CD Reviews - March/April 2019

Peter Donohoe launches his series of Piano Sonatas by W. A. Mozart (1756-91) with a disc containing two Sonatas from Mozart's set of six, composed in Munich in his late teens, together with his penultimate Sonata, composed in Vienna a couple of years before his death aged just 35.  Donohoe also throws in the popular Fantasia in D minor, K284 for good measure.  The early Sonatas are full of energy and drive, and as with all Mozart's Piano Sonatas, when played as expertly as they are hear, they sound deceptively simple. Donohoe's tempi are on the well-judged steady side, which means that Mozart's frequent rapid runs and arpeggios are always clear and precise.  The hand-crossing passages in K284 have clarity and poise, and the substantial finale here, a theme and no fewer than twelve variations, has a wonderful arc of development, with more precision in the complexity of triplets against semiquavers and more hand-crossing.  Donohoe holds the final note of the tenth variation over into the lengthy elegiac variation that follows, in which he allows himself a little freedom to allow the elaborate ornamentation to breathe, before the light brevity of the final triple time variation brings the Sonata to a lively close. K280 again appears straightforward, but its first movement surprises with striking chromatic harmonic progressions in the development section, and Donohoe brings out the plaintive lilt of the slow movement, before dancing through the sprightly Presto. His Fantasia is heartfelt and more introspective, less obviously showy, which fits well with the lightness of the D major conclusion, which can sound incongruous if the first half is overblown.  Again, Donohoe takes a measured approach to the opening movement of K570, which allows space for the ranging harmonies in its development section to be registered.  The slow movement here is beautifully contemplative, and Donohoe plays the graceful second half with great delicacy, before enjoying the perkiness of the sprightly finale.  On the basis of this first volume, Donohoe's Mozart is warm, open and precise, allowing the music to breathe, achieving a fine balance, allowing for moments of drama without ever losing classical grace and poise.  Roll on volume 2!

Mozart, W. A. 2019. Piano Sonatas, Volume 1. Peter Donohoe. Compact Disc. Somm Recordings SOMMCD 0191.

Another first volume now, this time Felix Mendelssohn (1809-1847) String Quartets, from the Doric String Quartet.  Here we have the first and last of Mendelssohn's six published quartets, together with the fifth, spanning from age just twenty to the year of his death, aged 38 (so just 3 years older than Mozart at his death).  If you don't know Mendelssohn's chamber music, then you should - it is always full of life and energy, as well as incredible invention. The first String Quartet, Op. 12 stems from the time of Mendelssohn's infamous Scottish tour that produced the Hebrides Overture and the Scottish Symphony.  Its opening movement never stops flowing, with warm lyricism as well as a turbulent urgency, and the Doric String Quartet never let that sense of perpetual progress to sag.  The canzonetta second movement is light and delicate, and the players skitter through the quicker central section with ease.  Following the passionate and striking third movement, the finale is frenzied and again turbulent, with swirling, dizzying lines for the violins, before a surprising quiet conclusion.  Mendelssohn referred to the late String Quartet Op. 80 as his 'Requiem for Fanny', his beloved sister had suddenly died following a stroke.  It is indeed a work of passion, with its frenzied, nervy opening movement and earnest scherzo with its dark trio section. The slow movement is full of yearning, the Dorics bringing this out with beauty of tone throughout, and the finale, with its hints of Schubert's Death and the Maiden, is wild and heartfelt.  On a short second disc, we have the String Quartet Op. 44 No. 3, completed just before the birth of his first son in 1838.  It is lively and spirited, with a fleeting scherzo and a beautifully lyrical slow movement that moves from light to shade and back, before an energetic finale full of remarkable invention.  The Dorics once again carry the almost relentless energy throughout the work, particularly the lengthy finale.  Highly recommended.

Mendelssohn, F. 2018. String Quartets, Volume 1. Doric String Quartet. Compact Discs (2). Chandos CHAN 20122(2).

Silvius Leopold Weiss (1686-1850), a contemporary of J S Bach, has been a bit of recent discovery for me, and regular readers will have read about several recordings of his music in these pages.  Lutenist Alex McCartney (another favourite) has brought us more of this lutenist-composer’s wonderful compositions on his latest disc, Weiss in Nostalgia.  In the notes, McCartney explains this title in a rather roundabout way, which might seem rather technical – he performs the works on a 13-course lute, basically an instrument with additional bass strings that would have appeared later than when Weiss composed the two early Suites he plays here.  So he has the idea of an older Weiss performing his early compositions on a larger, more ‘up-to-date’ instrument.  This might not be particularly discernible to anyone not versed in the myriad forms of instruments in the lute family, but there is nevertheless definitely a rather wistful, nostalgic atmosphere here.  This might be partly to do with the very resonant, close recording, which makes for strong sense of intimacy in McCartney’s playing.  But the opening Prelude of the Suite No. 1, for example, immediately establishes a serene, calm atmosphere, followed up in the elegiac Allemande that follows. Nothing is rushed, with a gentle lilt to the Courante, and Menuets played with grace and poise. Only the Gigue lifts the tempo with a bounce in its step, and McCartney expertly brings out the melodic bass and tenor lines from within the texture in the closing Gavotte. The shorter Suite No. 13 that follows has richer, thicker textures, yet McCartney’s playing is never too heavy.  The Courante is rich and flowing, and the final Menuet has drone-like repeated bass notes, presumably with added emphasis on the 13-course instrument.  Whilst clearly challenging music to play, this is never overly showy, and McCartney consistently plays with grace and delicacy, making this a joy to listen to.

Weiss, S. L. 2018. Weiss in Nostalgia. Alex McCartney. Compact Disc. Veterum Musica VM019.

We go back at least three centuries now for medieval wind music performed by the ensemble Blondel.  Here we have shawms (early oboes), recorders and even bagpipes, along with the occasional sackbut (like a trombone) or slide trumpet, and an assortment of percussion instruments including tambor, frame drum and tamburello.  So an eclectic mix, and on a disc of a lot of relatively short tracks, this means there’s an incredible variety of textures and timbres. The overarching inspiration for the disc, which is titled ‘Of Arms and a Woman’, is the work of Christine de Pizan (1364-c.1430), described in the notes as ‘a forthright feminist, writer, political theorist, royal agony aunt and author of self-help books’, and most surprisingly perhaps, the author of ‘The Book of Fayttes of Arms and of Chivalrye’, a highly influential manual on modern warfare, of which Henry VII commissioned an English translation.  Although performed here instrumentally, most if not all the pieces were originally chansons or vocal settings, drawing on a wide variety of texts.  There are the usual themes of love and loss, but also a medieval call to arms in ‘A cheval, tout home a cheval’, and the slightly unsettling ‘Gardez le trait de la fenestre’ (Beware the arrow from the window).  Only one text is by Pizan herself, a poem of grief over the loss of her husband, ‘Dueil angoisseus’ (Agonising grief), set by Gilles Binchois (c.1400-1460).  As detailed are the notes about the music, the connection to Pizan and the overall theme is not always entirely apparent.  There’s lots of anonymous music here, as well as settings by Guillaume Dufay (1397-1474), Robert Morton (c.1430-c.1479), Guillaume de Machaut (1300-1377) and others.  The contrast between the slightly more rustic, eastern-sounding bagpipes, the lively shawms and the more subdued and subtle recorders, as well as the occasional splashes of percussion, allow the five performers here to demonstrate impressive range and versatility.  From the folky bounce and rhythmic energy of ‘A cheval, tout home, a cheval’ played on shawms to the strange rhythms in canon for recorders of Johannes Ciconia’s (1370-1412) ‘Le ray au soleyl’, and the atmospheric dance for bagpipes with tamburello of Machaut’s ‘Je vivroie liement’, this is a fascinating collection, well worth exploration.

Various. 2019. Of arms and a woman - Late medieval wind music. Blondel. Compact Disc. First Hand Records FHR69.

And by way of contrast, I'd like to highlight a local artist, Oli Spleen, who has joined forces with local indie band Birdeatsbaby for his second studio album, Gaslight Illuminations.  Spleen's work might not be an obvious fit with this column, and he is hard to categorise, yet this album, with its deft writing for strings piano, and Spleen's soulful and expressive voice, should have broad appeal.  Written after the death of his father, it touches on deep and dark emotions, and Spleen's closely miked voice is rich and immediate.  There are touches of French chanson in the poignant 'Almost Young', whilst there's more than a dash of country, with steel guitar, in 'Little Lost', vocals shared between Spleen and Mishkin Fitzgerald. Spleen is Bowie-esque in the darkly self-destructive 'Mother and the Spoon', and the self-destruction, even self-harm of relationships continues in 'Ghost', which Spleen concludes with an otherworldly, pained falsetto.  Their cover of Nico & the Velvet Underground's 'I'll be your Mirror' is pared back, over simple piano and strings (with a snippet of a Brahms Hungarian Dance on music box at the end!).  Hana Maria deserves mention for the strings writing and playing, with some hauntingly glassy strings on 'Mister Crystal' and an improvisatory violin line in the weirdly dark and distorted 'Turning Tide'.  Listen and download from olispleen.bandcamp.com.

Spleen, O. et al. 2019. Gaslight Illuminations. Oli Spleen, Birdeatsbaby. Digital album.

(Edited versions of these reviews first appeared in GScene, March & April 2019)

CD Reviews - September 2018

Mezzo-soprano Sarah Connolly and pianist Joseph Middleton have recorded a wonderful selection of songs, covering 120 years of composers associated with the Royal College of Music, as teachers, students or both.  I heard them perform much of this repertoire in a lunchtime BBC Prom in August, and it was one of my concert highlights of the year so far (read my review here).  The title of the CD, ‘Come to Me in My Dreams’, comes from Frank Bridge’s (1879-1983) beautifully rhapsodic setting of Matthew Arnold’s text, with its bluesy piano opening, passionate swells and dramatic break on ‘truth’.  But the disc opens with a total gem, a touching miniature, ‘The Lost Nightingale’ by Muriel Herbert (1897-1984).  This is a stunning collection, by any standards, but what makes it exceptional is the strong sense of communication and commitment to the texts. From the tender sadness and dislocated syncopation of voice and piano in Ivor Gurney’s (1890-1937) ‘Thou didst delight my eyes’, to the tolling bells and beating heart of the repeated note in Arthur Somervell’s (1863-1937) ‘Into my heart an air that kills’, Connolly always delivers the texts with intensity and passion, without ever becoming mannered in delivery. Her soft, honeyed tone and delicate articulation of ‘drips, drips, drips’ in Stanford’s (1852-1924) ‘A soft day’ is particularly striking. In addition to Connolly’s phenomenal expressiveness and control, Middleton’s playing also deserves equal credit. His rippling watery accompaniment to Parry’s (1848-1918) ‘Weep you no more, sad fountains’ is a perfect example of the subtlety of his touch throughout. In addition to Benjamin Britten’s (1913-1976) set ‘A Charm of Lullabies’, we have ‘A Sweet Lullaby’ and ‘Somnus, the humble god’, two songs written for the set, but rejected by Britten, discovered by Connolly in the Britten-Pears Library, so world premiere recordings here. ‘A Sweet Lullaby’ combines a simple lilting rhythm with an undercurrent of unsettling harmonies, and the urgency of the darker undertone increases, such that the final wail leaves the ‘lullaby’ far from calm. ‘Somnus, the humble god’ is also dark, with its rumbling, rocking piano part and a final stanza likening sleep to death. Many songs here will be unfamiliar to many, but there are some real treasures here.  Cecil Armstrong Gibbs’ (1889-1960) ‘Sailing Homeward’ has a great dramatic arc in its two short minutes, and E. J. Moeran’s (1894-1940) ‘Twilight’ is full of achingly pastoral sadness and loss.  Rebecca Clarke’s (1886-1979) ‘The Cloths of Heaven’ is beautifully lyrical and Romantic, and Connolly’s smooth line is matched by soft textures from Middleton.  Michael Tippett’s (1905-1998) 'Songs for Ariel' are highly atmospheric, and Connolly relishes the drama and quirkiness of Tippett’s settings here. Mark-Anthony Turnage’s (b.1960) ‘Farewell’, written for Connolly, concludes the disc, with Turnage exploiting Connolly’s full range to convey the passion and directness of Stevie Smith’s text. Connolly sounds distraught, almost crazed, delivering the line ‘I loved you best’, contrasted with a beautifully relaxed, bell-like tone in the final ‘ding dongs’, against the high tinkling piano. A wonderful collection of English song, highly recommended.

Various. 2018. Come to Me in My Dreams. Dame Sarah Connolly, Joseph Middleton. Compact Disc. Chandos CHAN 10944.

I first came across lutenist Jadran Duncumb on his recording last year with violinist Johannes Pramsohler.  He now has his first solo recording out, focusing on Silvius Leopold Weiss (1687-1750), who also featured on that previous CD, and Johann Adolf Hasse (1699-1783).  Weiss was one of the most important composers of music for the lute, and was renowned for his technical ability on the instrument.  Hasse wrote a great deal of lute music for Weiss, who performed as a soloist with the Dresden orchestra, where Hasse was Kapellmeister.  Here, Duncumb performs two of Hasse’s Sonatas, although both of these have been transcribed from their original settings for harpsichord.  The Sonata in A major, dedicated to the daughter of Friedrich August II of Saxony, is a delightful two movement piece, and Duncumb has added back some of the detail in the sprightly Allegro that was removed in the original transcription. The Sonata in D minor by Weiss is an altogether more substantial work of Bach-like proportions, in six movements, and from its opening stately Allemande, through to the graceful Sarabande, and the fluid Allegro that ends the work, Duncumb makes this sound totally natural. In his notes, he argues that lutenist Weiss’ writing for the instrument comes alive in a way that Bach’s doesn’t quite, and in Duncumb’s hands this is certainly the case.  There is a lively energy and fluidity in his playing that never sounds difficult or awkward. He also includes a short but harmonically daring Prelude, and a joyous Passacaglia from Weiss to close the disc. Before that, another Sonata from Hasse, with some delightfully delicate Baroque sequences in its opening Allegro, and dancing Presto to finish. The recording is close and resonant, which does mean that one hears the occasional scraping of frets, but the ears soon get used to this, and the pay-off is a richness of tone that makes this a highly engaging debut solo recording from Duncumb. 

Various. 2018. Weiss & Hasse Lute Sonatas. Jadran Duncumb. Compact Disc. Audax Records. ADX 13713.

Barry Douglas (piano) combines Schubert’s (1797-1828) posthumous Piano Sonata D958 with the Six Moments Musicaux for the third volume of his collection of the composer’s works for solo piano.  He finishes off this volume with two of Liszt’s transcriptions of Schubert songs.  The Piano Sonata in C minor, D958 is the first of Schubert’s final three sonatas, written in the final months of his life.  It clearly has its roots in Beethoven, particularly in its dramatic, emphatic opening, but Schubert’s voice quickly emerges, especially in the beautifully poignant Adagio. Douglas delivers the required power and weight in the opening movement, and generally his approach emphasises the dramatic. However, his Adagio has delicacy and sensitive expression, if not going for quite the sense of transcendence here that say, Uchida, achieves.  His finale is powerfully agile, however, culminating in a thunderously emphatic conclusion. The Moments Musicaux are a set of character pieces, varying in style and from the brief, dancing third to the more substantial angst-ridden sixth. There are folk touches here and there, but ultimately, these are intimate ‘moments’, and Douglas gives them individual voices, from the delicate poise of No. 1 to the thundering insistence of No. 5. He ends this volume with two of Liszt’s transcriptions for piano of Schubert songs.  ‘Sei mir gegrüßt’ preserves the beautiful melodic line, but Liszt’s deft variation shifts the melody from the top to the middle of the texture, and resists the temptation to be overly virtuosic. ‘Auf dem Wasser zu singen’ does something similar, but Liszt adds beautifully pianistic textures, adding a new dimension to the song’s watery theme.  Another strong volume in Douglas’ ongoing Schubert cycle.

Schubert, F. 2018. Works for Solo Piano, Volume 3. Barry Douglas. Compact Disc. Chandos CHAN 10990.

(Edited versions of these reviews first appeared in GScene, September 2018)

CD Reviews - December 2017

For violinist Johannes Pramsohler’s latest disc he is joined by lutenist Jadran Duncumb for a fascinating pairing of music by J S Bach (1658-1750) and his contemporary Silvius Leopold Weiss (1687-1750).  Weiss was one of the most important composers of music for the lute, and was renowned for his technical ability on the instrument.  So to put a Suite for lute by Weiss alongside Bach’s Partita No. 2 for violin is an interesting enough proposition.  But the main inspiration here is the Suite in A major for violin and obbligato lute, BWV1025.  In a fascinating essay the two performers discuss this work’s unclear history – is it simply an arrangement by Bach of a lute suite by Weiss, or was it in fact a work of some kind of collaboration?  Weiss certainly visited the Bach household, and the two are reported to have competed in improvisation challenges.  Whatever the work’s origins, in the form played here by Pramsohler & Duncumb the two instruments and their idiomatic styles are beautifully combined.  The recording brings the lute forward, balancing the quieter instrument against the more prominent violin – I’d be interested to hear how they manage this in live performance, but here it works well.  The Suite balances grace and poise in the opening Fantasia and stately central Entrée against livelier dancing movements such as the Rondeau and Menuett.  Both players are impressive in the Courante, building from a delicate opening to some racing runs for the violin in particular.  Following this, both players get the chance to shine individually.  First, Duncumb performs a lute Suite by Weiss, opening with a strikingly dramatic Allemande, Duncumb bringing out the dark, mellow tones of the lower registers.  The Courante ripples wonderfully, and Duncumb brings out the flowing melodic line expertly in the dancing Bourrée.  To close the disc, it’s Pramsohler’s turn, with a highly impressive performance of Bach’s Partita No. 2.  The recording acoustic is open, and Pramsohler exploits this, allowing the harmonies and lines to sing out – no scratching or digging here.  So often the rhythmic line is disturbed by Bach’s fiendish multiple stoppings or string crossing leaps, but not here.  He takes the Giga at a phenomenal pace, yet no detail is lost, and the monumental Ciaconna that finishes the Partita has a steady, consistent momentum that adds to its sublime sense of timelessness.  This is an impressive recording by two exceptional performers – highly recommended.

Various. 2017. Bach & Weiss. Johannes Pramsohler, Jadran Duncumb. Compact Disc. Audax Records. ADX 13706.

Nordic Voices are a six-voice a cappella group from Norway who perform a broad repertoire from plainsong through to newly commissioned works.  Their previous recording for Chaconne back in 2009 including some music by Tomás Luis de Victoria (1548-1611), and now they return with a full disc of works by Victoria for six voices.  They produce a full, warm yet crystal clear and blended sound throughout, with particularly rich lower voices, evident in the opening motet, ‘Quem vidistis, pastores’, when there is often a split in Victoria’s writing between the higher and lower voices.  In ‘Salve Regina’, there are some beautiful exchanges between different voices, and the singers clearly enjoy the interchanges here.  ‘Vadam et circuibo civitatem’ that concludes the disc is particularly tender, and this reflects their overall approach.  Very occasionally I’d like to hear a little more definition to individual parts, yet there is a warmth and intensity to their sound that is highly engaging.  The resurrection motet, ‘Ardens est cor meum’ is given a bit more energetic drive, and there is some smooth and sonorous plainchant from the lower voices in ‘Vexilla Regis’.  Definitely an ensemble to look out for if they visit the UK.

Victoria, T. L. de. 2017. Nordic Voices sing Victoria: Works for Six Voices. Nordic Voices. Hybrid Super Audio Compact Disc. Chaconne. CHSA 0402. 

I reviewed the earlier volumes of Jean-Efflam Bavouzet’s recordings of Beethoven’s Piano Sonatas, (read my review of Volume 2 here) and now all three volumes have been combined in a 9 CD box set – perhaps a treat for Christmas?  It’s rare that a complete cycle satisfies individual tastes across the whole 32 sonatas, but I have to say there is little here that I’d want different.  The depth of his interpretations of the later works, particularly No. 29, the ‘Hammerklavier’ is especially striking, and where I felt his ‘Moonlight’ was not dark or wild enough, that’s certainly not the case here.  And No. 32, one of Beethoven’s final statements on the instrument has that perfect combination of wild passion in the opening movement, contrasted with the profound transcendence of the final Arietta.  Standout highlights from earlier volumes must be the freshness of his ‘Pathétique’ and a towering ‘Waldstein’.  Bavouzet is clearly at the height of his game, recording and performing to a remarkable schedule, and this cycle will surely stand as a benchmark for some time to come.

Beethoven, L. van. 2017. Beethoven: Complete Sonatas. Jean-Efflam Bavouzet. Compact Discs (9). Chandos CHAN 10960(9).

(Edited versions of these reviews first appeared in GScene, December 2017)

Brighton Festival 2012 - Lunchtime Concerts, Part 1

Finally catching up on some of the first week of concerts in Brighton Festival.  The week began with me unfortunately having to miss a lunchtime concert (Saturday 5 May) of Jessica Grimes (clarinet) and Fiachra Garvey (piano) due to a rehearsal clash (see BREMF Consort of Voices concert below).  My partner went along instead, and despite some of the repertoire not being his cup of tea, he really enjoyed the concert, and was particularly impressed by the young duo's ability to communicate their obvious enthusiasm for the music, and their comfortable stage presence.  As a non musician, he also found her background explanations of the pieces performed helpful and insightful.  Grimes also performed the challenging Fantasie for solo clarinet by Jörg Widmann (you can see him perform the piece himself on YouTube).  Grimes described Widmann as one of her musical heroes, and she and Garvey both attended the concert the following day at Glyndebourne in which Widmann performed the Brahms Clarinet Quintet with the Hagen Quartet (see my review here).  

Then on Monday 7 May, another lunchtime concert - this time, Jayson Gillham on piano.  Another young performer, he also has great stage presence, with a natural ability to engage with the audience, again choosing to speak about the music too.  He performed Beethoven's Waldstein Sonata (No. 21 in C major, Op. 53), followed by four of Debussy's Études (numbers 6, 7, 8 & 11).  He concluded his programme with Chopin's Ballade No. 4 in F minor.  Born in Australia, Gillham settled in the UK in 2007, and has a number of competition prizes to his name, as well as a well established concert performance career, and two CDs to his name.  His Waldstein was powerful and robust, the Debussy beautifully delicate, and the Chopin was appropriately bravura and full-blooded.  We were also treated to a short encore, which Jayson kindly informed me via Twitter was the Étude No. 10, Der Zauberlehrling (The Sorcerer's Apprentice) by György Ligeti.  An impressive performance all round.

Tuesday 8 May - more lunchtime music from guitarist Michael Partington.  Born in Wales, he now lives in Seattle, and judging by his soft accent, he's been there a while.  Initially I feared the rather dead acoustic in the Pavilion Theatre would not favour the instrument, and I struggled to hear some of his sensitively quiet playing to start with.  However, I think in the end, this actually worked for him, in that I felt drawn in to listen more carefully to the intimacy and delicacy of the music.  Once again, we were given useful introductions and background notes on the music.  He began with a pleasant set of Variations, Op. 102 by Mauro Giuliani.  These were followed by his own arrangement of two Sonatas (K208 & K209) by Domenico Scarlatti.  As he explained, these keyboard sonatas fit remarkably well on the guitar, and his arrangements are fitting and effective.  Partington is also a great advocate of new music for the guitar, having commissioned and premiered many works.  He next performed Six Preludes by the Oregon based composer Bryan Johanson.  A great contrast to the rest of the programme, these showed a wide range of influences, as well as using some extended techniques on the instrument.  One, we were told beforehand, was even based around a Supremes song.  I spotted that it was the fourth, but couldn't identify the song - I heard him tell another audience member after, but didn't catch the title - so if you're out there, Michael... (update from the man himself - it was 'Keep Me Hanging On').  The highlight of his programme was the beautiful Tombeau sur la mort de M. le Comte de Logy.  Le Comte de Logy (or Jan Antonín Losy) was the 'Prince of the Lute' in his day, and Sylvius Leopold Weiss wrote this moving piece upon his death in 1721.  Interestingly, it uses one of the same 'extended' techniques we heard in the Johanson (string bending) to evoke wailing and grieving, and the rising scale towards the end depicts Le Comte's soul rising to heaven.  Despite a couple of memory lapses (I think), this was a touching performance, and made me want to seek this piece out again.  The programme ended in perhaps more familiar territory, with Tres Piezas Españolas by Joaquín Rodrigo.  

© Eric Richmond

The final lunchtime concert in this first week was very special, and for this we moved over to the Corn Exchange - although the concert was surprisingly not sold out (a top name pianist, for just a tenner...).  He began with Debussy's Children's Corner.  Despite their deceptive simplicity, these miniatures are not straightforward, but are equally not great virtuosic showpieces either.  It was nice to hear such a great pianist performing these graceful and witty pieces with such subtlety of expression, and they provided the perfect opener, before the more challenging Processional by George Crumb (b. 1929).  One of Crumb's few piano pieces that doesn't involve extended effects or preparations, this piece nevertheless does use on particular effect rather well - chords are placed silently following heavily attacked chords above or below, creating a curious resonance.  In the larger, slightly barn-like acoustic of the Corn Exchange, this proved rather effective, although it may not have carried completely to the back of the hall.  The lion's share of the programme was then taken up with Ravel's Miroirs, a mammoth work of five impressionistic and highly evocative pieces, containing huge challenges for the pianist.  The arpeggios of the third piece, Une barque sur l'océan, was particularly beautifully performed here, the music rippling and flowing almost endlessly.  The concluding bells of La vallée des cloches perfectly concluded a captivating and uplifting oasis in the middle of a miserably rainy day!