Category: Reviews – Concerts

NZSO under New management

Posted on by Anne French

‘Style and Substance’ – NZSO’s Immerse 2022 Festival

Brahms Violin Concerto in D major, Opus 77
Tabea Squire Variations
John Adams Doctor Atomic Symphony

Hilary Hahn, violin

Gemma New. conductor
Michael Fowler Centre, Wellington

Saturday 6 August 2022

This was the second concert of the Immerse series, and the second outing of the acclaimed
violinist Hilary Hahn with the NZSO under the baton of Gemma New, its newly appointed
Artistic Adviser and Principal Conductor. The house was almost full, with such a happily
expectant air that everyone must surely have been here on Thursday for the first concert of
the series.

Gemma New is a local girl made good – only 35, but already with a long list of appointments
and accolades, including the Sir Georg Solti Conducting Award. She has been called ‘one of
the brightest rising stars in the conducting firmament’, and she is becoming famous around
the world for her precision and the expressive beauty she draws from her orchestras. Hilary
Hahn is one of today’s great violin virtuosos, with three Grammys and a huge global
following. Putting them on the programme together for three concerts must have seemed to
the NZSO a masterstroke of genius and good fortune.

Brahms’s Violin Concerto was Hahn’s suggestion. She first recorded it at the age of 21 with
the Orchestra of St Martin in the Fields under Sir Neville Marriner. That youthful recording
has been named one of the eight great recordings of the work (ahead of one that was my
favourite 40 years ago, David Oistrakh with the French National Radio Orchestra under Otto
Klemperer). It was Gemma New who suggested the two works to accompany it because,
she said, they ‘had a Brahmsian quality’. Not many people would make that observation of
John Adams’ Doctor Atomic Symphony and fewer of the Variations by Tabea Squire. But
that is the world of Gemma New, in which the exquisite and the unusual are two faces of the
same coin.

From the first bar, it was clear that Gemma New’s Brahms was a very different work. Gone
were the sludgy textures and blurred rhythms I had by heart from the Oistrakh/Klemperer
recording. The NZSO is under New management.

Hilary Hahn’s first entry was electrifying. She has been performing this concerto for more
than half her life, and yet she made it as fresh and exciting as it must have been when
Brahms’s friend Joachim played it for the first time.

New kept the NZSO to a restrained dynamic range for much of the time. In a recording, the
balance between violinist and orchestra can be addressed by microphone placement and
engineering. In the concert hall there is a constant threat that the violinist will be
overwhelmed by the orchestra – the concerto is scored for four horns, two trumpets, and
timpani, after all. Not so here. New is known for her meticulous attention to detail, and the
NZSO obliged with beautiful, shapely, thoughtful playing.

The audience was so moved by the monumental first movement that most of them
applauded at the end of it. I almost joined in, because of the huge gratitude I felt for Hahn’s
superb playing. In the third movement, Allegro giocoso, orchestra and soloist danced for
sheer joy. At the end, most of the audience was on its feet. Hahn took four curtain calls
before coming back to play the Sarabande from Bach’s D minor partita as tenderly as you
could wish.

Gemma New introduced the works for the second half of the concert with evident relish. She
loves new music. In 2010, as soon as she graduated from the Peabody Institute in Maryland,
she formed the Lunar Ensemble to perform new music. Together they premiered 30 works in
six seasons. New’s Carnegie Hall debut in 2013 included works by John Adams and Andrew
Norman.

‘I think Brahms would have liked Tabea Squire’s theme and variations,’ New told us
confidently. The work is a deconstructed set of variations on a sixteenth-century pavane,
‘Belle qui tiens ma vie’ – deconstructed, because the theme doesn’t fully appear until right at
the end (although it is sneakily previewed by the horns and there is a wisp of it audible in the
strings about halfway through). I expected this teasing treatment would soon become
frustrating; but Tabea Squire’s orchestration was clever and the ideas never flagged. The
theme finally made its proper appearance at the end, played by alto flute, piccolo, and cor
anglais with the tenor drum underneath – a nice twist on the recorders and drum she
originally scored it for.

Twenty years ago, when Hilary Hahn was starting to make her name on the concert stage,
Gemma New and Tabea Squire were first and second violinists in Wellington Youth
Sinfonietta. A remarkable journey so far, and much is yet to come.

The final work in the programme was John Adams’ monumental and troubling Doctor Atomic
Symphony (based on his newsreel opera of 2005, about the Manhattan Project and the first
atomic bomb test in New Mexico). The symphony condenses many of the musical ideas of
the opera into 25 minutes of inventive and emotionally shattering music. The symphony calls
for a large orchestra, with a huge batterie (xylophone, tubular bells, timpani, bowed drums,
thunder sheet, tam tam, celeste, tuned gongs…) and more tuba solos than you might
imagine (Andrew Jarvis, Scott Frankcombe). It is a monumental work, terrifying and deeply
troubling. At one point Dave Bremner (Principal Trombone) stands to bark orders
(channelling General Leslie Groves). The emotional heart of the piece is Robert
Oppenheimer’s aria from the opera, a setting of one of John Donne’s Holy Sonnets, ‘Batter
my heart, three person’d God’, beautifully played by David Johnson (Guest Principal
Trumpet).

This was a stupendous concert. The NZSO has never played better than this. If you are
reading this review before the last concert of the three, on Sunday 7 August, do not hesitate.
If it’s too late for that, you can’t afford to miss Gemma New’s next outing with the NZSO. She
is an extraordinary talent, and her knack for exciting programming is so very welcome.

The band is back – NZSO with Hilary Hahn and Gemma New

Posted on by Steven Sedley

The New Zealand Symphony Orchestra presents:

JOHN RIMMER – Lahar
SERGE PROKOFIEV – Violin Concerto No. 1
DMITRI SHOSTAKOVICH – Symphony No. 5

Hilary Hahn (violin)
Gemma New (conductor)
New Zealand Symphony Orchestra

Michael Fowler Centre, Wellington

Thursday 4th August 2022

The band is back. This was the first concert by the NZSO for some time, apart from their outing to open the St James Theatre a couple of weeks ago. And what a splendid concert this was! The orchestra was at its best. I have never heard them play better. They appear to have a special rapport with Gemma  New, the newly appointed Artistic Director and Principal Conductor of the New Zealand Symphony Orchestra. Like many of the members of the orchestra, she came through the ranks of the Youth Orchestra system, and played in the Wellington and New Zealand Youth Orchestras as a violinist, but then went to America to learn the art of conducting. She has served as Resident Conductor of the St Louis Symphony Orchestra, and is Resident Conductor of the Hamilton Philharmonic Orchestra in Canada, and the Principal Guest Conductor of the Dallas Symphony Orchestra. To say that this young woman, still only in her mid thirties is vastly talented is an understatement. As a conductor, her style is energetic, athletic and dramatic. She seemed to draw music out of the very essence of the players in the orchestra with her meticulous attention to details, to phrasing, to dynamics, yet giving the solo instrumentalists space to play their lines freely.

John Rimmer : Lahar

The concert opened, very appropriately, with Lahar, a short piece by one of New Zealand’s senior composers, John Rimmer. It is the arrangement and development of the last movement of Rimmer’s major work: The Ring of Fire. Quoting the programme notes: It is intimately connected to the sound of nature. Rimmer is an electronic composer. Electronically virtually any sound can be reproduced and the instruments of the orchestra emulate that in this piece that captures the environmental sounds. You get the earth rumbling on the tympani, birds chirping on the flute and piccolo, powerful brass chords, falling woodwind passages, depicting a volcanic eruption and the silent peaceful aftermath. Rimmer explained in his introduction before the performance that the piece is hot, very hot. You hear explosions, the noise of the forest. Amidst the cacophony a melody emerges played on the piccolo and the cello solo, which is transformed into a lament. For the listener there was a whole world of musical experience within this seven minute orchestral work.

Serge Prokofiev: Violin Concerto No. 1

Prokofiev was an up and coming young composer in Paris, already making a name for himself when he composed this concerto. After the shock of Stravinsky’s Rite of Spring in 1913, discordant music became widely accepted and even became mainstream. Prokofiev evolved his own harmonic language, taut harmonies and driving rhythm,  combined with lyricism. The First Violin Concerto opens with a scarcely audible melody  played by the solo violin on top of the orchestral accompaniment. This develops into an energetic dance and the movement ends with an ethereal flute solo. The second movement, a virtuoso scherzo, is driven, and energetic. Prokofiev later reused some of this material in the duel scene in his ballet Romeo and Juliet. The final movement is dominated by a lush violin solo interposed with strong rhythmic drive. Hilary Hahn’s playing seemed effortless, spontaneous, straight from the heart, with a beautiful tone and great control. Soloist and conductor, two prodigiously talented young women, were of one mind with total mutual understanding.

For an encore Hilary Hahn played a scintillating rendering of the Gigue from Bach’s Partita No. 3 for Solo Violin.

Dmitri Shostakovich – Symphony No. 5 

This symphony has a tragic history. After Stalin went to see the composer’s opera, Lady Macbeth of the Mtsensk District, and walked out before the end Shostakovitch felt doomed. He withdrew his Fourth Symphony, which was ready for performance, and wrote a grand 44 minute work, which, according to the Pravda article attributed to him, was ‘a Soviet artist’s practical and creative response to justified criticism’. The symphony was an immediate success, both in the Soviet Union and in the rest of the world. It certainly has powerful themes, pulsating patriotic rhythms, folk music elements. It is immediately moving and captivating, but perhaps, in this peaceful remote corner of the world, far from the threats of Stalin’s Russia in 1937, it seems a little drawn out, the themes over elaborated. The shadows of a terrified composer lurks behind the triumphal tone of the work. One can read all sorts of things into the first movement, Allegro moderato, full of dread, or into the lyrical second movement, ‘a malevolent march’. The third movement, Largo, mournful, made the audience at the first performance openly weep. It is indeed, music full of grief. The triumphal march returns in the final movement, but it resolves into a haunting funeral march. Does the symphony end on a hopeful note or a note a desperation ? It depends on your interpretation not only of the music, but also of the tragic world of Stalin’s Russia. In either case, it is very moving and all-absorbing music. One will never hear a better performance of this work than this one under the baton of Gemma New. It was all minutely crafted, carefully thought out, every phrase, every dynamic change and contrast was sensitively molded.

This was a splendid concert and the very large audience, a virtually full Michael Fowler Centre, responded with a huge ovation. I am looking forward to a new era of exciting music with Gemma New at the helm of the orchestra. My one gripe is that the excitement of this wonderful concert should have been shared by people all over the country. It should have been videoed and shown live, available to all, no matter where they live, be it Reefton or Ruatoria, and perhaps available anywhere in the world to show that Aotearoa is not just a country of milk powder and the All Blacks – that it is not an international cultural backwater, but an exciting place with its own cultural landscape. It was appropriate that the concert opened with Rimmer’s Lahar, depicting just that.

Plaudits for the Wellington Youth Orchestra with Donald Maurice

Posted on by Steven Sedley

Wellington Youth Orchestra presents:
CHILDHOOD
Music by Boris Pigovat and Anthony Ritchie

PIOGOVAT – IN the Mood to Tango
RITCHIE – Symphony No. 5 “Childhood”

Donald Maurice (conductor)
Wellington Youth Orchestra

St.Andrew’s on-The-Terrace, Wellington\

Sunday, 31st July 2022

Donald Maurice has had a long association with both Boris Pigovat and Anthony Ritchie. He perfumed and recorded Pigovat’s Holocaust Requiem with Orchestra Wellington, a major work for viola and orchestra, and commissioned Ritchie’s First Viola Concert and other works. It is appropriate that he programmed works by both of these composers, though Pigovat’s piece was a late substitute for the Second Symphony by the youthful Richard Strauss, which had to be abandoned because Covid played havoc with rehearsals.

A youth orchestra concert that strayed from the well-known classics was an interesting challenge for the young players. They had to come to terms with the unfamiliar idiom of two composers whose music they had never played before. It was a tour of exploration.

Pigovat: In the mood to tango

This was delightful light music for strings only. It captured the mood of Piazolla’s Argentinian tangos,  and recreated the atmosphere, the musical imagery and style of Piazolla’s music. It was a great way of bringing the strings together as an orchestral body and it was great fun.

Ritchie: Symphony No. 5, Childhood

Unlike the previous piece, this Symphony is a major 40-minute, colorful work, in five interlinked movements. It commemorates the Christchurch Earthquakes and is dedicated to the refurbished Christchurch Town Hall. It uses childhood as a metaphor for renewed hope and optimism. It calls for a vast orchestra with a full complement of winds, brass, and in particular, percussion, that includes a ratchet, tubular bells, xylophone, and marimba as well as the usual drums and cymbals, plus a harp, and a celesta (in this performance substituted very satisfactorily by harp and piano). Seeing the destruction and reconstruction through a child’s eyes, the symphony is built on little short motifs that suggest simple nursery rhymes or children’s songs. Ritchie wrote a thesis on Bartok’s music and there may be a suggestion of the children’s themes such as those that Bartok employed. Unlike Bartok’s music, which is terse and concise, Ritchie’s music is expansive. Ritchie also went through a minimalist phase in his career, and uses minimalist techniques, short repeated phrases, in this piece.

The First Movement: Beginnings, opens with a ratchet; you sit up, listen, ‘what is this all about?’, then a simple 5 note phrase is played on the celesta which is taken over by the flute, then the whole orchestra, which elaborates on it, dissects it, and opens it up into a vivid chiaroscuro of music. This simple phrase haunts the entire symphony and returns at the end. The Second Movement: Play, is playful. A simple joyful theme is tossed from one section of the orchestra to another. Everybody gets a turn at playing this phrase, like a ball thrown around among the musicians. Hopes and Dream, the Third Movement, is ethereal, introduced by a gentle soulful melody on the oboe. First the horn, then the trumpet expand on the tune and it flowers into a rich melody, with the strings and the whole orchestra joining in. Life- force, the Fourth Movement, is built on energetic rapid figures, shadowed by dark themes in the winds. The final Movement, A Future, is triumphal, and towards the end the initial simple theme returns played on a whole range of percussion instruments. Finally the Symphony ends on a wistful note.

This was the first performance of this symphony beyond Dunedin and Christchurch, and we can applaud the Wellington Youth Orchestra and its guest conductor, Donald Maurice, for tackling this difficult work. It enriched the musical experience of all the young musicians who took part in it – and after all, this is the main purpose of a youth orchestra – but it also expanded the experience of those in the audience.

Hearing a new major work performed and, moreover, performed in the presence of the composer, is an opportunity to be treasured. Anthony Ritchie was in the audience and at the end of the symphony he came forward and acknowledged the applause. As to the Wellington Youth Orchestra, all its musicians put everything into the performance of this challenging work, the untold hours of hard work and rehearsals, years of study, paid off in this fine concert. Without singling out any individual player, there were some beautiful flute solos, and great playing by the horns and the whole brass section, who had a lot of notes to play. There was some very fine string playing, and a lovely entry by the cellos at the beginning of the symphony. The contribution of experienced senior players and, especially, the percussionists who joined the orchestra to fill gaps at short notice must be acknowledged. It was a great and memorable concert.

 

 

 

Yuka and Kemp – a concert of popular violin music

Posted on by Steven Sedley

Wellington Chamber Music Society presents:

Yuka and Kemp – violin and piano

Elgar – Salut- d’Amour
Beethoven – Sonata in F Major, Op. 24 (Spring)
Maria Theresia von Paradis – Sicilienne
Anthony Ritchie – Song for Minstrel, Op. 120
Massenet – “Méditation” from Thaïs
William Kroll – Banjo and Fiddle
Handel – Sonata in D Major HWV371
Paganini (arr. R. Schumann) – Caprice No. 24 in A minor
Kreisler – Recitativo and Scherzo – Caprice for solo violin Op. 6
–   Liebesleid  / La Gitana
John Williams Theme from Schindler’s List
Monti – Csárdás

Yuka Eguchi (violin) and Kemp English (piano/organ)

St.Andrew’s-on-The-Terrace, Wellington

Sunday, 10th July 2022

Yuka Eguchi is the Assistant Concert Master of the NZSO; Kemp English is a solo organist, a specialist in playing the fortepiano, and a collaborative pianist. The two put together a programme of violin music that most people know from such collections as the ‘best loved violin pieces’, but which are seldom featured in concert programmes. They are light, and lack substance that form the backbone of serious classical recitals, but  they are all immediately appealing.

Edward Elgar Salut d’Amour
The first item in the concert was Elgar’s Salut d’Amour, a popular salon piece that was Elgar’s engagement present to his future wife. It is lovely, personal, and melodious. The performance was not only notable for Yuka’s impeccable violin playing, but also for Kemp’s sensitive piano accompaniment.

Ludwig van Beethoven Sonata in F Major, Op. 24 (Spring)
Yuka and Kemp gave this much – loved Beethoven Sonata a straight forward reading. There is much to this piece, questions and answers, humour, and whimsy. The lyrical, gentle, extended song like slow movement, which is the heart of the work, is followed by a limping cheeky third movement. The final movement sums up the whole Sonata; this is what life is all about. Because the playing was so clear, there were details which came through which might have been glossed over in a less precise reading.

Maria Theresia von Paradis Sicilienne
Paradis was a pianist, blind, with a prodigious memory that she needed with no eyesight. She was a contemporary of Mozart whose concertos she played. She was a prolific composer and a teacher, but Sicilienne  that she is best remembered for was, not, in fact written by her. It is a musical hoax, composed by Samuel Dushkin,  –  a Polish American violinist, who worked with Stravinsky and William Schumann on their violin concertos. He also composed pieces under the names of largely forgotten composers such as Paradis and Benda. His Sicilienne is a charming, sentimental piece harking back to another era.

Anthony Ritchie Song for Minstrel, Op. 120
Anthony Ritchie, a contemporary New Zealand composer and, Professor of Music at Otago University, is  best known for his symphonic works. Song for Minstrel, however, is a short work for violin. It starts with a violin solo of sheer beauty, followed by a jazzy development. Minstrel was a dog, not a person: the dog of the poet, Sam Hunt.

Jules Massenet Méditation from “Thaïs”
This popular work is the embodiment of a sentimental romantic age. Suspense awaits each note.

William Kroll Banjo and Fiddle
William Kroll was the leader of the Kroll Quartet, one of the great American string quartets of the 1950s and 1960s. He was an eminent teacher and chamber music player, but is perhaps best known for this short popular fiddle piece, capturing an American folksy idiom with something of a gypsy feel. It has a touch of Hollywood sentimentality. It is both showy and technically difficult.

George Frederick Handel Sonata in D Major HWV371
This sonata is Handel’s last piece of chamber music. It is rich music, evoking Handel’s operatic music, elegant, gallant. Kemp English sat down at the organ instead of the piano and played the keyboard part on the organ, which added a special effect to the piece. The organ made it sound grander, and the violin part more operatic. Like everything in this concert, it was different and illuminating.

Niccolò Paganini (arr. Robert Schumann) Caprice No. 24 in A minor
Paganini’s 24 Caprices for the violin are landmarks in the violin literature, and No. 24 is the best known of them all. It is such a compelling piece that Brahms, Rachmaninov, Boris Blacher, Chopin, Liszt, Andrew Lloyd Weber, Witold Lutoslawski, Karol Szymanowski, Eugéne Ysaÿe, Benny Goodman and many other composers have incorporated it in their work. Robert Schumann decided that a piano accompaniment would enhance the work – who are we, mortals in a later age, to argue with him? Yuka’s was certainly a virtuoso dazzling performance with Kemp quietly in the background on the piano.

Fritz Kreisler Recitativo and Scherzo – Caprice for solo violin Op. 6
Liebesleid / La Gitana
Fritz Kreisler was among the foremost violinists of his time, a generation before Jascha Heifetz. Heifetz rewrote people’s expectations of a violin virtuoso. After Heifetz Kreisler might have been considered old school. Much of his music is charming and gemütlich  evoking old-time Vienna as  in Liebesleid and La Gitana, (The Gypsy). The latter is full of exotic colours and flamenco-type rhythms. Both pieces are from a collection Kreisler published under the title of ‘Classical Manuscripts’. Some  pieces were attributed to Baroque composers, though all were his own compositions. Recitativo and Scherzo – Caprice is something else, a truly challenging virtuoso piece in the tradition of Paganini, or for that matter, Ysaÿe, to whom the piece was dedicated. Yuka was undaunted by these challenges. Jaw-dropping stuff!

John Williams Theme from Schindler’s List
Schindler’s List is a sorrowful Holocaust film and the music captures its deep unrequited sadness with its beautiful haunting melody.

Before she played the piece, Yuka said, that she dedicated it to Peter Barber, long time, colourful and much-loved member of the NZSO who passed away recently, and to Shinzo Abe, former Japanese Prime Minister, who was assassinated the day before this concert.

She also talked about her violin, made by Carlo Ferdinando Landolfi in 1766. one of the great luthiers of the golden age of violin making. It is truly a beautiful instrument with a wonderful tone. It was appropriate for Yuka to acknowledge her instrument in this violin recital for violinists.

Vittorio Monti Csárdás
With the final item in the concert we are back in the jubilant mood of the earlier part of the programme. Vittorio Monti was a Neapolitan composer. This is by far his best known work. It is a rhapsodical concert piece, written in 1904, and is based on the Csárdás, a Hungarian folk dance. It is invigorating music, a showpiece for violinists.

The artists received a standing ovation, quite unusual for the sedate, elderly audience of Sunday afternoon concerts. The audience was rewarded with an encore of another lovable Fritz Kreisler piece, Rondino on a theme by Beethoven – and we all left happier for this afternoon of enchanting solo violin music music. Yuka and Kemp are wonderfully accomplished musicians. One wonders why we haven’t heard them before in Wellington.

 

An Eastern European smorgasbord at St.Andrew’s

Posted on by Steven Sedley

St. Andrew’s-on-The-Terrace Lunchtime Concert Series presents:

Music for Cello & Piano from Eastern Europe

Josef Suk: Ballade & Serenade Op 3 for Cello & Piano  (1898)

Witold Lutoslawski Grave Metamorphoses for Cello & Piano (1981)

Bohuslav Martinů Sonata No 2 for Cello & Piano.  (1941)

Robert Ibell (cello) and Rachel Thomson (piano)

St. Andrew on the Terrace

Wednesday, 22 June 2022

We are very fortunate in Wellington to have artists of the calibre of Robert Ibell and Rachel Thomson. They are both very versatile musicians. Ibell is the cellist of the Aroha Quartet, a past member of the NZSO, and now he plays with a number of different ensembles. Rachel Thomson is an accompanist, associated with many local artists. They presented a program of largely unfamiliar works from Eastern Europe. I am giving here a brief account of this, their recent cello-and-piano recital  for the historical record.

Josef Suk: Ballade & Serenade Op 3 for Cello & Piano

This is an early work of Suk. Ibell and Thomson gave the opening sombre Ballade plenty of emotion and intensity, following this with a playful Serenade. Both movements required soulful playing by cellist and pianist alike. They brought out the melodious, approachable character of the work most successfully.

Witold Lutoslawski:i Grave Metamorphoses for Cello & Piano

This was written more than eighty years after the previous piece. A lot had happened to the world and music in those intervening years – two world wars, and the disintegration of the received ideas of what music should sound like. Lutoslawski uses the first four notes of Debussy’s opera, Pelléas and Mélisande which then becomes the metamorphoses, the transformation, the breakup of the notes into different rhythmic configurations. At the end of the piece the four-note configuration from Pelléas returns.  Ibell’s and Thomson’s playing rose splendidly to meet both the technical and musical challenges posed by this work.

Bohuslav Martinů: Sonata No 2 for Cello & Piano

It’s good to hear Martinu’s music being played more frequently in concerts. This substantial sonata was written in 1941. The war was at its most brutal early stages, and Martinů’s Czechoslovakia was no more, causing him to seek refuge in the United States. He wrote this major work, which is essentially in the traditional three movements. The first movement is vigorous and energetic, the second is full of passionate longing with a gorgeous lyrical cello line, and the finale makes use of strong rhythms suggesting Bohemian peasant dances.

This, in tandem with the other works, made for a stimulating concert, and brought to us seldom performed music that was well worth hearing. I thought there was a real sense of fine partnership between Robert Ibell and Rachel Thomson throughout. Their playing was thoroughly convincing demonstrating what sounded like real affinity with this repertoire. For their committed efforts these two musicians deserve our gratitude.

 

 

 

 

The long way to Bohemia

Posted on by Anne French

Wellington Chamber Music Sunday Concerts series  presents:
Czech Mates

Martinů – Piano Trio No 2 in D minor
Janáček – Violin Sonata
Bowater – Fekete Folyó (Black River)|
Dvořák – Piano Trio No 3 in F minor (Op. 65)

New Zealand Chamber Soloists
Lara Hall (violin), James Tennant (‘cello), Katherine Austin (piano)

St Andrew’s on the Terrace

Sunday 19 June 2022

A cold grey afternoon in the middle of winter. But the programme looked interesting: a Czech club sandwich with a slice of Bowater. The New Zealand Chamber Soloists have a history of commissioning new works. The work by Helen Bowater was commissioned in 2020 as part of their ‘Seven by Seven’ project: seven works by seven New Zealand women composers, lasting seven minutes, with support from Creative New Zealand. But how would the Bowater fare, I wondered, surrounded by works written by three of the great Czech composers of the past 150 years?

The programme notes were succinct, but the performers provided excellent introductions to each work.  Cellist James Tennant told us that Martinů grew up in a bell-tower (the tower of St Jakub Church in the small town of Polička), where his father was both a bell-ringer and fire watcher. We should expect lots of bell sounds in this energetic work, especially in the piano part, he said. ‘Bong! Bing! Bang!’

Having been expelled from the Prague Conservatory at the age of 20 for ‘incorrigible negligence’, Martinů managed to get himself to Paris in 1923, where he studied with Roussel and listened to jazz. Back in Prague, Martinů had been keen on the French Impressionists. Now he was living amongst them. But in the late 1930s, he was forced to leave Paris. He had written a work celebrating the Czech resistance and was wanted by the Nazis. He made it to the US by 1941. This Piano Trio was written during a very productive period, 1948-56, when Martinů taught at the Mannes College of Music in New York. (Burt Bacharach was one of his students.)

The Piano Trio, written in just a few weeks in 1950, has all the emotional complexity of the position in which Martinů found himself. On the one hand, he was productive and happy. His symphonies were being performed by the big American orchestras. On the other, his marriage was in difficulties. His wife wanted to return to France; he wanted to go home to Bohemia. But after the coup of 1948, when the Communists came to power, he couldn’t go back to Czechoslovakia.

The trio expresses all of this. There is delight and even fun (James Tennant imagined the young Martinů hopping down the steps of the bell-tower), with sprightly string rhythms and glittering flows of notes from the piano, and a fast scramble to the end of the first movement. But the second movement opens with sombre chords from the violin. The piano is sympathetic, but positive; the cello is supportive and understanding. Where? Why? Eventually all three voices reach a kind of agreement. The third movement starts with a terrifying energy (like Schubert’s Erlkönig) that morphs quickly into energy minus terror. The piano part is busy, lyrical, and positive, but it becomes drawn in by the violin’s insistent rhythms. The bell sounds in the piano part are not soothing. The violin is agitated; the cello supportive. There is much more agitation before the final chords come down.

This is an interesting work, not often performed. I was struck by the expressive beauty of the piano writing, and by Katherine Austin’s gorgeous technique. The voices are pretty evenly balanced, but it is the violin that seems to speak for the composer, directly and frankly, from the heart.

Next was the Janáček Violin Sonata. Katherine Austin explained that, while other Czech composers assiduously researched Czech folk music traditions, Janáček sat in cafés listening to conversations, and notated Czech speech rhythms.  He tried to write a violin sonata when he was a student, studying in Leipzig, and again in Vienna, but his early sonatas have been lost. This work was written in 1914, when he was 60. Janáček said that, in this sonata, ‘I could just about hear the sound of steel clashing in my troubled head.’ The sonata was premièred in Brno in 1922, and the following year it was performed in Frankfurt, with Paul Hindemith playing the violin.

The con moto first movement ‘sounds like a row, really’, as Katherine Austin put it, with the voices continually interrupting and contradicting each other. It opens with a big statement by the violin, with the piano strumming broken chords. The piano part is fast and ranges all over the keyboard, the violin interjects, or comments, and finally has the last word. The second movement, Ballada, Katherine Austin described as being like a lullaby, with ‘quiet breathing’. It opens with a lyrical tune from the violin and a restless piano part underneath. Anxiety turns into a sad but resigned song, full of dark energy, with a rippling motif from the piano. The third movement began with a nursery tune in the piano and ‘something flying overhead’. The fourth movement was pastoral, lyrical, ‘like watching dawn break’, with brusque interruptions from the violin.

And next, the Helen Bowater piece, Fekete Folyó. The Danube is the ‘Black River’ of the title, and the work recalls terrible events happening to the Jewish Hungarian and Romanyi people of Budapest. The cello is given a solo that tells of heartbreak and tragedy, and the violin sings a melancholic song. But its seven minutes also capture the wild rhythms of gypsy music, with plenty of pizzicato and strumming, and some Jewish harmonies. It finishes with a kind of threnody for the violin and cello together, then just the violin. And then silence.

This is an interesting and affecting work that sounded well alongside the Czech composers. It was evocative and sympathetic, with plenty to tell us.

And finally, the Dvořák Piano Trio No 3, written in 1883, the earliest work on the programme. This trio is not as famous as his fourth, the Dumky (1891), and it is not written in his cheerful Slavonic style. It is a big work, nearly 40 minutes long, with a lengthy first movement that Lara Hall described as ‘a great journey, long and deep’. At the time of writing, Dvořák was facing a tricky problem. He had been approached to write a second opera, but on a German subject and with a German libretto. Dvořák longed for recognition as an operatic composer, but he wanted it on his own terms. (He had already suffered from anti-Czech prejudice.) And his mother had just died…

From the first bars, we are back in Bohemia, as though the concert has been a long journey home. After the trio’s first performance, in which Dvořák played the piano part, the contemporary critic Edward Hanslick wrote that ‘the composer finds himself at the pinnacle of his career’. (He was not to know that the best was yet to come.)

In the third movement, the violin introduces the ‘dead mother’ theme, with sympathetic support from cello and piano. It is all so sad. But the piano is more optimistic – perhaps there is a way through. The violin repeats the theme, but higher and sweeter. Perhaps there is.

The fourth movement (allegro con brio) features a furiant, that Bohemian dance in alternating 2/4 and 3/4 time with strong accents. Dvořák used it memorably in the eighth Slavonic Dance. Finally, all tensions resolved, they dance off, presto, to a joyful resolution.

This trio brought out the very best from the players. The NZ Soloists have been playing together since 2006, and it shows. They are well balanced and make a beautiful sound.  James Tennant’s cello was especially warm and beautiful, supported by Lara Hall’s lyrical violin playing and Katherine Austin’s gorgeous support from the piano. The whole concert was conceived as a complete experience, with its moments of emotional intensity and resolution well placed.

Goldner Quartet – old friends return to Wellington

Posted on by Steven Sedley

A Concert presented by Chamber Music New Zealand

Gareth Farr – Te Koanga
Felix Mendelssohn – String Quartet No. 1 in e-flat Major Op.12
Ross Edward – White Cockatoo Spirit Dance
Antonin Dvořák – String Quartet No.12 in f Major Op. 96 “American”

The Goldner String Quartet:
Dene Olding, Dimity Hall (violins), Irina Morozova (viola), Julian Smiles (‘cello)

Public Trust Hall, Lambton Quay, Wellington

Tuesday 14th June, 2022

Chamber Music is back after a long break, and a glorious return it was. The Goldner Quartet were once regular visitors, but it was nine years since they were last here. The four members of the quartet had played together for 27 years, rare among touring string quartets, and they developed an understanding over the years and a wealth of musical experience that places them among the best quartets anywhere in the world. This time they offered something new and something old, a panorama of music from Mendelssohn’s quartet of 1829 to Farr’s of 2017.

Gareth Farr: Te Koanga – Gareth Farr’s piece starts with the four instruments imitating a rich chorus of bird songs which then develops into a rhythmic conversation, into which appears a rich melodic passage reminiscent of a quote from a late Beethoven quartet.  There’s a variety of sound effects, colorful and simple melodic phrases, new and different sonorities. At time Farr uses the strings as percussion instruments. He poses the question: what is music? With random bird songs, percussive effects of bows hitting strings, and strange harmonies, Gareth Farr sees this work as a joyous celebration of nature, the beautiful and rich natural environment of Wellington, which was important for Ian Lyons, the much loved and respected luthier, in whose memory the piece was commissioned. Te Kōanga presents many technical challenges for the musicians, but it also challenges listeners to open their ears and their minds to new and different frontiers.

Felix Mendelssohn: String Quartet No 1 in E flat Major, Op 12

The year was 1829, Schubert had died the year before, Beethoven two years earlier, and a precocious young man, Felix Mendelssohn, just 20, had the chutzpah to write a string quartet in the wake of the late Beethoven quartets and Schubert’s epic quartets. He didn’t take up the challenge to write something that followed in the footsteps of the earlier masters, which, in any case were then generally misunderstood. He wrote a work full of appealing melodies and cheerful joyous passages. The work opens with a sombre Adagio and a dramatic Allegro with the four instruments developing the beautiful theme, discussing it, and arguing about it. The second movement has a filigree passage that is typical of Mendelssohn, that he uses in his Midsummer Night’s music, his octet and is one of his hallmarks. It is a joyous interlude. This is followed by an Andante Expressivo, a beautiful song, straight from the heart. The last movement is fast, manic, but ends on a sombre note, not the jubilant sound the foregoing music might have anticipated. It is a quartet that is seldom played and the Goldner Quartet deserves our gratitude for playing it for us.

Ross Edwards: White Cockatoo Spirit Dance

The Goldner Quartet took us back across the ditch with this short cheerful rhythmic dance movement. It is an engaging piece, one that drew its  inspiration from Australia’s indigenous culture and nature. The varied obsessive rhythms over a static harmonic basis captures the shapes and patterns of the natural world, but it might also echo tribal Aborigine dances.

Antonin Dvořák: String Quartet No 12 in F Major, Op 96, ‘American’

Dvořák’s ‘American’ quartet is one of the most beloved works of the quartet repertoire. He wrote it during his stay in America, where he had a happy time living among the people of the Czech community of Spillville, Iowa, where his family joined him. There is nothing particularly American in the piece, though people tried to find echoes of Negro and Indian themes It just has lovely singable melodies. It reflects Dvořák’s contented state of mind after his hard early life and the success he attained culminating in his appointment as Director of the National Conservatory in New York. The work is notable for its simplicity, its immediately captivating themes and its folksy charm. Dvořák wrote that he wanted to write something very melodious and straightforward. Living in America, however briefly, had a liberating influence on Dvořák and he sketched the quartet in three days completing it in 13 days. The viola starts the first movement, followed by a passage reminiscent of Czech gypsy music. The simple melody of the Second movement is the one some associate with Negro Spirituals or an American Indian tune, The third movement is a somewhat quirky scherzo full of off-beats and cross rhythms. The final movement, a scherzo, has a fair ground atmosphere about it, jolly, exuberant. The four musicians in the quartet brought out the captivating themes. The music is full of beautiful harmonies and at time, a happy coffeehouse spirit.

The audience that filled the hall appreciated the wonderful performance with an enthusiastic applause and was rewarded with a charming encore, a work by Peter Sculthorpe called Bird Song 2.

Sculthorpe said that he wanted people to feel better and happier for having listened to his music. This short delightful piece certainly achieved that.

This was a wonderful, immensely enjoyable concert. The beautiful playing of each member of the quartet reflected their individual personality yet together they jelled into an outstanding ensemble. Their playing was tasteful, elegant, sonorous. There was a lovely rapport between the four musicians. Playing together for 27 years, touring the world, they have developed a great understanding of each other. The acoustics of the Public Trust Hall, with its high ceiling, and ample space within a concrete box enhanced the sensitive playing and the sounds of the great instruments on which the four players performed.

Rhapsody and Rapture

Posted on by Anne French

Orchestra Wellington presents: RHAPSODY
BRAHMS – Alto Rhapsody
Contralto: Kristin Darragh
Male chorus Orpheus Choir
CLARA SCHUMANN – Piano Concerto in A minor
Piano: Jian Liu
ROBERT SCHUMANN – Symphony No 4 in D minor, Op. 120
Conductor: Marc Taddei
Orchestra Wellington

Michael Fowler Centre, Wellington

Saturday, 11th June, 2022

‘It’s all about Clara Schumann,’ said Marc Taddei, Orchestra Wellington’s conductor.

Brahms wrote his Alto Rhapsody for the wedding of Clara’s third daughter, Julie, in 1869. The second work on the programme was written by Clara Weick, as she then was, between the ages of 13 and 15. And Robert Schumann’s Symphony No 4, written in the first rapturous year of their marriage, has the word ‘Clara’ musically encoded throughout.

One thinks of Brahms as having always been middle-aged. I blame record sleeves for reproducing those very bearded photos from his fifties and early sixties – but he was an athletic, handsome, blond twenty-year-old when he first met the Schumanns. He was still a handsome man of 36, blond and beardless, when he wrote the Alto Rhapsody.

The programme notes described the work as ‘a rather odd wedding present’. Odd indeed – it seems to be full of the pain Brahms felt on hearing of Julie’s forthcoming wedding. At the
age of 26 he had been engaged to Agathe von Siebold, but the engagement was broken off. Ten years later he began to fall in love with Julie Schumann, then aged 24, but did not declare himself. When the news of her engagement arrived, he wrote the Alto Rhapsody.

The work is a setting of part of a long poem by Goethe, ‘Harzreise im Winter’, from his Sturm und Drang period, about the loneliness of a man climbing in the Harz mountains in winter. ‘Who heals the pains of one for whom balm has turned to poison?’, it begins. The answer
seems to be: ‘No one. Get over it. Music helps.’

The sombre opening chords are from the lower brass; then the texture thickens. The first two stanzas are in C minor, with a shift to C major in the third. Kristen Darragh’s first entry imitated the dark sound of the lower strings. Although the programme described her as a contralto, the biographical note called her a mezzo-soprano. She has qualities of both: a very beautiful bright higher register, with lots of power lower down. The orchestra provided rhapsodic support. The male chorus (TTBB) was provided by about 30 men of the Orpheus Choir, singing sludgy German that sometimes dragged the tempo. They did rather better further on when they got to the German Requiem-like harmonies.

The Alto Rhapsody is recorded pretty often. Wikipedia lists 19 recordings between 1945 and 2012, with two apiece by Kathleen Ferrier and Janet Baker. I first heard the Janet Baker recording with the London Philharmonic Orchestra under Sir Adrian Boult, and there was something of Janet Baker’s approach in Kristen Darragh’s performance, though I found Darragh’s voice beautiful in every register, from her bottom B to her high G flat. But the Alto  Rhapsody is not performed in concert very often, presumably because of the extra cost of the male choir for only a few pages of music. The recordings vary in length from 11 minutes 15 seconds (a French recording) to over 16 minutes (Christa Ludwig with the Vienna Philharmonic under Karl Böhm).

Taddei was pretty brisk, coming in at 12 minutes, but the tempi seemed well judged to me. The soloist was never left hanging out to dry, and the emotional depth was quite deep enough without any wallowing. There were many lovely moments, such as the soprano over pizzicato lower strings in the third stanza, a clarinet solo or two (Nick Walshe), the always-gorgeous horns, and the final words from the chorus, ‘sein Herz’ (his heart), which sounded like a final Amen.

Young Clara Wieck was already an accomplished piano soloist and had performed several times with the Gewandhaus Orchestra by the time she started writing this piano concerto. It is a remarkably mature and accomplished work. Clara’s bossy piano-teacher father tried to limit her composing because he thought it would get in the way of her playing. Robert Schumann, whom she met at one of her first recitals (she was 9, he was 18), encouraged it. Writers and critics have long thought that Robert influenced Clara. But the US musicologist, Nancy Reich, who examined the manuscripts of both Schumanns and wrote an acclaimed biography of Clara (Clara Schumann, the artist and the woman, OUP, 1989), said the boot was on the other foot. Clara was a very significant contributor to Robert’s compositions, said Reich; sometimes a co-composer. On the strength of this piano concerto she was clearly capable of it.

From the start, this is a confident work. Clara had already played some Chopin polonaises, and it shows in the writing. (For his part, Chopin heard her play, aged 18, and told Liszt all about her.) Her orchestral writing here is assured and appealing, and the piano writing is glorious, both virtuosic and lyrical. Jian Liu did it full justice, with crisp, precise playing and gorgeous, subtle gradations of colour. Taddei followed Liu’s tempi, and the orchestra played with sensitivity, matching his palette of bright and dark colours. In the second movement the stage lights came down, leaving only the pianist and the first desk of the cello section lit. The piano plays an extended solo passage, and finally the principal cello (Jane Young) enters. There is a passionate duet; then the cello withdraws. The third movement is also attacca, beginning with a little trumpet fanfare plus timpani, then a big string sound and full lower brass, a horn solo (Shadley van Wyk and Ed Allen), and an echo from bassoon (Preman Tilson). The trumpets introduce a Chopin-esque passage (minus pathos), just lots and lots of notes up and down the keyboard with tempo changes. Jian Liu turned on a dime, with Taddei and the orchestra always keeping in touch.

The audience went wild. They obviously love Jian Liu (who doesn’t?) and they were warm in their applause for Jane Young too. After being called back twice, Jian Liu came back a third time and played an encore, a pleasant nocturne by … Clara Schumann.

Only one work after the interval, Robert Schumann’s well-known Fourth Symphony, written in the rapturous first year of their marriage. Marc Taddei, obviously a great favourite of this large subscriber audience, spent some time explaining how Clara’s name (C B A G# A) appears in every movement, sometimes inverted. Examples were provided on the spot by the cello section, Concertmaster Amalia Hall, the first violins, the trombones, and the horns. The audience loved it.

‘This is one of the most radical symphonies of the nineteenth century,‘ he told them (because each movement flows straight into the next). And then, ‘It is a privilege to serve you.’ The audience purred with pleasure.

And off they went.

Schumann’s Fourth is an attractive work, bathed in sunshine. The orchestra played it well, from the confident opening to the three big final chords. The cellos always made a lovely sound; the string sound was warm and the upper brass bright and clean. Amalia Hall’s ‘filigree’ version of the Clara motif was lyrical and beautiful. The third movement burst open, a fast and furious scherzo, with exquisite violin playing. The horns sang the Clara theme; then the trio section followed with the first violins playing the filigree Clara motif. The fourth movement was all sunshine and daisies, with tidy tempo changes, before the final accelerando to the finish. Rapturous applause.

A solo tour-de-force from violinist Monique Lapins

Posted on by Steven Sedley

St.Andrew’s Lunchtime Concert Series
MONIQUE LAPINS (solo violin)
A concert for solo violin – music by Georg Philipp Telemann,
Erwin Schulhoff, and Jacob Ter Veldhuis (a.k.a. Jacob T.V.)

St.Andrew’s on-The-Terrace Church

Wednesday, 8th June 2022

I left this concert on a high, and started composing my notes and comments on the way home in the bus!

One violin, one solitary violinist at the centre of the stage, and a program of music largely unfamiliar to concert audiences; this promised to be an exceptional musical experience. Monique Lapins is a very versatile musician, a member of the NZ String Quartet, of the Ghost Trio with Gabriela Glapska (piano) and Ken Ichinose (cello) and, of the contemporary group, Ensemble Gô. She presented a programme that ranged from the first half of the eighteenth century to the 21st century – all on just four strings!

Georg Philipp Telemann (1681-1761)
Fantasias for solo Violin – No. 1 in B-flat TWV 40.14 / No.6 in E Minor TWV 40.19 / No. 7 in E-flat Major  TWV 40.20

Telemann, a contemporary of JS Bach, Handel and Vivaldi, was a self-taught and immensely prolific composer. He wrote operas, church music (cantatas and oratorios), orchestral and chamber music, keyboard and other instrumental music (both concertos and works for various solo instruments). Among these were 12 Fantasias for solo violin.

The great violin makers of the age, Nicola Amati and Stradivari in Italy, and Jacob Stainer and the Klotz family in Germany, greatly exploded the potential of the simple fiddle. These Fantasias, like Bach’s Partitas and Sonatas for Solo Violin should be seen in this light, that complex polyphonic music can  be produced, played on a simple instrument with only four strings.

These works, based on elaborations of simple dance tunes and rhythms evolve into major musical statements, involving technically challenging double-stopping and rapid, spectacular ornamentation. Monique Lapins played these with a clear tone that easily filled the hall – she articulated each phrase distinctly so that they each became part of a musical narrative. She played with ease, as if these complex dance fragments had come to her spontaneously.

Erwin Schulhoff (1894-1942)
Sonata for Solo Violin (1927)

Schulhoff was a significant Czech composer from the post-World War One years, who experimented with the new styles of music which emerged in the wake of the cataclysm of the war. This Sonata opened with a fast, manic first movement, followed by a slower movement that was tinged with sadness and nostalgia. Then came a scherzo with folksy rhythms, and finally a movement made up of more barbarous sounds of a kind the composer intended would shock the status quo.

The whole Sonata, but particularly the last two movements evoked Bartok’s use of Hungarian peasant songs and dances, but Schulhoff also employed tone rows, the result of the influence of Schoenberg and his school. It is a fiendishly difficult piece, seldom heard; and yet an important work from the 20th Century’s violin repertoire.

Jacob Ter Veldhuis – a.k.a. Jacob T.V. (b.1951)
The Garden of Love, for violin and soundtrack (2022)

Another war, with further destruction of civilisation, and here was another composer of this later time, exploring what others such as Steve Reich were doing with their music. The Garden of Love is a poem by William Blake, whose words here are uttered in sound-bytes, together with others from voices, oboes, harpsichord, bird-song and electronic sound. The violin is here in dialogue with the machine producing these sounds. It must have been incredibly difficult to keep this dialogue going in a convincing manner, but to the great credit of Monique Lapins she did this, so that the audience was at first puzzled and bewildered, but responded to the challenge by the end.

This was an amazing and unique concert, quite unlike other violin recitals. It’s a great pity that Radio NZ’s Concert Programme no longer records concerts like this. There was a time when people could share such musical experiences no matter where they lived, anywhere from Kaitaia to the Bluff., with those who were fortunate enough to live in the main centres Perhaps with the shakeup of Radio NZ and TVNZ room will be found for those whose interests go beyond the latest popular tunes, nostalgia and selected news handouts, even if there is no money in it and no-one makes a profit. There is value in expanding and challenging the interests and cultural horizons of people, citizens, taxpayers, no matter where they live.

Two centuries of Spanish keyboard music

Posted on by Steven Sedley

Wellington Chamber Music presents:
Lorelle McNaughton (piano)
PIANO MUSIC FROM SPAIN

St.Andrew’s-on-The-Terrace

Sunday, 29 May 2022

Solo piano concerts are rare these days, apart from the occasional lunch time recitals, and Wellington Chamber Music should be complimented on featuring this concert. Lorelle McNaughton studied in Spain with  renowned Spanish pianists and is something of a specialist in performing Spanish music. She has toured Australia and New Zealand with a programme of Spanish piano works and this concert is part of a nationwide tour taking her to many centres right through the country. She played a broad range of Spanish keyboard music from Padre Soler’s two sonatas written in the mid-1700s to Mompou’s little dance of 1941

Padre Soler (1729-1783)

Sonata in D minor R24

Sonata in D-flat R88

Although Soler composed works of many different genre, concertos, pieces for organ, for string, for choirs, he is now mainly remembered for his around 150 keyboard sonatas. They were probably influenced by Scarlatti, who was a generation older, but Soler’s sonatas are more varied in form, and some longer. Playing music written for harpsichord presents special problems for a pianist. Harpsichords are more even in tone, there are no crescendos, no sustained notes, so the phrasing has to stand for these qualities. McNaughton’s meticulous attention paid to the notes made for a clarity that served the music well.

Enrique Granados (1867-1916)

21 Danzas españas Op. 37

          i.”Galante”

          ii.“Rondella aragonesa”

Next came the music of Granados, whose “Andaluza” Spanish Dance No. 5 from this set is widely known, McNaughton, to her credit, instead letting us enjoy two of the lesser-known dances, each of which capture the strong rhythmic character of Spanish music. They have lovely lyrical interludes, but also call for fiery temperamental reading to reflect the abandon of the dance. ‘Galante’ is a type of Bolero dance, gallant and flirtatious, ‘Rondella aragonesa’, is an Aragonese folk dance with wild beat, interspersed by a song-like lyrical passage.

Isaac Albéniz (1860-1909)

Book III of Iberia (1907)

  1. El Albaicin

       ii El polo

       iii. Lavapiés

Iberia is one of the masterpieces of the impressionist piano repertoire. It is one of the most challenging works for the piano. This was the first of two groups of pieces performed by McNaughton from the work, each of these three pieces evoking a Spanish city, its festival or song and dance. ‘El Albaicin’ is the name of a gypsy quarter in Granada, known for its singing, flamenco dancing and virtuoso skills on the guitar, tambourine and castanet, realised here by McNaughton with suitable vigour, colour and atmosphere. ‘El polo’ is a sorrowful, melancholic Andalusian song and dance, the pianist bringing a darker, more inward and sombre character overall to the music. Lavapiés is the  boisterous music of an inn in a popular district of Madrid.

Manuel de Falla (1876-1946)

Cuatro Piezas Españolas (1909)

  1. “Aragonesa”
  2. “Cubana”
  3. “Montañesa”
  4. “Andaluza”

Falla said that he was trying to express through music the soul and atmosphere of each of these regions of Spain drawing on popular songs and rhythms. ‘Aragonesa’ is in the style of jota, here launched confidently and expansively by McNaughton, ‘Cubana’ here was at first silkier, more suggestive and then playful under McNaughton’s fingers, in the guajiro and zapateado dances,  ‘Montañesa’ quotes from Asturian and Mountain songs, and ‘Andaluza’ uses aspects of popular flamenco forms. Underlying all this could be heard a suggestion of subtle guitar music.

Frederico Mompou (1893-1987)

Canciones y Danzas No. 1 (1921) and No. 6 (1941)

Mompou is best known a a miniaturist, writing short, delicate improvisatory music. He uses traditional Catalan melodies and other Spanish music. These two pieces seemed in McNaughton’s hands like gentle, captivating salon music, spontaneous, straight from the heart.

Isaac Albéniz (1860-1909)

Book IV of Iberia

  1. Malaga
  2. Jerez
  3. Eritaña

Like Book III these pieces capture the music of traditional regional Spanish dances. Malaga evokes the style of  malageña (though McNaughton doesn’t have quite the fluency and suppleness of Alicia de Larrocha, here, she negotiates the terrain steadily and purposefully) Jerez is in the style of a melancholic introspective gypsy dance (a beautiful, lovingly-nuanced reading, here), and Eritaña comes from the name of a popular inn on the outskirts of Seville, noted for its colorful flamenco performances.

It was an afternoon of colorful, and technically challenging music. Lorella McNaughton took her audience on a tour of Spanish piano music, from the mid eighteenth to the mid twentieth   century. Her restrained performance, with meticulous attention to the notes, made this an interesting, enjoyable concert.