Concert Reviews
2022-23 Season
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
