Press Reviews

20 February 2012
Caroline MacPhie (soprano)
Joseph Middleton (piano)

Caroline MacPhie, soprano, accompanied by pianist Joseph Middleton, delighted the audience at the recent Penrith Music Club concert. Caroline studied at the RNCM and RAM Opera course, graduating with distinction in 2009, while Joseph has been described by The Times as the 'cream of the new generation', having received several prestigious awards for accompaniment.

The attractive programme began with a variety of English music starting with three songs by Purcell which enabled Caroline to display her bell-like tones and clear diction. The soaring chromatic runs and trills were well-phrased and seemingly effortless. These were followed by 'On this island' by Britten with words by WH Auden, written in the troubled times of the 1930's. Both words and music reflected the contrasting moods of the period, from the imperial clarion call at the beginning of 'Let the florid music praise' to the more ominous tones of 'Nocturne' and the jazzy, biting 'As it is, plenty'. In these contrasting pieces Caroline showed power and control. Joseph Middleton gave subtle support, enhancing the mood of the pieces in a real partnership with the singer.

The first half ended with four songs by Frank Bridge. The first of these, 'So early in the morning, O', was an enchanting intertwining of the voice, imitating a bird as it stooped and swooped on the air or flitted and twitted in the sun, and the rippling notes of the piano as it established the different textures of the song with a touch of humour. There were then two serene love songs, which were sung in an assured tone with real feeling, and finally the better known 'Love went a-riding'. The range of songs gave both singer and pianist the chance to work together and achieve almost a symbiotic relationship in the way they responded to one another.

In the second half there was an attractive arrangement of four traditional Spanish folk-songs by Rodrigo in which Caroline displayed the rich tones of her lower register. The voice was controlled and expressive, subtly conveying a variety of different emotions. These were followed by the charming Mädchenblumen by Richard Strauss, in which different flowers were compared to young girls. Of these the languid, sensuous 'Ivy' enabled both voice and piano to entwine most effectively.

The programme came to a climax with three dramatic operatic arias. The beautiful warm tones of the voice in Susanna's recitative and aria from Mozart's marriage of Figaro were well supported by Joseph's stylish piano playing. Then came Musetta's dramatic, flamboyant aria 'Quando m'en vo' from Puccini's La Bohème, and finally Juliet's sparkling love song 'Je veux vivre' from Gounod's Roméo et Juliette.

The programme displayed Caroline's impressive range and engaging vocal quality. Her technique and phrasing were splendid and her voice had real warmth and colour. Joseph Middleton's accompaniment throughout was sensitive and unassuming .There was an impressive rapport between the two which helped to highlight the performance. The couple gave Frank Bridge's 'Adoration' for an encore; the quiet controlled opening of the song moving to a climax and then a beautiful piano epilogue encapsulating all their skills.

16 January 2012
Liquid Architecture

Liquid Architecture, the award-winning string and wind ensemble, were the guest artists in Penrith Music Club's first concert of 2012. Formed in 2005, the ensemble has coped imaginatively with the lack of repertoire for their particular combination of instruments (2 violins, viola, cello, double bass, clarinet, bassoon and horn) by reviving neglected repertoire and commissioning new works, as well as relying on established works by Beethoven and Schubert.

The three works performed covered each of these categories. Howard Ferguson's Octet, written in the 1930s, would probably not be a choice for many people's Desert Island Discs but was well worth hearing and beautifully played. Rhapsodic and lyrical, in the spirit of much British music of its time, it offered a variety of moods from haunting and whimsical to playful and rumbustious and showed a great sense of musical craftsmanship: the differing timbres of the instruments dovetailed into a convincing whole in a harmonic language that was adventurous but approachable.

Alasdair Spratt's Concertini Variations, commissioned by Liquid Architecture in 2009, featured individual or pairs of instruments in a series of five variations. The style of writing showed the influence of Stravinsky, not only in the obvious quote from "The Rite of Spring" but also in the spiky writing for the wind instruments in particular. The astringency of much of the work was challenging but there were some effective quieter moments - the haunting horn writing of the Berceuse and the despairing remoteness of the solo viola's passage of double stopping at the end of the work.

Schubert's Octet is one of his greatest contributions to chamber music. For almost an hour creative skills pour forth in an endless stream of imaginative writing and impeccable craftsmanship. The usual four movement structure is extended to six, but such is the artistry and balance of the work that this is unnoticed. Schubert had a consummate understanding both of the individual instruments of the ensemble and of the ways in which these timbres can be combined (the constant interplay of themes and descants between violin and clarinet is a particular joy). The bustling Scherzo sparkled with life, the Theme and Variations were played with appropriate delicacy or verve, and the mock drama of the opening of the Finale provided a wonderfully dark counterpoint to the effervescence of the ensuing Allegro. The players brought out the instrumental detail of the work with great skill and obvious enjoyment, their authentic and stylish performance much appreciated by a good-sized audience.

21 November 2011
Stephanie Oade (cello)
Jennie-Helen Moston (piano)

This recital drew a sizeable audience who were treated to a delightful evening of music making. Supported by the Countess of Munster Musical Trust and sponsored by Penrith Building Society, these outstanding young artists ranged from Beethoven to Barber in considerable style. Attention was nailed immediately in the first bars of Beethoven's Sonata in A op.69 - natural phrasing, precise ensemble and rhythmic vitality caught the spirit of this engaging music. Through the quirky accents of the Scherzo, the expressive opening of the finale and its extrovert Allegro both players realised the poetry and panache of Beethoven in his prime.

Fauré's Elégie is a perfect miniature - its inevitable progress from meditation to felicity and passion and back to meditation was managed with compelling simplicity, in fact we enjoyed a deeply satisfying performance. More of a challenge came next in the form of Samuel Barber's early Cello Sonata in late Romantic style but with a touch of modernism. As in the rest of the recital the balance between cello and piano was very well controlled - Stephanie Oade never forced the sound from her fine Benjamin Banks cello and Jennie-Helen Moston was ever alert to the danger of overpowering the cello. The music proved appealing and dramatic - a young composer's work performed by talented young musicians keen to advocate a piece some would find out of fashion. In fact it was an excellent choice to offset the more familiar music in the rest of the programme.

Rachmaninov's Cello Sonata brought the recital to a triumphant conclusion. Written in 1901 at the same time as the 2nd Piano Concerto it shares much of the brooding ardour of that work but indulges in exuberant moods too. Jennie-Helen Moston despatched the virtuoso piano part in great style. As before Stephanie Oade projected the cello line with admirable control, expressive tone and rhythmic verve. Together these outstanding young players gave a memorable performance of this gargantuan sonata. The spoken introductions that both performers gave throughout the recital were most helpful and added to the intimacy of the evening - all in all an uplifting experience.

17 October 2011
Smetana Piano Trio

The recital by the Smetana Piano Trio of late Romantic Slavonic repertoire proved a demanding and absorbing experience for the appreciative audience somewhat depleted owing to the bad weather, one assumes. Three works composed between 1882 and 1902 made up the programme - a heady mix of heart-on-sleeve gestures, sweeping melodies and sumptuous harmonies.

Tchaikovsky's Trio in A minor op.50 mourned the death of Nikolai Rubinstein and celebrated his virtuoso abilities as a pianist. Its two substantial movements challenge performers to make sense of its rambling structure while controlling its considerable emotional turmoil. Cellist Jan Palenicek immediately injected an intensity into the opening theme that was balanced by violinist Jana Novakova's more stoical style - a feature of their approach to all the evening's music. Jitka Cechova made a fine job of gauging the piano's dynamic range to complement that of the string players: a good sign of a sympathetic chamber musician. All three produced deeply expressive playing in the first movement, treating the several technical difficulties with aplomb; their effortless sense of ensemble ensured an impressive performance. The second movement variations depict aspects of Nikolai Rubinstein's character and provide opportunities for imagination as well as technical prowess. The passionate early variations, the lilting Waltz, the splendid Fugue and the final Coda demonstrated great insight by the Smetana Trio. .

Less familiar fare came next in the shape of Vitezslav Novak's Trio op.27. A pupil of Dvorak, Novak wrote this piece in 1902. In its one movement it includes four sections so that there is plenty of variety - from a sombre, passionate opening to a light hearted scherzo section and a resigned conclusion. Again the Trio gave an immaculate performance; the music's immediate appeal opened a window onto a composer worth cultivating. .

Finally the best known of all Czech piano trios brought the recital to a jubilant conclusion. Dvorak's Dumky Trio is a riot of Czech song and dance. Each of its six movements oscillates between melancholy and gaiety - soulful melodies and infectious rhythms. The Smetana Trio clearly have this music in their blood and gave a winning account of it, stirring up considerable excitement by the end. Their encore of Josef Suk's Elegie was an ideal night-cap - a simple but affecting piece affording a few moments of reflection to calm everyone down. .

26 September 2011
Ashley Wass (piano)

Ashley Wass, winner of the London Piano Competition in 1997 and one of the finest younger pianists of the present time, was the guest artist in the first of Penrith Music Club's new season of concerts, held in Penrith Methodist Church. Ashley had previously appeared in 2009 as an impressive late replacement for an indisposed Martin Roscoe, and the Club's decision to invite him again was amply justified in a programme of outstanding virtuosity and musicianship.

The recital began with Beethoven's Sonata in F sharp, op.78. Beethoven had a habit of following a large scale sonata with something more refined (his previous sonata was the tempestuous Appassionata). The mood of the F sharp sonata is generally restrained, the first of its two movements offering lightness and delicacy of fingerwork and that feeling of understatement and expectancy that Beethoven was so good at encouraging. The second has more in the way of contrast of dynamics, a more quirky approach, and a dramatic ending. The performance offered a poetic and authentic interpretation of Beethoven's intentions.

Mendelssohn's Songs without Words were some of the most popular and approachable piano pieces of the middle of the 19th century. The five chosen pieces reflected the variety and constant inventiveness which they show - the lyrical and Romantic op.53, no.2, the conversational op.38, no.6, perpetual motion in op.102, no.3, poetic simplicity in op.30 no.3 and the lively romp of the concluding op.62, no.2. .

The contrast between these jewels of 19th century drawing-room society and Busoni's monumental interpretation of Bach's Chaconne in D minor (originally written for solo violin) is immense. Busoni was one of the great piano virtuosi of the end of the 19th century and his version of Bach's intensely-written Chaconne offers passages of dazzling scales, dramatic chords and breathtaking counterpoint. Yet it also offers some spellbinding passages of reflection and repose which help it to work as a piece of music. Ashley Wass's performance was both persuasive and spectacular.

Liszt, another flamboyant 19th century virtuoso, was much inspired by poetry and his Three Petrarch Sonnets show the gentler and sensitive aspects of his style. The warmth and rapture of Liszt's music capture Petrarch's striving for beauty and unattainable love, in an intimate and, at times, quite haunting way: the tenderness which the composer offers was brought out movingly, as were the moments of frustration and concern.

The recital ended with Samuel Barber's Piano Sonata (1950), a pinnacle of the American piano repertoire. Uncompromisingly written and challenging for both pianist and listener, the tautness of its structure is impressive. After the powerful percussive textures and occasional moments of reflection of the opening movement, the lighter, quirky rhythms and high textures of the second lead to a darkly-hued third movement in which Barber achieves a sense of remoteness and distance (and eventually uncompromising power) that is one of the most striking moments of the work. The concluding fugue, stunning in its complexity and virtuosity, was followed by a gentle movement from Liszt's Années de Pèlerinage as encore - a soothing end to a recital of great technical skill and impressive musicianship.