Phillip Wilcher writes for all levels of difficulty from educational music for young children to advanced works.
The majority of his pieces are written for piano, voice and instrumental solos with piano accompaniment. These seven short works are written with an assured style that embraces the particular nature of both the cello's singing lines and the piano's subtle tone nuances and phrasing. In each one Phillip Wilcher evokes an atmosphere while he maintains an unerring control of texture and form. In SUMMER MAPLES he sets a tranquil scene with an eloquent dialogue between cello and piano and a simple recitative for the cello midway.
WILLOW DREAMING is a graceful 'andante' allowing both instruments expressive freedom within a tautly sketched vignette. Performers can choose their own light and shade in tonal textures and dynamics since very few indications of the latter are given.
This should appeal to the players' imagination and ability to define the atmosphere of each piece with personal inflections thereby bringing their own vivid sense of presence and colour.
NOONTIDE is another evocative cameo cast in romantic vein with the cello singing over an undulating piano rhythm. The VOICE OF LOVE has an almost Schubertian lilt and transparency that contrasts with impassioned outbursts in the middle section.
INTRODUCTION AND SERENADE (written for Leslie James and Naomi Joy Wilcher) is in more cheerful mode, an 'allegro moderato' that again demonstrate's Wilcher's mastery of balance between the instruments and his imaginative use of texture.
BROUHAHA as its name implies, brings a quick change of pace in a boisterous little figure in alternating quaver passages.
........AND WITH THE RAIN, TEARS begins with a cello solo marked "lento" before the piano enters in a recurring quaver pattern that perhaps emulates raindrops or tears, before the cello again sings the final solo threnody. There is an attractive improvisatory feel to the cello line while the piano maintains its insistent "rain" pattern.
Each of these pieces is in separate volumes, and presumably can be played in any order of choice by the performers.
In recital or as extra lists in exam syllabuses, no doubt cellists will wish to draw on their most lyrically expressive tone for these finely crafted and romantic pieces.
More information on the composer, list of works and recordings can be obtained from the Australian Music Centre's website: http://www.amcoz.com.au
Reviewed by Mary Nemet
Music Teacher Magazine
Vol.9 No.3, 2002
