‘….Petits Concerts’, a series of convivial recitals at the 1901 Arts Club, an intimate salon style venue just a stone’s throw from Waterloo Station, returns for a second season, commencing on 30th September.

Inspired by concerts given by Charles-Valentin Alkan at the Erard showroom in Paris in the 1870s, and hosted by concert pianist James Lisney, ….Petits Concerts brings musicians together in the spirit of “music with friends and amongst friends” in a setting which harks back to the 19th-century European cultural salon. Proceeds from each concert will be donated to music/education charities.

This second season opens with a concert by James Lisney exploring the notion of ‘Late Style’ through the lens of late piano music by four composers who are particularly close to his heart – Haydn, Beethoven, Schubert and Chopin. Proceeds from the concert will be donated to The Amber Trust, a charity which helps blind and partially sighted children across the UK who have a talent or love for music, of which James Lisney is a patron.

Later concerts in the series include performances by James Lisney with his daughters Emma and Joy in piano trios by Beethoven, and on 11 November the Lisneys are joined by clarinettist Michael Whight for Olivier Messiaen’s monumental and profound Quartet for the End of Time.

Full details and tickets

Previous concerts in the series have proved very popular and as this is a small venue, early booking is recommended


3415cr-lisneycmaeder-web_orig

From 2pm on the afternoon of each concert James Lisney will be giving piano lessons at the 1901 Arts Club from 2pm. Lessons cost £100 for 90 mins with proceeds going to charity. For further information or to book a lesson, contact James Lisney

 

 

‘Petits Concerts’ is a new series of recitals at the 1901 Arts Club, a salon style venue just a stone’s throw from Waterloo Station. Inspired by concerts given by Charles-Valentin Alkan at the Erard showroom in Paris in the 1870s, and hosted by concert pianist James Lisney, Petits Concerts brings musicians together in the spirit of “music with friends and amongst friends” in an intimate setting which harks back to the 19th-century European cultural salon. Proceeds from each concert will be donated to musical/education charities.

Petits Concerts II – Chopin and Schubert

Petits Concerts III – Joy, Emma & James Lisney

3415cr-lisneycmaeder-web_orig

In addition, James Lisney will be giving piano lessons at the 1901 Arts Club from 2pm on the afternoon of each concert. Lessons cost £100 for 90 mins with proceeds going to charity. For further information or to book a lesson, contact James Lisney

 

 

A busy week of enjoyable and varied concerts in Brighton and London. Here’s my round up:

Sunday 4th May – Helen Burford, piano, Brighton

Helen has a particular interest in contemporary British and American music, and an unerring ability to create imaginative and eclectic concert programmes which combine her interests with more mainstream repertoire. For her afternoon recital as part of the Brighton Fringe Festival, she opened with Somei Satoh’s haunting Incarnation II, a work which allows one to fully appreciate the full range of sounds and resonance possible on the piano. An extraordinarily absorbing and unusual work. The Japanese connection continued with Debussy’s evocative Pagodes, followed by Haydn’s C major Piano Sonata Hob. XVI No. 50 with two witty and sprightly outer movements enclosing a slow movement played with expression and warmth. In typical style, Helen cleverly paired Hush-A-bye, a work by contemporary American composer Julie Harris, with Debussy’s much-loved Clair de Lune. Both pieces recall nighttime – the first has night sounds combined with fragments from the lullabies, “All the Pretty Little Horses” and “Hush Little Baby Don’t Say a Word”, while the veiled harmonies and rippling semiquavers of Debussy evoke moonlight. Helen closed her programme with a lively and foot-tapping Rumba Machine by Martin Butler.

Monday 5th May – Jonathan Biss at Wigmore Hall

Biss is a musician I was curious to hear live, having enjoyed interviews with him, and his insightful and intelligent writing about Beethoven. His recital opened with an early Beethoven Sonata, Op 10, No. 2, and there was much to enjoy in his nimble and witty rendition of the first movement. However, the second movement lacked shape and the final movement was too rushed. The second Beethoven of the concert was the ‘Waldstein’ which lacked structure and a clear sense of the underlying “four-square” nature of Beethoven’s writing. The end result felt rather superficial. Sandwiched between the two Sonatas were selections from Janacek’s On An Overgrown Path. These were enjoyable but lacked a certain sensitivity to the emotional depth inherent in these miniatures.

Wednesday 7th May – Behind the Lines: Music from the First War, MOOT, Brighton

Another lunchtime concert, hosted by Music Of Our Time, a wonderful music collective organised by the indefatigable Norman Jacobs. This year’s focus is on music and composers from the First World War, and the concert, duets and solo works performed by Helen Burford and Norman Jacobs, was a touching, tender and occasionally humorous tribute to composers such as Cecil Coles (who was killed in April 1918) and Frank Bridge, a committed pacifist who was profoundly affected by the war. There were also works by Debussy and Stravinsky, and the concert ended with a four hands version of ‘Mars’ from Holst’s Planets suite. The concert took place on the 99th anniversary of the sinking of the Lusitania, which gave the concert an added poignancy.

Friday 9th May – David Braid, guitar & Sergei Pobdobedov, piano

The end of the week and a concert at the delightful 1901 Arts Club, a converted schoolmaster’s house not five minutes from the bustle and noise of Waterloo Station. One of London’s hidden gems, the venue seeks to recreate the ambiance and ethos of the European musical salon, with its gold and crimson decor and friendly, convivial atmosphere. It is the perfect place for intimate chamber music, and this evening’s concert was no exception.

I interviewed David Braid earlier this year and I was curious to meet him and hear him in performance, for his musical landscape and influences accorded, in part, with my own interests. He plays an electric archtop guitar, more usually associated with jazz or rock/pop musicians. He makes transcriptions for this instrument, with piano accompaniment (his duo partner Sergei Podobedov), of works by Renaissance and early Baroque composers such as Byrd and Sweelinck. The concert included music by these composers and Bach, together with piano solos of works by Chopin (two Scherzi, handled with stylish aplomb and energy by Sergei) and Schubert/Liszt, and some of David’s own compositions. Taken as a whole, this was a most intriguing and unusual concert, beautifully presented. It is hard to describe the sound of the archtop guitar with the piano: at times it recalls the Renaissance lute (which David also plays) while also sounding entirely contemporary, thus making the music sound both ancient and modern. David’s own compositions were haunting, delicate, fleeting – the Waltzes in particular had great poignancy and tenderness – and his contrapuntal writing connects his music to the Baroque masters whom he also plays. One of the nicest aspects of the evening, apart from the high-quality music, was that during the interval instead of disappearing upstairs, the musicians stayed in the salon to talk to the audience, further enhancing the sense that this was very much an evening of music amongst friends.