This concert was supposed to start a season celebrating the Centenary of Malvern Concert Club but did not measure up.

Brahms's Trio in E minor, for Clarinet, Cello & Piano, Op.114 was impeded by sub-standard clarinet playing, and it wasn't until the last Allegro that the pianist and cellist gave credence to Brahms's music.

Anthony Payne, composer of the newly-commissioned work of three songs set to poems by Edward Thomas, described his construction of figuration representing the train, culminating in his setting of the third song Adelstrop.

Words, the first song opened with Jane Manning declaiming, unaccompanied, 'Choose me, You English words', continuing with the piano quartet in arresting rhythms and a vocal line comprising interval jumps.

Lights Out was in quieter vein but demanded an extensive vocal register; finally Adelstrop was sung with extremely clear diction, until the rhythmic sound of the train disappeared into the distance.

Undoubtedly, Jane has that ability to jump awkward intervals and to pluck notes from the air, but greater projection would have heightened the impact.

Seven Poems of Alexander Blok, for Soprano & Piano Trio, Op.127 by Shostakovich experienced a similar problem. A late work written when the composer was introverted and obsessed with brooding on death, Jane sang with accomplishment in the original Russian.

At last a really good tune was heard in the third movement Andante cantabile of Schumann's Piano Quartet in E flat, Op.47 as the cellist sang out. But soon the texture of the music was marred by the insecure intonation and poor tonal quality of the other string players. Again in the Finale (Vivace) the cellist and pianist were conspicuous in their lively and melodious performance.

Doubtless the centenary concert being given by the Brodsky Quartet on October 16 will be of a satisfyingly high standard.

Jill Hopkins