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Ivana Gavric (image credit: Sussie Ahlburg)

Sarajevo-born British pianist Ivana Gavric gave a lunchtime recital of great insight, emotional intensity, and colourful storytelling combined with musicality and pianism of the highest order at London’s Wigmore Hall on Thursday 28th November. The concert, part of Lisa Peacock Concert Management’s Lunchtime Showcase Recitals series, marked the launch of Ivana’s new disc of works by Grieg and multi award-winning British composer Cheryl Frances-Hoad for Champs Hill Records, a label which actively supports young artists. The Two Lyric Pieces by Cheryl Frances-Hoad received their London premiere at the concert.

Ivana opened her concert with Ravel’s Valses nobles et sentimentales, which the composer transcribed for piano in 1911. The work was presented in a concert of new music hosted by the Société Musicale Indépendante where the composers’ names were withheld to avoid favouritism or prejudice on the part of audience and critics. The Valses nobles et sentimentales were greeted with protests, cat-calls and booing, so acerbic was the harmonic and tonal palette, and only a handful of people correctly identified their composer. Ravel intended his Valses nobles et sentimentales to follow Schubert’s example (the 34 Valses Sentimentales D779 and 12 Valses nobles D969), creating a seamless suite of eight waltzes whose tonal colourings and harmonic complexities were already signposted in Gaspard de la Nuit (1908).

Ivana retained strong sense of the waltz rhythm throughout, and took the listener on a sensuous, romantic journey, conjuring up images of decadent Belle Epoque Paris and hinting at the Jazz Age to come. These stylish pieces were brought to life with subtle dynamic shadings, delicacy of touch (particularly evident in the final waltz), and sensitive articulation and pedalling. Moments of reflection were contrasted with bright exuberance in a performance rich in spontaneity, flexible yet convincing tempi, expression and musicality.

Janacek’s Piano Sonata 1.x.1905, “From the Street” signalled a complete change of mood, plumbing, as it does, the depths of melancholy with an aching poignancy in two movements entitled ‘Presentiment’ and ‘Death’ respectively. The incident which triggered the composition of this sonata was the death of a young worker during an anti-German demonstration on 1st October 1905. Ivana’s reading of this angry, agonised and profoundly emotional work was alert to the changing textures of Janacek’s writing, with fluid phrasing, and a convincing  judgement of mood, tempo and tonal colour. The first movement was haunting, with a tolling bell motive at the opening to which Ivana brought a spare stridency, which served to underline the tragedy in inherent in the entire work.

The Two Lyric Pieces by Cheryl Frances-Hoad, receiving their London premiere at the concert, formed a neat bridge between Janacek and the works by Grieg which closed the concert. The first piece, In the Dew, was inspired by the third of Janacek’s In the Mists and his Piano Sonata, and makes use of harmonic material from the former, and melodic material from the latter. The composer intended the piece to be performed after the Sonata, described by the composer as “something of a palate cleanser” after the sombre mood of Janacek’s work, with twinkling sounds and an accessible tonal idiom. Winsome and folksy in its outer sections, the lyrical middle section recalled Messiaen in some of its harmonies.

The second piece, Contemplation, is “a meditation (or contemplation!) on a few bars from the second movement of Grieg’s Sonata Op 7 (bars 17-20)…….I simply elaborated upon Grieg’s chords” (Cheryl Frances-Hoad). The work had a wonderfully transparency, thoughtfully translated by Ivana’s precise and delicate touch, and her clear understanding of the serenity of the piece.

The handful of bars which inspired Cheryl Frances-Hoad came after two charming short pieces by Grieg. The Sonata, in four movements, was performed with great colour, poetry and spaciousness, vividly evoking the landscape and folk music of the composer’s native Norway. And for an encore, Ivana treated us to more Grieg, a bright and rousing Wedding Day at Troldhaugen bringing to a close a recital replete in transparent sound, varied tonal shadings, technical security and an acute musicality.

Ivana Gavric’s new recording Grieg: Piano Works is available now. Details here

www.ivanagavric.com

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My local music society based at the National Physical Laboratory in Teddington is proving a rich and varied source of fine music this autumn. Last month I attended excellent concerts by Helen Burford, in an eclectic programme of mostly contemporary music, and Joseph Tong who played works by McCabe, Sibelius and Ravel, and ended with a rollicking ‘Wanderer Fantasy’ by Schubert. For the first concert of November, pianist Madelaine Jones returned to the NPL to give a lunchtime recital of works by Bach, Beethoven, Stravinsky, and little-known female composer Louise Farrenc.

4bfbb2f28b-DSCF5588Now in her final year at Trinity Laban Conservatoire of Music and Dance in Greenwich, south-east London, Madelaine studies with my piano teacher, Penelope Roskell (I first met Maddie at one of my teacher’s weekend courses, some three years ago). A busy performing musician, Madelaine is now looking beyond next summer to where her musical studies might take her next: this recital was an opportunity for her to perform her programme for forthcoming auditions at the Royal Academy and Royal College of Music, Trinity, and Yale, amongst others.

Madelaine introduced her programme, explaining that Bach’s ‘Well-Tempered Clavier’ is considered to be the Old Testament of music, while Beethoven’s 32 Piano Sonatas are the New Testament. As it happened, her programme contained works from both, and the opening Prelude from the Prelude & Fugue in D minor BWV 875 from Book 2 of the WTC was played with vigour, colour, and crisp articulation (Madelaine also plays the harpsichord, evident in her lightness of touch in the Prelude). The Fugue was more thoughtful, with sensitive attention to the strands of counterpoint (in her introduction, Madelaine described a fugue rather charmingly as “voices chasing each other”). This was an authoritative account, and a splendid opener for the concert.

Beethoven’s Opus 10 Piano Sonatas were published in 1798. The first and the third of the Opus are serious and tempestuous (the Op 10, no. 1 prefigures the Pathétique Sonata), but the middle sonata of the triptych, Op 10 no. 2 in F major, is more light-hearted, a “cheeky” first movement which amply displays Beethoven’s characteristic wit and musical humour. Madelaine was alert to the rapid shifts of mood, dynamics, and orchestration in Beethoven’s writing: a sprightly first movement gave way to an elegant minuet and trio, followed by a fugal finale, nimbly played by Madelaine. Sparing use of the pedal, precise articulation and musical intelligence resulted in a very colourful and enjoyable account of this early period sonata.

In a change to the printed programme, Stravinsky’s second Piano Sonata (1924) came next, again engagingly introduced by Madelaine. Composed while Stravinsky was resident in Paris in the 1920s, this Sonata harks back to Baroque and Classical models, and it was an inspired piece of programming to place it straight after the Beethoven, which helped illuminate the classical elements inherent in Stravinsky’s writing (a first movement in Sonata form – exposition, development, recapitulation – followed by a slow movement). Indeed, the slow movement, as Madelaine put it, was written as if Stravinsky had taken a typical Beethoven slow movement and simply “allowed the hands the wander around the keyboard”. Madelaine’s precise attention to detail, tonal clarity, energy of attack, and musical understanding made for a most interesting performance.

To finish Madelaine played the Air russe varié, op. 17 by Louise Dumont Farrenc, a French composer who, according to Schumann, writing in his Die neue Zeitschrift für Musik showed great promise, but who has fallen into obscurity. And indeed the work Madelaine performed was redolent of Schumann’s own music with its contrasting and varied movements and musical volte-faces. This work was proof that Madelaine is equally comfortable in Romantic repertoire, delivering a performance that caught the full emotional sweep and virtuosity of this music: a committed, bravura performance founded on solid technique and undeniable musicality.

Details of Madelaine’s forthcoming concerts can be found on her website:

madelainejones.co.uk

My Meet the Artist interview with Madelaine

Forthcoming concerts at the National Physical Laboratory Musical Society:

6th November – Corrine Morris, cello and Kathron Sturrock, piano

11th November – Alice Pinto, piano

18th November – Nadav Hertzka, piano

22nd November – Kathron Sturrock, piano

26th November – Frances Wilson (AKA The Cross-Eyed Pianist), piano in works by Bach, Cage, Debussy, Liszt, Elgar, and Messiaen

Concerts take place in the Scientific Music, Bushy House, National Physical Laboratory, Teddington TW11 0LW, and start at 12.45pm. Tickets £3 on the door.

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Who or what inspired you to take up the piano and composing, and make it your career? 

I salute my late mother for insisting that I continue with my piano studies despite my pre-Grade 1 tantrums. Once I’d got through the tricky first stage, there was no stopping me. As an adult, I decided to make music my career after three years studying marketing. This time without music showed me that my life would be barren without it. I had a eureka moment, signed up for a music degree at Southampton University and never looked back.

Who or what were the most important influences on your playing/composing? 

My father showed me that I could make anything from anything, and not to put up barriers in the creative process. This idea of creativity was inherent in my upbringing and has given me freedom in my songwriting to get across unique emotions and ideas in a powerful way. I have always been hooked on the craft of songwriting, using the millions of notes and words in my head and weaving them together. The process is much like conceiving and giving birth to a new life, spiritual and mechanical at the same time.

I was fortunate to be taught the piano by composer Debbi Parks. Debbi encouraged my creativity and I often played her my ideas in my lessons, learning the piano without pressure. Debbi has been a great source of inspiration to me and has also guided my career. We are both ISTD ballet pianists (Debbi wrote some of the ISTD music) and also improvise for the Royal Opera House’s ‘Chance to Dance’ education programme!

What have been the greatest challenges of your career so far? 

Balancing family life with creativity is always a challenge but my children are very grounding and balance is a good thing. Like most artists, I find it hard to self promote. I don’t have an agent and whilst I enjoy the freedom that brings, my ‘shy writer’ side is filled with dread when I have some new music to market.

Which performances/compositions/recordings are you most proud of?  

I am very proud of my 2012 album, ‘My Garden’. The title song was written about my children and I dedicated the album to them. I was delighted when Code: Marla remixed two of my songs and it’s amazing to hear piano based songs with beats and bass. I particularly love The Big Freeze remix. This song means a lot to me as it is about my recovery after a head-on car crash I had three years ago.

Do you have a favourite concert venue to perform in? 

I don’t perform extensively but every few months I sing at the Grey Lady in Tunbridge Wells. It’s a wonderful place and I have met many inspirational musicians there. The music scene in Tunbridge Wells is thriving and Paul Dunton has played a huge part in this, providing musicians like me with the opportunity to perform in a magical setting.

Favourite pieces to perform? Listen to? 

I love playing Debussy and the second Arabesque is my signature piece. Bach’s Preludes and Fugues are intriguing, beautiful and highly addictive. I have recently discovered a strange connection to the music of Shostakovich and am looking forward to trying out some of his piano works (any suggestions?). I listen to a wide range of music, from electronic, to classical, to folk. It’s all music!

Who are your favourite musicians? 

My favourite songwriters are Neil Hannon (Divine Comedy) and Martin Gore (Depeche Mode) and Trent Reznor. PJ Harvey, Tori Amos and Kate Bush have influenced me greatly and I see them as women of musical integrity and emotional depth. I am also in awe of any musician who is self taught and has learnt everything by ear. Such musicians seem to have great musical insight and intuition as well as incredible determination.

What is your most memorable concert experience? 

A charity piano recital I did to help me towards doing my diploma in 2011. As an unseasoned Classical performer I was well out of my comfort zone but I gained much from the experience. I find the phrase ‘no pain, no gain’ is very true of Classical piano but joy of a great performance (even to yourself in your own living room) is exhilarating.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? 

Be authentic, have integrity, listen, don’t compare yourself to others, don’t rush. Remember why you love music.

What are you working on at the moment? 

A song for a wedding; I love commissions!

Where would you like to be in 10 years’ time? 

An Ivor Novello would be nice! I plan to have to have several more albums under my belt. I hope to continue and grow my work as a ballet pianist and also develop my work in music education as a music practitioner and piano teacher.

Piano-wise, I aim to become adept in Blues piano and also nail a few of the Chopin Études, the last of which will probably take the most time!

Frances Yonge is a songwriter, pianist, singer and improviser. She is also a creative musician for Royal Opera House Education and music practitioner.

Frances’ album My Garden is available now. Listen to sample tracks:

See more at: www.francesyonge.co.uk

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pianist Helen Burford
pianist Helen Burford

While the famous south London parakeets squawked in the trees of Bushy Park outside, inside Bushy House, home to the National Physical Laboratory’s Musical Society, Brighton-based pianist Helen Burford gave a lunchtime recital of great imagination and musical colour, demonstrating the full tonal, percussive and emotional range the piano can offer.

Now in its 63rd season, the NPL Musical Society hosts regular concerts throughout the year featuring a varied range of artists, both established and up-and-coming, and provides useful performance experience for young musicians in conservatoires and music colleges who are preparing for end of year, or final recitals. (Indeed, my own piano teacher played at the NPL when she was a young woman.) The venue boasts a rather stately 1911 Steinway, and the audience is supportive, friendly and interested.

Helen trained at Birmingham Conservatoire, the University of Sussex and Guildhall School of Music and Drama, and has studied with a number of renowned teachers, including Heather Slade-Lipkin, Peter Feuchtwanger and Stephen Gutman. A champion of British and American new music, her NPL concert reflected her passion for this repertoire, with an eclectic programme of works by contemporary composers, including Martin Butler and David Rakowski.

Chick Corea’s ‘Three Improvisations’ offered a gentle entrée to the programme. The first and third pieces in the triptych, Where have I known you before and Where have I loved you before, were played with a wistful, sensuous sensitivity, while the middle movement was a lively, toe-tapping dance.

I have heard Helen perform Somei Satoh’s ‘Incantation II’ several times, and each time it has been slightly different, and always highly absorbing. The work, which has never been published, relies on the minimalist technique of prolonging a single unit of sound, while creating the sensation of a ‘rhythmic limbo’, a sense of stasis that is characteristically Japanese (cf the music of Toru Takemitsu). The music makes full use of the piano’s resonant qualities, creating a remarkable bloom of sound, which suggests a variety of instruments including cello, horn, bells, harp, drums. Building slowly from a simple opening, this music is hypnotic and meditative, and Helen’s controlled and intense performance made this an extraordinary and unusual musical experience.

Following this with a sonata by Scarlatti was inspired, for it highlighted not only the mannered elegance of the Baroque but also how revolutionary Scarlatti was, in his daring use of dissonance and unusual harmonies. It was performed with a lyrical simplicity.

The next work, a piece by composer Ester Mägi, named after an instrument called a kannel, a kind of plucked zither or psaltery, recalled the folk music of Mägi’s native Estonia with stamping off-beats and haunting melodies, to which Helen brought great colour, sensitive dynamic shading, and rhythmic vitality.

From the folk idioms of eastern Europe to the industrial western city in Martin Butler’s ‘Rumba Machine’, a celebratory fanfare-like piece, which suggests swiftly turning cogs and wheels of machines and the blaring sirens and honking horns of the city over a compelling rumba beat. This, together with David Rakowski’s witty Étude ‘A Gliss is Just a Gliss’, a study on glissandi, was played with an extrovert elan, bringing to a close a most enjoyable and refreshingly original lunchtime recital.

Helen will be performing a similar programme at the launch of the South London Concert Series on 29th November 2013 at the 1901 Arts Club. Further details here slcs1901.wordpress.com. Tickets southlondonconcerts@gmail.com

https://soundcloud.com/cross-eyedpianist/three-piano-improvisations

NPL Musical Society concerts take place in the Scientific Museum, Bushy House, National Physical Laboratory, Teddington TW11 0LW. Tickets £3 on the door.

Upcoming concerts this season include: 23 October – Joseph Tong, piano; 1 November – Madelaine Jones, piano; 11 November – Alice Pinto, piano; 22 November – Kathron Sturrock, piano. Further details Stephen.Lea@npl.co.uk