Sunday - 7th March 2010- 3.30 pm

The Catholic Centre, 2 Duke's Avenue, Chiswick, W4 2AE (Opposite Chiswick Library) See location map.

Beethoven Sonata in E flat major, Op.l2.
Richard Strauss Sonata in E flat major, Op. 18.

.....and works by Wieniawski, Legende, Stravinsky and Bartok.

Return visit of Lithuanian violinist Diana Galvydyte - prizewinner of 15 international competitions including a commendation from the President of Lithuania "in recognition of your successful efforts in promoting our Homeland, Lithuania, throughout the world."

Jakob Fichert is a much sought-after performer of chamber music and most recently has given lecture recitals on the piano and chamber works of Max Reger in Germany and the U.K. ____________________________________________

Concert review by Phoebe Woollam

Diana Galvydyte and Jakob Fichert returned to Chiswick on Sunday to give a challenging concert for the Blenheim Music Circle.

They opened their programme with the well loved Beethoven Sonata in D Op 12 No 3, and brought to it a tremendous energy and sensitive ensemble playing. Jakob Fichert achieved an admirable piano dynamic on a fairly unforgiving instrument and Diana Galvydyte's playing was delightful; delicate and controlled throughout.

It was in the massive late romantic Strauss Sonata in Eb Op 18 that both players were able to show off their exceptional techniques. The first movement alone is a "tour de force" requiring extraordinary stamina and making huge technical demands on both violin and piano. (I think I was not alone in wanting to clap at the end of the movement). The hauntingly beautiful opening of the Improvisation with its extended phrases and meditative quality gave way to a stormy appassionato. The Andante of the Finale was spoilt by the extreme piano bass notes being badly out of tune but the Allegro that followed was played with panache and flourish in spite of the fearsome piano writing.

After the interval Diana Galvydyte and Jacob Fichert played two enchanting pieces by Henryk Wieniawski; the Polonaise de Concert in D Op 4 No1 and Légende Op 17. The Stravinsky Divertimento that followed this was another "tour de force" but sadly this made the programme far too long. There were four movements which displayed all Stravinsky?s use of rhythmic texture and were often reminiscent of the violin writing in The Soldier's Tale.

The afternoon closed with a delightful performance of Bartok?s Roumanian Folk Dances. These much loved dances were played with a stylish understanding of the writing and the result was absolutely charming.

The disappointing aspect of this concert was its length. It was probably unwise to include two such substantial works in one programme. It might have been wiser to leave the Stravinsky for another day.