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Elaine Annable
Features Writer
@elaineannable
6:19 AM 5th March 2020
arts

Pixels Ensemble Beethoven Firsts, University Of Leeds International Concert Season

 
This concert by Pixels Ensemble: Sophie Rosa (violin), Thelma Handy (violin), Vicci Wardman (viola), Jonathan Aasgaard (cello) and Ian Buckle (piano), was part of the University of Leeds Beethoven Firsts, a weekend of concerts, talks and masterclasses to mark 250 years since the birth of Ludwig Van Beethoven.

An inspired and imaginative piece of programming, it featured two striking 21st century compositions by Lera Auerbach and Grace-Evangeline Mason, alongside Beethoven’s Violin Sonata no 1 in D and String Quartet in F Op 18 No 1. The contrast in style and sound worlds was extremely effective, and in terms of passion and emotion, the modern pieces sat surprisingly well beside the emotional intensity of the String Quartet in F.

Sophie Rosa and Ian Buckle opened the programme with a sparkling rendition of Beethoven’s Violin Sonata no 1 in D. This is a sonata where the violin and piano are very much equal partners, indeed, there are some who are of the opinion that this violin sonata is 70% piano and 30% violin.

Characterised by great rhythmic drive and attack, there were also some lovely, pianissimo question and answer passages, where the theme was passed seamlessly between instruments before coming together in perfect unison semiquavers.

However, it was in the slow movement that I felt a real connection between the performers: here was a perfect balance between violin and piano with some exquisite moments of dramatic contrasts, demonstrating a clear understanding between musicians. It was a thoroughly enjoyable, stylish performance from Sophie Rosa and Ian Buckle.

Lera Auerbach's Piano Trio no 4 for violin, cello and piano - a single continuous movement of 15 minutes duration, was in stark contrast to what had gone before.

Opening with sparse, uncluttered texture, the piano took the lead transporting us into Auerbach's unique sound world. Full of contrasts, it packed a real emotional punch: exhilarating passages of frantic intensity and jagged, accented phrases, were followed by quiet, atmospheric sections with the lightest of pizzicatos giving a sudden release of tension.

The ending was beautifully controlled; the final notes gradually dying away into a silence that the audience simply did not want to break. A stunning performance from Pixels Ensemble who did full justice to this remarkable work in its UK premiere.

Grace-Evangeline Mason's 'Into the Abyss, I throw Roses', for string trio, was inspired by words from Friedrich Nietzsche's Posthumous Fragments. Depicting the imagery within the text it contrasted reflective, sombre moments with more heavy, rhythmic passages as well as delicate descending figures simulating falling roses. A gorgeous, emotionally charged piece of music, sensitively performed by the trio of musicians, it had an other-worldly, almost filmic quality which was extremely appealing and drew the listener in.

Following these two 21st Century compositions, Beethoven's String Quartet in F felt much more accessible. Communicating the sudden intense and extreme shifts of emotion in this work requires a combination of abandon and control, which Pixels Ensemble achieved effortlessly. Delivering a totally assured performance, they resisted the urge to over-egg the Romanticism in the Adagio with its anguished aria, and brought a wonderful energy and drive to the 3rd movement Scherzo and 4th movement Allegro.

A fabulous evening of top class music-making.