Woking Choral Society provided a fitting start to the seasonal celebrations with their performance of Messiah, the universally-loved oratorio by George Frideric Handel, held in the H G Wells Hall on Saturday December 8.
It really was standing room only, with every ticket sold for this eagerly-anticipated concert, in which the choir joined forces with the London Mozart Players, one of the country’s leading ensembles, in a spirited and joyous rendition of the work, under the direction of the choir’s musical director Ben Palmer.
The concert was attended by the Mayor and Mayoress of Woking Councillor Michael and Mrs Anne Smith who arranged a special Bucket Collection at the conclusion of the evening with proceeds going to the Mayor’s charity for 2012/13, Macmillan Cancer Support. More than £400 was raised.
The many local supporters of Woking Choral Society will be travelling to London for their debut at the South Bank Centre on 18 March 2013.The choir will be joining Vox Cordis and the Syred Consort in a performance of Berlioz’s Messe solennelle with Ben Palmer’s Orchestra of St. Paul’s . Also in the programme is a performance of Berlioz’s Symphonie fantastique.
--- Terry Childs
Monday, 10 December 2012
Monday, 19 November 2012
Woking Symphony Orchestra - Sibelius, Rachmaninov and Tchaikovsky
Woking Symphony Orchestra showed their worth at their latest concert last Saturday (November 17th 2012). As the programme was one which had wide appeal, there was something for everyone in a lesser-known suite of great beauty by Sibelius (King Christian II), the emotional Rachmaninov 3rd Piano Concerto and Tchaikovsky’s rousing and energetic 2nd Symphony – the “Little Russian”.
The orchestra was on top form and gave an intense and fervent performance of the Sibelius, with the strings tackling the signature rushing passages with enthusiasm and effectiveness and with the brass and wind sections fulfilling their obligations admirably.
The soloist in the Rachmaninov (a Concerto notorious for its supreme difficulty) was Yuri Paterson-Olenich, whose firm and impassioned touch and sparkling finger-work resulted in an impressive and emotionally-charged interpretation of this work, sensitively supported by the orchestra.
The second half of the concert was devoted to the Symphony – again, not an easy piece and one that demanded great things from all sections of the orchestra, which were delivered with style and panache. Not for the first time Woking Symphony Orchestra, under the expert guidance of conductor, Roy Stratford, has risen to the challenge of performing difficult works successfully and this concert was one of their best to date.
--- Susan Bennett
The orchestra was on top form and gave an intense and fervent performance of the Sibelius, with the strings tackling the signature rushing passages with enthusiasm and effectiveness and with the brass and wind sections fulfilling their obligations admirably.
The soloist in the Rachmaninov (a Concerto notorious for its supreme difficulty) was Yuri Paterson-Olenich, whose firm and impassioned touch and sparkling finger-work resulted in an impressive and emotionally-charged interpretation of this work, sensitively supported by the orchestra.
The second half of the concert was devoted to the Symphony – again, not an easy piece and one that demanded great things from all sections of the orchestra, which were delivered with style and panache. Not for the first time Woking Symphony Orchestra, under the expert guidance of conductor, Roy Stratford, has risen to the challenge of performing difficult works successfully and this concert was one of their best to date.
--- Susan Bennett
Monday, 24 September 2012
Soirees at Breinton - Lomeiko-Zhislin Duo
As I write this, I am staring at the pouring rain outside the study window. Two days after our opening of the Breinton season, I am still on a high from the excitement we experienced. What a wonderful evening it was!
When I was planning this season’s Soirees, I had a pretty good idea who I wanted to invite to perform. I remember filling our calendar with great enthusiasm, completing all the dates, all except one – I could not fill the first slot. For the season opening, I was fussy, I wanted an new instrument, something which had never played here before, and I wanted something special. For a while I had no clue. Then one day I came across Natasha Lomeiko and Yuri Zhislin on the list of musicians managed by one of the agencies we work with. The decision was easily made.
Natasha and Yuri introduced us to the beautiful world of the violin and viola. We were also delighted to hear pieces by new composers that had not been featured before: Antonio Bartolomeo Bruni, an Italian composer and violinist who spent most of his life and career in Paris; and Johan Halvorsen, a Norwegian violinist and composer.
The recital started with two pieces from Bruni’s collection of more than twenty compositions for violin and viola, specifically, No. 3 and No. 4 from Book Four of his Six Duos Concertants. Each duo had two movements – all of them different in style, but equally expressive. The first movement of No. 3, Allegro moderato was very fresh and vivacious but at the same time elegant. This was followed by a lively minuet. No. 4’s first movement Allegro maestoso was graceful and was followed by the melodious and playful second movement. They were such sweet and enjoyable short pieces; each style and character was very well expressed by the musicians.
Then we had a complete change in atmosphere; Prokofiev’s Sonata for Two Violins was darker and much heavier. This four-movement Sonata could be lyrical, violent, subtle, dynamic and playful, but all the elements were beautifully played by the couple’s polished sounds. I felt their notes were like hidden jewels shining in the darkness. I am not poetic so I’m not sure if I have described this well, but that is how I felt. I particularly loved the first movement, Andante cantabile; it was so lyrical and literally sounded like the two violins were singing.
After the interval came Ysaӱe’s Sonata for Two Violins. Yuri said that Ysaӱe composed this Sonata with the intention of playing it together with his good friend, Queen Elisabeth of Belgium, but the Queen’s musical ability did not live up to his expectations. Of course, it is not of the kind of standard which anyone could play with their friend! However Queen Elisabeth was well known for her love of music and she founded the Queen Elisabeth Music Competition in his memory. Among the numerous international competitions, this is considered one of the most prestigious and difficult. Anyway didn’t I just love this Sonata and its creation of amazing harmonies? I found it surprising that it takes only two violins to create such gorgeous harmony. Really dynamically and expressively played, from the start until the finale, I was completely fixated. Compared to the composer’s solo violin pieces, this Sonata is not as frequently performed, and Yuri and Natasha are trying to challenge that. I suggested that they should definitely record it.
Last in the programme was the sensational Passacaglia, a duo by Halvorsen for violin and viola based on themes by Handel. I enjoyed all the beautiful variations and the acuteness and clarity of their playing was amazing, I had goose bumps on my arms throughout the piece. As it approached the finish, there was huge emotional accumulation towards the climax, and when finally the piece ended dramatically it wowed every person in the room.
Something extraordinary happened next – for an encore, Natasha and Yuri performed a composition by Christian ErnstGraaf’s, on only one violin! Yuri and Natasha played on her violin with two bows; I have never seen anything like that in my life! It was really amusing and brought a very happy ending to the evening.
To me, it was a wonderful programme of contrasting pieces, which Natasha and Yuri showed their skill over a wide range of sounds and technical difficulties. However, no matter how difficult the pieces were, their playing never sounded mechanical. They had warmth and plentiful emotion and expression, while the care for each other was apparent. Their understanding of each other’s mood, tempo and timing is explicit, while they obviously share the same view and interpretation of the pieces they performed. On their website it says “the Duo is an artistic union created as a result of their strong desire to be together on stage as well as in life”. What a lovely couple.
At the end of the evening, one regular said “Every recital at Breinton is special, but tonight’s performance was truly special”. I hope everybody felt the same way.
--- Kumi Smith-Gordon.
When I was planning this season’s Soirees, I had a pretty good idea who I wanted to invite to perform. I remember filling our calendar with great enthusiasm, completing all the dates, all except one – I could not fill the first slot. For the season opening, I was fussy, I wanted an new instrument, something which had never played here before, and I wanted something special. For a while I had no clue. Then one day I came across Natasha Lomeiko and Yuri Zhislin on the list of musicians managed by one of the agencies we work with. The decision was easily made.
Natasha and Yuri introduced us to the beautiful world of the violin and viola. We were also delighted to hear pieces by new composers that had not been featured before: Antonio Bartolomeo Bruni, an Italian composer and violinist who spent most of his life and career in Paris; and Johan Halvorsen, a Norwegian violinist and composer.
The recital started with two pieces from Bruni’s collection of more than twenty compositions for violin and viola, specifically, No. 3 and No. 4 from Book Four of his Six Duos Concertants. Each duo had two movements – all of them different in style, but equally expressive. The first movement of No. 3, Allegro moderato was very fresh and vivacious but at the same time elegant. This was followed by a lively minuet. No. 4’s first movement Allegro maestoso was graceful and was followed by the melodious and playful second movement. They were such sweet and enjoyable short pieces; each style and character was very well expressed by the musicians.
Then we had a complete change in atmosphere; Prokofiev’s Sonata for Two Violins was darker and much heavier. This four-movement Sonata could be lyrical, violent, subtle, dynamic and playful, but all the elements were beautifully played by the couple’s polished sounds. I felt their notes were like hidden jewels shining in the darkness. I am not poetic so I’m not sure if I have described this well, but that is how I felt. I particularly loved the first movement, Andante cantabile; it was so lyrical and literally sounded like the two violins were singing.
After the interval came Ysaӱe’s Sonata for Two Violins. Yuri said that Ysaӱe composed this Sonata with the intention of playing it together with his good friend, Queen Elisabeth of Belgium, but the Queen’s musical ability did not live up to his expectations. Of course, it is not of the kind of standard which anyone could play with their friend! However Queen Elisabeth was well known for her love of music and she founded the Queen Elisabeth Music Competition in his memory. Among the numerous international competitions, this is considered one of the most prestigious and difficult. Anyway didn’t I just love this Sonata and its creation of amazing harmonies? I found it surprising that it takes only two violins to create such gorgeous harmony. Really dynamically and expressively played, from the start until the finale, I was completely fixated. Compared to the composer’s solo violin pieces, this Sonata is not as frequently performed, and Yuri and Natasha are trying to challenge that. I suggested that they should definitely record it.
Last in the programme was the sensational Passacaglia, a duo by Halvorsen for violin and viola based on themes by Handel. I enjoyed all the beautiful variations and the acuteness and clarity of their playing was amazing, I had goose bumps on my arms throughout the piece. As it approached the finish, there was huge emotional accumulation towards the climax, and when finally the piece ended dramatically it wowed every person in the room.
Something extraordinary happened next – for an encore, Natasha and Yuri performed a composition by Christian ErnstGraaf’s, on only one violin! Yuri and Natasha played on her violin with two bows; I have never seen anything like that in my life! It was really amusing and brought a very happy ending to the evening.
To me, it was a wonderful programme of contrasting pieces, which Natasha and Yuri showed their skill over a wide range of sounds and technical difficulties. However, no matter how difficult the pieces were, their playing never sounded mechanical. They had warmth and plentiful emotion and expression, while the care for each other was apparent. Their understanding of each other’s mood, tempo and timing is explicit, while they obviously share the same view and interpretation of the pieces they performed. On their website it says “the Duo is an artistic union created as a result of their strong desire to be together on stage as well as in life”. What a lovely couple.
At the end of the evening, one regular said “Every recital at Breinton is special, but tonight’s performance was truly special”. I hope everybody felt the same way.
--- Kumi Smith-Gordon.
Sunday, 1 July 2012
Woking Choral Society - Elgar & Orff
The programme for Woking Choral Society’s summer concert on 30 June in the H G Wells, comprising Elgar’s ‘From the Bavarian Highlands’ and Orff’s ‘Carmina Burana’ brought to mind that educational examination instruction ‘compare and contrast’. The Elgar work is more familiar in its orchestral version, but here it was given in the relatively infrequently performed original piano setting of 1895, which allowed more of the detail in the choral writing to be appreciated. Commencing with the Elgar, the fresh, joyful sound of the ladies section of the choir in the lively, well-known initial song ‘The Dance’ created an appropriately bucolic, open air ambience. In the more lyrical second and third songs the choir’s enjoyment of Elgar’s gentle setting of the words was evident and in the fourth and fifth there was good intonation in the familiar warm harmonies of this composer. The final song, ‘The Marksman’, with a busy piano accompaniment in vigorous triple time and with contrasting sections, was given a rousing performance which certainly hit the mark!
In almost every way, Orff’s ‘Carmina Burana’ could hardly be in greater contrast to the Elgar work, obviously musically but also texturally and in ambience. Here we have somewhat basic medieval texts set in a pseudo-archaic style in which pounding, repetitive rhythm is all-powerful, inspired by Stravinsky’s ‘Les Noces’ as stated in the excellent programme notes, but in my view not as successful. Under the vigorous baton of Ben Palmer, the choir was successful in creating the obsessive, almost African, motor rhythms and this version for two pianos, timpani and percussion seemed a very effective accompaniment, although on occasion, the enthusiasm of the timpanist tended to overwhelm the proceedings. The boys’ choir from the Royal Grammar School Guildford clearly enjoyed making their contribution ,and the soloists, notably the bass David Neal who had the most extensive part, were fully up to the challenge. This concert was much appreciated by the large audience present as demonstrated by the volume of applause. The choir has demonstrated that it can tackle this style of work so how about a performance of Stravinsky’s masterpiece at a future Woking Choral Society concert?
--- Lewis Orchard
In almost every way, Orff’s ‘Carmina Burana’ could hardly be in greater contrast to the Elgar work, obviously musically but also texturally and in ambience. Here we have somewhat basic medieval texts set in a pseudo-archaic style in which pounding, repetitive rhythm is all-powerful, inspired by Stravinsky’s ‘Les Noces’ as stated in the excellent programme notes, but in my view not as successful. Under the vigorous baton of Ben Palmer, the choir was successful in creating the obsessive, almost African, motor rhythms and this version for two pianos, timpani and percussion seemed a very effective accompaniment, although on occasion, the enthusiasm of the timpanist tended to overwhelm the proceedings. The boys’ choir from the Royal Grammar School Guildford clearly enjoyed making their contribution ,and the soloists, notably the bass David Neal who had the most extensive part, were fully up to the challenge. This concert was much appreciated by the large audience present as demonstrated by the volume of applause. The choir has demonstrated that it can tackle this style of work so how about a performance of Stravinsky’s masterpiece at a future Woking Choral Society concert?
--- Lewis Orchard
Monday, 28 May 2012
Soirees at Breinton - Madeleine Mitchell & Andrew Ball
In this recital, everyone was looking forward to one piece in particular. One that had never been played at Breinton before; we had been waiting for the right moment to hear it. So here we were and on Saturday it happened. And the power of nature had created the perfect setting for us to listen it: The Lark Ascending. In our Surrey home (and Vaughan Williams had strong connections with Surrey) surrounded by nature, we were blessed with a beautiful clear sky and a peaceful wind mildly blowing on a summers evening. Birds were twittering happily in the background. Effortlessly, and ever so naturally, Madeleine’s violin started, following the initial beautiful piano chords introduced by Andrew. The gorgeous cadenza of the solo part was inspiring; every single note was transparent and was connected smoothly to blend into the atmosphere. Madeleine’s final high notes actually melted into birdsongs outside – it was so special.
The programme which Madeleine and Andrew pulled together seemed to have been created just for us. All the pieces were delightfully presented and I felt they suited our intimate concert room and our small but enthusiastic audience. The balance of traditional sonata pieces in the first half, followed by several short pieces by English composers, was really well thought out and presented such a splendid opportunity to listen to and enjoy a variety of music.
The first sonata was that of Mozart. The first movement had a slow start moving into allegro and was colourful and melodious. This sonata stresses the equality of the two instruments and sure enough I enjoyed listening to the both instruments equally. By the way, Madeleine commented that our audience was well trained, no clapping after the first movement which apparently happens often!
This was followed by Dvorak’s Sonatina in G major. The delightful and light-hearted first movement was played upbeat, while the slow second movement made such a contrast. My favourite is the second movement; it has such melancholic melody which creates such a nostalgic feeling every time I listen to it. Absolutely beautiful.
The second half had two pieces composed by Frank Bridge (Mélodie and Morceau Caractéristique). I hardly know works by this composer but what amazingly beautiful pieces they were. The piano part of the Mélodie was stunningly presented by Andrew, which brought out and emphasized the violin part really well. Morceau Caractéristique was an inspiring piece played with passion. The violin’s theme introduced at the beginning (which repeats a few times throughout) climaxes with the most fantastic harmonic note, which I loved. Madeleine also introduced an interesting story about this piece, that the score had been lost for nearly a century until she found it in the May Harrison collection at the Royal College of Music. I am pleased it was recovered.
We also heard Delius’ Légende which was gorgeous (and it is Delius 150th anniversary this year!) and a contemporary piece composed by Michael Nyman.
The encore was Elgar’s Salut d’Amor. The warmth of the sounds penetrated the audience’s hearts; I wondered what everyone was thinking while this wonderful piece was being played. One participant told me afterwards that it brought tears to here eyes.
Madeleine’s short talk on each piece was so informative and loved by everybody. Musicians who can perform and talk about the pieces they are playing are so special! Madeleine and Andrew have been performing together for twenty years; no wonder they have the perfect timing, balance and volume between them. We were privileged to have them at Breinton – it was the perfect finale to conclude our 2011 / 2012 season.
--- Kumi Smith-Gordon
The programme which Madeleine and Andrew pulled together seemed to have been created just for us. All the pieces were delightfully presented and I felt they suited our intimate concert room and our small but enthusiastic audience. The balance of traditional sonata pieces in the first half, followed by several short pieces by English composers, was really well thought out and presented such a splendid opportunity to listen to and enjoy a variety of music.
The first sonata was that of Mozart. The first movement had a slow start moving into allegro and was colourful and melodious. This sonata stresses the equality of the two instruments and sure enough I enjoyed listening to the both instruments equally. By the way, Madeleine commented that our audience was well trained, no clapping after the first movement which apparently happens often!
This was followed by Dvorak’s Sonatina in G major. The delightful and light-hearted first movement was played upbeat, while the slow second movement made such a contrast. My favourite is the second movement; it has such melancholic melody which creates such a nostalgic feeling every time I listen to it. Absolutely beautiful.
The second half had two pieces composed by Frank Bridge (Mélodie and Morceau Caractéristique). I hardly know works by this composer but what amazingly beautiful pieces they were. The piano part of the Mélodie was stunningly presented by Andrew, which brought out and emphasized the violin part really well. Morceau Caractéristique was an inspiring piece played with passion. The violin’s theme introduced at the beginning (which repeats a few times throughout) climaxes with the most fantastic harmonic note, which I loved. Madeleine also introduced an interesting story about this piece, that the score had been lost for nearly a century until she found it in the May Harrison collection at the Royal College of Music. I am pleased it was recovered.
We also heard Delius’ Légende which was gorgeous (and it is Delius 150th anniversary this year!) and a contemporary piece composed by Michael Nyman.
The encore was Elgar’s Salut d’Amor. The warmth of the sounds penetrated the audience’s hearts; I wondered what everyone was thinking while this wonderful piece was being played. One participant told me afterwards that it brought tears to here eyes.
Madeleine’s short talk on each piece was so informative and loved by everybody. Musicians who can perform and talk about the pieces they are playing are so special! Madeleine and Andrew have been performing together for twenty years; no wonder they have the perfect timing, balance and volume between them. We were privileged to have them at Breinton – it was the perfect finale to conclude our 2011 / 2012 season.
--- Kumi Smith-Gordon
Sunday, 15 April 2012
Soirees at Breinton - Tra Nguyen, piano
A pianist with an impressive combination of poetry and power – the first impression I received from Tra Nguyen has not changed. It was unfortunate that I could not see the elegant movements of her fingers from where I was seated, but I could hear Tra’s subtle and sensitive keyboard touch. This evening’s programme was Clementi’s Sonata in F sharp minor and Beethoven’s Sonata in D major then, after the interval, Raff’s Ballade and Chopin’s Sonata No. 3; as far as I can see, she likes to balance her programming with core repertoire and lesser-known works, by which she introduced the composer Joachim Raff to our society this evening.
The first movement of Clementi’s Sonata has such melodic passages; I am very fond of this movement. It was acutely and elegantly executed with clear trills and steady sounds. The slow second movement was moving and touching, which was followed by a contrasting Presto, concluding this Sonata.
Beethoven’s Sonata required more power and stamina, of course. It had four movements but I must say my favourite was the third, Menuetto. The gentle, melodious and lyrical theme was played very cutely and made such a contrast to the dark mood of the previous movement. The trio section was wonderfully light hearted. Beethoven is the most popular composer among pianists who have visited Breinton; his various sonatas have been performed here and I’ve liked all of them. I used to think Beethoven sonatas were awfully boring – how dare I?
In contrast to Beethoven, no musician before had played Joaquim Raff. I believe not many knew about or had heard of this composer until Tra introduced him to us. I heard this particular piece Ballade played by her at the 1901 Arts Club, about which I had written previously. The beginning section, Andantino, was lovely. It suited Tra’s imaginative and expressive playing.
I love Chopin’s piano Sonatas – I think both No.2 and No.3 are stunning works, and I am so glad that Tra included one of them! I adore all four movements, but this evening the 3rd movement Largo was Tra’s best shot. Now that No. 3 Sonata has been played, we shall await someone to play No. 2!
An encore was Schumann’s Arabesque. Now this beautiful piece has been played by three different pianists at Breinton – do you remember all of them? Our neighbour Adrian remembered really well! He said that every pianist played differently with their own interpretation, and I completely agree. It has been played by Christopher Devine, Timothy End and Tra!
--- Kumi Smith-Gordon
The first movement of Clementi’s Sonata has such melodic passages; I am very fond of this movement. It was acutely and elegantly executed with clear trills and steady sounds. The slow second movement was moving and touching, which was followed by a contrasting Presto, concluding this Sonata.
Beethoven’s Sonata required more power and stamina, of course. It had four movements but I must say my favourite was the third, Menuetto. The gentle, melodious and lyrical theme was played very cutely and made such a contrast to the dark mood of the previous movement. The trio section was wonderfully light hearted. Beethoven is the most popular composer among pianists who have visited Breinton; his various sonatas have been performed here and I’ve liked all of them. I used to think Beethoven sonatas were awfully boring – how dare I?
In contrast to Beethoven, no musician before had played Joaquim Raff. I believe not many knew about or had heard of this composer until Tra introduced him to us. I heard this particular piece Ballade played by her at the 1901 Arts Club, about which I had written previously. The beginning section, Andantino, was lovely. It suited Tra’s imaginative and expressive playing.
I love Chopin’s piano Sonatas – I think both No.2 and No.3 are stunning works, and I am so glad that Tra included one of them! I adore all four movements, but this evening the 3rd movement Largo was Tra’s best shot. Now that No. 3 Sonata has been played, we shall await someone to play No. 2!
An encore was Schumann’s Arabesque. Now this beautiful piece has been played by three different pianists at Breinton – do you remember all of them? Our neighbour Adrian remembered really well! He said that every pianist played differently with their own interpretation, and I completely agree. It has been played by Christopher Devine, Timothy End and Tra!
--- Kumi Smith-Gordon
Sunday, 18 March 2012
Woking Symphony Orchestra - Extraordinary power from Woking young musician
Woking Symphony Orchestra’s March concert in the HG Wells (Saturday 17th March 2012)
was graced with the presence of the Woking Young Musician of the Year 2011 – Emmanuel
Bach, who played the Glazunov Violin Concerto. Emmanuel, a former pupil of the Royal
Grammar School in Guildford, tackled this highly virtuosic concerto with gusto, impressing
with his depth of tone, powerful playing and immaculate articulation. Woking Symphony
Orchestra accompanied him expertly and this seldom-heard concerto was a highlight of the
concert.
The first half began with the Brahms Variations on a Theme of Haydn (also known as The
St. Anthony Chorale) which was capably delivered by the orchestra, who then went on to
tackle the Schumann Symphony No. 2. This, again, is a symphony that is rarely played
by amateur orchestras, mainly because of the fiendishly difficult first violin part. However,
Woking Symphony Orchestra’s musicians rose to the challenge and gave a very respectable
performance of this beautiful, but challenging work, and not for the first time justified
their reputation as one of Surrey’s best amateur music groups, under their very popular
conductor, Roy Stratford.
--- Susan Bennett
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