Mese: luglio 2023

The supreme stylist Andrea Lucchesini managed to calm even the wildlife that engulfed him as he enchanted and seduced us with the ravishing sounds of an artist who has delved deep into the soul of the music he plays and can transmit its message directly and simply .He generously shared with us the inner secrets of sublime music making in the magic atmosphere of the Gardens of Ninfa.

It was enough to listen or should I say overhear the three nocturnes op 9 by Chopin that opened his recital.Immediately realising that here was an artist who could shape and project Chopin’s subtle refined ‘bel canto’ with rare delicacy and at the same time aristocratic simplicity.
An almost imperceptible flexibility that drew us in to a magic world where the notes on the page that we know so well took on a new significance .

They were given a new life and importance allowing the music to speak as if there were words on every note .A bel canto that became as eloquent as the sublime lieder of Schubert.We were in the hands of a true musician who is also a poet with a superb technical ‘valise’ at the service of the music he is sharing with us.A gift of communication of directness and simplicity that is the key to all great interpreters.

Rubinstein in his Indian summer demonstrated this so well right up until his final concert at the age of 90 in 1976.Krystian Zimerman and Murray Perahia disciples of Rubinstein and Horowitz have shown us the truth behind:’Je joue,je sens e je transmet’.When music making is allied to humility and honesty digging deep into the scores of masterworks to find the secrets at the moment of creation that are there for the gifted few to behold.A superb technique of course is essential but a technical preparation of an orchestra of ten fingers.Fingers that can conjure up different sounds and give the illusion that a black box full of strings and hammers can indeed sing just as beautifully as a nightingale.With a kaleidoscope of colours it can also give the impression of being every bit as sumptuous as the Philadelphia Orchestra.All this was apparent as Andrea Lucchesini battled with the midges and mosquitos to share with us the very essence of Chopin.

The first nocturne unwound so naturally with a beautiful sense of balance that allowed the melodic line to sing with a luminosity and ravishing sense of colour without any forcing or rhetoric.The beautiful comment of distant bells in the central episode was a revelation to me as I have never been aware of this question and answer until today.The famous E flat Nocturne was played with simple eloquence and a clarity that contrasted so well with the sombre brooding of the first.The cadenza and final bars were played on an etherial cloud but never sentimental or anything other than a ravishing simplicity and sensitivity that in no way altered the rhythmic flow that was so captivating from the first to the last note.He carried us along on a real ‘Wing of Song’.The beguiling innuendo of op 9 n.3 I remember being so captivated with,when I heard Josef Lhevine play it on an old ‘piano roll’ that had been discovered near to my home by Frank Holland.He was an engineer who was in love with the old reproducing systems of the Ampico and Welte Mignon .Pre recording systems that interested him for the mechanics but he had no idea of the treasure trove of piano roles that he had inadvertently acquired from being destroyed as the new recording systems came into commerce.Theatres and cinemas were to suffer the same fate too as the TV sat looking at us in every living room taking the place of the obligatory piano with candelabra!The Nocturne op 9 n. 3 was beautifully played with subtle sounds of understatement in which everything was infact stated.Art that conceals art is hard to define and has to be experimented as tonight revealed.I think even the mosquitos and midges seemed happy too and eventually gave up the chase as they basked in such glorious sounds.

A piano of course prepared by that other magician Mauro Buccitti who had worked tirelessly on finding the voice that Andrea had required.The low resonant ‘D’ of the final prelude is always a problem as the final three notes should ring but with different intensity.

I remember Andrea’s mentor Luciano Berio spending hours with three piano tuners in the Ghione theatre in Rome desperately trying to find the right vibrations for a work that was based solely on that.I remember him saying after the last one had left that he would just have to put up with what the tuners had been able to do!This was before Mauro Buccitti’s time of course!Shura Cherkassky a pianist who gave over ten recitals in Rome for us was invited to Berio’s home after a recital he gave in Empoli.It was there that the prodigy Andrea Lucchesini performed Berio’s ‘Wassermusik’ much to the admiration of one of the leggendary stylists of our time.

The two intermezzi op 9 n. 3 and 4 by Roffredo Caetani were a just reminder of a musician ,today,completely overlooked.The first is a beautifully mellifluous work with a long rhapsodic outpouring similar to much of Fanny Mendelssohn or Clara Schumann and very much of that refined salon style.The second Intermezzo was a much more interesting work with some beautiful doubling of the melodic line and a ravishing duet between the voices becoming ever more passionate – a miniature tone poem indeed.They were played of course by a stylist with love and sensitivity and to quote Joan Chissell on hearing Rubinstein play ‘O prol do Bebé’ by Villa Lobos:’Mr Rubinstein turned baubles in to gems’.Indeed Maestro Lucchesini did just that to great effect bringing these creations back to the land where they were created.Caetani the Godson of Liszt and just a stone’s throw from today’s concert location is the piano the Liszt had donated to Roffredo and is now siting proudly still in Ninfa.

https://christopheraxworthymusiccommentary.com/2020/07/20/50th-anniversary-of-the-pontine-festival-foundation-streamed-live-from-sermoneta-and-ninfa/The ‘Andante Spianato’was played with superb technical control from the very first notes.A wave of sounds played with an evenness and precision with a minimum amount of pedal which lent a delicate but solid base to the magical ‘bel canto ‘ that Andrea floated on top.It was Chopin who likened rubato to a tree with the roots firmly planted in the ground but with the branches that were free to move in the breeze.Embellishments that just unwound so naturally out of the melodic line without any showmanship or simplistic throwing away.They were an integral part of the musical line and a golden web of subtle beauty that was spun with great artistry.The Mazurka episode was played with the same subdued beauty and the shimmering waves of sound that joined these two worlds was a wonder of technical bravura.Agosti would always say ,like his teacher Busoni,that you need fingers like steel but wrists like rubber to be able to have true control of sound.The great pianist is the one who can play quietly and clearly with total control – loud and fast is for entertainers not interpreters!Of course the Polonaise was originally written for orchestral accompaniment but there is a discreet orchestral interlude between the two sections.Andrea played it without exaggeration and with good taste never changing the sound picture that had been so delicately created.In fact the Polonaise unwound with moments of bravura and technical brilliance but it was more the beauty and delicate colour that Andrea brought to the streams of golden sounds that was so beguiling and teasing – a real ‘jeux perlé’but not that of a superficial demonstration of bravura but a seemless stream of sounds that just added to the overall architectural shape of a work that was written as a showpiece for the youthful Chopin.But with Chopin a showpiece not of a circus entertainer but of a poet with a soul.An innovative genius who created a new technical approach and sound world for the keyboard.

The Preludes I last heard in Sermoneta many years ago played by Fou Ts’ong.It was the genius of Ts’ong who inspired generations of young musicians in his masterclasses including in Sermoneta but mostly in the piano Academy in Como .He had surprised the world when he was awarded the ‘Mazurka’Prize at one of the very first Chopin Competitions in Warsaw.How could a Chinese pianist understand the soul of a Pole!?Ts’ong simply said that the soul in Chopin was the same soul that was in ancient Chinese poetry of which his father was an expert.A soul knows no boundaries!It was Ts’ong too who declared Chopin’s 24 Preludes to be 24 problems.More than the 24 studies because each of the preludes has a different technical problem that needs to be mastered with technical precision and artistry.

This was exactly what Andrea Lucchesini did with mastery not only conquering fearlessly the technical difficulties but finding an overall sound that united each prelude into a unified whole.From the improvised opening prelude to the three mighty ‘D’s’ of the final triumphant 24th.A wonderful sense of balance in the brooding second prelude and a left hand of fleeting lightness in the third on which Andrea with seeming simplicity could place the melody.The layers of sound that he found for the twentieth variation was enhanced by the time he took to change manuals.There was ravishing beauty of the thirteenth after the extraordinary stamping of the feet of the twelfth.The earth shattering fourteenth was played with terrifying precision and clarity.

The clouds parted as the radiance of the so called ‘raindrop’ prelude was allowed to unfold with disarming simplicity.The treacherous B flat minor prelude was played with the same mastery that I remember Perlemuter revealing to us at the Royal Academy.A period of strikes with the unmoveable Heath administration meant that the lights failed while the Maestro was demonstrating some preludes to us students.In pitch darkness he fearlessly continued this study to the end and calmly told us afterwards that if you cannot play it with your eyes closed you had better never attempt it in public!What a lesson from a Master as indeed Andrea Lucchesini showed us today.

The octaves of the twenty first were played with the same shape as a symphony orchestra without hardness or empty bravura.The gentle stream of sounds of the twenty third were rudely interrupted by the passion and fire of the final twenty fourth .The deep tolling bell of the seventeenth was played with a simplicity that allowed the melodic line to float on a cloud of nostalgic remembrance like in a dream.The eighteenth ‘cadenza’ prelude that followed was played without the usual vicious accents but with a sense of line and intensity that was a suitable introduction to the transcendental hidden difficulties of the mellifluous nineteenth.

A magnificent performance of one of the most difficult of all Chopin’s works that will resound in these beautiful surrounds for long to come.

A Schubert Impromptu op 90 n.2 offered as an encore just flowed from Andrea’s fingers with the same beguiling simplicity and artistry that had held us so enthralled all evening.Simplicity,artistry and technical mastery what more could one want in such beautiful surrounds.Mosquitos and midges you have been warned!

The Nocturnes, Op. 9 are a set of three written by between 1831 and 1832, published in 1832, and dedicated to Madame Marie Pleyel and were Chopin’s first published set of nocturnes. N.1 is one of the better known nocturnes and has a rhythmic freedom that came to characterise Chopin’s later work.N.2 is his best-known Nocturne written when he was around twenty years old. N.3 The first section is marked Allegretto where the main theme is chromatic, but filled with nostalgic energy. The second contrasting section, Agitato in B minor, is a very dramatic with a combined melody and counter-melody in the right hand and continuous arpeggios in the left.It is full of coloratura ornaments, and ends in a small cadenza similar to Opus 9 no. 2,

The Andante spianato e Grande Polacca brillant was written between 1830 and 1835. The Andante is for solo piano, while the Polacca features orchestral accompaniment.

It was written in two stages, approximately five years apart. Chopin wrote the Grande Polacca between 10 September and 25 October 1830 and it is the most virtuosic of his youthful ones, conceived when he was still in Poland.The initial part, Andante spienato , was instead composed later, in 1835 and was initially thought of as a nocturne due to its lyrical and romantic tone, but then the musician thought he could use it as an introduction to the previously written Polonaise brilliant . The finished composition was performed in public on April 26, 1835 in a charity concert in the Salle de Concert of the Conservatoire National de Musique with Chopin himself at the piano and the direction of Francois-Antoine Habeneck , considered at the time the most important conductor. The work was published the following year under the title Grande Polonaise brillant, précédée d’un Andante spianato.

Chopin’s 24 Preludes, op .28, are a set of short pieces for the piano, one in each of the twenty-four keys , originally published in 1839.

Chopin wrote them between 1835 and 1839, partly at Valldemossa,Mallorca, where he spent the winter of 1838–39 and where he had fled with George Sand and her children to escape the damp Paris weather.In Majorca, Chopin had a copy of Bach’s ‘48’ and as in each of Bach’s two sets of preludes and fugues, his Op. 28 set comprises a complete cycle of the major and minor keys, albeit with a different ordering.Whereas Bach had arranged his collection of 48 preludes and fugues according to keys separated by rising semitones , Chopin’s chosen key sequence is a circle of fifths , with each major key being followed by its relative minor, and so on (i.e. C major, A minor, G major, E minor, etc.). It is thought that Chopin might have conceived the cycle as a single performance entity for continuous recital.An opposing view is that the set was never intended for continuous performance, and that the individual preludes were indeed conceived as possible introductions for other works.Chopin himself never played more than four of the preludes at any single public performance.Nor was this the practice for the 25 years after his death. The first pianist to program the complete set in a recital was probably Anna Yesipova in 1876.Nowadays, the complete set of Op. 28 preludes has become part of the repertoire , and many concert pianists have recorded the entire set, beginning with Busoni in 1915, when making piano rolls for the Duo-Art label. Alfred Cortot was the next pianist to record the complete preludes in 1926.He would also play the 24 Studies op 10 and 25 together with the 24 Preludes op 28 in the same programme.Something that Fou Ts’ong had done at the Festival Hall in London and on my request at the Ghione Theatre in Rome.

50th Anniversary of the Pontine Festival Foundation streamed live from Sermoneta and Ninfa

Ferschtman-Gnocchi-Lucchesini Trio Glorious tribute to Rocco Filippini in Sermoneta

ROME CHAMBER MUSIC FESTIVAL- Superb music making returns to Teatro Argentina

Trained at the great Maria Tipo piano school, Andrea Lucchesini began an intense international solo career at a very young age, after winning the “Dino Ciani” International Competition at the Teatro alla Scala in Milan in 1983. Since then he has played with the most prestigious orchestras and conductors such as C. Abbado, S. Bychkov, R. Abbado, R. Chailly, D. Gatti, G. Gelmetti, D. Harding, G. Noseda and G. Sinopoli.
He is the first (and only) Italian artist to receive the Accademia Chigiana International Prize, in 1994, while the following year the Italian critics awarded him the F. Abbiati Prize.For over twenty years he has also been very active in the chamber music sector, of which he explores the vast repertoire in the most varied formations, collaborating with musicians and ensembles of the highest level; numerous projects, including recordings, see him in duo with the cellist Mario Brunello.
In July 2001, the world premiere of Luciano Berio’s Sonata in Zurich marks the culmination of a successful collaboration, which began with Concerto II “Echoing curves”, performed by Lucchesini under Berio’s direction throughout the world, and recorded with the London Symphony Orchestra for BMG .
Andrea Lucchesini has recorded for Emi, Teldec and Agorà;the eight live CDs of Beethoven’s 32 Sonatas (Stradivarius) and the complete works for solo piano by Berio for Avie Records have received important acknowledgments from the critics, unanimous in applause even in front of the more recent CD dedicated to Schubert’s Impromptus.
Convinced of the importance of passing on musical knowledge to the younger generations, he is also passionately dedicated to teaching at the Fiesole Music School and is regularly invited to hold masterclasses at the most prestigious European and American musical institutions; he also participates in radio music dissemination projects, and as a juror in numerous international competitions on five continents.He is actually Artistic Director of the Amici della Musica di Firenze one of the oldest and most renowned concert Societies in Italy .The direction was passed on to him by the retiring historic directors Stefano Passigli and Domitilla Baldeschi

Alfonso Alberti celebrations- The shadow of Dante in the magic garden of Ninfa

Elisso Virsaladze in Latina “Homage to Riccardo Cerocchi “

Some superb playing as you would expect from students from the class of Giovanni Gnocchi.I have heard Maestro Giovanni Gnocchi many times since that very first time when he was invited to take over the class of Rocco Filippini.
https://christopheraxworthymusiccommentary.com/2021/07/18/ferschtman-gnocchi-lucchesini-trio-glorious-tribute-to-rocco-filippini-in-sermoneta/
Sermoneta always noted for its musical honesty and integrity from its birth in the ‘60’s during the Howard,- Caetani Dynasty with Menuhin,Szigeti and Alberto Lysy and has now found a superb musician to continue this great tradition.

It was nice of Giovanni to include a work by Davydov because Jaqueline Du Pre who as a teenager came to Sermoneta inherited the Davydov cello- it was rumoured that it was a present from the Queen Mother.

Navarra who also used to teach and play in Sermoneta would give this Allegro de concert to all his students.
I well remember Andre Navarra with a cigar in his mouth demonstrating with such aristocratic simplicity a phrase that his student had perhaps spent hours trying to perfect!

Today this very piece was played with mastery by Ana Martinez with a musical freedom and sense of colour that indeed one was reminded of how the young Jaqueline Du Pre might have played it on this very spot fifty years ago!

It was the last piece in ‘Giovanni Artisti dal Mondo’concert in a church hidden amongst the steps in a corner of this historic town.A place of worship of such simple beauty adorned with frescos and now resounding to the sound of music.It is just one of those marvels that had Rostropovich declare that Italy was the ‘museum of the world’.

Giovanni Gnocchi had mentioned Rostropovich too as three of his students were to perform movements from the Sonata op 119 by Prokofiev and the First Concerto op 107 by Shostakovich both works that the 22 year old Slava had given the premier of .In 1949 Prokofiev wrote his Cello Sonata in C, Op. 119, for the 22-year-old Rostropovich, who gave the first performance in 1950, with Sviatoslav Richter.

Laura Pascali played the ‘Andante grave’ from the Prokofiev with searing intensity, dynamic drive with beautiful long lines and contrasting dynamics.She should now have the courage to put the score to one side and let the music pour more freely from her beautiful cello.

Giovanni Maccarini impressed from the very first notes of the Shostakovich which he played with burning intensity ,infectious rhythm and full mellifluous sound.No score in sight allowed him the freedom to move with the music as it took hold of him and that he was able to transmit with such immediacy to his audience.Just as I remember Rostropovich who started playing before he had even sat down in a festival in London of a marathon of thirty works for cello and orchestra ,many written especially for him.The Concerto was composed in 1959 for his friend Mstislav Rostropovich, who committed it to memory in four days. He premiered it on October 4, 1959, at the Large Hall of the Leningrad Conservatory with the Leningrad Philharmonic conducted by Yevgeny Mravinsky.

Lavinia Scarpelli played the second movement with a clarity and purity of sound with long lines impressively sustained.

The concert had begun with Luigi di Cristofaro giving a stylish if not always impeccable account of the Allegro moderato from Haydn’s Concerto in D.It is never easy to begin a concert especially with friends colleagues and teacher in the hall .Luigi gradually gained in authority to give a very commanding performance where he could now leave the score off stage and take full possession of the instrument and his audience.

Leonardo Notarangelo did just that as he threw himself into the fray with the other two movements having had the ‘ice’ broken by Luigi.Fluidity and flexibility played with a ‘joie de vivre ‘ in the Allegro of brilliant very assured playing.

Viola Pregno Bongiovanni gave a performance of great intensity of Beethoven’s Adagio from his Sonata in D op 102 n.2 .Beautifully sharing these final thoughts of Beethoven with the pianist Clara Dutto as they comuned together in a true dialogue with moments of heartrending intensity from a composer who could see the paradise that was awaiting after a life of such overwhelming struggle and difficulty .
https://christopheraxworthymusiccommentary.com/2021/03/22/giovanni-gnocchi-at-teatro-rossini-with-haydn-the-father-of-the-symphony/

Gnocchi – Stella in Rome ‘On wings of song’

THE CHURCH OF SAN MICHAEL THE ARCHANGEL

San Michele Arcangelo is one of the oldest churches in the city, probably built at the beginning of the 11th century and dedicated, as the name suggests, to the Archangel Michael. The building seems to have been built over the ruins of an ancient pagan temple dedicated to the goddess Maia.

The complex has an irregular plan, perhaps due to the existence of a building prior to its foundation. The architectural structure has some older Romanesque forms and others of clear Gothic derivation, the result of changes made over the centuries.

The bell tower also shows an overlapping of construction phases belonging to different eras and the structure, as it appears today, is the result of a partial seventeenth-century reconstruction, due to a collapse. The original bell tower was built in the thirteenth century, with a typically Romanesque style attributable to the models of Rome, even if a purely Gothic construction phase was now underway in the entire region.

The interior of the church and the underlying crypt have various frescoes, especially from the fifteenth century. Finally, other frescoes are found in a basement of the building, in the room where the confraternity of the ‘battenti’ met.

“A BEAKERFUL OF THE WARM SOUTH!”

A review by Angela Ransley B Mus Cert Ed FVCM (TD)

Efisio Aresu at Wesminster Abbey

The Westminster Abbey Summer Organ Festival returns once again with its fabulous mix of celebrity recitals and fresh faces on the Young Artists Platform.

This year the Keyboard Trust presented 26-year-old EFISIO ARESU from Sardinia whose steady ascent from the Conservatoire in Cagliari has led to his current post of Sub-Organist at the Anglican All Saints Church in Rome combined with advanced studies at the Pontifical Institute of Sacred Music under Roberto Marini.

The Westminster Abbey organ is a majestic instrument of five manuals and 94 stops offering a complex range of solo and combined registration. It is a daunting task for an organist to fly from another country and create a compelling recital on such an instrument with just one three-hour practice session. Efisio showed himself more than equal to the challenge, bringing a concert of rich colour, excitement and much -needed Italian warmth to lacklustre London.

Efisio intrigued us by choosing a pan-European programme – a French, Italian, English and German composer, all organists at the turn of the 19thcentury. It allowed us to consider the Janus-like state of European music at that time with some composers looking backwards to traditional techniques while others pressed forward into a brave new atonal world.

Efisio opened his recital with Carillon de Westminster by LOUIS VIERNE (1870 – 1937), taken from his 24 Pieces de Fantaisie and published in 1927. Its main theme is based on the chimes of Big Ben, which Vierne asked his fellow organist and organ builder Henry ‘Father’ Willis to hum to him. Vierne then altered the second phrase of the chime and debate continues as to whether he misheard or changed it deliberately. The well-known chime is heard softly in the middle register with filigree semiquaver accompaniment, then later in the upper register. An atmospheric section places the chime in the pedals before increasingly agitated semiquavers lead to the climax with the theme in diminution against powerful final chords. Efisio skilfully presented each division of the organ in turn, giving a wonderful, muted distance to the theme in the central section – as if hearing it through a London fog – before unleashing the devastating power of the organ pleno.

Our European tour guide took us next to his native Italy for Ave Maria by MARCO ENRICO BOSSI (1861-1925). Bossi came from a north Italian organ-playing background and was appointed organist at Como Cathedral. He then took an academic path with Directorships of the Conservatoires at Venice, Bologna and Rome. Ave Maria is a short meditation on the prayer to the Blessed Virgin Mary:

                            Hail Mary, full of grace

                             The Lord is with Thee..

The main motif – a falling 5th followed by a falling 4th – is the musical counterpart to the word ‘Ave’ and permeates the entire piece. Unfolding slowly phrase by phrase, it demonstrates the organ’s gift of quiet stillness. Efisio alternated the subtle colours of the many reed stops, highlighting the opening motif with careful articulation.

English organist, pianist, composer, broadcaster and educator ALEC ROWLEY (1892 – 1958) was a prominent figure in English music in the 1930s and is remembered today for over 200 progressive piano pieces. His Benedictus remains popular in the organ repertoire, being written with mainstream Anglican phrasing and tonality typical of the 19th century. Its inspiration was an extract from a long poem by Victorian poet Christina Rossetti entitled: All Thy Works Praise Thee: A Processional of Creation in which every part of creation gives praise to God in its own special voice. The phrase ‘ I bring refreshment; I bring ease and calm’ comes from the praise of the Medicinal Herbs!:

Medicinal Herbs.

I bring refreshment,–
I bring ease and calm,–
I lavish strength and healing,–
I am balm,–
We work His pitiful Will and chant our psalm.

Again the organ’s rich palette of flutes, strings and reeds – aptly described by celebrity organist Roger Sayer as ‘an orchestra in a box’ – were skilfully combined to create a moment of serenity in the Abbey supported by finely controlled dynamics.

The European theme was completed and the recital crowned by the virtuosic Symphonische Fantasie Op 57 by MAX REGER (1873 -1916), a German counterpart of the multi-faceted Rowley in his work as concert pianist, organist and educator. The difference is that Reger composed with the weight of German tradition on his shoulders:

‘A firm supporter of absolute music, he saw himself as being part of the tradition of Beethoven and Brahms. His work often combined the classical structures of these composers with the extended harmonies of Liszt and Wagner, to which he added the complex counterpoint of Bach. Reger’s organ music, though also influenced by Liszt, was provoked by that tradition.’

The result is music of almost overwhelming complexity. This critical moment in history is captured, absorbing the intellectual mastery of Bach, freedom of modulation of Brahms and harmonic adventure of Liszt so that no key is discernable and the recurring quaver ostinato in the pedals might qualify as a tone row!

Efisio is currently specialising in the organ works of Max Reger and it was clear from his authoritative grasp of the work’s dramatic contrasts that he was on home ground. The Fantasie

is a large canvas and Efisio was resourceful in allowing it to roar and plead by turn. Despite its mass, care was taken so that each strand of counterpoint was clearly articulated.

Spontaneous applause greeted the final, triumphant chord. We would like to thank Efisio for bringing such a thoughtful and rewarding recital to the Summer Organ Festival, full of interest, drama and Italian vivacity. We wish him well with his continuing studies and hope to hear the fruits of his labours on a future occasion.

A final note… these four composers leading parallel lives also had similar, sudden deaths. Reger and Rowley both died of heart attacks, Reger in a hotel, and Rowley during a tennis match. Bossi died on board ship returning from a US tour. Vierne fulfilled his dream of dying during a recital at the Notre Dame console: his foot came to rest on the low E of the pedal, this ominous sound announcing the departure of a great soul of music…

ANGELA RANSLEY is Director of the Harmony School of Pianoforte, works closely with the Keyboard Trust and publishes articles and reviews on music.

The Harmony School of Pianoforte Director Angela Ransley B Mus Cert Ed FVCM (TD)

EFISIO ARESU was born in Cagliari (Sardinia) in 1997, he taught himself to play the piano from the age of 9 and, six years later,he was admitted to the organ class of Master Angelo Castaldo at the Cagliari Conservatory. In 2019 he was a student of Fabio Frigatto in Oristano, specialising in the works of Max Reger. Since 2021 he has been attending the baccalaureate course at the Pontifical Institute of Sacred Music, under Roberto Marini.He took part in masterclasses with Dan loonqvist (2016), Roman Perucki (2017), Ben Van Oosten (2019) and Konstantin Reymaier and Alessio Corti in 2022.Efisio has played in liturgical service in the Basilica of Sant’Elena in Quartu S.E. the pontifical Basilica NS Bonaria of Cagliari and the Cathedral in Cagliari. He is currently sub-organist in the Anglican All Saints church in Rome.In October 2022 he performed concerts in Swansea, Neath, Cardiff and Oxford. He was invited to join the Keyboard Trust scheme in 2023.Vierne Carillon de WestminsterTaken from 24 pieces de fantaisie by Louis Vierne,organist of Notre-Dame. Flexibility of registration and speed relating to the building.Chimes of big Ben passed to Vierne by…organ builder Henry Willis. variation in the chime. Clam opening with pedal then echoed in top voice, atmospheric middle section in Bb leading to climax with 8 part chords and diminution in the bass.Roger Sayer vierne

Marco Enrico Bossi Ave Maria 1861 – 1925 also Director of Naples, Bologna and Venice and wrote influential organ manual in use today.

Bossi – organist of Como from Salo. Ave is echoed in falling motive throughou. Late romantic harmonic uncertainty before final cadence

Alec Rowley Benedictus. All round musician Prof at Trinit Colege of Music where his prize continues. Other works for organ include 2 organ symphonies.Meditation on Benedictus;A Processional of Creation by C Rossetti. Tonal piece in liturgical Anglican style, melody led homophony

Max Reger Symphonische Fantasie Op. 57 .Leipzig based, contrasts dramatic outbursts with quieter passages. Traditional contrapuntal techniques combined with forward looking dissonance

‘That young man has a great future’ was one of the comments from a listener today as Dr Hugh Mather played a programme of Arrau proportions to celebrate the 2000th concert in Ealing since 2004.
Playing of real musicianship from the opening of the Italian Concerto with a clarity, rhythmic energy and ornaments that sparkled like jewels.

An Andante that flowed so beautifully and where the expansive improvised beauty of the melodic line could be revealed with purity and simplicity.
A presto that was as light and gracious as it was rhythmically infectious but with an aristocratic control that never lost sight of the musical line.

There was such beautiful legato in the Chopin Fantasy contrasting with the non legato polonaise like opening.A sense of balance that gave luminosity to the melodic line without ever hardening the texture or slowing the forward movement .The opening arpeggios blossomed with refined beauty and restrained passion before bursting into bloom only to dissolve into a central section of ravishing beauty.The final cadenza after a passionate outpouring of the opening theme came as a gentle relief,bathed in pedal,before the golden stream of notes that took us to the final imperious chords.

Liszt’s great pinnacle of the Romantic piano repertoire was played with remarkable musicianship and amazing technical control.A sense of line and a forward movement that gave great weight to the overall architectural line.

It was in the transition into and out of the Andante sostenuto that showed Dr Mather’s impeccable musicianship as he kept the momentum flowing from below like a great wave that was always present and on which Liszt sailed with such innovative genius.There was passion too ,of course,but always with a sense of balance where the accompaniment never smothered the musical line .Dr Mather’s mature musicianship could oversee the general shape and follow Liszt’s very precise indications with intelligence and remarkable understanding.

Greeted by a standing ovation Hugh still had the strength to offer an encore of Mendelssoh’s Andante and Rondo Capriccioso.It was played with ravishing sound and refined rubato before bursting into the scintillating featherlight fantasy that is so typical of Mendelssohn.
Remarkable performances from a retired physician that would have done any professional pianist proud.
Many comments from the young musicians that Dr Mather and his team have promoted with such tireless dedication.They just show with what esteem we all hold this remarkable man whose still loves music with the same passion of the eighteen year old who stole Felicity’s heart with his first performance of the Liszt Sonata at Cambridge University sixty years ago .
A team indeed Hugh and Felicity,surrounded by a wonderful group of professional admirers and helpers all dedicated to encouraging young musicians to reach their goal in life,on and off stage,as they so obviously have.
If Music be the Food of Love …………play on – what better example could there be than today’s wonderful performances .

Hugh Mather was born in 1945 and was educated at Westminster Abbey Choir School and Clifton College, Bristol. He gained the FRCO diploma with the Limpus and Reid prizes while still at school, and subsequently the ARCM (piano performers) diploma. He studied medicine at Cambridge University and Westminster Medical School, and was Consultant Physician at Ealing Hospital from 1982 to to 2006, before retiring to pursue his musical interests. He continued his piano studies with James Gibb for many years, and gave countless concerts in West London as concerto soloist, recitalist, accompanist and chamber musician. He has performed concerti by Mozart, Beethoven, Brahms, Chopin, Mendelssohn, Gershwin, Grieg, and Schumann. He has been Chairman of the Friends of St Mary’s Perivale since 2005, and has organized 2000 concerts in Ealing over the past 20 years, with 657 at St Barnabas Ealing and (as of this recital) 1343 at St Mary’s Perivale. More details re his concert organizing activities are available

Dr Mather writes :’My 2000th Ealing concert is next Sunday. Here is an overview of 19 years (2004 – 2023) fixing 1334 concerts at St Mary’s Perivale and 657 at St Barnabas. https://www.st-marys-perivale.org.uk/2000-concerts.shtml To celebrate, I am playing one final solo performance, with Bach, Chopin and the Liszt B minor on Sunday July 23rd at St Mary’s Perivale at 3 pm. Hope I survive !’

2000 Ealing concerts – 2004 to 2023
A personal statement 
Hugh Mather.

My piano recital at St Mary’s Perivale on July 23rd 2023 marks a personal milestone, namely the organization of 2000 Ealing concerts since 2004, at St Mary’s Perivale and St Barnabas Ealing. I think it is appropriate to give a few more details about this. As a brief overview, I was born in 1945 and studied medicine at Cambridge University and Westminster Medical School, and was Consultant Physician at Ealing Hospital from 1982 to 2006. I am also a pianist and organist, obtaining the FRCO diploma with the Limpus prize while at school, and subsequently the ARCM (piano performers) diploma, and I continued piano studies with James Gibb for many years.

I gave several piano recitals at St Mary’s Perivale from 1985 onwards, and thus became involved with this wonderful church – a tiny 12th-century building which became redundant in 1972 and is now a highly-regarded classical music centre with a magical ambience and excellent acoustics. In 2003 I facilitated the purchase of a new Yamaha grand piano, and commenced concerts there in 2004, becoming Chairman of the Friends of St Mary’s Perivale in 2005. Since then, with an excellent and motivated team we have held 1343 concerts, detailed in our archive section on st Mary’s web site .We held about 50 concerts per year on Sunday afternoons and Wednesday evenings until 2016, when we introduced Tuesday afternoon piano recitals, at the suggestion of Roger Nellist, with the annual total rising to about 120.

I am also organist at St Barnabas Church, Ealing, and in 2007 I bought a Bösendorfer concert grand for the church. That fine instrument was the basis for the 657 concerts held there between 2007 and 2020, raising over £250,000 for church funds, with over 530 Friday Lunchtime Concerts, 13 major weekend piano festivals and 6 series of Summer Proms.

Thus the combined total of concerts at St Mary’s Perivale (1343) and St Barnabas (657) reaches 2000 on July 23rd 2023, and has included performances by over 550 pianists, 250 violinists and 150 cellists etc. A list of all the musicians playing at Perivale is available here. All concerts at St Mary’s Perivale since 2007 have been recorded with equipment installed by Simon Shute. We started to livestream our concerts in December 2018, and since then have broadcast over 400 on YouTube. We were thus able to broadcast ‘live’ concerts throughout the pandemic, with 154 streamed from an empty church, supporting musicians with paid performances, and we received the ‘Lockdown Star’ award from the Critics’ Circle in recognition. Our broadcasts have been viewed almost 400,000 times since 2018, and now attract over 100,000 views annually in nearly 70 countries. We have raised almost £100,000 for our musicians during and since the pandemic. Further details about our livestreaming activities are available on the St . Marys’ web site

None of this would be possible without our team of volunteers, led by Roger Nellist and Simon Shute, with George Auckland, Andrew Whadcoat, Gill Rowley, Rob Jenkins, Truus Bos, Peter Sandison, Sherry White, Felicity Mather, Andrew Goodhart, Richard Norris and David Brown, among many others. We are firm believers in the future of live broadcasts of classical music, and are now one of the foremost UK broadcasters of piano recitals and chamber music.

Geoff Cox – A celebration The Wiercinski brothers amaze delight and rejoice

“…Extraordinary breadth and freedom of imagination…”
Thrilled to receive this review of “Kaleidoscope” from the GRAMOPHONE magazine!!! 🥳🤩🏆
The album is available on all streaming platforms 💿🎶🎹

On behalf of all the volunteers and association members that make En Blanc 
et Noir a reality, we would like to thank you and the Keyboard Trust for 
generously making Nikita’s presence this year at the festival a possibility! 
He played an incredible recital and was otherwise a very cherished member of 
the community for the days he stayed with us in Lagrasse. Thank you for 
finding not only a brilliant artist but also a lovely person with whom it 
was a joy to spend time together.

We look forward to continuing our collaboration with the Keyboard Trust in
future years, and Bobby will be in touch with you about selecting an artist
for the 2024 edition of En Blanc et Noir. Sincerely,
Alain and Bobby

Live at the BBC Proms: celebrated British pianist Benjamin Grosvenor performs Debussy’s Prélude à l’après-midi d’un faune and Ravel’s Le tombeau de Couperin.

Debussy arr. Borwick: Prélude à l’après-midi d’un faune
Liszt: Réminiscences de Norma
Ravel: Le tombeau de Couperin; La valse

Benjamin Grosvenor, piano

A regular at the Proms since his debut here over a decade ago, former BBC Young Musician of the Year Finalist Benjamin Grosvenor brings a selection of transcriptions and arrangements of works better known in other guises. The sensuality of Debussy’s Prélude à l’après-midi d’un faune melts into Ravel’s tender Le tombeau de Couperin suite and his heady, war-scarred La valse, while a passing visit to the Italian opera comes courtesy of Liszt’s virtuosic reimagining of Bellini’s Norma, a bel canto tale of warring Druids and Romans, set in ancient Gaul.

It was at the end of the morning recital in the vast space that is the Royal Albert Hall when Benjamin Grosvenor having astonished,amazed and seduced us with diabolical transcriptions as Liszt and Thalberg must have done in their day.He gave a whispered account of Saint Saëns ‘ The Swan’ in Godowsky’s magic transcription.Streams of golden sounds,insinuating counterpoints and a ravishing sense of balance drew this vast crowd in to him to eavesdrop on a performance of delicacy and poetic artistry.A sense of rubato and timing that held us all in his hand as he stretched and shaped the sounds with the same artistry that Godowsky himself must have shared with his public in the ‘Golden Era’ of piano playing.An era where transcendental mastery of the keyboard meant that with the same skill as an illusionist Rosenthal,Levitski ,Lhevine or Hoffman could persuade us that the piano could sing with the same subtle inflections as the greatest of Bel canto singers.They could also persuade us that the piano could roar and shout with the same sumptuous sounds as the Philadelphia Orchestra that Rachmaninov so admired.

It was the same piece that Cherkassky played at his own funeral in 1995 in Hanover Square.A work he had played many times in a long career since his child prodigy days with Hoffman .Horowitz often used to say to Shura that we are the only two left from the Golden Age of piano playing.Shura gave ten recitals in my season of Euromusic in Rome and knowing that I video recorded all the performances Piero Rattalino asked me if he could have the recording of his Albeniz/Godowsky Tango.Not Morton Gould’s Boogie Woogie study or the Eugene Onegin Paraphrase.It was the subtle way of caressing the keys and savouring the intoxicating sounds that interested a Professor who knew more about pianists and piano playing than anyone alive.There was an article in ‘Le Monde de la Musique’ about Cherkassky the title was ‘Je sens,je joue,je trasmets’ and it is exactly this that sums up his artistry and those like Horowitz and Rubinstein where the audience is an essential part of this recreation.Rubinstein famously said that there must always be risk and the unexpected in playing in public and that one should not have a printed copy ready to trot out in public.It is an act of love,said Rubinstein the greatest lover of all time!

It is this act of love that we were witness to today with Benjamin Grosvenor in an astonishing display not only of pyrotechnics and breathtaking agility but of his palette of kaleidoscopic sounds that he could project out to his audience with devastating effect but that he could also draw in to him with the intimacy of a ritual of almost indecent seduction of the senses.

It was from the very first notes of Debussy’s ‘Après midi’ that we were made away of the luminosity of the flute solo that we know so well.Here was a transcription by a student of Clara Schumann that I have heard from lesser hands in rather black and white performances that made one wonder whether it was a necessary addition to the already saturated piano repertoire.Researching Leonard Borwick he was described as a poet of the keyboard,a painter of pianistic colours,he communed with beauty and saw visions.It was exactly this that could describe the magic that Benjamin Grosvenor conjured out of the piano today.A magic sweep of sounds-not individual notes – a sumptuous bass that gave an anchor to rays of sound that could float on a magic carpet of gold and silver.There were very precise clear sounds too as the woodwind added their individual sound world to this timeless beautiful landscape of radiance and slumbering beauty.

The mighty call to attention of Norma broke the spell with its rhythmic precision where even the rests became so ominous.A sumptuous bass accompaniment of transcendental octaves that became a shimmering accompaniment to the the glorious bel canto melodies of Bellini.Anton Rubinstein said the pedal is the soul of the piano and it was Benjamin’s wondrous use of the pedal that could convince us that there were many more hands and feet involved as Thalberg had done in the fashionable salons of the day .A way of floating the melodic line in the tenor register with swirls of arpeggios and scintillating scales all around.Like Paganini on the violin there was something superhuman and diabolic to the way the themes from the popular operas of the day could be transformed into an orchestra of breathtaking dimension by artists that were feted like the pop stars of their day.Benjamin Grosvenor created the same fervour and breathtaking excitement today with the sumptuous sounds of a truly ‘Grand ‘piano.There was never an ungrateful or hard sound in a recital that drew the pianist to the limits of technical funabulism.What control of sound that at the build up of tension could suddenly reduce the sound without changing the red hot drive.It meant that at the absolute climax he could still have the sumptuous full sound as the two main melodies combined in a moment of delirious passion ending with a virtuosity of breathtaking daring.I am reminded of the same mastery of Gilels who had us sitting on the edge of our seats in the Festival hall in London ,as he brought a relentless drive to Liszt’s Spanish Rhapsody with a grandeur of sumptuous sounds in a performance that like today will go down in history.

There was absolute clarity to each of the six pieces that make up Ravel’s ‘Le Tombeau.’ A golden stream of sounds in the ‘Prelude’with the occasional clicking of heels as it arrived at the final glowing trill ending.Deep melancholy of the ‘Fugue’ played with ravishing colour and remarkable architectural shape.There was a beguiling lilt to the ‘Forlane’ and a rhythmic energy to the contrasting ‘Rigaudon’.There was a beautiful flowing central episode of infectious dance on which Ravel – like Schubert – floated a magical outpouring of melody before the return of the Rigaudon.Subtle shading and beauty of the Minuet with its plain chant central episode was played with disarming simplicity.The Minuet just floated on top of this chant disappearing to a whispered trill on high.There was clockwork precision of the ‘Toccata.’Not just dry precision but something that was like a live wire of driving rhythmic impulse where again – like Schubert – Ravel has an outpouring of mellifluous beauty and radiance like a cloud lifting to show a ray of light as the toccata picks up momentum leading to the tumultuous final explosion of glory and excitement.

La Valse was truly overwhelming starting with the ominous opening rumble deep in the bass but with such clarity of line as streams of sounds of steamy decadence took over.A sophisticated elegance of a past era always with the insistent dance rhythm so clearly defined no matter how seedy things became.Breathtaking glissandi and tricks of the trade as the piece reaches the boiling cauldron with unbelievable technical demands of the player.Ravel obviously trying to outdo himself and Balakirev with the transcendental virtuosity that Liszt had led the way inspired by the Devil with a violin himself!

I remember Fou Ts’ong telling me it was easier to be more intimate in a big space than in a small one.Benjamin Grosvenor just proved how true that was as he barely whispered the sounds as we strained to hear.But like all great artists he has a diaphragm that can send the most intimate of messages to the front row of the hall but can project with the same intensity to the very last row in ‘Paradiso’ the ‘Gods’.A secret of only the greatest musicians that can feel the vibrations in their body and know that they will arrive safely to their destiny.I remembered too in this hall Raymond Lewenthal who appeared on stage with a lamp standard by the piano to give the appearance of an intimate salon as he played the ‘Moonlight’ and Chopin’s first Ballade,hoping to create the atmosphere of a Busoni,much to the perplexity of his agent Wilfred van Wyke Unfortunately it was not until he set the piano on fire with the Hexameron where fireworks started to fly with the same sensational performances of Liszt that had London at his feet with queues all around the Wigmore Hall.

Prélude à l’après-midi d’un faune (L. 86), was composed in 1894 and first performed in Paris on 22 December 1894 inspired by the poem by Stephane Mallarmé .It is one of Debussy’s most famous works and is considered a turning point in the history of Western Music .Pierre Boulez considered the score to be the beginning of modern music observing that “the flute of the faun brought new breath to the art of music.”

Debussy wrote :”The music of this prelude is a very free illustration of Mallarmé’s beautiful poem. By no means does it claim to be a synthesis of it. Rather there is a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. Then, tired of pursuing the timorous flight of nymphs and naiads , he succumbs to intoxicating sleep, in which he can finally realize his dreams of possession in universal Nature.^”

Transcribed for piano solo by Leonard Borwick

Leonard Borwick was an English concert pianist especially associated with the music of Robert Schumann and Johannes Brahms.His London debut was on 8 May 1890, at a Royal Philharmonic Society concert concert, in Schumann’s Piano Concerto . He performed it again in London on 12 June, and on 17 June in a concert for Hans Richter .He also played the Brahms D minor concerto which George Bernard Shaw called ‘a hash of bits and scraps with plenty of thickening in the pianoforte part, which Mr Leonard Borwick played with the enthusiasm of youth in a style technically admirable’. Shaw recommended that he should embark on recitals.Borwick played Brahms’s D minor concerto under Hans Richter in Vienna in 1891. Brahms himself was at this concert, and wrote to Clara Schumann that her pupil’s playing had contained all the fire and passion and technical ability the composer had hoped for in his most sanguine moments. Clara Schumann wrote to Professor Bernuth in Hamburg to recommend Borwick as ‘probably her finest pupil: I never heard the A minor concerto of Schumann nor the D minor of Brahms played better.’In 1921 he gave two recitals in the Aeolian Hall in March and April, which included his transcription of Debussy’s Prelude a l’apres-midi d’un faune (originally premiered for him by Mark Hambourg ).He is remembered as a poet of the keyboard, a great painter of pianistic colours, who possessed a very broad range of expression from the most delicate touch to a fire and resource of tonal depth greater than that usually associated with the Clara Schumann school. Plunket Greene remembered how he communed with beauty and saw visions, his reverence, quiet simplicity, and his avoidance of personal publicity. He made no gramophone records. The Royal College of Music awards a Leonard Borwick Pianoforte Prize to outstanding students.

Liszt undertook the challenge of diluting Bellini’s opera Norma into a 15 minute solo piano work in 1841. The work easily equals the dramatic impact of the original opera through Liszt’s dynamic and highly virtuosic writing. No less than seven arias dominate Liszt’s transcription of Norma which are threaded together to create a nearly continuous stream of music.The title role of Norma is often said to be one of the hardest roles for a soprano to sing, and this adds to the drama and intensity of the music. A brief summary of the opera has been described by Greg Anderson:

“Norma, a priestess facing battle against the Romans, secretly falls in love with a Roman commander, and together they have two illegitimate children. When he falls for another woman, she reveals the children to her people and accepts the penalty of death. The closing scenes and much of the concert fantasy reveal Norma begging her father to take care of the children and her lover admitting he was wrong.”

The complex music represents the tragedy woven into this story, which is perhaps why Liszt made the effort to transfer the challenges of this score into a piano fantasy. With cascading arpeggios, massive interval changes and dynamic changes at every turn, Réminiscenes is a true test of technical ability. The score is saturated with huge chordal movement, fast-paced cadenza sequences and a raffle of different tempo markings. Pianist Leslie Howard described the work as “a triumph of understanding not just of Bellini’s masterpiece, but of practically all the sound possibilities of the piano in Romantic literature.”

Le Tombeau de Couperin (The Grave of Couperin) is a suite for solo piano composed between 1914 and 1917. The piece is in six movements, based on those of a traditional Baroque suite. Each movement is dedicated to the memory of a friend of the composer (or in one case, two brothers) who had died fighting in World War 1.Written after the death of Ravel’s mother in 1917 and of friends in the First World War, Le Tombeau de Couperin is a light-hearted, and sometimes reflective work rather than a sombre one which Ravel explained in response to criticism saying: “The dead are sad enough, in their eternal silence.”Ravel stated that his intention was to pay homage more generally to the sensibilities of the Baroque French keyboard suite,not necessarily to imitate or pay tribute to Couperin himself in particular. This is reflected in the piece’s structure, which imitates a Baroque dance suite.

IPrelude in memory of Lieutenant Jacques Charlot IIFugue in memory of Jean Cruppi IIIForlane in memory of Lieutenant Gabriel Deluc IVRigaudon in memory of Pierre and Pascal Gaudin VMinuet in memory of Jean Dreyfus VIIToccata in memory of Captain Joseph de Marliave

The idea of writing a score on a great waltz occurred to Ravel as early as 1906 and in February he wrote to his friend Jean Marnold: “What I am undertaking now is not refined: a great waltz, a sort of homage to memory of the great Strauss, not Richard, the other, Johann. You know my intense sympathy for these adorable rhythms and how much I esteem the joy of living expressed by dance” After a short time the project began to take shape in the musician’s mind, so he thought of writing a sort of apotheosis of the waltz, a symphonic poem entitled Wien and dedicating it to Misia Sert , his friend and supporter Diaghilev listened to the composition in a version for two pianos performed by the author and Marcelle Meyer in the presence of Stravinsky and the choreographer Serge Lifar.The impresario, after the audition, declared that it was certainly a masterpiece, but it could not possibly be used for a ballet; according to Lifar, Ravel’s score for Diaghilev paralyzed any possibility of creating a choreography . Ravel, hurt by the comment, broke off all contact with the impresario.La valse soon became a popular concert venue work, and when the two men met again in 1925, Ravel refused to shake Diaghilev’s hand. The impresario challenged Ravel to a duel,but his friends persuaded Diaghilev to recant. The two men never met again. The manuscript of the piano version, which is actually the first version, albeit intended as a draft for the symphonic version, is kept in the Pierpoint-Morgan Library in New York.The temptation to “re-transcribe” for solo piano from the version for orchestra is however strong for all performers, and various pianists, starting with Thiollier , have introduced some small additions taken from the score into Ravei’s text. Glenn Gould thought that Ravel’s piano version was mediocre overall and prepared a transcription of his own ,very virtuosic and influenced by the style of Liszt. Gould’s transcript has not been published to date. But the problem he raised remains open:

Benjamin Grosvenor at the Wigmore Hall-a voyage of discovery with a seamless stream of golden sounds.

Concerto dedicated to Maria Teresa Cerocchi in the castle of Sermoneta last night.Mario Caroli and Pietro Ceresini flute and piano joined by Samuel Casale in Petrassi’s Dialogo Angelico for two solo flutes.As always this castle has resounded to the sound of music since the time of Szigeti and Menuhin.A tradition continued by the Cerocchi family whose impeccable musical taste has been the guiding light for these past 50 years

A fascinating programme with a discovery of a composer Amanda Maier with a sonata that could have been by Schumann or Mendelssohn but with an individual voice all her own.
Played by Caroli with his magic flute that became part of his being as they swayed together and moved like a wondrous ballet dancer bringing to life with vivid imagination a score that has lain dormant for too long .A pianist too that was very much his equal from the school of Perticaroli and Cappello weaving in and out of a musical discourse that was hypnotic and intoxicating.

A solo work too by Saariaho where sounds of every sort from an opening whispered. chant to which were added the sound of wind being blown into the flute before actual notes were allowed to appear and were used to create a special atmosphere from a composer who died only a short time ago.Of course the variations on ‘Trockne Blumen’ were played with brilliance and virtuosity by a duo that played as one such was their complete musical understanding with an extraordinary transcendental control of their instruments.The pianist playing with the piano lid wide open which gave great resonance without ever overpowering the flute.On the contrary it provided a shell in which the music could Iive and breathe with sublime beauty and harmony.A beautiful Barcarolle by Casella was another discovery of a work of lyrical beauty that contrasted with its partnered Scherzo of whirlwind energy.Another composer unjustly overlooked these days.Of course as one would expect from Casella there was a luxuriant piano part that was played with a subtle brilliance and colour that created a golden shell in which the live wire of a scherzo could weave its magic web undisturbed.

Petrassi ‘s twentieth anniversary celebrations this year included his ‘Dialogo angelico’ for two flutes.Not at all like the diabolical staircase by Ligeti that can regularly tie even the finest pianists in knots.

Here was a work of great beauty for two flutes starting on the left of two stands and working towards the right in such harmony and elegance that their final emergence into ‘fresh air’ came as a complete surprise as we watched them almost dance their way through the score with such florid shapes and movements.

Samuel Casale not only turned pages for the concert ,played in duo with Caroli but also the next morning played so beautifully at the funeral of Madam Cerocchi.

The priest had said that a church was for prayer not music (Bach would be very surprised to hear that) but did allow Samuel with his flute to enchant and enhance the rather dull performance by the priest!

I was not expecting to be so moved or entranced as I had come to pay hommage to a dear person that I have known for a lifetime.
But like everything in Sermoneta the hills are resounding to the sound of music …..and what music!
If music be the food of love ………and it will play on in the hands of Elisa Cerocchi the true spiritual heir to her extraordinary pioneering parents.Her spiritual heirs Tiziana Cherubini and family will ensure that the daily running of the Campus will go from strength to strength on such solid foundations of musical integrity and honesty.

Alfonso Alberti celebrations- The shadow of Dante in the magic garden of Ninfa

50th Anniversary of the Pontine Festival Foundation streamed live from Sermoneta and Ninfa

Mario Caroli has nearly superhuman skill, paired with extraordinary musical intelligence.”  — American Record Guide 

“He made a sound you wanted to drink in.” — New York Times 

“A musician whose possibilities are boundless.” — Le Monde de la Musique 

“The range of colour and texture that this outstanding soloist obtains is hauntingly beautiful.”  — The Guardian

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At the occasion of one of Mario Caroli’s recitals at the Société Philarmonique of Bruxelles, a critic remarked: “the audience was literally amazed by his technique, his power, his poetry and his musicality”, whereas his first recital at the Théâtre du Châtelet in Paris was called to be “of an amazing evocative power.”Mario Caroli appears regularly in the greatest concert halls of the world including the Philharmonic Halls of Berlin and Cologne, the Vienna Konzerthaus, the Royal Festival Hall in London, the Théâtre du Châtelet and the Opéra Garnier in Paris, the New York Lincoln Center (in the cycle of “Great Performers”), Oji Hall, Suntory Hall and Opera City House of Tokyo, the Parco della Musica in Rome, the Palais des Beaux Arts in Bruxelles, the Amsterdam Muziekgebouw.He plays flute concertos – from Vivaldi to Sciarrino, as well as Mercadante, Ibert or Jolivet – with the Orchestra Sinfonica Nazionale della RAI, the Philharmonia Orchestra (London), the National Orchestra of Belgium, the Orchestra of Radio Cologne (WDR), the Orchestra of the Stuttgart Opera Theatre, the Orchestra of the Rouen Opera, the Philharmonic Orchestra of Stockholm, Les Percussions de Strasbourg, the Ensemble Contrechamps of Geneva, the Neue Vocalsolisten Stuttgart, the Schola Heidelberg with conductors like Pierre Boulez, Peter Eötvös, Heinz Holliger, Christian Mandeal, Kazushi Ono, Pascal Rophé, Oswald Sallaberger.Mario Caroli also obtained a university degree in philosophy (summa cum laude, with a thesis on Nietzsche’s “Der Antichrist”) and has a passion for poetry, cinema and psychology. This cultural interest supports his attempts to renew and revitalise the traditional views on the instrument and its repertoire. Going beyond the great canon of the historical flute repertoire, Mario Caroli became a preferred soloist for some of the greatest composers of today. He is the only contemporary flutist having performed on monographic concerts the complete works for the flute by Sciarrino, Ferneyhough and Jolivet. Interpretations of a stunning virtuosity, phantasy and energy which made critics call him a “phenomenon”.His scenic appearance was often a subject of critics: “Tall and elegant, he seems to be a figure by El Greco, with a total mastery of his instrument” (Muzsika, Budapest). Others wrote: “He played fairly rocking out in ecstasy, and one could only look in an incredulous stupor” (Musicweb international, New York), “A musical gesture elegant as well as sensual, he gave a concert which doesn’t allow any objection” (Diario Basco, San Sebastian).His discography contains approximately twenty titles. The recent recordings of works for flute by Jolivet (“one of the best performances heard in recent months – maybe even in a few years”, American Record Guide) and by Sciarrino were received with the highest possible acclaim: “Diapason d’or” (Diapason), “Recommandé” (Répertoire), “Coup de Coeur de l’Académie Charles Cros”, “A!” (Anaclase), “Eccezionale!” (Musica), “Best recording of the year” (Musicweb international), “Best CD of the month” (Amadeus and CD Classics). His recordings and concerts have been broadcasted by radio and TV stations thoughout the whole world.Concerning his didactic activities, Mario Caroli has given masterclasses and worked as an artist in residence at prestigious institutions like Harvard University (where he was invited to hold the FROMM-residency between 2007 and 2008), Toho College (Tokyo), the Sibelius Academy (Helsinki), the Centre Acanthes (Paris, Metz) or the Conservatoire Superieur of Geneva. After having been teaching for 17 years at the Académie Supérieure de Musique de Strasbourg, the city where he still lives, Mario is holds the chair of flute at the Hochschule für Musik in Freiburg (Germany), whose prestigious fluteclass is recognized worldwide. At the occasion of one of his recitals at the Société Philarmonique of Bruxelles, a critic remarked: “the audience was litterally amazed by his technique, his power, his poetry and his musicality”, whereas his first recital at the Théâtre du Châtelet in Paris was called to be “of an amazing evocative power.” A cosmopolitan and polyglot artist, Mario speaks fluently in six languages.

Pietro Ceresini graduated from Conservatorio di Parma (Prof. R. Capello), Accademia di Santa Cecilia (Prof. S. Perticaroli) and Musikhochschule Lübeck (Prof. Sischka). He performed numerous recitals and concerts.Prizes: J. S. Bach Geneve (2004); A. M. A. Calabria (2006).Pietro Ceresini inizia lo studio del pianoforte all’età di sei anni e a sette si esibisce già presso il Teatro della sua città. Dopo gli studi con R. Cappello presso il Conservatorio A. Boito di Parma, in cui si diploma con il massimo dei voti, lode e menzione d’onore e laurea con indirizzo musicale, si diploma a Roma all’Accademia di Santa Cecilia con S. Perticaroli e si perfeziona con P. Bordoni e F. Gamba. Nel 2009 consegue a pieni voti il diploma di Composizione, prima di trasferirsi in Germania dove intraprende il corso Master a Lubecca nella classe della Prof. K. Eickhorst e successivamente a Friburgo, in cui conclude lo studio post-laurea con eccellenza nella classe del Prof. C. Sischka. Vincitore di concorsi nazionali e internazionali si è esibito presso istituzioni prestigiose come l’Auditorium della Conciliazione a Roma, il Teatro Farnese di Parma, La Casa della Musica a Parma, i festival pianistici di Spoleto (Teatro Caio Melisso), Misano Adriatico, il Festival Pontino di Musica, al Centro de musica de Belem a Lisbona e presso la sala concerti dell’Istituto Italiano di cultura di Strasburgo. Ha suonato il Concerto in re minore di Mozart KV 466, a Lübeck si è esibito nell’ambito del Festival “Kunst am Kai” nella Fantasia per coro e Orchestra op. 80 di Beethoven. Ha tenuto concerti con l’Orchestra Sinfonica Nacional in Perù a Lima con il Concerto n. 5 di Beethoven, con l’Orchestra Filarmonica Arturo Toscanini con il Concerto n. 2 di Liszt, a Lamezia Terme presso il Teatro Grandinetti con la Filarmonica Mihail Jora; con l’Orchestra della Musikhochschule di Friburgo è stato protagonista di un’applaudita esecuzione del Concerto n. 1 di Čajkovskij. Nel 2021 ha eseguito il Concerto di Grieg con l’Orchestra A. Vivaldi al Teatro Filarmonico di Verona e al Teatro Sociale di Sondrio. In Germania è ospite in veste di solista e in formazioni cameristiche di diverse istituzioni concertistiche, quali Gesellschaft der Musikfreunde Bremen, Neckar Musik Festival, Jahrhundertswende Gesellschaft presso Kammermusiksaal der Musikhochschule Köln, Mendelssohn Institut Berlin, Villa Eschenburg Lübeck, Brigitte Feldman Saal Schwerin, Theater Kiel, Kongresshaus Heidelberg. Ha effettuato numerose registrazioni radiofoniche in diversi paesi (Antena 2 Portugal, Radio 3 e Radio Classica Italia, NDR Podium der Jungen Amburgo e Kiel, Germania). Attualmente detiene una cattedra di pianoforte presso la Musikhochschule di Freiburg (Germania) e il Tiroler Landeskonservatorium Innsbruck (Austria).

If you have not heard of Amanda Maier (1853-1894), you are not alone. A celebrated violin soloist and composer during her lifetime, Maier was all but forgotten in death. (This was a common, if unjust fate among women musicians, who were largely ignored by music scholars for most of the twentieth century.) Today, however, Maier’s popularity is making a comeback, and rightfully so! Researchers and performers, predominantly in Sweden and the Netherlands, have become enamored with Maier, resulting in new publications and performances of her music, and renewed efforts to find her lost manuscripts. There have been only a few performances of her works in North America, where Maier remains a relative unknown.

The Library of Congress Music Division holds published scores of two works by Swedish composer Amanda Maier (1853-1894): Sonata for violin and piano in B minor (Musikaliska Konstföreningen 1878) and piano Quartet in E minor (Donemus 2010).

Amanda Maier was born in Landskrona, Sweden, on February 20, 1853. Her father taught her violin and piano when she was a child and, showing great musical promise, she enrolled at the Kungliga Musikaliska Akademien in Stockholm at age sixteen. In Stockholm her principal instrument was the organ, but she also studied cello, piano, violin, elementary singing, composition, counterpoint, harmony, instrumentation, and history and aesthetics of music. When Maier graduated with top grades in 1873, she became the first woman ever to earn the title of Musikdirektor (Director of Music) from the institution.

In 1873 Maier moved to Leipzig to pursue further studies in violin and composition. Among her teachers were Engelbert Röntgen (concertmaster of the Gewandhaus orchestra), Carl Reinecke (director of the Gewandhaus orchestra) and Ernst Friedrich Richter (professor of harmony and counterpoint at the Hochschule für Musik and cantor of the Thomasschule). In Leipzig Maier spent her time studying, composing, and performing, and nearly every evening she participated in some sort of musical activity. She attended many concerts, sat in on rehearsals of the Gewandhaus orchestra, and frequently participated in musical soirées, where she socialized and collaborated with the city’s finest musicians.

Maier’s career as both violinist and composer flourished in the 1870s. Most of her compositions were written during this decade, and she performed frequently in both Germany and Sweden. Some of her most notable performances include those of her own violin concerto: with the Gewandhaus orchestra in Leipzig, for King Oscar II in Malmö, and at the Royal Theatre in Stockholm, all in 1876. In the summers of 1874 and 1876 Maier and her colleague, soprano Louise Pyk, performed many concerts in southern Sweden. In 1878 and 1879 they were joined by pianist Augusta Kjellander for much more ambitious tours that took them farther north and into Norway in 1878, and to St. Petersburg and Finland in 1879. Maier’s performances were well received. Reviews were positive, and in her diaries she often wrote of numerous curtain calls, dozens of bouquets of flowers, and requests for future performances. Maier was a celebrity in the Swedish press, which followed her whereabouts and reported rumours about forthcoming compositions in addition to concert advertisements and reviews. It was reported that in 1878 Maier declined an offer of an extensive tour in the United States.In Leipzig, Maier grew close to her violin teacher’s son, the pianist and composer Julius Röntgen .Maier and Röntgen spent many evenings playing music together, including each other’s works-in-progress. They were engaged in 1876 and were married in Landskrona in 1880. The pair settled in Amsterdam, where Röntgen had been teaching for two years, and where he later led a number of musical organizations. Maier’s career, in contrast, declined significantly. She very rarely performed in public, and composed much less. She did however continue to participate in social musical evenings, where she had the opportunity to collaborate not only with local musicians, but guests to the city, such as Brahms,Grieg and Anton Rubinstein.Maier suffered a series of health problems that undoubtedly contributed to the decline in her musical activities. Throughout her adult life, she suffered from difficulty with her eyes, often leaving her bedridden for days at a time. Between the birth of her two sons (Julius in 1881 and Engelbert in 1886), Maier suffered three difficult miscarriages, and shortly after Engelbert’s birth, she fell ill with pleurisy, the first encounter with the illness that would eventually take her life. Despite several rest cures in France and Switzerland, and tranquil summers spent in Norway and Denmark, she never fully recovered. Maier died in her sleep on June 15, 1894.

Kaija Anneli Saariaho néeLaakkonen; 14 October 1952 – 2 June 2023) was a Finnish composer based in Paris, France. During the course of her career, Saariaho received commissions from the Lincoln Center for the Kronos Quartet and from IRCAM for the Ensemble Intercontemporain, the BBC, the New York Philharmonic, the Salzburg Music Festival, the Théâtre du Châtelet in Paris, and the Finnish National Opera, among others.[1] In a 2019 composers’ poll by BBC Music Magazine, Saariaho was ranked the greatest living composer.[2]

Saariaho studied composition in Helsinki, Freiburg and Paris, where she also lived since 1982. Her research at the IRCAM marked a turning point in her music away from strict serialism towards spectralism.Her characteristically rich, polyphonic textures are often created by combining live music and electronics.

She found her teachers’ emphasis on strict serialism and mathematical structures stifling, saying in an interview:

You were not allowed to have pulse, or tonally oriented harmonies, or melodies. I don’t want to write music through negations. Everything is permissible as long as it’s done in good taste.^[3]

Please forward to Thomas Kelly.

Dear Thomas,

I was one of many at Friday’s performance in Deal.   I explained that I was wife of a trustee of the Keyboard Trust.   My brief word with you did not not do you justice.

Your recital was absolutely terrific and most uplifting.

You have the ability to create stillness in yourself as brilliance flows from you head through your hands to the piano with which you are in perfect combination and harmony.

You are the quiet performer who can achieve what you do you do – allowing the genius of the composer to pass through your own quiet presence to the audience.

This was especially apparent for me in Rachmaninoff where articulation of every note and thought of the composer could not be missed.   And then to be followed by Paganini as an encore – remarkable !!

As someone living near to Canterbury I so wish that I could have been present when – already years ago – you started what is an established career with a magnificent future ahead.

My husband Geoffrey – the trustee – returned from necessary absence abroad yesterday in the evening and was really unhappy at not being able to hear you live.  Instead, he reminded himself via YouTube or similar of some of your stunning publicly available recordings to date.

You brought real pleasure to many, and to me last week.

Thank you

Best wishes

Philippa (Nice)

It was a totally entrancing performance – all issues of music and piano presented in complete harmony with ease and passion. I don’t often manage to get to hear you live, and certainly this was an inspiration on every level – heartfelt thanks for what you do, it’s very special (and please quote me on that!) Andrew Charity

Quite a few have asked for a copy of the tribute I gave at Niel Immelman’s funeral yesterday. As it seemed to go down so well, I reproduce it here:

I should start by saying that Niel Immelman never missed a birthday of mine and, God bless him, he’s managed not to miss today’s, either (!)

We first met in 2005 at the Oxford Piano Festival when I played the Second French Suite of Bach for him in the oak-panelled Recital Hall of the Faculty of Music. My first memory was of a tall, rather formidable-looking man in a dark suit and tie, with the scent of his Marlboro cigarettes never far away, grinning benevolently at me from the second piano: of course, Niel Immelman.

There is little I remember about that particular masterclass today but I remember thinking at the time it was clear I would end up studying with him one day. Two years later he was already a close friend and embodied absolutely every quality required of a mentor – unerringly kind, caring and supportive — and especially so of my exploration of unfamiliar repertoire, providing guidance and encouragement when I found little elsewhere. Every work I brought to him was treated with equal seriousness; be it a Sonata of Beethoven or a Fantasy of Thalberg; an Etude of Alkan or a Tale of Medtner: all were given due attention and none escaped his ability to penetrate the core of each work. As a teacher, he seemed to have that uncanny knack of being able to address multiple issues in one fell swoop with a single word or gesture somehow tying up the loose ends. He wasn’t all softness, of course, and could be appropriately spiky if need be. I remember one particular lesson where, on reflection, I was being distressingly wilful with the finale of a Haydn Sonata and was, quite rightly, taken to task for it. Imagine my surprise when I received a ‘phone call from him that night, apologising for having been so hard on me — “But you were quite right – it was far too fast”, I protested, but he insisted he’d been too hard and wanted to apologise.

Humility and modesty closely related. Few of us had any idea that he was busy preparing for a recording of the piano music of Novák. I only caught wind of the project on espying the scores, neatly annotated with fingerings, on the music desk of the second piano in hie teaching room, Once I discovered it had already been released in 2008 I asked why he never mentioned it – “Oh, that’s not my style”, he retorted… I later discovered his joyous survey of the complete piano music of Suk and it was only really then that I realised the true measure of what he was like as a pianist. Indeed, these recordings remain a valuable testament of his artistry.

His modesty as a musician sometimes resulted in hilarious (if terrifying at the time) consequences. He once recounted a tale of having played a joint recital with a colleague at Lake Placid, U.S.A., and after what they both felt was an especially successful evening of music-making, his colleague was keen on counting out how much money they had both made over a well-deserved libation. “Oh, come on, man, this is so vulgar – we played well – let’s just forget about that for now and enjoy the rest of the evening.” And so saying, he proceeded to deposit the evening’s plunder into a vase for safe-keeping as they whiled away the night hours. Of course, what he hadn’t considered was that while the vase contained no flowers, it did, however, contain water (!) so one can imagine their collective horror on upturning the said receptacle and beholding a deluge of foul water issue forth and a sodden bundle of dollar bills and banker’s drafts (ink running!) plopping onto the table.

Humour was never far away in and out of lessons and he invariably displayed that valuable asset of making light of things. I remember one particular occasion when, after having tripped and broken his wrist in the process of moving his hifi, he resorted to donning a black leather glove in order to restrict movement and speed up the healing process. Approaching the music desk of the first piano, black-gloved hand awkwardly clutching one of his 2B pencils, he gently reassured me with the words: “Now, this is not as sinister as it looks…”

Similarly, he was not averse to making light of himself, either. He once recalled an incident which happened many years ago when he made some recordings for Greek television which necessitated a session in the make-up artist’s chair. Once filming was complete, he decided, despite the intense summer heat, to walk back to his hotel, rather than take a taxi. En route, he couldn’t help noticing some rather odd glances from passing pedestrians. Thinking nothing of it, he decided to take refuge from the Athenian sun at the Hilton Hotel where he stopped for a Coca-Cola, This necessitated a trip to the restroom and it was only when looking in the mirror that he realised the source of consternation on the faces of the general public: the liberal daubing of make-up he had been given for his television appearance hours earlier had run down his face in rivulets under the intense mediterranean heat — “It was like ‘Death in Venice'”, he chuckled to me. 

His sense of humour often spilled over into music, as well, I remember one occasion, when ascending the lift to begin one of our lessons, a guitarist was playing something alluring and Spanish in the stairwell – “Such a friendly instrument”, he purred with the munificence of a tiger full from its last meal. On another occasion, when I played him the Chopin Fantaisie-Impromptu, I hurled down a bass D flat at the start of the middle section when he said “No, I don’t think that’s appropriate.” “But, are you sure?”, I bravely enquired – “I just feel it needs it…” Then, in a flash of reckless abandon: “Oh, why the hell not?!” I’ll never forget that mischievous twinkle in his eye or his subtle way with words.

They say one never quite realises what one has until it is gone and, in many ways, I agree. Though somehow loss and grief also compel us to quantify what a person meant to us with greater clarity and, as such, one grieves each attribute of the person in stages. I am sure I speak for many of us when I say that, aside from the immediate shock of losing an invaluable mentor with whom I could run by a recital programme or ask about ‘that’ bar in a Beethoven Sonata, I have also lost an esteemed colleague with whom I could discuss the various practicalities of teaching. And yet, greater still, I have lost a friend and confidant who was always at the other end of the ‘phone to lend a sympathetic ear and offer friendly and impartial advice: in short, a father figure. And whether we are comfortable with the notion that the end of this life ushers us into easeful oblivion or take solace that flights of angels sing us to our rest – though I’m sure he would have eventually tired of all those harps (!) – we can all, collectively, take comfort in the sure and certain fact that Niel shall live on in our hearts, minds, and for many of us, our fingers, as we continue our own paths in the lives we have ahead of us, passing on his wisdom through teaching, his insight through playing, and his generosity of spirit through living out the example he set to us all.

Thank you.

Rest eternal grant unto him, O Lord: and let light perpetual shine upon him

Mark Viner at St Mary’s Faustian Struggles and Promethean Prophesies

I was so sorry not to be in the UK to say goodbye especially as the service took place at the end of my road in Kew .Peter Bithell had become over the years a very close friend of Niel .Peter ,Tessa Nicholson and I had been very close friends in our student days before I followed my heart and left the UK for theatre life in Rome.It was Niel who I remember so well in the 70’s before my RAM student days when we were Rubinstein Groupies.Wherever Rubinstein played there was sure to be Niel.I remember very well a recital at Eton College for the Menuhin Windsor Festival where the whole audience was in tails so when Rubinstein appeared on stage no one took much notice……..except when he started to play.I was still at school when I discovered free concerts at the Royal College near enough to my home in Chiswick to frequent almost daily.There were all the marvellous students of Cyril Smith of which Niel,George Barbour,Frank Wibaut,Dennis Lee** were the stars .John Lill,not a student of Smith,made his debut at 17 with Rachmaninov 3 with the big cadenza.It was widely reported in the press as ‘greater than Ogdon’.But there was George Barbour and Dennis Lee both playing Brahms 2 all with Sir Adrian Boult with his extra long baton that transmitted such magic between his sergeant major look and the message he transmitted to the students.George Barbour made his London debut with Beethoven op 126,111,120 sponsored by a wealthy philanthropist who lived in Mayfair and used to collect piano lessons (my old teacher Sidney Harrison gave him a lesson as did many others).He was at the door of the Wigmore to make sure that we all really appreciated his star prodigy!George became the duo Rostal and Schaffer ,heirs to Gold and Fitzdale.I well remember the solidity and beauty of Cyril Smiths students and of course Niel was very much to the fore.The film ‘Shine’ was obviously based on Cyril Smith and the performance of John Lill of the elusive Rach 3!David Helfgott though was nowhere around but Niel and the others certainly were stars in that period.Niel was the only pianist I saw at all the most important recitals in or around London and it was obviously his acquiring of good taste that he transmitted to all his students.Mark and Tyler Hay in particular I have noted the tradition being passed down to his disciples.I last saw Niel at Andrew Ball’s commemoration concert in April and he looked as though he had suffered a lot from doctors over zealous hands.I saw him again just a few weeks ago as I was listening to one of the final recitals at the RCM and he was just leaving after a full days teaching. I mentioned to Tessa how he seemed to have suffered so much ,curved with a stick,but she assured me that he still had a full class of students and that they regularly discussed music as they had for a lifetime.The next I knew was a telephone call from Peter Bithell to ask advice about a place where friends could congregate after Niel’s funeral cremation .The Ship I told him and hope they all sailed in it and toasted this gentle ,oh so modest giant who had selflessly given so much to so many.Tyler practicing Chopin studies in my house nearby at 7am determined not to miss the farewell to his mentor but to give always of his best to his public that evening as Niel had always taught him .

A celebration of the life of Andrew Ball -‘The thinker pianist’ at the R.C.M London

** Just went to a funeral today, saw Frank Wibaut there – Dennis Lee a Malaysian pianist suddenly passed away…he was the very first Malaysian pianist outside of Malaysia… Frank Wibaut is looking very thin, in ill health…..so it seems like a lot of musicians are not in great health… I knew him well I heard him often at the RCM even Brahms 2 with Sir Adrian Bouit he and his wife went to study with the Rumanian teacher of Radu Lupu

Frank I got to know at Dartington he was star student of Cyril Smith ….he had a lovely wife who was a radio presenter but they split up I believe 

When did Dennis Lee die I have not heard of him since maybe he went into teaching like Frank in some important college ?Is there an obituary ? Dennis died on the 14th April, around two weeks ago…he recorded some solo Debussy recently I think, but mainly played and taught together with his now-widow over the years…they travelled to Asia together quite a lot, and did some duo things in Canada and America…I think he was a teacher at Kingston University and also did some work for the Associated Board……..in the general piano circle here in London, Dennis is not really that known, but in Malaysia he is still held in high esteem that sort of thing…

Actually, I was e-mailing this guy Lee Kum Sing about yesterday’s funeral, Lee Kum Sing lives in Vancouver and his latest prodigy is apparently Ryan Wang, Yisha went to Louis Vuitton hall in Paris to watch this kid’s concert……Lee Kum Sing, Dennis Lee and a couple of others were sort of musical pioneers from South-East Asia that kind of thing…

Alberto Portugheis writes:’Moving. I couldn’t agree more with Mark’s warm words. I first met Niel 52 years ago, in 1971. I was happy to help promote his superb recordings of Suk’s complete piano works with a lecture-recital chez moi. (It then only had one piano and room for an audience).’ https://christopheraxworthymusiccommentary.com/2023/02/23/alberto-portugheis-a-renaissance-man-goes-posk-to-celebrate-the-213th-birthday-of-fryderyk-franciszek-chopin/