Tasmin Little and Wayne Marshall at The National Concert Hall

by Sean Crudden - impero Fri Oct 08, 2010 14:59

Well I reached Connolly Station at 09.00 yesterday on The Enterprise which I caught in Clarke Station, Dundalk, when It pulled up on its way from Belfast. I spent the morning in the bowels of Wood Quay civic offices at an Amnesty International launch of some "research" on discrimination and stigma of the mentally ill. Aisling joined me for lunch in The Lotts near the Halfpenny Bridge. I ate a fine steak and chips and drank a glass of wine. For the rest of the day I stuck to water, coffee, soup, tea, bread. Anyway a few diversions worked out fine for me in the afternoon and I met my son, my sister, my daughter-in-law, my grandson before I got to The National Concert Hall at 07.00. Another punter (from Portlaoise) engaged me in witty conversation about politics, history, diplomacy, family relations, music. So even though I was early I barely had time to look through the program.

Tasmin Little told us from the stage that she loved playing in this concert hall. The feeling is mutual. I get a great kick out of seeing her and I am a total mug where Tasmin is concerned. She filled out a body-hugging floor length sparkling green gown in all the right places. Her glowing emerald large stoned necklace was full and generous. Her dark hair was styled with volume and length. There was sparkling ice visible on the backs and heels of her black high heeled shoes. Again I noticed her hands, one of the seven wonders of today's world, shapely competent lively. Her manner was relaxed quotidian vivacious sincere engaging. She stayed nicely "in the moment." Certainly one did not get the impression she was worrying about where the spuds were coming from for tomorrow's dinner. Her accompanist, pianist John Lenehan, kept a "loose" posture even though he was clothed exquisitely in the most modern formality in black. He appeared confident, tolerant, amused almost.

The tone of Tasmin's Stradivarius (one she has on loan) was soothing so my concentration was not always pin sharp. However there was an edge to it where an edge was necessary. And one could not help noticing quite a few fragile sustained notes bowed by Tasmin with exquisite pitch and lovely shape. The recital slipped by swiftly and the two players did not strive to impose anything. The audience was quiet and receptive but there was not much evidence of a hunger for music and the performers seemed to be content to keep things at that level.

Two thoughts struck me this morning as I rode The Enterprise back to Dundalk.

Tasmin Little is a born teacher. Her aim in this concert, I think, was didactic. She taught something last night just as important as it is difficult to define. Different styles of music. Stradivarius. Presentation. Manner. Dress. Professionalism. Tolerance. All done without angst and apparently without any effort.

Hearing the tone of the Stradivarius in these hands over its full range in this recital would benefit every aspiring orthodox singer. The one thing every golfer would like to be able to do is to drive the ball long and straight. As singers we often strive for dramatic effect or concentrate on conveying emotion. But the one thing every orthodox singer would like to be able to do is to produce a smooth rich creamy tone. I need not explain the point further.

Before I conclude permit me to be a little tendentious.

It is a myth that people are taught in school. Or rather the wrong people are taught the wrong things. The right people are taught nothing. Usually.

"Partners in Time"

Program

Kreisler
Praeludium and Allegro

Bach
Sonata in E major

Mozart
Sonata No. 17 in C major

INTERVAL

Grieg
Sonata No. 2 in G major

Tchaikovsky
Melodie from Souvenir d'un lieu cher

Bartok
Six Romanian Dances

Encore
Fantasy on a czardas