THE KING’S ALCHEMIST Eblana String Trio

New on Willowhayne Records is ‘The King’s Alchemist – British String Trios’ performed by the Eblana String Trio comprising Lucy Nolan on viola, Jonathan Martindale on violin, and Peggy Nolan on cello.


First is Finzi’s ‘Prelude and Fugue’. The piece is gently contemporary, melodic and familiar, in debt as it is to Bach (though to this listener hinting towards Handel). The strings are soulful, yearning, plaintive. ‘Prelude’ is led by a repetitive melancholic air which near close takes on slightly more force. ‘Fugue’ offers deeper tones sensitively related by the performers. The high sweep of the violin echoes what it is underpinned by. The aspect of forcefulness mounts in a masterfully restrained execution, maintaining resonance and balance.

Second is a world premiere recording of Hugh Wood’s ‘Ithaka.’ Eblana’s almost-breathy playing complements aspects of airiness, to further open a range of timbres. The explorative and engaging nature of the piece, if at phases lacking consistency, present a journey more than a resolution. Interjections of exceptionally well-played, full toned, pizzicato intertwine with the bowed strings seesawing alongside. Postmodern and also endearingly Romantic.


Next, another world premiere, Beamish’s ‘The King’s Alchemist’ comprising four movements. ‘Cantus’ belies an almost ‘pipey’ quality to the playing, with a delicate draw of the bow. This opening section is short but not too sweet. ‘Aquam Vitae’ is brighter and pacier, its coiling motifs unwinding and rewinding. ‘Pavane’ provides another change of pace and a slight nod to tradition. (Effective programming as a bridge to the concluding work by Moeran.) ‘Pavane’ is another brief movement, daintier and prettier. ‘Avis Hominis’ charms with its intricate counterpoint. And more so, with each instrument intent on an individual style. To alternate from tender to strident, the effect is unique.

In conclusion is Moeran’s ‘String Trio’. Having swept plenty of cobwebs aside, ‘Allegretto giovale’ at first seems more traditional as with Beamish’s ‘Pavane’. It is by turns sing-songy and joyful. As Martindale notes, “This lyrical movement is also striking in its use of the 7/8 (seven-in-a-bar) meter that sets up a lilting combination of duple and triple time.” ‘Adagio’ has a more romanticised feel. The fresh and clean performance fully explores the darkening and lightening colours of its enchanting harmonisations. As with Wood’s ‘Ithaka’, it is an experience more than a journey.

‘Molto vivace – Lento sostenuto’ contrasts with a Jazzier vibe, performed with stronger pressure, again procuring another timbral variant. ‘Andante grazioso – Presto’ is an alluring waltz, picking-up pace and then regulating, with a lullaby-like to-and-fro-ness. It is in this movement that details combine and resolve. The harmonic and rhythmic elements are approached with an evenness of tone throughout. A brisk pacey section leads to a gradual increase in tempo, towards a sure yet delicate close.

More than recommended. This is as they say “essential listening”.

– Martin Slidel

Available to purchase here.


#BritishClassicalMusic #BritishComposers #ClassicalMusicReview #ContemporaryClassical #EblanaStringTrio #Finzi #HughWood #Ithaka #JonathanMartindale #KingsAlchemist #LucyNolan #MartinSlidel #MartinSlidelMusic #Moeran #MusicReview #NewRelease #PeggyNolan #SallyBeamish #StringTrio #WillowhayneRecords

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