{"id":1038,"date":"2020-02-25T08:40:22","date_gmt":"2020-02-25T08:40:22","guid":{"rendered":"https:\/\/aata.dev\/?p=1038"},"modified":"2020-02-25T09:05:02","modified_gmt":"2020-02-25T09:05:02","slug":"meet-the-music-makers-murray-mclachlan-family","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2020\/02\/25\/meet-the-music-makers-murray-mclachlan-family\/","title":{"rendered":"MEET THE MUSIC-MAKERS: Murray Mclachlan & family"},"content":{"rendered":"\n

SPECIAL CONCERT WAS A FAMILY AFFAIR<\/strong><\/p>\n\n\n\n

Murray McClachlan & family. A Camel House Concert<\/strong><\/p>\n\n\n\n

BBC Music Magazine had already introduced to me the\nmusician in glowing terms.<\/strong><\/p>\n\n\n\n

\u201cMurray McLachlan is a pianist with a virtuoso technique and a sure sense\nof line. His timing and phrasing are impeccable, and his tone, full but\nunforced in the powerful passages, gentle and restrained in the more lyrical,\nis a perpetual delight\u201d <\/p>\n\n\n\n

That certainly\nsounded promising and having heard Veronika Shoot deliver a wonderful recital\nhere last year we knew we would be hearing something just as special.<\/p>\n\n\n\n

\"\"
Murray McLachlan<\/figcaption><\/figure><\/div>\n\n\n\n

Since making his professional debut in 1986, when only twenty one, under the baton of Sir Alexander Gibson, MurrayMcLachlan has consistently received outstanding critical acclaim.  Educated at Chetham\u2019s School of Music and Cambridge University, his mentors included Ronald Stevenson, David Hartigan, Ryszard Bakst, Peter Katin and Norma Fisher.   His recording career began in 1988 and immediately attracted international attention. <\/p>\n\n\n\n

Murray\u00b4s recordings\nof contemporary music have won numerous accolades, including full star ratings,\nas well as \u2018rosette\u2019 and \u2018key recording\u2019 status in the Penguin Guide to CDs,\nand \u2018Disc of the month\u2019 and \u2018Record of the month \u2018in \u2018Music on the web\u2019 and\n\u2018The Herald\u2019. McLachlan\u2019s discography now  includes over forty commercial\nrecordings, including the complete sonatas of Beethoven, Myaskovsky and\nProkofiev, the six concertos of  Alexander Tcherepnin, the 24 Preludes and\nFugues of  Rodion Shchedrin, Ronald Stevenson\u2019s \u2018Passacaglia on\nDSCH\u2019  the major works of Kabalevsky, Khatchaturian and the complete solo\npiano music of Erik Chisholm.<\/p>\n\n\n\n

McLachlan\u2019s\nrepertoire includes over 40 concertos and 25 recital programmes.  He has\nperformed the complete Beethoven piano sonata cycle six times, as well as the\ncomplete piano music of Brahms.  He has\ngiven first performances of works by many composers, including Martin Butler,\nRonald Stevenson, Charles Camilleri, Michael Parkin and even Beethoven!  <\/p>\n\n\n\n

Whilst appearing\nas soloist with most of the leading UK orchestras, his recognition has been\nfar-reaching, bringing invitations to perform on all five continents.  At\nthe same time he continues to give numerous concerts and master classes in the\nUK.<\/p>\n\n\n\n

McLachlan\nteaches at the Royal Northern College of Music and at Chetham\u2019s School of Music\nin Manchester where he has been Head of Keyboard since 1997.  He is the founder of the Manchester\nInternational Concerto competition for young pianists as well as the Founder\/Artistic\nDirector of the world famous Chetham\u2019s International Summer school and festival\nfor Pianists, Europe\u2019s largest summer school devoted exclusively to the piano.   As a teacher McLachlan continues to be very\nbusy and in demand.    Many of\nhis students have won prizes in competitions and continued with their own\nsuccessful careers as performers.<\/p>\n\n\n\n

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SONY DSC<\/figcaption><\/figure><\/div>\n\n\n\n

Murray McLachlan is Chair of the both the executive council and the  UK section of the European Piano Teachers\u2019 Association (EPTA UK).  As well as performing and teaching, he is well known internationally for his numerous articles on Piano technique and repertoire.  This includes extended columns which have appeared in \u2018International Piano\u2019 \u2018Pianist\u2019 and \u2018Piano\u2019 Magazines. He was  editor of \u2018Piano Professional\u2019 Magazine from 2007-14  He is currently editor of Piano Journal. His books for Faber \u2018Foundations of Piano Technique\u2019 and \u2018Piano Technique in Practice\u2019 were issued in 2014 an 2015 to wide acclaim.<\/p>\n\n\n\n

In 2012 he was\nawarded an honorary doctorate by the University of Dundee for outstanding\nservices to music and education.  This\nfollows on from a knighthood awarded in 1997 by the Order of St John of\nJerusalem in recognition of his services to music in Malta. Murray McLachlan is\nartistic director of the Camel House Concerts in Lanzarote, Vice President of\nthe North East of Scotland Music School and a patron of the Beethoven Piano\nSociety of Europe and the Grampian Region Youth Orchestra. <\/p>\n\n\n\n

\"\"
The Camel House<\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

Here in 2020 he delivered a recital with his entire family at The Camel House On Lanzarote (see xxx) after his scheduled 2019 solo concert there had to be postponed. To hear each family member player was a wonderful recompense for all lovers of the series of the occasional series of classical concerts held in this wonderful venue.<\/p>\n\n\n\n

Here in 2020 he\ndelivered a recital with his entire family at The Camel House On Lanzarote\nafter his scheduled 2019 solo concert there had to be postponed. To see an\nentire family of superb players was a wonderful recompense for all lovers of\nthe series of the occasional series of classical concerts held in this\nwonderful venue.<\/p>\n\n\n\n

Tonight he\ndelivered a recital with his entire family at The Camel House On Lanzarote\nafter a scheduled 2019 solo concert at the venue had to be postponed. To see\nMurray now introducing his wife and children, who comprise a wonderfully\ntalented family, was a significant recompense for all lovers of the occasional\nseries of classical concerts held in this now almost fabled venue.<\/p>\n\n\n\n

The recitals by Murray\u00b4s children were opened\nby nineteen year old Matthew. He\nhas just commenced studies at the Royal College of Music in London with a full\nscholarship. <\/p>\n\n\n\n

Matthew has won dazzling critical acclaim for\nhis performances of Tchaikovsky\u2019s first Piano Concerto and has an enormous\nrepertoire ranging from Bach to the present day. His study of Charconne in D\nminor by Bach and Busoni presented us with intriguing variations and dramatic\novertones, in a recital that held attention throughout.<\/p>\n\n\n\n

Seventeen year old\nRose will perform at the Royal Festival Hall for BBC Radio 3 in May and has\nalready won four international competitions. Her programme included ravishing\nDebussy Preludes and Schumann\u2019s effervescent Abegg variations.<\/p>\n\n\n\n

In performance tonight she played with\nperfect posture and a maturity that belied her years. Occasionally cross hand,\nshe showed an ability to hang notes in the air and the motifs in the higher\nregister in Schumann\u00b4s work were exquisite. Her representation of Debussy trod\neasily the path between high drama and tinkling playfulness, and somehow it was\neasy to see that sunlight streaming through the window as a moonbeam lighting\nher way as Rose skipped in and out of the shadows.<\/p>\n\n\n\n

Equally impressive was twenty one year old Callum, now\nstudying at the Mozarteum in Salzburg. This young pianist has already seen his\ninterpretation of Beethoven\u2019s celebrated \u2018Pathetique\u2019 sonata flag-shipped as\nbeing \u00b4authoritative\u00b4 and published on the prestigious international Henle\nUrtext edition website.<\/p>\n\n\n\n

Tonight he brought us back to Schumann, but\nthis time to the composer\u00b4s Etudes symphoniques Opus 13, another work exploring\nvariations on a theme. <\/p>\n\n\n\n

There should be no doubt, though, that to\nreach these standards these young and gifted players from a wonderful\ngenealogical line, must have worked and studied incredibly hard and must have\nmade several sacrifices that some youngsters might have been unwilling to make.\nIt is because of that attitude as much as their innate talents that a long and\nsuccessful career in classical music surely beckons each of them. <\/p>\n\n\n\n

None of them tonight appeared to be playing\nfrom music and it seemed evident on occasions that even a public performance in\nthe company of their parents might be a release from the rigours of an academic\napproach to music. <\/p>\n\n\n\n

In concert here, their love of what they were\nplaying and their apparent individual abilities of losing themselves in the\nreverie of the pieces might have been evidence that actual playing is what\njustifies the years of study and the lifelong practice.<\/p>\n\n\n\n

Matthew began the second half of this concert\nto a full hall with Chopin\u00b4s Etude in A flat, opus 25 number 1, at times\ntumultuous and even threatening and at others seeming to tumble like water from\na mountain spring. <\/p>\n\n\n\n

Whilst there didn\u00b4t seem to be any\ncompetitive element among the family performers there was now a moment, as\nMatthew took his bow, that signified a ceding of ground to the \u00b4old guard\u00b4 as\nrepresented by their admittedly still very youthful parents.  <\/p>\n\n\n\n

Murray offered another side of Chopin, with\nhis Polonaisse in A flat opus 53 and a slow movement from Rachmaninov piano\nconcerto number 1 in F sharp minor. He gave us us wonderful notes from all\nparts and both colours of the keyboard that reminded us and reassured us that\nhowever extensive are the skills already acquired by his young children, the\ndad can still play a bit too. Nevertheless, without ever being gushing, his\npride in his family was written by the smile on his face.<\/p>\n\n\n\n

The concert was brought to  wonderful close with a sequence that saw Murray joined by his wife, Kathryn Page,\nalso an international virtuoso player, for Gershwin\u2019s dazzling and effervescent\narrangement of his world famous \u2018Rhapsody in Blue\u2019. <\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

According to the influential Cambridge Music Handbook, The Rhapsody In Blue, composed in 1924, established Gershwin\u00b4s  reputation as a serious  composer, and the composition itself has since become one of the most popular of all American concert works. Written for solo piano and jazz band, the piece contains elements of classical music with jazz influenced effects.<\/p>\n\n\n\n

Full of jazzy, poppy and decidedly modern\ntwentieth century sounds, this incredible duet delivery gave the piece a\ngrandeur I have until now somehow overlooked. As performed by Kathryn and\nMurray here, this music swept across the wide open plains and seemed to gawp at\nand celebrate the multi-culturalism of the then new build American cities and\nwas, in its way, as exclamatory and rhapsodic as Copeland.<\/p>\n\n\n\n

\"\"
McLachlan Family musicians<\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

This long delayed and therefore even more\nkeenly anticipated concert had provided us with a programme of vibrant piano\nclassics by the international concert pianist Murray McLachlanhttp:\/\/www.murraymclachlan.co.uk\/Home<\/a>\nand also an introduction to his wife and their award-winning family of virtuoso\nchildren.<\/p>\n\n\n\n

\"\"
Murray McLachlan and Family take a bow<\/figcaption><\/figure><\/div>\n\n\n\n

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SPECIAL CONCERT WAS A FAMILY AFFAIR Murray McClachlan & family. A Camel House Concert BBC Music Magazine had already introduced to me the musician in glowing terms. \u201cMurray McLachlan is a pianist with a virtuoso technique and a sure sense of line. His timing and phrasing are impeccable, and his tone, full but unforced in […]<\/p>\n","protected":false},"author":2,"featured_media":1045,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-1038","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/1038","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=1038"}],"version-history":[{"count":0,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/1038\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/1045"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=1038"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=1038"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=1038"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}