Review of West Wycombe Chamber Music Festival

The West Wycombe Chamber Music Festival, in its fourth year under the artistic direction of Wycombe-born Lawrence Power, one of the world’s foremost viola players, has not only cut an amazing path through the small ensemble repertoire but has done so in the most unusual of places, at the summit of West Wycombe Hill. This boasts spectacular views of the surrounding county and a huge 18th century mausoleum behind the Church of St Lawrence, both built by Sir Francis Dashwood, founder of the Dilettanti Society and the Hellfire Club.

The Church is an inspired choice for the Festival’s venue, with its centuries-old walls, space for an audience of 150, a warm acoustic and not a trace of intrusive traffic noise. Sitting directly beneath it, deep inside the Hellfire Caves, is the Inner Temple, its subterranean position said to signify Heaven and Hell and where Dashwood’s Hellfire Club indulged its taste for debauchery and pagan rituals.

Lawrence Power’s divine feast of music proved a resounding victory for Heaven over Hell and was as far removed from dilettante as one can get, leaving Friday and Saturday’s audiences spellbound by the players’ virtuosity, superlative ensemble, shared interpretive instinct and almost palpable sensitivity.

For the occasion, Lawrence Power invited a clutch of classical music’s most sought-after chamber musicians: Stephanie Gonley (violin), an eminent soloist/director, Paul Watkins, cellist with the Emerson String Quartet, Annabelle Meare (violin) and Bjorg Lewis (cello), members of the acclaimed Vertavo String Quartet, Michael Gurevich (violin) and James Boyd (viola), founders of the renowned London Haydn Quartet, Adrian Brendel (cello), one of the most versatile and original cellists around and Simon Crawford-Phillips (piano), soloist and founder member of the Kungbacka Piano Trio.

The musical territory navigated over these two of the Festival’s four concerts was eclectic and full of surprises. It began with the haunting Phantasy String Quartet by Vaughan Williams, with a gorgeous opening viola solo played beautifully by Lawrence Power and some perfectly crafted transitions, exemplified by Paul Watkins’ electric entry to the fugue. It was paired with Ravel’s Piano Trio (1914), whose masterful first movement was brilliantly performed. The Spanish-flavoured second movement stood out as a massive tour de force, while the third movement included a lovely violin/cello duet, reminiscent of Vaughan Williams. The piano playing throughout was demonic, particularly in the fourth movement, its ending nothing short of explosive.

Could it get any better than this? We were soon to find out in Chausson’s Concerto for Piano, Violin and String Quartet, Op 21, led by Lawrence Power, violin, and pianist Simon Crawford-Phillips. While César Franck’s influence was apparent and the thematic material somewhat limited, what Chausson achieved with its development and what the players did with the interpretation took it to an altogether higher plane, prompting rapturous applause from a captivated audience. In both the Ravel and Chausson, Crawford-Phillips was outstanding, while the commanding playing of Lawrence Power and the tonal colour supplied by the supporting quartet combined to produce a truly memorable result.

Saturday’s closing concert was no less compelling. It opened with a little known Concerto for 4 Solo Violins in G Major by Telemann, with the two violists switching to fiddle to make up the quartet. Complex, dynamic and full of colour, this was music ahead of its time. The second half began with another rarity, the inventive Lament for 2 Violas (2012) by Frank Bridge, brought dramatically to life in the exceptional hands of Lawrence Power and James Boyd.

The showpieces of this final evening, however, were two popular sextets: Schoenberg’s Verklärte Nacht Op 4 and Brahms’s String Sextet in B flat Op 18. Both drew the very best from all six players as they explored and exploited the medium’s rich texture. Stephanie Gonley, inspirational as the leader, took the lion’s share of the virtuoso material, especially in the Schoenberg. And though the Schoenberg was amazing, the Brahms was ultimately destined to steal the show, not only because it was beautifully played but because it is also such sublime music. A universal standing ovation was richly deserved in response to some of the best live chamber performances one is ever likely to experience.

Next year’s festival is from 17 to 19 September and is worth a diary entry now. You’ll kick yourself if you miss it. tickets@westwycombechambermusic.org.uk

By Trevor Howell