Chamber music at its very finest

29 May 25

…The first movement [of Ravel’s Ma mere de l’oye], ‘Pavane de la Belle au bois dormant,’ was tissue delicate and beautifully blended in Ensemble 360’s performance… Adrian Wilson’s oboe sang beautifully in ‘Petit Poucet’ (Little Tomb Thumb) before Orientalisms teasingly prevailed in ‘Laideronete, impératrice des pagodes’ (Little ugly girl, Empress of the Pagodas)… The sheer beauty of the conversation between the Beauty and the Beast was lovely, while Tim Horton’s piano glissandos enlivened the processional for the final ‘Le jardin féerique’ (The enchanted garden). Part of the ensemble’s anniversary celebrations is to have pieces chosen by members: the Ravel was the choice of Rachel Roberts.

…The piano’s first statement [of Farrenc’s Sextet for piano and winds, Op. 40] was ravishing, ceding to fine solos from Robert Plane, Adrian Wilson and Juliette Bausor… Bassoonist Flo Plane’s moment came later, as eloquent as can be.. Horton’s playing is miraculously clean, but also characterful. Basically, this was chamber music at its very finest, interactions between musicians those of civilised conversation…

The second part of the concert began with Juliette Bausor’s ‘desert island piece,’ Maurice Duruflé’s Prélude, Récitaif e Variations… the viola solos spoke tellingly from Roberts, while Horton tracked the writing from organ-like to impeccably pianistic to a tee. Roberts has a beautiful legato, while Bausor’s flute was the perfect final component to the mix…

Finally, Schumann’s E flat Piano Quintet: quite a contrast, bold, Germanic… Ensemble 360’s reading was fascinating… there was no faulting the lyricism of this performance, lower sings (cello and viola) in perfect dialogue. Gemma Rosefield’s cello sang beautifully. The second movement is marked ‘In modo d’una Marcia’; no missing the march element here. Benjamin Nabarro’s first violin part was stunning, almost whispered, Roberts’ viola statement poignant in extremis. A real attention to the anacrusis-downbeat basis of this movement on each and every occurrence allowed the music’s onward tread to really tell…

Ensemble 360’s performance positively sparkled, the Trio a cushion of delights. The group found the perfect tempo for the finale… Ensemble 360 as a unit seemed to revel in Schumann’s masterly counterpoint here, taking the music to an exciting conclusion.

A terrific set of performances; it is the Farrenc and Duruflé that will live long in the memory. But wonderful to hear Schumann’s chamber masterpiece and Ravel’s garden of magical delights.