Tour 3 "Trio in near perfect form" Adelaide Advertiser

Trio in near perfect form

Selby and Friends

Elder Hall, Sunday June 30   Raymond Smith

PIANIST Kathryn Selby is not a musician who brooks half measures and some of the fun with her long-running Selby and Friends series has been observing which fellow artists have measured up to her demanding standards and strong persona and which haven't.

On this occasion fellow Fins, violinist Vesa-Matti Leppanen and cellist Timo-Veikko Valve, proved no shrinking violets and the trio were well matched to take on two of romantic music's big asks in the field, Mendelssohn's Op 66 in C minor and Brahms' Op 8 in B major.

Valve's cello solos at the start of the Brahms and in its rapt Adagio movement were replete with tonal depth guided by sentiment of the highest order and typified the strong foundation he laid for his colleagues in this symphonic work.
In the same Adagio, Selby created some suspended you-could-hear-a-pin-drop moments that were wonderfully focused.

All three artists exuded boundless energy in the noble, open-hearted first movement and Selby's near-faultless technique was on show of course in the virtuoso passages of the Finale.
There was verve, rhythmic drive and tremendous elan in Mendelssohn's almost equally big-scale Trio which preceded it.

Leppanen's gossamer-delicate passage work in the typically Mendelssohnian Scherzo was matched by the sheen of Selby's finger agility and there was a definite meeting of minds in the ultra-romantic treatment of the Andante, looking forwards to Brahms rather than back to Beethoven.

Big-scale playing for big-scale romantic music always works the best, as Selby and Friends obviously know very well. 

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