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

John Paul  Ekins' debut Aldeburgh concert in 2011 was a notable success, and word of it must have spread around the town because the parish church welcomed a full house to his return recital. He offered a nicely balanced programme. In the first half, short works by  Mozart and Schubert, Benjamin Britten's favourite composers,  ushered in an imposing performance of our local hero's rarely heard Holiday Diary, Opus 5. It's a youthful work, one of the rare occasions when Britten composed  for solo piano; it's  by turns breathtakingly brilliant and deeply introspective, in the mode of the Moonlight movement of the Peter Grimes Sea Interludes. But deeper emotional territory was explored after the interval with two short Liszt works followed by Beethoven's immortal Waldstein sonata. Liszt's Love Song brought out the full richness of the Steinway like nothing else in the programme, heart-stirring stuff indeed! But the best was saved for last, an inspired white-hot interpretation of the Waldstein which almost literally blew us away: technical wizardry was combined with taut rhythms and powerful attack.

It all made for a  stimulating evening,  much enhanced by Mr Ekins brief but eloquent spoken introductions. I hope we shall soon be able to hear him in one of the larger local concert venues -  although the intimacy of the church surroundings and acoustic were greatly appreciated.


Recital for South Holland Concerts, Michael Callaghan, Spalding Guardian

South Holland Concerts provided an appreciative audience on Saturday with a memorable piano recital by John Paul Ekins. This was a London quality performance; how disappointing for the absentee patrons to have missed this once-in-a-lifetime concert. From the forward thinking and adventurous Mozart Fantasy, the delightfully sensitive Schubert Impromptu, the homage to Britten’s transcendental Holiday Diary, the masterful but moving, Liszt Cantique d’amour, through the brooding Brahms Intermezzi, to the monumental Beethoven Waldstein sonata. What a gamut of emotions moved the audience, which consisted of a range of ages.
Musicianship of this quality is rarely heard in Spalding and it was embellished by a highly professional introduction to each item by the likeable and fluent artist. The only criticism was that he could not play for another hour or two, or three... this audience would not have been sated.


Recital for Hexham Music Society, Tony Edwards, Hexham Courant

John Paul Ekins is a young pianist much in demand and a winner of many awards. It was easy to see why, from a Hexham recital earlier this month. Each item, both the piece and its composer, was engagingly introduced. It began with Mozart’s Fantasia in C-minor. The piece is complex, more intense than was usual at the time, and its dramatic changes of mood were given full expression.

It was followed by a Schubert Impromptu. The programme notes mention the ‘cascade of rippling arpeggios’ which this reviewer has failed to cope with for more years than he likes to remember. There was certainly no failure here. The performance brought together those ‘rippling’ runs with contrasting, heart-felt melodies.

The third piece was probably unknown to everyone except the pianist, who himself discovered it only last year during the Britten celebrations. It is a young man’s music, written in Britten’s twenties as a portrait of a day at the seaside. It was the only piece not performed from memory, but this took nothing from the vitality and sense of fun.

The second half was heavier in tone. Brahms’ Intermezzi Op.117 are contemplative, largely warm and gentle in tone, and were very movingly played.

Last came what the pianist called ‘the small matter of the Waldstein’. Written shortly after the Eroica Symphony, it contains some heroic challenges. In dramatic contrast to quiet passages and a beautifully delicate slow movement, there are sections of elemental power which left the pianist looking the worse for wear. Even so, he had the energy for a delightful Chopin Mazurka as an encore.

The warmth of audience response was a thoroughly deserved tribute to the excellence of his playing, musicianship and choice of programme.


Masterclass-Recital at Farlingaye High School in Woodbridge, Gemma Martino

Each student had prepared a piece of music to play on the day and John Paul gave them feed back on technique, fluency and style, giving performance techniques throughout. The feedback showed professionalism and insight and the students were able to see ways in which they could improve their final performances. John Paul focused on the individual style and technique of each performer and was able to give a valuable critique to each. Pianists from the school were invited to sit on the masterclass, to listen and to get helpful tips to support their own playing.

In the evening there was a recital at St Mary’s church, Woodbridge. In the first half our pianists played their prepared pieces and in the second half John Paul played a repertoire including Beethoven and Liszt which was really quite incredible. After a particularly fast passage of Beethoven, one of the students gave a wry smile and said ‘Yep, that was good!’

Students thoroughly enjoyed the experience and although they were nervous to begin with, they appreciated the advice they were given. It is lovely for students to have opportunities like these. Not only does it give the chance for real specialist input from a concert pianist working in the industry, it was the chance to develop technical and stylistic skills too. The recital was the opportunity for the students to share their love of music through performance and John Paul showed them what could be achieved with continued dedication and hard work. It was a great day!


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 Cromer Music Evenings, Terry Keeler

"This young artist proved to be immensely mature in interpretation, possessing innate technical qualities and charisma, enhanced by a brief but very informative summary of each composer's background relating to the pieces played.

Schubert’s Vier Impromptus D.899/1&4. Two works which bore no relation to each other, as the first played mirrored Schubert’s views on mortality, as he became ill at 20 years old. The music full of pathos and dark tonalities was played with great feeling as if today’s artist fully understood the mood of Schubert at the time.

The next Impromptu in A flat major in complete contrast to the first, with the melodic line mainly in the bass to start with, was embellished by delicate groups of semi quavers as broken chords in the treble. Then came the middle section where the melodic line was in the treble. Here the key changed to C sharp minor, creating deep passion where Ekins maintained the quality of the melody even though it required accompaniment with full chords in both clefs, so impressive.

Liszt’s Benediction de Dieu dans la Solitude S.173/3 - a composition written over 7 years consisted of 10 pieces. This wonderful work demanded virtuosic technique which today seemed effortless to this pianist.

Ravel’s Sonatine written in 1903, in sonata form, with the last movement being described as a virtuosic toccata, delighted today’s audience.

Schumann’s Etudes Symphoniques Op 13. A work of 9 variations described as compositionally extraordinary, certainly was the case - performed with great authority - confirming which was evident in the opening piece, that John Paul Ekins has a great future as a soloist."


Recital for Tickhill Music Society, Philip Mottram, Sheffield Star

Tickhill Music Society’s first concert of 2014 was a piano recital given by John Paul Ekins. Notable features of the evening were the verbal introductions given by the artist -  richly informative and illuminating. The evening began with a Mozart Fantasy (K.475) played crisply and with assurance. There followed Schubert's Impromptu in A flat, Op.90 No. 4 -  melodic but with overtones of Schubertian pathos. Next came Britten's Holiday Diary, Op. 5, an early work in three movements. This gave impressionistic accounts of a splashy early morning bathe, a serene trip on a sailing boat and finally a boisterous Fun Fair.
After the interval there were three Intermezzi (Op.117) by Brahms, the first with a yearning melody, the second rather solemn and the third, slow, dark and march-like.
The evening was rounded off in fine style with a majestic account of Beethoven’s  Sonata No. 21 (Op.53) known as the Waldstein, the name of the Count to whom it is dedicated. This was a thoroughly satisfying evening of splendid music-making delivered with sensitivity, technical accomplishment and panache. Mr. Ekins has an engaging personality and mastery of his instrument, and his musicianship was much enjoyed by the audience who applauded with sincere enthusiasm. Another rewarding concert from this enterprising Music Society.


Recital for Andover Music Club, Katy Littleworth

The audience instantly warmed to him. He was immediately disarming and very welcoming as he made his way to the microphone to introduce himself and the opening piece, Fantasy in C minor. He had an informal and relaxed air about him. He looked very comfortable on the stage as he explained, in quite a lot of depth, the history of the piece. He calmly took his seat at the piano, composed himself and then began. From that fist striking chord and then gently and mysteriously creeping up the keys, it was clear that we were all in for a wonderfully exciting evening. I genuinely couldn’t believe that his hands were making this exquisite sound.

The first thought I had was how emotional he was in his playing; almost playful during many of the pieces. Particularly in
Britten’s Holiday Diary: Early Morning Bathe and, a little surprise before the interval, Shchedrin’s Humoreske.

Schubert's Impromptu in A Flat was just beautiful. I couldn't help but imagine that the piano was a a living thing which needed to be tamed and what a wonderful job John Paul was doing of it! He gave in to every note like he was giving up his soul utterly and completely to this exquisite piece of music.

He concluded his performance with Beethoven’s Sonata No. 21 (The Waldstein) which I have to say was the ideal way to end the concert. The highlight of the entire performance for me was the Allegro Con Brio. Listening to it as I write these words just makes me want to experience the performance all over again.

Whether possible or not, the performance was totally exhilarating, yet completely relaxing. This was a recital by such a wonderful and beguiling artist. Thank you, John Paul Ekins.


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."


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 at St. Lawrence Jewry, London, Soirées at Breinton

An enjoyable lunch time concert; His thoughtful, tasteful and reliable performance, spoken introductions to each piece, and his warm and friendly personality were well received by the audience and added great charm to the concert. Each piece was preceded by a short talk, which was both informative and interesting, focusing on the composer's life around the time of the composition and how their works were created. It was neither a lecture nor knowledge learned overnight just because he had to play those pieces today! Having been introduced to each piece, I naturally became interested and engaged in the music I was hearing. I wonder if all his concerts are delivered in this style? It certainly breaks the ice between the performer and the audience and is generally appreciated by the audience very much.

John Paul started the concert with Mozart’s Fantasy in C minor, K396. I felt it was not the usual Mozart piece to start a concert – rather dark and sorrowful, but what a beautiful work. The upward arpeggios and gorgeous melody that followed were well paced and in control. It was a convincing performance.

The second piece was a delightful Sonatine by Ravel. I found his playing delightfully moving and tasteful. Although short, I think this Sonatine was full of technical demands which he tactfully managed and showed no hassle.

The last piece was Liszt's Cantique d'Amour, from Harmonies Poetiques et Religieuses. With hugely romantic playing with fine phrasing, I enjoyed it very much.


John Ireland Recital at Leighton House, Bruce Phillips (Chairman, Ireland Trust)

"I was quite overwhelmed by the quality of playing and singing. It was one of the high spots of the anniversary year."


John Ireland Recital at Leighton House, Stephen Banfield

"The music of John Ireland is in very safe hands indeed for the next generation. These brilliant young performers offer expertise, enthusiasm, commitment and extraordinary understanding. One never expected such qualities to be brought to bear on an English repertoire that is clearly at the centre of their world, which of course is where it should have been all along. Louise Alder makes every song into a masterpiece, and the chamber music stands out and stands up with all the passion and progressive stylistic awareness with which it was originally invested."


Workshop Recital at Appledore Primary School, Appledore News

"On Thursday Key Stage 1 & 2 took part in a 1 hour workshop with John Paul Ekins who is a concert pianist. John Paul talked about the workings of the piano which is known as ‘the king of the instruments’. He also talked about composers and their music and got the children to talk about their responses to the pieces he played. It was fantastic to watch as lots of children played along using imaginary keyboards. Some children also played the piano themselves. This was a brilliant experience and something I know the children will remember forever."


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.

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 Theydon Bois Music Society, Trevor Roberts

"The Theydon Bois Music Society held its last musical meeting at which a piano recital was given by John Paul Ekins, a young musician of increasing repute who was making a popular return to Theydon Bois.

John Paul’s recital comprised works by Liszt, Morel, Mozart and Schubert. The large audience was most appreciative of his brilliant, stylish and deft playing giving a sympathetic interpretation of each item. Especially appreciated were the Liszt Bénédiction de Dieu dans la Solitude and an exhilarating performance of Schumann’s Études Symphoniques. The audience accorded him sustained and appreciative applause as a fitting conclusion to a long series of classical music recitals in the village of Theydon Bois. The Society was singularly fortunate to have had such an eminent musician play at its final musical meeting."


Recital for Andover Music Club, Roland Treby

"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."