Concert reviews are sent to the Cumberland News soon after each concert. They are maintained here for two years, for information and interest.
2021-22 Season
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
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
October 31st, 2019 - Philip Attard (saxophone) and Christine Zerafa (piano)
The programme note to the opening piece at last Thursday’s concert, Bach’s Sonata in E major, quotes the composer as stating that all voices should “work wondrously together”. Had he been in the audience, he would have applauded Philip Attard (saxophone) and Christine Zerafa (piano) who gave a veritable masterclass in how two musicians at the top of their art can do just that. Their mutual rapport was little short of physical theatre, as each lift of the eyebrow, each imperceptible nod of the head, each hint of an almost telepathic understanding, released a torrent of exhilarating musical virtuosity that engaged and delighted the audience with pieces spanning two hundred years.
From Bach’s baroque elegance, via Muczynski’s Sonata for alto saxophone and piano (1970), with its sense of dangerous aggression, we were prepared for Darius Milhaud’s dazzling Scaramouche (1937), rooted in the Italian Commedia dell’Arte, and Erwin Schulhoff’s Hot Sonata (1930), before the brakes were applied and Rimsky-Korsakov’s elegiac In Spring (1897) and Tchaikovsky’s achingly melancholic None but the Lonely Heart provided a welcome oasis of romance. Gershwin’s Three Preludes (1926) and Iturralde’s Pequena Czarda (1949) would have satisfied the most voracious musical appetite, had not the dynamic duo decided to give us Carnival of Venice as a breath-taking encore.
These wonderful artists played here in 2017; clear proof that lightning can indeed dazzle in the same place twice!
John Davies
The programme note to the opening piece at last Thursday’s concert, Bach’s Sonata in E major, quotes the composer as stating that all voices should “work wondrously together”. Had he been in the audience, he would have applauded Philip Attard (saxophone) and Christine Zerafa (piano) who gave a veritable masterclass in how two musicians at the top of their art can do just that. Their mutual rapport was little short of physical theatre, as each lift of the eyebrow, each imperceptible nod of the head, each hint of an almost telepathic understanding, released a torrent of exhilarating musical virtuosity that engaged and delighted the audience with pieces spanning two hundred years.
From Bach’s baroque elegance, via Muczynski’s Sonata for alto saxophone and piano (1970), with its sense of dangerous aggression, we were prepared for Darius Milhaud’s dazzling Scaramouche (1937), rooted in the Italian Commedia dell’Arte, and Erwin Schulhoff’s Hot Sonata (1930), before the brakes were applied and Rimsky-Korsakov’s elegiac In Spring (1897) and Tchaikovsky’s achingly melancholic None but the Lonely Heart provided a welcome oasis of romance. Gershwin’s Three Preludes (1926) and Iturralde’s Pequena Czarda (1949) would have satisfied the most voracious musical appetite, had not the dynamic duo decided to give us Carnival of Venice as a breath-taking encore.
These wonderful artists played here in 2017; clear proof that lightning can indeed dazzle in the same place twice!
John Davies
