Thursday 12 October 2023. 7.30 pm Old Hall, Lampeter University<\/strong><\/p>\n\n\n\n The Mavron Quartet recorded a concert for us in lockdown. We were delighted with this return visit in person.<\/p>\n\n\n\n Programme<\/strong><\/p>\n\n\n\n Shaw<\/strong> – Entr\u2019acte The Mavron Quartet<\/a><\/p>\n\n\n\n Concert review<\/strong><\/p>\n\n\n\n If you weren\u2019t at this concert, you missed an uplifting treat. The Mavron Quartet, old friends of the Club, have reached that point of musical maturity where they stamp their authority on whatever they play. They have power, lightness, dexterity, wonderful richness of tone, and not a little humour. And they play as one.<\/p>\n\n\n\n Humour was strongly evident in their opening piece, Entr\u2019acte<\/em> by Caroline Shaw. The lighter interruptions within the more classical form which inspired the work, with sound effects and close playful interaction between the parts, were a real tonic.<\/p>\n\n\n\n Then followed one of the great favourites within the romantic repertoire, Dvo\u0159\u00e1k\u2019s \u2018American\u2019 quartet. Lush melodies, delicious harmonies and lightning changes of dynamic kept this evergreen piece as fresh as new. <\/p>\n\n\n\n After the interval, the opening of Mendelssohn\u2019s last quartet, No. 6, was almost shocking. The rightly controlled sforzandi, the changes in tempo, and above all, the sheer intensity of this music, played in perfect unanimity, made me question the reputation that Mendelssohn had many decades ago for offering \u2018easy listening\u2019. Written during his last year of life, with the pain of losing his beloved elder sister Fanny weighing heavily upon him, this music is both moving and exciting. <\/p>\n\n\n\n A short piece by Fredrik Sj\u00f6lin, \u2018Shore\u2019<\/em> reduced the emotional pressure with its evocation of Danish island travel. <\/p>\n\n\n\n Unsurprisingly, the audience were very enthusiastic, and were rewarded with another short gem by Sj\u00f6lin, almost American in character, and an unusually exciting piece to be played as an encore \u2013 but perfect in its context, sending us out with rhythm in our toes.<\/p>\n\n\n\n I hope it won\u2019t be too long before we hear more from this excellent ensemble. It\u2019s all the more pleasing when one reflects that Chrissie Mavron is a local girl. It\u2019s \u2018our band\u2019! <\/p>\n\n\n\n Carol Nixon<\/p>\n\n\n\n Angela Brownridge (piano)<\/strong><\/p>\n\n\n\n Tuesday 14 November 2023 7.30pm<\/strong>, Neuadd Bro Fana Ffarmers Village Hall<\/strong><\/p>\n\n\n\n Angela Brownridge<\/a><\/p>\n\n\n\n Programme<\/strong><\/p>\n\n\n\n CPE Bach<\/strong> – Prussian sonata no. 6 in A major. Allegro. Largo. Allegro. Concert review<\/strong><\/strong><\/p>\n\n\n\n Angela had been expecting to play on a large grand piano hired in to the Arts Hall, but difficulties with the college heating system made that impossible, and she gamely played at short notice on the smaller grand at Ffarmers. It is in fact a lovely instrument, just right for that intimate space, and the hastily re-organised concert was delightful.<\/p>\n\n\n\n The occasion was made all the more interesting by Angela\u2019s introductions to the pieces she was about to play. C.P.E. Bach in particular benefitted from being differentiated from his father, so that we knew to expect a different style. <\/p>\n\n\n\n Angela is something of a specialist in French music, having made a number or recordings, and we were not disappointed. Whether Chopin can be classed as \u2018French\u2019 is moot, especially since so much of his music is filled with his yearning for his Polish homeland. The Polonaise Fantasy is perhaps the most striking example of this element in his music, and it never fail to stir the audience.<\/p>\n\n\n\n Angela\u2019s mastery of the instrument is absolute, and we could be said to have heard an object lesson in pianism. <\/p>\n\n\n\n Carol Nixon<\/p>\n\n\n\n Victoria Samek (clarinet)<\/strong> and<\/strong> Michael Bell (piano) <\/strong><\/p>\n\n\n\n Thursday 22 February 2024 7.30pm Neuadd Bro Fana Ffarmers Village Hall<\/strong><\/p>\n\n\n\n The Samek \/ Bell Duo <\/strong>celebrate fifteen years of performing and recording together as duo to which the strength of their partnership is unparalleled. With a musical integrity they exude and technical brilliance they excel will leave audiences captivated. Their recordings include the complete clarinet works by Paul Harris, Joseph Horovitz and Richard Rodney Bennett receiving critical acclaim.<\/p>\n\n\n\n \u2018The commitment and quality of the playing is at once apparent; Victoria Samek and Michael Bell are a formidable duo\u2019. <\/em>International Record Review<\/p>\n\n\n\n Programme:<\/strong><\/p>\n\n\n\n Schumann<\/strong> \u2013 Fantasiest\u00fccke Concert review<\/strong><\/strong><\/p>\n\n\n\n This was an adventurous and satisfying programme which progressed from the familiar and comfortable to music less often heard, including a world premiere. Throughout, the deep love of the players for the music they were interpreting for us was abundantly clear. They brought us into their sound world with a minimum of talk \u2013 just enough for us to get our bearings.<\/p>\n\n\n\n Schumann\u2019s FantasieSt\u00fccke is a familiar item in concert programmes, though very often in transcriptions for other instruments. It is a genuine dialogue between clarinet and piano, and set us off on a fascinating journey.<\/p>\n\n\n\n A diversion into \u2018Four Short Pieces\u2019 by Alban Berg displayed Miachael Bell\u2019s deep appreciation of Berg\u2019s serial music, and was followed by one of Brahms\u2019 last works, his second clarinet sonata. It was inexpressibly beautiful as played for us, with just the right balance between ascetic control and sensuous luxury. An absolute delight!<\/p>\n\n\n\n The second half opened with the world premiere of a solo piece commissioned by Victoria for the smaller E-flat clarinet from prolific composer and educationalist Paul Harris. Played forcefully, the E-flat clarinet can be rather raucous, but Victoria showed us its mellower side as well.<\/p>\n\n\n\n Then \u2018Three Novelettes\u2019 by Poulenc was Michael\u2019s solo piece \u2013 and what a piece! The huge range of Poulenc\u2019s stylistic capacity was on show, from the almost baroque opening number (including humour!) via what Michael referred to as \u2018circus music\u2019 \u2013 rowdy, full of dotted rhythms and a marvellous showcase for piano technique \u2013 to the solemn and thoughtful beauty of the final part.<\/p>\n\n\n\n I was very struck by the next piece, both players together in Martinu\u2019s sonatina. This had a calm beauty which suggested that it ought to be heard more often.<\/p>\n\n\n\n The final scheduled piece was by Victoria\u2019s old friend Joseph Horovitz, another unexpected treat. <\/p>\n\n\n\n Carol Nixon<\/p>\n\n\n\n Larisa Piano Trio<\/strong><\/p>\n\n\n\n Eliette Harris (violin) Rosie Spinks (cello) & Jasmin Allpress (piano) <\/p>\n\n\n\n Thursday 21 March 2024 7.30pm Neuadd Bro Fana Ffarmers Village Hall<\/strong><\/p>\n\n\n\n This young trio is fast building an international reputation with both classical and new music repertoire.<\/p>\n\n\n\n Programme<\/strong><\/p>\n\n\n\n Mozart \u2013 <\/strong>Piano Trio in C major KV 548 Larisa Trio<\/a><\/p>\n\n\n\n Concert review<\/strong><\/p>\n\n\n\n This concert was a delight from start to finish. Eliette Harris (violin), Rosie Spinks (cello), and Jasmin Allpress (piano), played with astonishing assurance, force and maturity of voice. <\/p>\n\n\n\n Though still in their mid-twenties, they have been together for seven years already, having come together in the RNCM in 2016, and their cordial musical interchange speaks of long rehearsal, naturally, but also of a joyous meeting of minds. Their total confidence in each other was particularly important on this occasion, since delays on their journey meant they had little more than 30 minutes pre-concert rehearsal time.<\/p>\n\n\n\n They began with Mozart\u2019s Trio in C Major, K 548, which is deceptively hard to pull off, with Mozart indulging his sense of fun as the piano taunts the violin. A sparkling, bright performance!<\/p>\n\n\n\n Then came the first piece they had ever played together, and one of their declared favourites, Debussy\u2019s Trio in G Major, which was composed when he was 18. I\u2019d never heard this amazing creation before, but certainly hope to be doing so again. The contrasting colours, the harmonic shifts, and the sheer inventiveness of the piece had me enthralled.<\/p>\n\n\n\n They began the second half with Haydn\u2019s Piano Trio in A Major (Hob XV:18). They clearly enjoyed Haydn\u2019s mischievous musical sense of humour, an enjoyment they communicated brilliantly to us.<\/p>\n\n\n\n The final offering was Ravel\u2019s trio in A minor. With a dream-like first movement, but building to a fourth movement of the most extreme energy, this work could only be played last in any programme, for it forms a natural and totally satisfying climax.<\/p>\n\n\n\n The enthusiastic audience came away refreshed and inspired. Many thanks to these young players, who I am sure will go far. <\/p>\n\n\n\n Caro Nixon<\/p>\n\n\n\n Aquilae Duo<\/strong><\/p>\n\n\n\n Lisa Nelsen (Flute) & Eleanor Turner (Harp)<\/p>\n\n\n\n Thursday 4 April 2024 7.30 pm Old Hall, Lampeter University<\/strong><\/p>\n\n\n\n Programme<\/strong><\/p>\n\n\n\n \u201cLet Beauty Awake\u201d<\/strong><\/p>\n\n\n\n Lucas Ruiz de Ribayaz<\/strong> (1626-after 1677): Luz y Norte \u2013 Espanoletas and Xacaras INTERVAL<\/p>\n\n\n\n W.A. Mozart<\/strong> (1756-1791): Allegro and Andante from Flute and Harp Concerto, K.299 Lisa Nelsen<\/a> Concert review<\/strong><\/p>\n\n\n\n \u2018Let Beauty Awake\u2019<\/p>\n\n\n\n This was a night to remember, when everything fell into place. Brilliant performers, beautiful programme, large and appreciative audience. It was good to be in the College Old Hall, which has a lovely acoustic, and even the foul weather could not spoil the sunny atmosphere engendered by two world-class musicians: Lisa Nelsen, flute, and Eleanor Turner, harp. <\/p>\n\n\n\n Always on the lookout for good repertoire for their combination of instruments, they have over the years found, arranged and commissioned an amazing range of pieces. For this concert, they performed not inconsiderable works by no fewer than eight composers, four of whom were new to me.<\/p>\n\n\n\n From seventeenth century Spanish to brand new Welsh, the common element was indeed beauty. Their constant imaginative attention to every detail of phrasing, dynamic and tone made every single note they played a pleasure on the ear. These, I found myself thinking, are truly great artists. (At that level, one tends to take their absolute technical mastery for granted!)<\/p>\n\n\n\n It is always an enormous gift to the audience when musicians make emotional contact with them, and explain the significance of pieces for them personally. It was moving to hear Lisa explain how the solo piece she played by Frank Horvat, given to the world in 2020, had helped her through that dark time.<\/p>\n\n\n\n Likewise it meant a lot that Andy Scott, the composer of the powerful penultimate sonata was a friend of theirs.<\/p>\n\n\n\n I have left two special highlights till last. The first set closed with the world premiere of a sonata by Mared Emlyn, commissioned by her friend Eleanor. Mared had come down from North Wales specially for the occasion, and was able to enjoy the enthusiastic applause which followed.<\/p>\n\n\n\n The second half opened with one of the earliest masterpieces for the combination, Mozart\u2019s Flute and Harp concerto K299. Being brought together to play this, was how Lisa and Ellie had met, and they gave a sublime performance, born of total possession by the music. I thought their choice to omit the final movement was wise, in that it left an opening for the final two sonatas, the Scott I have mentioned, and a lushly melodic sonata by Nino Rota.<\/p>\n\n\n\n Since audience members had shown an eagerness to speak with the soloists, they generously returned to the stage after the final applause had eventually subsided, and spent at least quarter of an hour more with us, despite the prospect of a long journey home looming before them.<\/p>\n\n\n\n It is very good to know that they also enjoyed the occasion. Thank you! <\/p>\n\n\n\n Carol Nixon<\/p>\n\n\n\n A<\/strong> concert given by the 2024 Young Musician of Dyfed finalists<\/strong><\/strong><\/p>\n\n\n\n Friday 5 July 2024, 7.00 pm in Neuadd Bro Fana Hall, Ffarmers<\/strong><\/p>\n\n\n\n Jonah Barker – Piano<\/strong><\/p>\n\n\n\n Debussy – Arabesque No 1<\/p>\n\n\n\n Gershwin – Three Preludes<\/p>\n\n\n\n Rachmoninov – Rhapsody on a theme of Paganini op 43 \u2013 variation 18<\/p>\n\n\n\n Jencyn Corp – Piano<\/strong><\/p>\n\n\n\n Beethoven – Sonata in C minor (pathetique) 2nd movement [Adagio Cantabile] <\/p>\n\n\n\n Grusin – Ray’s Blues <\/p>\n\n\n\n MacDowell – Etude no.12 Hungerian Dance<\/p>\n\n\n\n Corp – Yr Afon <\/p>\n\n\n\n Ianto Evans – Trombone<\/strong><\/p>\n\n\n\n Peter Kneale – Blue John<\/p>\n\n\n\n Harbach\/Kern arranged by John Iveson – Smoke gets in your eyes<\/p>\n\n\n\n John Ambrose Greenwood – The Acrobat <\/p>\n\n\n\n Raphael James – Piano<\/strong><\/p>\n\n\n\n Chopin – Nocturne in E major Op.62 no. 2 <\/p>\n\n\n\n Rachmaninoff – Polichinelle in F-sharp minor Op.3 no. 4<\/p>\n\n\n\n Rachmaninoff – Prelude in G-sharp minor Op.32 no. 12 <\/p>\n\n\n\n Chopin – Etude Op.25 no. 9 (“Butterfly”) <\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" The Mavron Quartet Thursday 12 October 2023. 7.30 pm Old Hall, Lampeter University The Mavron Quartet recorded a concert for us in lockdown. We were delighted…<\/p>\n![\"\"](\"https:\/\/lampetermusicclub.org.uk\/wp-content\/uploads\/2023\/08\/mavron-04-1-1.jpg\")
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Taking inspiration from Haydn\u2019s Op 77 No 2, but with a 21st<\/sup> century twist.
Dvo\u0159\u00e1k<\/strong> – String Quartet No. 12 in F major, Op. 96
His well loved \u2018American\u2019 quartet, written just after the 9th<\/sup> symphony \u2018From the New World\u2019.
Mendelssohn<\/strong> – String Quartet No.6 Op.80
Mendelssohn\u2019s last major work, composed in homage to his sister Fanny.
Sj\u00f6lin<\/strong> – Shore
A short piece by the cellist of the Danish Quartet, inspired by the Danish coastline.<\/p>\n\n\n\n
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Haydn<\/strong> – Sonata in E flat no. 52. Allegro. Adagio. Presto.
Chopin<\/strong> – Polonaise in C sharp minor Op. 26 no. 1. Allegro appassionato.
Chopin<\/strong> – Polonaise Fantasy Op. 61.
Debussy<\/strong> – Estampes: Pagodes Soir\u00e9e dans Grenade. Jardins sous la pluie.<\/p>\n\n\n\n
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Berg<\/strong> -Four Short Pieces
Brahms<\/strong> – Sonata No. 2 in Eb Op.120
Harris<\/strong> \u2013 Sonatina for Eb Solo Clarinet (world premiere)
Poulenc<\/strong> \u2013 Three Novelettes for piano solo
Martin\u016f <\/strong>\u2013 Sonatina
Horovitz<\/strong> – Sonatina<\/p>\n\n\n\n
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Debussy \u2013 <\/strong>Piano Trio in G major
Haydn \u2013 <\/strong>Piano trio in A major hob XV:18
Ravel \u2013 <\/strong>Piano Trio in A minor<\/p>\n\n\n\n
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Vaughan Williams<\/strong> (1872-1958): Three Songs of Travel \u2013 arranged by Esther Beyer
Let Beauty Awake
Infinite Shining Heavens
Whither Must I Wander
Frank Horvat<\/strong>: Music for Self-Isolation (solo flute, 2020)
Michael Mauldin<\/strong>: Two Preludes from Birds in Winter (1989)
Mared Emlyn<\/strong>: Sonata for Flute and Harp (2024) \u2013 World Premi\u00e8re Performance<\/p>\n\n\n\n
Andy Scott<\/strong> (b.1966): Sonata for Flute and Harp (2002)
Nino Rota<\/strong> (1911-1979): Flute and Harp Sonata
Allegro molto moderato \u2013 Andante Sostenuto \u2013 Allegro Festoso<\/p>\n\n\n\n
Eleanor Turner<\/a><\/p>\n\n\n\n![\"\"](\"https:\/\/lampetermusicclub.org.uk\/wp-content\/uploads\/2024\/06\/24-dym-1.jpeg\")
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