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Advertiser&71mes,Thursclay, April 12,2012 www.cmhoroeadvortl8er.co.uk www.clitheroeadverttser.co.uk 4 0 i n i ~ o .C y j L _ L u C i


CUTHEROE Concerts Society's Diamond Jubiiee season culmiriated with ceiebrated pianist Martin Roscoe piaying four Beethoven sonatas. This much-antidpated and


sold-out concert was 60 years ' after the Society's first concert on the n t h March 1 9 5 2 . Martin has now piayed for


the Society seven times - the first time in 1976 - and over the years has given the Society much advice and guidance. He is marking his own 60th birthday on June 20th with a concert at the VVigmore Hall


n > ‘ U' Roscoe


in London, his programme carefully designed to show different aspects of Beethoven's 'music through his piano sonatas. It was a wonderful


■gesture that he decided to play the same programme for the Clitheroe Society's own Diamond Jubilee. It started with the Pathetique


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Pianist Martin Roscoe in rehearsal before his performance for Clitheroe Concerts Society. Photo: Kent Ceddes.


sonata, written when Beethoven was 27 years old. Martin explained that the title has changed its meaning over the years, having originally the idea - of "emotional". The first movement fuses three contrasting themes, at times veiy technical to play, using crossed hands and grace notes, ' but navigated seemingly effortlessly by Martin. The second piece. Sonata


No 31, Opus .110 provided well-judged balance; its opening marked "amiabi/' leading on to a singing cantabile theme. The second movement, marked "veiy fast';, has complex


rhythms and sound contrasts, the trio featuring leaps and descents. This movement ends quietly. The third movement alternates slow and faster . sections picking up the


• previous movement's ideas to unify the music in a sorrowful lament. The sonata however ends


-ecstatically happyl . During the interval there


was a brisk sale of Martin's Beethoven Sonata CDs.


He has been recording the complete 32 piano sonatas on Deux-Elles for nearly


five years and the third disk


• is about to be released. The critical response has been exceptionally positive. The second half of


the concert began with Sonata 10, Opus 14/2, This is a charming and less demanding piece to listen to, but is the work


- J


of a master, being written around the time of the Pathetique and Moonlight Sonatas. The Appassionata


Sonata was finally played, judged one of his greatest works and considered


. by Beethoven himself to be one of his most tempestuous. Martin commented that it was written at a time when Beethoven was becoming profoundly deaf and the piano was rapidly developing. It was the genius of the man that he was able to imagine the sound of an instrument he had never heard. ' The sonata's final movement has a near perpetual motion effect with several climaxes before a faster coda in which only Beethoven could bring in a completely new theme! The sonata and the concert ends with a final extended cadenza, music to demonstrate the performer's virtuosity. The Society's next


•function is a concert to be held.at The Grand on May 18th. The brilliant young pianist Anthony Hewitt, who is cycling from Land's End to John O'Croats to raise money for UK children's charities, is playing a concert every night. For details and tickets, priced at only £10, see the society's website


(www.clitheroeconcerts. org.uk) or call in at The Grand on York Street, Clitheroe.


KEN CEDDES .i I joh'nspn thefl - C ‘ ,C'rand/ Clitheroe. THE irony of still singing the warning ' 'J


.-.wqfds of Don't Let\our:baddy Know '1 ; when you're nearly 65, won't be lost ’ I


‘ on a'classic rock'n'roll sunrivor like 'j f Wilko Johnson. •


, ■ - j


K' A'cpnfidence thatcomes with age ' j -one that is'prettywell shared by


s


I mpk of the audience here - still lets ' -‘j . him belt out the best of the British pub -] f* rock anthems that he created with the Lv.seminal Dr Feelgood back in the 70s. ■ 4 Nearly a score,of tracks are delivered


i in a tight 60-minute set that allows- I no time fw jntfoductiorrs, but serves J, as an intensive lesson iathe enduring • appeal p f . r&b tracks'delivered in their '


a appropriate three-ininute attention i span.


v. isWilko can still strut his stuff, pacing ^ ' f< .the.stage co u r t^ of the longest guitar cable on the planet His attacking


- style, alternating seamlessly between ’ lead and rhythm; is perfectly suited


L to a raucous music manner that occasionally slows to'ska influences, •


i or even the fashion of Feelgood contemporaries such as Squeeze, or the Blockheads.


:, Nowadays his fans are' uhlikely ' i


, to get the joint jumping, but in a perfectly-sized and dvilised setting ^


--.like Glitheroe'sCrand,>an appreciative i .sway will suffice. He's supported here - • , . by expert sidesrrien Norman Watt-


- Howe. . - - i


; ftoy, who can effortlessly turn a bass -- j ' into a lead instrument, and equally- •. accornplished jazz drummer Dylan ■ -'i


J


s.;«»Wilko himself seems unsure whether- 1 he wrote Back Iri The .Night 36 or 38 4


vttyears.agq blit efther.vray it loses none ---;| of its crowd-pleasing effect


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