Quarry Hill was once the site of a superlative bastion of corporation-led, atomised domesticity: Quarry Hill flats. The piece-meal demolition of this residential maze in the 1970s was much lamented by the father of this reviewer, despite his involvement in the planning of its destruction. We were given to understand that refuse tubes from every level of the flats took the raw material of rubbish to a base level incinerator that also acted as a common source of heating. Impressive indeed. Impressive, however, is that this site now acts as a cultural enclave within the Eastgate locale. Here is the West Yorkshire Playhouse, the BBC, the Aagrah Restaurant, and, of course, Leeds College of Music. And just as those refuse tubes were drawn around an efficient converter of mass into energy, so, now, the music college draws towards itself the raw material of musical burgeoning and generously radiates the heat of proficiency. Such proficiency and, indeed, talent was much in evidence at The Venue on Wednesday. This time it came, not in the forms of Leeds College of Music students, but in that of their counterparts from the Junior Royal Conservatoire of Scotland.

Clearly, here was exceptional talent. Three students performed: Kate Cooper (Trumpet), Robin Brandon-Turner (Oboe), and Daniel Silcock (Piano). Owing to the temperamental deficiency of the public transport system, no report can be provided on the first piece given by Cooper. The tale-end was full of multi-tonal jauntiness and increased the mental confusion of embarrassment caused during the reviewer’s bumbling entrance to the auditorium, following his sprint. Thanks a lot, Firstbus! Cooper’s second offering was ‘Trumpet Sonata: I Sarabande’ by Hubeau. Piano accompaniment, supplied with great subtlety by Anne MacGregor, aptly spoke of the Mediterranean by imitating the broken-chord strumming of a guitar. Cooper’s blended dynamic contrasts coupled with delicious phrasing suited well this, at times modal, at times diatonic sarabande. Sections played rubato were nicely balanced. The first movement – Allegro poco moderato – of Horovitz’s Trumpet Concerto came next. A lengthy, bitonal offering, Cooper’s rhythmic and melodic execution was shown off for its elegance. Where there was conversation between trumpet and piano around twisting, bitonal accompaniment, the effect was one of measured, meditative, reflection. New tonal areas were introduced with the interjections by the piano, as Cooper’s technical versatility was given full vent. Although very short, Bernstein’s ‘Rondo for Lifey’ was very difficult, in which regard Cooper pleased the audience with agility and excellent dynamic execution.

Now it was Robin Brandon-Turner’s turn to charm the assembled. He gave us all three movements of Albinoni’s Oboe Concerto in D minor. The piano introduction of the Allegro e non presto, in which bass line and melodic line conversed contrapuntally with many flourishes, prepared the way stylistically. Measured and finely phrased, the dynamic contrasts were laudable in the sequential descending and ascending passages, as was the dynamic blend in the sustained, sequential suspensions over partial cycles of fifths. Antiphonal, sequenced mimicry was well executed in terms of phrasing between oboe and accompanist. The sparseness of the solo interjections indicated great accuracy of timed attack. Next came the famous Adagio. A beautiful, pure tone gradually pierced the auditorium over the positive, innocent arpeggiations of the accompaniment. The trills were finely balanced with grace and well blended. This movement seemed to crystallize into an aural state of mind as sense of pure, innocent passion. The third movement Allegro, which was initially and convincingly fugal, was highly complex resulting in descending sequential passages above, again, partial cycles of fifths. Although slightly dragging in the rhythmic execution here, Brandon-Turner performed excellent dynamic detail through very moving and expressive phrasing.

David Silcock came next. His first offering: Chopin’s Scherzo No.1 in B minor. A highly amusing and diverting performance, complex running ascents and descents showed off considerable abilities of technical execution. Perhaps in keeping with the titular, comedic intentions, this interpretation was heavily pulled about, to the extent that the overall rendition seemed quite unbalanced. Amusing nonetheless. This work was followed by Sonata in E major, K20, by Scarlatti, wherein both technical ability and shear stamina shone. The sustain was applied with great discretion through initial passages contrasting at turns on the one hand with much energised agitation, and on the other with prolongations. Phrasing and dynamic contrasts were well balanced throughout. What was most impressive was the homogeneously interpreted accuracy in the pianism coupled with the physical range covered – a few times, arpeggiated, descending, diminished seventh passages led to the dominant and employed the entirety of the keyboard. These passages were usually led to via much agitation. A slower, tranquil section spoke with compassion and sagacity and was conveyed with considerable maturity. Toward the close, energised, convoluted, throbbing arpeggiations were executed with such verve as to create an impression of pulsation. The cadenza-like declaration of finality drove home the message of virtuosity.

These lunchtime concerts start at 1.05pm every Wednesday at The Venue, Leeds College of Music, for which payment is made on a voluntary basis.