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Author Topic: Eruanto at Chappell's  (Read 429 times)
Don Basilio
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Era solo un mio sospetto


« Reply #15 on: 14:59:28, 20-10-2008 »

Thanks for that eru.

So, Chappell of Bond Street is in Wardour Street.  Hum.

I notice Old Compton Street air brushed out.
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
autoharp
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« Reply #16 on: 16:40:57, 22-10-2008 »

A most worthwhile recital, this. The room was about twice as large as a living-room with a large, shiny Yamaha which I suspect was a bit past it. But we were treated to an sensitive and colourful sound - and well-judged for the space. The highlight for me was the Ferguson sonata, big and well-written. Good that some unfamiliar repertoire was on show. A lunchtime well spent.
Many thanks + congratulations to Eruanto!
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Eruanto
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« Reply #17 on: 17:33:27, 22-10-2008 »

Many thanks to those who came Smiley Smiley, and sorry I couldn't do anything afterwards. It probably looked as though I just buglered off, but I was being whisked off for lunch with the organiser.
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
Don Basilio
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Era solo un mio sospetto


« Reply #18 on: 18:24:31, 22-10-2008 »

It was lovely.  I hope you enjoyed lunch as much as we enjoyed your playing.
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
Don Basilio
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Gender: Male
Posts: 2682


Era solo un mio sospetto


« Reply #19 on: 18:31:04, 22-10-2008 »

I see from Pevsner's Westminster the building is from1906 by Frank Pearson for Novello's.  But in C17 English pastiche, with loads of wood panelling in the piano showroom.  I thought it looked like a set for Rosenkavalier, or Rake's Progress.  The intimate (as autoharp suggests) recital room was beyond, with curtains drawn to keep the very bright sunlight out of the recitalist's eyes.  A lovely space, as I said.
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
time_is_now
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« Reply #20 on: 18:55:30, 22-10-2008 »

I notice Old Compton Street air brushed out.
That's really very odd - not just the name but the entire street. I have an obscure sense of affront, and want to complain, but I'm not sure who to.

Sorry I missed it today. Sad I had it in my diary, but I've got behind by a day or so after my weekend away, and had to stay in at lunchtime to finish some work. Glad to hear it went well!
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
Don Basilio
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Era solo un mio sospetto


« Reply #21 on: 19:01:15, 22-10-2008 »

Sorry, I was being mischievous.  They don't include other East-West streets between Oxford Street and Shaftesbury Avenue, eg. Great Marlborough Street.
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
time_is_now
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« Reply #22 on: 19:10:42, 22-10-2008 »

True, but Great Marlborough St is west of Berwick St, and the map becomes generally less detailed at that point. It seems bizarre not to include Old Compton St, even in outline, especially when Greek St and Frith St, which are smaller, are both shown (albeit unnamed).
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
George Garnett
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« Reply #23 on: 01:08:57, 23-10-2008 »

Masterly playing from Eruanto at an extremely enjoyable concert. The Ireland pieces and the Howard Ferguson Sonata were unknown quantities as far as I was concerned and it was really good to be introduced to them by such a confident and sympathetic advocate. Some lovely and eloquent Brahms playing too. I thoroughly enjoyed it. Congratulations and thank you, Eru.
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