Goldscheider and Uttley Deliver Masterful Horn and Piano Recital in Cardiff
The Royal Welsh College of Music and Drama in Cardiff recently hosted a lunchtime recital that proved to be both richly satisfying and deeply moving. Horn-player Ben Goldscheider and pianist Richard Uttley presented a programme that seamlessly interwove old and new, demonstrating their exceptional musical partnership.
A Programme Spanning Centuries
The concert opened with Schumann's Three Fantasiestücke, Op 73, a work more commonly associated with clarinettists or cellists. Yet Goldscheider's horn brought a fresh lyrical flood to Schumann's Romanticism, revealing how perfectly suited the instrument is to this repertoire. This opening piece immediately established the duo's infinite musical sensibilities, showing them to be equally attuned to each other and matched in virtuosity.
From this nineteenth-century foundation, the programme moved to contemporary works written specifically for these performers. Simon Holt's The Bell, composed for them in 2022, began with arresting, spiky articulation before developing into striking exchanges between instruments. The glistening bell-like sounds from the piano's upper register provided perfect contrast to the horn's mellifluous phrases, culminating in a final clarion statement that felt almost defiant.
Humour and Innovation
Oliver Leith's Eeyore, another work premiered by Goldscheider and Uttley, lived up to its title's promise of humour. The piece maintained a gloomily soulful character throughout its four sections, with any mockery feeling affectionate rather than cruel. The brilliant realisation of donkey-braying sounds showcased the performers' technical mastery while sustaining the musical argument cogently.
The programme also included Scriabin's early Romance for Horn and Piano, full of passion and offering tantalising hints of the Russian composer's future direction. Esa-Pekka Salonen's Horn Music 1 benefited from the composer's own experience as a hornist, resulting in a dynamic interpretation where the extended cadenza-like horn solo brought added flourish.
Heart of the Performance
At the emotional centre of the recital stood Mahler's Urlicht, another appropriation like the Schumann that revealed the horn's versatility. This song, which later became the fourth movement of Mahler's Second Symphony, originated as part of Des Knaben Wunderhorn (The Boy's Magic Horn). Goldscheider's playing possessed more than a touch of magic as he unfolded this "Primordial Light" with such expressive line and lambent glow that the performance became deeply moving.
The anonymous poet's craving for light found perfect expression through Goldscheider's horn, supported by Uttley's sensitive piano accompaniment. Together, they created a musical experience that was both intellectually satisfying and emotionally resonant.
A Testament to Musical Partnership
This recital demonstrated how effectively a horn and piano duo can navigate diverse repertoire when both performers possess such remarkable technical ability and musical understanding. From Romantic classics to contemporary commissions, Goldscheider and Uttley maintained consistent excellence, proving that their partnership represents one of the most compelling musical collaborations currently performing.
The Royal Welsh College of Music and Drama provided an ideal setting for this intimate yet powerful musical conversation, where every nuance could be appreciated by the attentive audience. This was chamber music at its finest - thoughtful, innovative, and executed with consummate skill.
