Dear Members,

If you attended the Milverton Concert Society AGM in September you will know that you now find me as the new Chairman of our society and I hope that with a little help from my friends there should not be too many hiccups in changeover as we launch into this illustrious new season!

And illustrious it will be as, for the first concert on Friday 25th October, we are going to present the much publicised, very talented Isata Kanneh-Mason, the eldest of the now famous family of 7 musicians.

Tickets have been flying off the web site; currently less than 10 left; though there may still be some available at The Milverton Globe if you are quick.

Not to be deterred, the committee are planning to have 40+ extra pews and chairs made available on the door for this concert — those with limited view at £10. Please do come early if you intend to pay on the door to avoid disappointment.

The welcoming candlelit Church opens at 7:00pm. Do come and enjoy a pre-concert glass too.

We thank the Primary School for making their car park available, for details of that click on “Contact us” on the website. We advise drivers to drop passengers off at the church; park up at the School and bring a torch for the walk back down. We hope our regular and local supporters might share lifts if necessary.

Don’t forget also, there are delicious pre-concert suppers at the Globe as usual.

Looking forward to our 33rd season and thank you for your continuing support.

Julian Dakowski, Chair

The Milverton Concert Society can always be relied upon for two things – presenting exciting concerts to the highest professional standard, and also encouraging and promoting the young, new artists of tomorrow. Last Friday they combined both in their annual ‘Young Musicians Platform’ concert, and what an evening it turned out to be.

Starting a little earlier than usual (and just as well – it turned out to be a bit of a marathon) the first part of the evening was a showcase for six young performers. Each of them in his or her own way demonstrated not only talent but the determination to succeed which is the mark of the future true professional.

Clarinettist Olivia Wade played the Prelude from Paul Reade’s ‘Kitchen Garden Suite’ (1991), with Rachael Parvin providing very good support and collaboration from the piano. Olivia’s phrasing and attention to dynamics were just right and this was a lovely performance. Theo Topham then took over the piano, to play Catherine Rollin’s ‘Sunrise on the Matterhorn’ which sounds much more advanced than its Grade 3 classification would suggest. Theo’s positive and sonorous playing of the opening rising arpeggios told us that here was an already accomplished musician and his lovely phrasing throughout confirmed this.

The flute next, with Stephanie Vellacott playing a Corelli Gigue – her playing was very controlled and accurate and there is no doubt that as she advances with her studies, she will be a fluent and eloquent champion of her instrument. ‘Something completely different’ was then provided by Spike Maxwell, whose unaccompanied performance of the folk song ‘Geordie’ really captured the pathos of the young girl pleading for her condemned love – Spike was pitch-perfect and his diction was exemplary. His second song could not have been more different, the sardonic ‘Poor Unfortunate Souls’ sung by the character Ursula in ‘The Little Mermaid’. His characterisation and communication were fantastic and it was obvious he was right in his comfort zone!

Saxophonist Otis Ubaka’s performance of Duke Ellington’s ‘In a Sentimental Mood’ took us right into the smoky atmosphere of an American jazz club – what a gorgeous, mellow tone he produced, and once more Rachael Parvin on piano provided a perfect partnership. As she did too, with obvious enjoyment for Otis’s second piece, the spiky ‘Work Song’ by Cannonball Adderley. Otis managed to make the terrific middle section sound improvised, but he knew exactly what he was playing and did it splendidly.

Finally we heard soprano Anna Garbutt in an ambitious programme which could not have held greater contrasts in style. In Gluck’s ‘O Del Mio Dolce Ardor’ she suffered a couple of brief memory lapses, but despite her nervousness she held it together and in her next item, one of Purcell’s most famous arias ‘Dido’s Lament’ she conveyed the emotion of the piece extremely well. The Air was nicely phrased but could have been a bit more smoothly legato. To finish with Mozart’s equally famous and florid ‘Alleluia’ was very brave and ably assisted once more by Rachael, Anna sang spiritedly and well. The runs were a little wayward in places, but nervousness would account for that.

All in all, these six performances spoke volumes for the wonderful work being done by music teachers all over the county. MCS are to be congratulated for pulling this wonderful concert together and for the future of music in Somerset I hope they will go on doing so for years to come.

The second part of the evening brought back to Milverton two artists whom have previously graced the stage there when they were both not far from the age group of the six musicians I’ve just written about. Then, seven years ago (I was there!), pianist Weng Soon Tee and violinist Julia Hwang were 18 and 17 respectively and are both now firmly established in their professional musical careers.

Julia started with the spiky and astringent Poulenc Sonata for Violin and Piano – her collaborator on the keyboard (I refuse to say ‘accompanist’ – these were two equal musicians) was Charles Matthews and between them they gave a stunning performance of this 1942 work. I was so entranced by the playing that I soon deemed it totally unnecessary to make any critical notes – this was as good as it gets. I was particularly impressed by Julia’s impeccable double-stopping in the second movement and her jaw-droppingly accurate pizzicato in the third.

Beethoven’s Sonata No. 8 Opus 30 No. 3 was next (she played that seven years ago!) and again the perfect rapport between violin and piano meant that all I had to do was sit back and wallow in the beauty of it all.

She finished with igor Frolov’s ‘Concert Fantasy on Themes from Porgy and Bess’ a glorious arrangement of the best-known tunes from Gershwin’s masterpiece. Charles made the most of the lush (and probably fiendishly difficult) piano part, and Julia was wonderfully right in the musical idiom. Her playing was technically superb – ‘Summer Time’ on high harmonics for goodness’ sake! Again her plangent double-stopping brought out the jazz flavour of the piece and her playing of the gloriously ornamented ‘Ain’t Necessarily So’ and ‘I got Plenty of Nothing’ made we want to jump up and dance around. (I am of course far too staid and controlled to do any such thing). This performance by both artists made demands for an encore quite inevitable, and a lovely arrangement of Debussy’s ‘Clair de Lune’ followed.

So did the interval and a much-needed glass of wine.

The Sonata Op. 2 No. 2 is an early work, written only four years after the death of Mozart, but it could not be by anybody other than Beethoven. Weng Soon Tee played the opening movement with flawless articulation, beautifully controlled dynamics and minimal use of the pedal. However, I’m sure Beethoven would have revelled in the sonority and power of a modern grand piano, and I like to think that Weng’s sound would have delighted the composer. The second movement brought precision but without metronomic boredom and the witty and forthright scherzo third movement wasn’t Mozart or Haydn – it was the genius of the new kid on the block. The sonata finishes in an uncharacteristically quiet and sotto voce way and Weng had started on his next piece before the audience had time to react and applaud!

This was Janacek’s ‘In The Mists’ (1912) and the work is a unique blend of the composer’s Moravian background and the musical impressionism being produced by composers such as Debussy. It is not a musical idiom which would have been familiar to most of the audience and Weng proved to be a worthy advocate for it. Again, the virtuosity he displayed generated many calls for an encore, which came in the form of Chopin’s Ballade No. 3 in A Flat. It may have been the lateness of the hour, but technically brilliant as his playing was, I felt that this performance was far too hard-driven. Even in his most virtuosic passages, Chopin demands to be able to breathe and flow in phrases. However, it was a heroic finish to what was a terrific evening of music making.

Keep going, MCS – you’re doing a great job.

Review by Harold W. Mead, 05/05/2019

It was by misadventure that the audience at Milverton Church were treated to a magnificent concert last Friday – the evening was scheduled to be performed by the Vision Quartet, but an unhappy accident to their ‘cello player ruled out their appearance. The Marmen Quartet stepped into the breach at incredibly short notice and gave us an evening of music to remember. They are a multiple prize-winning ensemble and it’s easy to see why.

The expected programme was also significantly revised with the exception of one piece, the 1st string quartet by Ligeti – more of this later. Marmen started off the evening with Haydn’s Quartet No. 36, Op. 50, No. 1. Straight away the crystal clarity of the individual lines blended into a richness of ensemble which told us that here was that rare and wonderful thing – a group of star-quality soloists who could combine into an equal partnership of glorious sound. Their seating arrangement was slightly untypical – the rightmost chair was occupied by violist Bryony Gibson-Cornish rather than the ‘cellist (Steffan Morris), but whether this made any difference to the sound is impossible to say.

The opening of the second movement was stately with lovely, sustained legato playing, leading into 3 variations on the theme. The first variation was built from short phrases, but so expert was the overlapping from the four players that it sounded like a continuous flow of melody. Variation 2 had a chugging underpinning by viola and ‘cello topped by beautifully articulated lyrical phrases from the violins, while number 3 gave the ‘cellist a real workout, a challenge to which he rose with great aplomb. The Menuetto really demonstrated the terrific rapport between the four players and their scrupulous attention to Haydn’s dynamics really showed. The finale, which I can only describe as controlled ferocity, perfectly illustrated the statement ‘if you want to learn real discipline, forget about the military – join a string quartet’.

The Vision Quartet were down to play Ligeti’s Quartet No. 1 ‘Metamorphoses Nocturnes’ and fortunately for us Marmen also have this work firmly in their repertoire. In places it is not the easiest of listening – it’s a bridge between the very late 19th century and the full-blown atonal, serial music of the early 20th. The opening is like a musical Escher staircase played by the viola and ‘cello, continuously rising but never reaching the top, overlaid by insistent, almost savage figures from the violins. The whole work comprises seventeen sections which follow on continuously and present a bewildering set of wildly contrasting musical landscapes. Trademark Ligeti were the eerie, glissandi on high harmonics from all four players and I was struck by how they all managed to handle the transitions from hard, astringent, raucous passages into lyricism, making it all sound seamless and perfectly natural.

If you are one of the ‘I don’t like modern music’ brigade then this performance would surely have won you over. Even in the most vigorous and discordant passages the quartet’s incredible precision and control had the audience awe-struck. Quite a few bow-hairs were broken too! This was music making of the highest quality.

After the interval, we heard the last major work written by Mendelssohn before his death in 1847. The Op. 80 quartet in F Minor was a musical response to the tragic death of his sister Fanny in the same year, and there is none of the lightness which is often associated with this composer.

The opening was unmistakably Mendelssohn but the music had an overall sense of foreboding. The intensity and ferocity of the emotions which must have been wracking him at the time were wonderfully conveyed by the players. Calling the second movement a ‘scherzo’ (It. ‘Joke) is a real misnomer – the music is heavy and doom-laden. That said, the Marmen produced a gloriously sonorous sound and the eerie, ghostly dance in the middle was wonderfully realised in unison octaves from viola and ‘cello. The wistful lyricism of the 3rd movement was beautifully played and the fortissimo climax really heartrending.

The sheer power of these four star musicians really came out in the urgent, driving finale with its harsh interjections, taking us to a final shattering climax.

The applause was long, loud and thoroughly deserved. The much sought-after encore was ‘something completely different’. We heard the sublime slow movement from Mozart’s Quartet No.14 in G (The ‘Spring’ quartet) – nothing could have been further removed from the Ligeti or indeed the Mendelssohn, but it demonstrated even more fully just what a well-rounded and star-quality ensemble we were listening to. This was a wonderful evening.

Review by Harold W. Mead, 24/02/2019

And so it was, both inside and outside Milverton Church, to kick off the 2018/19 season of the Milverton Concert Society last Friday. ‘Trio Isimsiz’ is a Spanish/English/Bulgarian trio who all speak fluently the most international language there is – music. Three young students at the Guildhall School of Music formed the trio in 2009 and from the outset have won awards and made a name for themselves. Now all Fellows of Guildhall, their appearance at Milverton was one of the happy events made possible by the hardworking team at MCS, whose skill at providing concerts of the highest quality is undiminished.

A modestly-sized audience heard a varied programme, and in keeping with so many of the events held in Milverton, we were exposed to music which we would probably not normally encounter – more about this later.

The evening began with the second work in Beethoven’s Op. 70, the Trio in E Flat. The spare sounding opening on strings (Pablo Benedi, violin, Michael Petrov, ‘cello) led to a beautifully balanced ensemble sound when they were joined on the piano by Erdem Misirlioglu. The good-natured Allegro section produced a rich, well-blended sound which nevertheless allowed us to hear each line clearly and distinctly. Well balanced on the whole, there were a few times when I felt the piano was a little too reticent, but the trio soon had the measure of the church’s acoustic and things settled down. Beethoven crafted a lovely ‘cello line in this movement and Michael made the most of it with bold, confident playing. The second movement alternates a genial C Major tune with a more stormy one in C Minor – the playing was a delight throughout with wonderfully crisp ‘cello pizzicato, and the ending was explosive. A warm-hearted waltz tune is passed between piano and violin in the third movement with a secure ‘cello underpinning, and lovely double stopping by Pablo gave an impression of a fourth player.

The finale produced a forthright, stirring sound, with a terrific rapport between the three, and Beethoven’s quirky modulations of the main tune were handled beautifully.

Next was the ‘Fantasie Triptych’ by British violinist and composer Natalie Klouda. Composed in 2014 the work was inspired by the relationships, correspondence, personalities and styles of the celebrated triumvirate of Robert Schumann, Clara Schumann and Johannes Brahms. Named ‘Explorations’ (Clara), ‘Reflections’ (Brahms) and ‘Vexations’ (Robert) the work is in three movements.
The opening bars of ‘Explorations’ required the ‘cellist to reach inside the piano and perform plucked glissandi over the opening piano chords, producing a cembalom-like effect. Indeed the piece had a folkish sound, the tonality wandering, wistful and reflective in tone. There were indeed explorations of timbre and sonic effects, using pizzicato, bowed notes, glissandi and spooky high harmonics, quite unsettling at times, but also with impassioned outbursts.

The “Brahms” movement opened with a soulful ‘cello soon joined by the violin, with a gypsy-music tonality about it. No surprise there, when one considers how fond Brahms was of that musical idiom. The movement then shifted into a series of fleeting motifs, again making use of high violin harmonics. The ‘Reflections’ were suggestive of regrets, nostalgia and contemplation of the past.

The final movement was turbulent, angular, spiky music – vexatious indeed, and it was very easy to relate the sound we heard to what we know of the anguish of Robert Schumann’s mental decline in his later years. Technically this is fearsome music, rhythmically terrifying but played with colossal virtuosity. Michael’s stunning pizzicato ‘cello passages were jaw-dropping and the vigorous and long-lasting applause for all three players was thoroughly deserved.

After a much-needed interval refreshment (I love the cheesy breadsticks to go with the wine) we heard one of the staples of the Romantic chamber repertoire, the Op. 87 C Major Trio of Brahms, first performed in 1882.

Obviously on familiar and much-loved ground, Trio Isimsiz launched into the opening Allegro with gorgeous, full-bodied ensemble sound. They made extensive and expressive use of rubato, very varied but perfectly controlled and disciplined. They made a big sound in the movement’s climaxes, and the conclusion was majestic. Brahms visits gypsy tonality again in the wistful A Minor tune of the second movement, before embarking on series of five variations. In the first of these, Erdem exploited the very rich piano part to the full, a full-blooded Brahms sound – delightful. All of the variations were beautifully played but special mention must be made of the gorgeous maestoso fourth and the soulful, melancholic fifth.

The scherzo is a skittish, fast moving piece made of fleeting fragments expertly stitched together, in a Mendelssohn-like manner. The excellent rapport between the three players made it sound effortless, but I’m darned sure it wasn’t! The finale was played with obvious joy and enthusiasm, the insouciant start to the coda leading to a majestic, thrilling conclusion.
This was top-notch playing by three virtuoso performers who have the extra gift of being able to blend their first-class individual skills into a superb ensemble. As I went out of the church into the star-studded autumn sky, I was once again grateful to the Milverton Concert Society for providing such first rank entertainment.

Review by Harold W. Mead, 27/10/2018

How time flies! It was hardly believable as our 31st Season came to a close that plans were already afoot for the next, but such it was.

Once again, we had some firsts. Leaving Germany at 3am ensured that the charming Duo Birringer sisters gave us their first ever English recital! We sent pianist Esther off with the strains of Happy Birthday ringing in her ears ahead of her birthday weekend. We breezed through France and Germany with Endymion Winds, their Poulenc Sextet moving many in the audience. Our piano was given the chance to show its full range of colours with a return visit by Martin James Bartlett and his agreement to become Patron of our Young Musicians has been an honour all round. Fortunately, The Doric String Quartet avoided the “Beast from the East” to complete our season, with cellist John Myerscough delighted to announce that we were their first English venue of the year. Their incredible rendition of the huge Beethoven Opus 130 Quartet will be a talking point for years.

Audiences and performers alike travel from near and far to our beautiful venue and often comment on the acoustics, the ambience created by the candlelight and the warm welcome they receive. The committee work hard behind the scenes to make these concerts happen and we all feel privileged to hear such high-class music in our village church. Hosting musicians overnight, or providing a supper before a concert one gleans an insight into their very busy lives and schedules. How fortunate we are to welcome them here!

Looking forward, our AGM at 7.30pm on 28th September is once again in King Henry VIII’s presence at the Old House, Parsonage Lane, by kind invitation of Dan Davies and Sally Churchyard. Concerts include Trio Isimsiz, the renowned pianist Steven Osborne, Berlin-based Vision Quartet who play from memory standing up and the flute/piano duo of Adam Walker and James Baillieu. In addition this year we are delighted to be hosting a Young Musicians Platform showcasing some local talented youngsters and providing a welcome return for pianist Weng Soon Tee and violinist Julia Hwang. Both have been studying alongside Martin James Bartlett in London so let’s see ‘where they are now’ – to think it all started here!

Designed by Bev Blackmore, a noticeboard opposite the Victoria Rooms will advertise all our concerts. Tickets will be available on our website www.milvertonconcerts.org through Ticketsource and 40 tickets will be available one month before each concert at The Globe Inn, Milverton, with thanks to Mark and Adele Tarry who continue to offer their delicious pre-concert suppers for those wishing to make an evening of it. Thanks to Hawksmoor Investments, Taunton for continued sponsorship and to all our generous and loyal members.

Please consider becoming a member for, by so-doing, you will help us to continue to be able to bring world-class musicians to our doorstep. I look forward to greeting you again at the start of next season.

Meanwhile, with very best wishes,

Catherine Vincer, Chairman.