(5 / 5)

In what might be the finest hour of music making have seen in London for some time, I was caught off guard with The Purcell School. These musicians are filled with the spirit of music making that is oh so needed in these desperate times.

Robert Saxton had a premiere with his Le Tombeau de Ravel. The French composer was the mainstay of the day, his 150th birthday a major cause of celebration. Saxton’s way with orchestration is curious, the sinew of melody and harmony always dissolving. The players handled the course material well. Saxton had worked with the next composer: Luciano Berio. Having his own 100th birthday bash, the School did one of Berio’s finest creations, the Folk Songs. Eleven female singers took up these wonderful arrangements, some of which are Berio’s own invention, others well established folk standards from the United States, France and Armenia. Every works as a total triumph, delight after delights is heard and felt thorough the clever arrangement. Perhaps most potent is ‘A la Femminisca’, a Sicilian call to church with metal coil, tam-tam and tubular bells.

What had wow factor was on violin Juila Majewska, with Phoebe Papandrea on piano. Ravel here channels Spain and Hungary with Pièce en Forme de Habanera and the famous Tzigane. I felt like was watching stars in the making, Majewska was an utter sensation on the violin, a second nature next to brilliance. Papandrea also proves to have a considerate chemistry, you feel they are friends. The feverish vitality of these works prove why Ravel is interesting and of note. There are many congratulations to be had here. Promise beyond promise.

To wrap up more Ravel in a four hand version of of La valse. Arranged by Ian Farrington, the waltz becomes an absurdly whirling terror that only seems to crescendo. The players Luca Newman and Stephanie Qiao impressed, their modesty at first diminished through violent playing in this four handed thrill ride.

A genuine joy to see young musicians play on this scale.