Stravinsky – Suite Italienne
Britten – Cello Suite No. 3, Op. 87
Tchaikovsky – Valse sentimentale from 6 Pieces, Op. 51
Tchaikovsky – None But the Lonely Heart
Rachmaninov – Cello Sonata in G minor, Op. 19
The Russian Connections Tour reached its conclusion at the start of this week at London’s Kings Place. This relatively young concert hall lived up to its claims to be a true hub for the arts, a stones throw from Kings Cross Station. We were particularly delighted with the futuristic car parking arrangements which involve driving into a lift which carries the car down into a subterranean car and cycle park… The concert hall itself is impeccably managed and provided state of the art video and recording facilities for our concert, samples of which are now available on YouTube!
Here is the Britten Suite. Head over to my channel for more…
We visited many places on this tour, some familiar, some quite new, from the Leipzig Gewandhaus to some charming smaller venues tucked away in the most unexpected places.
The ‘prologue’ to the Russian Connections tour was a very special concert in northern Germany, in the Sendesaal Bremen. Our concert was part of the Konzerte im Dunkeln series and as such, took place in absolute darkness. One cannot help suspect that British health and safety laws would forbid such a thing… Particularly in a hall seating a few hundred people!
Although we did not perform our complete Russian Connections programme, all four composers were represented and Britten’s solo suite took centre stage, after a contemplative opening of Arvo Pärt’s Für Alina. After recovering from the initial surprise at the removal of all light – it is amazing how dark it gets when there is absolutely no light pollution whatsoever – I felt that it was a liberating experience for both performers and audience. On stage my greatest challenge was not the physical one of navigating round the instrument, but rather remembering to keep projecting the music out into an audience I could not see.
Despite the Russian theme of this tour, it was at a small but charming venue on the east coast of England that we got very close to a part of our programme in geographical terms. Clinging onto land with the wetlands of the River Colne stretching into the distance, Studio Music is the ultimate in quirky concert venues and despite its diminutive size has played host to such giants of the music world as Dame Emma Kirkby. The building is at once a home, an art gallery and a concert hall and the audience surround the players on all sides, some of them even sitting up the stairs on specially procured cushions. Only a few miles up the coast is Aldeburgh, where Benjamin Britten made his home and composed the
Third Suite for Cello.
Britten takes us on a journey from the bleak Suffolk mud-flats, through a rich heritage of western music with Bach’s solo suites clearly hovering over the composer’s shoulder, finally reaching a climactic outburst where western structural sensibility and Russian passion are combined in an extensive Passacaglia. The energy reaches a critical peak and suddenly dissipates, revealing the skeleton of the piece – three simple Russian folk songs and the melancholic Kontakion from the orthodox church.
The rest of our programme is quite clearly Russian, but the Connections are perhaps not quite so obvious. Stravinsky’s colourful Suite Italienne opened each evening, a veritable kaleidoscope of timbre and sentiments as befits its origins as the ballet Pulcinella, a comic Punch and Judy tale first performed at the Paris Opera with sets and costumes designed by Pablo Picasso. Stravinsky’s collaborator in this arrangement was the cellist Gregor Piatigorsky, who provides the link to our second half, since he arranged the two Tchaikovsky pieces which followed the interval.
The ravishing Rachmaninov Sonata completed our concert with two connections. Firstly there is the fact that Rachmaninov took inspiration for many of the melodies in this piece from the Russian liturgy, thus linking back to Britten’s quotation of the Kontakion. The second connection is a personal one: my father James studied the piano with the pianist Phyllis Sellick, who was a great friend of Rachmaninov. When I was much younger and just at the beginning of my cello playing life, Phyllis requested that we play this piece for her. However she suffered a stroke and passed away before I ever learnt it, giving us an added sense of poignancy each time we perform this music.
I so enjoyed performing this programme and will be sad to part ways with these pieces, though of course I am sure to come back to them in the future with new ideas and new experiences behind me.
I would like to thank all the venues who hosted our concerts and most importantly the audiences who came to hear us!
That’s all for now,
The Russian Connections Tour visited:
Sendesaal Bremen (Germany),
Mosterdzaadje (Santpoort-Noord, Netherlands)
West Road Concert Hall (Cambridge)
Pittville Pump Rooms (Cheltenham)
Hindhead Music Centre (Surrey)
St. George’s Bristol
Pollok House (Glasgow)
Studio Music (Brightlingsea)
Gewandhaus Leipzig (Germany)
Kings Place (London)
— with thanks to Beare Violins Ltd. —