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13

October

Overview

Piatti Quartet & Emily Pailthorpe (oboe)

JCWT Mozart Oboe Quartet in F, K370
Claude Debussy Quartet in G minor, Op. 10
Elizabeth Maconchy Quintet for Oboe & Strings
Felix Mendelssohn String Quartet in F minor, Op. 80

Nathaniel Anderson-Frank violin
Michael Trainor violin
Tetsuumi Nagata viola
Jessie Ann Richardson cello
Emily Pailthorpe oboe

Elizabeth Maconchy’s thirteen string quartets represent an unparalleled 20th-century contribution to chamber music for strings.

Following the memorable performance of her fourth quartet in the 2017 LCMS series, this concert illustrates Maconchy’s sensitivity for wind writing too, as Emily Pailthorpe’s solo oboe joins the Piatti Quartet in a rare performance of the Oboe Quintet from 1932.

The taut and dramatic style of the quintet is contrasted with music by Mozart and Debussy, and the concert ends with Mendelssohn’s passionate string quartet in F minor.

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Clock6.30pm Sunday, 13th October 2019

FREE! Pre-Concert Event: Naomi Wright - cello - Sunday 13th October, 5.45pm

Benjamin Britten  – Solo Cello Suite No 3 Op 87
Benjamin Britten – Excerpts from Cello Suite No 1

Cellist and composer Naomi Wright’s playing has been described by The Guardian as ‘inspired’. Since completing her studies at the Eastman School of Music, USA and the Royal Academy of Music, London, she has been establishing herself as an artist at home playing classical music, her own compositions, or improvised music.  Her album ‘Anima Rising’ featuring the music of Beethoven and Janacek was said to be ‘.. excellent playing and an imaginativce programme’, Music Web

Heather Ely has compared the identical education of contemporaries Maconchy and Britten, with Britten’s far greater opportunites in his career, and it is great in 2019 to have his Cello Suites complimenting her quartet in a setting where they can be viewed as equals.    Their mutual influences include Bartok and Shostakovich, and even their methods of composing were similar, her daughter ,Nicola remembering Maconchy regularly quoting Britten’s quantification of composing as 90 percent manual labour ; as Maconchy said “endless reshaping, wholesale scrapping and starting again.”

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