Authentic sonatas

Much engineering work going on on Easter Monday, so I spent a little time pondering about the best way into town, eventually settling for the 11:49 to Waterloo, a train which ran along well enough for most of the way, but ran slow between Wimbledon and Earlsfield and did not stop at this last, as trains from Epsom nearly always do in the ordinary way of things.

With one of the objectives of the outing being two violin sonatas from Beethoven, Op.30 No.2 and Op.24, interpreted by Viktoria Mullova on the violin and Alasdair Beatson on the (forte) piano. At home at references 5 and 6 respectively. Both take an interest in authentic sounds: 'a 1750 Giovanni Battista Guadagnini violin, strung with gut and played with a classical bow, and a replica of an 1805 Viennese Walter fortepiano built by Paul McNulty'. Presumably the rather fragile looking legs unscrew for transport, in the way of a concert grans.

From Waterloo, Bullingdon'd up to the Portuguese Consulate in Portland Place, a place where there is usually an untidy queue of people waiting to get in, but I don't remember whether there was on this occasion. One might think that such places would be shut on Easter Monday.

As indeed the Artesian bar in the Langham Hotel was, although the man on the door (no top hat as I recall) assured me that it would be open at 16:00. A pity, as a pleasant place to take refreshment - sometimes in the form of a glass of Riesling and a few biscuits. On the other hand, the art book of David Bailey photographs, first noticed at reference 3, was both present and open.

While next to it we had an equally interesting collection of Langham Hotel memorabilia. Taking the two together, plenty to while away the few minutes I had to wait for the off at the Wigmore Hall, but instead of that I opted for a spot of Jameson at the Cock & Lion. This visit being the true source of the anecdote about Bells which was erroneously relocated to the Barley Mow in Epsom at reference 4.

On into the hall, which was pretty full, with a decent but rather dowdy looking audience.

The period piano, already mentioned, with what looked like a very short keyboard, no pedals and five legs. Quite a fancy bit of carpentry. And a sense that one could hear the separate strings of the low notes.

Sonatas very good, as expected, but there was a certain amount of clicking, which I did not expect. It seemed to be coming from the piano although it sounded more like the wooden part of the bow catching the edge of the violin. There was talk of less C naturals at one point, but not obvious how that might be related. Feedback from the microphones?

Mullova eschewed the flashy evening gown worn by some, in favour of a rather sombre outfit. Dark trousers, dark brown jerkin on top, a jerkin which rather reminded me of the sort of thing that might be worn by actors dressed for Tudor times. What looked like a slightly tetchy interchange with the pianist at one point.

A young lady, presumably a music student, turning the pages in an efficient and self-effacing way, as is proper. She reminded me of a page turner we have seen there in the past - but time has moved on, and the only (faint) possibility is a younger sister following in the older sister's footsteps.

On exit, round to the Brass Rail, the salt beef bar at the bottom of Selfridge's which we had noticed on a previous outing. But some time after 14:00 there was a substantial queue and what looked like a substantial wait, so I passed. Another time.

The Oxford Street shoppers might have been younger than the Wigmore Hall audience, but seemed to be just as dowdy. With the exception of the young black girls who still believed in dressing up properly to go shopping.

Pulled a second Bullington and headed off down Regent Street and then Haymarket. At the bottom of which, a young in-liner (three wheels to the foot) executed a rather spectacular U-turn, coming to a shuddering halt at the lights, having come down Haymarket at quite a lick. It would have been a bit unnerving for any nearby motorist, but fortunately the road was pretty much clear at that point.

Westminster Bridge had been closed off to traffic from Parliament Square, using serious fencing which did not look like it was going to be taken down any time soon. More or less the chunk of road marked with the shadow of Big Ben in the snap from gmaps above. No sign of demonstrations or demonstrator, extinct or otherwise. No sign of construction activity. But, dismounted, I got through and was able to head across the bridge and on to Waterloo. Being greeted at the top of the main steps by a couple of young policemen sporting very serious looking machine guns. One doesn't like to ask why exactly they are there.

Lunch took the form of a ham and mustard sandwich from M&S. Not something I do very often, but on this occasion I wanted something light, and this sandwich did very well. It was also cheap. Altogether much more suitable - with a proper meal booked for later - than the offerings from the various kiosks right in front of the platforms. And I managed to work the self-checkout without help, perhaps a first at M&S.

The train ride home was brightened up by a very flashy and flashily turned out blonde taking the seat in front of me. Makeup. Very skimpy summery one piece, with strategic holes and leaving plenty of leg on view. Hair possibly dyed. Small suitcase with wheels. I spent the time puzzling about what exactly she might have been up to. Once again, one doesn't like to ask.

PS 1: one of the colder days in this run of alternating cool and warm weather. Don't remember anything quite like it.

PS 2: references 1 and 2 being two trolleys captured at the end of the day, on return to Epsom.

References

Reference 1: https://psmv5.blogspot.com/2022/04/trolley-505.html.

Reference 2: https://psmv5.blogspot.com/2022/04/trolley-506.html.

Reference 3: https://psmv5.blogspot.com/2022/02/another-brasserie.html.

Reference 4: https://psmv5.blogspot.com/2022/04/barley-mowed.html.

Reference 5: https://viktoriamullova.com/. One of the many Russian musicians operating in this country.

Reference 6: https://alasdairbeatson.com/. One of the many Scottish musicians operating in this country.

Reference 7: https://www.fortepiano.fr/walter/. Where McNulty is visible - and the source of the snap above. Curiously, the file name of the snap appears to be in Russian, while the website is French. A curiosity I have yet to investigate further.