The Cello Sonatas by Chopin and Rachmaninov - plus three secret special extra pieces
at St Symphorian’s Durrington Hill – Worthing BN13 2PU
Sunday 2 November
2.45pm (doors 2.15; concert duration 2½ hours) finish 5.15pm
Venue: 01903 694827 www.stsymphorians.co.uk
Parking is free everywhere – on site, surrounding streets, Manor Parade precinct for 3hrs
(scroll down for venue information, directions, public transport)
Tickets online or at the door
Seating unreserved – do arrive in good time to choose your seat.
To prevent disruption, latecomers may have to wait for admission.
£15 Adult / £13 Adult with Under-19(s) / £2 Under-19 / £5 Under-36 / £13 members of Worthing Symphony Society, Worthing Philharmonic Orchestra, Worthing Choral Society or Boundstone Chorus
Sips ’n’ Nibbles available pre-show and interval
Wheelchair access
SCROLL DOWN FOR
Hamie Duo and the music they’ll perform
the venue and how to get there
what exactly is an International Interview Concert
HAIME DUO
Berniya & Riya Haime are the founding two thirds of Astatine Trio who in May were invited onto the elite BBC Radio 3 New Generation Artists scheme for three years. This followed their double prizewinning at Graz, Austria, in February’s Franz Schubert Competition. Mentored by the great, now late Alfred Brendel, at his own instigation, they became the first UK ensemble to come away from this auspicious event with official honours.
The previous concert season they were Britten Pears Young Artists and debuted on BBC Radio 3 In Tune. Concurrent with this NGA period they’ll have an ensemble residency at the Centre of European Chamber Music in Paris.
When they line up as Astatine Trio, their violinist is Maja Horvat. And they’re now mentored by Anthony Marwood, the violinist of the leading Florestan Trio. You’ll hear Astatine on national radio these three years ahead and who knows where else prestigious?
At this Interview Concert, we’ll be hearing and witnessing the two sisters continuing in their own established duo concert partnership.
Brighton-born, just like violinist Nigel Kennedy, both came through prizewinning years at Royal College of Music – Rija in the Junior Department, Berniya the Senior, remarkably with pianist Berniya also the cellist of the Fiora String Quartet (Britten Pears Artists last season, appearances including at Chipping Camden Festival and with the Brodsky Quartet) and principal cello in the RCM Philharmonic Orchestra.
They’ve each already performed on their main instrument in these Classical’s top venues – Royal Festival Hall, Queen Elizabeth, Cadogan, Wigmore, Duke’s and Leeds Town Hall, Royal Albert Hall Elgar Room, St John’s Smith Square, The Barbican, Purcell Room.
SAY THEIR NAMES LIKE THIS
“Burn-eye-er Hay-mee” and “Ree-er Hay-mee”
Berniya Haime (piano) – post-graduate at London’s Guildhall School of Music & Drama / education and outreach work for Leeds Piano Competition / Grieg Concerto at Brighton Festival 2018 (BYO) and Rachmaninov 2nd at Worthing Assembly Hall 2023 (WPO) / numerous solo appearances in UK, France and Italy / Masterclasses under Paul Lewis, Richard Goode, Robert Levin, Imogen Cooper, Till Fellner, Boris Berman.
Riya Haime (cello) – in her degree years London’s Royal Academy of Music / numerous competition prizes / Concertos performed: Haydn No 1, Dvorak, Elgar, Shostakovich No 1, Brahms Double / led the National Youth Orchestra cellos in a Radio 3 broadcast from The Barbican; mentored by London Philharmonic Orchestra and Royal Opera House orchestral player schemes; leading the RAM orchestral cellos / contemporary music premieres with Academy Manson Ensemble / Masterclasses under Steven Isserlis, Natalie Clein, Raphael Wallfisch, Adrian Brendel, Melissa Phelps, Joely Koos, among others.
THE MUSIC
• The two big Cello Sonatas by Chopin and Rachmaninov – the only ones they composed
• Three Secret Special Extra Pieces, to be revealed on the day by the Duo. Two will showcase the sisters individually. The third will pair them.
These two Sonatas sit among the pride of the Romantic piano-cello repertoire, by two of the greatest pianist-composers, who here treat both instruments as equals, with both men deeply equipped to elevate the treasured, intimate singing character of the cello. Inevitably, the piano role in either is hugely demanding and this concert is remarkable for presenting these Sonatas in the same programme. There is breadth of scale and poetic lyricism, and they substantially add up to eight engrossing movements of music by composers we know very well are in the top half of the Classical world’s best-loved Top 10.
Chopin was becoming increasingly ill with tuberculosis. But he took the chance in 1846 to write a sonata for the then 38-year-old French cellist Auguste Franchomme. Chopin’s relationship with French authoress George Sand competed its break-up in 1847, a toll-taking process, also extending the Sonata’s composition completion time, and its four movements show maturer Chopinesque mood, expression and vision. He and Franchomme premiered it together in 1948, Chopin omitting the first movement for reasons we can’t authenticate. Poignantly, it was his last public performing appearance. He died 20 months later, at only 39.
Rachmaninov’s liberation through experimental hypnosis from his three years of depression and composer’s block unleashed not one immortal piece of music – his Piano Concerto No 2, famed through ‘Brief Encounter’ – but a second, also of 1901 – this Cello and Piano Sonata. If the Concerto was his outpouring through his own instrument, the Sonata was one for the voice embodied in the cello.
BBC’s Building A Library asked cellist Raphael Bell to search out the Sonata’s best recording. He said: “It’s a favourite of cellists (and very fine pianists). You are invited into a long unfolding story. It is thrilling to sit so close to the piano, with the cello sound floating in and out of the piano’s waves of colour, the two voices weaving together.
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WHERE’S THE CONCERT?
St Symphorian’s Durrington Hill - Worthing BN13 2PU
Our new International Interview Concerts venue! It’s the most beautiful interior performing space we know in the town. A big audience quickly shared that view when we were first there with Yi-Yang Chen on 25 May. If you missed him, and you’ve never heard of the place, then do make this your own first visit! Your breath will be caught, your jaw will drop.
It’s a coloured, unified wonder of stained glass windows and light, with picturesque organ pipes, barn roof, font, and spotlights on local history. Most striking of all, entered through a carved wooden screen, is its side chapel dedicated to the martyred St Symphorian. It has two main windows. One portrays him, surrounded by angel musicians; the other St Cecilia herself – the patron saint of music. Man meets celebrated woman!
There are no pillars to spoil anyone’s view of anything, nor pews to regiment, segregate or constrict your seating. It’s comfy chairs. Meaning a posterior you can still feel when you head for the door afterwards!
LOCATION
St Symphorian’s is on the left-hand side, immediately north of the mini roundabout at the New Road/Salvington Road/Durrington Hill crossroads. There’s acres of parking, all of it free – on site, on surrounding streets, and also in and behind Manor Parade shops precinct off Salvington Road (for 3hrs).
PUBLIC TRANSPORT
Our 2.45pm start time (doors 2.15) and 5.15 finish enables bus travellers to catch the Stagecoach No 5 back to Worthing at 5.34pm from The Park View bus stop 3 minutes away. It’s a 19min ride from Worthing town centre.
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WHAT’S AN INTERVIEW CONCERT?
• It’s a full concert musical performance – plus conversations with the Host and a Guest Interviewer, meaning you meet the artistes, discovering their views and thoughts – and not just musical ones.
• There are our own added features. If you like, you can ‘Ask A Question’, submitting it during the interval. And this time you can make an imaginary suggestion in ‘Give It A Title’ or have a go in ‘Guess The Composer’.
• ‘Set In The Round’ means everyone’s closer to the action, connected – and inspired. Including the attentive children you can bring for just £2 each. More seats viewing the piano keyboard. You can pick your own seat once you’re in.
• You’re bound to find a kindred spirit in the interaction among everyone else there who’s sharing this concert experience just like you, as the audience.
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