Standing ovation for soloists who tackled demanding pieces with aplomb

ON Saturday, five young soloists were drawn together in a recital programme which promised a rich variety of repertoire in the fabulous acoustic of St Mary’s Church in Hurley.

With the mastery and support of Nigel Wilkinson as accompanist on a superb Yamaha grand piano, they delivered a concert of the highest technical and musical quality, rivalling anything in the professional concert hall, and displaying prodigious talent in people so young.

Alice Mackenzie on bassoon displayed impressive technique in two stylistically contrasting pieces, one contemporary by Oleg Miroshnikov and one from the 19th century by Franz Berwald. The Miroshnikov demanded nimble articulation and virtuosity, and the Berwald, the more demanding piece, musicality and superb voicing of an instrument which is difficult to manage.

Alexander Crawford, aged just 15, offered three contrasting pieces on the organ which in Hurley was sited behind the audience in the west end gallery.

The baroque counterpoint of Francois Couperin was impressively displayed, and the subtle and mellow allegretto from Mendelssohn’s fourth organ sonata provided a contrasting piece, although this sounded a little tentative on this instrument.

But his tour de force was a magnificent rendering of Olivier Messiaen’s Joie de Clarte, a soundscape of shimmering textures and intricate rhythmic patterns, which unfolded in a kaleidoscope of colours and emotions — technically and musically highly demanding.

To finish the first section, Eleanor Holmes on violin played the Beethoven Romance in G. This piece starts with the soloist on her own double stopping the first phrase — a challenge for the very best violinists, which she accomplished brilliantly.

The rest of her recital continued to display wonderful musicianship. Her second piece, the Caprice étude en forme de valse by Camille Saint-Saëns, arranged by Eugene Ysaye, was a display of extraordinary quality, technically faultless with impeccable tuning, and expressive phrasing and delivery.

To start the second half, Elisabeth Cullen presented a programme of six short songs in four languages, ranging from extracts from Handel opera, lieder from Franz Schubert, and art songs from Claude Debussy and Ivor Gurney.

All were acquitted with great character, articulation and expression, and Elisabeth’s clear soprano voice bloomed and resonated magnificently in the acoustic of the church, especially her higher register which she delivered with ease.

The final contributor was Ryan Wang, a 16-year-old pianist currently studying at Eton College and at the École Normale de Musique de Paris. He was playing just one piece — the Reminiscences de Don Juan by Franz Liszt. This is a virtuosic transcription of themes from Mozart’s Don Giovanni, technically and physically demanding, while also requiring great musicality in its delivery. This performance was extraordinary in its power, technical impressiveness and musical sensitivity. Ryan displayed stunning dynamics, articulation and phrasing, all heard in precise detail around the church.

This was an exceptional concert, and there is no wonder that the audience gave these young people a standing ovation. The standard has now been set for a future festival, and this concert promises to be one that no one should miss.