This is where you will find previous year's news and reviews.

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Hebrides Ensemble 15 March 2003 Sponsored by BP

It is no secret that the performing arts rely on and have always relied upon, subsidies and sponsorship. And it is because of sponsorship, in this instance from BP Grangemouth, that the Arts Guild was enabled to conclude its season's programme with a most impressive concert given in the Academy theatre by one of our country's top-ranking groups of musicians, the Hebrides Ensemble: Lesley Hatfield, violin; Catherine Marwood, viola; William Conway, 'cello; Peter Evans, piano; Neil Fellows, horn; all artists of international renown. The virtuosity of such a group can be taken for granted and was certainly on display, the large audience being treated to a musical experience of the highest order.

The first work performed was Zoltan Kodaly's Duo for Violin and 'Cello. The construction of this three movement piece can be coldly analysed in formal terms, but what emerged in performance was an improvement on that; the instruments were clearly conducting a lively variety of conversations, discussions, sometimes almost violent arguments, and agreements. A bit of a change from his folksongs from Galanta. The second work was less familiar and very intriguing; Gyorgi Ligeti's Trio for Violin, Horn and Piano. Not often do we hear the horn being given such a tricky and specialised part to play, especially in the first slow movement where it subtly harmonises with the violin, or in the second, lively movement where it free-floats around the compelling ground-bass of the piano; or in the remarkable third movement, where, unexpectedly, it elides with the powerful staccato of violin and piano, then comes in, emphatically, to comment on the sudden, brief, and surprising silences. The fourth movement almost defies description in words, opening with a slow, reflective passage in high register of violin and horn developing into a tense contrasting of tempi and tone, with the piano practically growling in the deepest of notes, and the horn fading the piece out with a sustained note in the same register set against the highest note of the violin. The final item on the programme took a step backward in time, with Brahm's Piano Quartet in G minor. Comparison with the previous two works is revealing; it could be said that it showed where Brahms was heading for, and where Kodaly and Ligeti came from. Four movements, all worthy of comment, particularly the playing of viola and violin in the second; the viola in the third contrasting with the immediately preceding march; and most decidedly the wild gypsy abandon of the fourth. All in all, a great ending to a successful Arts Guild season.  RWS.

Alison Smith 1 March 2003

The performance given by the distinguished Classical guitarist Alison Smith at the Arts Guild's concert last Saturday evening might be summed up in one word: enthralling. Why? A combination of factors, with perhaps the main one being Alison's sheer virtuosity. In a programme of works which require an astonishing range of technique, this virtuosity shone through.

First came a cheerful selection of dances from the 16th century, from Michael Praetorius's "Terpsichore", where we were alerted, among other things, to the beautiful tonal quality effortlessly produced in both high and low registers. A selection quite different in effect, and yet the same in that it was dances, followed; sarabandes and gavottes from J.S. Bach's Suite BWV 995. Now this like the Praetorius, is a work not composed for solo guitar, and therefore makes unusual demands on the guitarist; it was performed to perfection. Then a most intriguing work by 20th century German composer H.W. Henze, his "Drei Tentos", a composition built round subtle musical contrasts; very teasing. The next item "Autumn Embers" by P.R. Buttall (and dedicated to Alison) was a complete change; a dramatic, reflective work in conventional approach which certainly fulfilled the promise of its title. A switch of atmosphere again in Piazzola's "Death of the Angel", where a deceptively calm devotional opening moved rapidly to a climax easily described as frightening.

The first work after the interval comprised two Etudes by Villa Lobos, Nos. 11 and 7. Like the Bach dances, breathtaking in the demands made upon the performer; like the Bach dances, stunningly played. (No. 7 contained a lovely melody in descant.) Change of mood and style in the next item - and of place. From Japan, with a classical European format of theme and variations, but with the theme Japanese traditional music; Y. Yocoh's "Sakura", delicate and dainty. The mood changed again with the modern Cuban composer Leo Brouwer's "Praise of the Dance", a work which, in its unexpected deployments of practically every musical technique - the basic melody almost literally danced about - had Alison demonstrating even more mastery of her instrument. Variety followed yet again, sweetness and calm with Angel Barrios's Barcarola and "An Alms for the Love of God", this latter involving marvellous right-hand work. The concluding work, Moreno Torroba's three-section "Sonatina" was, as is proper for the guitar, Spanish; beautifully melodic and rhythmic, with the final Allegro particularly lively, light, and humorous, this set off by powerful low register chords of remarkable tone. The audience - the Kirk Hall was packed - justifiably demanded and received an encore. RWS.

Season 2002/2003 opening concert - Mugenkyo Taiko Drummers

Last Saturday evening (28 September 2002) in the Academy Hall, the Arts Guild opened their season with a concert featuring the Mugenkyo Drummers, which was rich, rare, astonishing - and hugely entertaining. Rich in staging and choreography; rare in its presentation of the culture of a society not that of Europe - Japan; astonishing in the range of musical expression which seemingly simple instruments, drums, tiny cymbals, gongs and a small flute, can produce. Themes of the individual pieces varied from solemn religious adoration to frenetic violence, including the enactment of folk-legend and the representation and invocation of nature's forces in daily life. And all the techniques of music were employed; rhythm predominated, naturally, but, through the differing tonal qualities of the drums, melody and, curiously, harmony were present. Dramatic contrast was most effectively and subtly employed. Between sound and silence; the steady shimmer of the gongs and the multiple variations of the drum-rhythms; the deep thunder of the giant odiako drum and the high pitched chatter of the tiny shime drums. "Chatter" is appropriate; the little drums sounded on occasion like a human voice talking. Not in our language, of course, but this doesn't matter; this was all music, where language is not really needed.

Built into the performance - an essential, as we were informed - is the ebullient athleticism of the performers, itself a dramatic contrast with moments of meditative repose. There was impressive co-operation and teamwork, for the tremendous energy on display was impressively and faultlessly timed and co-ordinated, the most complex of rhythm-patterns - with the drums really beaten - being executed by a group playing with no score and under no conductor, a unity and integrity almost magical, and which renders comment on the contributions of the individual members unnecessary. A magic which extended well beyond the stage, evident when the large audience was invited to participate in the concluding "Festival" piece and in the prolonged demands for curtain calls and encores. The Mugenkyo group gave us something memorable, fascinating, invigorating, - and intriguing.

Bob Smith

Belcea Quartet Saturday 26 October 2002

Like all major pre-Reformation churches, St Michael's Parish Kirk was designed with one purpose in mind: music. The perfection attained by the nameless architects of long-past centuries was demonstrated at the Arts Guild's concert last Saturday evening when its accoustics combined to produce another display of perfection, the Belcea Quartet's performance of string quartets by Haydn, Bartok and Beethoven. To be aware of this Quartet's reputation is one thing: to hear them in performance is to realise that words are not enough.

The Quartet is the standard string quartet, two violins (Corina Belcea and Laura Samuel); viola (Krzysztof Chorzelski); and 'cello (Alasdair Tait). Now, a composer's greatness is said to be found ultimately in the string quartet; this greatness to be matched by the performers, and there is not the slightest doubt that the integration was achieved. They began with Haydn's Opus 50, No. 6. This work is deceptive. In its opening mellow smoothness, it seems typically cheerful Haydn, and in the lively third movement there are hints of folk-dances; yet this quartet has a depth and power, subtly brought out here by the 'cello, especially in the interchanges with the violins and viola. Then in the second item, Bartok's No. 5 Quartet, a change in theme of a remarkable kind, with power of thought and expression very much to the fore; on occasions, we could have been listening to a full-size orchestra. There were great demands made on the performers in this complex and impressive work, demands fulfilled to stunning effect.

The recital ended with Beethoven's No. 14. This choice reflected on the planning of the programme as a whole, because it had curious connections with the preceding two works. It sounded as though Bartok had taken the interwoven - and therefore almost imperceptible - contrasts which Beethoven frequently employs here and expanded them for his own emphatic purposes. And in the first movement, we could well have recognised Haydn, before the piece moves on to pure Beethoven and what he wanted to express; yearning, regret, triumph, exultation; languor set against dramatic intensity, and more, all within a flowing and connected framework of integrity, and the astonishing conclusion could be heard as an exhortation.

The large audience showed that they had been listening to music at its greatest.

Bob Smith

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