The nineteen year-old
Karen Geoghegan was discovered as
a result of her participation in the
2007 BBC television series, ‘Classical
Star’. Since such shows aren’t really
my cup of tea I didn’t see the programmes.
However, as a former bassoonist myself,
and knowing that the instrument isn’t
exactly regarded as "box office"
I was intrigued that a bassoonist
had prospered in that series. From
the evidence of this CD Miss Geoghegan
thoroughly deserves her success.
From her recent interview
with my colleague, Carla Rees, it
seems that Karen Geoghegan became
a bassoonist almost by accident because
her school had an instrument available
and needed someone to try to play
it. The same thing happened to me
and I wonder how many players of the
more recherché instruments
have started in a similar way. Clearly
Karen Geoghegan was eminently suited
to the instrument; one would scarcely
credit that she’s been playing it
for only about seven years.
The contents of this
disc have been shrewdly chosen. A
couple of the pieces – the Hummel
and the Gershwin arrangement – were
featured in the television series.
For the rest, Karen Geoghegan has
wisely not just chosen pieces that
allow her to display different facets
of her talent and the instrument’s
capabilities but also she’s largely
avoided anything too familiar – with
the possible exception of the Elgar
– thereby increasing the appeal of
the CD.
It’s clear from the
word go that she possesses a first
rate technique and also an enviable
cantabile tone. This latter
skill is especially evident in the
Gershwin arrangement, which makes
a good encore. Here she is required
to play in the highest register for
much of the time and employs a suitably
bluesy sound. Actually, the piece
is more than just an arrangement of
Gershwin’s music. The second half,
where there’s more chance for display
by the soloist, uses the tune as the
basis for some variants. It’s almost
a mini-fantasia on Gershwin’s tune
and it’s most enjoyable.
But I’m getting ahead
of myself. The most substantial item
is the Hummel concerto, which I’m
ashamed to say I don’t recall hearing
before. It ought to be much better
known for it’s a most engaging piece
and one that, as Calum McDonald points
out in his excellent notes, shows
the influence of Mozart’s concertos.
The soloist has to work hard in the
first movement, where Hummel provides
a good mix of demanding passagework
and pleasing singing lines. Karen
Geoghegan responds with playing that
always sounds stylish; she takes every
offered opportunity for display but
her playing is also graceful where
required. The technique is clearly
rock solid. One small example will
suffice: at 9:44 there’s a short passage
where the soloist plays quick up-
and-down scales but every note also
drops the octave. It must be very
difficult to execute but it sounds
effortless here.
In the second movement
Hummel, like Mozart before him, exploits
the bassoon’s cantabile capabilities
in "soulfully lyrical mood".
Miss Geoghegan’s instrument sings
delightfully. The finale is a good-humoured
dance in compound time. I love Calum
MacDonald’s description of it as having
"the character of a country dance,
though Hummel’s peasants manifest
a touch of urban elegance and sophistication."
The music gambols along charmingly.
Karen Geoghegan turns in a most mature
performance of the entire concerto
and I enjoyed it very much.
The Weber piece is
an arrangement of a work for viola
and orchestra that he originally wrote
for his brother to play. The bassoon
arrangement postdates his Bassoon
Concerto. The Andante is a theme followed
by three variations. The Rondo, despite
its title, doesn’t have a pronounced
Hungarian flavour – not much goulash
here! However, it’s a very pleasing
jeu d’esprit and in this winning
performance one gets the impression
that all the musicians are enjoying
themselves. The solo part requires
increasing agility as the Rondo progresses
and Karen Geoghegan is fully up to
the challenge.
The Berwald work
is in three linked sections. The opening
Allegro combines liveliness and elegance.
Berwald writes well for the instrument
and is not afraid to take his soloist
up into the upper reaches of the bassoon’s
compass. The central Andante is based
on the tune of the verse of the song
‘Home Sweet Home’, which was then
fairly newly written To conclude there’s
a jolly recapitulation of earlier
material. This is another attractive
piece that’s given a fine performance
here.
The name of Carl
Heinrich Jacobi was completely new
to me but it seems from the notes
that he was a noted virtuoso of the
bassoon in early nineteenth century
Germany who also composed extensive
amounts of music for his instrument.
The slow introduction is quite short
and the Polonaise occupies most of
the work’s duration. The piece has
a certain melodious attractiveness
and I imagine it’s good fun to play
– though only expert players need
apply! That said, I found it to be
pretty empty as a piece of music and,
though it’s very well played it made
no great impression on me.
Probably the piece
in this programme that’s best known
outside the bassoon fraternity is
Elgar’s Romance. This is an
early work and it belongs with his
lighter music. However, like so many
other of his lighter pieces, it’s
very far from being "mere"
light music. It’s one of Elgar’s many
sophisticated miniatures and this
one is permeated with more than a
hint of melancholy. It’s performed
here with a nice light touch but it’s
also treated with the seriousness
that it merits.
On the evidence of
this disc Karen Geoghegan is a most
accomplished player and also a thoroughly
musical performer. I suspect – and
hope – that she has a bright future
ahead of her and this attractive and
enjoyable debut disc is an excellent
start to her professional career.
I gather from the interview with Carla
Rees there are to be at least two
more Chandos CDs. If the repertoire
hasn’t been settled yet I hope Miss
Geoghegan will consider the Weber
concerto and it would also be interesting
to hear her in Gordon Jacob’s concerto,
though I think I’m right in saying
that Chandos already have a version
of that in their catalogue.
Inevitably in a disc
such as this the focus is bound to
be on the soloist. However, it would
be very wrong indeed not to praise
the sterling support that is provided
by Benjamin Wallfisch – another member
of that remarkable musical family
- and the Orchestra of Opera North.
Chandos have provided excellent sound
and the release is further distinguished
by lively and informative notes. I
hope that this entertaining disc will
find the wide audience that this excellent
young musician deserves.
John Quinn
See also review
by Carla Rees June RECORDING
OF THE MONTH
Interview
Karen Geoghegan (bassoon) 
Sound
Samples:
