|11th November, 2017||Beethoven: Violin sonata No 10 in G major, Op.96||Andrew Biggs (violin), Hugh O'Neal||Play|
|11th November, 2017||Frank Bridge: Piano sonata||Kevin Allen||Play|
|11th November, 2017||Copland: Hoe Down; Variations (Appalachian Spring) Gershwin: Three preludes arr. Stone||Zhanna Kemp, Norman Jacobs - piano duet||Play|
|7th October, 2017||Schumann: Maria Stuart Lieder, Op.135||Jane Money (mezzo-soprano), Richard Haslam (piano)||Play|
|9th September, 2017||Arnold Bax: Sonata for viola and piano||Beatrice Sales, Kevin Allen||Play|
|9th September, 2017||Songs by Arne, Saint-Saens and Henry Bishop||Sue Mileham, Karen Rash with Nicola Grunberg (piano)||Play|
|9th September, 2017||Bach/Cortot: arrangement of the Arioso from the F Minor Keyboard Concerto. Liszt: Funerailles||John Bruzon||Play|
|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|
Review: 7 October 2017
We don’t hear Nicola Grunberg enough in piano duets – she’s usually part of a violin/piano duo - but with Judith Maddison she’s paired up to one with distinction. This is the second time I’ve heard her recently in this combo. The repertoire’s adventurous too (it ought to be remembered that Grunberg gave the first outside-Soviet Union performance of Shostakovich’s Viola Sonata with her husband, the late Cecil Aronowitz).
They started with two of Barber’s Souvenirs Op.20, acid chic tunefulness edging to post-war blues in both the Waltz and Pas de deux. It’d be good to hear the whole Suite. Richard Rodney Bennett’s Suite for Skip and Sadie is recognizably from the same aesthetic, if not quite as well-known. It’s an attractive children’s piece, a Good Morning and Good Night framing the characterful Sadie’s Waltz and Skip’s Dance. These like so much of Bennett’s output are grateful, teasingly memorable, and deliberately generic. They’re an attractive addition to the sub-genre of works for children in this medium. Grunberg and Maddison are right on top of this medium,: light, poised, crisp and full of élan.
The Mozart Violin Sonata in B Flat K.378 brings Grunberg back with her regular violin partner, Cynthia Eraut. This work’s both substantial and silvery. It’s a work that settles into B flat brilliance with its Allegro moderato, strong and quite big-boned. The Andantino sostenuto e cantabile slips by with a signing nagging inwardness I felt I’d like to hear again. The Allegro Rondo’s another piece of melodic tugging, edging sideways to small surprises, and vivid. Nicely projected, this duo never over-emphasize their performances.
After he interval we enjoyed a rarity: Schumann’s Op.135 – thus very late – Poems of Mary Stuart. These five works, sung by Jane Money with Richard Haslam at the piano, are beguiling, inward-looking pieces befitting their subject. The five poems based on actual pieces by Mary but refracted through all sorts of Romantic creations, take us through a Schiller’s Eye view, including the middle work addressed to Queen Elizabeth 1. The last two take a lingering farewell from the world. She had begun with marriage and hope. Money’s mezzo voice does pierce through these obliquities, and we’re lucky to have such fine works rendered at all. Haslam’s pianism as ever perfectly supported.
Hugh O’Neal’s Schubert Piano Sonata in A minor D.845 is a tremendous arc of a work veering early to desolation. The memorable Moderato that O’Neal pitches without pushing to any kind of opening allegro speed moves to the Andante poco molto, an interrogation of loneliness. O’Neal enjoys the whole Scherzo marked Allegro vivace moving to a slower Trio as you’d expect. The energy’s carried through the equally Allegro Vivace Rondo finale. With O’Neal, perfectly attuned to this fragile world of secure sorrow and evanescent joys, you do feel as if he’s the ideal guide. Schubert’s acute and sometimes volatile sensibility is movingly conveyed.
Another fine concert of core and rarity, a perfect balance. It’s good we can now hear them on the site.