|17th June, 2017||Scarlatti: Arietta L.423
Mozart: Adagio in B minor K 540
Bach: Prelude and Fugue in A minor BWV 543 (arr Liszt)||John Bruzon (piano)||Play|
|17th June, 2017||Mozart: Un moto gioia mi sento K579
Bellini: Tre ariette||Beatrice Monaco (soprano), John Bruzon (piano)||Play|
|17th June, 2017||Georges Hue: Fantaisie||Karen Rash (flute), John Bruzon (piano)||Play|
|29th April, 2017||William Lloyd Webber and Vincenzo Bellini songs||Georgina Zeitlyn (Sop) and John Bruzon (piano)||Play|
|29th April, 2017||Mendelssohn: Songs without Words||Ambrose Page||Play|
|25th March, 2017||Schoenberg and Webern piano pieces||Kevin Allen||Play|
|25th March, 2017||Elgar: Sea Pictures||Angela Goodall (mezzo-soprano), Joe Ward (piano)||Play|
|25th February, 2017||Beethoven: Bagatelles Op 126||Joe Ward (piano)||Play|
|25th February, 2017||Brahms: Cello Sonata E minor||Nick Cooper, Hugh O'Neal||Play|
|17th December, 2016||Erik Satie: La Diva de L'Empire; Je te veux||Valeria Guidotti (soprano), Zhanna Kemp (piano)||Play|
|17th December, 2016||Beethoven: String Quartet 18 No 3||Andrew Biggs, Beatrice Sales, Nick Cooper, Rosemary Cole||Play|
|17th December, 2016||Vivaldi: flute concerto in D major Opus 10, No. 3||Beatrice Sales (flute), Kevin Allen (piano)||Play|
|17th December, 2016||Offenbach: The Doll Song (Tales of Hoffmann)||Valerie Guidotti, Zhanna Kemp||Play|
|19th November, 2016||Songs by Hugo Wolf||Tim Wilcox (tenor), Peter Williams (piano)||Play|
|19th November, 2016||Bach: Violin sonata No 4 in C minor, BWV 1017||Andrew Biggs, Hugh O'Neal||Play|
|19th November, 2016||Piano duets by Schubert and Mike Cornick.||Zhanna Kemp and Norman Jacobs||Play|
|19th November, 2016||Lute items by John Dowland||Kevin Allen||Play|
|29th October, 2016||Schubert: Duo in A major for violin and piano||Cynthia Eraut, Nicola Grünberg||Play|
|29th October, 2016||Bach: Partita No 4 in D major||Hugh O'Neal (piano)||Play|
|29th October, 2016||John Ireland: Fantasy-Sonata.||Joy Boole (clarinet), Rosemary Kemp (piano)||Play|
|29th October, 2016||F P Tosti: Sogno
F Liszt: Oh quand je dors
R Wagner: Traume (Wesendonck 5)||Angela Goodall (mezzo-soprano), Nicola Grünberg (piano)||Play|
|8th October, 2016||Purcell: We the Spirits of the Air (The Indian Queen)
Monteverdi: Idolo del cor mio (L'Incoronazione di Poppea, 1624)
A. Scarlatti: Vinto son (La Statira, 1690)
Mostri dell'Erebo (La fede ricononsciuta, 1710)
Purcell: Elegy Upon the Death of Queen Mary, 1695
Purcell: Hark! How the Songsters of the Grove (Timon of Athens, 1694)||Sue Mileham & Karen Rash (sopranos), Nicola Grunberg (piano)||Play|
|8th October, 2016||Schubert: Arpeggione Sonata||Hugh O'Neal & Beatrice Sales (viola)||Play|
|8th October, 2016||Brahms: Ballade in D minor Op 10 No 1; Ballade in D Op 10 No 2; Romance Op 118 No 5||Rosemary Kemp (piano)||Play|
|11th June, 2016||‘Songs for a Summer Evening’||Marion Adler (soprano) & Joe Ward (piano)||Play|
|11th June, 2016||Flute duets by Kuhlau||Karen Rash & Jasmine Selby (flutes)||Play|
|11th June, 2016||Brahms and Chopin piano solos;
Duke Ellington: A Portrait of Bert Williams||Linda Bhattacharya (piano)||Play|
|16th April, 2016||Tosti: Non t'amo più, La Serenata
Rachmaninov: How fair this spot, In the silent night||Angela Goodall, Joe Ward||Play|
|12th March, 2016||Cesar Franck: Sonata for violin and piano||Andrew Biggs and Kevin Allen||Play|
|12th March, 2016||Gideon Klein: String Trio||Laplace String Trio||Play|
|12th March, 2016||Songs by Bellini and Brahms||Andrew Robinson (Bar), Kevin Allen (piano)||Play|
|20th February, 2016||Anton Reicha: Sinfonico in D, Op. 12, for 4 Flutes.||Karen Rash, Jasmine Selby, Richard Goodman, Paul Dorrell||Play|
|30th January, 2016||Schubert: Einsamkeit, D.620||Tim Wilcox (tenor) and Peter Williams (piano)||Play|
|30th January, 2016||J S Bach: Flute sonata E minor BWV 1034||Karen Rash, Kevin Allen||Play|
|30th January, 2016||Madeleine Dring: from Five Betjeman Songs (1976)||Sue Mileham (Soprano), Kevin Allen (piano)||Play|
Review: Sussex Musicians 17th December 2016
Brightness falls from the air with this duo. Satie’s La Dive de L’empire nails wit and a nook of poignancy presaging the celebrated ‘Je te veux’ frankly invites in its cabaret abandon, so unlike Satie’s earlier work, so like his jokes. Valeria Guidotti moulds these with a true pointillistic charm, Zhanna Kemp eliciting the right vampish sonority from the piano.
Their Offenbach from Tales of Hofmann similarly explored precise territory, a singing mannequin in fact in ‘The Doll Song’. Guidotti in fact enacts this rushing on and off stage to strike a doll-effect by winding herself up with rattling sound-effects. That shouldn’t displace the dotted top-notes Guidotti nails to the top of her staves. It was exquisite singing, again a pure-toned high-soprano voice, Guidotti at the top of her very un-mechanical game too, shading in charm with a slinky reconciling of flesh with a bit of platinum technique.
Beatrice Sales and Kevin Allen teamed up again with their flute and piano duo for the first movement of Vivaldi’s Flute Concerto in D major Op 10/3. With impressively dotted birdsong rhythms, it fleshed baroque ornament from vertiginous playing. Allen’s Bach is well-known. Here he had to imitate a trumpeting string-sound with neater ornaments. Sales, well sailed with pure intonation, and somewhere between a mechanical bird (to dredge that Offenbach parallel) and the imitated, immortal original.
Beatrice Sales now on viola joined Andrew Biggs, Rosemary Coles, and cellist Nick Cooper for Beethoven’s String Quartet in B flat Op 18/6.
This is amongst the finest ensemble-playing we’ve heard here, intonation far purer than in the relatively recent past. There’s a crisp rhythm too, and a truly breathing expansiveness that never falters for instance in the opening. Accelerandos too are tightly wound.
Beethoven’s Op 18/6 is an affable, curiously probing work even in the brilliant key of B flat. The appealing tuneful (yes Beethoven wrote good tunes) opening with its more conventional second subject was taken at quite a bounce by the ensemble after the break. The slow movement with its Andante feel exudes a baffled dignity though with its pauses it’s the inflections Beethoven introduces rather than any expressive high that mark out this quartet. The dotted moments are delightfully pinked by the players here.
It’s certainly not the rather weak scherzo with its real wisp of a trio, and repeat of the scherzo material with its wrong-footing reminiscent of Beethoven’s Violin Sonata Op12/3. In other words it’s been done and the movement if perky is his least memorable. Again crisp, and unhurried the blend of violins with lower instruments was not only precise but telling in the trio with is slithery dark minor, the gem in this otherwise less probing material.
Not so the finale. It starts with the emphatic brightness of the home key and again the players realize this with a performance of growing intensity. Building perhaps from memories of Mozart’s Dissonance K465 Beethoven introduces Melancholia and a gateway to his later work, then alternates with a memorable German dance.
But this isn’t all. He interrupts this repeatedly with the noble silences and sudden expressive chords from the slow movement, that here gain extra expressive weight – and it receives cumulative fire here. Bar the attractive opening, all the quality of the B flat quartet comes in this finale, a fitting culmination the ensemble give full weight to.
They never put a foot or hand wrong in this work, and do their best for the featherweight elements as well as gathering a fugato pace when all themes seem hammered home at once to a throwaway dissolve.
I don’t think we’ve had Beethoven or any other quartet playing of this calibre before, and this performance more than deserves preservation on the site it will stand as one of the flagship records we possess of SPC.