Brighton Unitarian Church, Sunday 10 August 2014

Recent works by Rob Lane formed the heart of the third summer concert last Sunday the first of which, Evocations, was commissioned by the Brodowsky Quartet in 2012. Dedicated to Rosalind Kelly, the work shifts across a number of musical memories as if the listener is recalling a distant if elusive past. The strongest section is the central dance motive, finely focused in contrast to much of the rest of the work, which often seems to be just beyond our grasp. It would be worth hearing again if only to unpick the obviously sensitive internal connections.

Three poems by Sylvia Plath formed the second item by Rob Lane and were here being given their first performance. Edge is by far the most successful setting, its simpler lyricism seeming closer to the text and a more direct emotional experience for the listener. Mirror has an angularity to it which distances us from the text, possibly intentionally as the mirror itself seems devoid of emotion. A gentle waltz underpins Morning Song though its warmth rarely moves into the vocal line.

The instrumental setting for these songs was almost inaudible at times given the power of Katie Thomas’ voice. This was a problem throughout the afternoon, affecting the concluding Mozart. When she sang more quietly or in the lower register the voice was pleasing, but in the upper register and at greater volume the intensity of sound was simply uncomfortable and often painful. I am sure her voice would be fine in a far larger venue, but within the close confines of the Unitarian Church it needed reigning back to maintain comfort for the audience.

The afternoon had opened with a warmly spirited reading of Mozart’s Hunt Quartet K458, and concluded with his Exsultate Jubilate, which was enjoyable for most of the time, given the concerns noted above.