"A few days before the concert they worked with Judith Weir on her Zen Buddhism-inspired Piano Trio Two. The resulting performance found the balance-point between inscrutability and melodic poise in the first movement, as well as seeking out the darker reserves of energy that pointed forward to the second movement. Here the sliding quarter-tones had an aptly unsettling effect. With the group's well-judged approaches to climaxes, the third movement was both celebratory and ambiguous, bringing out the wry humour of the unexpected conclusion... The opening of the Ravel was beautifully limpid... and the gradations of tone in the third movement were beautifully judged."
" .... It (MOZART) received an excellent performance, with wit and sensitive phrasing in the faster outer movements, together with expressive cantabile playing in the slower second movement, and how good to see them communicating with each other .... I think the best way of summing up this very fine performance (TCHAIKOVSKY TRIO) is to say that they all played their hearts out and the audience enjoyed it very much. What more can you ask?"
"The Lawson Trio brought warm-toned strings and a lyrical piano line to the first movement... the middle movement was graceful and witty, while the final Presto was sprightly and spicy, its moments of turbulence, and surprising suspensions and chromaticism deftly highlighted by all three players."
Between Haydn's Gypsy Rondo Trio and Ravel's A minor Piano Trio, the Lawson Trio's polished and refined recital sandwiched three works specially composed for them, all premieres of one kind or another. The most engaging had been heard before, though not in London: Cheryl Frances-Hoad's Five Rackets for Trio Relay was composed for a competition associated with London 2012; although it didn't win, it does use its Olympic connections to witty effect.
Composed for double piano trio, with the three joined by instrumentalists from the Junior Royal Academy of Music, the five movements take their titles from Olympic events, translating them into musical gestures – glissandi for the ice-sweeping in curling, Debussyan swirls for sailing, constant changes of tempo for a movement that combines marathon, walking and sprinting. The pianists (four hands at one keyboard) constantly swap positions, and there's an air of busy fun about the piece. But, typically for Frances-Hoad, it's her knack of making the simplest ideas seem freshly imagined that is so captivating.
In Camden Reeves's The Dead Broke Blues Break, the conceit is very different: the needle sticking and slipping on an old blues record, so that fragments of jazz and blues tumble over each other in an apparently random way. It pauses for breath at one point for a pizzicato cello cadenza, but fails to settle on a really clinching idea afterwards, and for all the deftness, never quite justifies its length.
Anthony Power's Piano Trio, on the other hand, makes a virtue of terseness: five short movements that present and meditate on three English folk tunes. It's a rather melancholy, reflective work with a tougher Bartókian scherzo at its centre. The Lawson Trio made it seem wistfully attractive.
Andrew Clements, The Guardian
Purcell Room Recital and BBC Radio 3 Broadcast
Two first performances and one London premiere were the focus of an enterprising and thoughtfully planned Purcell Room recital on 11 April by the Lawson Trio...
Camden Reeves's first piano trio 'Starlight Squid' has long been part of the Lawson Trio's core repertoire and the composer wished to write another for them. The result, entitled 'The Dead Broke Blues Break' (Piano Trio No 2) is a tribute to Reeves's love of jazz and blues. Though every bar is original and there are no direct quotations from other sources, the spirits of musicians Thelonious Monk, Chick Corea, Oscar Peterson and Bill Evans are evoked. The enigmatic title derives from a conceit derived from retro technology: the players must create the impression that a stylus has been applied to twisted grooves in a warped and scratched jazz record; the needle starts to jump about, fragmenting the music as tunes are distorted and rhythms made erratic. About three-quarters of the way through the piece, as the needle reaches the strongest part of the vinyl, the music settles down in the form of an organic, uninterrupted wild cello solo, signifying the 'blues break' of the title. This extended cadenza-like episode with striking, bass-like pizzicato was negotiated with great skill by Rebecca Knight in its premiere performance and formed the highlight of an immensely challenging but thoroughly engaging and deeply personal take on an established genre which one hopes will join its predecessor as a staple of the Lawson Trio's repertoire.
They were joined by three members of the Junior Royal Academy of Music for the London premiere of Cheryl Frances-Hoad's 'FIve Rackets for Trio Relay' for double piano trio. This was originally written in response to an Olympic commission and relates to the events of 2012 with considerable wit and imagination. There are five movements, each pitched at a different standard, and based on five or more different sports. Hence, the first movements evokes archery with quivering and plucked bows and swishing arrows. Ping pong lies behind the second movement, whose amateur string parts are suitable for pre-Grade 1 standard executants: hence the string players only use open strings or randomly-placed notes, whilst the amateur piano part remains within a five-finger compass. To add to the fun, the two piano players move round the keyboard, swapping sides, as it were: much physical dexterity is required and Annabelle Lawson gamely removed her shoes before the start of this lively movement, the swifter to accomplish its proscribed shifts of position. In the final bars, three ping pong balls were let loose on the piano strings, a simple but ear-catching concluding gesture. Aimed at players of Grade 2-3 standard, the central movement, entitled 'Sailing', provided a moment of relaxation as it evoked glittering water in the wake of the boats; it was a clever example of Debussy pastiche, beautifully written for each player. After this calming interlude, we were pitched into the boxing ring, with the pianist simulating the bell going off to signal the various rounds with right and left hooks being landed. In the finale, the marathon, relay, sprint and walk all appear, initiated by a starting pistol followed by a false start and containing much heel-toe-heel motion with several feats of baton-passing between the amateur and professional players. The last activity is a metaphor for the principle of passing on experience and knowledge which lies behind the score, inspired as it was by Frances-Hoad's formative experiences at the Menuhin School playing chamber music with visiting professional teachers.
Hitting all its diverse targets, 'Five Rackets for Trio Relay' managed to be tremendous fun for players (both professional and amateur) and audience alike. Sounding newly minted in its fresh, diverting approach, it deserved, and duly received, a rousing reception.
Anthony Powers's oeuvre contains notable examples of such received forms as the symphony, concerto and string quartet; hence, it came as no surprise that his contribution to the evening, receiving its world premiere, was simply entitled 'Piano Trio'. However, there was a overtly programmatic element to its three inner movements, based as they were on three dark and disturbing folksongs. Powers's Piano Trio began life as a short piece, written in 2009 for young players at the request of the Lawson Trio, called 'Ghost', that in a case of intelligent programming formed part of a richly diverse Chamber Music 2000 Showcase pre-concert event, played by students from Junior Guildhall. Powers ... decided to slightly refashion it, adding further movements and making it part of a larger structure. Thus, two other folksong-inspired movements - 'Ratcliffe Highway' and 'The Trees they Grow so High', whilst the outer movements develop elements of their material. The folksong tunes themselves, taken from versions published by Vaughan Williams and A.L. lloyd, are treated in an abstract was, providing fuel for the entire composition, not least in terms of their sombre and tragic character. A boisterous and dashing central scherzo contrasted with its predominantly lyrical neighbouring movements, and closely-argued manifestations of the folk-inspired material.
A pensive and doleful utterance, Anthony Powers's Piano Trio offered penetrating musical challenges to the Lawson Trio, both in terms of structure and interpretation. The players reciprocated with a deeply-felt response, unfolding the score to full advantage. This triptych of premieres constituted extremely worthwhile additions to the repertoire and they could hardly have been accorded more sensitive or polished treatment. But you don't have to take my word for this; the evening of the Lawson Trio's recital also saw the launch of a desirable new CD on the Prima Facie label featuring these players in all three works.
London, Purcell Room: Reeves, Frances-Hoad, Powers
...But the most memorable thing on the programme was Crosse's trio, originally written in the 1990s (now revised), haunted by ghosts of Britten, Shostakovich, and Stravinskyan dance music (distantly recalled in sepulchral slow-motion) but ultimately of itself. And irresistibly beautiful as played here by the young, all-female Lawson Trio....
Michael White, The Telegraph
PLG Southbank Centre
...In both pieces [Turnage and Muhly] the Lawsons showed intelligence and knitted well together..... [The Gordon Crosse Trio] was played with far greater feeling and lovely touches.
Neil Fisher, The Times
PLG Southbank Centre
Typically, the Lawson Trio's grip on the music's challenges was firm and persuasive.
Andrew Morris, The Classical Source
PLG New Year Series, Southbank Centre
The Park Lane Group promoted a generous evening of music to celebrate (and anticipate) the 80th-birthday of Hugh Wood (born 27 June 1932 in Lancashire) and gathered together some very talented musicians to help the evening along. In the presence of the composer – and fellow-composers such as Brian Elias, David Matthews and Anthony Payne – several substantial pieces by Wood were played alongside works by Haydn and Schubert that he had chosen..... Haydn opened the recital, given with grace, favour and brilliance, a stylish account regrettably shorn of repeats, the pearl of the work being the slow movement...... The Lawson musicians returned for Wood’s Opus 24 (1984), its opening idea arriving with the composer when near the bus station at Bergamo. The expansive first movement is alternately terse and lyrical and sure of itself, fragmenting to its conclusion to signal a troubled Adagio relieved by a frisky and surreptitious finale that increases in volume and intent.
Colin Anderson, The Classical Source
PLG Hugh Wood 80th Birthday Concert, Southbank Centre
Works by Mozart, Debussy, David Knotts and Brahms, being performed by the emergent Lawson Trio at the Crucible Studio this Friday, represent a cross-section of the threesome's diverse repertoire. It is an impressively large one containing over 60 works at present ranging from Beethoven... to the present day... The number of works in the latter case is particularly startling, with 23 works written in the last 20 years - 12 of them in the last 10.
"Contemporary music plays a big role in our life as a trio", states pianist Annabelle Lawson ... "We find it extremely energising to be able to collaborate with composers, to be able to ask them questions, to feel that they have written works with our particular sound and strengths in mind. It is important that classical music is a living and continually developing art-form, and that in order for this to be the case, new composer and new audiences need to be 'nourished' in equal measure. ALso, listening to and performing contemporary music is rather like sampling cuisine from multiple cultures; it stimulates and refreshes the ears in the same way that new tastes stimulate the taste-buds. It provides an element of surprise and discovery."
Music in the Round Tour Concert - Sheffield Crucible
The Lawson Trio are a young ensemble who appear to be protegées of the erstwhile Florestan Trio – which is an excellent recommendation. That they will be participating in the Park Lane Group recital series at the Wigmore Hall this season is an indication of their standing, and their playing of the Sonatensatz in B flat minor, composed by the young Schubert in the year his voice broke, which was full of freshness and vitality seemed to anticipate the composer’s future blossoming-forth.
The Trio are passionate advocates of contemporary music which made them ideal for this series of events organised by the innovative Cheltenham Contemporary Concerts. Anthony Powers’ Piano Trio started out as a short piece entitled Ghost which in an extended form became the second movement of this work to which four further movements were added. The first movement was expressive and mysterious with the cello exploring its lower register and the violin soaring into the stratosphere. The second, based on the English folk song The Lover’s Ghost had a percussive opening followed by an eerie duet from the violin and cello which became more rhapsodic. There was a jagged, rhythmic restlessness in Ratcliffe Highway, but after a growling start from the cello in The Trees They Grow So High an atmosphere of calm emerged which was continued in the slow, quiet yearning of the finale. It was evident that the musicians have considerable empathy and feeling for this work.
Panufnik’s Piano Trio provided an interesting contrast. Originally composed when he was a student in Warsaw, this underwent considerable revisions in later years and comes over as a very assured work which preserves its original youthfulness and sense of adventure. It begins with solo statements from each of the instruments which eventually come together in a nonchalant melody which goes through a variety of phases, both dramatic and contemplative, before returning to the more lyrical mood. The second movement has an elegiac quality and the playing was subdued and thoughtful throughout, but was quickly displaced by the bouncy exuberance of the finale which brought to mind the wit and humour of Poulenc.
Cheryl Frances-Hoad is in the news at present for her opera Amy’s Last Dive composed for Opera North. Her 2006 chamber work My Fleeting Angel is likewise strong on narration being inspired by The Wishing Box, a short story by Sylvia Plath about a couple with entirely different and incompatible dreamlives. The three movements are played without a break and the work starts with a slow duet for violin and cello while the skittish piano darts about at will. In the story the wife takes an overdose and returns to her own dream country to dance with a red-caped prince in a fascinating waltz finale full of brilliant and macabre effects. The Lawson Trio gave a most assured performance of this short, complex piece which proved enigmatic and disturbing.
It is always hazardous for a reviewer to pass judgement on a performance of a work he is hearing for the first time. Fortunately with Beethoven’s Piano Trio No. 3 I was on much more familiar ground, and was more than delighted with what I heard. Beethoven was using this composition as a vehicle to show off not only his skills as a composer, but also his virtuosity as a pianist, and Annabelle Lawson showed in no small measure that she has what it takes to pull off the demanding piano part, ably aided and abetted by her two colleagues.
Finally I must compliment the three young ladies on their elegant appearance – long flowing dresses in co-ordinated pastel shades rather than the customary funereal black!
Roger Jones, Seen and Heard International
Recital for Cheltenham Contemporary Concerts Series
.....Then it was ‘guess the composer’ time again. Rather fun! There were some wild guesses, all the nominated composers being dead (save the one criterion is that the creator is still alive), no-one coming up with Cheryl Frances-Hoad (born 1980) as the composer of My Fleeting Angel, for piano trio. It begins in lamenting terms, the strings in somewhat-ghostly unison before pulsating, jazzy material sets in leading to a lyrical climax; then comes a more-placid waltz-like idea and an ambiguous, unearthly coda. It’s an engaging piece, well-written and -constructed (with occasional echoes, whether intended or not, of Frank Bridge’s music) given in a performance that pleased the composer, as did the champagne that went unclaimed by any of the guessers. So far this week, in terms of bottles of bubbly, it’s Composers 4, Audience 0...... The Lawson Piano Trio dealt much better with auditory matters. Indeed the musicians gave a very considered, often arresting account of this weighty work, finding its daringness, thrust and consolation and integrating them into an expansive whole, all repeats observed. The ambitious scope of the outer movements was well-conveyed, so too the sentiment and scintillation of the slow movement’s Variations. The grave Minuet was far away from a glittering occasion, its Trio finding the cello emoting proudly and the piano’s runs glistening. This was a searching and dynamic performance.
Colin Anderson, The Classical Source
PLG Bravo Beethoven Series, St. James' Piccadilly
....Intelligence, natural rhetoric and breathing - that was a standout tonight, especially in the Beethoven.......
....I love these girls - I just warm to them, especially in the Brahms. There's great spirit here - they're a great group, beautiful players...
....I really enjoyed their performance very much. I thought the Rawsthorne was really convincing. They did a terrific job of it - totally convincing and very committed. I thought they brought it off really well.....
....The applause says it all doesn't it - the foot stomping at the South Melbourne Town Hall - how much the audience adored the performance.....
Howard Penny, Keith Crellin and Wilma Smith, ABC Classic FM, Australia
Melbourne International Chamber Music Competition
*****Those who were hearing music by David Knotts for the first time can now add his name to the list of living composers who know how to communicate at an emotional level.
His The Long Way Home, commissioned and championed by the Lawson Trio and inspired by a poem by Sylvia Townsend Warner, evokes the poignancy of time passing.
It combines immediacy with a sense of organic growth and was played with super-fine subtlety of feeling, ending enigmatically with the merest shimmer – or was it a shiver? - of a violin.
This final concert in the university-sponsored Music in the Round season maintained the previous high level.
The Lawson Trio achieved the proper blend of unanimity and a sense of individuals striking sparks off each other in trios by Mozart and Debussy. In the Frenchman’s piece, written when he was 18, there was the feeling of a youth in love with the idea of being in love.
The programme ended with Brahms’s late revision of his early Op 8 trio, and here the players powerfully caught the special mixture of youthful bravura and mature concentration.
Mike Allen, The News
Music in the Round performance in Portsmouth
Our March concert was given by the young, highly talented Lawson Trio - Fenella Humphreys (violin), Rebecca Knight (cello) and Annabelle Lawson (piano). The first work in their programme was the very early (D28) Sonatensatz by Franz Schubert, given a fresh, lively performance ideally suited to this music with confident, accurate playing of the frequent rapid passages. This was followed by the interesting work ‘Around Three Corners’ by modern composer Roxanna Panufnik which was given an enthusiastic performance by The Lawson Trio. Based on a theme and variation structure this piece evidently appealed to members who were later heard enquiring whether a recording is available (not yet, apparently).
The first half of the concert was completed by another early work, this time by Debussy, a four movement work only recently rediscovered (in the 1980s) in the USA. This attractive work was given an engaging performance in which the developing style of the composer was explored in all four movements, notably the fluid writing for the piano in the first movement, the melodic passage for cello and violin in the second Andante and above all in the Finale:Appassionato in which the throbbing 6/8 tempo, well maintained by the Trio, certainly looked forward to Debussy’s later works.
The whole of the second half of the concert was devoted to one of Schubert’s two massive piano trios, the one in B flat, D898. The Trio gave a performance of this work that was exciting, moving and technically highly accomplished. Notable was the vigorous start with well maintained tempo, wide dynamic range and excellent ensemble playing. The full range of this composer’s feelings from ebullient to soulful and back again expressed in this music were explored with confidence. Especially effective were the important, accurately observed rests producing the breathless dramatic effect which is one of the hallmarks of Schubert’s genius. This was a standard of performance that one would normally need to travel to Wigmore Hall to experience and we are indeed lucky to have had the benefit of this excellent performance by The Lawson Trio here in Woking.
Lewis Orchard, Woking Concert Society Concert Reports
*****It sometimes seems that Britain is turning out new, phenomenally gifted young classical performers every day. Happily, many of them are finding their way to North Staffordshire.
The latest are the Lawson Trio, who turned up at the New Vic theatre last night, courtesy of the Music in the Round organisation.
We were lucky to get them, for if their biography is to be believed, Fenella Humphreys, violin, Rebecca Knight, cello, and Annabelle Lawson, piano, scarcely have time to appear before the public.
So many young stars are in this firmament the successful ones have to have a Unique Selling Point to get on, and the Lawsons’ USP appears to be their devotion to new contemporary music, and their addition to it by the commissioning of new works. Their first disc has just come out, and was available downstairs at a discounted price. It features many of their new commissions, but at the New Vic they gave us only one; David Knotts’ The Long Way Home, inspired by a Sylvia Townsend Warner poem.
Thanks to the ladies’ introduction, I knew that David Knotts likes jam making, knitting, and Debussy’s La Mer. Sure enough, the work opened with a striking, powerful figure not a million miles from Debussy in style (I’d love to taste his jam and wear his sweaters) I liked the violin tune towards the end of the first movement, but on first hearing couldn’t figure out how the rest of the work went together. At least I was ready to hear it again, which is more than I can say for many modern works.
The rest of the concert was just superb music wonderfully played, which will do for me.
It opened with Mozart’s K564 trio, with its jaunty final movement, went on to Debussy’s early trio, with that stonking great tune in the slow movement, and ended with the powerful Brahms op. 8, which apparently has a special place in the Lawsons’ pantheon and indeed can be heard on their comprehensive website.
Chris Ramsden, Notes from Middle England
Music in the Round performance in Newcastle under Lyme
What a vintage year 2011 has turned out to be for the Stratford Chamber Music Society, and how splendidly the 2011/12 season has begun, featuring the gifted and experienced pianist Martin Roscoe, the PIatti String Quartet and now, last Sunday at Mason Croft, the youthful Lawson Trio with a programme of largely unfamiliar pieces by Beethoven, Alan Rawsthorne and Antonin Dvorak.
All three performers, Annabelle Lawson (piano), Fenella Humphreys (violin) and Rebecca Knight (cello), have at this early stage of their careers an impressive record of achievement, on the concert platform, in master classes and in competition. Sunday's programme, a demanding one requiring virtuosity and meticulous co-ordination, was carried off with appropriate exuberance and style.
Beethoven's 'Piano Trio in E flat major' is characterised by shifts of dramatic emphasis and dynamic contrast that the performers brought out vivdly. But vigour was not all. There was wit here, and where the music led to tenderness that was evoked too.
If Beethoven repeatedly surprises, Rawsthorne is no less remarkable for unexpected shifts from sustained arcs of sound to cascades of notes, from lyricism to dissonance, and from subdued to near-frenetic rhythms and dynamics. His 'Piano Trio' (1962) demands both unflagging attention to detail and intensity of emotion. The Lawson Trio brought both qualities splendidly to bear.
Dvorak's 'Dumky Trio in E minor, op. 90', accords with the evening's other compositions by highlighting music's capacity to juxtapose contrasting sound-patterns.
Dvorak bends echoes of the Czech folk violin, evoking communal harmony, with passages of emotional and dynamic intensity that invite, and received, rich and full-blooded expression.
This was an evening to relish, vivacious, skillled and emotionally engaged.
*****...A recital notable for an involving account of Brahms' youthful first piano trio, in the shortened version which Clara Schumann urged the composer to make and publish some forty years later. It was remarkable for the close ensemble and acute listening of each to the others, Annabelle Lawson finding an ideal touch and discretion with the pedal on the Blackheath Bösendorfer, at which piano soloists are often found wanting. Cellist Rebecca Knight in an ideally pitched commentary gave us the background stories of its composition and revision, contrasting those with the happy and apparently carefree Mozart trio, actually composed in dire circumstances....
Peter Grahame Woolf, Musical Pointers
....The Lawson gave just the right degree of emphasis to the to the changes of mood in each of the movements [Rawsthorne Trio] in an immaculately prepared performance. Ensemble and intonation were excellent, and the balance near perfect.....The same might also be said of their reading of Schubert’s mighty Piano Trio in B flat. There was an attractive freshness to their performance coupled with a warm lyrical sound and well judged tempi....
Frank Cliff, East Anglian Daily Times
Aldeburgh Residency recital
....extreme clarity of interpretation and depth of preparation characterise their performances, whether the music is old or new; and their individual technical skills allow them to inhabit the piano trio repertoire from Haydn onwards, with an ease and enjoyment which is instantly communicated to audiences....
Judith Weir, composer
*****....finely played by the Lawson Trio....
Stephen Walsh, the Arts Desk
Bath Festival concert of Judith Weir
*****....the Lawson Trio - joined by violist Rebecca Jones - traced folk tunes and narrative inflections with clearly defined lines....
Rian Evans, The Guardian
Bath Festival concert of Judith Weir
The Lawson Piano Trio were altogether more conventional in their programming, but for intensity and audience communication they would be hard to better. They even made sense of Schumann’s G minor trio, which is none too easy to bring off.
Concerts in the West, season review
....in my opinion the Lawsons are one of the most exciting groups to emerge in this country over the last few years. They possess that rare combination of individual instrumental virtuosity and polished collective synergy and I am certain that they have a brilliant career in front of them..... remarkable not just for the excellent standard of playing, but also for the imagination and daring of their programmes.... to say that I find their performances to be consistently outstanding would be an understatement; for in years to come one could well imagine that theirs will be the standard by which others will be measured.
Dr. Camden Reeves, lecturer in musical composition, University of Manchester
The Lawson Trio ... are excellent players who show a real commitment to playing chamber music at the highest level, and to the performance and appreciation of contemporary music.
William Howard, pianist of the Schubert Ensemble of London and founder of chamber music 2000
Thank you so much for last night's wonderful concert. So many people in the audience said how amazed they were by the standard of your playing. I also thought your speaking was quite the best delivery to the audience we have had!
Peter McCarthy, Music in the Village
Your performance of Goldschmidt's Piano Trio was outstanding - certainly the best that I have heard.....You were the first trio to take the trouble to analyse and understand the music.
Bernard Keefe, musicologist and Goldschmidt specialist
*****Thank you for the marvellous performance by you and your splendid colleagues of my husband's youthful piano trio. It was a beautiful and thoughtful interpretation, with true depth and understanding..... you brilliantly caught the high spirits and the delight in music-making which is present in the score of the work. It was a sparkling and lovely interpretation.
Lady Camilla Panufnik, on late husband Andrez Panufnik's trio op. 1
Dr. Andreas Prindl CBE, Pastmaster of the Worshipful Company of Musicians
The Lawson Trio closed the thirty-third season of lunchtime music at St. John's Church, Greenhill, in style. The highly experienced musicians opened with the Trio in D major, Op. 70, No. 1, Ghost, by Ludwig van Beethoven.
They gave a highly professional account of this work, particularly in the mesmerising second movement, where their expressive playing and expertise with their long-line phrases were particularly evident.
Humphreys' assured, musical playing and leading was perfectly complemented by Knight's warm tone and Lawson's sensitivity.
Vlad Bourceanu, Harrow Observer
Can I thank you on behalf of everyone here for the truly excellent performance of Shostokovich's Piano Trio last Friday. It made for a very fitting and reflective ending to a full and exceptionally informative day..... You sounded superb: a really passionate performance..... I hope we shall have the opportunity of having you play here again some time.
Suzanne Bardgett, Holocaust Exhibition project director, Imperial War Museum
[The] Haydn trio soon revealed the musical ability and verve which was sustained throughout the evening. It also revealed the empathy of the perfomers with each other, with the audience and with Haydn..... The Shostakovich was the outstanding performance of the evening. The contrast of conflicting emotions was wonderfully evoked by these accomplished young musicians. I believe that they have a promising future.
New Milton Advertiser, recital for Brockenhurst Music Society
*****The commitment to and understanding of the music was stunning. I'd not heard the Goldschmidt trio and was fascinated with the Schreker-like sounds in the first section, while the Dumky was probably the best performance I've heard.
Colin Bayliss, composer, Da Capo Music ltd