London Mozart Players

Royal Hall, Harrogate

THIS was the final concert of the 2015 Ripon International Festival, held in the Royal Hall. The venue, initially conceived as a Kursaal – "Spa assembly hall" – after the fashion of continental spa resorts, is a Grade 2 listed building, richly and exuberantly decorated and gilded in high Victorian style.

There was a near-capacity audience, reflecting the status of the orchestra, its charismatic conductor and artistic director, Janusz Piotrowicz, and the acclaimed violinist, Jennifer Pike.

The programme opened with Mendelssohn’s Overture, The Hebrides (Fingal’s Cave), and I have never heard a better performance. Full of dramatic effects, it was an ideal showcase for Piotrowicz, whose intense, focussed style is spellbinding.

This was followed by Mendelssohn’s Violin Concerto in E Minor, with soloist Jennifer Pike. This beautiful work, lyrical and melodious, was given a faultless performance by Pike, registering all its nuances and effects.

The second half consisted entirely of Beethoven’s Symphony No.3 in E flat major Op. 55 (Eroica), and "heroic" music it certainly is.

Apparently Beethoven had originally intended to dedicate the symphony to Napoleon Bonaparte. However, Napoleon blotted his copy book by declaring himself Emperor, which riled the composer, a republican to the core, and all mention of Napoleon was deleted.

Janusz’s interpretation of this great work full of colour and emotion was breath-taking. He brought out the drama, the subtleties, the heights and depths of the Eroica, confirming afresh the ability of Beethoven’s music to travel through time and still speak to us now. In Janusz we have an artist equal to this task.

It was a wonderful finale to the Ripon International Festival for 2015, applauded to the Victorian roof by a very appreciative audience.

Irene MacDonald

Duo Dorado

St Mary’s Church, Masham

DUO Dorado consists of early music specialists Hazel Brook on violin and viola d’amore and David Pollock on harpsichord, appearing in Masham as part of Ripon International Festival.

From the start it was apparent that not only were their instruments beautiful in themselves but their softer tones were particularly well matched.

The very attractive programme began with Telemann’s Sonata in F major with a beautifully light sound from both violin and harpsichord and with the violin’s expressive tone especially well displayed in the Siciliana.

After a brief harpsichord prelude by William Croft, a Sonata in D attributed to Corelli featured a light opening movement, a quick dance and some bright rapid playing in the final allegro.

Vivaldi’s Sonata in A, RV757, from the collection discovered in Manchester only in recent years, was tuneful with contrasting movements but always balanced and logical.

J S Bach’s Sonata in C minor, BWV1017, with, as David Pollock explained, its fully written out parts for the harpsichord, was immediately attractive with a persuasive and beguiling performance.

There was more contrast in the second set with Biber’s Rosary Sonata, No. 12, played on the viola d’amore whose resonating strings and deeper sound I found very appealing.

Gottfried Finger was a new name to me but his Sonata in B minor had both depth and a ready appeal.

Two of Domenico Scarlatti’s fleet harpsichord sonatas, effortlessly dashed off by Pollock, preceded Tartini’s lengthy and virtuosic Devil’s Trill Sonata played in its original version with the musicians recounting the legend to end a particularly enjoyable recital.

Peter Bevan