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The oboe and piano recital on the 7th October by Imogen Triner and Paul Turner must surely go down in the annals of our society as being amongst the best. The combination of an exceptional oboist with a fine strong tone and a brilliant, no nonsense accompanist, whom I prefer to call, partner, boded well for an outstanding performance, and we were certainly not disappointed.

With a strong emphasis on French music, the concert started with the "Sarabande et Allegro" by Gabriel Groviez,and was soon followed by the delightful evocative three movement Sonata of Poulenc. This was played with the utmost elan and the sensitivity which each section demanded, and came as a complete contrast musically to the previous piece.

In order to add interest to the programme, Paul Turner played two pieces for solo piano, the first being the beautiful Ravel "Sonatine" first performed in 1905. Apparently the third movement was considered to be so difficult that even the composer was quite often unable to play it! The second piano solo, coming after the interval, was Frank Bridge`s charming "Rosemary", the second of three "Sketches" written in 1906 showing the lighter side of this composer`s extensive output.

These vastly different compositions, admirably showed the versatility of this fine pianist ; his "quiet" technique completely without mannerisms, was able to summon a huge range of tonal contrasts and dynamics throughout. Although known as an accompanist he is a superb concert artist in his own right as was shown today.

Three of six "Metamorphoses"-- Pan, Bacchus and Arethusa-- from the Roman poet Ovid and written for solo oboe by Benjamin Britten, were expertly played by Imogen with great charm and panache as befitted each god. Hers is a formidable technique indeed, reflecting widespread recognition of one of the leading exponents of this very difficult instrument.

Another of Britten`s works written for oboe and piano, "Temporal Variations" written in 1936 and consisting of a Theme and eight contrasting derivatives. Not an easy piece to assimilate without further hearing but very stimulating! A much more "listener friendly"piece was Eugene Bozza`s "Fantaisie Pastorale" which starts with slow chordal piano, over which the oboe has flights of florid quavers and semiquavers until finally both instruments finish up with a lively exuberant romp.

After a group of three early 20th century French pieces, the final item was the well known Sonata Op.166 by Saint-Saens. This short three movement work for oboe and piano is most attractive, great fun and not too difficult to play whilst at the same time being very effective. It was certainly a good choice with which to finish this most enjoyable concert and happily the audience was most most appreciative in their praise.

P.B.

Imogen Triner

Imogen Triner studied at the Royal Academy of Music in London with Neil Black and Gordon Hunt, where she won many of the major prizes, including the Paddy Purcell Prize for all wind instruments. She was awarded a Countess of Munster Scholarship and then a Winston Churchill Fellowship to continue her studies with the Berlin Philharmonic’s solo oboist, Lothar Koch.

Imogen Triner’s performances have included major concertos with the Tivoli Festival Symphony Orchestra in Denmark, the Iceland Symphony Orchestra, Turku Philharmonic and Kuopio Symphony Orchestras – both in Finland, the Stavanger Symphony Orchestra in Norway, the Kansas Chamber Orchestra, the National Italian Symphony Orchestra, the Belgian National Radio and Television Orchestra, the Norkoping Chamber Orchestra in Sweden and many orchestras in the UK, with whom she has played numerous concertos and recorded 3 CDs which include Vivaldi ‘s C major Oboe Concerto. Many of these performances have been recorded for the radio.

As a chamber musician Imogen has performed highly acclaimed recitals in major London venues and in festivals throughout the UK. She has toured all over Scandinavia, America and Japan both as a recitalist and with her Oboe Quartet ‘oboeworks’.

“….Beautiful oboe playing …singing with authority and seduction. Colin Matthews oboe quartet was soulful and filled with lyrical legato playing” Berlingske Tidende Copenhagen.

“ Excellently performed…Elegance and control together with a dashing and brilliant vitality….greeted by ovation.” La Stampa RAI Turin

“…more like an operatic diva, heavy in theatrical expression… a joy to listen to…Triner plays the oboe really wonderfully.” Politiken Copenhagen

“The Crème de la Crème” The London Evening Standard.

Paul Turner

“Turner...impressed with a spectacular performance, demonstrating his astonishing abilities as an accompanist” (Surrey Advertiser)

Pianist Paul Turner specialises in chamber music, having worked with eminent musicians throughout his career, such as Michael Collins, Nicholas Daniel, Caroline Dale, Sarah Walker, Alexander Baillie, Sarah Markham, Patricia Rozario, Ruggero Raimondi, Jack Brymer, Jane Eaglen, Barry Tuckwell and Elizabeth Watts.

He enjoyed a prize-winning studentship, culminating in the Queen’s Commendation for Excellence and the Peter Pears Accompaniment Prize, adjudicated by Pears himself. He studied with John streets and Geoffrey Parsons, and is an elected Associate of the Royal Academy of Music (ARAM), a discretionary award given to past students in recognition of their contribution to the music profession. His early professional experience included working for organisations such as Live Music Now, the Young Concert Artists Trust and the Countess of Munster Recital Scheme.

A widely experienced recitalist, his work has taken him to Buenos Aires, Amsterdam, Stuttgart, Berlin, Valencia and Paris, as well as London’s leading venues and UK Festivals. Renowned for his sensitive playing, he excels in a wide range of genres “Paul Turner was superlative in every way - wonderfully sensitive, with a very wide tonal palette” (Oxford Mail). “For his part, Turner offered…intricate piano writing rendered with exemplary clarity and poise” (Richard Whitehouse).

“...superbly partnered by Paul Turner’s sensitive and alert accompaniments...that sixth sense of timing which is the true accompanist’s particular gift” (Eastern Daily Press)