(Left: Phillip
Richardsen)
Richardsen’s playing was characterized by
great restraint and he was never overbearing, displaying a depth of dignity in
his playing which is seldom seen in other pianists. (Review by Martin Goldstein)
Friends of Music's recital on June 4, 2019,
featured internationally-acclaimed concert pianist, Phillip Richardsen who
performed Joseph Haydn’s Sonata in E-flat major, Hob. XVI/49, Percy Grainger’s Colonial Song, Sergei Lyapunov’s
Transcendental Etudes, op. 11, no.’s 6 and 10, Edvard Grieg’s Suite From Holberg’s Time, Pyotr Ilyich
Tchaikovsky’s Suite The Nutcracker”
and Franz Schubert’s Impromptu, op. 90, no. 4.
Phillip Richardsen had great presence and
excellent articulation. He displayed a lovely touch and produced a shimmering
tone. His playing was characterized by great restraint and he was never
overbearing, displaying a depth of dignity in his playing which is seldom seen
in other pianists. Richardsen can be described as being ever calm and composed.
Also, his great stamina was evident throughout.
Possible criticisms include a lack of
dynamic variation and also a lack of clarity in the pedalling. Nevertheless, in
terms of his touch on the keyboard, he demonstrated the ability to adjust his
sound from crisp to rounded. The Grainger was a courageous choice and displayed
Richardsen’s understanding of a broad range of genres. He created a lovely
kaleidoscope of sounds, painting a convincing sound picture. Perhaps, on
occasion, it could be said that this picture lacked coherence. However, at all
times, his playing was very controlled.
With regards to the Lyapunov, the first
movement, no.6 of the Transcendental Etudes, op. 11, it could be said that this
was not exactly his genre. Nevertheless, he displayed wonderful agility and
stamina. Richardsen must be commended on his excellent octave work in the right
hand. In the next piece, no. 10, he revealed a wonderful knowledge of the
repertoire through describing some of its features to the audience. This movement
really suited his crystal clear touch and his incredible agility. He also
cultivated a sense of the Slavic genre, achieving a wonderful soundscape of
tone colours.
In the first movement of the Greig,
Richardsen achieved a lovely, poignant singing tone as the movement progressed.
In the G minor movement, he made a considerable effort to effect a good sound
quality and this is highly commendable. It could be said that in this movement,
he was really listening to the quality and the timbre of the sound which he was
producing. In the subsequent movement in G major, he displayed wonderful
agility and a delightful interplay between the hands.
In the Tchaikovsky, Richardsen really
captured the sound of the glass harmonica at the beginning of the movement in
the upper register of the piano and his wonderful, light touch really came to
the fore. In the third movement, his clarity of playing combined with his sense
of timbre was ultimately united. In the Schubert, one felt as though Richardsen
had entered into the composer’s world.
(Right: Avuya
Ngcaweni)
The Prelude Performer, Avuya Ngcaweni, can
be commended on her vocal clarity and the precision of her vocal pitching. She
performed Lágrimas mías from El anillo de hierro by Miguel Marqués, S'altro che lacrime from La Clemenza di Tito by Wolfgang Amadeus
Mozart and Ella a fui la tourtelle
from Les Contes d'Hoffmann by Jacques
Offenbach. She also had a mature interpretation of the sentiments inherent in
the various time periods. Possible criticisms include a lack of dynamic
variation, a diminished quality of vocal timbre in the higher register and the
need for slightly more graceful phrasing. However, overall, Ngcaweni displayed
very good voice control. With the Offenbach, she seemed to be most at home with
this genre and demonstrated a good understanding of the narrative of the song. –
Martin Goldstein
For
more information on Friends of Music, phone Keith on 071 505 1021 or mail friendsofmusic@webmail.co.za or visit www.friendsofmusic.com
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