{"id":19777,"date":"2022-10-04T00:00:00","date_gmt":"2022-10-03T22:00:00","guid":{"rendered":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/?post_type=purple_issue&p=19777"},"modified":"2022-10-06T11:46:19","modified_gmt":"2022-10-06T09:46:19","slug":"chamber-reviews","status":"publish","type":"post","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/2022\/10\/04\/chamber-reviews\/","title":{"rendered":"Chamber reviews"},"content":{"rendered":"\n

Chamber<\/h2>\n\n
<\/div>
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CHAMBER CHOICE<\/h4>\n\n\n\n

An irresistible showcase of Abel Selaocoe\u2019s talents<\/h3>\n\n\n\n

Helen Wallace <\/strong><\/em>delights in the evocative and joyful music-making of the South African cellist and friends <\/p>\n\n\n\n

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Boundaries blurred: <\/strong>Abel Selaocoe unites musical traditions <\/figcaption><\/figure>\n\n\n\n

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Where is Home (Hae Ke Kae) <\/span><\/strong>
Works by JS Bach, GB Platti and Abel Selaocoe <\/strong>
Abel Selaocoe (cello, vocals) and guests incl. Yo-Yo Ma (cello), Elizabeth Kenny (theorbo)
Warner Classics 9029622433 55:18 mins <\/em><\/p>\n\n\n\n

Since graduating in 2018 from the Royal Northern College of Music, following studies in his native South Africa, Abel Selaocoe has been hugely in-demand. Few cellists can boast playing at WOMAD, the London Jazz Festival and filling the Queen Elizabeth Hall. No wonder Yo-Yo Ma guests on one track: Selaocoe embodies Ma\u2019s vision of a truly multicultural musical future. <\/p>\n\n\n\n

Cellist, singer, composer and collaborator, Selaocoe inhabits a captivating sphere of spontaneous, mercurial creativity. Where <\/em>is <\/em>Home <\/em>explores the African traditions and Western Baroque music that have shaped him. Most moving is the evocation of his mother singing a counter melody as he practised the Sarabande from Bach\u2019s Suite No. 3. He draws these worlds together, again, in GB Platti\u2019s Sonata No. 7, where movements are delivered with theorbo (Elizabeth Kenny), before dissolving into a cloud of celestial kora\/cello melismas (Kadialy Kouyate).<\/span><\/p>\n\n\n\n

Everything flows from Selaocoe\u2019s own extraordinary voice <\/span><\/p><\/blockquote>\n\n\n\n

In Selaocoe\u2019s hands the cello is a shape-shifter: in Zawose <\/em>it\u2019s a Tanzanian one-string \u2018zeze\u2019, high and airy; in Ka <\/em>Bohaleng <\/em>multi-phonic, virtuosic; in the tender Lerato <\/em>it provides the percussive \u2018beat on Bibles\u2019, while Seipone <\/em>offers a dazzling shuffle through his improvisational armoury. Song is the dominant form: everything flows from his own extraordinary voice, a soothing baritone that can plunge into unfathomable bass via Xhosastyle throat singing. His excellent collaborators here include members of Chesaba and Manchester Collective, Alice Zawadzki and pianist and producer Fred Thomas. It\u2019s a fine taster menu: now I urge you to hear him live to experience his intoxicating charisma.<\/p>\n\n\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605<\/p>\n\n\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605\u2605 <\/span><\/p>\n<\/div><\/section>\n\n

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Bridge \u2022 Britten \u2022 Debussy \u2022 Jan\u00e1\u010dek <\/span><\/strong>
Bridge:<\/strong> Cello Sonata; Britten: <\/strong>Cello Sonata; Debussy: <\/strong>Cello Sonata; Jan\u00e1\u010dek:<\/strong> Poh\u00e1dka
Truls M\u00f8rk (cello), H\u00e5vard Gimse (piano)
Alpha Classics ALPHA560 71:01 mins <\/em><\/p>\n\n

Four of the 20th century\u2019s greatest works for cello and piano: three of them famously recorded back in the 1960s by Rostropovich and Britten \u2013 a hard act to follow. Yet the Norwegian duo, Truls M\u00f8rk and H\u00e5vard Gimse, rise fully to the challenge in close yet lucid recorded sound that achieves an exemplary balance between cello and piano. Marginally less juicy of tone and idiosyncratic of phrasing than Rostropovich, M\u00f8rk brings a classical poise and eloquence to his phrasing and a marvellous sensitivity to detail, while Gimse is fully alive to the very different styles of piano writing in these four works. <\/p>\n\n

The qualities of the new recording are especially favourable to Frank Bridge\u2019s big two-movement Sonata \u2013 composed athwart the outbreak of the First World War, which horrified him \u2013 where the old recording suffered from slightly cloudy piano sound. As M\u00f8rk soars through the fraught lyricism of its first half, one hears clearly how Bridge subtly inflected even the most seemingly conventional piano figuration with his own individuality. And if the new recording of Debussy\u2019s war-time Sonata is less dark and rhapsodic than the Rostropovich-Britten, it exemplifies the more enduring characteristics of French culture he sought to uphold.<\/p>\n\n

The fugitive flights of melody and figuration comprising the three whimsical movements of Jan\u00e1\u010dek\u2019s Poh\u00e1dka <\/em>(Fairy Tales) demand a glancing, mercurial response which they certainly receive here, while the Britten Sonata somehow emerges as a weightier, more substantial work than in the original recording by its dedicatee and composer \u2013 special though that will always remain. Bayan Northcott <\/em><\/p>\n\n

PERFORMANCE<\/strong> \u2605\u2605\u2605\u2605<\/p>\n\n

RECORDING<\/strong> \u2605\u2605\u2605\u2605 <\/p>\n\n

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Dvo\u0159\u00e1k \u2022 Smetana <\/span><\/strong>
Dvo\u0159\u00e1k:<\/strong> String Quartet No. 12 in F, \u2018American\u2019; Waltzes, Op. 54\/1 & 4; Smetana: <\/strong>String Quartet No. 1 in E minor, \u2018From My Life\u2019
Wihan Quartet
Nimbus NI 6422 63:56 mins<\/em><\/p>\n\n

The Wihan Quartet have held their position of eminence among the most distinguished Czech chamber groups for nearly 40 years. This remarkable consistency, in part a result of minimal personnel changes, is also down to the Wihan\u2019s ability to revitalise their interpretative approach. Given their standing, it seems a missed opportunity not to champion less familiar repertoire \u2013 a string quartet by the late 19th-century composer Zden\u011bk Fibich, perhaps \u2013 alongside one or other of these dependable warhorses. Nevertheless, these performances of Dvo\u0159\u00e1k and Smetana\u2019s most famous quartets certainly offer something new. <\/p>\n\n

Their performance of the first movement of Smetana\u2019s autobiographical First Quartet is deeply satisfying, making the most of its drama without undermining its clarity of structure. The Polka second movement not only revels in Smetana\u2019s celebration of dance, but in the cello interjections in the opening section provides genuine hilarity. Their reading of the Largo, <\/em>while not the slowest on record, is one of the most heartfelt available and in the finale the high spirits of the opening are a perfect foil for the almost operatic depiction of the tragedy of sudden and total deafness that destroyed Smetana\u2019s conducting career. <\/p>\n\n

There is also a great deal to enjoy in their performance of Dvo\u0159\u00e1k\u2019s \u2018American\u2019 Quartet not least a thoughtful approach to the first movement which externalises its soulful qualities as much as its carefree exuberance. Throughout, their playing is both thoughtful and impassioned with only one uncharacteristic tuning blemish in the slow movement to disturb matters. <\/p>\n\n

In a crowded field, these excellently recorded performances stand very high.<\/span> <\/em>Jan Smaczny<\/em><\/p>\n\n

PERFORMANCE<\/strong> \u2605\u2605\u2605\u2605\u2605<\/span><\/p>\n\n

RECORDING<\/strong> \u2605\u2605\u2605\u2605<\/p>\n\n

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Ravel <\/span><\/strong>
Berceuse sur le nom de Faur\u00e9; Violin Sonata in G; Tzigane; Sonata for Violin & Cello <\/strong>
Lina Tur Bonet (violin), Marco Testori (cello), Pierre Goy (piano)
Challenge Classics CC 72916 51:06 mins <\/em><\/p>\n\n

This tribute to Ravel\u2019s friend, the violinist H\u00e9l\u00e8ne Jourdan-Morhange (her name here variously misspelt and mispunctuated), brings together four of his chamber works from the 1920s, when Pierre Boulez felt that \u2018after the Trio [1914] you don\u2019t find the same deep feeling as before, but more a kind of stylistic game, which is absolutely extraordinary\u2019. Three of the elements in this game are bitonality, popular music and (pace Boulez) a somewhat refined form of lyricism, and not the least of the qualities of the players here is that they are adept in all three. <\/p>\n\n

From Lina Tur Bonet\u2019s sweetly elegant tone in the Berceuse <\/em>sur <\/em>le <\/em>nom <\/em>de <\/em>Faur\u00e9 <\/em>you wouldn\u2019t expect also to be startled by the jazz in the central movement of the Violin Sonata, or blown away by the Hungarian wildness in Tzigane. <\/em>Especially striking in the former are the little deformations of the notated rhythm which any true jazz playing has to observe, with both violinist and pianist here egging each other on, while in Tzigane <\/em>the violinist swoops and glides with superb abandon against the acid jangling of the luth\u00e9al.<\/p>\n\n

So it is with reluctance that I have to mention occasional disregard for Ravel\u2019s dynamic markings, notably the pianist\u2019s for the pianissimo <\/em>leading into letter B in the Berceuse. <\/em>Strangest of all is a muddle at figure 3 in the first movement of the Violin Sonata, where the pianist seems bemused by the violinist\u2019s quiet entry, so we\u2019re given half a bar beyond what\u2019s written. Roger Nichols <\/em><\/p>\n\n

PERFORMANCE<\/strong> \u2605\u2605\u2605\u2605<\/p>\n\n

RECORDING<\/strong> \u2605\u2605\u2605\u2605\u2605 <\/span><\/p>\n\n

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Caroline Shaw <\/span><\/strong>
The Evergreen; Three Essays; And So; Blueprint; Other Song; Cant voi l\u2019aube <\/strong>
Attacca Quartet
Nonesuch 75597913507 61:08 mins <\/em><\/p>\n\n

Whether it\u2019s the mystery of Finnish forests (Sibelius\u2019s Tapiola) <\/em>or the poignant beauty of English cherry blossom (featured in Butterworth\u2019s setting of A Shropshire Lad), <\/em>trees are well represented in music. American composer Caroline Shaw\u2019s four-movement string quartet The Evergreen <\/em>is an offering to a specimen recently admired on Galiano Island, off the west coast of Canada. Extended pizzicato passages are evocative of falling rain in \u2018Water\u2019; through gentle textural layering, \u2018Root\u2019 stretches and grows. Like her compatriot Jennifer Higdon, Shaw finds a broad timbral palette for strings \u2013 every rasp and flicker is embedded within a lyrical and melodic language.<\/span><\/p>\n\n

Attacca Quartet \u2013 an ensemble that has previously recorded works by Shaw on 2019 album Orange <\/em>\u2013 performs with accuracy and precision, unleashing itself in Three Essays, <\/em>a translation of prose by Marilynne Robinson. \u2018Nimrod\u2019 (another beloved musical inspiration) juxtaposes the chaos and creativity of the biblical character; \u2018Echo\u2019 uses a call and response structure in reference to the self-perpetuating nature of social media. As a violinist, Shaw writes idiomatically for strings \u2013 the sparse themes in Blueprint <\/em>are simple and exquisitely crafted. The composer is also a versatile singer (her vocals are sampled on Kanye West\u2019s 2015 hit \u2018Say You Will\u2019) and features on three songs with the quartet here. And So <\/em>unfolds into a duet between voice and plucked strings; Other Song <\/em>is a version of a piece originally performed with S\u014d Percussion and Cant voi l\u2019aube <\/em>is a setting of a poem by 12th-century trouv\u00e8re Gace Br\u00fbl\u00e9. Claire Jackson <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605 <\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605 <\/p>\n\n

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An Evergreen sequel:<\/strong> Attacca Quartet impress in Caroline Shaw\u2019s new works <\/figcaption><\/figure>\n\n
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JJ Walther <\/span><\/strong>
Scherzi da violino <\/strong>
Bojan \u010ci\u010di\u0107 (violin); The Illyria Consort
Delphian DCD34294 100:48 mins (2 discs) <\/em><\/p>\n\n

Giovanni Giornovich to Giovanni Stefano Carbonelli, Bojan \u010ci\u010di\u0107 and The Illyria Consort have made a point of championing the under-sung. Now their attention shifts to Johann Jakob Walther \u2013 not to be confused with JS Bach\u2019s cousin the lexicographer-composer Johann Gottfried Walther, but rather a virtuoso violinist from the previous generation. Ironically what little is known of him comes from his namesake\u2019s Lexicon of 1732 where it transpires that Johann Jakob spent three years in Florence polishing his Italian credentials, led the court orchestra in Dresden and ended his days in Mainz. That he was dubbed the Paganini of his age during the 19th century speaks to the considerable technical challenges he embedded within two published collections of instrumental music; and it\u2019s the first of these, the <\/span>Scherzi da violino <\/em>of 1676 that is here recorded in full for the first time.<\/span><\/p>\n\n

The 12 scherzos are variously designated Suite, Sonata and Aria, while the tenth is an intricately-reasoned \u2018Imitatione del cuccu\u2019 whose insistent cuckoo-ing is stitched exuberantly into one of the highlights of a set never less than well-crafted if occasionally a touch workaday. \u010ci\u010di\u0107 makes light work of Walther\u2019s virtuosic gauntlet, audaciously secure in the triple and quadruple stopping that punctuates passages drawing on elaborate bowing and left-hand techniques. And he enjoys a close rapport with his continuo of bass viol, theorbo and keyboards. The \u2018phantasticus\u2019 flights of fancy could sometimes sound a touch more fantastical perhaps, but \u010ci\u010di\u0107\u2019s clean, clearly-articulated playing reveals a composer who has languished in the shadow of Biber and Schmelzer for too long. Paul Riley <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605 <\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605 <\/p>\n\n

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The Enescu Project <\/span><\/strong>
Enescu: <\/strong>Octet in C, Op. 7; plus works by Bart\u00f3k, Faur\u00e9, Massenet, P\u01cei\u015f, Ravel, Ysa\u00ffe <\/strong>
Nicolas Dautricourt (violin) et al; Capriccio Quartet
Orchid Classics ORC100202 78:54 mins <\/em><\/p>\n\n

This lovingly conceived tribute to George Enescu and his Octet (1900) takes its starting point from the violinist Nicolas Dautricourt\u2019s conviction that it \u2018is one of the greatest masterpieces of the chamber music repertoire, or perhaps of music altogether.\u2019 It\u2019s hard to disagree about a score of such brilliance and mystery, one made all the more remarkable for being the work of a teenager (albeit a prodigy). The performance led by Dautricourt observes the opening movement\u2019s \u2018Tr\u00e8s mod\u00e9r\u00e9\u2019 marking more strictly than some, one reason perhaps why the music doesn\u2019t quite soar, but the slow movement is serene and moving. This is collegial, congenial playing \u2013 true to the music\u2019s spirit. From solo, duo and trio up to bigger ensembles, this programme puts Enescu in the context of his Romanian background and Parisian domicile. The opening <\/span>Aubade <\/em>(written a year before the Octet) is charmingly fresh, but though arrangements for strings of ubiquitous pieces by Massenet and Ravel make interesting biographical connections, they dilute the musical impact; something is lost in translation from the piano part of Faur\u00e9\u2019s <\/span>\u00c9l\u00e9gie.<\/em><\/p>\n\n

On the plus side, there\u2019s the surging energy of a new Romanian octet, M\u00e9moire D\u00e9form\u00e9e, <\/em>composed by George-Ioan P\u0103i\u0219 (b1994) in tribute to Enescu \u2013 afragmented dance of edgy beauty. Ysa\u00ffe\u2019s compact Sonata No. 3, dedicated to Enescu, receives a concentrated performance from Dautricourt, who proves himself an eloquent player. He is joined by C\u00e9cile Agator for three of Bart\u00f3k\u2019s Duets, in searching accounts that evoke Enescu\u2019s roots. John Allison <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605 <\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605 <\/p>\n\n

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Celebrating Enescu: Nicolas Dautricourt pays tribute to the composer\u2019s Octet <\/figcaption><\/figure>\n\n
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Invisible Stream <\/span><\/strong>
Imbert: <\/strong>Akim\u2019s Spirit; My Klezmer Dream; Musique aux Images etc; plus works by Coleman, Eisler, Schubert and Wagner <\/strong>
Rapha\u00ebl Imbert (saxophone), Jean-Guihen Queyras (cello), Sonny Troup\u00e9 (drums), Pierre-Fran\u00e7ois Blanchard (piano)
Harmonia Mundi HMM 902343 58:47 mins <\/em><\/p>\n\n

The Invisible Stream <\/em>of the title is what jazz saxophonist and composer Rapha\u00ebl Imbert calls the \u2018unseen current\u2019 between peoples, cultures, musical traditions and not least, as here demonstrated, those who improvise. And there is much slick improvisation in this line up of unequal parts jazz and classical, ranging compositions by Imbert alongside his own arrangements of Wagner, Schubert, Eisler and Ornette Coleman. It is an atmospheric and often beguiling mix, opening with Imbert\u2019s own bittersweet Akim\u2019s Spirit, <\/em>and improvising from there on in pursuit of this \u2018invisible stream\u2019. Wagner\u2019s \u2018O du, mein holder Abendstern\u2019 is touchingly played on Queyras\u2019s ever-expressive cello, Blanchard shimmering beneath on piano, the whole segueing into a tender jazz resetting of Schubert\u2019s An Die Musik <\/em>working up into a major jazz ballad that in the telling is much less improbable than it might sound. Elsewhere the spare, quiet opening of Imbert\u2019s Musique aux Images <\/em>is gradually underpinned and driven by Troup\u00e9\u2019s gathering drum march. Ornette Coleman\u2019s <\/span>Beauty is a Rare Thing <\/em>precedes it, a rarer more angular kind of sparsity, whilst Imbert\u2019s <\/span>So Long, Radio Voice <\/em>is all easy informality.<\/span><\/p>\n\n

The conversations that Imbert and his fellow musicians start are engagingly carried through, the diverse influences merging and meandering, although the current for me only really starts flowing persuasively from the Wagner, as Queyras\u2019s intimate cello segues into Blanchard\u2019s poised piano. Sarah Urwin Jones <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605\u2605 <\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605\u2605 <\/p>\n\n

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Song <\/span><\/strong>
Works by JS Bach, Beethoven, Finnis, A Hamilton, Massenet, Messiaen, Stravinsky et al <\/strong>
Sheku Kanneh-Mason (cello), Harry Baker (piano) et al
Decca 485 3169 73:21 mins <\/em><\/p>\n\n

The golden, singing tone of Sheku Kanneh-Mason\u2019s cello hits us the moment this dauntingly eclectic album begins \u2013 one, the note writer tells us, in which he is \u2018seamlessly shifting from classical and jazz to folk and pop\u2019. Seamlessly? <\/p>\n\n

Listeners will surely spot when Bach gives way to the 1950s tearjerker \u2018Cry Me a River\u2019, or when the pop song Sheku wrote with singer\/musician Zak Abel shatters the spell cast by Edmund Finnis\u2019s subtle Preludes. <\/em><\/p>\n\n

Even within individual items, not everything works as it should. Sister Isata\u2019s faceless piano accompaniments don\u2019t lift Beethoven\u2019s Op. 66 Mozart variations, though the siblings are fine in two of Mendelssohn\u2019s Songs <\/em>Without <\/em>Words. <\/em>Sheku\u2019s two Bach arrangements for four or five cellos tend toward the glutinous. But inbetween comes total balm: the slow, contemplative \u2018Louange \u00e0 l\u2019\u00c9ternit\u00e9 de J\u00e9sus\u2019 from Messiaen\u2019s Quartet <\/em>for <\/em>the <\/em>End <\/em>of <\/em>Time. <\/em>In Sheku\u2019s hands the cello\u2019s ascent to its long-lingering final note is deeply affecting and magical, as beautiful in a different way as his opening rendition of the Irish folk song \u2018Star of the County Down\u2019. <\/p>\n\n

By my reckoning, though, out of 21 tracks, less than half display Sheku\u2019s gifts at their beguiling best. That is the price paid for muddying the waters with the inappropriate, lining up guest artists not at their best (sorry, soprano Pumeza Matshikiza), and \u2018seamlessly shifting\u2019 between genres too many times. Geoff Brown <\/em><\/p>\n\n

PERFORMANCE <\/strong>\u2605\u2605\u2605<\/p>\n\n

RECORDING <\/strong>\u2605\u2605\u2605<\/p>\n\n

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You can access thousands of reviews from our extensive archive on the BBC Music Magazine website at www.classical-music.com<\/a><\/strong><\/p>\n\n

<\/p>\n\n

MLUNGISI MLUNGWANA, DAVID GODDARD, BERNARD MARTINEZ<\/p>\n","protected":false},"excerpt":{"rendered":"

Chamber Bridge \u2022 Britten \u2022 Debussy \u2022 Jan\u00e1\u010dek Bridge: Cello Sonata; Britten: Cello Sonata; Debussy: Cello Sonata; Jan\u00e1\u010dek: Poh\u00e1dka Truls M\u00f8rk (cello), H\u00e5vard Gimse (piano) Alpha Classics ALPHA560 71:01 mins Four of the 20th century\u2019s greatest works for cello and piano: three of them famously recorded back in the 1960s by Rostropovich and Britten \u2013 […]<\/p>\n","protected":false},"author":24,"featured_media":20209,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ub_ctt_via":"","purple_page_number":"100","purple_custom_meta_purple_page_number":"100","purple_seq_number":"1","purple_custom_meta_purple_seq_number":"1","purple_source_article":"article_100-1.xml","purple_custom_meta_purple_source_article":"article_100-1.xml","purple_source_issue":"November-2022","purple_custom_meta_purple_source_issue":"November-2022","purple_external_id":"November-2022-100-1","purple_custom_meta_purple_external_id":"November-2022-100-1","purple_issue_code":"|0000086188||","purple_custom_meta_purple_issue_code":"|0000086188||","purple_android_product":"com.im.bbcmusic.380","purple_custom_meta_purple_android_product":"com.im.bbcmusic.380","purple_ios_product":"com.im.bbcmusic.380","purple_custom_meta_purple_ios_product":"com.im.bbcmusic.380","purple_web_product":"","purple_custom_meta_purple_web_product":"","purple_publication_id":"5b9287a1-9911-4f59-a9d7-30a805560f3d","purple_migrated":"","kt_blocks_editor_width":"","apple_news_api_created_at":"2022-10-06T09:46:28Z","apple_news_article-theme":"","apple_news_api_id":"84effa99-f058-478f-aa71-a4c44171c2f8","apple_news_api_modified_at":"2022-10-06T09:46:28Z","apple_news_api_revision":"AAAAAAAAAAD\/\/\/\/\/\/\/\/\/\/w==","apple_news_api_share_url":"https:\/\/apple.news\/AhO_6mfBYR4-qcaTEQXHC-A","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":true,"apple_news_is_preview":true,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_article_theme":"","apple_news_sections":"[]"},"categories":[19],"tags":[13],"apple_news_notices":[],"featured_image_src":"https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/AbelSelaocoe_MlungisiMlungwana_cmyk-e1664548187407.jpg","author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"acf":{"readingTimeMinutes":"13","apple_news_title":""},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/AbelSelaocoe_MlungisiMlungwana_cmyk-e1664548187407.jpg",1445,970,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/AbelSelaocoe_MlungisiMlungwana_cmyk-e1664548187407-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/AbelSelaocoe_MlungisiMlungwana_cmyk-e1664548187407-300x201.jpg",300,201,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/AbelSelaocoe_MlungisiMlungwana_cmyk-e1664548187407-768x516.jpg",768,516,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/AbelSelaocoe_MlungisiMlungwana_cmyk-e1664548187407-1024x687.jpg",800,537,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/AbelSelaocoe_MlungisiMlungwana_cmyk-1536x1263.jpg",1536,1263,true],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/AbelSelaocoe_MlungisiMlungwana_cmyk-e1664548187407.jpg",1445,970,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"Chamber Bridge \u2022 Britten \u2022 Debussy \u2022 Jan\u00e1\u010dek Bridge: Cello Sonata; 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