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Endymion (Helen Keen flute, Adrian Bradbury cello and Michael Dussek piano)

Mozart - Sonata in A, K12 for Flute, Cello & Piano
Dvorak - Rondo for Cello and Piano in G minor, Op.94; Silent Woods, Op.68/5
Martinu - Trio for Flute, Cello & Piano

Poulenc - Sonata for Flute & Piano
Weber - Trio for Flute, Cello & Piano in G major, Op.63

This was an ideal Sunday morning concert by Endymion, one of UK's leading chamber ensembles, which from 1990 had been Ensemble in Residence at Blackheath for many years. There is something to be said for a concert by a smaller group; each musician has more opportunity to display his skills.

The eight-year-old Mozart was celebrated in a charming little sonata (originally for harpsichord and violin) which sounded good on piano and flute. Helen Keen was a rock of security throughout, and gave as fine a performance of the Poulenc sonata as you'd ever need to hear. The Weber trio was one of the composer's last chamber works, and a worthy one.

Martinu's trio Op.300 was a welcome novelty, with charm, humour and a fair amount of his piquant trademark rhythmic originality; how does one sort out the best from the good of a composer who left us 400 or more works? He is sometimes dubbed 'uneven' to escape a thorough search and revaluation of his collosal output.

These three are all leading chamber music players and recording artists. Helen Keen (Principal Piccolo of the RPO and founder member of Endymion) and Michael Dussek (long term pianist - was he also a founder member of Endymion?) were joined by Adrian Bradbury (whose 'more lucrative recordings include singles with Boyzone and Westlife) in the absence of lead cellist Jane Salmon. He took a little time to settle and might have done better to reverse the order of the two Dvorak pieces. Michael Dussek, who knows very well the Recital Room's acoustics and its Bosendorfer piano (the lid wide open as it should be) held everything together in perfect balance, ensuring unalloyed pleasure for the near capacity audience.

I had been especially attracted to cover this concert by the inclusion of a trio by Damase, his 75th birthday recently celebrated by Trinity School of Music and reviewed by Musical Pointers. In the event it fell by the wayside to programme changes which are not uncommon; perhaps there was insufficient time to rehearse it? Let's hope Endymion will return to Blackheath soon, and bring the Damase with them!

Peter Grahame Woolf