Two young recipients of bursaries given by the Festival’s Michael Hurd Fund delighted the audience at St. Peter’s Church on Tuesday.
Elliott Cundy gave a truly virtuosic performance on double bass, while Ukrainian violinist Mariia Lliaskovets both entranced and engaged with her contrasting programme of pieces. ‘It is a privilege to be involved with and support young musicians of the future – an important part of the Festival’s work,’ said Pam Buckley, PMF Chair, in her opening remarks.
Elliot, a music scholar at Bedales School, demonstrated total technical mastery of his instrument and elicited a singing tone which came as a surprise to many in the audience who normally associate it with the dry sound of the bassline in an orchestra. He opened his programme with a concerto by Russian composer Koussevitzky, written in 1902. His accompanist, Margaret Roberts, played the challenging piano reduction with huge aplomb.
Written in the high Romantic style, the piece flows seamlessly through its three movements and is reminiscent of Rachmaninov in its sweeping melodies and highly expressive, grandiose gestures. Elliot easily coped with the huge range of notes from top to bottom of the instrument, as well as complex bowing patterns and exotic modulations. Both he and Margaret navigated the complex rhythmic interplay between piano and instrument to thrilling effect – a true dialogue.
Elliot finished his programme with a funky Kicho by Piazzola. He gave a free and expressive rendition of the opening solo – an unaccompanied prologue in the style of recitative – which segues into a tango-inspired accompanied section which had the audience dancing along to the catchy rhythms. The Kicho is show-piece for double bass and involves taxing leaps in register, pizzicato and triple-stopping, as well as projecting long melodic lines. The piano accompaniment was fast-paced piano and called for demanding glissandi and syncopated rhythms which were superbly accomplished. The programme was met by rapturous applause.
Mariia, who is studying at the Royal College of Music, began her recital with Debussy’s Violin Sonata in G minor. This was the final work written by the composer when he was dying from cancer and living through the First World War. Despite the sadness of these circumstances, the final movement – très animé – radiates happiness and transcendence with its shimmering textures and soaring, freely written motifs. The sonata is unmistakeably Debussy from the opening bars – ethereal, mysterious and scattered with harmonics giving an otherworldly atmosphere.
Mariia was in complete control of her instrument from the first notes in terms of phrasing, legato and expressivity. She gave just enough vibrato to warm the sound but maintained a light, pure tone throughout. Full marks to Jeffrey Leo Au, also from the Royal College, for his delicate and nuanced piano accompaniment.
Next on the programme was ‘Melody’ by Ukrainian composer Skoryk who died in 2020. The piece was based on a folk melody and Mariia, who arrived in the UK three years ago after the invasion of her country by Russia, threw herself into the heartfelt sense of longing and loss depicted in the piece. Her tone was rich and full-bodied, in contrast to the Debussy sonata, and she was clearly personally engaged with music which represents her homeland and its difficult political situation. Many in the audience were profoundly moved by her performance.
The Festival is ongoing, with a few tickets remaining, including the full-scale choral concert Dona Nobis Pacem on March 22nd. Hurry to get your tickets!
