Aberdeen University Chamber Concert series: 27th February 2015
Thank you so much for the concert last night, it beautiful in the Chapel, I forget how nice it is to go and watch/listen to wonderful music and to see great chamber music being made, so thank you from the Uni and from me.
Christopher Gray, Programme Director, BMus (Hons) Music and Communities
Department of Music
Christopher Gray, Programme Director, BMus (Hons) Music and Communities
Department of Music
MUSIC IN THE UNIVERSITY
ECHO CHAMBER ENSEMBLE
SHARRON GRIFFITHS: Harp
RUTH MORLEY: Flute
HANNAH CRAIB: Viola
KING’S COLLEGE CHAPEL
Thursday, 26 February 2015
It was Debussy, encouraged by Stravinsky, who started the fashion for what in 1915 was a new and quite different chamber group - a trio combining the sound blending of flute, viola and harp. This particular ensemble facilitated a sound that was particularly well suited to the impressionist musical language that we use to describe the music of Debussy and other mainly French composers. Debussy himself angrily rejected “impressionist” as a label for any of his works, but for us it is still a useful description of the way in which his music evokes mood and atmosphere in a recognisable way. There was every good reason for Debussy’s Sonata for flute, harp and viola to be the culminating piece in an absolutely enchanting concert given today by the Echo Chamber Ensemble. Their combination of instruments has a definite French flavour to it so it was not surprising to find pieces by Ravel and Ibert in the programme but the concert opened with music by Arnold Bax - his Elegiac Trio.
This dreamy reflective piece sounded particularly well at ease alongside the music of the French composers that followed it. To begin with, rippling harp arpeggios supported long breathed melody from flute and viola. The Echo Chamber Ensemble gave us a sound that was clean, sparklingly clear and marked by stunning technical fluency. The viola exploited a range that matched both cello with its lower notes and violin in its upper range. The result often sounded like that of a much larger ensemble. As the piece unfolded, the elegiac quality of the music was further developed with harp and viola entwining while the flute added freshness above them.
Ravel’s Sonatine en trio was developed from an original piano work arranged for flute, harp and viola by the French harpist and composer Carlos Salzedo. Harp and flute gave the music its freshness and transparency while the viola gave it delicious warmth. The second movement marked Mouvement de menuet was bright and breezy showcasing both flute and harp with the most sensitive touches from the viola player and it was she whose playing added the necessary bite and zest to the finale.
Jacques Ibert’s Deux Interludes was originally scored for flute, violin and harpsichord but today’s version for flute, viola and harp worked superbly well. In the first of the pieces, it was melody that was paramount with the viola often to the fore. In the second piece the harp provided the rhythmic pulse of the music with lovely playing by both flute and viola.
Debussy’s Sonata opens with a movement marked Pastorale. There was the merest suggestion of the cinematic technique of montage in the way that different instrumental textures followed one another; so many contrasts in the individual instrumental forces used but with everything flowing so smoothly together and making sense. The movement developed in rhythmic liveliness as it progressed with the flute often recalling the sound world of Debussy’s Prelude à l’après-midi d’un Faune. In the central Interlude, flute and viola sang together lovingly and melody was important. As the movement progressed, slower sections were contrasted with lively faster passages that had a delightful freshness resulting not just from the composer’s writing but from the piquant playing of the ensemble as well. Breezy rhythms became an important centre of interest. Suddenly, led by rippling harp, the music became pure liquid, leading into a lovingly played slow conclusion. The finale was like summer breezes blowing through all three instruments providing a delightful conclusion to an absolutely magical performance.
ECHO CHAMBER ENSEMBLE
SHARRON GRIFFITHS: Harp
RUTH MORLEY: Flute
HANNAH CRAIB: Viola
KING’S COLLEGE CHAPEL
Thursday, 26 February 2015
It was Debussy, encouraged by Stravinsky, who started the fashion for what in 1915 was a new and quite different chamber group - a trio combining the sound blending of flute, viola and harp. This particular ensemble facilitated a sound that was particularly well suited to the impressionist musical language that we use to describe the music of Debussy and other mainly French composers. Debussy himself angrily rejected “impressionist” as a label for any of his works, but for us it is still a useful description of the way in which his music evokes mood and atmosphere in a recognisable way. There was every good reason for Debussy’s Sonata for flute, harp and viola to be the culminating piece in an absolutely enchanting concert given today by the Echo Chamber Ensemble. Their combination of instruments has a definite French flavour to it so it was not surprising to find pieces by Ravel and Ibert in the programme but the concert opened with music by Arnold Bax - his Elegiac Trio.
This dreamy reflective piece sounded particularly well at ease alongside the music of the French composers that followed it. To begin with, rippling harp arpeggios supported long breathed melody from flute and viola. The Echo Chamber Ensemble gave us a sound that was clean, sparklingly clear and marked by stunning technical fluency. The viola exploited a range that matched both cello with its lower notes and violin in its upper range. The result often sounded like that of a much larger ensemble. As the piece unfolded, the elegiac quality of the music was further developed with harp and viola entwining while the flute added freshness above them.
Ravel’s Sonatine en trio was developed from an original piano work arranged for flute, harp and viola by the French harpist and composer Carlos Salzedo. Harp and flute gave the music its freshness and transparency while the viola gave it delicious warmth. The second movement marked Mouvement de menuet was bright and breezy showcasing both flute and harp with the most sensitive touches from the viola player and it was she whose playing added the necessary bite and zest to the finale.
Jacques Ibert’s Deux Interludes was originally scored for flute, violin and harpsichord but today’s version for flute, viola and harp worked superbly well. In the first of the pieces, it was melody that was paramount with the viola often to the fore. In the second piece the harp provided the rhythmic pulse of the music with lovely playing by both flute and viola.
Debussy’s Sonata opens with a movement marked Pastorale. There was the merest suggestion of the cinematic technique of montage in the way that different instrumental textures followed one another; so many contrasts in the individual instrumental forces used but with everything flowing so smoothly together and making sense. The movement developed in rhythmic liveliness as it progressed with the flute often recalling the sound world of Debussy’s Prelude à l’après-midi d’un Faune. In the central Interlude, flute and viola sang together lovingly and melody was important. As the movement progressed, slower sections were contrasted with lively faster passages that had a delightful freshness resulting not just from the composer’s writing but from the piquant playing of the ensemble as well. Breezy rhythms became an important centre of interest. Suddenly, led by rippling harp, the music became pure liquid, leading into a lovingly played slow conclusion. The finale was like summer breezes blowing through all three instruments providing a delightful conclusion to an absolutely magical performance.
Kircaldy Music Society, 6th November 2013
On November 6th the Society welcomed the Echo Chamber Ensemble. This Trio of Ruth Morley, Flute; Hannah Craib, Viola and Sharron Griffiths, Harp played a selection of Duos and Trios. Ruth studied at the RSAMD and now teaches there. Hannah was born in Fife, studied at the Royal College of Music and played in the Alba String Quartet for four years. Sharron was born in Wales, attended the RNCM and now teaches at the Royal Conservatoire. Their programme started with Arnold Bax's Elegiac Trio and continued with Vincent Persichetti's Serenade No 10 for Flute and Harp. The first half ended with William Mathias' Zodiac Trio. After the interval, the Trio played Ibert's Deux Interludes, then Hannah sat out for the Duo, Danse Lente Op 65 by Joseph Jongen. The concert ended with the Sonata for Flute, Viola and Harp by Debussy. The music may have been unfamiliar, but the sound was glorious and each item was introduced by a Trio member in a relaxed manner.
Inverurie Music, 23rd November 2013
The Echo Chamber Ensemble, Ruth Morley (flute), Hannah Craib (viola) and Sharron Griffiths (harp), gave an interesting and accomplished concert last Saturday at St Mary's Episcopal Church in Inverurie. The concert was part of the Sound Festival, a festival that features contemporary music. We were fortunate in hearing three brand new compositons. One of these was by student Milly Holroyd who was present to hear her piece and give a bow to the audience.
The use of flute, viola and harp is a particularly expressive combination. It came into vogue in France at the turn of the 20th Century, where its colour and texture mirrored the art of the impressionists. The Echo Chamber Ensemble displayed their mastery of this classic repertoire with a number of pieces from this era, including the Elegiac Trio by Arnold Bax and Claude Debussy's Sonata, which began and ended the recital. They were composed within a few months of each other in 1916. Although Bax was born an Englishman in a leafy London suburb, he fell in love with Ireland, as can be traced in the Celtic qualities in this musical response to the Easter Rising. Debussy's work was composed towards the end of his life, when he was affected by the war and his personal depression. In this richly expressive but economic work, the performance conveyed the moods with a compass of tone and dynamics that were superbly balanced.
The programme broadened to other works from the later 20th Century. TheSerenade by Vincent Persichetti showed how much could be achieved with little material and this was followed by lyrical pieces by Jacques Ibert and Joseph Jongen. The Zodiac Trio by Welsh composer William Mathias was an exuberant composition that featured Pisces, Aries and Taurus. With its prominent clap of the strings and castanet rhythm, the bull was unmistakeably a Spanish bull!
The Ensemble invited compositions for the recital and performed works by Milly Holroyd, Emma–Ruth Richards and Gavin Osborne. In Milly's composition, A Beautiful Wolf and the Beautiful Moon, the tone painting was distinctive. As with the other contemporary pieces the Echo Chamber Ensemble accepted the challenges of the new scores with dedication and splendid musicianship.
By Alistair Massay
The use of flute, viola and harp is a particularly expressive combination. It came into vogue in France at the turn of the 20th Century, where its colour and texture mirrored the art of the impressionists. The Echo Chamber Ensemble displayed their mastery of this classic repertoire with a number of pieces from this era, including the Elegiac Trio by Arnold Bax and Claude Debussy's Sonata, which began and ended the recital. They were composed within a few months of each other in 1916. Although Bax was born an Englishman in a leafy London suburb, he fell in love with Ireland, as can be traced in the Celtic qualities in this musical response to the Easter Rising. Debussy's work was composed towards the end of his life, when he was affected by the war and his personal depression. In this richly expressive but economic work, the performance conveyed the moods with a compass of tone and dynamics that were superbly balanced.
The programme broadened to other works from the later 20th Century. TheSerenade by Vincent Persichetti showed how much could be achieved with little material and this was followed by lyrical pieces by Jacques Ibert and Joseph Jongen. The Zodiac Trio by Welsh composer William Mathias was an exuberant composition that featured Pisces, Aries and Taurus. With its prominent clap of the strings and castanet rhythm, the bull was unmistakeably a Spanish bull!
The Ensemble invited compositions for the recital and performed works by Milly Holroyd, Emma–Ruth Richards and Gavin Osborne. In Milly's composition, A Beautiful Wolf and the Beautiful Moon, the tone painting was distinctive. As with the other contemporary pieces the Echo Chamber Ensemble accepted the challenges of the new scores with dedication and splendid musicianship.
By Alistair Massay
Photo courtesy of John Hearne
