Splinter (Luchinushka) folk song
Daria Robertson (soprano) with Zhanna Kemp. Sussex Musicians Club concert at Brighton Unitarian Church June 2018.
|13th October, 2018||Debussy: Danseuses de Delphe; Reverie; La Cathedrale Engloutie; Arabesque no. 2||Joe Ward (piano)||Play|
|13th October, 2018||Malcolm Arnold: Beauty Walks the Woods at Night Spohr: Sei still mein Herz; Wiegenlied; Das heimliche Lied Arnold Cooke:The Echoing Green (from Blake Songs of Innocence Experience) Arthur Bliss: The Ragwort; The Dandelion Terence Greaves: A Garden of Weeds: Buttercup, Poppy,Thistle, Belladonna, Nettle Mozart: Don Giovanni: In quali' eccessi, o numi, Mi tradi quel' anima ingrata||Sue Mileham, Nicola Grunberg, Jane Plessner||Play|
|13th October, 2018||Russian Folk Songs Rachmaninov: I fell in love to my sorrow Shishkin: Bright is the night||Daria Robertson & Zhanna Kemp||Play|
|22nd September, 2018||Chaminade: Flute Concertino||Karen Rash and Nicola Grunberg||Play|
|22nd September, 2018||JS Bach arr Myra Hess: Adagio Organ Toccata No 1 F Liszt: Valle d’Obermann||John Bruzon (piano)||Play|
|16th June, 2018||Brahms: 2 Songs with Viola Op 91 Bridge: 3 Songs with Viola||Angela Goodall (mezzo-soprano), Beatrice Sales (viola), Joe Ward (piano)||Play|
|16th June, 2018||Russian classical and folk songs||Daria Robertson (soprano), Zhanna Kemp (piano)||Play|
|16th June, 2018||J S Bach: Preludes and Fugues in E major from 'The Well Tempered Clavier'||Hugh O'Neal (piano)||Play|
|16th June, 2018||Works by Rubinstein, Rachmaninov, Shostakovitch and Petrov||Polina Loubnina (flute), Zhanna Kemp (piano)||Play|
|16th June, 2018||Songs by Rachmaninov and Schubert||Valeria Guidotti (soprano), Zhanna Kemp (piano)||Play|
|28th April, 2018||Liszt: Three Petrarch Sonnets||John Bruzon (piano)||Play|
|24th March, 2018||Chopin: Polonnaise Fantasie||Jonathan Zoob||Play|
|24th March, 2018||Pergolesi: Stabat Mater (extracts)||Jean-Pierre Brzechwa, Timi Mohai||Play|
|24th March, 2018||Bellini Songs: La farfaletta; Vanne, o rosa||Georgie Zeitlyn, Joe Ward||Play|
|24th February, 2018||Four songs: Mozart; Humperdinck; Rodgers; Donald Swann||Jemima Byrne||Play|
|24th February, 2018||Three songs: Brahms; Menotti; Kurt Weill||Elizabeth Wilmot||Play|
|27th January, 2018||Songs by Chabrier, Faure and Hahn||Tim Wilcox and Peter Williams||Play|
|27th January, 2018||Bach: 2nd Partita C minor BWV 826||Rosemary Kemp (piano)||Play|
|27th January, 2018||Bruch: Kol Nidrei Faure: Elegie||Racheol Sierra (cello), Hugh O'Neal (piano)||Play|
|27th January, 2018||Massenet: Meditation from Thais Sarasate: Zigeunerweisen Op 20||Sophia Bartlette - violin, Joe Ward - piano||Play|
|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|
Video recordings from June 2018 concert
Daria Robertson has kindly supplied the following links to her recent performance at the SMC June concert:
1. Vanechka Folk song
2. Splinter (Luchinushka) folk song
3. The Legend P. Tchaikovsky
4. The Night A. Rubinstein
Review: SMC 9th September 2017, BUC
The inaugural Sussex Musicians concert opened and ended with spectacular strength, and entertained all through.
Bax’s 1921 Viola Sonata is one of the greatest written for this combination. The finest is one from 1919, Rebecca Clarke’s, and Britten’s Lachrimaye from 1950 is the other best known. Add to that Shostakovich’s 1975 valediction (it’s striking how many composers end their lives writing or orchestrating viola works: Bartok and Britten too), with the best two or three of Hindemith’s and you have the core repertoire.
Oddly, this is the only work of that list inspired by Lionel Tertis, and Bax wrote a Concerto (called Fantasy) fro him in 1919, a Legend in 1929, which we heard a couple of years ago from this team; and a Second Sonata from 1934 got turned into his masterly Sixth Symphony. Perhaps looking at the oddity of the first two movements there, someone might steal it back?
The Bax has enormous power and like the Clarke encloses a scherzo in the middle, a format Walton later followed in his concertos.
Beatrice Sales opened out more and more in her playing, both singing and gritty where required. Kevin Allen powered support through Bax’s tricky piano part, written fro himself, someone who could sight-read anything. The opening rises in broken Celtic-sounding reminiscence but is a world away from Bax’s Irish adoption. It’s angular, modern and rises on tremendous perorations, speeding to Allegro then fading in a speaking tone of infinite regret. The diablerie of the Scherzo is strutting, angry, ferociously questing with a plangent middle trio section. The finale’s of course return: Molto lento. This too is shot through with sudden bursts and only settles resignedly. Sales and Allen know what they’re about as a duo, and brought this aching, angular masterwork of beauty, humour and desolation.
Sue Mileham with her inimitable wit and entertaining brio was able to break the spell after a brief pause with Karen Rash on flute and Nicola Grunberg on piano. Its an enticing combination. Arne’s The morning is a twittering confection, full of trills and tessituras, everyone reaching for a lark rise to top notes.
Saint-Saens’ ‘Une flute invisible’ similarly delights in the flute, as this composer always does, Rash weaving a proto-impressionistic haze around Mileham’s voice.
Henry Bishop’s ‘Lo! Here the Gentle Lark’ also weaves in larks, using Shakespeare’s ords as Mileham too points out is rather manically rising. These are rare works, rarely performed. Mileham’s often known for entertaining and she does that here, but in the music she charts unfamiliar territory for herself and most listeners.
Finally John Bruzon rendered us first a transcription by Alfred Cortot: it’s the second movement of Brandenburg Fifth Concerto in F minor. A remarkable sustained meditation in Bruzon’s hands, and retaining a cantilena feel as it sings suspended.
Bruzon’s virtuosity emerged wholly in the service of Liszt, his 1849 ‘Funérailles’ an extraordinary hybrid between a march and lament commemorating friends killed in the 1848 Hungarian uprising against the Hapsburgs. The tread of simple chords across the keyboard concatenates gradually into a frenzy, a protest, and a sad and angry consolation as the late great poet Geoffrey Hill put it. Bruzon gave an electrifying performance, terracing the gradual sonic wedge as it swayed across the keyboard, singing tone raised with the tempo, into an antiphonal carillon of rage. Muriel Hart, who’s been attending Sussex Musicians since 1941, said she couldn’t recall a finer piano performance in the last few years anywhere. I’m not sure I can either.
Daria and Zhanna 13 October 2018
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.