Concerts are at the Influence Church, Victoria Road, Richmond DL10 4AS
The Piatti Quartet
24 February, 17:30 and 20:00
Beethoven String Quartet No. 3 in D Major
Dvořák String Quartet No. 12 in F Major, the 'American'
The Piatti Quartet is Nathaniel Anderson-Frank and Michael Trainor (violins), Tetsuumi Nagata (viola) and Jessie Ann Richardson (cello).
The artists last came to Richmond three years ago, when their concert was dominated by a huge performance of Beethoven's late Op. 13o quartet. We're delighted to welcome them back for the greatly delayed start of our concert season.
Tonight's recital starts at the other end of Beethoven's chamber-music canon. His Quartet No. 3, dedicated to his early patron Prince Lobkowitz, is atypically light in texture, ending, as one critic has put it, "in a mischievous Presto with skittery rhythms, before disappearing in the musical equivalent of a puff of smoke".
The Beethoven is followed by one of the most popular and recognisable of all string quartets. The 'American' Quartet was written in 1893, when Dvořák lived in the United States. The composer was hugely struck by the range of folk-music traditions he found, particularly among African Americans in whose melodies, he wrote, "I discover all that is needed for a great and noble school of music".
Dvořák String Quartet No. 12 in F Major, the 'American'
The Piatti Quartet is Nathaniel Anderson-Frank and Michael Trainor (violins), Tetsuumi Nagata (viola) and Jessie Ann Richardson (cello).
The artists last came to Richmond three years ago, when their concert was dominated by a huge performance of Beethoven's late Op. 13o quartet. We're delighted to welcome them back for the greatly delayed start of our concert season.
Tonight's recital starts at the other end of Beethoven's chamber-music canon. His Quartet No. 3, dedicated to his early patron Prince Lobkowitz, is atypically light in texture, ending, as one critic has put it, "in a mischievous Presto with skittery rhythms, before disappearing in the musical equivalent of a puff of smoke".
The Beethoven is followed by one of the most popular and recognisable of all string quartets. The 'American' Quartet was written in 1893, when Dvořák lived in the United States. The composer was hugely struck by the range of folk-music traditions he found, particularly among African Americans in whose melodies, he wrote, "I discover all that is needed for a great and noble school of music".
. Generously supported by Anna Jackson in memory of Tim Jackson
The Gould Piano Trio, with Robert Plane (clarinet)
24 March, 17:30 and 20:00
Debussy Première Rhapsodie for clarinet and piano
Huw Watkins Four Fables
Beethoven Piano Trio in E-flat major, Op. 70 No. 2
Tonight's artists are Lucy Gould (violin), Benjamin Frith (piano), Richard Lester (cello), and Robert Plane (clarinet).
When not touring or performing on Radio 3, the Goulds are often to be found not far away from Richmond, at the lovely Corbridge Chamber Music Festival. The Washington Post says of them, "The only comparison that comes to mind is the old Beaux Arts Trio". High praise indeed. The clarinettist Robert Plane is a frequent performer with national orchestras, and frequently partners the Gould Trio.
In a whirlwind seven minutes of free-form brilliance, Debussy's Première Rhapsodie poses immense challenges for the performer. Originally conceived as a competition piece, the Rhapsodie was quickly recognised as a concert-stage masterpiece. Four Fables was commissioned by tonight's artists; the identities of the fables are left to the audience's imagination. The work is mysterious, brightly coloured, languorous. Our concert ends with the mellow and intimate E flat trio, one of the most loved and most subtle of all Beethoven’s chamber works.
Huw Watkins Four Fables
Beethoven Piano Trio in E-flat major, Op. 70 No. 2
Tonight's artists are Lucy Gould (violin), Benjamin Frith (piano), Richard Lester (cello), and Robert Plane (clarinet).
When not touring or performing on Radio 3, the Goulds are often to be found not far away from Richmond, at the lovely Corbridge Chamber Music Festival. The Washington Post says of them, "The only comparison that comes to mind is the old Beaux Arts Trio". High praise indeed. The clarinettist Robert Plane is a frequent performer with national orchestras, and frequently partners the Gould Trio.
In a whirlwind seven minutes of free-form brilliance, Debussy's Première Rhapsodie poses immense challenges for the performer. Originally conceived as a competition piece, the Rhapsodie was quickly recognised as a concert-stage masterpiece. Four Fables was commissioned by tonight's artists; the identities of the fables are left to the audience's imagination. The work is mysterious, brightly coloured, languorous. Our concert ends with the mellow and intimate E flat trio, one of the most loved and most subtle of all Beethoven’s chamber works.
Apollo5 vocal ensemble
14 April, 17:30 and 20:00
Programme to be confirmed
Apollo5 is Clare Stewart and Penelop Appleyard (sopranos), Josh Cooter and Oli Martin-Smith (tenors), and Greg Link (bass).
The London-based a cappella vocal ensemble is part of the famous Voces8 Foundation, and performs regularly around the world and on BBC Radio 3. The group's last album, O Radiant Dawn, leaped into the top 10 of the UK classical charts.
Apollo5 is Clare Stewart and Penelop Appleyard (sopranos), Josh Cooter and Oli Martin-Smith (tenors), and Greg Link (bass).
The London-based a cappella vocal ensemble is part of the famous Voces8 Foundation, and performs regularly around the world and on BBC Radio 3. The group's last album, O Radiant Dawn, leaped into the top 10 of the UK classical charts.
. Generously supported by Judy Moorhouse
Chloë Hanslip (violin) and Danny Driver (piano)
26 May, 17:30 and 20:00
Prokofiev Five Melodies
Judith Weir Music for 247 Strings
Beethoven Violin Sonata No. 10 Op 96
Chloë Hanslip and Danny Driver have carved out a compelling reputation with their highly regarded Beethoven recordings, as you can see. Tonight we'll be treated to one of that composer's loveliest sonatas.
First, though, a piece which is not often heard. Prokofiev's Five Melodies were written while he was in self-imposed exile in California, and were originally intended as soprano vocalises. When they proved impractical for regular performance, he recomposed these exquisitely crafted and sharply characterised miniatures for violin and piano.
Judith Weir's Music for 247 Strings (don't ask) consists of ten very tiny pieces, initially played in unison, then breaking apart as the violin and piano seek independence from each other, and rejoining at the end - "perhaps", says the composer, "in a more genuine spirit of togetherness than they started out with".
Which brings us back to the Beethoven; calm, ethereal, and ending on a cheerful theme - a good way to end a difficult season.
Judith Weir Music for 247 Strings
Beethoven Violin Sonata No. 10 Op 96
Chloë Hanslip and Danny Driver have carved out a compelling reputation with their highly regarded Beethoven recordings, as you can see. Tonight we'll be treated to one of that composer's loveliest sonatas.
First, though, a piece which is not often heard. Prokofiev's Five Melodies were written while he was in self-imposed exile in California, and were originally intended as soprano vocalises. When they proved impractical for regular performance, he recomposed these exquisitely crafted and sharply characterised miniatures for violin and piano.
Judith Weir's Music for 247 Strings (don't ask) consists of ten very tiny pieces, initially played in unison, then breaking apart as the violin and piano seek independence from each other, and rejoining at the end - "perhaps", says the composer, "in a more genuine spirit of togetherness than they started out with".
Which brings us back to the Beethoven; calm, ethereal, and ending on a cheerful theme - a good way to end a difficult season.