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LAURA DICKSON

 

“I would have and should have congratulated her, especially for those  cadenzas in the outer movements which I thought really exceptional -practically started the piano "smoking"! with their fire and sounding to me more improvisational than anyone's  I've heard for some time.”
 


John Henry - Professor of Harpsichord, Trinity College of Music 2010

F E A T U R E D   R E V I E W S

“Accomplished and outstandingly beautiful Performance that gave full justice to their distinguished authors”

Irvin Draycott, chairman of Horndean Music Society 2012

“Laura Dickson showed style and brilliance in a Chopin Grande Valse Brilliante, and sensitivity, especially in her controlled pedalling, in Schubert's expansive Bb Impromptu”


Peter Grahame Woolf 2011



"Laura , whose return to the Society was greatly welcomed by the audience, opened the recital with the Prelude and Sarabande movements from “Pour le Piano” by Claude Debussy. The first movement had a shimmering brilliance that truly reflected the Javan bells of the composers imagination and gave an immediate demonstration of  Laura’s ability to impose her musical interpretation on a performance.  This was followed by “un Sospiro” (a Sigh) by Franz Liszt, which was a very brave choice considering Liszt was reputed to be the best pianist in the Europe of his time. However, our soloist rose to its demands and demonstrated complete mastery of the contrasting moods, which, for your reporter, showed the whole range of the sigh of the wind in the rigging of a ship from the raging tempestuous to the blissfully calm. A delightful performance, in which, again the artist had injected the spirit of her own interpretation. The final item in the first half offered a complete change as we were gently ushered into the 1920’s and the jazz influenced “Three preludes for the piano” by George Gershwin. Laura’s obvious enthusiasm for the pieces was reflected in her joyful performance, but more importantly her technique gave a natural lyricism to the music, which, particularly in the Second Prelude, gave a truly conversational aspect to the music." HORNDEAN MUSIC SOCIETY Novermber 2013

 

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