I heard intriplicate's superb performance of Arnold's Suite Bourgeoise
I realised that we had a really important new piece to add to the
flute, oboe and piano repertoire. We wind players particularly owe
them a great debt of gratitude for their seeking out of this music
and for their beautifully characterised performance. I might add
that at the performance I attended, their CDs went like hot cakes
till none remained. This is a tribute both to the charm and infinite
variety of Malcolm Arnold's music, and also to the infectious enthusiasm
and skill of intriplicate's performance.'
was a great pleasure to hear the first complete European performance
of Sir Malcolm Arnold's Suite Bourgeoise this year. In May at the
Strathgarry Course for Young Musicians, the three talented artists,
Claire Dunham (piano), Claire Fillhart (flute) and Sally Richardson
(oboe) joined forces under their collective name of intriplicate.
A highlight of their concert programmes there, the Arnold was given
a much needed airing.
in 1940, the piece has been unjustly neglected and forgotten. What
emerged in the hands of these young players was a performance that
brought out all the freshness and vitality so typical of Sir Malcolm
Arnold's music - it seemed he had only written it yesterday. Whether
in the telling lyricism of the haunting themes or the vigorous jazz
inspired rhythms and harmonies, they were equal to the demands.
Their obvious love for the work was immediately infectious to the
audience and their communication of both the humorous and more serious
aspects gave a very rounded interpretation.
are quite right to champion this much needed addition to their repertoire.
Skilfully written as one would expect, the composition features
all three instruments to good effect and combines them in a most
delightful way. Thanks to these enterprising young artists, the
Suite Bourgeoise has finally seen the light of day and will undoubtedly
continue to capture the hearts of future audiences.'
will not only relish the effortless and polished performances of
this superb trio, but await their return with eager anticipation.'
Pianist-in-residence - St Martin's College,
impressed with a faultless ensemble which was maintained throughout,
however technically demanding the music.'
trio's obvious enjoyment added to the audience's pleasure. If Intriplicate
can maintain their freshness and enthusiasm, we shall hear much
more of them.'
and Whitefield Guide
lyrical qualities never lacked subtlety and the interplay of musical
ideas bounced effortlessly between these musicians.'
was evident from the outset that these performers take great delight
in the music they play and are each, in their own right, musicians
of considerable integrity.'
Pianist-in-residence - St Martin's College, Lancaster University
Friday was yet another triumph for intriplicate... [they conveyed]
a feeling of intense pleasure in performing and so made their audience
very relaxed and able to wallow in the joy of the music.'
Audience member at Flixton
music was simply wonderful and we were totally absorbed by it all.
at Flixton House
afternoon at the Thornton Little Theatre was splendid; I could have
listened to your programme all over again.
A member of
the audience at Little Thornton Theatre recital
comes to him who waits. Thus the saying goes, and this time it was
proved right. Since reading Piers Burton-Page's review in a past
newsletter (Spring 1997), I have been looking forward to hearing
a performance of Suite Bourgeoise. So, having waited 7 ½
years and discovering that the splendid trio intriplicate were including
it in their recital for 9th July in Manchester, Margaret and I made
our way to the St James and Emmanuel Church in Didsbury, where Bryan
Fox had set up a series of successful morning coffee concerts.
was a packed house of very appreciative concert-goers. At 11 o'clock
intriplicate took the stage and we were treated to a concert of
enjoyable musical treats, including the first complete performance
in England since 1940 of the Suite Bourgeoise, which I was allowed
to introduce to the audience. This is a piece from Sir Malcolm when
he was 19 years old, written with a maturity which belied his age.
I had been told that the Suite was a wasted flibbertigibbet, but
I I knew otherwise. It includes many of the Arnold tricks that we
now know and love - for instance the surprise discord shocking us
from our reverie into which we have been lulled at the beginning
of the first movement, and a typically delightful waltz theme that
ends the Suite and sticks like glue in the mind hours after the
this and a charming trio of young ladies playing with enthusiasm
and the understanding and humour needed to perform this Arnold gem.
Thanks to intriplicate, Suite Bourgeoise is destined to become standard
repertoire for all trios with this instrumentation, especially if
intriplicate decides to include it on a future CD. Sir Malcolm says
chamber music is a very personal statement. Chamber music
is something special.' This trio's performance emphasized the truth
of the statement.
Quarterly Journal of the Malcolm Arnold Society
third concert featured a delightful and unusual ensemble with an
equally unusual name-intriplicate (no space, no initial capital).
Claire Dunham (piano), Sally Richardson (oboe) and Claire Fillhart
(flute) so obviously enjoyed every minute of their music-making
and gave us an astonishing programme featuring no fewer than 10
composers ranging from the 17th century (Johann Christian Pepusch)
to the 20th (Malcolm Arnold). The audience's enjoyment was also
enhanced by the spoken introductions to each item.
Pendle Music Society www.boulsworth.co.uk/musicsoc
began with a three movement trio sonata by Pepusch. This was an
indicator of things to come. The piano was played with the utmost
restraint, allowing the flute and oboe to exchange counterpoint
in a gentle lyrical manner.
person played for the other two, all to a high standard of musicianship.
Old and new attenders will have gone home well pleased.
formation in 2001 this talented young trio has been widely acclaimed.
At last Friday's recital their huge talent and enthusiasm, together
with their lovely personalities, endeared them to the appreciative
found just the right balance between a smoothly blended sound
and pungent individual characterisation.
is keen to champion little-known repertoire and their recital
included an esoteric range of music beginning with a set of miniatures
by William Grant Still. These diverting compositions received
an insightful interpretation, certain pieces as Yaravi handled
with delicate solemnity while the children's song reflected youthful
Geoffrey Robbins's Pastorale, a charming evocation of the countryside
in which the trio conjured up atmosphere and texture with lyrical
Sonata in B flat by the baroque composer Gottfried Keller was
attractive with its many lovely melodies. Flautist Claire Fillhart
may be thought to have excelled in this composition, as also in
the following item, Honegger's Petite Suite, which is in three
movements, namely a flute solo, a flute and oboe duet and then
of the evening may be thought to have been the work by Madeleine
Dring which received a mesmerising performance, beginning with
a crackling allegro with lots of idiosyncratic counterpoint, in
contrast to the exquisite slow movement following, in which the
flute and oboe harmonised to perfection, the work culminating
in a clever finale.
interval the Barber of Seville Overture afforded a relaxation
of tension. A work by Eugene Goossens was also greatly appreciated.
This splendid evening culminated in the late Sir Malcolm Arnold's
Suite Bourgeoise, a part of his wonderful musical legacy, the
performance being dedicated to his memory.
Great Yarmouth Mercury