Alison Burnett and Nicky Perry at Glenorchy 16 February

In fine voice: pianist Nicky Perry accompanies soprano Alison Burnett

There was some disappointment at  Glenorchy last week as the advertised performers were unable to come to Exmouth to provide the music.  Singing teacher Alison Burnett had been hoping to bring her singing students from St Margaret's School in Exeter to give a public performance.  Unfortunately their academic work took precedence.  Quite equal to the challenge, Alison prepared a selection of songs to sing herself, and local pianist Nicky Perry very kindly joined her at the piano.
Alison started with Purcell's 'Shakespearian' piece 'If Music be the Food of Love'.  Mark Padmore had sung this at Dartington the previous week with the Britten Sinfonia.  It was interesting to compare Mark's tenor voice and Alison's soprano.  Mark's voice had been deep and passionate.  Alison was just as passionate and her singing voice was full and strong with very clear diction.  The voice part had much more tune than the piano and used Alison's full range of pitch of volume.  Alison explained afterwards that there are three versions of Purcell's song and she had been treating us to the most elaborate version - I think we noticed.
That first number established quite clearly what the theme of the lunchtime concert would be - 'English Love Songs'.  Alison had eleven more beautiful love songs for us, two by a composer she particularly admires, Madeleine Dring.
Alison started with three songs very different from each other.  First was an aria from Thomas Arne's late baroque 1749 opera 'The Judgement of Paris': 'O Ravishing Delight' based on the Greek myth about the disaster which follows the decision of the future King Paris of Troy about which goddess, Hera, Athena or Aphrodite was the most beautiful.  Alison's singing was certainly beautiful.  The volume was held back as she varied the tempo of her singing in response to complex figures on the piano.
Both of the first two songs have previously been performed by young soprano Bethany Partridge at Broadclyst Church on 6 November last year for a morning concert, and recorded by her technically minded father Michael.  We can hear Bethany singing those songs again on the 'Classical Journey' before too long.
Next was something much more modern.  'If', based on the diary of Anne Frank,with words by Roger Pulvers, was set to music by a living composer, Michael Nyman (67 next month) for Selya Araki's 1995 animated film 'The Diary of Anne Frank'.  To a backing of gentle piano Alison expressed all the loneliness and longing of a girl forced to live in hiding from totalitarian forces.
Deviating slightly from the 'English' theme the next song was a Broadway number set in Hungary, and expressing a slightly different sentiment.  'Will He Like Me?' from the 1963 musical 'She Loves me' has words by Sheldon Harnick (now 87) set to music by Jerry Bock (died November last year, age 79).  Amalia Balash works in a perfume shop in Budapest and has a pen-pal who turns out to be her colleague Georg Nowack.  Alison, as Amalia, waits to meet her 'mystery' pen-pal.  With very careful control of pitch she opened with words almost like normal speech, and full of uncertianty and diffidence.  The last line expressed her terrible loneliness and Alison's expression was totally convincing.
Next, to France, and a song by Parisian jazz pianist Michel Nyman (now 79) who is perhaps most famous for his setting of 'Windmills of Your Mind' by Alan and Marilyn Bergman (now 85 and 81) which opened the 1968 film 'The Thomas Crown Affair'.  Alison sang Michel's setting of a lyric by the same authors, 'Magic', which is about love that insidiously lost its magic.  Michel played piano for a recorded performance of 'Magic' with Kiri Te Kanawa in 1992.  Each phrase is sung to a descending series of notes which beautifully contrasted Alison's high and low range, the lower notes rich and romantic - but of course very sad.
The next song was unaccompanied, definitely English, and fitted the 'love' theme - simply because Alison loves it!  The composer, Eastbourne pianist Michael Head belonged to a slightly earlier generation, born in 1900 and living until 1976. 'The Singer' is his 1938 setting of Bronnie Taylor's poem 'I Met a Singer on the Hill'.  Alison started straight into this song after 'Magic' without a break, despite the change of key.  Her voice was high and soft - haunting and lingering. The sentiment was very touching as she recalls offering the singer gold to stay with her, but he walks off to the sound of laughter.  The tune was very complicated, but just right, and a lot for Alison to remember with no help from Nicky at the piano.  The ending was very complex and very lovely.
The first Madeleine Dring song was 'It was a Lover and his Lass'.  Madeleine Dring was also definitely English, being from North London.  She was 23 years younger than Michael Head, but sadly died only a year after him.  This theme from Shakespeare's 'As You Like It' has been set to music by many composers including Frederick Delius (1919), Gerald Finzi (1940) and even Ernest Moeran (the same year).  Madeleine Dring's version was very comical with the complicated internal rhymes worked perfectly by Alison.  Nicky's piano playing was very sensitive to the subtle play on words in the lyric, only giving way to a solid crescendo at the end, to finish with a bang.
Roger Quilter belonged to an even earlier generation.  An Eton student born in Hove in 1877, he published copious song collections until the stress of life as a covert homosexual, compounded by the loss of his nephew in the Second World War led to mental health problems which affected him until his death a few years later at the age of 75.  Alison chose one of Quilter's most popular settings, his 1905 'Love's Philosophy' with words by Percy Shelley, written a century earlier.  The theme of being unable to appreciate the wonders of nature, if denied a kiss from a loved one, is very sad but the piano accompaniment is complex and thrilling.  Nicky performed it masterfully and ended exultantly.  Meanwhile Alison's part took her to the top of her range, filling the Church with impassioned sound.
Coming back to Madeleine Dring's generation Alison sang Benjamin Britten's setting of his contemporary, W. H. Auden's, 'Tell Me the Truth about Love' which was the first of Britten's 1939 collection of four settings of Auden poems called 'Cabaret Songs', composed for Hedli Anderson.  Incidentally, the second, 'Funeral Blues' ('Stop all the Clocks') has since been made famous by the film 'Four Weddings and a Funeral' which came out in 1994, 14 years after the song cycle was finally published.  Britten and Auden also suffered as a result of their homosexuality and this is reflected in the strange and disturbing words of 'Tell Me the Truth about Love'.  Auden runs though a long list of unlikely similes, asking  if any corresponds to what love is like, and suggesting that the experience is totally alien and unknown.  Alison and Nicky added to the confusion of the words with Britten's oddly synchopated piano rhythm and Alison's coquettish delivery, complete with confused facial expression.
Alison then moved forward a generation again.  Birmingham-born filmscore writer Stanley Myers died in 1993 at the age of 63.  He is most famous for the piano tune without words 'Cavatina' which appeared in a guitar arrangement in the film 'The Deer Hunter' in 1978 played by John Williams, who had previously performed the same music for an earlier film in 1970.  Williams also collaborated with jazz singer Cleo Laine in 1973 in a version with her own words - 'He Was Beautiful'.  Nicky played the accompaniment as originally intended, on the piano.  The tune was simple and gorgeous, as Myers would have wished.  As the slow languid tune progressed it became softer and softer towards a feather light finish.  A very special moment.
For the last two songs Alison came forward off the stage and stood by the piano.  First she sang the 1953 hit originally written for Ella Fitzgerald by American songwriter Arthur Hamilton, but not heard publicly until 1955 when it was recorded by Hamilton's old school-chum (and by that time actress and singer) Julie London.  London repeated the performance to telling effect for the film 'The Girl Can't Help It' a year later.  The song, 'Cry Me a River', is still well known in this country today, having been re-recorded by Joe Cocker in 1970 and again by Mari Wilson in 1973.  Winter sports fans will remember it from the BBC coverage of last year's Vancouver Olympics.  Hamilton's mastery of counterpoint is reflected in the beautiful piano scoring which tells its own story.  Alison gave us the full force of the anger towards the hypocritical lover, as intended by Hamilton.  The accusations almost seemed personal!  (See main picture above.)

A bouquet for the pianist
(and a very floral soprano -
clock those floral stilettos
brought from Malaysia!)

The final song had to be by Alison's favourite songwriter, Madeleine Dring.  'Song of a Nightclub Proprietress'  is the second of Dring's 1976 'Five Betjeman Songs'.  The words are, needless to say, by Sir John Betjeman.  The first song in that series, 'A Bay in Anglesey' is quite restrained, describing a view across the Menai Straits at tea-time.  Number Two is quite different.  The proprietress comes down in the morning to find a scene of devastation in her already run-down club.  Nicky's piano-playing punctuated a litany of complaints from Alison, who looked utterly appalled by the sight (we imagined) she saw.  Some, including myself might have been thrown by the first complaint - "There was Kümmel on the handle of the door."  The sugary herb liqueur must have gone out of fashion not long after the poem and song were written.  All the other gripes were much more intelligible and the timing between Alison and Nicky was very tight right up to the little piano solo to finish.
Despite arranging her programme at quite short notice, Alison had an encore all ready.  (The demand was there all right!)  We slipped back in time to 1933 for a song from George and Ira Gershwin's musical 'Pardon my English'.   Alison warned us that this tale of the siren mermaid named after the treacherous Loreleifelsen, a huge rocky outcrop on the bank of the Rhine in Germany, would not be along the lines of the respectable version by Franz Liszt from the mid-nineteenth century.  This was a decidedly more saucy version.  Mitzi Maybe gave a particularly ebullient performance of it at Pullabrook on twelfth night (see post 10 January).  Alison delivered the goods with equal comic brilliance to end an overwhelming cornucopia of excellence which was another in the superb Glenorchy lunchtime concert series.  'The Lorelei'!




The next concert will be on Wednesday 2 March when the performers will be local pianist and composer Josephine Pickering accompanied by oboist Julia Hill.


Josephine Pickering (Piano), Julia Hill (Oboe)
Glenorchy United Reformed Church Exmouth Wednesday 2 March 12.30pm
Admission free

Northcott Theatre - 'Vienna Mozart Trio'

A happy musical family:
Diethard ('cello), Irena (piano), Daniel (violin)

On the night of Saturday 12 February, the Exeter University Theatre Company removed their scenery and props from the all black stage at the Northcott Theatre.  The next day they were replaced by one grand piano.  On Sunday evening that piano was being played by international piano virtuoso Irena Auner.  Irena is originally from Russia but now has her home (when she is at home) with her husband Diethard in Austria - Vienna of course.
Diethard was on stage too, at the foot of the piano, accompanying his wife with equal skill on his 'cello.  In pride of place, by his mother's side, was their son Daniel playing his violin.
Irena and Diethard have been performing around the world for seventeen years now.  More recently, however, Daniel has joined them to form the 'Vienna Mozart Trio' - in between his other professional engagements.  Daniel, who is now 23, has won a string of international prizes for his playing.  Three years ago he won the Johannes Brahms International Prize, followed by the 'Violin in Dresden'.  At the end of last year he won the KlassikPreis, Österreich Gradus as Parnassum - in Vienna, where else?  He then went on to play the solo in the Alban Berg Violin Concerto with the Tonküstler Orchester at the Vienna Concert House.
The Trio are regular visitors to the UK, and after Sunday's performance they were booked to play in Yeovil followed by the Austrian Cultural Forum in London on Tuesday for a twentieth anniversary celebration.
The Trio's opening piece was by Mozart, of course: Piano Trio in G.  Irena showed us straight away the quality of piano playing we could expect.  By the time the violin and 'cello joined in the audience were entranced.
All three quickly got the measure of the Northcott's acoustics and created a perfectly balanced sound, lyrical piano lovingly enfolded by the polished sound of the violin and 'cello.  The second movement, 'the walk' allowed us to follow each instrument more closely and every note was perfect and delivered with a wonderful depth of feeling.  Having established their credentials the Trio could relax and have fun.  Mozart's Piano Trio ends with a delightful and playful set of variations.  As each elaboration drew to a close Diethard would initiate another with perfect timing.
The programme moved forward in time to Beethoven's Piano Trio in D - 'The Ghost'.  This was much more vigorous than the Mozart.  Irena opened with a concerted attack on the piano and kept up the pace from then on, occasionally slowing to a gentler pace only to crash onwards again.  The combination of instruments was just right to keep each distinct while producing a further dimension of sound when combined. By way of division of labour Diethard and Daniel opened the second movement - slow and expressive - with the utmost delicacy.  Despite a few moments of excitement, Irena was very careful not to dominate the very tender violin and 'cello parts.  Her left hand sustained a very regular tremolo against the other instruments, and even against the playing of her other hand.  When the big piano notes came, Irena's head would fly back with hair flying, just like the master himself - Ludwig Van Beethoven.  For the final gentle heartbeat of a closing phrase Irena kept her eye keenly on the other two ensuring an absolutely perfect finish.  The Presto was a perfect interaction between son and father on violin and 'cello, but now with some really wild and complex piano playing, a very entertaining combination.  Tantalisingly short as it is, the pizzicato flurry on the violin and 'cello just before the final decisive notes was a delight.
The time-honoured custom of pre-ordering drinks for the interval continues at the Northcott.  Not having to take part in a scrum at the bar allows the audience members to take a seat and reflect on what they have heard.  The music of the first half had been very skilfully played and beautifully expressed, but was there anything to lift it above the other masterful performances one might see?  Irena's presence shone through and father and son displayed maturity and youthful vigour in equal measure.  They were surely going to do something really special in the second half.
And it was very special.  While the first half had comprised two three movement trios, the second was a continuous performance of the six consecutive movements of Dvořák's Piano Trio in E minor.  Each movement is what Ukranian Slavs would describe as a Dumka - a meandering and thoughtful ballad.  The mood repeatedly ventures into the realms of sadness and melancholy only to be dragged back to joy and humour.  All three stayed on the roller-coaster ride brilliantly, with Daniel really milking every last ounce of pathos out of the more reflective passages.  After the furious finish to the first Dumka the opening of the second was deceptively slow and pondorous.  The audience were expecting some big change to happen but the trio kept us hanging on very skillfully.  Each false move towards a crescendo was built with total sincerity.  The build up, when in finally did come, was relentless and exhilarating, breaking unexpectedly for a beautiful solo form Diethard, followed by an apparent restart from the very beginning, so slow and gentle it was almost unbearable.  A few twiddles by Irena intimated the onset of more excitement, shorter this time but ending in a violent finish for all three players.  Then - we guessed! - everything was gentle and tender again.  Each instrument played a very simple slow melody, very demanding with no embellishment to help keep the momentum.  This movement was masterfully restrained ending with two precise plucks of the violin string by Daniel.  Daniel's 'tick-tock' at the beginning of Dumka number four was steady as a metronome leading to a plucky little dance, parts of which was literally plucked by Daniel and Diethard - giving way inexorably to the slow and solemn again with an almost imperceptible finish.  Dumka number five involved Daniel and Diethard taking turns to play accompanied by Irena on the piano.  Daniel's high solo section was sweet as a nut, as was Diethard's which followed.  A ticklish little dance on violin and 'cello led to the final thump-thump of chords from the piano.  The final Dumka seemed to pack the previous five into a few short minutes, swinging from one extreme to the other.  To hold this together after all that had gone before demonstrated incredible stamina and skill.  Diethard's low bass drone on open strings was controlled to perfection, deep and sonorous, at some points like the eerie rustling of the wind.  And how was it all going to finish?  Fast and furious or slow and serene?  Right to the last moment either seemed possible but ultimately, what appeared to be a slow sedate close, gave way to one last flamboyant flourish - crowned by delighted applause.  Some who had heard the Dumky many times before and knew exactly what to expect had still been surprised and amazed.  One exclaimed happily that it was the best performance she had ever heard.

Encore!

After a brief conference the family Auner returned to the stage for a very welcome encore.  There was no introduction, but the tune was soon clear.  The Allegretto from Mozart's Piano Sonata in A - the Turkish March or 'Rondo Alla Turca'!  After the rigid discipline and emotional extremes of the Dumky, the Rondo was fast and furious and wild, but at the same time controlled and perfectly balanced.  A lovely end to any concert.
After a brief return to the south west for a concert in Truro, the Trio are now in West Yorkshire preparing to entertain the music lovers of Huddersfield (whose need, let's face it, is greater even than ours!).  Instead of Dvorak's Dumky, the Huddersfield Music Society and their guests will enjoy Ravel's Piano Trio in A minor.  Never a dull moment with the Vienna Mozart Trio!
Let's hope the Auner family decide to pay us a return visit before too long.  In the meantime the Northcott Theatre Classical Concert Series continues with a visit by the Piatti String Quartet on Sunday 13 March.

Piatti String Quartet
Northcott Theatre Sunday 13 March 7.30pm
Haydn: Quartet Op.76 "Emperor"
Schubert: Quartettsatz
Smetana: Quartet in E minor "Z mého života" ("From my life")
Tickets £13 Box: 493493 www.exeternorthcott.co.uk


The Piatti String Quartet:
Jessie Ann Richardson, 'cello; Charlotte Scott, 1st violin;
Michael Trainor, 2nd violin; David Wigram, viola.

Northcott Theatre - 'Kes'

"Gi' o'er Jud!"

As mentioned in last week's programme listing, the Exeter University Theatre Company put on a production of Lawrence Till's Play "Kes" at the Northcott Theatre from Tuesday to Saturday 8-12 February.
The Northcott has changed slightly, with a more spacious bar area upstairs - still a great place to congregate before a play or concert.  Outside there are major upheavals.  The Great Hall is being refurbished while extensive construction work is taking place in what used to be the car parks.  Motorists are advised to be aware that the only option for parking is to drive past the theatre and out to car parks A and B, then walk back.  The walk is about five minutes so it is essential to arrive early.  There are five parking spaces for wheelchair users outside the upper entrance to the bar and stalls.
'Kes' was well worth the walk.  Third year drama student Charlie O'Reardon, with the assistance of students Simone Hoggart and Rachael Burton, put together a very coherent portrayal of Barry Hines' original concept.  The staging was stark, a black backdrop with various props to create the many scenes.  The actors, with a few extras, shifted the scenery themselves while acting out little improvisations of their own - often very witty.  The most difficult switch was Billy's flashback as he described finding his kestrel to the class at school.  The pupils rearranged their chairs to suggest an outdoor scene and Will Hughes, as Billy, provided the narrative and acting to complete the illusion.  Other scenes were worked in similar ways.  Only the pub scene seemed a little over-ambitious.  It was not possible to keep track of all the cameo scenes going on, but each taken individually was very convincing.
Everyone is Billy's life seemed antagonistic and self-obsessed - with the exception of the English teacher Mr Farthing who was very sensitively played by James Bailey.  Most oppressive was Billy's older half-brother Judas played with frightening credibility by Joe McDonnell (main picture).  Although actors Will and Joe are actually of similar build they managed to appear as a frail and sensitive, but surprisingly plucky, fourteen year old schoolboy trapped in an intimate family environment with his much bigger and stronger older half brother, a frustrated and unhappy mineworker who bullies his younger brother quite mercilessly.  Jess Price as their mother, despite the same problem of being roughly the same age as her 'sons', managed to give a very good impression of a world-weary, and often unsympathetic, middle aged would-be arbitrator.
Zac Price was true to Bob Bowes version of the headmaster, Mr Gryce, in Ken Loach's 1969 film version of the play, relying on a lot of shouting to cover his feelings of impotence, and irritation, with recalcitrant schoolboys.  In an odd twist it was one of the girls he ended up caning for no reason.  This was a little surprising because, even at the time Barry Hines' original novel was set, men caning girls was not considered acceptable.
Luke Theobald, on the other hand, was not at all like Brian Glover's games master Mr Sugden.  In 'Stanley Matthews' shorts, Luke presented a much more overtly laughable character, but nonetheless just as wantonly vindictive as the original.  Sugden's ludicrous antics, playing football against schoolboys to win, were filmed at St James Park (Exeter!) but, sadly, could give only the impression of a real school football match.  There simply were not enough 'players' to make up two teams.  The film still provided an amusing interlude, however.
Over all the production was well constructed and directed.  The students held the story together well and impressed the audience with their confident acting ability.  Another production by 'EUTCo' will be well worth looking out for - when the EUTCo members' formal studies allow time.
This week the 'Uncommon Players' perform Andrew Bovell's 'Speaking in Tongues' at the Northcott.  There are two performances tonight and tomorrow (21&22 Feb).  Full details at www.exeternorthcott.com.
Miracle Theatre Company will performing 'Beauty and the Beast from Mars' at the Northcott from Thursday to Saturday (24-26 Feb) with an additional matinée performance at 2.30pm on Saturday.  Full details at www.exeternorthcott.com.
Punt and Dennis are at the Northcott next Wednesday, but needless to say that show is already sold out.
News about 'Hamlet', Gilbert and Sullivan's 'The Gondoliers' and a classical concert by the Piatti Quartet - all at the Northcott in March - will feature in the next 'Classical Journey' programme - on Tuesday 1st March.

Update on Tasmin Little's Benefit Concert at Blundell's

Violinist Tasmin Little

Tasmin Little's benefit concert at Blundell's School in Tiverton, in aid of the Army Benevolent Fund, is now fully booked - for concert with supper, that is.

However there are still a limited number of tickets for the concert only.
Price per head is only £25.  Book on 01363 877604.

See the wonderful Tasmin Little and hear her virtuoso playing with the Exeter Symphony Orchestra before she heads for New Zealand.

And a Final Reminder from Dartington

Devon Baroque are performing 'Europe in Transition' on three consecutive days this weekend:

(Details at www.devonbaroque.co.uk )

Friday 18th February in St. James Church, Exeter at 7.30 p.m.

Saturday 19th February in Oldway Mansion, Paignton at 7.30 p.m.

Sunday 20th February in The Great Hall, Dartington at 3 p.m.

Sunday 20 February

3.00pm Great Hall

Devon Baroque 

Tickets £18 / Concessions £17 /

Students & U16s £5

The South West's leading orchestra playing Baroque music in appropriate style on period instruments, directed by Margaret Faultless.

The middle of the 18th Century, far from being a quiet time for music (the Baroque politely going to sleep and the Classical yet to be born), was the age of the experimental, the fantastic and the exploratory. Across Europe, composers were experimenting with adventurous form and textures.

Boccherini Cello concerto in B flat (soloist: Sebastian Comberti)

Haydn Violin concerto in C major (soloist: Margaret Faultless)

Mozart Divertimenti in D major & Bb major

Boyce Symphony in F major

Please check tickets availability for Sunday’s performance from the box office on 01803 847070 open 12.30 – 7pm every day. We can not guarantee that tickets will still be available if not pre-booked.

A Timely Reminder from Powderham

Organist George Pratt has kindly reminded me about yet another wonderful concert coming up:

Divertimenti Ensemble.

Powderham Castle Friday 25 February 7.30pm

Soprano Josie Walledge.

Counter-Tenor Laurence Blyth

Vivaldi: Gloria

Pergolesi: Salve Regina (Walledge)

                Stabat Mater (Walledge, Blyth)

Vivaldi: Sinfonia al Santo Sepolcro (Divertimenti)

Tickets: £14  Box: 01626 890243 (Mon-Fri 9-5)

The 1769 Organ in the Music Room

1769 Organ Recital in the Music Room

Date: Friday 25 February 2011

The forthcoming concert, presented by the Trustees of the 1769 Powderham Castle Organ Restoration Fund will be a modern-day 'World First'. A performance of Vivaldi's Gloria as he must have intended it. It will be explained fully in the programme notes but, to whet your appetite, the conundrum is that Vivaldi wrote it solely for the girls of the Orphanage in which he worked, yet scored it for four-part mixed choir.  So where did the tenors and basses come from?  All will be revealed on February 25^th!

The Gloria is arguably the second most popular work of its era, after Handel's Messiah.  A little less familiar, but exquisitely beautiful and moving, are two vocal pieces by Pergolesi. In a life tragically cut short at the age of 26, he was becoming one of the most expressive and compelling opera composers in Naples.  When he transferred this dramatic sensitivity to sacred music, the results were truly moving. 

Josie Walledge will sing his Salve Regina, and she'll be joined by countertenor Laurence Blyth in his Stabat Mater.  They'll be accompanied by the Divertimento Ensemble, who will also play a curious two-movement orchestral piece by Vivaldi, his Sinfonia al Santo Sepolcro.

During the interval there will be time to wander round the Castle rooms and enjoy a glass of wine in front of the fire in the State Dining Room.These concerts are regularly sold out so please book your tickets in advance. 

Tickets are £14 and can be purchased from the Estate Office 01626 890243 Monday to Friday during office hours.     Concert starts at 7.30pm

Gothic Harp Painted by Heironymus Bosch

As mentioned on the 'Classical Journey' on Tuesday, Shaun Newman was able to work out the design of the Gothic harp by studying a painting by Heironymus Bosch.  Here it is with Shaun's harp for comparison.  See what you think.

Hieronymus Bosch, Garden of Earthly Delights,
c. 1500, Triptych, Oil on panel,
central panel: 220 x 195 cm, wings: 220 x 97 cm,
Museo del Prado, Madrid.

The Harp Revived

Detail of the Gothic Harp/Lute/Hurdy-Gurdy

Classical Journey Tuesday 15 February

It's that time again!  Every Tuesday the Classical Journey 'goes live' on Exeter's one and only community radio station Phonic FM.

Despite the wealth of reports and reviews on this site since last Tuesday, there are still four great local events which should get a mention this week - and a full post to themselves in due course!

Cast of the Exeter University Theatre Company
production 'Kes'

From Tuesday to Saturday the Exeter University Theatre Company have been at the Northcott Theatre every night to perform Laurence Till's Play 'Kes'.  Based on Barry Hines' novel 'Kestrel for a Knave' the play is  about Billy Casper, a young Yorkshire boy in the sixties with little to enjoy or look forward to, except the thrill of training his 'pet' kestrel.  The training at the University must be very good, because these drama students put on a very professional production.  It was interesting to see a group, all of whom were born in the nineties, working to recreate the experiences of the sixties.  I never quite felt myself transported back to that time.  Several anachronistic props jarred whenever they appeared, and the isolation and vulnerability of a child in a time before the internet or even mobile phones is hard for today's student to reproduce convincingly on stage.  However, the students did a magnificent job of creating the characters.  Will Hughes as Billy, and Joe McDonnell as his older half-brother Judas, were perfectly matched and the contrast in characters between the sensitive Billy and his swaggering, bullying, but insecure older brother was convincing and shocking.  For comic relief Luke Theobald, as the self-obsessed P.E. teacher Mr Sugden, avoided any influence from Brian Glover's portrayal in Ken Loach's film version of the play and created a quite different character who nevertheless still combined the discordant characteristics of clown and tormentor.  Luke's cameo scenes as other characters were worth looking out for.  'Man eating a sandwich in the betting shop' particularly stood out as a masterpiece of minimalist comedy.  A special mention may be needed for Mia Hatfield and Sophie Jukes.  In a cast who were all, admittedly, a little too old for anyone to imagine that they were still at school, Mia and Sophie played the only two schoolgirls so convincingly they appeared to be too young!  Well done James Bailey for your version of Mr Farthing, the more caring teacher.  Naturally he is the most popular supporting character and you really did him justice.

the Northcott is hosting three more theatre productions between now and the end of February:
Watershed Productions' 'Charlie & Lola's Best Bestest Play'
The Uncommon Players' 'Speaking in Tongues'
Miracle Theatre Company's 'Beauty and The Beast from Mars'
Full details on the Northcott Theatre website: www.exeternorthcott.co.uk

Pianist Susan Steele and
North Devon Sinfonia

On Thursday Susan Steele played Beethoven's Fourth Piano Concert with the North Devon Sinfonia at the Queen's Theatre in Barnstaple.  Many Exeter listeners will remember Susan playing 'Sonatas, Spirited and Serene' with Hilary Boxer in the Music Room last year (see post for Monday 6 December on this site).  Susan has since been giving a lot of time to preparing for this concert and, once again, gave a very spirited performance.  A very striking figure, Susan is always popular with audiences and she definitely gave everyone their money's worth on Thursday night.

Heavenly voices - Counterpoint choir

On Saturday night a vast audience converged on Buckfast Abbey in Buckfastleigh, many from considerably further afield than Exeter.  The attraction?  The long awaited return of David Acres' baroque choral group 'Counterpoint'.  The name hints not only at counterpoint, the feature of baroque music involving overlaying very different melodies, but also the beautiful and emotion laden counter-tenor voice so perfectly suited to the acoustics of ecclesiastic architecture.  As well as a wealth or a capella vocal music by Thomas Tallis and William Byrd from the choir, David Davies. Director of the St Peter's Singers here at Exeter Cathedral, gave several solo performances on the Buckfast Abbey organ.  A great setting and great music - magical!
Listen out for the music of Tallis and Byrd on Tuesday's programme.

'Counterpoint' will be in Exeter Cathedral on Saturday 9 April to perform the incomparable 'St John Passion' by J S Bach - in the original German!  The opening chorus 'Herr, unser Herrscher' will be worth the price of admission on its own.
Details at www.counterpoint.org.uk, booking: www.exeterphoenix.org.uk/ticket-agency

Less is more: The Vienna Mozart Trio

On Sunday night the Northcott Theatre production team showed the other side of their prodigious output.  As the third in their 'Classical Concert Series' they invited the very charming and wonderful 'Vienna Mozart Trio' to perform for an Exeter audience.  The stage was bare, recently vacated by the Exeter University Theatre Group.  Husband and wife Diethard and Irina Auner, formerly a well established 'cello and piano duo in their own right, were joined by their illustrious, award winning son, violinist Daniel Auner.  A perfect example of family harmony, they presented three hours of glorious music with obvious love and passion.  In addition to a Mozart Piano Trio they also performed Beethoven's 'Ghost' Trio and Dvořák's longer Trio 'Dumky' (meaning 'pensées' if that helps - ponderings).  The music was anything but ponderous though.  The Mozart and Beethoven were full of Classical style and brilliance, while the Dvořák overflowed with romantic invention.  With their unassuming stage presence and performance style one can become a little complacent about the incredible skill and coherence of this trio.  One audience member who had heard the Dvořák 'many times' stated unequivocally that this was the best performance she had ever heard.  Praise indeed!

The fourth in the 'Classical Concert Series' will be a performance by the 'Piatti Quartet' on Sunday 13 March.  Details at www.exeternorthcott.co.uk, booking information here.

Fuller articles on all these wonderful concerts will be posted as they become available.  A range of further exciting concerts taking place in Exeter and the surrounding area over the next two weeks are listed at the end of this post.

Only a short journey this Tuesday:

1549  England    TALLIS Thomas          Lamentations of Jeremiah    Pro Cantione Antiqua
1681  Bavaria    CORELLI Arcangelo   Trio Sonata in C                  The English Concert
1711  Venice     VIVALDI Antonio       L'estro Armonico                 The English Concert
1786  Vienna     MOZART W A           Trio in G                             Pires/Dumay/Wang
1817  Milan       PAGANINI Nicolò      Caprice Opus 1 No 24       Daniel Auner
1827  Vienna     SCHUBERT Franz      Trio in E flat                        Vienna Mozart-Trio

Daniel Auner and his parents Irena and Diethard make up the 'Vienna Mozart-Trio' which you can read about above.  Daniel is already an extremely distinguished violinist at the age of 23.  In November last year he won another international prize to add to the collection, the Gradus ad Parnassum in Vienna.  The recording of the Schubert Trio in E flat was made less than a month ago and is exclusive to Phonic FM.  Enjoy!

Master Luthier Shaun Newman

At about 11am we shall be visited in the studio by a local master-craftsman.  Crediton Luthier Shaun Newman will be talking about an amazing project to recreate the ancient Gothic harp.  He will have the finished article in the studio and we can hear how it sounds.  Shaun doesn't play the harp, however.  He is a guitarist and while he is talking we will have time to hear a selection of his recordings - played on guitars he has made himself.

José Ferrer:                    Tango No 3
Gary Ryan:                     Night Sky
Jaime Bosch:                  Cantilena
David Cottam:                Cinquefoil
Joseph Kosma:               Autumn Leaves
Gary Ryan:                      Russian Bear
Trad. Spanish:                A la Nanita Nana
Johann Kaspar Mertz:       Moderato
David Cottam:                 Santillana
Heinrich Marshner:           Bagatelle
Matteo Carcassi:               Pastorale
David Cottam:                  Comillas
José Ferrer:                       Leccion 49


As usual at the end of each month, the 'Classical Journey' gives way 'The Mighty Book' for a wonderful exploration of the treasure trove of latest book releases.  I recall from last month's show that Tina is away in New Zealand, but Gill and Abi are sure to keep up the wonderful standard of 'The Mighty Book' while she is away.  Meanwhile, as there will be no 'Classical Journey' next week, here are a selection of the wonderful events going on in and around Exeter over the next 2 weeks:


Soprano Alison Burnett
Glenorchy United Reformed Church Exmouth Wednesday 16 February 12.30pm
Lunchtime Recital
Admission Free


Richard Alston Dance Company
Northcott Theatre Wed/Thur 16/17 Feb 7.30pm
Details: www.exeternorthcott.com; Booking: exetertickets.purchase-tickets-online.co.uk

Bournemouth Symphony Orchestra
Exeter Cathedral Thursday 17 February 7.30pm
'Arabian Nights'
Mozart: The Magic Flute
Strauss: Don Quixote
Rimsky-Korsakov: Scheherazade
Tickets from £9.50 (unreserved, side aisles)
Box: 665700  www.bsolive.com

Topsham Film Society

Matthews Hall Topsham Friday 18 February 3pm / 7.30pm

House of the Flying Daggers

Tickets: matinée £3.50, evening £4.50

Exeter Recorded Concert Society

Exeter Central Library Music Room Saturday 19 February 1.30pm

In London Town presented by Paul Morgan

Admission free

Leader of Devon Baroque
Violinist Margaret Faultless

'Cellist Sebastian Comberti
(Read about Sebastian here.)

A really big Event this week is the return visit of 'Devon Baroque' to perform 'Europe in Transition'.  Three chances to see this wonderful concert, and citizens of Exeter need only travel as far as St James' Church (Here's an aerial view from maps.google.co.uk to show exactly where St James' Church is.) 

Devon Baroque (Leader Margaret Faultless)
St James' Church Exeter Friday 18 February 7.30pm
Oldway Mansion Paignton Saturday 19 February7.30pm
Great Hall Dartington Sunday 20 February 3pm
Europe in Transition:
Boccherini: 'Cello Concerto in G (soloist: Sebastian Comberti)
Haydn: Violin Concerto in C (soloist: Margaret Faultless)
Mozart: String Divertimenti in D and B flat
Boyce: Symphony in F
Tickets £18 (Students £5)
(Exeter Box: 667080 www.exeterphoenix.org.uk)

(Paignton Box: 01803 211211 www.englishriviera.co.uk

     - The photo on this website was taken in Dartington Great Hall by the way!)

(Dartington Box: 01803 847070 www.dartington.org)

Choir 97

Glenorchy Church Exeter Road Exmouth Saturday 19 February 2.30pm

Choir 97 with pianists David Lee and David Southerns
Concert in aid of the Mercy Ships and the Reboboth Children's Home in Zimbabwe

Somerset Chamber Choir (Director Graham Caldbeck)
King's College Chapel Taunton Sunday 20 February 3pm
La Musique Sacrée
Duruflé: Requiem
Langlais: Messe Solennelle
Messiaen: O Sacrum Convivium
Poulenc: Quatre Motets pour un Temps de Pénitence (i.e. Lent)
Organist Richard Pearce, Mezzo-Soprano Stephenie Allman,
Baritone John Broad, 'Cellist Sara Lovell
Tickets £18 & £15 reserved £11 unreserved
Box: 01823 336344 (Mon-Sat 9.30-4.30) 
www.somersetchamberchoir.org.uk


Josephine Pickering
Glenorchy Church Exmouth Wednesday 23 February 12.30pm
Piano and Woodwind (there will be a replacement for clarinettist John Walthew)
Admission free


Moishe's Bagel
Dartington Great Hall Thursday 24 February 8pm
Jazz-inflected Klesmer and Balkan music
Tickets £14 (student £5) Box: 01803 847070 www.dartington.org


Tasmin Little(Violin) Exeter Symphony Orchestra
Blundell's School Tiverton Saturday 26 February 7.15pm
Bach: Partita No 3
Telemann: Fantasia No 2
Traditional: 'Danny Boy'
Mozart: Marriage of Figaro
Rossini: The Thieving Magpie
Vaughan Williams: The Lark Ascending
Britten: Matinées Musicales
Flanders and Swann: At the Drop of a Hat

Tickets £35 (to include supper)
Box: 492650 (9-5 mon-fri) or email southwest@soldierscharity.org .


Coming up in March:


Vérité Productions: 'the accordionist' - The Bike Shed 1-5 March
Exeter Chamber Choir: German Romantics - Crediton Parish Church 5 March
Piazzolla Duo: Tango and Celtic Music - Holy Trinity Exmouth 5 March
West Barok: Baroque Gems - Glenorchy Exmouth 5 March
Lara Melda (Née Ömeroğlu): Piano Recital - Chapter House 6 March