Performing Arts

Timeless – Selby and Friends

Kathryn SelbyPresented by Kathryn Selby
Reviewed Sunday 25th July 2010

http://www.selbyandfriends.com.au

Venue: Elder Hall, University of Adelaide, North Terrace
Season: finished
Duration: 2hrs 30min incl interval

My second visit to Elder Hall on the weekend was for a concert of chamber music presented by pianist, Kathryn Selby, and fellow TRIOZ member, violinist, Niki Vasilakis who, with their regular cellist taking time out, having just had her second child, were joined by cellist, Julian Smiles, along with guest clarinettist, Catherine McCorkill.

The group played two trios in the first half, youthful works from both composers, and a mature quartet in the second half, each piece coming from a progressively more modern era. First was Ludwig van Beethoven’s (1770-1827) Piano Trio (1797) for clarinet, cello & piano in B flat major, Op. 11 (“Gassenhauer”). Although Beethoven attempted to refrain from moving too far from tradition in composing this work, having been criticised for his extreme approach in his earlier trios, his genius would not let him hold back, and there are still plenty of surprises in the score, pointing the way to his mature works and the transition from Classical to Romantic writing. Selby, Smiles and McCorkill present a very clear and accessible rendition of the work. It was obvious from the start that this was to be a memorable concert. The first thing one noticed was Selby’s dexterity and crispness of playing, coupled with a sensitive reading of this work. The rich tone and fluidity of Smiles and the soaring and expressive playing of McCorkill added plenty of excitement in a precise yet emotional performance.

Next was Max Bruch’s (1838-1920) Piano Trio in C minor, Op. 5 (1858) for piano, violin and cello. Selby Smiles and Vasilakis bring out all of the beauty in Bruch’s highly melodic work. There is a power in this work that the trio discover and bring out, to good effect, Smiles providing a very solid foundation enabling the others to build an intricate three way relationship with him that is both strong yet open. The full tone of Vasilakis is especially important in the overall richness of the trio’s sound. The first half of this concert had certainly impressed, but the best was yet to come.

Finally, we were treated to Olivier Messiaen’s (1908-1992) Quatuor pour la fin du temps (Quartet for the End of Time) (1941) for violin, cello, clarinet & piano, 1/22. Messiaen wrote in the preface to the score that the work was inspired by text from the Book of Revelation (Rev 10:1-2, 5-7, King James version): “And I saw another mighty angel come down from heaven, clothed with a cloud: and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire … and he set his right foot upon the sea, and his left foot on the earth …. And the angel which I saw stand upon the sea and upon the earth lifted up his hand to heaven, and sware by him that liveth for ever and ever … that there should be time no longer: But in the days of the voice of the seventh angel, when he shall begin to sound, the mystery of God should be finished ….”

The eight, diverse movements draw inspiration from this text and the four musicians clearly drew inspiration from the music in what was the most flowing and uplifting rendition of this work that I have heard. When one hears the spirituality and hope in this work it is difficult to reconcile it with the fact that it was written in a German prison camp, Stalag VIII-A in Görlitz, where Messiaen was held captive during the war, its first performance being for an audience of about 400 prisoners and guards in 1941. With its inspiration being the Apocalypse one might expect darkness and doom but Messiaen seems to see the end of time as a way to the hereafter and better things, holding a positive view of the end of days.

Much has been written about this work, including prefaces to each movement by the composer himself. Within the work he uses the forces in unusual ways, from all four playing together in the first two sections, to just one instrument, the clarinet, playing an incredibly difficult solo in the third movement. The piano is omitted from the fourth, the fifth is for just cello and piano, the sixth brings the quartet together again but playing in unison to emulate the sound of the six trumpets of the Apocalypse and the single trumpet of the seventh angel, the seventh section is for the full quartet and the final movement is for just violin, opening with an extended solo, and piano.

This is the work that most enthralled the audience in this concert, due to the phenomenal playing of the four musicians. McCorkill’s clarinet solo was astounding, her dynamic range dropping to barely audible beginnings to notes, great flexibility and control and a deep engagement with the spirituality of the theme. Smiles almost brings tears to ones eyes with the delicacy of his playing in the duo movement. Vasilakis and Selby take the final movement to new heights in a totally captivating performance. This was a truly wonderful concert that will not be forgotten for a very long time by those fortunate enough to have been there.

Reviewed by Barry Lenny, Arts Editor Glam Adelaide.

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