Oxford Coffee Concerts 2019

Weekly concerts from outstanding musicians.
Holywell Music Room, every Sunday 11:15am

Oxford Coffee Concerts continue to take place on Sunday mornings throughout the year in the stunning setting of the Holywell Music Room, the oldest purpose-built concert venue in Europe. And every concert ticket still entitles the holder to a complimentary cup of coffee at the King’s Arms public house at the top of Holywell Street or the Vaults & Garden Café in the High Street.

They now hold a firmly established a place among the foremost chamber music events in the UK, if not the whole of Europe. These days, more than 30 years on, Oxford Coffee Concerts audiences are still as loyal and enthusiastic as ever but are numerous enough to fill the Holywell to capacity nearly every week, so make sure you book on time.

Events

Petr Limonov (piano) and Laura Van der Heijden (cello)

Coffee Concerts: Petr Limonov- 18th August
Chopin: Cello Sonata in G minor, op 65 Shostakovich: Viola Sonata in C major, op 147 (transcription for cello)
Holywell Music Room
Holywell Street Oxford

Carducci Piano Trio – Matthew Denton (violin), Emma Denton (cello), Clare Hammond (piano)

Coffee Concerts: Carducci Piano Trio- 25th August
Haydn: Piano Trio no 39 in G major, Hob.XV:25 (“Gypsy Rondo”) Mendelssohn: Piano Trio no 1 in D minor, op 49 Piazzolla: Primavera Porteña (from Cuatro Estaciones Porteñas)
Holywell Music Room
Holywell Street Oxford

Daniel Lebhardt (piano)

Coffee Concerts: Daniel Lebhardt- 1st September
Bach: Partita no 6 in E minor, BWV 830 Brahms: Klavierstücke, op 119 Bartók: Out of Doors, Sz 81
Holywell Music Room
Holywell Street Oxford

Mark Ashford (guitar)

Coffee Concerts: Mark Ashford - July 28th
Villa-Lobos: Choros no 1 Scarlatti: Sonata in E major, K 380 Sor: Variations on a Theme by Mozart Granados: Danzas Española no 5 Albéniz: Asturias Granados: Danzas Española no 10 Albéniz: Sevilla Tárrega: Gran Vals
Holywell Music Room
Holywell Street Oxford

Maxwell String Quartet

Coffee Concerts: Maxwell String Quartet- 4th August
Haydn: String Quartet in C major, op 74 no 1, Hob III:72 Mozart: String Quartet no 17 in B flat major, K 458 (“Hunt”)
Holywell Music Room
Holywell Street Oxford

Heath String Quartet

Coffee Concerts: Heath String Quartet- 11th August
Beethoven: String Quartet no 13 in B flat major, op 130 Beethoven: String Quartet no 2 in G major, op 18, no 2
Holywell Music Room
Holywell Street Oxford

Brodsky String Quartet

Coffee Concerts: Brodsky String Quartet - 29th September
Debussy: String Quartet in G minor, op 10 Borodin: String Quartet no 2 in D major
Holywell Music Room
Holywell Street Oxford

Fretwork

Coffee Concerts: Fretwork; Holywell Music Room, Sunday 6th October
Lawes: Consort Set in A minor; Debussy: Préludes, Book 1, no 8 – La fille aux cheveux de lin; Purcell: Fantasia in four parts in C minor, Z 738; Muhly: Slow (In nomine in five parts); Isaac: J’ay pris amours; Isaac: O decus ecclesiae; Grieg: Lyric Pieces, Book 6, op 57 no 6 (“Heimweh”); Pärt: Da pacem Domine; Bach: Passacaglia and Fugue in C minor, BWV 582
Holywell Music Room
Holywell Street Oxford

Adderbury Ensemble with Viv McLean

Coffee Concerts: Adderbury Ensemble  with Viv McLean; Holywell Music Room, Sunday 20th October
Beethoven: String Quartet no 6 Bb, Dvorak: Piano Quintet in A
Holywell Music Room
Holywell Street Oxford

Carducci String Quartet

Coffee Concerts: Carducci String Quartet- 8th September
Haydn: String Quartet in D major, op 20, no 4 Bartók: String Quartet no 3, Sz 85 Bartók: Romanian Folk Dances, Sz 56
Holywell Music Room
Holywell Street Oxford

Adderbury Ensemble directed by Benjamin Gilmore with Fiona Cross (clarinet)

Coffee Concerts: Adderbury Ensemble - 15th September
Mozart: String Quartet no 16 in E flat major, K 428/421b Brahms: Clarinet Quintet in B minor, op 115
Holywell Music Room
Holywell Street Oxford

Leonore Piano Trio

Coffee Concerts: Leonore Piano Trio - 22nd September
Beethoven: Piano Trio in E flat major, op 1 no 1 Beethoven: Piano Trio in D major, op 70 no 1 “Ghost”
Holywell Music Room
Holywell Street Oxford

Adderbury Ensemble with Viv McLean (piano)

Coffee Concerts: Adderbury Ensemble - July 21st
Schumann: Piano Quintet in E flat major, op 44 Dvorák: Sonatina in G major for violin and piano, op 100, B 183
Holywell Music Room
Holywell Street Oxford

Carducci String Quartet

Coffee Concerts Carducci String Quartet
Bartók: String Quartet no 1 in A minor, op 7 Borodin: String Quartet no 2 in D major
Holywell Music Room
Holywell Street Oxford

Gould Piano Trio

Coffee Concerts Gould Piano Trio
Kirchner: Bunte Blätte (seven of the 12 pieces) Brahms: Piano Trio no 1 in B major, op 8 (revised version, 1889)
Holywell Music Room
Holywell Street Oxford

Simon Crawford Phillips (piano) and Katharine Gowers (violin)

Coffee Concerts Simon Crawford Phillips (piano) and Katharine Gowers (violin)
Ravel: Violin Sonata no 2 in G major Britten: Suite for Violin and Piano, op 6
Holywell Music Room
Holywell Street Oxford

Neos Ensemble

Coffee Concerts Neos Ensemble
Schumann: Piano Quartet in E flat major, op 47 Fauré: Piano Quartet no 2 in G minor, op 45
Holywell Music Room
Holywell Street Oxford

Adderbury Ensemble with Viv McLean (piano)

Coffee Concerts Adderbury Ensemble with Viv McLean (piano)
Schubert: Piano Quintet in A major, D 667 (“The Trout”)
Holywell Music Room
Holywell Street Oxford

Jonian Ilias-Kadesha (violin) and Noam Greenberg (piano)

Coffee Concerts Jonian Ilias-Kadesha (violin) and Noam Greenberg (piano)
Bach: Chaconne from the Partita no 2 in D minor, BWV 1004 Beethoven: Violin Sonata no 8 in G major, op 30 no 3 Ravel: Tzigane – Rhapsodie de Concert for Violin and Piano
Holywell Music Room
Holywell Street Oxford

Adderbury Ensemble

Mozart: String Quintet no 4 in Gm, Vaughan Williams: Phantasy Quintet
Holywell Music Room
Holywell Street Oxford

Piatti String Quartet

String quartets by Walton & Elgar
Holywell Music Room
Holywell Street Oxford

Petr Limonov

Piano works by Mozart, Liszt & Chopin
Holywell Music Room
Holywell Street Oxford

Heath String Quartet

Coffee Concerts Heath String Quartet
Ravel: String Quartet in F major Britten: String Quartet no 1 in D major, op 25
Holywell Music Room
Holywell Street Oxford

Viv McLean (piano)

Coffee Concerts Viv McLean (piano)
Ravel: Prelude in A minor Ravel: Sonatine for Piano Beethoven: Piano Sonata no 14 in C sharp minor, op 27 no 2 (“Moonlight”) Beethoven: Piano Sonata no 31 in A flat major, op 110
Holywell Music Room
Holywell Street Oxford

Carducci String Quartet

Coffee Concerts Carducci String Quartet
Mendelssohn: String Quartet no 6 in F minor, op 80 Dvo?ák: String Quartet no 12 in F major, op 96 (“American”)
Holywell Music Room
Holywell Street Oxford

Tim Horton

Piano works by Schubert and Chopin
Holywell Music Room
Holywell Street Oxford
Sun 27th October, 11.15am
£12

September 23, 2019
More Orpheus and Eurydice than Macbeth

Leonore Piano Trio, 22nd Sep 2019

Early Autumn, post-drought rain just spattering the Holywell St pavements as we flooded into the Music Room. Beethoven in the drizzle? A slightly gloomy thought. But no! This was neither the thumping chords of one of the symphonies nor the introspection of some string quartet but two of the piano trios; the first one, Opus 1, No. 1, a rather sunny piece influenced by the optimism of Haydn, Beethoven's early teacher. This and its pair of companions derive from his first maturity, although even at 25 the composer wrote quite a subdued cello part for all three and particularly in respect of this one. Pianist Tim Horton referred at half-time to how, for the most part, the cello either doubles or simplifies the piano left hand, articulating the bass part of the piece's texture, and at times - say in the presto finale - even drops out altogether to allow for a contrasting, lighter texture. This practice accords with that of Haydn and even of Mozart until he came to compose his final trios.

The Leonore Trio were straight into the calm initial theme, following up with the relative melancholy of the 'adagio', Horton showing his mettle with a silk-soft touch of the hands, before Gemma Rosefield's cello and Ben Nabarro's violin combined for a surge of force in their second duet.

By the time Beethoven composed his Opus 70, No. 1, he had his three instruments discourse as equals in kaleidoscopic textures, rich in the contrapuntal interplay that I think characterizes the Viennese classical style. Our trio handled the opening statement, much more sinewy than that of the earlier work, with high energy.

They then moved on to tackle the 'largo assai ed con espressione' which spawned the work’s Ghost nickname and which is, I believe, the slowest movement in all of Beethoven's repertoire, slower for instance than the 'largo' of Piano Concertos Nos. 2 and 3. I don't think any one of my three recordings of the Ghost movement adheres faithfully to the marked tempo, whereas the Leonores did just that, producing subterranean, left hand piano notes, growling cello and violin output at the very bottom of its range.

Rather than Macbeth's witches that are usually referenced here, I was put in mind more of the tragic story of Orpheus and Eurydice from Greek mythology. The fragmented themes and sombre tone, with eerie tremolos in the bowels of the keyboard, combined to produce music of great tension whose gloom might have appealed vastly to audience members of a Goth persuasion, had there been any present. As it was, the audience around me presented an interesting study in receptiveness: a few remaining perfectly impassive, others with a smile glued throughout to their lips, yet others leaning forward intently towards the players, desperate to miss not a single note.

An encore of the 'largo' from Op. 1, No. 2 rounded off yet another fine Coffee Concert, the phenomenon now into its 34th, unflagging year.


September 2, 2019
A Hungarian Rhapsody

Daniel Lebhardt, 1st September 2019

On the first official day of autumn, Oxford Coffee Concerts in Holywell Music Room treated us to a memorable performance of Bach, Brahms and Bartok by the talented Hungarian pianist, Daniel Lebhardt.

The first piece was 'Partita no 6 in E minor' by JS Bach. Bach’s set of six 'Partitas', which ‘in its time made a great noise in the musical world’, is based round four dances, Allemande, Corrente, Sarabande and Gigue (Bach deliberately used both French and Italian names to show he used elements of both styles). In 'Partita no 6', the piece starts with a Toccata, a gentle introduction to the dance movements that follow: the solemn Allemande, the grand Corrente, the stately Sarabande and, just before the the lively Gigue at the end, the equally lively Tempo di gavotta. The 'Partita' ends on an upbeat positive note.

In contrast to the bold, confident finale of the 'Partita', Brahms’ 'Klavierstücke Op 119' begins in gentle contemplative mood: Intermezzo adagio. He sent this piece to Clara Schumann seeking her advice, describing it as ‘teeming with discords’. He was concerned that she would not like it but she wrote back describing it as a grey pearl – ‘they look as if they are veiled, and are very precious.’ Each of the four Intermezzos becomes stronger: the second has a sort of urgent quality to it (‘un poco agitato’) although gentle and lyrical too. The third Intermezzo is brighter and almost playful: the piece then ends with an energetic Rhapsodie.

The final piece was Out of Doors (Szabadban) by Bela Bartok. Each of the five parts represents a different set of instruments. It starts with the clash and roar of 'With Drums and Pipes'; this is followed by an almost lyrical 'Barcarolla', the music reflecting the sound of water (the barcarolla is the traditional song sung by Venetian gondoliers). 'Musettes' are an imitation of the bagpipes found in various parts of Europe. In 'The Night's Music' (dedicated to his second wife, a pianist herself), the left hand gives a continuous eerie background to the night noises produced by the right hand. The piece ends with 'The Chase', the music wonderfully portraying the urgency and fear of maybe an animal being pursued.

As an encore we had not one but two pieces: a gentler melodic piece by Bartok based on three traditional dances and another piece by Brahms.

Daniel Lebhardt is a truly wonderful pianist. His lightness of touch as well as his power, his interpretation of the wide range of emotions portrayed, and his sheer musicality are an absolute delight. He is the winner of countless prizes and we are lucky indeed to be able to see and listen to such a virtuoso performer.


August 26, 2019
From Southampton to New York via Buenos Aires

Carducci Piano Trio, 25th August 2019

Haydn wrote his Piano Trio no 39 in G major ('Gypsy Rondo') during his second foray to Britain in 1795; four years after he had appeared at The Sheldonian Theatre to receive an honorary Doctor Musicae degree. The piano has the major rôle, at least in the Andante, backed up by accompaniment from violin and cello. But the Poco Adagio has a yearning melody that gave Matthew Denton's violin a chance to impress, and then he led the whirling Rondo, apparently influenced by colourful folk music. From his base at the castle of Esterhaza in Hungary, Haydn would have been aware of itinerant army recruiting squads who, wanting to lure young men to take the colours, would hire gypsy violinists to play at the recruiting booths while their audience's ears were simultaneously flattered with sweet talk of fancy uniform coats and glory.

Gypsy players of Haydn's day would hold their fiddles low on their chests, whereas Denton threw out his instrument well away to his left-hand side, bursting with animation and even rising out of his seat with emotion.

As in the case of Haydn's opener, the first movement of Mendelssohn's Piano Trio no 1 in D minor is a set of variations on a theme, stated by piano and violin, with the cello mainly doubling the bass line. Yet the cello is awarded a fine opening theme that would seem leisurely were it not for the piano’s agitated chords beneath it – the effect something akin to The Queen Mary sweeping through choppy seas en route from Southampton to New York. The Carduccis played this extended piece with mingled fire and lyrical tenderness; reflective when necessary but not getting bogged down in the sometimes-complicated structure of the music. Pianist Clare Hammond's singing tone and articulation was a delight, and her use of pedal sparing. There was solid balance throughout, with just the right conversational quality between the instruments as each came forward and retreated as the score required.

Primavera Porteña ('spring in the port city') – to South Americans this can refer only to Buenos Aires – from 1970 is one of a four-item series depicting the four seasons by the Argentinian Astor Piazzolla, known principally for his dramatic accordion tango music. Matthew Denton introduced the piece as 'an enforced encore' and while it was redolent of the Argentinian equivalent of a tea dance at the Hammersmith Palais or perhaps the Grand Hotel, Eastbourne, it was really too brief to make a great deal of impression. That said, the Carduccis' playing was the most tango-rhythmical of the three versions I listened to in preparation for the concert, and very pleasing on that account.

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