13th November
Martino Tirimo and Atsuko Kawakami (piano duo)
The Chichester Music Society welcomed back Marino Tirimo and Atsuko Kawakami to the 10 November Concert at the University of Chichester. The two pianists had come last in lockdown a year ago and had played to an empty hall, apart from one lonely Chairman. This time there was an expectant audience, many of whom had heard their last concert on-line and were now looking forward to a special live evening of piano duets. They were not to be disappointed.
The first piece was Fantasia for 4 Hands in F Minor Opus D940 by Schubert. This piece was written for the drawing room rather than the concert hall, but the musicians’ interpretations and performance brought the piece to life in the University Chapel.
For this concert the 19th Century Steinway Fancy D, that had been resurrected and repaired by the University, had been tuned specially for this occasion, as it was a very appropriate instrument for this introductory piece. Both musicians played together for the Schubert but after that they were on separate grand pianos.
The second piece was Variations on a Theme by Haydn Opus 56b [St Anthony Chorale] by Brahms. The Duo drove each variation forward, adapting to the themes of each section, with sensitivity and with virtuosity. The seventh variation, lyrical in style, was a particular success, singing with colourful musicality.
After the interval the programme moved to Argentina and the music of Carlos Guastavino. This composer, although very well-known in his own country, is rarely played here, but this was a well-chosen exploration of 20th Century South American music. The Duo played three short tunes of different tempos, which were inspired by the guitar and the local style of dance rhythms, and the pianists interpreted the music very effectively so that one felt completely transported across the Atlantic to South America.
The final piece was Rapsodie Espagnole by Ravel. This is a challenging piece, and the Duo gave a performance which, emphasising the Spanish influence, was full of texture and energy. The finale was a tour de force and was so well received by the audience that it led to two encores from Tchaikovsky’s Nutcracker Suite.
The Chairman of the Chichester Music Society, Chris Hough, said afterwards, “This was a wonderful recital, full of variety and musicality, and very much appreciated by our enthusiastic audience.”
Martino Tirimo and Atsuko Kawakami (piano duo)
The Chichester Music Society welcomed back Marino Tirimo and Atsuko Kawakami to the 10 November Concert at the University of Chichester. The two pianists had come last in lockdown a year ago and had played to an empty hall, apart from one lonely Chairman. This time there was an expectant audience, many of whom had heard their last concert on-line and were now looking forward to a special live evening of piano duets. They were not to be disappointed.
The first piece was Fantasia for 4 Hands in F Minor Opus D940 by Schubert. This piece was written for the drawing room rather than the concert hall, but the musicians’ interpretations and performance brought the piece to life in the University Chapel.
For this concert the 19th Century Steinway Fancy D, that had been resurrected and repaired by the University, had been tuned specially for this occasion, as it was a very appropriate instrument for this introductory piece. Both musicians played together for the Schubert but after that they were on separate grand pianos.
The second piece was Variations on a Theme by Haydn Opus 56b [St Anthony Chorale] by Brahms. The Duo drove each variation forward, adapting to the themes of each section, with sensitivity and with virtuosity. The seventh variation, lyrical in style, was a particular success, singing with colourful musicality.
After the interval the programme moved to Argentina and the music of Carlos Guastavino. This composer, although very well-known in his own country, is rarely played here, but this was a well-chosen exploration of 20th Century South American music. The Duo played three short tunes of different tempos, which were inspired by the guitar and the local style of dance rhythms, and the pianists interpreted the music very effectively so that one felt completely transported across the Atlantic to South America.
The final piece was Rapsodie Espagnole by Ravel. This is a challenging piece, and the Duo gave a performance which, emphasising the Spanish influence, was full of texture and energy. The finale was a tour de force and was so well received by the audience that it led to two encores from Tchaikovsky’s Nutcracker Suite.
The Chairman of the Chichester Music Society, Chris Hough, said afterwards, “This was a wonderful recital, full of variety and musicality, and very much appreciated by our enthusiastic audience.”
13th October
Sacconi Quartet with Emma Abbate (piano)
The Chichester Music Society were delighted to welcome the Sacconi Quartet with Emma Abbate on piano on 13 October 2021. Their intriguing programme included two of the world’s most celebrated twentieth-century piano quintets, and their performance did not disappoint. The venue was the Chapel at the University of Chichester, and with the support of the University the concert was also live-streamed.
After a short introductory piece, the lovely Romance for String Quartet by Rachmaninov, the musicians began their exciting programme with a performance of Shostakovich’s Piano Quintet Opus 57. This piece was written in 1940, just before the Russians were attacked by Hitler but the music had to fit in with Stalin’s agenda. Shostakovich trod at times a very fine line, but the piece was rewarded with the Stalin Prize in 1940.
The piece’s singing melodies, distinctive changes in harmony, and haunting frenzies were well played superbly by the Quintet. The energy of each performer was abundant, and at times they left the impression that there must have been in the Chapel more than five musicians. The challenges of the shifting combinations of instruments were very well managed, and the bite of the strings gave a wide spectrum of different expansive colours. The frisky theme of the finale was a relief when it arrived, especially with its light-hearted ending.
The piano part played by Emma Abbate was incredibly important, and with music that is played by such high-powered string players, she held her own and completely complemented the four other musicians. Her playing in both pieces added a rich complement to the sound with the piano adding subtlety and nuance.
After the interval the programme moved onto Elgar’s Piano Quintet Opus 84. This piece composed in 1918 towards the end of the first World War, was written locally at Brinkwell’s near Fittleworth. The Quintet demonstrated their ability to adapt to a completely different mode of music and they were brilliant in blending the sensibility and meditation of some sections with the fluent and often extrovert music so typical of Elgar.
This was a performance which was imaginative and expressive, rich in contrast and daring, and was particularly effective with the great Adagio. The audience in the chapel were very appreciative.
Thanking the artists for a wonderful evening, Chris Hough, Chairman of Chichester Music Society, said, “what a joy and privilege to hear such marvellous performances from five outstandingly talented musicians, in this contrasting and challenging music.”
Sacconi Quartet with Emma Abbate (piano)
The Chichester Music Society were delighted to welcome the Sacconi Quartet with Emma Abbate on piano on 13 October 2021. Their intriguing programme included two of the world’s most celebrated twentieth-century piano quintets, and their performance did not disappoint. The venue was the Chapel at the University of Chichester, and with the support of the University the concert was also live-streamed.
After a short introductory piece, the lovely Romance for String Quartet by Rachmaninov, the musicians began their exciting programme with a performance of Shostakovich’s Piano Quintet Opus 57. This piece was written in 1940, just before the Russians were attacked by Hitler but the music had to fit in with Stalin’s agenda. Shostakovich trod at times a very fine line, but the piece was rewarded with the Stalin Prize in 1940.
The piece’s singing melodies, distinctive changes in harmony, and haunting frenzies were well played superbly by the Quintet. The energy of each performer was abundant, and at times they left the impression that there must have been in the Chapel more than five musicians. The challenges of the shifting combinations of instruments were very well managed, and the bite of the strings gave a wide spectrum of different expansive colours. The frisky theme of the finale was a relief when it arrived, especially with its light-hearted ending.
The piano part played by Emma Abbate was incredibly important, and with music that is played by such high-powered string players, she held her own and completely complemented the four other musicians. Her playing in both pieces added a rich complement to the sound with the piano adding subtlety and nuance.
After the interval the programme moved onto Elgar’s Piano Quintet Opus 84. This piece composed in 1918 towards the end of the first World War, was written locally at Brinkwell’s near Fittleworth. The Quintet demonstrated their ability to adapt to a completely different mode of music and they were brilliant in blending the sensibility and meditation of some sections with the fluent and often extrovert music so typical of Elgar.
This was a performance which was imaginative and expressive, rich in contrast and daring, and was particularly effective with the great Adagio. The audience in the chapel were very appreciative.
Thanking the artists for a wonderful evening, Chris Hough, Chairman of Chichester Music Society, said, “what a joy and privilege to hear such marvellous performances from five outstandingly talented musicians, in this contrasting and challenging music.”
15th September
Champagne Quartet
with Guy Murgatroyd (piano)
The Champagne Quartet was welcomed by the Chichester Music Society on 15 September 2021 at the University of Chichester as their opening autumn concert. The Quartet is an operatic vocal quartet established in 2016, made up of graduates of the Royal Welsh School of Music and Drama, delighting the audience as their programme of well-known opera favourites, often from Italian composers, unfolded.
The programme opened with the four musicians performing the fun and rather exuberant Drinking Song “Brindisi” from Verdi’s La Traviata. This was sung with a boisterous raucous flavour that set the tone for an enjoyable evening that the audience certainly appreciated in person.
After that, the programme was spread between either solos, duets or three of the Quartet, moving through Donizetti and Rossini, and then on to The Flower Duet from Lakme by Leo Delibes, which was sung by Erin Alexander, who had previously sung for the Society, and Clare Eccles. This was a delightful, often nuanced, performance by both singers. Both musicians were throughout technically assured, and Erin particularly had a lovely clean sound that projects strongly.
Later in the evening Clare Eccles was joined by Ross Wilson in a performance of Franz Lehar’s Lippen Scheweigen fromThe Merry Widow. The dynamic between the singers was natural and effortless and was played to maximum effect. In fact, the acting of the whole Quartet was effortless and effective throughout, and substantially added to the overall enjoyable atmosphere that was being created by the music.
Sam Young and Ross Wilson sang the duet O Mimi, tu piu non tourni from Puccini’s La Boheme, both delivering a moving performance of remarkable control and sensitivity.
The accompaniment on the piano by Guy Murgatroyd was throughout the concert understated, yet acutely judged according to the demands of each composer. A thoroughly outstanding example of how important it is for any singer to have a sympathetic and understanding musician at the piano.
The concert concluded, after some Mozart songs from The Magic Flute, with a rendering of the whole Quartet singing Goodnight Quartet from Martha by Frederich Ferdinand Flotow, a simple, calm conclusion to the concert. Chris Hough, Chairman of Chichester Music Society, said, “This was a fabulous evening with some marvellous singing of many well-loved opera favourites. The Quartet and Guy are to be heartily congratulated!”
Champagne Quartet
with Guy Murgatroyd (piano)
The Champagne Quartet was welcomed by the Chichester Music Society on 15 September 2021 at the University of Chichester as their opening autumn concert. The Quartet is an operatic vocal quartet established in 2016, made up of graduates of the Royal Welsh School of Music and Drama, delighting the audience as their programme of well-known opera favourites, often from Italian composers, unfolded.
The programme opened with the four musicians performing the fun and rather exuberant Drinking Song “Brindisi” from Verdi’s La Traviata. This was sung with a boisterous raucous flavour that set the tone for an enjoyable evening that the audience certainly appreciated in person.
After that, the programme was spread between either solos, duets or three of the Quartet, moving through Donizetti and Rossini, and then on to The Flower Duet from Lakme by Leo Delibes, which was sung by Erin Alexander, who had previously sung for the Society, and Clare Eccles. This was a delightful, often nuanced, performance by both singers. Both musicians were throughout technically assured, and Erin particularly had a lovely clean sound that projects strongly.
Later in the evening Clare Eccles was joined by Ross Wilson in a performance of Franz Lehar’s Lippen Scheweigen fromThe Merry Widow. The dynamic between the singers was natural and effortless and was played to maximum effect. In fact, the acting of the whole Quartet was effortless and effective throughout, and substantially added to the overall enjoyable atmosphere that was being created by the music.
Sam Young and Ross Wilson sang the duet O Mimi, tu piu non tourni from Puccini’s La Boheme, both delivering a moving performance of remarkable control and sensitivity.
The accompaniment on the piano by Guy Murgatroyd was throughout the concert understated, yet acutely judged according to the demands of each composer. A thoroughly outstanding example of how important it is for any singer to have a sympathetic and understanding musician at the piano.
The concert concluded, after some Mozart songs from The Magic Flute, with a rendering of the whole Quartet singing Goodnight Quartet from Martha by Frederich Ferdinand Flotow, a simple, calm conclusion to the concert. Chris Hough, Chairman of Chichester Music Society, said, “This was a fabulous evening with some marvellous singing of many well-loved opera favourites. The Quartet and Guy are to be heartily congratulated!”
9th June
Anna Gorbachyova-Ogilvie (soprano) & Tanya Ursova (piano)
The Chichester Music Society had their first 2021 Concert that finally had a live audience, and as usual the Society met at the University of Chichester, where 30 members and guests attended on 9 June. The artists were Anna Gorbachyova-Ogilvie [soprano, right in photo] and Tanya Ursova [piano].
The programme was a fascinating mixture of Russian, German and French songs, involving music by well-known composers such as Tchaikovsky and Rachmaninov, Richard Strauss and Poulenc. Interestingly they also included music by other lesser-known composers such as Henri Duparc, and Anna chose his Chanson Triste to open this concert. Immediately the audience were captivated by her confident and dramatic conviction, her volume, which, when needed, was impressive, and her ability to temper this appropriately according to the demands of the music.
Another particularly interesting choice was In the Autumn, a piece which was written by Georgy Sviridov who only died in 1998. Much of his career had been spent working in the Soviet era, but this piece was part of the New Folk Wave, and Anna and Tanya together created a memorable performance which demanded both sensitivity and emotional musical scene painting.
Anna sang throughout with both technical fluidity and produced some highly polished singing with a voice full of emotional intensity, which was particularly noticeable in her rendition of Richard Strauss’ Three Songs of Ophelia from Shakespeare’s Hamlet Opus 67.
Tanya Ursova’s accompaniment was fluid and at times fiery, at times breathtakingly haunting, always anticipating the mood of each piece, and she was a perfect instrumental companion. She also played a piano solo by Rachmaninov that was well chosen to demonstrate her ability to articulate both poignant, moving music, as well as light-hearted crescendos and more melodic themes.
The concert programme ended with a sensitive performance of Poulenc’s Fiancailles pour Rire where much of the music was anxious and wistful. The Duo ended the concert with an encore by Gershwin that certainly lightened the mood.
This concert was a prime example of what the Chichester Music Society does best, which is to introduce our members to new music, as well as reminding them of old favourites. Chairman, Chris Hough, thanked the two musicians “for giving the Society a wonderful evening of marvellous music”, also thanking Tanya Ursova for her valuable work on the detailed programme notes and translations which greatly added to the audiences understanding & enjoyment of the music.
Anna Gorbachyova-Ogilvie (soprano) & Tanya Ursova (piano)
The Chichester Music Society had their first 2021 Concert that finally had a live audience, and as usual the Society met at the University of Chichester, where 30 members and guests attended on 9 June. The artists were Anna Gorbachyova-Ogilvie [soprano, right in photo] and Tanya Ursova [piano].
The programme was a fascinating mixture of Russian, German and French songs, involving music by well-known composers such as Tchaikovsky and Rachmaninov, Richard Strauss and Poulenc. Interestingly they also included music by other lesser-known composers such as Henri Duparc, and Anna chose his Chanson Triste to open this concert. Immediately the audience were captivated by her confident and dramatic conviction, her volume, which, when needed, was impressive, and her ability to temper this appropriately according to the demands of the music.
Another particularly interesting choice was In the Autumn, a piece which was written by Georgy Sviridov who only died in 1998. Much of his career had been spent working in the Soviet era, but this piece was part of the New Folk Wave, and Anna and Tanya together created a memorable performance which demanded both sensitivity and emotional musical scene painting.
Anna sang throughout with both technical fluidity and produced some highly polished singing with a voice full of emotional intensity, which was particularly noticeable in her rendition of Richard Strauss’ Three Songs of Ophelia from Shakespeare’s Hamlet Opus 67.
Tanya Ursova’s accompaniment was fluid and at times fiery, at times breathtakingly haunting, always anticipating the mood of each piece, and she was a perfect instrumental companion. She also played a piano solo by Rachmaninov that was well chosen to demonstrate her ability to articulate both poignant, moving music, as well as light-hearted crescendos and more melodic themes.
The concert programme ended with a sensitive performance of Poulenc’s Fiancailles pour Rire where much of the music was anxious and wistful. The Duo ended the concert with an encore by Gershwin that certainly lightened the mood.
This concert was a prime example of what the Chichester Music Society does best, which is to introduce our members to new music, as well as reminding them of old favourites. Chairman, Chris Hough, thanked the two musicians “for giving the Society a wonderful evening of marvellous music”, also thanking Tanya Ursova for her valuable work on the detailed programme notes and translations which greatly added to the audiences understanding & enjoyment of the music.