Mathew Scott & Christine Zerafa
Clarinet & Piano [Review extract]
February
9th,
2023.
The
Assembly
Room
at
Grimsby
Town
Hall
provided
the
setting
for
another
superb
concert,
given
by
the
duo
Mathew
Scott
on
clarinet
and
Maltese
pianist
Christine
Zerafa.
Individually
two
excellent
musicians,
in
combination
their
performance
was
synergistic,
as
they
delighted
the
audience with an excellent varied programme.
That
this
was
a
duet
was
made
clear
from
the
beginning,
with
the
opening
strains
of
a
Brahms
Sonata,
as
much
a
wonderful
piano
work,
as
a
showcase
for
the
Clarinet.
A
beautiful
and
assured
opening,
with
a
superbly
controlled
piano
–
in
perfect
balance
with
the
clarinet,
set
the
standard
for
the
evening.
Mathew’s
rich
tone
came
across
in
smooth
and
well
defined
phrases
and
great
musicality.
Christine
played
powerfully
in
the
Allegro
appassionato,
before
she
established
the
mood
of
the
final
Andante,
skilfully
providing
the
context
against
which
the
beautiful quality of Mathew’s clarinet was heard.
In
Ravel’s
seductive
Piece
En
Forme
de
Habenera,
the
piano
laid
out
the
simple
hypnotic
rhythm
and
decidedly
impressionistic
colours,
to
set
off
the
wonderful
sound
from
Mathew’s
clarinet.
Engaging
with
the
audience,
Mathew’s
introductions
were
informative
and
interesting,
enhancing
the
concert,
and
certainly
helpful
in
understanding
the
changing
moods
contained
in
John
Ireland’s
Fantasy
Sonata.
This
final
piece
of
the
first
set
was
a
sound
pastiche
with
unmistakable
Debussy
influences
in
its
colours;
waves
of
music
washing
over
and
enveloping
the
listener
before
a
final
climax.
The
final
piece
of
the
set
was
Horovitz
Sonata
for
Clarinet
and
Piano.
The
demands
of
the
piece
emphasised
Mathew’s
craftsmanship
as
a
musician
&
clarinettist
–
he
made
it
look
and
sound
easy.
At
the
same
time,
Christine
played
with
wonderful
controlled
intensity.
The
second
movement
Lento,
quasi
andante
was
reminiscent
of
Brahms
with
its
lovely
gentle
piano
opening,
the
changing
colours
and
soulful
clarinet
solo;
through
subtle
development,
the
piano
blended
melodically
with
the
clarinet
to
the
end
of
the
movement.
The
final
Con
Brio
had
the
piano
create
another
jazzy
scene,
picked
up
by
the
clarinet;
the
theme
developed
by
both
in
a
lively
exchange.
Mathew’s
unconscious
competence
was
reflected in his casual fluidity in this closing piece. IM
Mathew Scott & Christine Zerafa
Clarinet & Piano [Review extract]
February
9th,
2023.
The
Assembly
Room
at
Grimsby
Town
Hall
provided
the
setting
for
another
superb
concert,
given
by
the
duo
Mathew
Scott
on
clarinet
and
Maltese
pianist
Christine
Zerafa.
Individually
two
excellent
musicians,
in
combination
their
performance
was
synergistic,
as
they
delighted
the
audience
with
an
excellent
varied programme.
That
this
was
a
duet
was
made
clear
from
the
beginning,
with
the
opening
strains
of
a
Brahms
Sonata,
as
much
a
wonderful
piano
work,
as
a
showcase
for
the
Clarinet.
A
beautiful
and
assured
opening,
with
a
superbly
controlled
piano
–
in
perfect
balance
with
the
clarinet,
set
the
standard
for
the
evening.
Mathew’s
rich
tone
came
across
in
smooth
and
well
defined
phrases
and
great
musicality.
Christine
played
powerfully
in
the
Allegro
appassionato,
before
she
established
the
mood
of
the
final
Andante,
skilfully
providing
the
context
against
which
the
beautiful
quality
of
Mathew’s
clarinet
was
heard.
In
Ravel’s
seductive
Piece
En
Forme
de
Habenera,
the
piano
laid
out
the
simple
hypnotic
rhythm
and
decidedly
impressionistic
colours,
to
set
off
the
wonderful
sound
from
Mathew’s
clarinet.
Engaging
with
the
audience,
Mathew’s
introductions
were
informative
and
interesting,
enhancing
the
concert,
and
certainly
helpful
in
understanding
the
changing
moods
contained
in
John
Ireland’s
Fantasy
Sonata.
This
final
piece
of
the
first
set
was
a
sound
pastiche
with
unmistakable
Debussy
influences
in
its
colours;
waves
of
music
washing
over
and
enveloping the listener before a final climax.
The
final
piece
of
the
set
was
Horovitz
Sonata
for
Clarinet
and
Piano.
The
demands
of
the
piece
emphasised
Mathew’s
craftsmanship
as
a
musician
&
clarinettist
–
he
made
it
look
and
sound
easy.
At
the
same
time,
Christine
played
with
wonderful
controlled
intensity.
The
second
movement
Lento,
quasi
andante
was
reminiscent
of
Brahms
with
its
lovely
gentle
piano
opening,
the
changing
colours
and
soulful
clarinet
solo;
through
subtle
development,
the
piano
blended
melodically
with
the
clarinet
to
the
end
of
the
movement.
The
final
Con
Brio
had
the
piano
create
another
jazzy
scene,
picked
up
by
the
clarinet;
the
theme
developed
by
both
in
a
lively
exchange.
Mathew’s
unconscious
competence
was
reflected
in
his
casual
fluidity
in
this
closing
piece.
IM
