Brighton Unitarian Church, Sunday 5 July 2015

Frank Bridge is still something of an unknown quantity and we rarely hear his chamber music. All the more enjoyable then to hear three sets of Miniatures for Piano Trio. Written between 1908 and 1915 for one of his students, they lie comfortably midway between Percy Grainger and the Palm Court of Grand Hotel. The opening Minuet is charming and gives way to a graceful Gavotte and whimsical Allegretto con moto. The second set is more serious with a reflective Romance and a dark, fierce Saltarello. The cello opening melody of the Vale Russe is very beautiful before a jolly Hornpipe and a final March Militaire. The enthusiastic piano chords here seem at once more sinister or possibly more tongue-in-cheek – the jury is out! Jeremy Young’s piano playing was tightly focussed and expressive throughout, finding excellent balance against cello and violin.

The second half was more familiar with Haydn’s Emperor String Quartet Op76 No3. The bravura of the opening Allegro slips into the increasingly gentle tones of the variations on Austria, before the rustic simplicity of the Menuetto. The Presto Finale almost came unstuck at one moment such was the intensity of the playing but easily regained control to finish with aplomb.

The now familiar quartet of Daniel Bhattacharya, violin, Ani Batikian, violin, Roland Roberts, viola and Peter Adams, cello, are to be congratulated on the continuing enthusiasm and professionalism they bring to these Sunday afternoons.

The next concert on Sunday 19 July brings works by Schubert and Haydn, together with Peter Copley’s Partita for Piano Quartet.

Michael Maine, Brighton Dome Concert Hall 6 July 2015

I have only ever heard this organ on the radio before and opportunities to hear it live are few and far between so it was a great pleasure to be in the audience at the Dome for this concert.

The organ is dual-purpose with a full complement of both “straight” and “cinema” ranks and percussion, making this a very versatile instrument. (Rev) Michael Maine knows this large instrument very well, having been largely responsible for saving the organ when the Dome was rebuilt. He presented a very varied programme in a relaxed and friendly manner, showing the organ off to great effect.

Von Suppe’s Light Cavalry Overture opened the proceedings, utilising a variety of registrations including some fiery reeds. I’ll follow my secret heart/ A Foggy day in London town followed, moving from concert to cinema mode, complete with various tremulants. Selections from La Traviata and Carousel were included, alongside Easthope Martin’s Evensong and Toccatas by Boellmann and Widor.

A less successful element of the concert was the inclusion of several songs with the organist accompanying himself. Despite being amplified there were times when the more dramatic organ accompaniment drowned out the voice. Although I applaud contrast in programming perhaps one or two songs would have sufficed.

There were a few times when the pace of playing was too fast for the response of the organ. This was particularly noticeable in Elgar’s Pomp & Circumstance No 4.

A very satisfying part of the second half was a short demonstration of various organ ranks and effects. This began with Michael specifically showing us some of the pipework which originally formed part of the Willis instrument in the Organ Room at Glyndebourne. It was also lovely to hear the Tuba Mirabilis and some of the tuned percussion in isolation. Following this was a great novelty number.

The presentation of the organ was first rate with console centre-stage and subtle lighting effects illuminating the drapes and the swell shutters on either side of the stage.

This was a wonderful opportunity to hear an expert musician handling a complex instrument which he knows intimately. The range of registration and the contrast between the bombastic/virtuosic and the mellow/reflective was superb. A highly enjoyable occasion and I hope there will be many more.

Stephen Page