Author: Carol Middleton

An enthusiastic audience welcomed Katy Smith playing violin and Amy Butler playing the piano at the first concert of the 2025/2026 season. These young musicians gave a wonderful concert to celebrate the 150^th Anniversary of Ravel’s birth. There was a theme to the concert, all of the composers were linked to Ravel. For me there was also a sub-theme that caught my imagination and this was Elgar’s bow, more of which later in this Review.

The concert began with Romance opus 28 by Gabriel Fauré and he was Ravel’s teacher of composition from 1897 to 1903. The Romance is a very romantic and tuneful piece of music, Katy’s 18^th century violin made by Nathaniel Cross has a lovely warm tone; Amy’s accompaniment on the piano was a delight.

The Violin Sonata No 2 by Ravel was next and it was influenced by the American jazz and blues. The first movement began in a smooth and lyrical way and then suddenly in the second movement there was dissonance on the violin and a heavy beat on the piano and this beat reminded me strongly of The Cold Song from Purcell’s King Arthur. Who knew that the violin could make sounds like that? In the third movement the piano was speaking and the violin replying and then at a speed, rather like a mad bumble bee. But I do have to admit that, whilst I admired the skill and virtuosity of both Amy and Katy, I did not warm to this sonata.

Next there was Vaughan Williams’, The Lark Ascending, this was composed in 1914 for violin and piano (according to Keith Osborne’s splendid Programme Notes). This was perfection! I cannot understand why this version is never heard. The link between Ravel and Vaughan Williams is that for three months in 1908 they were master and pupil and became lifelong friends.

After the interval we heard Edward Elgar’s Sonata for Violin and Piano in E minor, this was sheer magic and is where Elgar’s bow comes in, for it was used in this music. The tone on the violin became so all embracing; whilst Vaughan Williams takes you into the heavens, Elgar keeps you on the ground and so comfortable, I enjoyed also the serene virtuosity of Amy’s playing on the piano. I absolutely loved the sound made by the 18^th century violin and Elgar’s bow – they complemented each other so perfectly.

The final piece in the concert was Ravel’s Tzigane (Gipsey) and what an exciting piece this was, a real wild ride and an equal music between piano and violin. What a great partnership we enjoyed this evening.

There was more to come. We had an encore and it was Elgar’s Capriccio and Katy used Elgar’s bow again and this beautiful music that was played so well and elegantly, finished off a concert that was enjoyed by us all. In fact, one of our members commented that this concert out of all those he had been to at the Club was by far the best. Praise indeed.

To end, just a bit more about Elgar’s bow. I was privileged to have a good look at it and Katy told me a little about it and I looked it up on line afterwards as well. The bow was made by Tubbs of London and presented to Elgar as a 21^st birthday gift. It is inscribed EWE on the ferule and “presented by the Worcester Amateur Instrumental Society June 1878” on the adjuster.

CM

Pianist Sofia Sacco gave a concert that was a wonderful end to the 75^th Season of the Boston Concert Club. Sofia has an engaging personality and she mingled with us before the concert, at the interval and afterwards and this was appreciated by an enthusiastic audience.

Sofia began the concert with three of Shostakovich’s Preludes and Fugues op. 87, well-chosen to reflect the scope and breadth of these pieces written in 1951 and premiered by Tatiana Nikolayeva. Sofia showed her great technical ability and also her feeling for the music. Sofia has just recorded the whole set and her CD will be released later this year.

Sofia then played pieces by the twentieth century Italian composer, Respighi, better known for his orchestral Roman trilogy, and the baroque composer Clementi. Respighi’s Nocturne was one of the few pieces he wrote for piano – on the evidence of this one, what a pity there are so few – then Sofia played an exquisite Sonata by Clementi.

During the interval there was a buzz of pleasure as the audience enthused about Sofia’s playing.

After the interval we heard Couperin’s Les Barricades Mystérieuses and followed by the delightful Le Coucou by Daquin, I loved this piece, it felt very springlike. Sofia then played for us Rameau’s Les Cyclops and followed with the magnificent Toccata in E minor by J.S. Bach, before three more of Shostakovich’s Preludes and Fugues.

As one of our members said “it isn’t often we get the audience on their feet” and he felt that this concert was the highlight of the season. Sofia gave an encore of Bach’s transcription of Marcello’s Adagio and again this brought some of the audience to their feet.

There were lots of positive comments afterwards, the most common being “what an amazing talent!”

This was a fine end to what has been a wonderful series of concerts and our thanks must go to Steve Boycott, our Chairman and Concert Secretary, for his imaginative programming. Hope to see you all next season.

CM

This was the fifth concert of the season given at the Boston Grammar School. Eira told us that the title of her programme is “Mosaics” and that the title means a pattern of small pieces of music and the mortar is her journey as a musician. Together Eira and the audience went on that journey – and what a great journey it was.

Eira is a very talented and accomplished harpist and this evening she had brought two harps a pedal harp and a Clarsach. All of the music was new to me and our journey began with “Au Jardin – Venise-Ping Pong” from “Pour les Enfants by Alexandre Tansman. This was followed by Debussy’s “La fille aux cheveux de lin”. Then followed “Lindsey Dances” by Martin Ellerby and this piece really resonated with the audience. It is in five parts and these are Steep Hill; Bolingbroke; Gibralter Point; Tattershall; The Stump and I am sure that everyone saw in their mind’s eye (as I did) each part of our County. There then followed the Interlude from Britten’s “A Ceremony of Carols”.

Then Eira played Esther Swift’s “Time Spinner”. This was commissioned by Eira in memory of one her students, Helen MacLeod.

After the interval Eira changed to the Clarsach harp for the traditional Scottish tune “Glenlivet” and continued with Mary Ann Kennedy’s “Cruit Gun Chéis, Ceall Gun Aba”, this translates as “A harp without a tuning key, a Church without an Abbot” and I think refers to Iona. Mary Ann Kennedy was Eira’s first student at the Royal Northern College of Music.

We were then fortunate to hear the World Premier of Martin Ellerby’s Epitaph XVIII “Aberfan”. The audience for the most part, was of an age to remember the Aberfan disaster and so it had great meaning for us all, I think.

Next, on the concert harp we heard a piece written for the harpist, Sidonie Goossens – “Twilight” from William Alwyn’s “Crépuscle”, this was followed by Anna Appleby’s “Knocking” and yes, we heard knocking!

Reverting to the Clarsach, Eira then played Catriona McKay’s “Swan LK243”. This was a beautiful piece and was, my favourite of the evening. The composer wrote this on a Scottish fishing boat that took part in the Cutty Sark’s Tall Ships’ Race in 1999. LK243 is the fishing boat’s number (Lewis 243), the boat was built in 1900 and Catriona was aboard her as she sailed from Shetland to join the Tall Ships’ Race..

Our journey with Eira ended with Pearl Chertock’s “Harpicide at Midnight” from her “Around the Clock” suite and this was played on the pedal harp. This is a jazzy piece of music with a strong beat and who knew that a harp could sound like this? The dance began and the rhythm grew more and more insistent until the melody was lost and finally all we could hear was the dancing feet.

Judging by the warm comments afterwards this was a concert that was really enjoyed and it is hoped that Eira will come and play for us again.

CM