DateWorkArtistsmp3
11th November, 2017Beethoven: Violin sonata No 10 in G major, Op.96Andrew Biggs (violin), Hugh O'NealPlay
11th November, 2017Frank Bridge: Piano sonataKevin AllenPlay
11th November, 2017Copland: Hoe Down; Variations (Appalachian Spring) Gershwin: Three preludes arr. StoneZhanna Kemp, Norman Jacobs - piano duetPlay
7th October, 2017Schumann: Maria Stuart Lieder, Op.135Jane Money (mezzo-soprano), Richard Haslam (piano)Play
9th September, 2017Arnold Bax: Sonata for viola and pianoBeatrice Sales, Kevin AllenPlay
9th September, 2017Songs by Arne, Saint-Saens and Henry BishopSue Mileham, Karen Rash with Nicola Grunberg (piano)Play
9th September, 2017Bach/Cortot: arrangement of the Arioso from the F Minor Keyboard Concerto. Liszt: FuneraillesJohn BruzonPlay
17th June, 2017Scarlatti: 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, 2017Mozart: Un moto gioia mi sento K579 Bellini: Tre arietteBeatrice Monaco (soprano), John Bruzon (piano)Play
17th June, 2017Georges Hue: FantaisieKaren Rash (flute), John Bruzon (piano)Play
29th April, 2017William Lloyd Webber and Vincenzo Bellini songsGeorgina Zeitlyn (Sop) and John Bruzon (piano)Play
29th April, 2017Mendelssohn: Songs without WordsAmbrose PagePlay
25th March, 2017Schoenberg and Webern piano piecesKevin AllenPlay
25th March, 2017Elgar: Sea PicturesAngela Goodall (mezzo-soprano), Joe Ward (piano)Play
25th February, 2017Beethoven: Bagatelles Op 126Joe Ward (piano)Play
25th February, 2017Brahms: Cello Sonata E minorNick Cooper, Hugh O'NealPlay
17th December, 2016Erik Satie: La Diva de L'Empire; Je te veuxValeria Guidotti (soprano), Zhanna Kemp (piano)Play
17th December, 2016Beethoven: String Quartet 18 No 3Andrew Biggs, Beatrice Sales, Nick Cooper, Rosemary ColePlay
17th December, 2016Vivaldi: flute concerto in D major Opus 10, No. 3Beatrice Sales (flute), Kevin Allen (piano)Play
17th December, 2016Offenbach: The Doll Song (Tales of Hoffmann)Valerie Guidotti, Zhanna KempPlay
19th November, 2016Songs by Hugo WolfTim Wilcox (tenor), Peter Williams (piano)Play
19th November, 2016Bach: Violin sonata No 4 in C minor, BWV 1017Andrew Biggs, Hugh O'NealPlay
19th November, 2016Piano duets by Schubert and Mike Cornick.Zhanna Kemp and Norman JacobsPlay
19th November, 2016Lute items by John DowlandKevin AllenPlay
29th October, 2016Schubert: Duo in A major for violin and pianoCynthia Eraut, Nicola GrünbergPlay
29th October, 2016Bach: Partita No 4 in D majorHugh O'Neal (piano)Play
29th October, 2016John Ireland: Fantasy-Sonata.Joy Boole (clarinet), Rosemary Kemp (piano)Play
29th October, 2016F P Tosti: Sogno F Liszt: Oh quand je dors R Wagner: Traume (Wesendonck 5)Angela Goodall (mezzo-soprano), Nicola Grünberg (piano)Play
8th October, 2016Purcell: 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, 2016Schubert: Arpeggione SonataHugh O'Neal & Beatrice Sales (viola)Play
8th October, 2016Brahms: Ballade in D minor Op 10 No 1; Ballade in D Op 10 No 2; Romance Op 118 No 5Rosemary 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.


Simon Jenner