A journey of music theatre which is based on her memoir, ‘Piano Lessons’

Novels, menus, paintings and recitals depend for their success, in part, on structure. For this recital the use of Anna Goldsworthy’s book “Piano Lessons” provided a simple but effective way of constructing a recital programme. In some ways it resembled an eight course dégustation menu!  Above all, however, the whole programme thus constructed was a tribute to Anna’s outstandingly perceptive and talented piano teacher Eleonora Sivan with whom she studied from the age of nine.

The special qualities of Eleonora were revealed early in the afternoon when Anna read from her book. During a lesson Anna said “I’ve already learnt that Prelude – I finished it with my old teacher.” Eleonora replied “Bach is never finished. Life in this music is endless.” Anna then played us two Bach Minuets from the Anna Magdalena Notebook – probably in a much more sophisticated way than when she was just nine years old!

Anna continued reading and then played the first movement from Mozart Sonata K333 in B flat. This was very stylishly played and one wished that the whole sonata had been part of the programme. One of Eleonora’s comments on Mozart was: “ Mozart exactly like Midas – every sound he touches turns to gold.”

After appropriate excerpts from her book Anna went on to play a Chopin Berceuse and then Etude Op10 No 5 –an exceptionally difficult étude which was executed with speed and delicacy of touch. The pièce de resistance before the interval was Liszt’s Rigoletto Paraphrase. It is a tall order indeed to represent the characters of the opera as delineated by Eleonora –“ here we have opera, full story, with real characters. Rigoletto is basically a clown – how do you say – jester – and tragic figure really. And his daughter Gilda, completely innocent. Then we have the Duke, professional at seduction. We begin with philosophical introduction, from Liszt not from Verdi”.   This was a stunning and technically brilliant performance with many of the characters clearly recognisable.

After the interval The Prelude and Fugue in C sharp Major was a welcome return to Bach. The prelude was played with vitality and dexterity. The articulation of the fugue subject was in clear contrast to the legato countersubject and the attractive and cleverly constructed episodes added to the interest of the piece.

Beethoven, regarded by Eleonora as “greatest musician”, was well represented in the programme by a powerful performance of the first movement of the Waldstein Sonata Op 53 –a tour de force by anyone’s standards.

The most impressive part of the recital in my view was the wonderfully sensitive playing of the calm middle section of the Chopin Marche Funèbre from Sonata No 2 in B flat. Anna recalled playing this music after she had visited Eleonora who was seriously ill in hospital and it clearly holds many memories for her. The Chopin Nocturne Op 27 No 2 in D flat which followed was a fitting finale for the afternoon.

Overall the blend of readings and music was successful. We were privileged to be allowed a glimpse into Anna’s early life as a musician and to hear some of her favourite pieces studied during that time. I left the church thinking how incredibly lucky Anna Goldsworthy has been to have had such an inspired teacher to develop her considerable talent over many years.

Elisabeth Andrews

 

Once again the South Coast Music Society has brought to us a wonderful concert of beautiful music.

On Sunday afternoon 9 August at St Bernard’s Church Batehaven, we were treated to highlights of some of the world’s favourite composers best loved operas and art song.

Performers from the Sydney Conservatorium of Music presented solos, duets, trios and ensemble items that rewarded the large audience who ventured out on a cold winters’ day.

The beautifully well matched voices of sopranos Zoe Drummond and Rebecca Moret performed Mozart’s “Letter Duet” from The Marriage of Figaro. Solos selected by these singers highlighted the lovely spinning quality and dramatic colour of their voices. The pianissimo at the end of “Senza mamma” by Puccini was exquisite.

Bass-baritone Jared Lillehagen sang Puccini’s “Questo amor, vergogna Mia” from Edgar with vibrant tone. He later performed Korngold’s “Mein Sehnen, Mein Wahnen with sensitivity and great vocal dynamics.

The rich, warm and creamy mezzo-soprano voice of Sarah Kemeny excelled in Rossini’s “Una voce poco fa” from Il Barbiere di Sivilia as it moved with agility over the challenging runs. Duets and trios followed which showcased a variety of musical style and versatility.

Soprano Michelle Ryan sang “O mio babbino caro” from Puccinni’s Gianni Schicci and Kunneke’s “Strahlender Mond” with a clear bright tone moving easily into the higher range of her voice. She, as with all the singers, performed their pieces with sincerity and honesty.

At the piano, accompanist Patrick Keith played for the singers with great aplomb throughout the concert.

Jasper Garner-Gore as emcee kept the audience informed of the storylines of each piece as all were performed in the original languages.

An encore of the popular “Time to say goodbye” finished a delightful concert.

On behalf of all who attended we wish these young performers all the best for their artistic careers.

he last concert in the SCMS 2015 series is Anna Goldsworthy, pianist, author and actor who will entertain us at 3.00 pm on 1 November 2015 at St Bernards, Batehaven. Bookings and further information at www.southcoastmusicsociety.com.

Andrea Annear
August 9, 2015