An expressive performance of this lesser-celebrated Instrument

The complete mastery of their respective instruments and the obvious and delightful chemistry between these two artists brought forth an amalgam of characterful and sonorous sound; elevating this lesser-celebrated instrument firmly into the spotlight.

Nothing shy of pure musical excellence was put on display for the Horsham Music Circle audience this Thursday evening. Siping Guo, a highly talented bassoonist from China, currently studying at the Royal College of Music, alongside the equally brilliant Apolline Khou (piano), the current Historical Keyboard Fellowship holder at the RCM – and familiar face to the HMC – showcased an eclectic collection of bassoon masterworks. The complete mastery of their respective instruments and the obvious and delightful chemistry between these two artists brought forth an amalgam of characterful and sonorous sound; elevating this lesser-celebrated instrument firmly into the spotlight.

We were first welcomed by a warm and inviting set of pieces, each featuring a sicilienne as their focal point – Faure’s ‘Sicilienne’ and Bozza’s ‘Recit, Sicilienne, et Rondo.’ These lullabies with all their musically demanding passages were played with the utmost grace and serenity; beautifully foreshadowing what was to later come in the concert. Paired with the first two pieces came Tansman’s ‘Bassoon Sonatine,’ a bold contrast to what had been previously played: darker, more mysterious figures lingered in the second movement, complimenting the dynamic and expressive timbre of the bassoon. This was bound by two furious outer movements played by Siping with a swift and efficient expertise, supported fully by Apolline’s characterful and evocative playing on the piano. Closing this half was Brahms’ ‘Cello Sonata No.1 (transcribed for bassoon).’ Despite the challenges this demanding work carries for both Siping and Apolline, their clear communication delivered a well thought-out and expressive performance, dutifully highlighting the subtleties and nuance of Brahms’ thematic writing.

The second half opened with a pairing of pieces from the enlightenment era. C.P.E. Bach’s technically brilliant ‘Solo sonata in D (originally for flute)’ allowing Siping to display his musical colours, skilfully leading the audience onward with each winding passage. Apolline again joined Siping in the next piece, Devienne’s ‘5th Bassoon Sonata,’ allowing her to showcase a well-appropriated continuo realisation— a compositional device seldom employed by this point in time and a particular area of expertise for Apolline.

The final pair of pieces were somewhat more sentimental to Siping who now left his music stand behind to play from memory. Saint-Saën’s ‘Bassoon Sonata,’ left the audience with both amazement and blissful contemplation. Siping detailed to us how this piece, one of Saint-Saën’s last compositions, had been with him for many years, always feeling like the piece was a distant dream or a river always moving him onwards: a poignant thought to reminisce on seeing as this was Siping’s last concert before flying out to Singapore to accept his principal position at the Singapore symphony orchestra. With every ounce of fiery energy that remained, Siping and Apolline set off with Weber’s virtuosic ‘Andante, Rondo Ungherese.’ Sheer thrill and enthusiastic applause sounded by the piece’s close – these young musicians’ blinding talent and eccentric artistry was a joy to both listen to and watch – bravo!

We are grateful for the support from ‘The Countess of Munster Musical Trust’ for tonight’s concert which will be the 22nd recital given for the Horsham Music Circle by their talented musicians.

Reviewed by Luca J. Imperiale