The Dome, Brighton, 23 May

If the Shostakovich at lunchtime had been demanding, the whole of the evening concert at the Dome proved to be equally challenging. The soloist in Prokofiev’s 3^rd Piano Concerto was the blind pianist Nobuyuki Tsujii. Normally one would not want to highlight disability, but the phenomenal power and precision of his playing, to say nothing of his ability to respond with enormous sensitivity to orchestra and conductor, was mind-blowing. His approach was aggressive and forthright, bringing intense energy to the technical expertise at his command. It was no wonder that Ashkenazy, as much a pianist as a conductor, had chosen this young man as the soloist for the fireworks and the intellectual challenge of the concerto.

After the interval came Shostakovich’s Symphony No 13 Babi Yar. In the wrong hands the work can easily seem to dissolve into cynicism or despair, but here Ashkenazy was able to find some form of comfort and resolution, if not hope, in the final movement. After the almost unbearable emotional intensity of Yevtushenko’s opening poem, the work guides us through the stoicism of mankind in the face of evil to a resolution which, if not one which leads to an answer, does at least give hope that individuals can face up to evil on such a scale.

The Russian bass Sergei Aleksashkin knows the work well enough to sing it almost from memory, and brings not only authority and power to his performance but an emotional truth which helps us cope with the impact of the text. He was well supported by the men of the Brighton Festival Chorus dealing with transliterated Russian with some aplomb. The Philharmonia Orchestra showed off the strengths of their various departments, with particular plaudits going on this occasion to the woodwind.

A packed audience followed the evening with hard edged concentration and rewarded the performers with extended applause. BH

 Pavilion Theatre, Brighton, 23 May

A packed lunchtime audience gave a very warm welcome to a young quartet who are rapidly making a name for themselves. Formed only two years ago, they have won prizes both nationally and internationally. It is easy to see why. Their music making is not only technically accomplished but deeply felt and convincing.

They opened with Shostakovitch’s string quartet No 11 Op 122. This was not an easy choice for a lunchtime recital, with only occasional moments of calm to offset the tension and underlying melancholy of the work. The seven movements flow easily into each other with a relentlessness which does not allow for any real break either in concentration or emotional impact.

Mendelssohn’s quartet Op44 No2 came as something of a relief even if its fierce virtuosity was almost at the same level of intensity as the Shostakovich. The second movement lightened the tone and the third was positively relaxed, with some exquisite playing from cellist Rebecca Herman.

On one of the warmest days this so far this year, it was worth spending an hour in the dark for playing of this quality. BH