The duo opened the recital with Shakespeare-liederen by Castelnuovo-Tedesco and by Korngold. The colourful voice of Elenora Hu and Chang's handsome piano playing immediately came to the fore in this. Surprising were the two New Zealand liederen by Anthony Ritchie and Ross Harris, contributed by Amy Chang, who grew up in New Zealand. Original was also the programming of Lieder und Gesänge opus 96 by Robert Schumann, of which only the first lied still has some fame: a hushed composition on the famous Wanderers Nightlied by Goethe. Both musicians unpacked theatrically in La Guerrière by Augusta Holmès and filled the room with heavenly tears through their impressive performance of Liszt's third Petrarch sonnet.
Before everyone went into the break, yours truly took the floor on behalf of the board, as this was the last concert organised by Robert Koch as the Utrecht section's contact person. He fulfilled this task with great enthusiasm for twenty years and also made Huub and him's house in Vreeswijk available as a concert location. Unfortunately, their move to Weesp put an end to this. I thanked him for his hospitality and the good organisation with a little bag containing two tasty gifts that fit together as a duo, just like the lied a singer and pianist and, of course, poetry and music. Also in the bag was something permanent in which poetry, song and birds come together. I revealed that the duo of Vrienden van het Lied and Robert Koch is intensifying, as Robert is being nominated as a new board member and, with a small stroke of luck, as a vote is yet to be taken, he will be the successor to our current chairman Leo Samama. The new liaison Marianne Oelers, who has been in for six months, presented Robert with a nice bunch of flowers on behalf of the department.
After an enjoyable break, two cheerful Venetian liederen by Reynaldo Hahn, a cradlelied by Copland and Silent Noon by Vaughan Williams. The programme concluded with four different waltzes: the parody By Strauss by Gershwin, the melancholic Les chemins de l'amour By Poulenc, the Danse macabre by Saint-Saëns with a sarcastic text by Jean Lahor and the lyrical Gracia mia! by Granados. Their fabulous technique allowed Elenora Hu and Amy Chang to give each waltz its own character. A delightful conclusion to a fascinating and versatile liedrecital.
Dinant Krouwel
secretary Friends of the Song
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