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<title>My RSS Feed</title><link>http://www.phas.org.uk/index.html</link><description>Hot News&#x21;</description><dc:language>en</dc:language><dc:creator>keir@smartgraphics.co.uk</dc:creator><dc:rights>Copyright 2007 Keir Smart</dc:rights><dc:date>2011-08-21T14:24:24+01:00</dc:date><admin:generatorAgent rdf:resource="http://www.realmacsoftware.com/" />
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<lastBuildDate>Mon, 22 Aug 2011 19:38:25 +0100</lastBuildDate><item><title>Jane Irwin - New Mahler CD</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2011-08-21T14:24:24+01:00</dc:date><link>http://www.phas.org.uk/news_files/c769251633abd14ca2be27b73e48984e-33.php#unique-entry-id-33</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/c769251633abd14ca2be27b73e48984e-33.php#unique-entry-id-33</guid><content:encoded><![CDATA[ The latest CD featuring Jane Irwin is Mahler&rsquo;s Das Lied von der Erde 


Manchester Camerata, conducted by Douglas Boyd and joined by mezzo-soprano Jane Irwin and tenor Peter Wedd, give a vivid and memorable performance of Schoenberg&rsquo;s chamber transcription of Mahler&rsquo;s Das Lied von der Erde.


Last year&rsquo;s Mahler in Manchester festival was &ldquo;A sensory experience like no other,&rdquo; according to The Sunday Times, not least for the Manchester Camerata&rsquo;s revelatory performance of Das Lied von der Erde in the scaled-down chamber version by Schoenberg.


The poignancy of Mahler&rsquo;s &ldquo;Song of the Earth&rdquo; is highlighted by the reduced forces: just 16 performers, including the distinctive chimes of harmonium, celeste and piano.   The chamber arrangement came about through Schoenberg&rsquo;s Vienna-based Association for Private Musical Performances, founded in 1918.   Dedicated to exploring new music but short of funds, they made a number of chamber versions of larger works, of which Das Lied was one.   Conducted by Douglas Boyd, Manchester Camerata's performance of this transcription loses nothing of the astonishing sonic allure of the original &ndash; an ideal memento of an enlightening festival celebrating the music of Mahler.


Further info at website of Manchester Camerata


&ldquo;Irwin&rsquo;s reading of this last marathon-length movement [Das Abschied] is bang on the money, heartfelt and lusciously velvet of timbre&hellip;&rdquo; Charlotte Gardner, ClassicFM ]]></content:encoded></item><item><title>Danny Driver&#x2019;s CDs with Hyperion</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2011-08-21T13:52:29+01:00</dc:date><link>http://www.phas.org.uk/news_files/b4d1bc52cdb2bbdebf4ef728ab4bea8a-32.php#unique-entry-id-32</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/b4d1bc52cdb2bbdebf4ef728ab4bea8a-32.php#unique-entry-id-32</guid><content:encoded><![CDATA['Danny Driver, a recent addition to Hyperion's bejewelled roster of pianists, makes his superlative case for music that is as inventive as it is unsettling.   Playing with imperturbable authority, he captures all the mercurial fits and starts of the G minor Sonata &hellip; It would be impossible to over-estimate Driver's impeccable technique and musicianship, and also a warmth missing from Pletnev's earlier and razor-sharp recital &hellip; This is one of the finest of all recent keyboard issues and Hyperion's sound and presentation are ideal' (Gramophone)


'Listening to this extraordinary music, it is easy to understand why the audiences who first heard it in the 1740s were thrilled and bewildered in equal measure &hellip; Driver meets the interpretative challenges with a lively mind, dexterity and warm sensibility in a way that brings CPE Bach's startling originality sharply into focus' (The Daily Telegraph)


'With 78 minutes of impeccable pianism, top-drawer recording quality and highly informative notes by Leta Miller, placing these remarkable works in context, this deserves a wide audience' (International Record Review)


...Bach&rsquo;s sonatas, it&rsquo;s a case of once you start, you&rsquo;re hooked, something enhanced by playing of clarity, depth and poise, Driver always willing to go with the music&rsquo;s unpredictability.   This is invention at once intellectual and engagingly entertaining, containing the promise of surprise while retaining a secret or two for the next playing.   There is an unpredictable logic to these pieces that is very likeable, be it the individual slow movements or the toccata-like faster ones; and whatever CPE. 

...'Danny Driver continues his Hyperion exploration of the piano repertoire with delightful interpretations of Mily Balakirev.   In particular, the piano sonata in B flat minor is a terrific, big-hearted piece, unlike anything else from its period, and its neglect in the concert hall is surely due a reappraisal &hellip; Impressive playing throughout ensures that your finger won't stray far from the replay button' (The Observer)


'The three releases by the young British pianist Danny Driver have met with considerable acclaim.   It's wonderful to see a talent such as this continuing to address the more obsure pianistic byways, and here Driver has assembled a fabulous array of works from Balakirev's very varied keyboard output &hellip; As ever, Hyperion provides recording quality and programme notes which are first class in every way' (International Record Review)


'In the case of the Sonata, motifs of folk song add a distinctive tang to a work of unorthodox construction but fascinating originality.   Bravo to Hyperion for championing this music and to Driver for playing it with such sensitivity, polish and &eacute;lan' (The Daily Telegraph)


...'Danny Driver's recordings of York Bowen for Hyperion have enjoyed critical success; here he shows himself a sterling interpreter of Russian repertoire &hellip; Driver is most attentive to the musics nuances.   The Mazurka second movement is another of contrasts and he captures the dance element perfectly, revelling in sometimes extreme ornamentation &hellip; The recording is first class, with great presence' (International Piano)


...&lsquo;No better example of Hyperion's founding principles could be imagined than this disc of three premiere recordings contributing to the first survey of the complete sonatas by an unjustly neglected composer &hellip; Danny Driver is the ideal advocate for this glorious music, playing with razor-sharp articulation and a rich, organ-like sonority &hellip; Driver is an artist who is able to transcend the sterile surrounds of the studio and give 'real' performances, an early Award nominee for next year' (Gramophone)


&lsquo;Danny Driver plays the canon of six sonatas with a blend of warmth, bravura, expressive sensibility and verve &hellip; Driver&rsquo;s superb, astute performances are convincing testimonies to Bowen assimilating stimuli with a potent imagination of his own&rsquo; (Daily Telegraph)


'Scintillating demands amply accomplished by Driver, whose light filigree passagework is sensationally clear &hellip; The Fifth is a veritable tour de force, Bowen at his best &hellip;Francis Pott's programme notes are ideal &hellip; Driver's virtuosity and technical finesse is remarkable' (International Record Review)


'This fine sonata survey from Danny Driver, whom readers may recall from his oustanding Hyperion coupling of York Bowen's Third and Fourth Piano Concertos &hellip; All are demanding, rewarding scores that Driver despatches with captivating virtuosity' (Classic FM Magazine)


...&lsquo;Driver brings a stunning brilliance &hellip; With a performance of this calibre, a brilliant recording quality from Hyperion and an unjustly neglected work, I can't but nominate this release in any case' (International Record Review)


'Danny Driver [is] technically superb, he has the gift of innate musicanship that illuminates the music's every twist and turn' (Yorkshire Post)


'Shades of Liszt and Wagner haunt the Piano Sonata completed in 1905 by the English composer Benjamin Dale, but this is more to do with matters of harmony, texture and the odd reminiscence than with any wholesale aping.   Danny Driver&rsquo;s superb performance shows a confident composer, imaginative in sustaining a span of 45 minutes' (Daily Telegraph)


'Here is a disc to warm the hearts and minds of those who treasure romantic nostalgia &hellip; Benjamin Dale's hugely ambitious and unwieldy Piano Sonata is assuredly not for lovers of economy &hellip; it is doubtful that [the sonata] has ever been played with a more shining commitment than by Danny Driver.   His performance ranges from thundering rhetoric to a whispering poetic delicacy &hellip; a pianist of such magical warmth and finesse &hellip; Hyperion's sound and presentation are as immaculate as ever &hellip; This issue is as moving as it is superlative' (Gramophone)


...'The Third Concerto, with its surging climaxes and soaring themes, offers 17 minutes of instant gratification &hellip; [Fourth Concerto] The writing veers between magical impressionism and passionate bravura outbursts couched in Straussian orchestral textures. 

...'Danny Driver's pianism is fully and eagerly up to Bowen's considerable demands' (BBC Music Magazine)


'This disc is the latest and arguably the most impressive so far in the continuing resuscitation of the music of London-born composer-pianist York Bowen (1884-1961).   These two concertos sound more Continental than English, with the single-movement Third (1908) betraying the influence of Saint-Sa&euml;ns and the more substantial Fourth (1937) having a Debussy-meets-Strauss late-Romantic palette.   Both, though, have enough scintillating character of their own to reward repeated listening, while Danny Driver's performances are masterly, stylish and full of dazzling pianism' (Daily Telegraph)]]></content:encoded></item><item><title>The C. P. E. Bach Sonata</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2011-08-21T13:48:49+01:00</dc:date><link>http://www.phas.org.uk/news_files/562f4e813d7ed350aff00fa0c64626ef-31.php#unique-entry-id-31</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/562f4e813d7ed350aff00fa0c64626ef-31.php#unique-entry-id-31</guid><content:encoded><![CDATA[Danny Driver has been making quite a reputation for himself through his recordings (for which profound gratitude to Hyperion, is due) of music by Balakirev, C.   P.   E.   Bach, Benjamin Dale and York Bowen &ndash; his Bowen CDs, in particular, have been a revelation.   But, however acclaimed his recordings, the intensity and immediacy of this Wigmore Hall recital was something else &ndash; and more than justified the accumulating fuss being made of this fine musician.


The C.   P.   E.   Bach Sonata, in the fiery prototype classical style from the generation before Haydn, was an adventure playground of rapid-response wit, astonishing changes of direction and harmonic and structural dislocation.   Driver revelled in the sheer virtuosity of the writing and, like a juggler coping with any number of slippery bars of soap, he kept the whole highly-wrought creation airborne with incredible precision and an attractive, insouciant glee.   This work was written ten years before Johann Sebastian&rsquo;s death &ndash; no wonder the god of the high baroque was referred to as &ldquo;old Bach&rdquo;.


The element of fantasy continued in Schumann&rsquo;s Symphonic Studies.   Each study/variation (Driver choosing to exclude the posthumous sections) was saturated with character and an acute awareness of the piano&rsquo;s tonal and technical possibilities, in the sort of processional style so beloved of Schumann and delivered by Driver with jaw-dropping security and gravitas.   But what clinched his epic performance was the convulsive impact of the finale, in which practical virtuosity went hand-in-hand with visionary romanticism at its grandest.   Driver was every bit as masterly in the more muted colours and layers of Debussy&rsquo;s Images, the poise, breadth and quietly objective joy of &lsquo;Cloches&rsquo; a long way from the barnstorming Schumann, but just as visionary.


In the early 1980s, when I was a student, to express a positive interest in the music of Gerald Finzi or York Bowen was akin to admitting to being a Thatcher supporter in Hampstead.   Even further away from the rectitude of pure contemporary music was the Impromptu by Benjamin Dale (1885-1943), whose music had more than a toe in the rhapsodic style familiar from romantic British films of the period, with a few surprising hooks to reel you deeper in.   Bowen&rsquo;s Sonata (he and Dale were close friends) was in another league, though &ndash; passionate, virtuosic music, with a specific ear for the piano, and the style &ndash; Brahms, Liszt, Rachmaninov &ndash; thoroughly assimilated into an interesting and discernibly English voice, and played brilliantly.


Driver&rsquo;s performing style, while thoroughly virtuosic, is of emphasised control and with economy of means &ndash; no gesture is wasted; and to watch him play is to become instantly aware of a high intelligence and total connection with the music.   It&rsquo;s the sort of playing, finely balanced between analytical and emotional, that compels you to listen.   I wonder if his encore, the first of Chopin&rsquo;s Opus 25 Etudes, is a foretaste of things to come.   I&rsquo;d cross many roads to hear him play both sets.


&mdash; Peter Reed, The Classical Source
]]></content:encoded></item><item><title>Danny Driver In First Comedy Proms</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2011-08-21T13:31:24+01:00</dc:date><link>http://www.phas.org.uk/news_files/comedy_proms.php#unique-entry-id-30</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/comedy_proms.php#unique-entry-id-30</guid><content:encoded><![CDATA[The standout triumph was a blast from the past.   Franz Reizenstein wrote his Concerto Popolare for Gerard Hoffnung&rsquo;s first music festival in 1956; its soloist wanders from Grieg to Beethoven to Rachmaninov while the increasingly irate maestro insists on conducting Tchaikovsky.   Like all good musical jokes, it&rsquo;s lame in the telling and hilarious in the hearing, and Danny Driver&rsquo;s pianist and Andrew Litton&rsquo;s conductor were note-perfect impersonations of their preening archetypes.   It should have been compulsory viewing for some of their less self-aware peers.


The Comedy Prom will be broadcast on BBC Two on August 27 at 9pm


Neil Fisher, The Times (UK)]]></content:encoded></item><item><title>Pascal Rog&#xe9; and the new Ami Rog&#xe9;</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2009-09-02T08:23:10+01:00</dc:date><link>http://www.phas.org.uk/news_files/pascal_and_ami_roge.php#unique-entry-id-29</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/pascal_and_ami_roge.php#unique-entry-id-29</guid><content:encoded><![CDATA[PASCAL AND AMI ROG&Eacute;


&ldquo;four hands and two hearts&rdquo; 


Pascal Rog&eacute; is one of the great interpreters of French piano music--his name is simply synonymous with the best playing of French repertoire in the world today.


For several years, Pascal has enjoyed playing recitals for four-hands/two-pianos with his partner in life and in music Ami Rog&eacute;.    Together, they have travelled the world appearing at prestigious festivals and concert halls.    The have appeared in New York Carnegie Hall, Hong Kong Joy of Music Festival, the Australian Festival of Chamber Music, the Beijing International Piano Festival, on tour in New Zealand, at Incontri in Terra di Sienna in Tuscany, at the Salisbury international Festival, the Thaxted Festival, Music for Galway, The Sage Gateshead, Nottingham&rsquo;s Lakeside Arts Centre, London&rsquo;s Chopin Society, and Petworth Festival. 


Their recent tour of Japan saw them perform the premiere of Ami Suite, a new piece for four hands, written especially for them by the Japanese-American composer Paul Chihara.   Additionally they have made a growing number of orchestral appearances together playing Poulenc&rsquo;s Concerto for Two Pianos and Mendelssohn&rsquo;s Concerto for Two Pianos in E Major, including the Shanghai Symphony, the Hong Kong Sinfonietta, the Poznan Philharmonic, the Metropolitan Orchestra of Lisbon, and the Jyv&auml;skyl&auml; Symphony Orchestra in Finland.


Pascal and Ami will record a 2 CD set of French repertoire for four-hands and two-pianos to be released on the Onyx Rog&eacute; Edition label in the coming year.


Together they will give the premiere of a newly-commissioned Concerto for Two Pianos by the composer Matthew Hindson with the Sydney Symphony Orchestra conducted by Vladimir Ashkenazy in 2011


"I have always said that my ambition was to play the music I love with the people I love; this has never been more true than today, since I have met Ami.   With her I have been able to continue my search of sounds and colours throughout the French repertoire but now with four hands and two hearts.   I believe that the love we share every day in our life together is our inspiration for interpreting the music and the emotions that transforms a double black and white piano recital into a single colourful dream.&rdquo;   Pascal Rog&eacute;]]></content:encoded></item><item><title>Proms 2009 - PHAS Artists</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>None</category><dc:date>2009-08-30T12:51:01+01:00</dc:date><link>http://www.phas.org.uk/news_files/phas_artists_at_proms_2009.php#unique-entry-id-28</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/phas_artists_at_proms_2009.php#unique-entry-id-28</guid><content:encoded><![CDATA[Artists who have or are about to perform for Pollok House Arts Society have done well in this year&rsquo;s Proms


Stephen Hough piano - 5 performances


Llyr Williams piano - 3 performances


Ashley Wass piano - 3 performances


Natalie Clein cello - 2 performances


Steven Isserlis cello - 2 performances


Elizabeth Watts soprano - 2 performances


John Mark Ainsley tenor - 1 performance


Claire Debbon, soprano - 1 performance


Stephen Osborne piano - 1 performance


Malcolm Martineau piano - 1 performance
]]></content:encoded></item><item><title>The Fotheringay Centre</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>PHAS</category><dc:date>2009-08-30T13:43:56+01:00</dc:date><link>http://www.phas.org.uk/news_files/the_fotheringay_centre.php#unique-entry-id-27</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/the_fotheringay_centre.php#unique-entry-id-27</guid><content:encoded><![CDATA[Stephen Hough Concert on Friday 4th December 2009 will be held at a new venue for Pollok House Arts Society - The Fotheringay Centre.


Only about 2 miles from Pollok House, The Fotheringay Centre has excellent acoustics and can accommodate 400.   During December Pollok House is not available to Pollok House Arts Society.


The format and times for concerts is exactly the same as for a concert at Pollok House]]></content:encoded></item><item><title>Stephen Hough</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2009-08-30T13:10:40+01:00</dc:date><link>http://www.phas.org.uk/news_files/stephen_hough_proms_2009.php#unique-entry-id-26</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/stephen_hough_proms_2009.php#unique-entry-id-26</guid><content:encoded><![CDATA[Stephen Hough who plays for Pollok House Arts Society on 4th December has played at the Proms five times this year, twice more than any other soloist.   This is clear evidence of the respect with which the music world holds him.   Here is part of an article that appeared in the Times.


Quietly and unfussily the Cheshire-born pianist Stephen Hough has conquered the music world.   Russian virtuosi come and go in a whirl of hammered octaves.   American whiz-kids dazzle briefly then fizzle away.   From the Far East an endless parade of mercurial youths flit like butterflies over the ivories without ever ruffling the soul.   Hough&rsquo;s progress, by contrast, has been so stealthy that when Gramophone magazine and readers of The Times recently anointed his mesmerising Hyperion recording of the five Saint-Sa&euml;ns piano concertos as the best classical CDs of the past 30 years (beating Karajan, Rattle, et al), the reaction in some musical households must have been &ldquo;Stephen Hoo?&rdquo;


Yet his rise continues, with a unique accolade by the Proms.   In the coming season the 47-year-old will play all four Tchaikovsky piano concertos &mdash; starting on the First Night with No 3.   So the obvious first question is: why does almost everybody know No 1, and almost nobody know the other three?   Is there a rational reason?


read the rest of the article&hellip;]]></content:encoded></item><item><title>Pollok House Arts Society - Charitable Status</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>PHAS</category><dc:date>2009-08-30T13:16:39+01:00</dc:date><link>http://www.phas.org.uk/news_files/charitable_status.php#unique-entry-id-25</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/charitable_status.php#unique-entry-id-25</guid><content:encoded><![CDATA[Pollok House Arts Society  has just been registered as a charity- number SCO40759


click to enlagre]]></content:encoded></item><item><title>New Brochure Format</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>PHAS</category><dc:date>2008-09-20T14:20:56+01:00</dc:date><link>http://www.phas.org.uk/news_files/phas_new_brochure.php#unique-entry-id-23</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/phas_new_brochure.php#unique-entry-id-23</guid><content:encoded><![CDATA[click to make larger


Download brochure]]></content:encoded></item><item><title>UNESCO City of Music 2008</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Misc</category><dc:date>2008-08-21T13:15:42+01:00</dc:date><link>http://www.phas.org.uk/news_files/glasgow_city_of_music.php#unique-entry-id-21</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/glasgow_city_of_music.php#unique-entry-id-21</guid><content:encoded><![CDATA[(null)]]></content:encoded></item><item><title>Alba Quartet in triumph with Fejes Quartet</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-06-25T20:08:25+01:00</dc:date><link>http://www.phas.org.uk/news_files/alba_quartet_fejes_quartet.php#unique-entry-id-20</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/alba_quartet_fejes_quartet.php#unique-entry-id-20</guid><content:encoded><![CDATA[click to enlargen


Katrina, Jack and I witnessed a tour-de-force performance of Mendelssohn&rsquo;s Octet at &Ograve;ran M&oacute;r on Monday 23 June 2008.   As one of the highlights of the West End Festival, the Alba Quartet and the Fejes String Quartet played a wonderful and mixed programme eventually teaming up to play Mendelssohn&rsquo;s Octet.


The Alba Quartet started the evening and were all vim and vigour imbuing a sense of fun and urgency into their performance.   As a result I sat through their pieces with a grin the size of a Cheshire cat.   


Then we heard the Fejes String Quartet whose members are all from the RSNO.   They played the second quartet from Bart&oacute;k which is not an easy piece to make much of at a first hearing.   Their playing was musical, precise and demonstrated a wonderful clarity.   The thrid movement particularly resonated with me and they left me inspred to listen to this difficult piece a few more times.


However all that had gone before was just a warmer to a stunning performance.   It helps that Mendelssohn wrote such a wonderful piece when only 16 in 1825.   However the performance was magnificent which was reflected in the length and honesty of the response of the audience at the end as we clapped our hands sore.   I could not do a better job at describing it than to direct you to the review by Michael Tumelty.   He gave it five stars *****.   West End Festival: Mendelssohn&rsquo;s Octet, Oran Mor Michael Tumelty


Pollok House Arts Society are delighted to have the Alba Quartet play for us in the upcoming season and if Monday night was anything to go by all members will be kicking themselves if the miss this dynamic string quartet.]]></content:encoded></item><item><title>Ashley Wass - BBC Proms Debut</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>None</category><dc:date>2008-06-04T20:31:30+01:00</dc:date><link>http://www.phas.org.uk/news_files/ashley_wass_Proms_debut.php#unique-entry-id-19</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/ashley_wass_Proms_debut.php#unique-entry-id-19</guid><content:encoded><![CDATA[Tuesday 12 August - Royal Albert Hall


Ashley Wass will make his BBC Proms Debut performing Vaughan Williams Piano Concerto with the BBC Philharmonic, conducted by Vassily Sinaisky.    He will also be performing with the BBCPO again next season at Bridgewater Hall.


However he is not being allowed to rest up. 


In June, Ashley has been invited to perform Messiaen&rsquo;s &lsquo;Oiseaux Exotique&rsquo; with the Orquestra Real Filharmonia de Galicia at the Festival Mozart, Coro&ntilde;a.   Later this month commissioned by Naxos he will record Bax piano and orchestra works with the Bournemouth Symphony Orchestra .]]></content:encoded></item><item><title>Claire Debono - 13 Aug @ Edinburgh Festival</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-06-04T20:11:09+01:00</dc:date><link>http://www.phas.org.uk/news_files/claire_debono_Edinburgh_Festival.php#unique-entry-id-18</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/claire_debono_Edinburgh_Festival.php#unique-entry-id-18</guid><content:encoded><![CDATA[Make a date on 13 August 2008 to go through to the Usher Hall and see Claire Debono, one half of &iexcl;Canto vivo!, signing in Handel's "Israel in Egypt"


The Scottish Chamber Orchestra is reunited with baroque conductor Emmanuelle Ha&iuml;m, having triumphed with their 2003 performance of Handel's Poro.   The soloists are&hellip;


Soprano - Lucy Crowe, Claire Debono


Countertenor - Robin Blaze


Tenor - Mark Tucker


Bass - Matthew Brook, Henry Waddington
]]></content:encoded></item><item><title>Benjamin Grosvenor: teenage prodigy comes of age</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-06-03T18:44:42+01:00</dc:date><link>http://www.phas.org.uk/news_files/7ea63dec15c1513f76f2e393ad321f00-17.php#unique-entry-id-17</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/7ea63dec15c1513f76f2e393ad321f00-17.php#unique-entry-id-17</guid><content:encoded><![CDATA[Music societies in Scotland are strange places.   I continue to be surprised by the depth of knowledge of some about artists that are on the cusp of greatness but not yet. 


At Pollok House Arts society we have our fair share of people with "the knowledge".   It might not get you around London but it can fair get you around some major but under recognised talent. 


"Benjamin Grosvenor: teenage prodigy comes of age" is the heading from a recent article in the Telegraph.   However the more I research Benjamin Grosvenor in anticipation of his playing our opening concert in next season the more I take issue with this sort of comment.


The article is well written and is supportive of Benjamin.   However in one respect it grates with me.   It infers that at last Benjamin Grosvenor has come of age.   Read what another wrote 4 years ago&hellip;


It was almost spooky to hear the beauty of expression and tone that this 11-year-old magicked out of the keyboard.   It was as if he was channelling Horowitz or Glenn Gould.   Such a tiny chap with a mop of badly cut hair and thick Clark shoes.   And yet he played like a fully adult man in full possession of the finest, maturest sensibilities.   In fact, the contrast between the maturity of the music and his physical immaturity felt almost unnatural.   As if he was infact a 40-year-old man shrunk to dwarfish size.


Not only did he play exquisitely well, he (or his teacher) had exquisitly apposite taste.   He chose technically athletic Scarlatti sonatas and a beautifully lyrical piece by Balakirev, But most extraordinary was a set of Five Bagatelles by the Australian composer Carl Vine. 


Here the writer makes it clear that we were listening to Horowitz or Gould through Grosvenor.   Hardly people who needed any further musical development.   He goes on to talk about Benjamin as if he were a pianist of around 40 years old and in possession of the finest, maturist sensibilities.


That being said, this is a good article and I recommend that you read it.]]></content:encoded></item><item><title>Imogen Cooper wins RPS Music Award</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-05-20T19:30:09+01:00</dc:date><link>http://www.phas.org.uk/news_files/imogen_cooper_rps_award.php#unique-entry-id-16</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/imogen_cooper_rps_award.php#unique-entry-id-16</guid><content:encoded><![CDATA[Imogen Cooper first played to Pollok House Arts Society (PHAS) on 22 May 1980 but luckily this was not her only concert at PHAS.   In May 2008, some 28 years later we find her given recognition due as she is World Class. 


What is surprising is how long it has taken the world to wake up to this fact.   In a recent article in the Guardian they acknowledge this in a fascinating interview with Imogen.  


Known for her interpretations of Schubert and Schumann but just as happy with modern music, she studied in Vienna with two other artists who have performed for us - Alfred Brendel and Paul Badura-Skoda.


In 2006 Imogen was made a CBE at the same time as composer John Rutter.   However she has now been recognised by one of the most prestigious bodies, The Royal Philharmonic Society, in the "Instrumentalist" category.   The other shortlisted nominations where James Ehnes (violin) and David Pyatt (French horn) Here is what RPS says&hellip; 


Imogen Cooper's distinction as one of the most formidable musicians of her time is widely recognised.   But the intellect, musicality and programming skills that she has demonstrated in her music-making in 2007 have, we feel, taken her to new levels.   This award celebrates her achievements as a deeply thoughtful soloist, an inspirational keyboard director and a fastidiously accomplished chamber musician.
]]></content:encoded></item><item><title>Danny Driver in International Piano Magazine</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-01-30T18:37:51+00:00</dc:date><link>http://www.phas.org.uk/news_files/danny_driver_in_international_piano_magazine.php#unique-entry-id-15</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/danny_driver_in_international_piano_magazine.php#unique-entry-id-15</guid><content:encoded><![CDATA[Danny Driver, who played for us in our 06/07 season is turning out to be a champion for an almost unknown British composer - York Bowen, In doing so he has managed to get himself into the November/December edition of International Piano Magazine.


He has recorded Bowen's 3rd & 4th Piano Concertos with the BBC Scottish Symphony conducted by Martyn Brabbins, The CD will form part of Hyperion's Romantic Piano Concerto series and will be released in the Autumn of 2008. 


Stephen Hough, another artist to perform at Pollok House, has also recorded works by York Bowen but very few others have done so.   You can find out more about York Bowen at Wikipedia. 


Read the article about Danny Driver in the International Piano Magazine by going to his website (pdf - you might want to right click and download the article)


 
]]></content:encoded></item><item><title>Ruth Waterman turns to writing</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-05-17T18:22:36+01:00</dc:date><link>http://www.phas.org.uk/news_files/when_swan_lake_comes_to_sarajevo.php#unique-entry-id-14</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/when_swan_lake_comes_to_sarajevo.php#unique-entry-id-14</guid><content:encoded><![CDATA[International violinist Ruth Waterman played for us a couple of seasons ago.   Now we find that she has turned her hand to writing and by all accounts it is a fascinating and extraordinary story.


Ruth first met the musicians of the multi-ethnic ensemble in 2002, and since then has returned regularly to the region, teaching, conducting and performing, and listening to their stories.   Here she describes the nuts and bolts of daily life - in turn frustrating, hilarious and touching: the putting together of concerts despite the odds; the rebuilding of bridges, towns, communities, lives; and how making music can connect us to our essential humanity and to each other.


Ruth Waterman&rsquo;s writing is humane and down-to-earth, perceptive and inspiring.   Interspersed with her diaries and observations are the stories of war and peace by the Bosnians themselves, in their own voices, acts of witness that reveal their courage, despair, resilience and humour.


This intermingling of narrative and first-hand accounts builds a mosaic that provides a visceral introduction to an unfamiliar world where people simply want to &lsquo;live a normal life&rsquo;.


Amazon
]]></content:encoded></item><item><title>Overhaul of our Steinway</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>PHAS</category><dc:date>2008-05-17T17:53:33+01:00</dc:date><link>http://www.phas.org.uk/news_files/our_steinway_piano.php#unique-entry-id-13</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/our_steinway_piano.php#unique-entry-id-13</guid><content:encoded><![CDATA[Over the Summer our Steinway piano is having its innards removed and worked on in time for the start of our season in October 08.   As we are to have two great pianists next season we need it in tip-top condition.


There have been a couple of pesky notes in the upper register that need to be tuned every couple of hours for the piano to stay perfectly in tune.   After this planned work they will be as well behaved as all the other notes.


Steinway have been most helpful.   It is one of their trained technician that will be doing the work.
]]></content:encoded></item><item><title>50th Anniversary of Pollok House Arts Society</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>PHAS</category><dc:date>2008-05-17T17:34:50+01:00</dc:date><link>http://www.phas.org.uk/news_files/famous_artists_at_phas.php#unique-entry-id-12</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/famous_artists_at_phas.php#unique-entry-id-12</guid><content:encoded><![CDATA[We are entering our 49th season (2008/09) and have already started plans for the 50th Anniversary celebrations.   One of our ideas is to celebrate with the wonderful artists we have had over the years and the list is mighty impressive for a small music society in Glasgow, Scotland.   I am having so much fun from talking with people from all around the world.   Here is the more famous artists we have had over the years.


Song


John Mark Ainsley |&nbsp;Olaf B&auml;r&nbsp;|&nbsp;Teresa Berganza&nbsp;|&nbsp;Michael Chance&nbsp;|&nbsp;Dame Kiri te Kanawa&nbsp;|&nbsp;Yvonne Kenny&nbsp;|&nbsp;The Kings Singers&nbsp;|&nbsp;Benjamin Luxon&nbsp;|&nbsp;Christopher Maltman&nbsp;|&nbsp;Ann Murray&nbsp;|&nbsp;Lucia Popps&nbsp;|&nbsp;Dame Margaret Price&nbsp;|&nbsp;Peter Schreier&nbsp;|&nbsp;Elizabeth Schwarzkopf&nbsp;|&nbsp;G&eacute;rald Souzay


&nbsp;


Piano


Gina Bachauer&nbsp;|&nbsp;Paul Badura-Skoda&nbsp;|&nbsp;Jean-Efflam Bavouzet&nbsp;|&nbsp;Jorge Bolet&nbsp;|&nbsp;Alfred Brendel&nbsp;|&nbsp;Myung-Whun Chung&nbsp;|&nbsp;Nikolai Demidenko&nbsp;|&nbsp;Angela Hewitt&nbsp;|&nbsp;Stephen Hough&nbsp;|&nbsp;Piers Lane&nbsp;|&nbsp;John Lill&nbsp;|&nbsp;Joanna MacGregor&nbsp;|&nbsp;Noriko Ogawa&nbsp;|&nbsp;John Ogdon&nbsp;|&nbsp;Steven Osborne&nbsp;|&nbsp;C&eacute;cile Ousset&nbsp;|&nbsp;Pascal Rog&eacute;&nbsp;|&nbsp;Mitsuko Uchida


&nbsp;


String & Ensemble


Alberni String Quartet|&nbsp;Amati String Quartet&nbsp;|&nbsp;Beaux Arts Trio&nbsp;|&nbsp;Chilingirian String Quartet&nbsp;| Eder Quartet |&nbsp;Emperor String Quartet&nbsp;|&nbsp;Hermitage Trio&nbsp;|&nbsp;Mandelring String&nbsp;|&nbsp;Quartet&nbsp;|&nbsp;Medici String Quartet&nbsp;|&nbsp;Salzburg Mozarteum Soloists&nbsp;|&nbsp;Skampa String Quartet&nbsp;|&nbsp;Talich String Quartet&nbsp;|&nbsp;Vienna Octet&nbsp;|&nbsp;Myung-Whun Chung (piano) & Kyung-Wha Chung (Violin)


Violin & Cello


Natalie Clein |&nbsp;Steve Isserlis |&nbsp;Gyorgy Pauk |&nbsp;Victor Yoran


If I have missed any out, my apologies and I will get to you before next year.]]></content:encoded></item><item><title>Clara Mouriz wins at Handel Singing Competition</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-04-15T16:16:00+01:00</dc:date><link>http://www.phas.org.uk/news_files/clara_mouriz_7th_handel_singing_competition.php#unique-entry-id-11</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/clara_mouriz_7th_handel_singing_competition.php#unique-entry-id-11</guid><content:encoded><![CDATA[All at Pollok House Arts Society [PHAS] last week witnessed one of the most impressive singers we have seen and heard in many-a-year.   Clara Mouriz is destined to be famous and rightly so.   We were privileged to get an early insight into this. 


Just before Clara joined us she was a winner at the 7th Handel Singing Competition.   I think it apposite that she took the audience prize.   Her ability to connect with an audience is her greatest strength.


PHAS has had the knack of getting artists who shortly become famous stars.   We manage this through the prescient knowledge of the music programme planners.   So we pick them before they are famous.   We cannot claim this with Clara as we did not choose her.


The day before the scheduled concert at PHAS, the original artist had to pull out due to ill health and Clara was asked to help out.   She and Julius Drake worked some magic and came up with a wonderful programme of music that had works from Haydn, Grieg, Turina, Rachmaninov and Montsalvatge.   The concert was impeccable. 


Even mother nature seemed to come to support Clara.   As she was singing about a nightingale, the birds were vocal as dusk turned into night.   For an encore Clara sang Fado and decided to show us how big her voice can be.   As she reached her crescendo many of the strings from the piano started to resonate in sympathy and sent an eerie dulcimer accompaniment that circulated throughout the library making the song omnipresent.


If Clara is in town, do yourself a favour, go to the concert. 


Our sincere thanks have to go to Tim Menah and Rebecca Sackman at Askonas Holt for the miracle they produced within an impossibly short time and also for introducing us to a star of the future.
]]></content:encoded></item><item><title>Ani Batikian At Paxton House</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-05-17T15:19:31+01:00</dc:date><link>http://www.phas.org.uk/news_files/ani_batikian_at_paxton_house.php#unique-entry-id-10</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/ani_batikian_at_paxton_house.php#unique-entry-id-10</guid><content:encoded><![CDATA[Two violinist, four pianists, two cellists and an ensemble all set to do a bit of Russian at Paxton House - 26th - 29th June 2008. 


Ani Batikian, who will be playing at Pollok House later in our 2008/09 season is one of the many talented musicians that will be entertaining us at Paxton House with a tightly-packed programme of 7 concerts celebrating Russian musical genius. (artsts at Paxton)


Paxton House is becoming a Hot Spot for chamber music in Scotland.   It is around 2 hours away in the car from Glasgow and is a wonderful setting.   Now to listen to Ani we think that this is a small price to pay and will be loading up the car with essentials for the trek. 


Why can't we have such a festival here in Glasgow?   Just look at what is on offer.   If this was in Glasgow I would be at every concert!


Programme of Music over the four day festival&hellip;


Beethoven: Sonata in A, Op.69

Bridge: 9 Miniatures

Britten: Simple Symphony, Op.4

Britten: Sonata in C, Op.65

Elgar: Serenade in E minor, Op.20

Grieg: Prelude, Air & Rigaudon from Holberg Suite, Op.40

Haydn: Trio in C, Hob.

...Mozart: Andante & Variations in G, K.501

Mozart: Divertimento for Strings in D, K.136

Prokofiev: Sonata No. 1 for Violin & Piano, Op.80

Prokofiev: Visions fugitives, Op.22

Rachmaninov: Vocalise

Ravel: Mother Goose Suite

Shostakovich: 24 Preludes & Fugues, Op.87

Shostakovich: Sonata in D minor, Op.40

Stravinsky: 3 movements from Petrouchka

Stravinsky: Concerto in D for String Orchestra

Stravinsky: Rite of Spring

Tchaikovsky: Trio in A minor, Op.50


There are few things that could be more agreeable than to make your way to Paxton House from 26th - 29th June and hear some of this wonderful music.


Summer Music at Paxton House]]></content:encoded></item><item><title>Llyr&#xa0;Williams at East Neuk Festival</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-05-17T11:27:02+01:00</dc:date><link>http://www.phas.org.uk/news_files/llyr_williams_at_rast_neuk_festival.php#unique-entry-id-9</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/llyr_williams_at_rast_neuk_festival.php#unique-entry-id-9</guid><content:encoded><![CDATA[If you do nothing else this Summer, make a date to schlep over to East Neuk as there is a musical treat to be heard - listening to Llyr Williams play as only Llyr can, at the East Neuk Festival.   Of course while there you should take in a couple of more concerts.   Oh!   Decisions, decisions - the Skampa Quartet or Sheila Chandra?


My first introduction to Llyr Williams was listening while driving to a Mozart Piano Concerto on Radio 3 without knowing who was playing.   The playing was sublime, lyrical, larger than life.   Even though it made me late for an important meeting with a client I stayed in the car and waited until the end to hear who it was - the brilliant Llyr Williams. 


Unfortunately the Saturday 5 July concert is already sold out.   However there are 3 other concerts he is giving all at Crail Church&hellip;


Thursday 3 July 12 noon - The Romantic Dream 1, Llyr Williams, Piano


 - Chopin: Four Ballades (37') 


 - Debussy: Estampes (18') 


Friday 4 July 12 noon - The Romantic Dream 1, Llyr Williams, Piano


 - Jan&aacute;ček: On an Overgrown Path (35') 


 - Schubert: Sonata, D.784 in A minor (18')


Saturday 5 July 4:30 pm - The Waves, Llyr Williams, Piano, Richard Holloway, Speaker


 - Debussy: Preludes 


 - Virginia Woolf: Seascapes from The Waves


By the way Llyr Williams is actually Llŷr Williams but when you do a find in Google on Llyr, Llŷr cannot be found and vice versa.   For easy searching on search engines I have gone with Llyr.   Sorry Llŷr!
]]></content:encoded></item><item><title>C&#xe9;dric Tiberghien - Music At Paxton</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-04-17T11:01:57+01:00</dc:date><link>http://www.phas.org.uk/news_files/cedric_tiberghien_musicatpaxton.php#unique-entry-id-8</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/cedric_tiberghien_musicatpaxton.php#unique-entry-id-8</guid><content:encoded><![CDATA[Scotland is to be blessed with another performance (actually two) from C&eacute;dric Tiberghien (Piano).   On Friday 18 July he will be playing at Paxton House, Borders just a few miles from Berwick.


So impressed with his music and quality of performance that the whole committee and some more are descending on Paxton House to hear him play.   The Friday evening programme is perfect antidote tp the rigours and frustrations of another week of work.


Ann&eacute;es de P&eacute;l&eacute;rinage Book 1 Franz Liszt (1811 - 1886) 


3 Songs from the District of Csik  B&eacute;la Bart&oacute;k (1881 - 1945) 


6 Romanian Dances  B&eacute;la Bart&oacute;k (1881 - 1945) 


Hungarian Dances Johannes Brahms (1833 - 1897) <hr>


I mentioned two performances because on the very next evening, Saturday 19th he plays alongside another young musical genius -  Alina Ibragimova (Violin).   I have only heard her on a BBC CD playing Bach Concertos 1 & 2 along with a rather tasty Chaconne.   The BBC have a knack of finding wonderful new talent.


C&eacute;dric and Alina have created a programme that has the ubiquitous Beethoven and Mozart but to my delight they are including one of my favourite composers - Karol Szymanowski.


Sonata for violin and piano no 10 in G major Op 96 - Ludwig van Beethoven (1770 - 1827) 


Sonata for violin and piano in D minor, op 9 - Karol Szymanowski (1992 - 1937) 


Nocturne and Tarantella for Violin and piano Op 28 - Karol Szymanowski (1992 - 1937) 


Three Paganini-Caprices for violin and piano Op 40 - Karol Szymanowski (1992 - 1937) 


Sonata for violin and piano in F major, K377 - Wolfgang Amadeus Mozart (1756 - 1791)


More information at Music at Paxton.]]></content:encoded></item><item><title>2006 Gramaphone Awards - Angela Hewitt</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2006-09-28T20:22:09+01:00</dc:date><link>http://www.phas.org.uk/news_files/angela_hewitt_wins_artist_of_the_year_award.php#unique-entry-id-7</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/angela_hewitt_wins_artist_of_the_year_award.php#unique-entry-id-7</guid><content:encoded><![CDATA[Past performer at Pollok House Arts Society wins "The Artist of the Year Award" - as voted for by Gramophone readers - was presented to pianist Angela Hewitt.    The other nominees were Sir Simon Rattle, Valery Gergiev, Gerald Finley, Veronique Gens and Steven Isserlis.   The Editor's Choice Award - given by Gramophone editor James Inverne - went to Gerald Finley's Stanford Songs of the Sea with BBC NOW, conducted by Richard Hickox (his fifth Gramophone award) and released by Chandos.   You can read her full bio at Intermusica 


At the time of&nbsp;Angela Hewitt's nomination, Gramophone noted:


"Some artists perform to such a consistently high standard that they attract a devoted following.   Angela Hewitt has achieved this, and rightfully so.   Technically dazzling, she is a chameleon of the piano, able to shift moods and character while still remaining indisputably Hewitt.   The last year has seen two typically intelligent and sensitive recording projects.   In her two volumes of Bach keyboard concertos - with which she rounds off her Bach cycle for Hyperion - she balances scholarship (combining two different types of keyboard) with elastic, alert responses to the music.   In another recent disc, she makes a charming advocate for Chabrier's piano music, by turns nimble and sensuous.   If Hewitt is one of the most intelligent of interpreters, she always remains a great entertainer.   And that following is growing.&nbsp;  "


Hewitt's vast repertory includes music from Bach to Messiaen.   She has done two complete recital cycles of the piano music of Maurice Ravel, and has devoted entire single-composer recital programs to Roussel, Brahms, Faur&eacute;, Chopin, Robert Schumann, Beethoven, and Brahms.
]]></content:encoded></item><item><title>C&#xe9;dric Tiberghien - New CD Released</title><dc:creator>keir@smartgraphics.co.uk</dc:creator><category>Artists</category><dc:date>2008-02-10T19:29:37+00:00</dc:date><link>http://www.phas.org.uk/news_files/cedric_tiberghien_brahms_piano_concerto.php#unique-entry-id-5</link><guid isPermaLink="true">http://www.phas.org.uk/news_files/cedric_tiberghien_brahms_piano_concerto.php#unique-entry-id-5</guid><content:encoded><![CDATA[ Harmonia Mundi has just released a new CD by C&eacute;dric Tiberghien - BRAHMS.   Piano Concerto no.1.   Haydn Variations


Having immediately gone and bought the CD my faith in Tiberghien's musicianship was reaffirmed.   It is a wonderful listen. 


He plays the first movement with great authority and aplomb.   However this is a mere introduction to his meltingly beautiful middle movement.   I am not alone in my praise.   Here is what others have to say&hellip;


"This notoriously difficult yet majestic concerto is the perfect vehicle to show off the considerable talents of dazzling French pianist Cedric Tiberghien, who tackles it with a combination of effortless virtuosity and maturity beyond his years.   Partnered with the BBC Symphony and new chief conductor Jiri Belohlavek, Tiberghien is equally at home in the light, contemplative passages, the stormy superstructure and the joyous final movement.&rdquo;

The Observer, 13 January 2008


&ldquo;[Tiberghien] is wonderfully restrained in music that is often hammered to death; he launches the finale with irresistible elan, and achieves a genuine sense of poetry in the slow movement&rdquo;

The Guardian, 11 January 2008


&ldquo; refreshingly individual, sensitive, strong-minded, intelligent; more than a name to watch.   &ldquo;

The Times, 11 January 2008


Pollok House Arts Society recommends immediate purchase of this wonderful CD.]]></content:encoded></item></channel>
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