OPENING CONCERT OF THE 2023/2024 SESSION
ADAMS NEARY DUO
THE SANCTUARY, FOUNTAINHALL AT THE CROSS CHURCH
Monday 11th September 2023
David Adams violin
Alice Neary cello
PROGRAMME:
J. S. Bach (1685 – 1750)
Suite No. 1 in G for Solo Cello
Robert Fokkens (b. 1975)
Pier Music for Violin and Cello
Kodály Zoltán (1882 – 1967)
Duo for Violin and Cello
G. F. Handel (1685 – 1759) – Johan Halvorsen (1864 – 1935)
Passacaglia for Violin and Cello
I had been looking forward to Monday’s performance by the Adams Neary Duo ever since I had heard them play in St. Thomas Church, Aboyne on the afternoon of Saturday 30th July 2022 as part of the Aboyne Cello Festival. On that occasion they were beyond brilliant. I was excited to discover that Monday’s programme included several items that were similar to their programme for the Cello Festival. In both cases the performance opened with Alice Neary playing one of J. S. Bach’s Solo Cello Suites. Last time, it was Number 3, this time, Number 1. In both concerts this was followed by a modern work by Robert Fokkens Pier Music for Violin and Cello. In 2022 they played Ravel’s Sonata for Violin and Cello. For Monday’s concert, they had chosen the Duo for Violin and Cello by Kodály. Last time the Passacaglia for Violin and Cello by Handel added to by the Norwegian composer Johan Halvorsen was performed as an encore. Amazingly, Halvorsen had a connection with Aberdeen. He was a concertmaster for the Aberdeen Musical Society founded in 1748. They had concerts every Friday between 6 and 8pm. These concerts were in three sections each of which had to contain music by Corelli. On Monday, this piece was part of the official programme. As I have said, the concert by the Adams Neary Duo in 2022 was one of the finest performances I had ever experienced. Would Monday’s performance be as good? You’re telling me! Perhaps it was even better!
Alice Neary’s performance of J. S. Bach’s Suite No. 1 in G for Solo Cello was astounding. I have heard many performances of this piece. I have often felt that the performer had tried their best to blow the dust off this old music to bring it to life. Listening to Alice Neary’s performance, it was as if Bach’s ink was still wet on the page. The opening Prelude can sometimes seem bland. Alice Neary’s phrasing took every single note and injected it with deep feeling. Variations of dynamics and tempo were used to make the music seem to come from the performers very heart. The Allemande captured the very spirit of the dance, it was almost balletic. The busy Courante was electrifying followed by the dreamily elegant Sarabande. The two Menuetts were full of joyful footwork, you could really sense the movements of the dancers. Finally the gigue had all the freshness of country air in this performance.
David Adams joined Alice Neary for the five movements of Pier Music by Robert Fokkens. I remember audience members saying in 2022 that this music though modern and often surprising also made really attractive listening. I got the same reactions from audience members on Monday. In the opening moments, the cello was song-like with little tickling touches from the violin. The two instruments then in a sense changed places. The music could sound like ethereal whispering with edgy cello vibratos then a rich cello melody had the violin capering above.
The second movement had snap pizzicatos and the violin played with some ferocity. Then the cello took up the spirit of the dance.
The third movement was slow with muted soft tones. We heard the dreamy coupling of the two instruments. How delightful was that? The fourth movement had another snap pizzicato and hey, it was quite a foot-tapper of a movement. The finale also had soft music, then violin and cello got busy together. Towards the end, there was something of a sense of mystery in the music. There was so much going on throughout the work. It certainly held my attention all the way from beginning to end.
Kodály’s Duo for Violin and Cello opened with wonderfully assertive cello playing to which the violin responded in kind. Rich melody often passionately performed was woven into sonata structure in the first of the three movements. The violin and cello changed sides as it were. This was splendidly well done.
The second movement was more tense and moody but full of feeling from both performers on Monday. It was in the third movement that the full sense of folk music shone through. Both performers allowed the composer’s passionate writing take hold of them and they drew us all the way in there with them. What an exciting musical experience this was! I watched Alice Neary as she let the music take hold of her. It was as if she were as much an actor as a musician playing a part that demanded a huge emotional range. I was surprised that at the end she came out of her musical trance and was able to continue with the Passacaglia for Violin and Cello by Handel and Halvorsen. This was a dazzling showpiece, full of fire and technical brilliance from both performers. I wondered if they would give us an encore at the end, but how could they. They had already delivered everything we could possibly have wanted. We were fully satisfied!
ALAN COOPER