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Arts & Entertainment - Reviews

Review: Brilliant Young Musicians at St Peter's Church - cellist and pianist make a perfect duo

Chris Graves and Alison RhindChris Graves and Alison RhindThe latest in this popular Brilliant Young Musicians series of concerts was given to a very large audience at St Peter's Church on Sunday  (February 21) by Chris Graves (cello) and Alison Rhind (piano).

Alison is a respected ‘collaborative’ pianist working mainly on a repertoire of piano with strings.  Having first worked at the Yehudi Menuhin School, she is now coach for the String Department at the Royal College of Music - a post she combines with her freelance recital work. 

Chris Graves studied at the Royal College and is developing a successful career both as a soloist and as a chamber musician - he plays with the Castalian String Quartet.  

The concert opened with Beethoven’s Sonata in D Major written between 1812 and 1817.  It is the last of a series of sonatas for piano and cello - a combination of instruments then its infancy. The first movement opens with a series of fanfare-like arpeggios, a motif that is repeated by both piano and cello at regular intervals, separated by a plangent melodic line.

Both instrumentalists played with bravura and there was very obvious dialogue between the two instruments.  

This was followed by a gentle adagio developed first by the cello and then taken up by the piano. There is a melancholic darkness to the movement created by the piano's steady rich chords. The playing exploited very sensitively the elegiac properties, especially the change of mood in the middle of the work.  

The sonata concludes with a fine fugue - the first time that Beethoven had included a full fugue as a final movement.   This opens with a tantalising rising scale, repeated by the piano, before the two hurtle away in a dazzling conversation, the fugue subject batted from one player to the other. Wonderful stuff and played with great zest.  

The first half was completed with Robert Schumann’s Fantasiestucke. Three lovely pieces originally scored for clarinet and piano, but ideally suited to the cello.  They are warm and rich elegiac pieces; ‘songs without words’ indeed. Here is an outpouring of beauty with long flowing waves rolling from the cello, supported by rippling piano accompaniment. They were played with grace and all the ‘soul’ expected from German Romantic music.

The second half of the concert was devoted to one work, Brahms’ Sonata in E Minor. Begun in 1862 it was the first of Brahms’ duo sonatas. The long first movement begins with a profound theme on the cello around which the piano weaves a glorious halo of sound.

This was real collaboration, neither part dominant, but engaged in a continuous dialogue throughout.  

The second movement is a graceful minuet, with a trio forming the central section. Here, unexpectedly, we hear Brahms exploring the vocabulary of his classical predecessors.

The final movement is another allegro. The opening bars for the piano are a quotation from JS Bach’s Art of Fugue, a theme which is richly developed by both instruments at regular intervals.  This is a complex and difficult movement for both performers and played here with great confidence.

This was a very rewarding evening. The pieces were well selected and showed off the virtuosity of each of these competent instrumentalists, but also their ability to perform empathetically as a duo.

The next recital in this series of recital features pianist Kausikan Rajeshkumar - on Sunday 10 April 2016 - full details here.  The recitals ar sponsored by Hiscox Insurance and raise funds for the Marlborough Brandt Group and the St Peter's Church Trust.

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Gerald Seymour: the thriller writer who just loves story-telling

 

Gerald Seymour Gerald Seymour The White Horse Bookshop brought the internationally respected  thriller writer Gerald Seymour to Marlborough Town Hall on Wednesday (January 27) for a well-attended "Evening with..." session.

Interviewed by the bookshop's manager Angus Maclennan, Seymour was in an impish mood: "Thank you all for coming out on a January night - I too didn't think there was anything on television this evening!"

When we got into the story of his journalism with ITN and his books, one thing became obvious:  Gerald Seymour simply loves story telling.  Whether it's a passing tale about the way he works or one of his complex thrillers, it 's a story - and he tells them all so well.

Seymour described how he joined ITN aged 21 - apparently on the strength of his way with a googly - at £875 a year.  In at the deep end - he reported on The Great Train Robbery and The Profumo Affair: both stories meriting a very definite article with capital 'T'.

He told us how he got one of ITN's great scoops of the 1970s.  During the long running Nixon-Watergate scandal, none of the main characters would talk much, and certainly not to British television.

Somewhere in the ITN film archives there is a clip of Gerald Seymour walking, hand outstretched, across John Ehrlichman's front lawn.  Ehrlichman was Nixon's counsel and chief assistant.  The shot is followed by the exclusive interview with this man right at the heart of the Watergate web.

Working at ITN at the time, I promise I have never seen so many dropped jaws - not to mention the alarm expressed by the resident Washington correspondent - when this interview arrived at ITN headquarters.  A scoop got by a reporter who was just passing through Washington on his way back from another story - in Hawaii.

Gerald Seymour gave us a hint as to how he got this key member of the Nixon circle to talk.  He found out that Ehrlichman had been with American bomber squadrons based in Britain during World War 2 - and Seymour told him how grateful the British people were for his service.

Gerald Seymour's professional writing career has lasted longer than his time at ITN - all thirty-two books and six film versions worth.  This session celebrated the publication of his new book No Mortal Thing and the 40th anniversary of the publication of his first book, Harry's Game - set in the Northern Ireland troubles he had been reporting for ITN.  

When it was published, Northern Ireland was not considered 'good box office'.  The man who bought the film rights asked the head of EMI for some advice on what to do next, he got the reply "See a psychiatrist."  To which Seymour commented: "I thought it covered relatively new ground."

Angus Maclennan asked Seymour why he never takes side in his books, but lets readers make up their own minds on characters' moral failings.  Gerald Seymour replied with the well known quip: "If you've got a message go to the Western Union."

But he added: "Life is complicated - things are very rarely black and white.  It's the shades of grey I try to explore."

He did cite two issues on which he lost his objectivity and became 'partisan' - "I rarely take sides, but...".  

One was over the Italian Mafia, which he learnt a lot about when he was based in Rome for ITN: "They are not very nice at all - very horrid people. Yes - I am partisan with them."

The other arose while he was researching a book involving the current Russian secret service.  He was introduced to a recent Russian defector and spent an hour learning about the FSB which had taken on the mantle of the KGB. Days later he saw the man's face in the newspapers, dying in his hospital bed: Alexander Litvinenko.

"What they did to him was disgusting - utterly ghastly."  And only Porton Down's last minute identification of the polonium unmasked the killers: "They must be so angry they didn't get away with it. I'm not usually partisan - he was a charming man and I liked him."

Describing the kind of people who fire his imagination, Gerald Seymour pictured the person who gets up in the morning, puts his socks on as usual, but by the end of the day has become someone totally new and different - whether hero or villain.

Gerald Seymour, it is clear, gets up in the morning, puts his socks on as usual and starts on his next book - beginning with meticulous research: "I am a journalist - still."


Signed copies of the new book are still available at the White Horse Bookshop.

 

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Wiltshire Museum’s new exhibition raises lots of laughs - and some serious thoughts

 

Jane Williams with her Leasingstede Museum security badge (Photo: Wiltshire Museum)Jane Williams with her Leasingstede Museum security badge (Photo: Wiltshire Museum)The sound of laughter is not heard too often in the exhibition rooms at Wiltshire Museum in Devizes.  But artist Jane Williams' Fibs and Fibulae exhibition at the museum is certainly changing that.

This is a touring exhibition from the Leasingstede Museum - which is a small village museum with its chairman (Lady Alphyn), treasurer, secretary and a long-serving gallery attendant.  Or is it?

Try the labels on some of the exhibits: Mould Foxer (Veritas Brand), Runner Blade, Settle Scorer (with replaced blade), Root Master and the Seventeen Counter. 

The latter has a label: "A curious measuring device, not only with 17 slots which expose sections of the sliding rod, but with coloured chain links in groups of 17."  

Could the Seventeen Counter, perhaps, predate the 10-base or decimal and the 12-base (as in twelve pennies to the shilling) systems of counting?

Do a bit of Googling and you will find that 'leasing' is Old English for 'lying', and 'stede' meant 'place'  - so this museum is in the 'Place of Deception'.  And it's all a deception - it's an art installation that aims to entertain and raise a few pertinent questions.  Like all good spoofs it has a more serious message.

Marlborough News Online asked Jane Williams why she dreamt up the Leasingstede Museum: "There was a double reason really.  You go to a museum and you see stuff that's incredibly valuable and rare...yet it doesn't look so - it looks very ordinary and mundane.  I was intrigued by that."

"It looks worthless - so why not put something of no value in the cases yet treat it as though it is priceless?"

"I also wanted to draw attention to the importance of little, backwater museums - many of these are closing due to lack of visitors and funding.  So while affectionately sending them up, I'm saying 'Please support them'."

The Beaker The Beaker I did not quite believe Jane when she said that 'initially there was no humour in it'.  Take the 2,000 year-old 'Beaker'  - surely a piece de resistance in any museum?  

"Most unusually", says its label, "it was found intact and has not required restoration."  Humph!   The label continues explaining that the square hole at the top would have made it difficult to drink out of "...but there's a hole for a straw."

I won't spoil the fun by describing more exhibits.  Though it is tempting to tell the secret of the 'Tribasket'.  And it is said that one visitor believed the story about the lion that ate a hole in the Dandelion Shield.

Reactions in the visitors' book after the first week give a good idea of the exhibition's success:  "Ha Ha - well done!", "Love it" "This is fun", "I'm hooked - totally believable" , "A convincing spoof - it took me ages to realise the fact, as it is so imaginative..."  And yes, I really laughed out loud.

The Dandelion ShieldThe Dandelion ShieldThat there is a more serious side to the exhibition - a questioning of what exhibits mean once they are behind glass - becomes clear from this reaction: "Cause for thought (from an ex-curator.)"

A truly wonderful installation by artist Jane Williams who made all the artefacts on display.  And hats off to the Wiltshire Museum for supporting this gentle dig at its own world of museum displays.

The exhibition is at the Wiltshire Museum in Devizes until 10 April.  On some days you may find Jane Williams at the Museum - acting out her role as Leasingstede Museum's Gallery Attendant.

But she will certainly be at the Museum on Saturday, 12 March for a special Young Wiltshire Archaeology and Natural History Society event: "What's in MY Museum". Jane will be encouraging people to think about what they would put in their own museum.  All that and model making too.  10.15am to 12.15pm - booking essential - tickets £4.

And every museum needs its hoard of ancient coins...And every museum needs its hoard of ancient coins...

 

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REVIEW: Marlborough and district before-and-after photographs show how town and around have - and have not - changed

Marlborough and Around Through Time by Stanley C Jenkins and Angela Long (Amberley Publishing, 2015)   £14.99

Here's a very new book - a slim volume ideal for the Christmas stocking.  But an ideal stocking filler for which member of the family?

Published this month - along with nine other new titles - it comes in Amberley Publishing's vast series of illustrated books about British towns and locations.  The series has around 400 titles and between them they have sold half a million copies. And they are about to start an Irish series too.

The Amberley formula is to compare and contrast old photographs (mainly in this case old and atmospheric postcards) with new photographs and a dash of explanatory text that always includes a few good tales.

In Marlborough and Around Through Time the new photographs were taken this August and September - when Marlborough in Bloom was in full colour.  They capture, in passing, the weeks when the Bollywood Indian restaurant became, briefly, the Jyoti - a time before The Crown's Inn sign changed into the much more arresting Piano Lounge sign - and just another day when Dormy House was damaged by an HGV truck.

Many of the old photographs are really interesting - some are dated from 'around 1912'.  One of Kingsbury Street includes the inn sign of The Bell and Shoulder - though it was surely known as The Bell and Shoulder of Mutton, which, unless I am mistaken, closed in 1919.

Its landlord at the time of the photograph was Frederick Pile.   Was he the same Frederick Pile who is listed (discovered after a bit of Googling) as a five-year-old 'Scholar' living in Preshute in 1871?  Answers on a postcard - please.

The one trouble with this formula is that 'before' and 'after' pictures often look very alike.  Perhaps that's part of the point: evidence of successful conservation decisions keeping town and country from modern blight.

The 'Around' part of this book is fairly large - one third of the book's pages are devoted to Avebury.  And it's a take on Avebury that will fascinate tourists - concentrating on Third Age Avebury with several pages featuring the visit in 1993 by Tibetan Lama Gangchen and 'Avebury Henge - the role of the Druid.'  

Indeed the book is dedicated to 'Tim Sebastion Woodman (1948-2007), Arch-Druid of Wiltshire, asnd Donna Brooke (1965-2015), Arch-Druidess of the Glastonbury Order of Druids.'

There is a very sad 2015 photograph of what used to be Charles Perry's hotel in Avebury.  It looks as though it is deteriorating very quickly - and may soon become a 'before' photograph.

There is a good section on the College and another on Marlborough's connection to and severance from the rail network.  And there are two surprising pages on Yatesbury at war.

But there is nothing in this book on one of the main features of the area: Savernake Forest which has a history all of its own. And from a marketing point of view, a couple of pages on Wolf Hall and why it's no longer there would have been good.

So whose stocking will it best fit into? A grandparent or perhaps an aunt visiting from Australia.   Actually, it should find its way into stockings belonging to anyone who is interested in Marlborough and its past.

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REVIEW: St Peter's Church recitals: a brilliant young pianist is joined by a brilliant young violinist

The Choi-Fox DuoThe Choi-Fox DuoOn a cold November night these two young musicians provided us with a feast of lovely music: Harry Nowakowski-Fox (piano) and Judith Choi-Castro (violin) - who perform and record as the Choi-Fox Duo.

The first half of this recital in the was devoted entirely to piano works played by Harry. He began with JS Bach’s Partita No2 in C Minor, very well known to the St Peter's Church audience. The work begins with an opening sinfonia, which has three very different sections.  We were treated to a very formal almost solemn grave section, which gives way to a lovely gentle andante before finishing with a two-part fugue in which Harry showed  a thorough mastery  of Bach’s familiar counterpart.  

Then follow a series of dance movements, all very varied in speed and in mood.  However it is in the last two movements, the rondeaux and finally the capriccio, where all the excitement lies.  Technically demanding, Harry sailed through these movements at a cracking tempo, the notes just pouring from his finger tips.

The Chopin Barcarolle in F Sharp Major which followed is a very different piece. A barcarolle is based on the rhythm and mood of the ‘barcarola’, a song sung by Venetian gondoliers, and a source of inspiration to many nineteenth century composers.  This one is lovely.

Harry articulated the rippling arpeggios which were reminiscent of sunlight on the waters of the Grand Canal, and poured much expression into the main theme, which is unmistakably Italian in its form.

The great Piano Sonata no 21 in C major, the ‘Waldstein’, was a complete contrast. Here is one of Beethoven’s finest piano works. Two thunderous outer movements are separated by a short and reflective adagio. Harry played with huge confidence, mastering the bravado that this work demands, but, at the same time, highlighting the moments of quiet contemplation found therein.

The second half saw Harry back at the piano to accompany Judith in two well-established works for piano and violin duo. The first of these was Beethoven’s wonderful Violin Sonata in F Major which, thanks to its sunny and joyous character has been known as the ‘Spring’ sonata.  

Its ‘uncomplicated’ light-heartedness makes a good contrast with the powerful Waldstein which had preceded it.  You can’t help but smile from the first moment of this work. Judith gave us a very personal rendering, highlighting the sometimes very intimate ‘conversation’ between the violin and the piano. This was joy both to watch and to hear.

The concert finished with a violin sonata in F Major written in 1838 by a young and buoyant Mendelssohn.  It is more complex than the Beethoven, and requires more attention from both the performer and the listener.  There are serene moments where the elegant melodies are reminiscent of the Songs Without Words. These were played with great eloquence. However, it is the ‘dash for the finish’, the assai vivace, with its long and breathless passages of joyous fast notes passed from one instrument to the other that was memorable.

Played with youthful bravado, this was a worthy end to the concert. Perhaps, though, Saint Peter’s church is not an ideal acoustic for the violin and there were times when the balance between the two instruments was not good, and the quiet intimacy of the instrument was drowned out by the piano.  Nevertheless this concert was recognised by many as one of the very best in these recent series of recitals by young musicians.

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Review: Wessex Places - Wiltshire Museum's exhibition brings new views of ancient sites in their modern landscapes

 

Silbury at Night - David InshawSilbury at Night - David InshawThe Wessex Places exhibition at the Wiltshire Museum in Devizes is precisely the right space for new works by four artists David Inshaw, Ray Ward, Robert Pountney and David Gunning.  Many of the works are for sale - mostly as artist's prints.

They all bring into the museum archaeological survivors that will never find a place in a museum.  They are, of course, too big. But close by the gallery you can see artefects found in or near these larger sites - work of extreme delicacy to contrast with some of these massive avchievements.

They are also monuments from our distant past that need the context of their landscapes - ancient and modern.  And depiction of landscape has long been a cherished and characteristic feature of British art.

Central to these artists is the Wessex inheritance of megaliths: Stonehenge, Avebury, Silbury Hill and, last but by no means least, the Marlborough Mound which is now known to be 'Silbury's Little Sister.'

David Inshaw is the well local known artist who first came to the public's attention in 1973 with his painting The Badminton Game - now in The Tate Gallery.  He came to Devizes in 1971 and formed a group of artists which became known as The Brotherhood of Ruralists.  He left the Group in 1983 and after some years in the Welsh borders, he returned to Devizes in 1995.

He works mainly on large oils, etchings and drawings. In this exhibition David Inshaw is showing some startling views of Silbury.  

His etching Silbury Sunrise is a representation of the mound and a rising sun that verges on the abstract.  It is almost as though it comes from a field notebook - hurriedly capturing the essence of the view complete with a jotted tree framing the right side of the view.  Regrettably it is not for sale.

The etching Silbury at Night, which appears on the poster for the exhibition, is rich with atmosphere.  The semi-darkened moon looks as though Inshaw may have captured an eclipse in progress.  And the familiar Silbury outline contrasts dramatically with the natural shapes of nearby trees.

Ray Ward has lived in Wiltshire for thirty years.  He graduated in fine art from Trent Polytechnic in 1983 and has supported his artistic life with a series of jobs - including work as an art technician at Marlborough College.  And his work for this exhibition  gives us several new and often surprising glimpses of the Marlborough Mound - on College property and now known to be the same age as Silbury Hill.

Marlborough Mount - Ray WardMarlborough Mount - Ray WardRay Ward works in in a variety of disciplines including drawing, painting and performance: "Last year I was asked to do some drawings for a book about Silbury Hill and thereafter the hill and its counterpart in Marlborough have infiltrated my thinking and have become markers not merely in the landscape but also in my personal history."

"The feeling that that they've always been there while everything around them has changed gives these mysterious man-made structures an occasionally comic but always prescient mystique."

One of Ray Ward's computer drawings printed onto archival rice paper shows the Marlborough Mound standing alone with bits of the College's Norwood Hall and Chapel peeping in from the side - trying their best to impose something a bit more modern on the tree-covered mound.

His Silbury Hill 009 shows the ancient man-made mound in the foreground against a broad, even rolling, Wiltshire landscape.  It shows with great ease the extraordinary scale of this 'Hill'.

If you thought you had seen Silbury Hill from just about every angle, in every weather, under every possible sky, from both sides of the A4 and from Avebury itself, you will get a very pleasant surprise from Ward's Silbury Hill 160 (Behind the trees.)  A very different view - with gentle colours of nearby vegetation.

Robert Pountney concentrates on the landscapes of Dorset. But in this exhibition he has a wonderfully evocative charcoal drawing of Avebury.  It features one standing stone dwarfed by heavy, rolling clouds of the kind that might well have frightened or at the very least worried the men and women who built Avebury.

"The predominant use of chiaroscuro in my drawings is intended to help dramatise the relationship between past and present, the seen and the unseen in prehistoric landscapes..."

As if to prove his point we have his charcoal drawing of Rawlsbury Camp under a starlit sky.  The camp is on a promontory of Bulbarrow Hill just west of Blandford Forum.  Not much of the five acre Iron Age fort is left, but seeing its rounded remains under the same star light as its Iron Age defenders saw it, does bring out that relationship between past and present.

David Gunning is represented by some of his depictions of Stonehenge and many other megaliths.  Throughout his life, Stonehenge, Avebury and other major Wiltshire sites, have captivated and fascinated him: "This new set of work reflects my continued passion and admiration for the megalithic builders who have left us such a magical heritage to reflect upon."

One of Gunning's really eye-catching works is Many Megaliths an imposing  assemblage of sixty small etchings lined up on a giclee print in four ranks showing megaliths from all over the British Isles.  They come in so many different shapes and landscapes that you begin to wonder how the ancients' skills were spread around.

Another of his works is a small etching Silbury Hill, Avebury - dated June 2015.  This is a narrow picture putting Silbury into its present day agricultural landscape with a post and wire fence in front of the ancient structure.

Wessex Places:  the exhibition is open until 2 January 2016.  The Museum is open: Monday - Saturday 10-5, Sundays and Bank Holidays 12-4. But it will close for Christmas from December 20-28.

Top row:  Left - David Inshaw with the curator and his Silbury Sunrise. Right - Ray Ward with one of his views of the Marlborough Mound.  Bottom row: Left - David Gunning. Right - Robert Pountney with his charcoal drawing of Avebury. [Photo courtesy Wiltshire Museum]Top row: Left - David Inshaw with the curator and his Silbury Sunrise. Right - Ray Ward with one of his views of the Marlborough Mound. Bottom row: Left - David Gunning. Right - Robert Pountney with his charcoal drawing of Avebury. [Photo courtesy Wiltshire Museum]



 

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A brilliant young pianist returns to Saint Peter’s Church - the fourth recital series begins

Mai Charissa Tran-Ringrose at the time of her first Marlborough recital...Mai Charissa Tran-Ringrose at the time of her first Marlborough recital...The new season of recitals at Saint Peter’s church began (October 25) with a return visit to Marlborough by Mai Charissa Tran-Ringrose who first came to play for the Brandt Group Brilliant Young Pianists series three years ago.  Mai Charissa was then aged 16, and now, aged 19, she is an undergraduate reading languages at Trinity College Cambridge.

In her short career as a pianist Mai Charissa won, aged 13, first prize in Thailand’s National Piano Competition for Young Pianists. At the same age she achieved the Diploma (with Distinction) of the Associated Board of the Royal Schools of Music, and a year later she was awarded its Licentiate.  She has also been awarded the equivalent qualification in France: the Diploma d’Etudes Musicales.

The first half of her programme was devoted entirely to Beethoven - just two works, both in very sombre minor keys.  First came the 32 Variations in C Minor. These toy variations, lasting in some cases but a few seconds each, were based on a simple eight-bar melody. There was a rich kaleidoscope of temperament in a very short time, some tempestuous, others placid, all rushing past the listener until Beethoven finally pauses for breath with the last dramatic and demanding variation. Mai-Charissa demonstrated not only her technical skills but also her ability to interpret each of these variations individually.  

Beethoven's Sonata 17 in D minor followed - another work in a dark key.  It begins with a remarkable first movement, with a series of tempo changes that leaves the listener wondering what Beethoven was planning. The movement remains one of huge variations in mood: the fast sections are almost manic in intensity.

The second movement has a steady and persistent rhythm, the repeated chords in the bass creating the atmosphere of a funeral march. Relief finally arrives in the rippling and gentle allegretto movement, but even here the movement ends quietly with a profoundly melancholic theme which completes this troubling sonata.

We heard some technical skill here and Mai Charissa wrung from the work the dramatic mood changes and all-embracing sense of anguish which the work conveys.

Most of the second half was devoted to Chopin. Mai Chairissa began with two of Chopin’s Nocturnes, E Minor and B flat Minor - a form Chopin popularised. After the tempestuous Beethoven these were a good deal more calming. They are lyrical and wistful and very elegantly played.  

...and more recently...and more recentlyThese were followed by Chopin’s Ballade in F Minor - another musical form which Chopin popularised. The name might suggest that there is a specific textual underlay; the telling of a story. There are pronounced shifts in mood, reflective passages which then lead into lighter dance-like moments, before ending in a dramatic and virtuosic outburst. Mai Charissa highlighted these mood changes in such a way that we could build up our own ‘ballad’ from the music.

The Chopin experience was briefly broken with the miniature ‘Smyrna’ which Edward Elgar had written in 1905 which visiting the eastern Mediterranean. This lovely work is very atmospheric, and the ‘colour and movement’ which Elgar describes is  bedded deep in the left hand where there are traces of eastern harmonies and rhythms.     

Finally the recital's grande finale: Chopin’s Andante Spianato and Grande Polonaise Brillante - two wildly differing works which are frequently paired for their dramatic contrast. The Andante is gentle and has a very familiar lullaby feel to it - in complete contrast to the fireworks of the Grande Polonaise.

Yet another musical form popularised by Chopin, the ‘polonaise’ is loosely based on the rhythms of an energetic traditional Polish dance. This Polonaise, the most ambitious Chopin wrote, is joyful, full of wild rhythms and a sense of bravura leading towards a dramatic climax of arpeggios stretching the pianist to the limit, arms stretching the length of the keyboard and hands lost in an avalanche of notes.

What a performance! It was technically very good indeed and the appreciative audience  greeted its conclusion with rapturous applause.

For a young pianist of but nineteen years Mai Charissa shows a very mature technical command of the piano. Perhaps her playing as yet, reflects too little of her own personality.  Furthermore she should learn to engage more with her audience.  However these are early days. After she completes her studies at Cambridge she plans to become an accountant.  Nevertheless, let us hope that she will continue to play, for without her the world of music would be all the poorer.   

For dcetails about future recitals in the series go to the MBG website - or follow our What's On Calendar.

 

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