Selby & Friends presented a concert that beautifully surprised and delighted

Selby & Friends | Songs Without Words

15 September, 2025, Melbourne Recital Centre, VIC

Alexandra Osborne – violin | Catherine Hewgill – cello | Kathryn Selby – piano

Anne Cawrse: Songs Without Words (2000) – Ornamental, Lied, Swan Song

Frederic Chopin: Piano Trio in G minor – Allegro confuoco, Scherzo Vivace, Adagio Sostenuto, Finale Allegretto

Franz Schubert: Piano Trio no 2 in E flat major – Allegro, Andante Con Moto, Scherzo Allegro moderato, Allegro moderato

I have never been disappointed in Selby and Friends concerts. By now I think I have been to around 15 of them. Selby did ask if anyone was in the audience that had been to her first concert in 1998 and there were a few. I am sure they have been faithful followers due to the remarkable talents of this musician. Spanning almost three decades she has sought other chamber musicians of high calibre to perform the extensive oeuvre of chamber music with piano.

The Cawrse work is, as she herself admits, unashamedly melodic – written at 19 years old. Imitating and even quoting Felix and Fanny Mendelssohn, the title is understandably apt for all who have played the Mendelssohn “Songs Without Words”. These are beautiful pieces that delight without challenging the audience. Their lyrical nature was represented perfectly and naturally by the ensemble allowing the simplicity of their beauty to stand on its own.

“expertly controlled”

The youthful Chopin at 18 was far more a pianist than an orchestrator, thus presenting a work with a massive piano part of great virtuosity which Selby executed with great mastery. As introduced by Hewgill, the violin part rarely goes out of first position although Osborne used more complicated positions and finger work. Like the Cawrse the strings often work in 3rds, 6ths and octaves making the string work very melodically harmonious in amidst the extensive piano filigree of passagework. Selby’s superb technique constantly made short work of this adding a variety of touch and texture and also achieving her hallmark dynamic contrasts. The constant unfolding from delicate to powerful and back was always expertly controlled. Most ably accompanying the piano the fluid string ensemble provided the flexibility needed in an early romantic work. This perspective from the strings was eminently supportive of the demands of the piano part.

“mature understanding”

In no small way was this a programme that led up to the monumental trio by Schubert. This work of around 45 minutes composed in the last year of Schubert’s life, stands (as Selby put it) as a quintessential chamber work of great breadth and beauty. Selby noted that this was one of the few publicly performed works by Schubert in his own lifetime. Having played this work since she was at school, Selby has a long association with this piece. This mature understanding of the work was certainly present.

Opening with an emphatic unison this set the contrast to the delicate phrasing and repeated notes of the next theme in the piano. There were many beautiful moments especially with the sextuplet piano arpeggios accompanying the strings in octaves in the sublimely lyrical melodic sections

The andante opened with delicate piano chords setting the scene for a cello solo typically melodious as only Schubert can be. Somehow this was given the feeling of being in heaven amongst a feeling of fateful doom with the piano’s detached chords knocking at the door while the cello floats above in heaven. The roles then reversed were executed with perfection. Making much of the two-note descending octave motif as an accompaniment to the violin’s new contribution to the movement this simple motif unified large sections of this movement. With this gradually getting louder and softer we were treated to a developing drama amidst the piano arpeggios and the echoing octaves in all the instruments. This was Schubert at his best with a beguiling simplicity that the performers always gave to the music yet making it move onwards without descending into a static mode. This movement was the high point of the concert for me.

The scherzo, being playful yet dramatic was given this character with vigour contrasting with the occasional melodic section with delicate filigree particularly with the slow cello melody. Schubert expertly has melodic fragments echoed by the other instruments in amidst enharmonic shifts that beautifully surprise and delight. Ending delicately almost on a question mark phrase this movement sets expectations to continue into the last movement.

This is a long final movement with the melodies being passed from instrument to instrument. The performers sustained the unfolding drama with poise and elegance yet also contrasting with moments of energy and vigour. There was a lovely section with the cello quoting the second movement with delicate chordal arpeggios in the piano. The three musicians gave this movement all the drama, contrast and delicacy that Schubert intended.

Spruiking her 2026 series Selby held up one of her flyers as she walked off after the bows adding a touch of humour. As she ably pointed out the audience makes it possible for the musicians to share their expertise. I can only echo her words and say that if you have not been to a Selby and Friends concert, then go. You will not be disappointed.

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