Three-parts review by members of the Saner family

I really liked watching the double bass player standing up and swaying and smiling all the time. He looked like he was enjoying himself so much. My favourite player was the young violinist next to the leader because he looked like Clark Kent! But he couldn't understand me when I spoke to him in English at the interval. It was great to be so close to everybody and to feel you could talk to them.

Otto (Spark) Saner, age 8

I thought it was very lovely music and was fascinated by how beautiful it was. I think one of my favourite parts in the first half was the third movement of the first piece (Bartók's Divertimento). It was so fast and fun. In the second half, my favourite parts were the second and third movements of the last piece (Tchaikovsky's Souvenir de Florence). However, it was very interesting that they performed another piece at the end - the Rumanian folk dances. They perked me up, as I was getting tired. The church seemed rather hot and stuffy.

I was very glad that I came to see and hear it. I really liked the double bass player. He was so tall and was always smiling. Agnes' friend (the leader) was very jolly when we met him afterwards.

Minerva Saner, age 10

Imagine yourself sitting on the steps of a beautiful church on a balmy Friday evening, sniffing the fragrance of lily of the valley wafting from the surrounding garden. Then drift inside the church towards the front row (!) and 'wake up' to find yourself at eye level with the raised stage at St. John's Smith Square and face to face with a luscious red velvet curtain. What more appropriate backdrop could there be for 15 intense, Hungarian men - all dressed in tails, cummerbunds and patent leather shoes - (and 2 women) profoundly serious about conveying the magic of music?

The programme kicked off with a thrilling Bartók Divertimento (1939), lead by the sensitive but powerful violin of János Rolla. Clearly the band knew who was boss, but there was nothing of the prima donna in his leadership. The music was what they were all there for, not themselves! As each instrument had a turn to shine, the players just lovingly played. Every movement told a story and the final movement (allegro assai) ended on a high, much to the delight of the children. A lively opening to the concert.

György Pauk joined the band for the second piece, Mozart's Violin Concerto in D major K.218. His playing was softer than I was expecting, yet the band supported his performance reverently. Once more it was the music that was to be celebrated not the musicians. I would have liked to be transported up to the vaulted ceiling by the cadenzas but found myself hovering a little lower.

After the interval, we were brought firmly up to date by András Szőllősy's contemporary Addio (2002) - attributed to his friend György Kroó - in which Mr. Pauk et al seemed to delight. With its contrapuntal rhythms and dodecaphonic sounds, the message came through loud and clear: "Someone is dying here," said Otto (Spark). A concise critique of the piece!

The programme ended with the delightful and energetic Souvenir de Florence (1887 - 90) by Tchaikovsky. Surely there were more than seventeen musicians playing? Again the tightly knit, intimate band threw itself into the performance. I enjoyed the spirited push by the leader of the second violins - seated opposite the first violins in this piece - to match Rolla's lead. According to Agnes, both musicians were at the founding stage of the Franz Liszt Chamber Orchestra and have been playing together for decades. Most enjoyable, and a programme guaranteed to give pleasure to all!

Unable to resist the temptation to make music, the band encored with the Rumanian Folk Dances by Bartók. A glorious cry from the Hungarian hearts that were so proudly being worn on the sleeves of these dedicated musicians.

The evening was hosted by the Hungarian Cultural Institute, which provided us with a fascinating master class with László Sáry in Covent Garden a few years ago. We were permitted to go behind the scenes afterwards and ask the leader and soloist to sign our programmes.

I was extremely impressed by the behaviour of the children throughout the performance and thought that Agnes' decision to have us sitting so close to the players meant that everyone was able to be involved. A heart-warming and educational experience for all!

Emily Saner
mother of Minerva and Otto (Spark)