Launched in May with a fine performance by noted fortepianist and academic John Irving, the first tranche of Kingston Chamber Concerts (KCC) closed last night with a recital by the Armorel Piano Trio, who performed works by Beethoven, Schumann and Dvorak.
The KCC formula is quite simple: quality chamber music performed by young professional artists and local musicians in the convivial setting of the East End Café at All Saints’ Church, right in the heart of Kingston-upon-Thames and its historic market place. Tables are set out salon style and the bar serves good wine at a fraction of the cost of a glass of house white at the Wigmore Hall. You can take your drinks to your table and share a bottle with friends, as I did last night.
The Armorel Piano Trio comprises Kathy Chow (piano), Lucia Veintimilla (violin) and Sebastian Kolin (cello). Their programme, opening with Beethoven’s ‘Ghost’ Trio, Op 70/1 and closing with Dvorak’s ‘Dumky’ Trio, Op 90, B 166, with Schumann’s Op 80/2 the middle of the triptych, demonstrated the development of the piano trio genre, from the strictly classical three-movement structure of Beethoven, though already showing the forward-pull of Beethoven’s vision in its eerily dramatic middle movement which connected it, in this concert, to Schumann’s sweeping romanticism, to the freedom of Dvorak’s six-movement ‘Dumky’ which feels more like a suite than a trio in its organisation highly contrasting moods and textures.
This was a very committed performance by all three musicians, and extra credit must go to the young players who had had their final recitals for their post-graduate studies at conservatoire the same day: they must have been shattered but they hardly betrayed this, and their playing really came alive in the Dvorak which was replete with folk idioms and fine solos from cello and violin, with vivid colouration from the piano, in particular in the third and final movements. The Schumann was genial, laced with a bitter-sweet poignancy (the work was written in 1847, the year of the deaths of the Schumanns’ son Emil and Felix and Fanny Mendelssohn), and Armorel really caught the fleeting mercurial moods of this music.
The Beethoven, meanwhile, provided drama of a different kind, with much boisterous dialogue between violin and cello in the first and final movements, and colourful interplay between the piano and the other instruments. The slow movement was freighted with Gothic gloom, with its fragmented themes, uncertain harmonies and eerie tremolos in the bass of the piano. This was a movement of great tension, rich in quasi-orchestral textures.
This was a fine end to the first three concerts in KCC’s six-concert first season and the sizeable audience prove the series is already off to a very good start. The series resumes on Saturday 16 September with Ceruleo, an early music ensemble, whose concert entitled ‘Love and Betryal in the music of Handel and Barbara Strozzi’ includes performances on harpsichord, theorbo and Viola de Gamba.
For further information about Kingston Chamber Concerts/join their mailing list, please contact email@example.com, or telephone 020 8549 1960