J. S. Bach: Prelude and Fugue in G, BWV 884
An immediately engaging opening to this Bach Prelude and Fugue, and you went on to articulate the notes with clarity in both hands, and played with a feeling for the Baroque style. The ornaments were always neatly integrated into the musical texture and you maintained the rhythmical energy throughout this extremely accomplished and convincing account; the musical light and shade was excellent too.

30/30


Hopekirk: Air (No. 3 from Suite)
This ‘Air’ started at an apt tempo and you caught its rhapsodic mood, shaping the phrases neatly and maintaining a suitably legato approach. There was attention to much of the musical detail, with a subtle and wide ranging use of dynamic shading, and the playing was enhanced by a stylistic understanding of rubato and rhythmical flexibility.

28/30


Bartók: Rondo (No. 1 from Three Rondos on Folk Tunes)
You quickly evoked Bartok’s playful character in this Rondo and this was an immediately arresting account. The speed changes were always deftly negotiated and there was close attention to the expressive detail throughout. There was much to commend and enjoy in this characterful reading, with hardly a blemish, but full of energy and colour.

29/30


Christopher Norton: Jingo (No. 3 from Rock Preludes 1)
You quickly caught the spirited mood of ‘Jingo’ and this was a suitably buoyant reading. The dynamic and tonal shading was mostly excellent and your strong rhythmical drive suited it well. There was a welcome energy in your approach too, and you brought it to a suitably rousing conclusion. Bravo!

29/30


Performance as a whole
The playing was always well projected and there was evidence of strong musical engagement and commitment throughout. The items were paced and sequenced effectively, and ‘Jingo’ proved a fitting finale after the more reflective movement by Bartok. Textural blending and balancing was always positively managed, and close attention to the musical detail ensured that the contrasting musical characters of the pieces were evoked in an entirely convincing and engaging manner. Technical delivery was always extremely reliable too, and the pieces were all characterised by energy and a strong rhythmical drive. Finally, the piano was handled with confidence, and there was a deservedly positive and assured response to the performance situation; impressively, the entire programme was played from memory too.

29/30


Pass 100 | Merit 120 | Distinction 130 Total mark: 145/150

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