Ravel / Farrenc/ Durufle/ Schumann.: Ensemble 360, Crucible, Sheffield,19/5/25

Ravel (arr. Farrington) Mother Goose Suite ; Farrenc Sextet; DURUFLÉ Prélude, récitatif et variations; Schumann Piano Quintet in E flat Op.44 

This was a varied and interesting programme, with the best definitely last…..The Ravel piece I know from its full chamber orchestra version – here it had one each of strings, woodwind, horn and percussion, which amounted to the full complement of Ensemble 360 members. It’s a wistful lovely piece, based on fairy tales, both vivacious and pastoral, with a bit of chinoiserie thrown in for good measure.  The Farrenc piece felt rather a dutiful acknowledgement – ok, I accept that canons are constructed by those with power, that in the past many gifted women composers were not able to have their works performed or simply felt too disheartened to write music., and that therefore there must be positive action to unearth and display their work. Farrenc in fact was acknowledged in her day  to an extent so hers was work not completely ignored, at least during her lifetime. However for a piece to be revived it must be something that could take its place in a refreshed canon with justification, and this Farrenc piece, to me (and granted this is of course a personal reaction), was too conventional, too formulaic to achieve that status.  It is sort of sub-Mendelssohn, sub-Schumann, but without real energy, drive and passion. Themes were attractive but the overall temperature was cool. The comparison with the Schumann quintet after the interview was stark

I liked the Durufle piece – wistful (flute, viola and piano), poised in a very French way and always interesting to listen to. The Schumann piece, as already intimated, is in a different league to the other music in this programme – passionate, driven, exciting, and with memorable melodic material,  and with very little of the twitchy repetitions you sometimes get in Schumann’s music. The Ensemble 360 players seemed possessed – cutting, incisive string playing. Benjamin Nabarro’s and Gemma Rosenfield’s playing was particularly noteworthy, and Tim Horton as always was reliable – more than that, sensitive – on the piano. This was a memorable performance.