Festival Theatre, Malvern – 27th October 2024
Reviewed by Courie Amado Juneau
5*****
Malvern Concert Club once again gives the gift of another sensational musical evening’s entertainment at Malvern Theatres. Tonight it’s The Nash Ensemble in a varied programme spanning the Classical to 20th Century eras, coupling three undoubted Masters with two lesser known composers…
The evening began with Beethoven’s Piano Quintet in E flat Op.16 (1796), inspired by Mozart’s earlier quintet, the majestic tutti opening was like a fanfare before the piano takes over. Great shifts in dynamics and tempi typify Beethoven’s music and with all the florid runs and decoration it’s a wonder pianist Alasdair Beatson’s fingers didn’t get tied in knots – especially in the 3rd movement Rondo! Richard Watkins on Horn also gave us some lovely fast passages that thrilled me in the opening movement, wonderfully displaying both the composer’s genius for part writing and Mr Watkins fabulous musical technique.
Poulenc’s Trio for piano, oboe and bassoon (1926) next, with a lamenting (between the wars) melancholy inhabiting the opening before the performers join together in a playful theme like a summer fete in defiance of the impending war. The second movement’s folk song like reverie was reminiscent (to me) of Benjamin Britten. Rather wonderfully dreamy.
After the interval, Ibert’s Trio for oboe, clarinet and bassoon (1935) gave us a jaunty work that took my mind on a journey watching a family go to church one summer morning, enjoying the plainsong chant at church, before the return home with the children running on ahead followed by their parents and, finally, all bursting into their home excitedly telling the grandma who could not go of their adventure. A beautiful combination of instruments that blended wonderfully to give a kind of organ feel but with each still voice being distinctive! I particularly loved the low bassoon notes that were highly comical, played with élan by Bassonist Ursula Leveaux.
Stravinsky’s Three Pieces for solo clarinet (1918) gave Richard Hosford the chance to take centre stage in this thrilling early 20th Century piece. What a rare treat to hear this virtuosic work. The second piece reminded me of birdsong; or, to be more precise, a dawn chorus of several birds. And the finale sounded like the type of music one would hear in a Chaplin film. With some rapidly fluctuating time signatures and phrases that almost defy previous compositional styles in a deliberately uber-modern frenzy, I’m sure that some may find this a challenging addition to the programme but I (and my companion) both thought it the best piece of the evening.
And finally, Mozart’s Piano Quintet in E flat K452 (1784) – with Mozart one knows what you’re getting; with beautiful structures, logic and graceful precision throughout. The Nash’s did not disappoint, especially Gareth Hulse oboe and Richard Hosford clarinet which intertwined to thrilling effect, amply displaying what a tightly drilled unit the ensemble are! What a rousing rendition.
The ensemble thrilled all evening with their masterful, musically sincere interpretations. Their skill was particularly evident in the openings of tutti phrases and passages where they played in rounds, weaving their lustrous lines around each other – showing a gloriously joyful musicality. Bravissimo to all concerned. As ever, I eagerly await the next concert in the season.