Recital for Save the Children in Aldeburgh, Humphrey Burton, C.B.E.

The piano recital by John Paul Ekins, presented by Aldeburgh branch of the Save the Children charity on November 3rd, proved to be an event of festival quality. A large and very appreciative audience assembled in the parish church to hear the very gifted Mr Ekins put the church's recently acquired Steinway through a stern test, from which both instrument and performer emerged with flying colours. We heard classic purity in the opening Mozart sonata (K 311) in which Mr Ekins offered impeccably stylish and deft playing that allowed the crystalline tone of the piano's upper register to come to the fore. Some dazzling Chopin, the elaborate Polonaise Fantasie, completed part one of the recital. However the heaviest guns in Mr Ekins's impressive armoury were reserved for the second half. It began all sweetness and light with two divine Schubert Impromptus, which were included at the request of committee member Rosemary Wood. Then came the revelation of the evening, two of Liszt's wonderful piano tone poems from the collection entitled Pilgrimage Years. The second, The Bells of Geneva, a nocturne, was all delicate impressionism, harmonically a surprising foretaste of Debussy. The Valley of Obermann, which preceded it, is a grand evocation of nature in all its moods (including a thunderous tempest!). Pianistically it pushes the performer to the limit, requiring prodigies of technical prowess. But it's also a soul- searcher: as Liszt himself declared, the onlooker is forced to consider his own nature: "what do I want? Who am I? What do I ask of nature?" John Paul Ekins was visibly moved by the end: his commitment had touched us all. The recital ended with a virtuoso Study in Sonority
(1967) by the French-Canadian composer Francois Morel, much influenced by Messiaen. Exciting stuff, but I would have preferred something deliberately cheerful - Children's Corner by Debussy comes to mind - but at least the encore, Traumerei, was chosen from Schumann's Scenes from Childhood. All in all, this was a distinguished Aldeburgh debut, enlivened throughout by sensible introductory comments which were helpful without a hint of the dumbing down that these days mars so much musical presentation on the radio.

To conclude, Save the Children deserves our thanks and congratulations for arranging a top-rank recital and for providing excellent wine and canapés to follow; it was nice to see Mr Ekins mingling with the crowd.


Recital for Woking Concert Society, Lewis Orchard

John Paul commenced his recital with one of Mozart's keyboard sonatas, K311, in which his clear articulation in the first and third movements was most appropriate for the style and was a suitable foil for the unsophisticated simplicity of the second movement Andante. He followed this with a passionate performance of Chopin's Polonaise-Fantasie in which the changes of mood and tempo of this important late work were impressive.

His recital continued after the interval with a brilliant performance of Schumann's Op.22 sonata in which the rapid virtuoso passages were executed with confidence, whilst the romantic side of this fascinating composer was brought out well in the beautiful Andantino. Then followed a short, attractive Nocturne by Smyth in which her ability to compose in a lyrical vein was clearly demonstrated. Two of Liszt's Swiss "années de Pèlerinage" followed in which John Paul demonstrated his deep understanding of the works with passages of intense poetic feeling, juxtaposed with sections of fearsome virtuosity. He concluded his recital with a work by the contemporary French-Canadian composer, François Morel, his second "Study in Sonority" revealing in places the influence of Messaien.

This was a first class recital, fully up to Wigmore Hall standard, evidently much enjoyed by the audience, who clearly appreciated John Paul's introductory remarks before each work and who requested an early return of this accomplished young pianist.


Recital for The Keyboard Charitable Trust at Steinway Hall, Bill Newman

Here was a programme with a difference. Apart from the choice of music, which ranged between a couple of Piano Sonatas: the demanding Schumann No.2 in G minor where the performer is requested to phrase in a musical manner while pressing the overall tempo forward as fast as possible, without disrupting the overall shape and continuity of the musical line, and Janacek’s Sonata X.1905, dedicated to the memory of a young labourer who was cruelly executed without too much regret, in scathing circumstances. Presentiment (Con moto) and The Death (Adagio) depicts it all. But this is the kind of climatic situation that the Czech composer excelled in, and gave an unusual dramatic slant to in his operas. The emotive, shorter pieces of Franz Liszt: Sonetto 47 del Petrarca; Liebestraum in A flat, were both reminders of happier, earlier days of youth and ardour, while Maurice Ravel’s descriptive Jeux d’Eau was a personal favourite of both Moiseiwitsch and Cortot. Which left Morel’s demanding Deuxieme Etude de Sonorite to provide the Piece de Resistance that closed the programme.

I spoke of ‘a difference’. To my delight, John Paul chose to introduce each work. So confidently entertaining and professional was this that I wondered if BBC Radio 3 would direct their efforts to producing more solo events that combine the player’s programme choice coupled with his performing expertise. It eliminates all needless, unnecessary waffle and back slapping that listener’s are submitted to today, and would probably increase listening and viewing figures as well. Do better class audiences remember back to ‘The Conductor Speaks’? Ah, those were the days!


Recital at The Fold for Billericay Arts Association, Tully Potter

A likeable recitalist who introduced each item with brief remarks, he tailored his programme sensitively to an out-of-town audience. Some of his playing was outstanding, especially as he will encounter more responsive pianos during his career – and ones with less noisy actions.

In both Mozart’s great Adagio and Beethoven’s Opus 78, I would have liked a little more dynamic contrast. Ekins seemed to get into his stride with the Chopin, which he delivered with considerable bravura and cumulative power.

We are still getting fall-out from last year’s Liszt anniversary, which is good because this composer, for all his great fame, is not played as much as he deserves. Ekins was fully in command of his three choices from Harmonies poétiques et religieuses, although I hope he will consider spinning out the great ‘Bénédiction’ a little more. The piece can take a slightly more-reflective approach.

Ekins’s best playing came in his last number, the 1967 Étude by the French-Canadian pianist-composer François Morel (born 1926). This is a splendid virtuoso piece, a superb programme closer, and it was performed magnificently. As an encore, Ekins gave us Rodion Shchedrin’s quirky Humoresque, which he played with delightful timing and wit.


Feedback from Masterclass and Recital in Framlingham, Suffolk

Some student comments:

Nicole - JP was great at explaining something in different ways until I completely understood.  It sounds obvious, but he was just so amazing. I felt really inspired.

Audrey - I will never look at a piece of music in the same way again.

Narjiss - He was so positive and lovely.  Not once did he tell someone they were 'doing it the wrong way', he just gently encouraged a different approach, really confidence-giving.  When is the next one?!


Liz Ingate (students' teacher) - A few seconds into the class I knew it was going to be a magical morning for the students and it was such a pleasure for me to have played a role in making it happen. I wasn't sure if it would be slightly over the kids’ heads or worse still, patronising. (I have attended masterclasses that were very enlightening as to the musician’s real character!) You adapted so quickly to the level of each pupil whilst treating them as adults - perfect. It was wonderful to see their playing come to life with your expert guidance and patience.

My teaching will also receive a big boost from your insights and approach, so you have in fact affected many more children than those you saw on Saturday.  Thank you - I am more than ever inspired to return to my own playing and study, to keep sharing new insights with my pupils.

Whilst your piano playing is simply extraordinary, you are much more than your performing persona - it is yourself, your willingness and openness to be true to yourself and 'connect' with others that is the gift, and one you cannot lose. I imagine you are capable of expressing this gift through whatever medium/life journey you choose.


Recital for Andover Music Club

The audience was treated to an evening of wonderful music, beautifully played by two extremely talented young artists, each already a master of his chosen instrument. These two musicians must surely be big names of tomorrow. Each a virtuoso in his own right, together they proved a formidable pairing. James Toll's relaxed manner of playing the violin, and his deceptive ease of brilliant fingering and bowing, bewitched the audience, whilst John Paul Ekins' dazzling and sensitive fingerwork on the resident grand piano also held the audience spellbound.

Their programme was a very full and demanding one, with neither player having any real respite, and demonstrated clearly their musicianship:

The robust start of the Grieg Violin Sonata No. 3 in C minor Op. 45, played with great precision, gave us an immediate taste of the evening's wonderful playing to follow. The last of the fiery Sonata's three movements ended with a climactic finish. Beethoven's well-loved 'Spring' Sonata No. 5 in F major Op. 24 was played with a freshness and attack that the composition deserved and the players' enjoyment and rapport throughout its four lovely movements was very obvious. After the Interval, we were treated to the Dvorák Sonatina in G major Op. 100 which, although often lilting and jovial, was clearly no less demanding to play and all four movements were thoroughly enjoyable. The Elgar Violin Sonata in E minor Op 82 is, as John Paul explained beforehand to the audience, often perhaps unsettling music and unlike what one has come to expect from Elgar. It opened in an angry way and later relaxed into an air of mystery and uncertainty with the music often being atonal. It was, however, a joy to the ear and a great piece with which to end the programme.

The playing throughout the concert was of great maturity and insight, making one wish that the evening would never end. End it inevitably did, of course, and to very loud applause; we could not have asked for more. The audience must have gone home with very sore palms indeed.


Recital at Colston Hall, J. Bennett

Beginning with Schumann's Kinderszenen, in the most famous of the pieces, Dreaming, the soloist showed a perfect touch and feeling for this particular theme. In the last of the sections, The Poet Speaks, he went through all the emotions before coming to a quiet ending. This was a classic, purposeful account in which he showed a profound understanding of the composer's meaning.

Busoni was renowned for his transcriptions and in the famous Chaconne he states the theme with great force. John Paul had the many vagaries of the piece completely in control with some brilliant playing.


Rachmaninoff's 2nd Piano Concerto, Uxbridge Gazette

"The sombre opening chords from the piano were as powerful as the music that followed, which ran the whole gamut of the emotions. There was a huge cheer from the audience after the stirring finale, and a well-deserved ovation for the young soloist. If this first-class performance was anything to go by, he has a glittering future ahead of him."


Recital for Harting Music Club, Petersfield Post

"John Paul’s interpretation of Scarlatti displayed a variety of expression and thought, while Beethoven’s sonata which followed showed a depth of understanding and control. The Brahms was demanding, exciting and required a depth of knowledge of the range, power and light touch in the composition, while the stunning, absorbing and rich Chopin Scherzo brought the afternoon to a happy close for the delighted audience."


Gershwin's Piano Concerto, Woking News & Mail

"A memorable performance. John Paul Ekins is the winner of this year’s Woking Young Musician Competition and the talent that enabled him to win that contest shone clearly through. His verve, energy and sheer musical talent communicated itself to the orchestra and the overall result was superb, bringing cheers from the audience. Such a performance should establish John Paul in the minds of all those attending as a rising star who has every right to expect a glittering future."


Recital in Zakopane, Poland, Marek Skocza

"John Paul Ekins gave an extraordinary performance. He played Scarlatti's Sonata in A Major with virtuosity, producing a wonderful, pearly sound. In Debussy’s Suite Bergamasque and Chopin’s Scherzo in B Flat Minor he showed how well he can strike a balance between impressionism and romanticism. Such was his wonderful interpretation of this composer's music, the enraptured audience were delighted when John Paul played one of Chopin's famous Mazurkas as an encore."


Recital for Harting Music Club, Petersfield Post

"Harting Music Club's June concert introduced us to two very talented young musicians - James Toll, violin, and John Paul Ekins, piano. The Brahms Sonata for Violin and Piano in G Major was warm and thought-provoking. This work represents Brahms at his most lyrical, and it unfurled naturally with eloquence from the beginning of the work. There was a seductive sureness and a flawless confidence about the playing from these young musicians. The pianist contributed many delicate touches, and there was great depth of phrasing from both players, using a wide dynamic palette.

Beethoven's Sonata for Piano and Violin in G Major Op.96 again demonstrated the flexible approach, musicianship, and skill of both players. The work had moments of intense passion and sudden bursts of energy, which provided a vivid contrast to the overall tranquil mood. This was a wonderful afternoon of chamber music played by two consummate musicians in delightful surroundings."


Recital at Warminster Athenaeum, Warminster Journal & Wiltshire Times

"A capacity audience at the Athenaeum in Warminster on Sunday were treated to a splendid concert given by the duo partnership of John Paul Ekins (piano) and Michal Cwizewicz (violin). 

Schubert’s Sonatina in G minor for piano and violin received an assured performance which brought out many messages indicative of the more mature master. The dazzling Scherzo in C minor by Brahms then sent the audience happily away to the interval.

There were two works in the second half of the concert, the first of these being Busoni’s 1892 reworking for piano of the Bach D minor Chaconne for violin. The marvellous percussive sonorities of the modern grand piano enable us to consider the Chaconne from a different viewpoint, and John Paul Ekins gave a highly persuasive and sensitive performance of what must be one of the finest of Busoni’s many Bach transcriptions.

The programme was completed with the Violin Sonata by the Polish composer Szymanowski. The duo’s partnership was here shown at its best in a wonderfully committed performance."