Stour Valley Arts & Music
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05 March 2017Concert Platform for Young Musicians
04 December 2016Young Person's Concert
13 March 2016Red Priest
02 February 2016Piers Adams
11 January 2016School Workshops
01 November 2015Concert Platform for young musicians

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Concert Platform for Young Musicians
Afternoon tea concert at the Constable Hall
Sunday 05 March 2017

A concert to promote and encourage the latest generation of performers was held at the Constable Hall in a varied programme that was supported by generous audience of friends and families.

Kelly Ochonogor opened proceedings with a thoughtful, finely-judged account of Chopin’s popular B minor Prelude that was a delight, with chords being beautifully judged and a sparing use of the pedal employed.

Yvonne Gao made two appearances, firstly with an unaccompanied Mandarin Folk Song that spoke of the eternal qualities of the sea and of motherhood, and then gave an assured performance of the first movement of Haydn’s Violin Concerto in G, whose technical difficulties were surmounted with elegance, although it was a pity that she chose not to play “side-on” to the audience.

Anna Kitching also enjoyed two outings, firstly in Violet Beauregard’s monologue from Charlie and the Chocolate Factory with the requisite degree of impish mischief and then revealed herself as a promising ”Chanteuse“ in a rendition of Wouldn’t that be Loverly from My Fair Lady.

Rhiannon Humphries sang the Agnus Dei from Mozart’s Coronation Mass, managing the phrasing with clarity and agility, particularly in the voice’s higher register and then subsequently characterized Schumann’s Widmung with the requisite romantic warmth and longing.

Tess Lovejoy showed enterprise and imagination with The Virgin’s Slumber Song of Max Reger, a welcome rendition of a song by a largely-forgotten composer, that was performed with sympathy and understanding, while Rebecca Hoskyns proved to be quite unflappable  during her performance of The Sun and I from Hot Mikado which was sung with conviction

Matthew Hilton made a welcome return with an authoritive account of Vivaldi’s cello Sonata in A minor, playing the opening Largo with breadth and faultless bow-control, then bringing the following Allegro to life with deft finger work and  a fine control of dynamics.

The first movement of Elgar’s Cello Concerto was played by Olivia Spence in a performance that gained in confidence as it went along, imbued with a cantabile tone where necessary and a great sense of attack when demanded by the music.

A debt of gratitude is owed to all the people who gave of their time and worked so hard to make the afternoon enjoyable, particularly the efforts of the indefatigable accompanists and, above all, the players themselves.

                                                        © Richard Evans 2017