A very musical evening

A warm welcome was extended to Noriko Ogawa on her return to Tenby Arts Festival week on Monday evening. The welcome was made all the warmer by the large audience attending the concert at St. Mary's Church proving more than adequate testimony to her international status as a concert pianist. Of course, she was 'encouraged' to visit again by the continuing close professional links she enjoys with Tenby's world renowned conductor, Grant Llewellyn, whose family still live locally.

A brief look at her immediate schedule confirms how fortunate the festival is to attract an artist of such repute. Earlier this month she was performing in Japan, giving a lecture concert, and by September 8 she had travelled to London for a live Radio 3 broadcast and an 'In Tune' interview. During the following weeks, performances took her to Norfolk, Bradford and Huddersfield and, after this concert, she returns to Japan for two performances of Beethoven's Fifth Piano Concerto with the Japan Philharmonic Orchestra and a live broadcast on BBC World TV. Tenby is fortunate indeed.

For her performance in Tenby she chose three quite different works and, before each one, gave the audience a brief verbal sketch of the piece and its composer.

Debussy's - 12 Etudes (Studies) were written in August 1915 and dedicated to the memory of Chopin. They represent his last major piano work and the composer said of them that 'these etudes will be useful in teaching pianists that to embark on a musical career they must first have a formidable technique that does not exhaust itself in 'fierce hands.' Ms Ogawa played the first six etudes and explained them as follows:

No 1: using five fingers only with a simple beginning quickening into striking rhythms.

No 2: featuring intervals of 3rds - a passionate piece.

No 3: featuring intervals of 4ths - a most unconventional interval.

No 4: featuring intervals of 6ths - a particularly beautiful interval.

No 5: featuring octaves and very technical.

No 6: using eight fingers only (no thumbs).

The first began with flowing rhythms and scales accentuated by clear tones and technical dexterity, followed by an altogether more lyrical and melodious piece with clear definition of the intervals and ending with powerful chords.

The third study revealed a dreamy sequence allowing the pianist full technical rein and ending on a slightly discordant theme so reminiscent of Debussy, while the fourth became slow and mournful before a quiet and peaceful end in the bass clef.

In direct contrast, the fifth started strongly and fully lived up to its technical description. Meanwhile, the opening allegro of the sixth was played with real verve and dash and ended with cheeky aplomb.

After taking her well deserved bows, Mc Ogawa explained that Debussy's work is close to her musical heart and she had performed all his piano compositions. She confirmed how difficult these pieces were to play and made a specific point of thanking the audience for their concentration.

It has been said that Debussy's melodies seem to weave strands together to create flowing waves or delicate flourishes and, much to the composer's dislike, his music has been compared with the artistic movement known as 'Impressionism.' There seems little doubt that this is the overriding impact upon the listener. The artist's beautiful interpretation was augmented by the reverberation of her music throughout the church.

The second item on the programme was Beethoven's Appasionata Sonata in F Minor (opus 57) composed in 1804 and first performed in 1807. It was dedicated to Count Brunswick and was named not by the composer, but by a publisher's fancy.

It is indeed very difficult to comprehend how such wonderful music could have been composed, given that Beethoven had been afflicted with increasing deafness for the past eight years.

The first movement started sonorously, but quickly moved into powerful arpeggios, before the lyrical introduction of the sonata's melody. The subsequent changes between periods of reflective melody and mighty chord structures allowed us to witness the clarity of tone and passion brought by the pianist to this demanding movement played with pace and panache to a rousing coda.

The second movement opens to a well-known slow chord sequence, beautifully introduced by Ms Ogawa, and moves on to a march-like rhythm. Subsequently, and in typical Beethoven fashion, the melody is recalled in a more embellished manner. The pace increased to allegro and, once again, the demanding structure brought out the best in the pianist. The hectic finale was exhausting to watch with huge arpeggios and lightning quick fingering. This was truly a remarkable composition, played to perfection.

After an interval, the audience were treated to a performance of Liszt's Sonata in B minor, which he composed at the age of 37 and, which is regarded as his finest work for piano and a pinnacle of romantic composition. In her preface, Ms Ogawa reminded the audience that this piece was adventurous and revolutionary and represents the longest one movement sonata ever composed.

The dramatic, pronounced beginning leads to a rush of notes, before melodies emerge in lyrical haste and a beautiful major chord brings a delightful end to the introduction. A reflective, dreamy sequence follows and quickens to a melodic variation, accelerating to a rapid crescendo, evidenced by powerful bass chords. The slow movement was exquisitely crafted and led to the final phase played agitato before the wonderful rallentando finish.

The audience responded with lavish applause before being treated to a short encore of Gershwin's Rhapsody in Blue. What a night to remember!

C.R.C.

Muchos Gratias, Amigos

Dressed in its very best finery, the De Valence played host on Saturday evening to the first concert of the Arts Festival. It was great to see it packed to overflowing by music lovers. It is difficult to define the category of music, because the music offered spread beyond any specific boundary. The performers were the 'Amigos'. Not exactly a continental ensemble, but as the word translates to 'Friends', then, yes, they were aptly named.

Based in Wales, all six players took us to their hearts. Indeed, one had the impression that they were themselves sitting in a park to listen to some music, whoever was playing it, and it was them playing it... for us! So to 'them', from 'us', thank you so much. Diolch yn fawr! You will excuse the Welsh term, I know, but you see they concluded their programme with their own interpretation of Sospan Fach!

And before that, what a delight! What flair, and brilliant musicianship. Formed some 10 years ago, their founders, guitarists Gary Phillips and Andy King, flanked on either side of the stage their four conspirators.

On percussion, Sam Christian played all instruments within reach with drumstick, brushes, hands or pedals, and had himself a ball. On double bass, Peter Kuprick Townsend lived his music - his body language told us that he was enjoying all this even more than his audience were. Centre stage, on the accordion, Nigel Hopkin was integral to the whole show and smiled benignly around at his troupers in an entirely relaxed manner.

One should not pick out individuals from what is essentially a team, but violin virtuoso Bethan Frieze stole my heart. A standing-up violinist has ample scope to be seen to be putting her heart and soul into her playing. She did. She must have had a classical upbringing - her whole soul reflected her performance, but the wrists and fingers did the work.

What a splendid evening! Not a note of music in sight, of course. Yes, I repeat - muchos gratias amigos.

An exceptional concert

Tenby is ideally situated for a celebration of the arts. This the 17th festival will include some of the great performers as well as a talented new generation representing the arts and bringing us together.

The best festivals grow from their roots and Will Dawes from Manorbier, the senior lay clerk at Christchurch Cathedral, Oxford, is both creator and director of the Edinburgh Camerata - a group of eight singers who created an exceptional concert at St. Johns on Sunday.

Will spoke of his music-making as being being fun, reminding us that we cannot separate music from our daily lives, and the power of music has the ability to speak to all aspects of life emotionally, intellectually and spiritually. We learnt in this music that everything becomes connected.

In the first part, Palestrina's Stabat Mater was followed by Byrd's Mass for four voices, a liturgical setting for the Roman Mass and a setting by Praetorius of the Magnificat. There were moments for us to remember, subtle changes of mood as we changed from light to shade with beautiful tone and the spirits soared.

The second part represented a living tradition in which Vaughan Williams, who died 50 years ago and who composed nine symphonies, an opera and well known and loved hymn tunes, drew on the folk songs rooted in the soil of England. The two Welsh folk songs, Gwenllian and Swansea Town, were composed by Sir Michael Tippett and Gustav Holst, also rooted in the Welsh culture.

The last four songs included the inventive and highly amusing Frank Bridge's 'The Gosling'. This was an evening of outstanding choral music-making.

Julian Lloyd Webber, the distinguished cellist, who will be giving the final recital at St. Mary's Church at 7.30 pm tomorrow (Saturday) wrote: 'I have believed that music is for everyone... I can see what music can do. It can change lives.'

C.L.