Saturday 6th July – 11.00
Lord Rhodes Recital Room
Music of the Manchester School
Mark Allen, Alison Balsom, Daniel Newell, Mark O’Keeffe – trumpet
Adrian Spillett – percussion
Jonathan Scott - piano
Gary Mortenson, Reporter
Saturday morning witnessed an outstanding program of music featuring a wide array of music from composers who have, at one time or another, been associated with the city of Manchester. The recital began with a work by a student at RNCM, Peter Meechan, titled Angel trumpets…Devil Trombones. It was performed by the RNCM trumpet ensemble and was most effective. The work, conducted by John Miller, was performed in an antiphonal fashion with four groups of trumpet players sounding from front to back, and side to side.
The next work, Sonata by Peter Maxwell Davies was in three movements and featured Mark Allen on trumpet. This three movement work was beautifully
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Mark Allen
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performed featuring wide leaps, complex rhythms, and required a fine ear and endurance. The recital continued with the second movement of Cornet Concerto by Elgar Howarth as performed by Ben Rapp. The next work Silkhouse Antiphonies by Harrison Birtwhistle featured Alison Balsom and Daniel Newell on trumpet, and Adrian Spillett on multiple percussion. This work is a fine addition to the limited repertoire for trumpet and percussion. Spatial elements were effectively employed as the two trumpets were placed front and back in the hall and then switched positions as the work continued.
Manchester Fugue No. 3, for six trumpets, by Owen Bourne featured the talents of Alison Balsom, Daniel Newell, John Miller, Mark Allen, Anna Spence, and Gayle Coleman. The blend, balance, precision, and uniform approach to the interpretation of this contrapuntal work was most enjoyable as was the composition itself.
The last work on the program, Litany for a ruined chapel between sheep and shore, for solo trumpet, by Peter Maxwell Davies was performed by Mark O’Keefe. A slide presentation of photos taken on the island that was the inspiration for this work was included. The photos were scenes of desolation, in diminished light that was quickly fading. It was not clear if this depicted dawn or dusk, but from the progression of slides, it appeared to be fading light. This challenging work was beautifully performed by O’Keefe who was required to play at all dynamic levels, in all registers, and with all styles of articulation. O’Keefe played from a variety of angles in each of the musical sections adding a spatial dimension to his presentation. Maxwell-Davies music is known for its complexity and attention to detail. In every respect this solo trumpet work helped to further this reputation. It was a stunning performance made even more effective in that it was done from memory and with the lights dimmed.
Manchester is a city of vibrant culture and musical heritage. All of this was abundantly clear to the most appreciative audience.
