Alongside the well established Concerto Competition Hastings International Piano organises a variety of events throughout the year to promote the piano in different settings with a number of prestigious performers. In this concert of songs in jazz arrangements the pianist had an equal billing with the singer. She had two roles – providing accompaniment and, as with much jazz, sometimes taking the lead and becoming the soloist for a while.

Both performers are acclaimed musicians in their own right. Claire Martin led us through a well constructed tribute of songs mostly associated with Tony Bennett and Bill Evans. Brilliantly accompanied at the piano throughout by Nikki Iles the programme included songs from Rodgers and Hammerstein, Bernstein & Gershwin.

Claire Martin’s voice sometimes declaimed with great force and at other times teased and whispered. At times there was humour and playfulness and at other times a broader straighter sound. In a similar way Nikki Isles sometimes gently supported and at other times extended and highlighted melodies, with adventurous harmony and rhythmic dexterity.

The venue for this concert was new. The recently renovated old gym now forms a versatile auditorium for performance at the heart of Rye Creative Centre. Much thought had gone into making the audience welcome and comfortable as well as necessarily socially distanced. It is encouraging that at a time when performers and audiences have been severely restricted this new venue has been developed so successfully.

A very enjoyable evening.

Further events will take place here as well as at Fairlight Hall and White Rock Theatre.

hastingsinternationalpiano.org

Stephen Page

Isata Kanneh-Mason plays with poise, panache and maturity. She begins each piece with a moment’s silence and stillness – and then does the same between movements – which presumably allows her to focus and reset. It also has the effect of making the audience, as one, hold its breath and concentrate. What then follows are performances of technical excellence and intelligence. Hand movements are fluidly eloquent but she’s a visually unshowy (glitzy silver dress notwithstanding) performer. The magic is all in the sound.

Her sixty minute recital for the Brighton Festival was bookended by two very different, substantial sonatas with shorter pieces between. And in the course of that she managed to traverse three centuries and two continents.

Isata Kanneh-Mason’s account of Mozart K457, with its three contrasting movements was warmly compelling, especially in the Allegro assai in which she really made the most of the evocative pauses.

Then came Chopin (Ballade No 2 in F Major Op 38) whose impassioned A minor central section may, just possibly, be inspired by Polish national suffering in the late 1830s when it was written. Well, programmatic or not, it revealed plenty of drama in Kanneh-Mason’s hands.

Next she hopped across the Atlantic and moved on to three Gershwin preludes, all connotative of Rhapsody in Blue by which time I found myself wondering if there’s anything this talented young woman can’t do. She strode, tiptoed and danced through the jazzy syncopation with such sensitivity that, for a few moments we were effortlessly spirited off to a completely different world.

Still in the US, the concert ended with Samuel Barber’s 1950 piano sonata Op 36 which was new to me. I liked the way Kanneh-Mason played the charming second movement – allegro vivace e leggiero – which has the feel of Saint-Saens’s Aquarium about it and was delivered here with ethereal lightness of touch. She played the adagio with lots of weight on the grandiloquent left hand chords and then, with a well managed diminuendo, let it die away echoing like Holst’s Neptune.

The challenging fugue which completes the Barber sonata was played at terrifying speed which turned it into a real show piece – a resounding finale to a splendid recital.

Susan Elkin

It was a real joy to be back in an indoor space listening to live music again for the first time since before Christmas. And I have to say that distanced seating in Brighton Dome had an interesting effect on the acoustic which suited the ethereal Monteverdi sound very well as conductor David Bates carefully allowed every echo and harmonic to die away in the lofty cathedral-like space.

This, however, was not quite the Vespro della Beata Vergine as we know them. Rather it was a concert based around most of the Vespers – no plain chant between movements – with other contemporary pieces which deliberately blurred the sacred/secular divide and gave us a mix of Latin and Italian. Thus we got Pur ti miro from L’incoronazione di Poppea tucked in after Laetutus Sum and, sung with warm passion by Julia Doyle and Joanne Lunn, it was an electrifying, show stopping moment.

One of the strengths of this performance is the authencity of its small size. Ten singers stood, distanced at music stands around the back of the stage behind the eight piece band. They reconfigured their postions for each number so that the sound varied rather effectively. Sololists sang with the ensemble. High spots included the precision and colour of Dixit Dominus with an immaculately controlled amen, the jolly folksy theatricality of the madrigal Vogilo di vita uscir and the otherworldly echoes in Audi coelum.

Ot course all this was accompanied on original instruments with all the drama of two fetching theorbos and organ as well as David Bates conducting from the harpsichord. It’s quite an education too to see a period harp played standing up (Joy Smith – her opening Toccata seconda was arresting) and double bass (Judith Evans) played seated.

Perhaps this wasn’t the Vespers for the purists as you might hear it in, say, an Italian cathedral but full marks for highlighting the eroticism of this music and for drawing attention to the way in which musical boundaries were rather less absolute in the seventeenth century. And the sound was terrific.

Susan Elkin

A playful elbow bump between conductor and orchestra leader started the proceedings in what was an evening of many firsts associated with live performances, in-person audiences and emerging out of lockdown. There was certainly a buzz from the capacity (distanced and masked) audience, able to enjoy live music once more and the performers rose admirably to the occasion.

The programme began with Grieg’s very familiar Peer Gynt Suite No 1. Lyrical moments contrasted with rhythm and excitement. This was followed by Prokofiev’s Piano Concerto No 3 with Scottish soloist, Yuanfan Yang. Orchestra and pianist gave a wonderfully committed performance of this exciting music. The piano part demands some very forceful repetitive chordal playing alongside virtuoso scales and glissandi. There are also more expansive tender moments. Yuanfan Yang certainly did not disappoint. As an encore he gave a lovely and surprising improvisation on ‘random notes’ supplied by a member of the audience together with a suggested style. This was a really nice touch.

Symphony No 4 in F minor by Tchaikovsky was a substantial final work for the evening. The whole work gave opportunities for hearing the orchestra in full force as well as times when the various sections could be heard in dialogue with each other. A delightful pizzicato string section came in the third movement. Further thrilling sounds at the culmination of the final movement brought the evening to a very satisfying conclusion.

It is often difficult to achieve a perfect balance in an acoustic not primarily designed as a concert hall and there were a few times when certain instruments were overpowered by others. However, this is a small criticism in the context of a very enjoyable evening of music.

In normal circumstances this would have been a wonderful concert. It was even more remarkable and a testament to so many who are determined to bring back live music at a time when we are still living with the effects of the pandemic – organisers, technicians, musicians and audience.

For details of forthcoming concerts www.hastingsphilorchestra.co.uk

Stephen Page