Category Archives: Live Performance

Noeleen Wright (cello) Cecilia Sun (fortepiano)

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Eileen Joyce Studio

reviewed by Neville Cohn

 

 

Cello and piano recitals are rare in Perth. And all-Beethoven programs that pay the closest attention to the stylistic minutiae of the period are rarer still. So this presentation was listened to with particular interest.

Noeleen Wright has devoted years of thought and practice to resurrecting the performing styles of bygone periods, notably the baroque era. I cannot recall hearing her before in music of Beethoven.

With Wright playing on a copy of an early-18th-century cello, with Cecilia Sun at the fortepiano, we were taken on a journey back in time as we listened to music as it might have sounded in Beethoven’s day.

With a bow dipped in the stuff of high inspiration and drawn with unfailing confidence across gut strings – and with Sun’s aauthoritative if occasionally error-strewn support on the fortepiano (a copy of a Viennese model of 1806) – we heard three of Beethoven’s sonatas – opus 5 no 1, opus 69 and opus 102 no 2.

I cannot recall hearing Wright to better advantage. In a presentation that bristled with authority, she gave point and meaning to some of the most elusive music in the canon.

At its most assertive, this was playing that was in the best sense tough-minded – passionate even – with, at times, a grainy, gruff tone quality that sounded entirely right as it brought the works’ more extrovert movements to pulsing life. This intensity of expression was only occasionally paralleled in the fortepiano part in playing that tended to take up an interpretative position some little distance from the emotional epicentre of the keyboard part as in the Rondo from opus 5 no 1 where the insouciant nature of the writing was most apparent in the cello line.

In that most ferociously demanding of movements – the fugal finale to opus 102 no 2 – both Wright and Sun emerged at its conclusion with musical honour intact. This was no mean musical achievement.

Copyright 2005 Neville Cohn


Noeleen Wright (cello) Cecilia Sun (fortepiano)

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Eileen Joyce Studio

reviewed by Neville Cohn

 

Cello and piano recitals are rare in Perth. And all-Beethoven programs that pay the closest attention to the stylistic minutiae of the period are rarer still. So this presentation was listened to with particular interest.

Noeleen Wright has devoted years of thought and practice to resurrecting the performing styles of bygone periods, notably the baroque era. I cannot recall hearing her before in music of Beethoven.

With Wright playing on a copy of an early-18th-century cello, with Cecilia Sun at the fortepiano, we were taken on a journey back in time as we listened to music as it might have sounded in Beethoven’s day.

With a bow dipped in the stuff of high inspiration and drawn with unfailing confidence across gut strings – and with Sun’s aauthoritative if occasionally error-strewn support on the fortepiano (a copy of a Viennese model of 1806) – we heard three of Beethoven’s sonatas – opus 5 no 1, opus 69 and opus 102 no 2.

I cannot recall hearing Wright to better advantage. In a presentation that bristled with authority, she gave point and meaning to some of the most elusive music in the canon.

At its most assertive, this was playing that was in the best sense tough-minded – passionate even – with, at times, a grainy, gruff tone quality that sounded entirely right as it brought the works’ more extrovert movements to pulsing life. This intensity of expression was only occasionally paralleled in the fortepiano part in playing that tended to take up an interpretative position some little distance from the emotional epicentre of the keyboard part as in the Rondo from opus 5 no 1 where the insouciant nature of the writing was most apparent in the cello line.

In that most ferociously demanding of movements – the fugal finale to opus 102 no 2 – both Wright and Sun emerged at its conclusion with musical honour intact. This was no mean musical achievement.

Copyright 2005 Neville Cohn


Robin Wilson (violin) Kemp English (piano)

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Eileen Joyce Studio

reviewed by Neville Cohn

 

Is there a more beautifully appointed and positioned recital room in Perth – or Australia, for that matter – than the Eileen Joyce Studio? With its wood-panelling that covers three walls, the fourth all of glass and fronting a tree and shrub filled garden, it boasts as well an Augustus John portrait in pastels of Joyce and a number of watercolours of the great Australian musician as piano or harpsichord soloist with leading London orchestras at the Royal Festival Hall. Adding to the charm of the room are numbers of antique keyboard instruments including a chamber organ and a rare square piano. There is also a portrait in oils of Emeritus Professor Sir Frank Callaway in doctoral robes.

For all its charms, though, EJS was not an ideal venue for this recital. Despite its lid being raised only on short stick, a small baby grand piano proved annoyingly loud. But for all its substantial presence (perhaps the lid ought to have been entirely closed), it never quite overwhelmed Robin Wilson’s violin line.

The andante from Tartini’s Violin Concerto D86 was an inspired program opener, played very slowly but without losing a sense of onward momentum – a feat of real musicianship – with phrases shaped with unfailing finesse; it was like a consecration of the evening.

Beethoven’s Spring Sonata, too, gave much pleasure, music to which Wilson brought impeccable memory and, especially in the opening allegro, a line informed by a rich cantabile tone quality. Kemp English was an admirable piano partner, not least for managing to moderate keyboard sound sufficiently so as to ensure equitable internal tonal balance, no mean achievement in this lively acoustic. I particularly liked the rhythmic cut and thrust with which the scherzo was despatched.

Both the Tartini and Beethoven works were offered at so satisfying a level – clearheaded, stylistically apt and musically logical – that one looked forward with great anticipation to what was to follow. But the sure stylistic touch and choice of tempi that contributed to such splendidly musical playing in the Tartini and Beethoven works seemed largely to desert the duo in some of what was to follow.

Two pieces – Playera by Sarasate and Kreisler’s La Gitana -disappointed, the former too driven so that the inherent nobility of the music which, ideally, should border on grandeur, was almost entirely absent. Kreisler’s La Gitana, too, and Kroll’s delightful Banjo and Fiddle, that favourite encore of Heifetz, were taken at a speed too rapid to allow fine detail to be fully essayed and savoured. And Bloch’s Nigun, too, sounded overwrought at times.

Perhaps these rather intemperate presentations might have been due to the stress of the moment because on the CD which features Wilson and English, the playing of these pieces is very significantly closer to the emotional epicentre of the music.

But there was more than adequate compensation in other offerings such as the blues movement from Ravel’s Sonata for violin and piano, the violin line having about it a jazzy wail that sounded entirely right. The Meditation from Massenet’s Thais, too, was given an intensely expressive reading as was Rachmaninov’s Vocalise, the latter unfolding in a consistently meaningful way.

© Neville Cohn 2005


Robin Wilson (violin) Kemp English (piano)

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Eileen Joyce Studio

 

reviewed by Neville Cohn

Is there a more beautifully appointed and positioned recital room in Perth – or Australia, for that matter – than the Eileen Joyce Studio? With its wood-panelling that covers three walls, the fourth all of glass and fronting a tree and shrub filled garden, it boasts as well an Augustus John portrait in pastels of Joyce and a number of watercolours of the great Australian musician as piano or harpsichord soloist with leading London orchestras at the Royal Festival Hall. Adding to the charm of the room are numbers of antique keyboard instruments including a chamber organ and a rare square piano. There is also a portrait in oils of Emeritus Professor Sir Frank Callaway in doctoral robes.

For all its charms, though, EJS was not an ideal venue for this recital. Despite its lid being raised only on short stick, a small baby grand piano proved annoyingly loud. But for all its substantial presence (perhaps the lid ought to have been entirely closed), it never quite overwhelmed Robin Wilson’s violin line.

The andante from Tartini’s Violin Concerto D86 was an inspired program opener, played very slowly but without losing a sense of onward momentum – a feat of real musicianship – with phrases shaped with unfailing finesse; it was like a consecration of the evening.

Beethoven’s Spring Sonata, too, gave much pleasure, music to which Wilson brought impeccable memory and, especially in the opening allegro, a line informed by a rich cantabile tone quality. Kemp English was an admirable piano partner, not least for managing to moderate keyboard sound sufficiently so as to ensure equitable internal tonal balance, no mean achievement in this lively acoustic. I particularly liked the rhythmic cut and thrust with which the scherzo was despatched.

Both the Tartini and Beethoven works were offered at so satisfying a level – clearheaded, stylistically apt and musically logical – that one looked forward with great anticipation to what was to follow. But the sure stylistic touch and choice of tempi that contributed to such splendidly musical playing in the Tartini and Beethoven works seemed largely to desert the duo in some of what was to follow.

Two pieces – Playera by Sarasate and Kreisler’s La Gitana -disappointed, the former too driven so that the inherent nobility of the music which, ideally, should border on grandeur, was almost entirely absent. Kreisler’s La Gitana, too, and Kroll’s delightful Banjo and Fiddle, that favourite encore of Heifetz, were taken at a speed too rapid to allow fine detail to be fully essayed and savoured. And Bloch’s Nigun, too, sounded overwrought at times.

Perhaps these rather intemperate presentations might have been due to the stress of the moment because on the CD which features Wilson and English, the playing of these pieces is very significantly closer to the emotional epicentre of the music.

But there was more than adequate compensation in other offerings such as the blues movement from Ravel’s Sonata for violin and piano, the violin line having about it a jazzy wail that sounded entirely right. The Meditation from Massenet’s Thais, too, was given an intensely expressive reading as was Rachmaninov’s Vocalise, the latter unfolding in a consistently meaningful way.

© Neville Cohn 2005


Christopher Herrick (organ)

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St George’s Cathedral

 

reviewed by Neville Cohn

Perhaps it was the unusual recital time – a Saturday at 5:30pm – that kept concertgoers away. It was their loss because Herrick is no run-of-the-mill organist. In fact, his CD recordings sell by the bushel which, if his offerings at St George’s Cathedral are anything to go by, is hardly surprising. Because Herrick is to the organ what Horowitz is to the piano – a phenomenal virtuoso. This was exemplified in his account of Liszt’s Fantasia and Fugue on a theme of Meyerbeer.

All the drama and dazzle inherent in the work came through in the most powerful and satisfying way with finger and foot in absolute accord. Certainly, momentum was scrupulously maintained during even the most gruelling of episodes. By even the strictest of critical criteria, this was a performance worth getting excited about.

But there’s far more to Herrick’s skill at the organ than the ability to perform as a console athlete. He’s a musician to the fingertips – and toes, for that matter (his pedalling is phenomenally secure) – and this was specially evident in his account of Bach’s Trio Sonata No 6 in G which unfolded in the most musically logical way, wondrously buoyant in the opening Vivace and quietly eloquent in the central Lento.

There was a rarity, certainly for Perth: Chelsea Fayre by the quaintly named Reginald Goss-Custard. This was a disappointing curtain raiser, with finger and foot not always in accord, resulting in an unfortunate rhythmic waywardness. But Herrick, who was for a number of years, organist to London’s Westminster Abbey, retrieved the initiative in Edwin Lemare’s Toccata and Fugue in D minor, a glittering crowd pleaser if there ever was one. And Franck’s Cantabile was an expressively considered essay in introspection.

This recital was tantalisingly brief. Certainly, one would have liked to hear more Bach not least because Herrick’s reputation rests so much on his performances of the Master’s music and the numerous recordings of the Bach oeuvre he has made for the Hyperion label.

© Neville Cohn 2005