the instrument was capable and demanding the utmost from performer and listener. Over the years legendary performers such as Jack Brymer, Benny Goodman and Emma Johnson, to name but a few, have raised the profile of the clarinet to superstar status. That our own Jack McNeill rightly joins these illustrious names is a great source of pride.
Last, but by no means least the Tempest Fantasy by Paul Moravec proved a wonderful choice, in which all four virtuosi played in equal partnership. Pianist Viv McLean’s breathtaking contribution to the furious barnstorming finale was particularly memorable.
Martin Johnson
October 21st, 2021 - Consone Quartet
The Consone String Quartet made a welcome return to the Fratry Hall in Carlisle with a programme of Haydn, Schubert and two Mendelssohns - Felix and his elder sister Fanny. Currently BBC New Generation Artists the Quartet are building an impressive reputation for their chosen performing style based on using instruments and bows of the Classical/early Romantic period. Gut strings and lighter-weight bows affect tone quality and articulation but it is the players’ own musicality that really counts.
From the first bars of Haydn’s Quartet op.33 no.4 the energy and dynamic contrasts grabbed the attention and the Fratry’s helpful acoustics ensured that the softest cadences were crystal clear. Haydn’s ubiquitous humour shone through in the finale when first violinist Agata Daraskaite set off on a scintillating scamper – high quality quartet playing that would have delighted Haydn.
Fanny Mendelssohn had a tough time as a composer coping with male prejudice although she wrote hundreds of piano pieces and songs and enjoyed some success in the salons of the day. The Consone Quartet gave a powerful and enjoyable performance of her sole string quartet. Unconventional in form it may be but with the flair and passion brought to it by the young players it entertained and impressed in equal measure. The brooding, disturbing first movement led to an energetic fugue – something of a surprise but played with great conviction. Poise and humour marked he Allegretto but most spectacular was the finale: intense turbulent music drew playing of great assurance – a moving tribute to a neglected composer.
Schubert’s Quartettsatz received a most stylish performance full of urgent movement and lyrical phrasing from all four players. Felix Mendelssohn’s Quartet in D op.44 no.1 concluded this fine concert in similar vein. The exuberant flourishes of the opening were dispatched with aplomb, the Menuetto’s gentle charm and the calm of the Andante prepared the way for the energetic finale. Mendelssohn’s predilection for headlong triplets took over and the Quartet clearly relished their task. They filled the hall with finely-wrought quartet sound of special quality. Their encore of Mozart’s Minuet from his Dissonance Quartet provided a few civilized moments to send us homewards.
John Upson
The Consone String Quartet made a welcome return to the Fratry Hall in Carlisle with a programme of Haydn, Schubert and two Mendelssohns - Felix and his elder sister Fanny. Currently BBC New Generation Artists the Quartet are building an impressive reputation for their chosen performing style based on using instruments and bows of the Classical/early Romantic period. Gut strings and lighter-weight bows affect tone quality and articulation but it is the players’ own musicality that really counts.
From the first bars of Haydn’s Quartet op.33 no.4 the energy and dynamic contrasts grabbed the attention and the Fratry’s helpful acoustics ensured that the softest cadences were crystal clear. Haydn’s ubiquitous humour shone through in the finale when first violinist Agata Daraskaite set off on a scintillating scamper – high quality quartet playing that would have delighted Haydn.
Fanny Mendelssohn had a tough time as a composer coping with male prejudice although she wrote hundreds of piano pieces and songs and enjoyed some success in the salons of the day. The Consone Quartet gave a powerful and enjoyable performance of her sole string quartet. Unconventional in form it may be but with the flair and passion brought to it by the young players it entertained and impressed in equal measure. The brooding, disturbing first movement led to an energetic fugue – something of a surprise but played with great conviction. Poise and humour marked he Allegretto but most spectacular was the finale: intense turbulent music drew playing of great assurance – a moving tribute to a neglected composer.
Schubert’s Quartettsatz received a most stylish performance full of urgent movement and lyrical phrasing from all four players. Felix Mendelssohn’s Quartet in D op.44 no.1 concluded this fine concert in similar vein. The exuberant flourishes of the opening were dispatched with aplomb, the Menuetto’s gentle charm and the calm of the Andante prepared the way for the energetic finale. Mendelssohn’s predilection for headlong triplets took over and the Quartet clearly relished their task. They filled the hall with finely-wrought quartet sound of special quality. Their encore of Mozart’s Minuet from his Dissonance Quartet provided a few civilized moments to send us homewards.
John Upson
September 23rd, 2021 - Leah Nicholson, piano
It was an absolute privilege to be part of the capacity audience witnessing the amazing talent of young Lanercost Pianist and Multi Award Winner, Leah Nicholson. Leah is in the middle of her studies at the Royal Academy of Music and is already blessed with abundant pianistic skills. Her playing has assured technical and tonal control as well as considerable musical depth and insight, especially in one of such tender years.
It was a wide-ranging programme which began with the E major sonata of Beethoven, opus 109. The required tonal finesse and delicately played decorative passages showed much musical poise and maturity in a totally captivating performance.
Rachmaninov’s second Piano Sonata is a big challenge to any pianist, not only technically but also in terms of its emotional and dramatic range. A performance of great stature was given though just a little more power and passion could still be found in the more climactic passages for future performances. The one given in the Fratry Hall certainly had the audience spellbound.
The second half began with a truly virtuoso performance of the Fantasie in B minor by Scriabin where the Steinway of the Music Society was thoroughly put through its paces, with Leah extracting a huge range of dynamic colour and fully reaching into the heart and soul of this wonderful music.
Three Intermezzi of Brahms had great lyricism and delicate finger work. They were played with real love and devotion.
Reminiscences de Don Juan of Liszt concluded this memorable recital in spectacular style, before two delicious encores sent the audience home happy and looking forward to hearing Leah again soon as her potentially stellar career continues to unfold.
Michael Hancock 24/09/2021
It was an absolute privilege to be part of the capacity audience witnessing the amazing talent of young Lanercost Pianist and Multi Award Winner, Leah Nicholson. Leah is in the middle of her studies at the Royal Academy of Music and is already blessed with abundant pianistic skills. Her playing has assured technical and tonal control as well as considerable musical depth and insight, especially in one of such tender years.
It was a wide-ranging programme which began with the E major sonata of Beethoven, opus 109. The required tonal finesse and delicately played decorative passages showed much musical poise and maturity in a totally captivating performance.
Rachmaninov’s second Piano Sonata is a big challenge to any pianist, not only technically but also in terms of its emotional and dramatic range. A performance of great stature was given though just a little more power and passion could still be found in the more climactic passages for future performances. The one given in the Fratry Hall certainly had the audience spellbound.
The second half began with a truly virtuoso performance of the Fantasie in B minor by Scriabin where the Steinway of the Music Society was thoroughly put through its paces, with Leah extracting a huge range of dynamic colour and fully reaching into the heart and soul of this wonderful music.
Three Intermezzi of Brahms had great lyricism and delicate finger work. They were played with real love and devotion.
Reminiscences de Don Juan of Liszt concluded this memorable recital in spectacular style, before two delicious encores sent the audience home happy and looking forward to hearing Leah again soon as her potentially stellar career continues to unfold.
Michael Hancock 24/09/2021
Summer Concert 2021
Fifth Time Lucky at the Opening of the Carlisle Season
Alicja Fiderkiewicz plays at The Fratry
This was a finely balanced concert in every way and considering that this international concert pianist had had four previous attempts at playing for us during the lockdown period; a recital of pure joy. Last Thursday 8th July, we were finally treated to Alicja's Chopin recital, when she opened the Carlisle Music Society's season in style, at its new venue, The Fratry.
The musical pieces were more or less chronological and set in "story form" written and narrated by Denis Lavin. He competently wove the music and its history together. This was cleverly mastered, not with just a list of dates and characters but by putting each of the musical pieces in a social context to express exactly where Chopin was and what he was thinking at the time of each composition. This was a neat idea, which was well executed.
The musical itinerary had been well-thought out and included some popular pieces but with the inclusion of a few pleasing surprises. The opening and concluding choices spanned from the delicate Nocturne opus 9 number 1 to the well-known Funeral March. The Nocturne held the audience spellbound for a second or so and left us wanting to hear the other two. Similarly, the Funeral March added a valedictory tone but although this piece has its serious moments, Alicja concentrated on bringing out the more haunting moods of the second subject.
Equally positioned were two Polonaises, the first of which was written when this child prodigy was seven, and two Mazurkas in both halves, the execution of which showed in each case that these were so much more than mere Polish dances.
The programme was not without its surprises with a transcription of the larghetto from Piano Concerto No 2. arranged by the composer himself and on this night the orchestra was not missed one bit. As a charming contrast, the penultimate piece was the Barcarolle Opus 60, which balanced beautifully with the closing Funeral March.
At first, I wondered if the unusual positioning of the piano might be a acoustically challenging for the front rows. I am happy to say that I was proved wrong and we were able to observe the hands that created these wonderful sounds - the hands of an exceptional artist.
David Wood 10/07/2021
Alicja Fiderkiewicz plays at The Fratry
This was a finely balanced concert in every way and considering that this international concert pianist had had four previous attempts at playing for us during the lockdown period; a recital of pure joy. Last Thursday 8th July, we were finally treated to Alicja's Chopin recital, when she opened the Carlisle Music Society's season in style, at its new venue, The Fratry.
The musical pieces were more or less chronological and set in "story form" written and narrated by Denis Lavin. He competently wove the music and its history together. This was cleverly mastered, not with just a list of dates and characters but by putting each of the musical pieces in a social context to express exactly where Chopin was and what he was thinking at the time of each composition. This was a neat idea, which was well executed.
The musical itinerary had been well-thought out and included some popular pieces but with the inclusion of a few pleasing surprises. The opening and concluding choices spanned from the delicate Nocturne opus 9 number 1 to the well-known Funeral March. The Nocturne held the audience spellbound for a second or so and left us wanting to hear the other two. Similarly, the Funeral March added a valedictory tone but although this piece has its serious moments, Alicja concentrated on bringing out the more haunting moods of the second subject.
Equally positioned were two Polonaises, the first of which was written when this child prodigy was seven, and two Mazurkas in both halves, the execution of which showed in each case that these were so much more than mere Polish dances.
The programme was not without its surprises with a transcription of the larghetto from Piano Concerto No 2. arranged by the composer himself and on this night the orchestra was not missed one bit. As a charming contrast, the penultimate piece was the Barcarolle Opus 60, which balanced beautifully with the closing Funeral March.
At first, I wondered if the unusual positioning of the piano might be a acoustically challenging for the front rows. I am happy to say that I was proved wrong and we were able to observe the hands that created these wonderful sounds - the hands of an exceptional artist.
David Wood 10/07/2021
2019-20 Season
February 20th, 2020 - Emmanuel Bach, violin and Jennifer Hughes, piano
The penultimate concert of Carlisle Music Society presented two very young and gifted soloists -Emmanuel Bach, a double honours at Oxford, violin, and Jennifer Hughes a Duo Coach for the String Department at RCM piano. Emmanuel eloquently introduced each piece to the audience. The first half started with the Mozart Sonata in B flat written for a pupil of his in which he improvised the piano part. Brahm's Sonata in G followed in which Jennifer excelled with her brilliant piano playing. In the second half Emmanuel dispensed with the music, opening with Benjamin Britten's 3 pieces from Opus 6 containing exciting double harmonics. Tchaikovsky 's Souvenir d'un Lieu Cher Op 42 followed -the slow movement containing the music he would include in his violin concerto. Wieniawski 's Polonaise in A major ended the programme. Here Jennifer played a virtuoso opening page, and Emmanuel showed his brilliant technique- wonderful spicatto passages, wonderful virtuoso up the violin at a fantastic speed. The audience loved it and cheered. An encore? Alas no.
Catherine Swarbrick
The penultimate concert of Carlisle Music Society presented two very young and gifted soloists -Emmanuel Bach, a double honours at Oxford, violin, and Jennifer Hughes a Duo Coach for the String Department at RCM piano. Emmanuel eloquently introduced each piece to the audience. The first half started with the Mozart Sonata in B flat written for a pupil of his in which he improvised the piano part. Brahm's Sonata in G followed in which Jennifer excelled with her brilliant piano playing. In the second half Emmanuel dispensed with the music, opening with Benjamin Britten's 3 pieces from Opus 6 containing exciting double harmonics. Tchaikovsky 's Souvenir d'un Lieu Cher Op 42 followed -the slow movement containing the music he would include in his violin concerto. Wieniawski 's Polonaise in A major ended the programme. Here Jennifer played a virtuoso opening page, and Emmanuel showed his brilliant technique- wonderful spicatto passages, wonderful virtuoso up the violin at a fantastic speed. The audience loved it and cheered. An encore? Alas no.
Catherine Swarbrick
January 16th, 2020 - Solem String Quartet
The highly accomplished Solem String Quartet gave an impressive recital for Carlisle Music Society of three iconic works from the quartet repertoire. Haydn’s ‘Lark’ Quartet opened the proceedings with finely judged balance between the four young players, excellent ensemble and natural musicianship. The expressive Adagio and rustic Menuetto brought both tonal elegance and humour; the moto perpetuo Finale raced by at a brisk tempo, with high spirits well controlled.
Second Violinist William Newell introduced Bartok’s Quartet no.5 pointing to Bartok’s obsession with Eastern European folk music. Its earthy energy and desolate poignancy characterise much of this piece and the Solem Quartet rose to the occasion with a performance of confidence and insight into this unsettling music. The fast outer movements were exhilarating, the players enjoyed the quirky rhythms of the central Scherzo Alla bulgarese and the two slow movements brought moments of stillness and reflection – a performance of high quality.
Beethoven’s Quartet in E flat op.127 made the most satisfying conclusion to the concert – well-paced and sonorous . After two hundred years this music is at last widely appreciated - in no small measure due to the performances by young quartets such as the Solem Quartet.
Carlisle Music Society’s next concert is on 20 February – Emmanuel Bach (violin) and Jennifer Hughes (piano) ; music by Mozart, Brahms, Britten, Tchaikovsky and Wieniawski.
John Upson
The highly accomplished Solem String Quartet gave an impressive recital for Carlisle Music Society of three iconic works from the quartet repertoire. Haydn’s ‘Lark’ Quartet opened the proceedings with finely judged balance between the four young players, excellent ensemble and natural musicianship. The expressive Adagio and rustic Menuetto brought both tonal elegance and humour; the moto perpetuo Finale raced by at a brisk tempo, with high spirits well controlled.
Second Violinist William Newell introduced Bartok’s Quartet no.5 pointing to Bartok’s obsession with Eastern European folk music. Its earthy energy and desolate poignancy characterise much of this piece and the Solem Quartet rose to the occasion with a performance of confidence and insight into this unsettling music. The fast outer movements were exhilarating, the players enjoyed the quirky rhythms of the central Scherzo Alla bulgarese and the two slow movements brought moments of stillness and reflection – a performance of high quality.
Beethoven’s Quartet in E flat op.127 made the most satisfying conclusion to the concert – well-paced and sonorous . After two hundred years this music is at last widely appreciated - in no small measure due to the performances by young quartets such as the Solem Quartet.
Carlisle Music Society’s next concert is on 20 February – Emmanuel Bach (violin) and Jennifer Hughes (piano) ; music by Mozart, Brahms, Britten, Tchaikovsky and Wieniawski.
John Upson
November 14th, 2019 - Patrick Hemmerlé, piano
French piano virtuoso Patrick Hemmerlé lives in England and has a busy concert and lecture schedule here and abroad. Well-known for the virtuoso repertoire, he is equally at home with the baroque greats, and has recently recorded Bach’s “48” in France. He is equally well-known for the quality and diversity of his programming, and in this recital (which he has also recently given at UCLA, Los Angeles) he concentrates on the use of (sometimes extreme) explorations of technique as fully fledged concert pieces. All the composers featured – Lyapunov, Scriabin, Rachmaninoff, Tchesnokov and Schumann – were, or continue to be concert virtuosi as well, and often produced fiendishly challenging pieces for their own concert use. Two of tonight’s works – the Scriabin Étude Op 8 No 12 and the Schumann Études Symphoniques – are considered some of the most difficult pieces ever written for the piano. Patrick Hemmerlé had technique to spare – the last time I heard such accuracy and assurance was from John Ogdon – and more, outstanding musicianship and sensitivity. This was remarkable playing, and I felt privileged to be present. The next CMS concert is from the prize winning northern based Solem String Quartet, on January 17.
Nicholas Butters
French piano virtuoso Patrick Hemmerlé lives in England and has a busy concert and lecture schedule here and abroad. Well-known for the virtuoso repertoire, he is equally at home with the baroque greats, and has recently recorded Bach’s “48” in France. He is equally well-known for the quality and diversity of his programming, and in this recital (which he has also recently given at UCLA, Los Angeles) he concentrates on the use of (sometimes extreme) explorations of technique as fully fledged concert pieces. All the composers featured – Lyapunov, Scriabin, Rachmaninoff, Tchesnokov and Schumann – were, or continue to be concert virtuosi as well, and often produced fiendishly challenging pieces for their own concert use. Two of tonight’s works – the Scriabin Étude Op 8 No 12 and the Schumann Études Symphoniques – are considered some of the most difficult pieces ever written for the piano. Patrick Hemmerlé had technique to spare – the last time I heard such accuracy and assurance was from John Ogdon – and more, outstanding musicianship and sensitivity. This was remarkable playing, and I felt privileged to be present. The next CMS concert is from the prize winning northern based Solem String Quartet, on January 17.
Nicholas Butters
