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Truly superb playing

Music Web International, Paul RW Jackson

Gregson’s Concerto for Viola and String Orchestra, ‘Three Goddesses’, is in three movements played without a break. It depicts three different goddesses: the Morrigan, a goddess in Irish myth associated war and fate, alongside other darker traits, Aphrodite the Greek goddess of love and beauty, and Diana the Roman goddess of the hunt and moon. These different starting points are very carefully united by musical material stated at the beginning and then ingeniously transformed throughout.

If one considers the generally dark aspect of the Morrigan in myth, the depiction here is of a more benevolent goddess, perhaps more mother than warrior. A magical opening with the motto theme and some, once again, beautifully spaced chords, leads us on a turbulent though not scary journey.

“There is not an extraneous note, and Rachel Roberts negotiates the often-chordal writing for her instrument fearlessly.”

In the finale, Diana the goddess of the hunt and the moon, is depicted in a more straight-forward setting. A fast dancelike theme, undoubtedly hunt like, is contrasted with a lyrical theme – maybe that of the moon. A beautifully cinematic movement, it builds to a tremendous climax and an outrageous high G from the soloist.

“I must be honest and say that the viola and tenor saxophone are my least favourite instruments. However, having listened to this work a number of times and the truly superb playing of Rachel Roberts I think my prejudice towards the viola has waned.”

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The core repertoire for viola and piano is not extensive. Part of it are these three works, which violist Rachel Roberts and pianist Lars Vogt put together in a complex programme. Schubert’s Arpeggione Sonata seems to flow lightly, but is actually most profound music. Who else than the then only 27-year old composer could have so elegantly and skillfully translated life’s tragedies into music? Britten’s series of variations Lachrymae is a labyrinth of interwoven feelings with a sombre touch, posing the listener many a riddle. One senses the existential nature of Shostakovich’s last composition, too, the viola sonata op. 147, which was written by the dying composer in his last two months.

Rachel Roberts plays these masterworks with a light, breathing sound, which is never forced or pushed excessively. A simplicity prevails, never showing off or trying too much. Rather than mere size and volume, Roberts focuses on the variability of colours and subtle dynamic nuances.

It’s very convincing how Lars Vogt’s versatility helps shape this line. If the score demands it, he is able to grow to a real lion on the piano, and in the next moment retreat into the world of the quietest sounds. He has proven it many times as a chamber musician, especially at his own festival “Spannungen” in Heimbach, of which there are many live-recordings on the CAvi-label.

The authenticity of the febrile and rich sound they created, together with their intensity of emotion, made this most memorable

The Guardian, Rian Evans

“Beethoven: Music in Revolution was the ambitious title given to this five-day festival, curated and performed by the Gould Piano Trio and friends. It offered an absorbing historical perspective on a composer who subverted rules, pushed boundaries and used shock tactics, as well as capturing his rigour and passion.”

“Violinist Gould and Frith combined fire and expressive power in Beethoven’s Kreutzer Sonata, and its pairing with Janáček’s Kreutzer Sonata string quartet, based on Tolstoy’s short story of the same name, was inspired. David Adams, Gould, Rachel Roberts and Alice Neary may not formally be a quartet, but the authenticity of the febrile and rich sound they created, together with their intensity of emotion, made this most memorable.”

Fire and expressive power

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28/02/2026