Nocturnes by Candlelight

Church of the Holy Cross, Gilling

BEAUTIFUL if a little chilly, the Church of the Holy Cross was full to capacity for the programme of Nocturnes by Irish pianist Finghin Collins.

This ancient church built of honey-coloured stone and full of interesting details warrants a visit in its own right.

We were asked not to applaud individual items, but to reserve our applause until the end of the concert. Observing, as the recital progressed, the completely rapt style of the soloist, it was evident that any interruption would have inevitably destroyed the atmosphere.

Collins simply lost himself in the music and performed the complete programme without a break.

The music was a beautiful selection of Nocturnes or "evening music" by Field, Chopin and Schumann.

Field was an established name in European music circles before Chopin was born. His pieces were delightful, and his musical influence on Chopin was clearly evident.

Chopin’s familiar, dreamy, rippling style, which is consistent over the nocturnes, never fails to entrance and Collins captured this perfectly. He is a performer of rare ability.

Perhaps the most moving music of the evening was the evening pieces by Schumann, Des Abends, in der Nacht and Traumes Wirren. These were magnificent – dramatic, full of passion and storm.

The final work by Schumann, Traumes Wirren, was played in a frantic tempo and suggested a very disturbed and tormented mind, entirely different from his beautiful Reverie which Collins performed as his encore, rewarding a very appreciative audience.

Lendvai Trio

St Michael’s Church, Coxwold

IN ANOTHER delightful Coffee Concert we were introduced to the Lendvai Trio at the start of their three-day residency.

Their recital was a reminder how rarely we get to hear a trio of violin, viola and cello which, considering the repertoire available, is quite a shame.

They opened with Beethoven’s Serenade in D major, Op. 8, a relatively early work framed by two fairly straightforward marches.

But, in the first Adagio in particular we started to hear something more profound with the rich tones of the viola particularly revealed.

A lively and courtly Menuetto provided effective contrast as did the lively Allegretto alla Polacca and throughout the playing was perfectly balanced with each instrument getting chance to shine.

The other piece was the String Trio by the Festival’s composer in residence Michael Berkeley.

Here there was much more of an interweaving of the instruments with one or another emerging periodically from the ensemble.

In his introduction, Lord Berkeley explained it was an early piece which was rewritten eleven times before he had a satisfactory balance in which no note was wasted.

Pleasingly, far from being just a musical exercise it carried, in this eloquent performance, a strong emotional pull too, especially in a rather moving slow passage just before the end.

Peter Bevan

Joseph Shiner

St Mary’s Church, Lastingham

THE Great British summer drizzle did not deter the undoubtedly enthusiastic capacity audience on this occasion.

This lovely old church was the perfect setting for the delicate combination of clarinet and piano so expertly demonstrated by these two young musicians featuring music by Ireland, Debussy, Fauré, Brahms and Leo Weiner. A delightful surprise was the world premiere of Freda Waley-Cohen’s Nocturne.

Ireland’s Fantasy Sonata drifted us into the mood with a beautiful duo for clarinet and piano. Ireland has had a fair degree of exposure at this festival, and very well deserved too. This piece was an excellent medium for demonstrating the scope of the clarinet, and young Shiner did it full justice.

Debussy’s Beau Soir followed, and Clair de lune by FaurE, with all the delicacy and feeling we associate with these composers, Clair de lune providing a soft, rippling piano accompaniment to the clarinet.

The Nocturne by Waley-Cohen is a floating, dreamy composition, ideally suited to the clarinet, but demanding a very great level of control for the extra soft passages, some of which are little more than a breath of music.

Again, a brilliant performance, of a lovely piece of music, and a triumph for the youthful composer who was present and acknowledged the applause of a very appreciative audience.

The performance ended with Peregi Verbunk – a sort of czardas or "soldier’s dance" by contemporary Hungarian composer Leo Weiner.

The concert was greatly enriched by Shiner’s introduction to the music which brought the performer’s insight to the audience.

This festival has been a masterpiece of organisation. We have enjoyed world-class musical performances in some of the most beautiful venues in England, some of which were in deep countryside, most in gorgeous, if out of the way, settings. There has been noticeable attention to the comfort and convenience of the audience, often with coffee and cakes for our refreshment, and a host of volunteer helpers at every turn to assist with parking etc. Congratulations to all concerned.

Irene MacDonald