THE LISNEY TRIO Emma Lisney – violin Joy Lisney – cello James Lisney – piano with Michael Whight – clarinet
Beethoven – Trio in B flat, Op 97, ‘Archduke’
Messiaen – Quartet for the End of Time
9 March 2020 7.45pm, Purcell Room at Queen Elizabeth Hall, Southbank Centre
Two chamber works, composed almost 150 years apart and which both carry a momentous emotional weight, comprise this programme performed The Lisney Trio with clarinettist Michael Whight.
The premiere of Beethoven’s Trio in B flat, opus 97, ‘Archduke’, in 1814 was one of the composer’s final public performances as pianist. Completed in 1811 and dedicated to the Archduke Rudolph of Austria – a fine amateur pianist, patron, friend and composition student of Beethoven – this trio is one of fourteen of Beethoven’s works dedicated to the youngest son of Leopold II, Holy Roman Emperor. It is a fine example of Beethoven’s heroic style and its perfect combination of brilliance, grandeur and profundity have ensured its central place in the trio repertoire.
Messiaen’s Quartet for the End of Time premiered in January 1941 at Stalag VIIIA, a prisoner of war camp in Görlitz, Germany. The composer dedicated the work ‘in homage to the Angel of the Apocalypse, who raises his hand towards Heaven saying “There shall be no more time.”’ From an evocation of morning birdsong, through fiercely concentrated and rhythmically complex dance music, the music intensifies to depictions of the coming cataclysm. Two songs of praise (‘Louanges’) are offered up, oases of extraordinary calm marked ‘infinitely slow’ and ‘tender, ecstatic’.
The Lisney Trio, comprising the members of a family that sustain distinguished international careers as soloists, are joined by renowned clarinettist Michael Whight for this recital of two of the most significant chamber works of the past two centuries.
Monday 9 March 7.45pm, Purcell Room at Queen Elizabeth Hall, Southbank Centre
James Lisney returns to the Purcell Room on 19 May for a concert as part of his international tour exploring the notion of ‘Late Style’ and creative maturity through the late masterworks of three composers who are particularly close to his heart – Haydn, Beethoven and Schubert – uplifting, communicative music of enduring appeal.
“a breathtaking interpretation of some of the last works of the great composers”
Seen and Heard International
On a single staff, for a small instrument, the man writes a whole world of the deepest thoughts and the most powerful feelings. If I were to imagine how I might have made, conceived the piece, I know for certain that the overwhelming excitement and awe would have driven me mad
Thus wrote Johannes Brahms of the Chaconne, composed by J S Bach as the final movement of the Partita No. 2 for solo violin. Throughout much of its three-hundred year existence, the Chaconne has been a source of fascination for composers and performers on instruments other than the violin, inspiring numerous transcriptions by composers as varied as Johannes Brahms, Feruccio Busoni and Leopold Stokowski.
A tour-de-force of instrumental ingenuity, musicianship and virtuosity, cellist and composer Joy Lisney’s own arrangement is the latest response to the Chaconne and attempts to illuminate Bach’s music through the cello, occasionally taking inspiration from the instrument itself but mostly staying as close as possible to the original.
The monumental Chaconne is the centrepiece of a programme including works by Chopin and Brahms, performed by one of the UK’s most exciting cello and piano duos, Joy and James Lisney.
The programme concludes with Brahms’ Regensonate in D; an intensely nostalgic work that Clara Schumann described as “blissful” and “melancholic” – music that she wanted to accompany her “at that passage from here to eternity”.
Joy appeared on BBC Radio 3’s In Tune on Monday 6 May
Praised for her stylish playing, musical maturity, formidable technical finesse and keen advocacy for new music, Joy Lisney is one of the most exciting young musicians to emerge in recent years in a busy career combining the cello with composing and conducting.
She has been performing internationally since her teens, at leading venues including the Leipzig Gewandhaus, Amsterdam’s Concertgebouw, Queen’s Hall Edinburgh, St. George’s Bristol and the Southbank Centre, in concerts featuring some of the best known works for cello as well as specially-commissioned new music and her own compositions. Her first string quartet was premiered by the Arditti Quartet in 2015 and she premiered her own composition ‘ScordaturA’ for solo cello in 2017 at St John’s Smith Square as part of the Park Lane Group concert series. Joy has also given world premieres of works by Judith Weir and Cecilia McDowall.
Southbank Centre’s Brutalist arts venues, the Queen Elizabeth Hall and Purcell Room, will reopen on Monday 9 April, following over two years of refurbishment and redesign.
While many of us missed the QEH and Purcell Room during their closure, St John’s Square, not far away on the north side of the river, near Westminster, has benefited from increased exposure as it has been the home of most of the SBC International Piano Series concerts and some chamber recitals too, and it is good to see this fine building now firmly on the map of London concert venues. Meanwhile, the newly refurbished QEH and Purcell Room look fabulous, judging by these pictures, and details such as French polished wood, hand-upholstered leather and aluminium seats and energy efficient climate control promise stylish comfort for the contemporary concert goer. The original brutalist concrete structures have been fully restored and the foyer area (previously rather grim despite attempts at funky lighting) has been revitalised with plenty of natural light and better views of the Thames
The Queen Elizabeth Hall and Purcell Room open with a programme of events paying tribute to the historic legacy of the venues, and the legendary artists who have performed there over the past fifty years. A dynamic blend of contemporary and classical work sees vibrant performances, events, installations and a free programme of activities for all ages. The reopening programme runs from Monday 9 April until the end of May 2018. Further details here
London-based Venezuelan pianist, and champion of Venezuelan composers for the piano, Clara Rodriguez returns to the Southbank Centre on 10th December for a concert of music by South-American composers, including Villas-Lobos, Piazzolla and Ruiz, and Debussy. This promises to be a really wonderful evening of music, not just for piano, but for ensemble too, as Clara will be joined by Wilmer Sifontes on percussion, cellist Jordan Gregoris and violinist Ilya Movchan. The concert also features two London premieres of works by Colombian composer Germán Darío Pérez.
I reviewed Clara Rodriguez and friends at Purcell Room last autumn, and Clara also features in my Meet the Artist interview series. Read her interview with me here. And here is Clara in her own words about her forthcoming concert:
All concerts at the Southbank are special events, the magic of one evening only, the energy, imagination and love that goes into putting the programme together is part of our artistic proposal to the world. My concert on Monday December 10th at the Purcell Room is going to be another exciting yet very different experience to the other nine or ten ones I have played there in the past.
The high inspiration, poetry and skill behind all the pieces I am playing makes my heart jump with emotion. Just reading Verlaine’s Clair de lune poem makes me realize even more deeply about the beauty of Debussy’s Suite Bergamasque, which I could play for ever!
Votre âme est un paysage choisi Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi Tristes sous leurs déguisements fantasques.
Tout en chantant sur le mode mineur L’amour vainqueur et la vie opportune Ils n’ont pas l’air de croire à leur bonheur Et leur chanson se mêle au clair de lune,
Au calme clair de lune triste et beau, Qui fait rêver les oiseaux dans les arbres Et sangloter d’extase les jets d’eau, Les grands jets d’eau sveltes parmi les marbres.
Your soul is a chosen landscape
Charmed by masquers and bergamaskers
Playing the lute and dancing and almost
Sad beneath their fanciful disguises.
Even while singing, in a minor key,
Of victorious love and fortunate living
They do not seem to believe in their happiness,
And their song mingles with the moonlight,
The still moonlight, sad and beautiful,
Which sets the birds in the trees dreaming,
And makes the fountains sob with ecstasy,
The tall slender fountains among the marble statues!
I have always been interested by the output of contemporary composers, their loneliness and their bravery in expressing their truths out on paper, apart from appreciating their talent, of course. On this occasion I will première three preludes by the young Venezuelan composer Mirtru Escalona Mijares who lives in Paris and has kindly dedicated the last of the Three Short Preludes to me. It is based on a tanka by the buddhist monk RYOKAN (1758-1831), it is called “…contempler longuement…” in it I have to use special concentration skills to play pianissimo and very slowly as opposed to our usual kind of preoccupation which is to play fast and lots of notes. Mirtru has been working very hard in purifying or cleansing musical phrases and thoughts. It is a challenge! Here is the poem the third Prelude is inspired by:
“Je n’ai rien de spécial à vous offrir juste une fleur de lotus dans un petit vase à contempler longuement “.
I have nothing special to offer to you/Just a lotus flower In a small vase/To be contemplated for a long time
“Hommage à Chopin”, a tour de force written by Villa-Lobos will follow. It is a strange piece, not exactly romantic, I think it has the force of the Amazonian jungle and depicts Chopin’s passionate torments and obsessions. It has a greater number of melodic layers than most piano pieces thus making it quite virtuosic.
It was while studying with Nadia Boulanger in Paris that Piazzolla was urged to develop his love for tango thus creating the “new tango” in which he transformed this old Argentinean dance into music capable of a variety of expression, fusing sharply-contrasted moods: his tangos are by turn fiery, melancholic, passionate, tense, violent, lyric and always driven by an endless supply of rhythmic energy. I am thrilled to be able to play Le Grand Tango, one of his most Classical pieces, and then in the same evening The Four Seasons of Buenos Aires with leading young performers from France, Jordan Gregoris on the cello and from Russia, Ksenia Berenzina on the violin. You’ll see what exquisite pair of musicians they are. We are having the fun of our lives playing this music. It is luxury!
Not forgetting my Caribbean roots, I have added three composers from that part of the world, for two reasons, my dear London public expects it and simply because I have so much joy playing them. So, from Cuba a nostalgic Danzón by José María Vitier, who composed the music for the film “Strawberry and Chocolate”, then two London premières will follow by a composer from Bogotá, Colombia, Germán Darío Pérez, in which my friend percussionist Wilmer Sifontes will play the kind of percussion that should accompany a bambuco and then we’ll play together the very lively Zumba que zumba (joropo) written for me by the Venezuelan composer Federico Ruiz, in which Wilmer will play the Venezuelan maracas. I doubt it if this programme could be more exciting or varied!
London-based Venezuelan pianist Clara Rodriguez and friends brought the heady and exotic rhythms and sounds of South America to a windy Southbank in a delightfully relaxed concert of chamber music at the Purcell Room. Read my review for Bachtrack.com here
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