Concert reviews are sent to the Cumberland News soon after each concert. They are maintained here for information and interest.
2018-19 Season
March 28th, 2019 - The Consone Quartet
The Adagio in the Harp Quartet by Beethoven is beautifully melodic and melancholic. It has an assured seriousness that is deeply moving. As it was played in St Cuthbert’s Church by the Consone Quartet on the evening of Thursday, 28th March, this was particularly the case. The Consone play on period instruments. They use strings made of sheep-gut which produces a softer, less brilliant sound than metal strings. The result is that their playing becomes more intimate, more shared as they seem to turn inward. We felt that we were privileged to eavesdrop on the emotional turmoil that Beethoven resolves into the beautifully nuanced variations in the last movement.
In writing his Quartet in E flat, Mendelssohn drew on Beethoven’s Harp Quartet, but his work has a genial seriousness. The lovely melody of the first movement was followed by the Canzonetta in which the strings danced lightly over the slow resonant drone of the cello. The very fast final movement was played with a confident brilliance, constantly surging forward until it ended with an achieved peacefulness.
In contrast to the closely argued quartets of Beethoven and Mendelssohn, the two Boccherini quartets were from the eighteenth century.. They are attractively rhythmic and melodic and the Consone Quartet displayed a particular sensitivity to the nuanced colours of their melodies.
Tonight’s concert was marked by the assurance and intimacy of the playing. The music seemed to flow from a shared and thoughtful understanding.
The Consone are a young quartet who are rapidly establishing themselves on the world circuit. Magdalena Loth-Hill, who is the second violin, is from Brampton, and it was very pleasing to see a successful musician returning to her native city.
Steve Matthews.
The Adagio in the Harp Quartet by Beethoven is beautifully melodic and melancholic. It has an assured seriousness that is deeply moving. As it was played in St Cuthbert’s Church by the Consone Quartet on the evening of Thursday, 28th March, this was particularly the case. The Consone play on period instruments. They use strings made of sheep-gut which produces a softer, less brilliant sound than metal strings. The result is that their playing becomes more intimate, more shared as they seem to turn inward. We felt that we were privileged to eavesdrop on the emotional turmoil that Beethoven resolves into the beautifully nuanced variations in the last movement.
In writing his Quartet in E flat, Mendelssohn drew on Beethoven’s Harp Quartet, but his work has a genial seriousness. The lovely melody of the first movement was followed by the Canzonetta in which the strings danced lightly over the slow resonant drone of the cello. The very fast final movement was played with a confident brilliance, constantly surging forward until it ended with an achieved peacefulness.
In contrast to the closely argued quartets of Beethoven and Mendelssohn, the two Boccherini quartets were from the eighteenth century.. They are attractively rhythmic and melodic and the Consone Quartet displayed a particular sensitivity to the nuanced colours of their melodies.
Tonight’s concert was marked by the assurance and intimacy of the playing. The music seemed to flow from a shared and thoughtful understanding.
The Consone are a young quartet who are rapidly establishing themselves on the world circuit. Magdalena Loth-Hill, who is the second violin, is from Brampton, and it was very pleasing to see a successful musician returning to her native city.
Steve Matthews.
February 28th, 2019 - Jack McNeill (clarinet), Viv McLean (piano), David Le Page (violin) and Clare O'Connell (cello)
A large audience at St. Cuthbert’s Church, Carlisle, was treated to a memorable Carlisle Music Society concert on Thursday. Carlisle-born clarinettist Jack McNeill was joined by pianist Viv McLean and string players David Le Page and Clare O’Connell, in a powerful performance of one of the twentieth century’s most outstanding works, Olivier Messiaen’s Quartet for the End of Time.
The work’s apocalyptic title reflects the conditions under which the French composer wrote it. He was a prisoner of war in the Nazis’ Stalag VIII-A camp.
Messiaen wrote a peculiar and violent work. It was scored for an unusual combination of instruments because these were the musicians available to perform with Messiaen in the concentration camp. Its first performance took place outdoors on a rainy day in January 1941, with an audience of prisoners and guards.
The Quartet is an emotionally exhausting work for audience and performers, an expression of protest and of longing. This was most movingly demonstrated in the long solo clarinet movement, where Jack McNeill’s crescendos from an almost inaudible pianissimo were spine-tingling.
Prior to one other short work for the same combination of instruments, Thomas Ades’s Court Studies from “The Tempest”, we heard two trios. Igor Stravinsky’s The Soldier’s Tale tells of how a soldier traded his violin to the Devil. This is a very exciting work, in which David Le Page’s violin playing was magnificently devilish.
Beethoven’s early trio for clarinet, cello and piano, opus 11, sat a little oddly with the rest of the concert. These musicians were utterly compelling in the later works, and the programme would perhaps have benefitted from a more contemporary opening choice.
Kenneth Wilson
A large audience at St. Cuthbert’s Church, Carlisle, was treated to a memorable Carlisle Music Society concert on Thursday. Carlisle-born clarinettist Jack McNeill was joined by pianist Viv McLean and string players David Le Page and Clare O’Connell, in a powerful performance of one of the twentieth century’s most outstanding works, Olivier Messiaen’s Quartet for the End of Time.
The work’s apocalyptic title reflects the conditions under which the French composer wrote it. He was a prisoner of war in the Nazis’ Stalag VIII-A camp.
Messiaen wrote a peculiar and violent work. It was scored for an unusual combination of instruments because these were the musicians available to perform with Messiaen in the concentration camp. Its first performance took place outdoors on a rainy day in January 1941, with an audience of prisoners and guards.
The Quartet is an emotionally exhausting work for audience and performers, an expression of protest and of longing. This was most movingly demonstrated in the long solo clarinet movement, where Jack McNeill’s crescendos from an almost inaudible pianissimo were spine-tingling.
Prior to one other short work for the same combination of instruments, Thomas Ades’s Court Studies from “The Tempest”, we heard two trios. Igor Stravinsky’s The Soldier’s Tale tells of how a soldier traded his violin to the Devil. This is a very exciting work, in which David Le Page’s violin playing was magnificently devilish.
Beethoven’s early trio for clarinet, cello and piano, opus 11, sat a little oddly with the rest of the concert. These musicians were utterly compelling in the later works, and the programme would perhaps have benefitted from a more contemporary opening choice.
Kenneth Wilson
January 24th, 2019 - Cristian Sandrin (piano)
This was a unique piano recital given by Cristian Sandrin, a young and gifted Romanian pianist.
It opened with Haydn’s Variations in F minor, a deep and profound work and undoubtedly one of Haydn’s masterpieces for piano. Cristian caught its tragic intensity and intimate poignancy with his ranges of colour and voicing. Following this were Mozart’s two delightful Sonatas, K279 and K330. Each movement of them was nicely shaped and played fluently with supple and fast fingers, though the 1st movement of K330 was slightly hurried.
After the interval Ravel’s Miroirs was beautifully performed. This was composed in 1904-1905, and has five characterful movements. The entire work has a distinctively impressionistic flavour, full of imagination, mood and expression. Cristian played this musically and technically demanding piece with exquisite sound, rhythmic vitality and musical imagination; especially its 2nd and 4th movements were sublime. The programme concluded with Argentine composer Ginastera’s dynamic, driven and challenging Sonata No.1 op22, which was superbly executed. Once again Cristian skilfully handled both the ferocious technical demands and the “ mood”of this distinctive piece incorporating Argentine folk rhythms and melodies.
The encore was the last movement of Romanian composer Enescu’s Sonata in F sharp op24 no1. It was a mesmerising performance - what a treat!
Noriko Moffat
This was a unique piano recital given by Cristian Sandrin, a young and gifted Romanian pianist.
It opened with Haydn’s Variations in F minor, a deep and profound work and undoubtedly one of Haydn’s masterpieces for piano. Cristian caught its tragic intensity and intimate poignancy with his ranges of colour and voicing. Following this were Mozart’s two delightful Sonatas, K279 and K330. Each movement of them was nicely shaped and played fluently with supple and fast fingers, though the 1st movement of K330 was slightly hurried.
After the interval Ravel’s Miroirs was beautifully performed. This was composed in 1904-1905, and has five characterful movements. The entire work has a distinctively impressionistic flavour, full of imagination, mood and expression. Cristian played this musically and technically demanding piece with exquisite sound, rhythmic vitality and musical imagination; especially its 2nd and 4th movements were sublime. The programme concluded with Argentine composer Ginastera’s dynamic, driven and challenging Sonata No.1 op22, which was superbly executed. Once again Cristian skilfully handled both the ferocious technical demands and the “ mood”of this distinctive piece incorporating Argentine folk rhythms and melodies.
The encore was the last movement of Romanian composer Enescu’s Sonata in F sharp op24 no1. It was a mesmerising performance - what a treat!
Noriko Moffat
November 15th - Trio Martinu
Making a welcome return to St Cuthbert’s after an absence of more than two years, Trio Martinu comprising Jaroslav Matejka (cello), Pavel Safarik (violin) and Petr Jirikovsky (piano) presented a programme of three sharply contrasting masterpieces, showcasing the consummate musicianship of these wonderful players. They started with a 20th century trio by their namesake, the Czech composer Bohuslav Martinu whose highly individual style incorporates inventive rhythms and harmonies, and affectionate homage to his native folk tunes. This is a substantial work with orchestral sounding textures in abundance, a challenging start for performers and listeners alike. Following this was Mendelssohn’s trio no. 1, dating from the early romantic period and containing a generous mix of all the well-loved Mendelssohn ingredients; lyrical melodies, coherent structure, filigree note-spinning, and passages of barnstorming virtuosity for the pianist. After the interval we were treated to the ‘Archduke’ Trio by Beethoven, arguably the greatest piano trio of all, (certainly for this reviewer). Few other works in this genre achieve such a perfect partnership of equals, in which the three instruments are given many opportunities to display their individuality whilst blending together in numerous miraculous ways, and the players’ response to this was very evident. The gorgeous hymn-like slow movement variations and the witty finale provided the perfect ending to this superb concert.
Martin Johnson
Making a welcome return to St Cuthbert’s after an absence of more than two years, Trio Martinu comprising Jaroslav Matejka (cello), Pavel Safarik (violin) and Petr Jirikovsky (piano) presented a programme of three sharply contrasting masterpieces, showcasing the consummate musicianship of these wonderful players. They started with a 20th century trio by their namesake, the Czech composer Bohuslav Martinu whose highly individual style incorporates inventive rhythms and harmonies, and affectionate homage to his native folk tunes. This is a substantial work with orchestral sounding textures in abundance, a challenging start for performers and listeners alike. Following this was Mendelssohn’s trio no. 1, dating from the early romantic period and containing a generous mix of all the well-loved Mendelssohn ingredients; lyrical melodies, coherent structure, filigree note-spinning, and passages of barnstorming virtuosity for the pianist. After the interval we were treated to the ‘Archduke’ Trio by Beethoven, arguably the greatest piano trio of all, (certainly for this reviewer). Few other works in this genre achieve such a perfect partnership of equals, in which the three instruments are given many opportunities to display their individuality whilst blending together in numerous miraculous ways, and the players’ response to this was very evident. The gorgeous hymn-like slow movement variations and the witty finale provided the perfect ending to this superb concert.
Martin Johnson
October 25th - James Willshire (piano)
Igniting the piano music of Debussy, sending cascades of notes soaring round the church of St. Cuthbert’s was the brilliant James Willshire. The dots and lines on the music page were instantly distilled and conjured into life by our pianist’s flying fingers. All the concentrated musical magic of Debussy was offered flawlessly into the night, despite the hugely demanding technical difficulties embodied in the writing.
Of course, this romantic, impressionistic music is punctuated with humour, in the preludes “General Lavine”, “Homage to S.Pickwick” and “Wine Door” and the dance, “Passepied” from Bergamesque.
There were contemplative episodes of calm, played without affectation, letting the music work its own charm. (rare)
Between collections, James introduced some of the music he was playing and explained Debussy’s fondness for children, illustrated by “Jumbo’s Lullaby” and “Serenade of the Doll”.
He also mentioned the fact that he was playing, in various concerts this year, the entire piano works of Debussy, commemorating the centenary of the composer’s death.
In the second half of the concert, playing 12 preludes might have seemed, at first, a marathon. Nonetheless, despite the huge technical challenges and physical demand of these pieces, James played them with flawless passion and delightful sensitivity.
This varied collection maintained a consistent tonal language and the listener was well convinced and, needless to say, amazed and satisfied, judging by the enthusiastic applause.
The last two pieces were played with such speed and fury, the last piece being called “Fireworks, that I checked the piano afterwards for any smouldering embers!
An amazing, brilliant evening and if you weren’t there – you should have been!
Ian Warnes
Igniting the piano music of Debussy, sending cascades of notes soaring round the church of St. Cuthbert’s was the brilliant James Willshire. The dots and lines on the music page were instantly distilled and conjured into life by our pianist’s flying fingers. All the concentrated musical magic of Debussy was offered flawlessly into the night, despite the hugely demanding technical difficulties embodied in the writing.
Of course, this romantic, impressionistic music is punctuated with humour, in the preludes “General Lavine”, “Homage to S.Pickwick” and “Wine Door” and the dance, “Passepied” from Bergamesque.
There were contemplative episodes of calm, played without affectation, letting the music work its own charm. (rare)
Between collections, James introduced some of the music he was playing and explained Debussy’s fondness for children, illustrated by “Jumbo’s Lullaby” and “Serenade of the Doll”.
He also mentioned the fact that he was playing, in various concerts this year, the entire piano works of Debussy, commemorating the centenary of the composer’s death.
In the second half of the concert, playing 12 preludes might have seemed, at first, a marathon. Nonetheless, despite the huge technical challenges and physical demand of these pieces, James played them with flawless passion and delightful sensitivity.
This varied collection maintained a consistent tonal language and the listener was well convinced and, needless to say, amazed and satisfied, judging by the enthusiastic applause.
The last two pieces were played with such speed and fury, the last piece being called “Fireworks, that I checked the piano afterwards for any smouldering embers!
An amazing, brilliant evening and if you weren’t there – you should have been!
Ian Warnes
September 27th - Clair de Lune Duo (violin and piano)
Carlisle Music Society has a well deserved reputation for choosing outstanding performers, and the Clair De Lune Duo of Japanese violinist Hitomi Inujima and London based Russian-born pianist Julia Sinani beautifully performed a delightful programme opening the new season in the marvellous acoustics of St. Cuthbert’s.
The audience was swept by the first piece, the famous miniature Schön Rosemarin by Kreisler, played with elegance and charming rubato. Great colours and dynamic contrasts emphasised by refined details, such as the violinist’s excellent glissandi, vibrato colours and immaculate bow articulation in Debussy's Violin Sonata made it sound vibrant and fresh. Elgar’s Romance and Chanson de Nuit were played with enchanting English warmth and lyricism, reminding us Hitomi studied her Master’s Degree with the Royal Academy's renowned professor Richard Deakin. The 'Nocturne' and ‘Cortege’ by feminine composer Lili Boulanger were a real discovery - everything was magically transformed with the Nocturne’s atmospheric ostinato and expressive melody. It was striking how the young feminine performers genuinely and beautifully interpreted this music! Clara Schumann's charismatic Three Romances were followed by Brahms’ lyrical Second Violin Sonata, and it was a pleasure to hear a gorgeous rich singing tone in the instrumental ‘dialogues’, where you could also sense the pianist’s Russian piano school roots with her deep velvety touch and artistic approach to sound. The concert finished with Brahms' famous Scherzo in C minor, played with bold dynamics and passion.
Elena Nicholson
Carlisle Music Society has a well deserved reputation for choosing outstanding performers, and the Clair De Lune Duo of Japanese violinist Hitomi Inujima and London based Russian-born pianist Julia Sinani beautifully performed a delightful programme opening the new season in the marvellous acoustics of St. Cuthbert’s.
The audience was swept by the first piece, the famous miniature Schön Rosemarin by Kreisler, played with elegance and charming rubato. Great colours and dynamic contrasts emphasised by refined details, such as the violinist’s excellent glissandi, vibrato colours and immaculate bow articulation in Debussy's Violin Sonata made it sound vibrant and fresh. Elgar’s Romance and Chanson de Nuit were played with enchanting English warmth and lyricism, reminding us Hitomi studied her Master’s Degree with the Royal Academy's renowned professor Richard Deakin. The 'Nocturne' and ‘Cortege’ by feminine composer Lili Boulanger were a real discovery - everything was magically transformed with the Nocturne’s atmospheric ostinato and expressive melody. It was striking how the young feminine performers genuinely and beautifully interpreted this music! Clara Schumann's charismatic Three Romances were followed by Brahms’ lyrical Second Violin Sonata, and it was a pleasure to hear a gorgeous rich singing tone in the instrumental ‘dialogues’, where you could also sense the pianist’s Russian piano school roots with her deep velvety touch and artistic approach to sound. The concert finished with Brahms' famous Scherzo in C minor, played with bold dynamics and passion.
Elena Nicholson
2017-18 Season
March 22nd Alena Walentin (flute), Niklas Walentin (violin) and Viv McLean (piano)
February 22nd Leah Nicholson (piano)
January 25th Christopher Underwood (baritone) and Michael Hancock (piano)
November 23rd Philip Attard (saxophone) and Christine Zerafa (piano)
October 26th Ashley Fripp (piano)
September 28th Consone Quartet
February 22nd Leah Nicholson (piano)
January 25th Christopher Underwood (baritone) and Michael Hancock (piano)
November 23rd Philip Attard (saxophone) and Christine Zerafa (piano)
October 26th Ashley Fripp (piano)
September 28th Consone Quartet
2016-17 Season
March 9th Mauro Lo Conte
February 16th Trio Derazey
January 26th Cassia String Quartet
November 17th Ugne Tiskute (viola) and Alexandra Vaduva (piano)
October 27th Riyad Nicolas (piano)
October 6th Jack McNeill (clarinet) and the Gildas String Quartet
2015-16 Season
March 16th Trio Martinů
February 11th Jane Lindsay (cello) and Jennifer Hughes (piano)
January 14th Lugovkina, Walentin, Timofeyevsky Trio
November 19th Pomegranate Piano Trio
October 29th James Willshire (piano)
October 8th Atesh String Quartet
2014-15 Season
March 19th Manus Noble (guitar)
February 19th Emma Abbate and Julian Perkins (piano duet)
January 22nd Tadashi Imai (piano)
November 27th The Zelkova String Quartet
October 23rd Adelia Myslov (violin) and Craig White (piano)
September 25th Jack McNeill (clarinet) and David Quigley (piano)
March 9th Mauro Lo Conte
February 16th Trio Derazey
January 26th Cassia String Quartet
November 17th Ugne Tiskute (viola) and Alexandra Vaduva (piano)
October 27th Riyad Nicolas (piano)
October 6th Jack McNeill (clarinet) and the Gildas String Quartet
2015-16 Season
March 16th Trio Martinů
February 11th Jane Lindsay (cello) and Jennifer Hughes (piano)
January 14th Lugovkina, Walentin, Timofeyevsky Trio
November 19th Pomegranate Piano Trio
October 29th James Willshire (piano)
October 8th Atesh String Quartet
2014-15 Season
March 19th Manus Noble (guitar)
February 19th Emma Abbate and Julian Perkins (piano duet)
January 22nd Tadashi Imai (piano)
November 27th The Zelkova String Quartet
October 23rd Adelia Myslov (violin) and Craig White (piano)
September 25th Jack McNeill (clarinet) and David Quigley (piano)
