Kathy Selby celebrated the 10th anniversary of her Selby and Friends chamber music concert series with Tour 1 of the 2016 program, offering some startling examples of Theme and Variations, from Beethoven, Busoni and Schubert and ending with the surging romanticism of Anton Arensky’s Trio No. 1.
The Beethoven (Piano Trio, Opus 4, No. 10) was an early work full of the mercurial energy of the young composer, delivering wonderfully exposed music with explosive drive and suspended beauty held in alternative focus. Cellist (Timo-Veikko Valve) and Violinist (Andrew Haveron) responded warmly to its challenges and let us marvel at Beethoven’s experiments in sonority ably matched by Selby at the keyboard.
The second work was a passionate piece by Busoni, pianist/composer extraordinaire. Based on a sad Finnish folk song, Kultaselle, it elicited an extraordinary performance across 10 variations from Valve and Selby that made me long to hear this composer’s Piano Concerto (SSO, any chance in the near future?) The wide-ranging exploration of the tune highlighted both its intense sadness and propulsive power.
The first half closed with the Schubert Fantasy for Violin and Piano (Opus 159, D 934) a late work where the connections with Beethoven were pronounced. The steely virtuosity, dashing modulations, occasional Hungarian swagger and intense, suspended benediction that Schubert evokes in his exposed, sparsely paced notes were never less than gripping.
Haverson gave a dazzling and heartfelt performance that justified his professional passion for the work, with Selby matching him every step of the way. One could almost hear post echoes of the Britten Violin Concerto, both works marry deep prayerfulness and dazzling hyper kinetic energy that flashes and rises above the stave with inexorable flair.
The Arensky Trio No 1 in D minor opus 32 was given a vital performance that captured the full breadth of its lavish, but muscular romanticism. This is yearning music, deeply melancholic but also sprung with energy. The serene slow movement with its delicate tracery of melancholy feelings seemed almost French. The performers embraced its wide-ranging dynamics with attention and passion.
Unfortunately, the Angel Hell recital gremlin struck again, with radio interference, projected as conversation from some disembodied souls, undermined the intensity of our concentration. Not good. Hearing individual voices tunes our ears with extra clarity to the musical argument and its emotional state and can be broken by such niggling extraneous noises.
Ultimately, however, it was Happy Birthday Kathy and Friends.
Selby and Friends – Angel Place Recital Hall, Sydney – February 25 2016
6
Kathy Selby celebrated the 10th anniversary of her Selby and Friends chamber music concert series with Tour 1 of the 2016 program, offering some startling examples of Theme and Variations, from Beethoven, Busoni and Schubert and ending with the surging romanticism of Anton Arensky’s Trio No. 1.
The Beethoven (Piano Trio, Opus 4, No. 10) was an early work full of the mercurial energy of the young composer, delivering wonderfully exposed music with explosive drive and suspended beauty held in alternative focus. Cellist (Timo-Veikko Valve) and Violinist (Andrew Haveron) responded warmly to its challenges and let us marvel at Beethoven’s experiments in sonority ably matched by Selby at the keyboard.
The second work was a passionate piece by Busoni, pianist/composer extraordinaire. Based on a sad Finnish folk song, Kultaselle, it elicited an extraordinary performance across 10 variations from Valve and Selby that made me long to hear this composer’s Piano Concerto (SSO, any chance in the near future?) The wide-ranging exploration of the tune highlighted both its intense sadness and propulsive power.
The first half closed with the Schubert Fantasy for Violin and Piano (Opus 159, D 934) a late work where the connections with Beethoven were pronounced. The steely virtuosity, dashing modulations, occasional Hungarian swagger and intense, suspended benediction that Schubert evokes in his exposed, sparsely paced notes were never less than gripping.
Haverson gave a dazzling and heartfelt performance that justified his professional passion for the work, with Selby matching him every step of the way. One could almost hear post echoes of the Britten Violin Concerto, both works marry deep prayerfulness and dazzling hyper kinetic energy that flashes and rises above the stave with inexorable flair.
The Arensky Trio No 1 in D minor opus 32 was given a vital performance that captured the full breadth of its lavish, but muscular romanticism. This is yearning music, deeply melancholic but also sprung with energy. The serene slow movement with its delicate tracery of melancholy feelings seemed almost French. The performers embraced its wide-ranging dynamics with attention and passion.
Unfortunately, the Angel Hell recital gremlin struck again, with radio interference, projected as conversation from some disembodied souls, undermined the intensity of our concentration. Not good. Hearing individual voices tunes our ears with extra clarity to the musical argument and its emotional state and can be broken by such niggling extraneous noises.
Ultimately, however, it was Happy Birthday Kathy and Friends.
Selby and Friends – Angel Place Recital Hall, Sydney – February 25 2016
6