![\"Semra](\"https:\/\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2018\/11\/Semra-and-Gladys.jpeg.jpg\")
<\/a>The November concert saw Associate Concertmaster of WASO, Semra Lee-Smith (a founding member of the Darlington Ensemble) join with associate artist Gladys Chua in an attractive programme of works for violin and piano.\u00a0 The two most substantial pieces were sonatas by Brahms and Debussy, composed about thirty years apart but inhabiting quite different sound worlds. In the Sonata in A major by Brahms (1886), both performers were able to balance an often full-bodied sound with the essentially song-like character of the work.\u00a0 In this sonata, the middle movement is an interesting combination of slow movement and scherzo and the alternations between the two were deftly handled.\u00a0 Altogether a very satisfying performance of a work that is perhaps not heard as often as the other two sonatas by Brahms, but deserves to be.<\/p>\nWith the concert taking place on the actual centenary of the Armistice which ended World War I in 1918, it was appropriate to hear the last work that Debussy completed before his death in that same year.\u00a0 Its elusive form, fragmented melodies and distinctive harmonies were captured just as well as the late Romanticism of Brahms had been.<\/p>\n
Framing the sonatas by these German and French composers were shorter pieces by two Austrian Ks \u2013 Korngold and Kreisler.\u00a0 Korngold\u2019s Garden Scene<\/em> comes from the incidental music he wrote for Shakespeare\u2019s play Much Ado About Nothing<\/em> (incidentally, also composed in 1918), originally for small orchestra but with this intermezzo later arranged by the composer as an extended piece for violin and piano.\u00a0 Its rather sentimental lyricism foreshadows his successful film music as well as his later, increasingly popular Violin Concerto.<\/p>\n Praeludium and Allegro in the Style of Pugnani<\/em> is one of Kreisler\u2019s \u2018pastiche\u2019 pieces. Strong playing in the prelude led to rapid passage-work in the Allegro, culminating in a crowd-pleasing climax.\u00a0 An encore may have been called for, but having played for nearly an hour without a break \u2013 save for an explanation of colleagues having to withdraw for various genuine reasons \u2013 it was probably better for the audience to leave satisfied but wanting more.\u00a0 Well done, Semra and Gladys!<\/p>\n","protected":false},"excerpt":{"rendered":" Darlington Ensemble Eileen Joyce Studio, UWA reviewed by John Meyer The November concert saw Associate Concertmaster of WASO, Semra Lee-Smith (a founding member of the Darlington Ensemble) join with associate artist Gladys Chua in an attractive programme of works<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[3],"tags":[215,217,216],"class_list":["post-187","post","type-post","status-publish","format-standard","hentry","category-live-performance","tag-darlington-ensemble","tag-gladys-chua","tag-semra-lee-smith"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9Yv33-31","jetpack-related-posts":[{"id":231,"url":"https:\/\/ozartsreviewonline.com\/oz\/wasos-festival-of-chamber-music\/","url_meta":{"origin":187,"position":0},"title":"WASO\u2019s Festival of Chamber Music","author":"reviewer","date":"March 7, 2019","format":false,"excerpt":"Government House Ballroom reviewed by Neville Cohn Even in so zany and improbable a treatment of Bach originals as Luther Henderson\u2019s arrangements for brass ensemble of some of the Master\u2019s Preludes and Fugues from the \u201c48\u201d, \u00a0the sheer power and universality of the great composer\u2019s musical ideas are wondrously apparent.\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":69,"url":"https:\/\/ozartsreviewonline.com\/oz\/grigory-sokolov-piano\/","url_meta":{"origin":187,"position":1},"title":"Grigory Sokolov (piano)","author":"reviewer","date":"March 30, 2017","format":false,"excerpt":"Schubert, Beethoven, Rameau DG 479 5426 reviewed by Neville Cohn \u00a0 During the years when I taught music criticism, I would, early on in the course, ask how many of the students had listened to Beethoven\u2019s Hammerklavier piano sonata, either \u2018live\u2019 or\u00a0 recorded. 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