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BS!
YORK
trio Melzi
Friday, 16 January 2004
Programme: £1.00
Presented by the British Music Society of York
in association with the Department of Music
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NOTICE BOARD
* Advertising our Concerts
The bigger the audience we can attract to BMS concerts, the more money there
will be for the concerts budget, which means we would be able to afford artists
we can at present only dream of inviting. You can help. You must know of
places where our posters could be seen by potential new audience. Posters for
our next concert are available in the foyer: help yourself and help the Society.
Forthcoming Concerts
One of the ways we are increasing our publicity effort is by reciprocal
advertising with other concert promoters: when they have a concert coming up
shortly we tell our audience about it and they reciprocate. You will find details
of these concerts towards the end of this book.
Your Views
The BMS is a society run for the bene
members by a dedicated
committee elected from amongst those members. If there is something you
think we should be doing, or should not be doing, don't keep it to yourself:
please tell a committee member. They should all be wearing badges, and,
however it may appear, they do want to hear from you.
Our Website
The BMS has its own dedicated website, containing a short history of the
Society and an updated list of forthcoming concerts. If you haven't found it
already, the URL is http://www.bms-york.org.uk/
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BRITISH MUSIC SOCIETY
of YORK
83rd Season
Friday, 16 January 2004
Sir Jack Lyons Concert Hall
trio Melzi
Sarah Beth Briggs piano
Richard Howarth violin
Jonathan Price cello
In memory of Jim Briggs
Haydn
Shostakovich
Piano Trio in C, Hob.XV:27
Piano Trio No.2 in E minor, Op.67
INTERVAL
Beethoven Piano Trio in Bb, Op.97 (Archduke)
For the sake of others in the audience, please turn off all
mobile phones and alarms on watches, calculators etc.,
and use a handkerchief when coughing.
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Herrisia
Sarah Beth Briggs and the Manchester Camerata have collaborated
successfully for many years. In 1993, inspired by this long-standing rapport, the
Argyll Group sponsored a series of chamber music concerts given by Sarah and
members of the Camerata at the Royal Northern College of Music in
Manchester. It was critically acclaimed and led to Sarah and the Camerata
chamber groups giving many concerts together throughout the country, winning
much praise from the press.
trio Melzi
As a result of this success, trio Melzi was established in 1999 to satisfy the
demand for high quality piano chamber music and to complement its members'
many musical activities. They gave their debut performance at the Bridgewater
Hall, Manchester, in June 2000. Their first appearances on BBC 2 and Radio 3
were as part of the 2001 BBC Music Live festival, and their highly successful
concerts at music clubs and festivals throughout the UK, have been
enthusiastically acclaimed by press and concert promoters.
Sarah is well known to BMS audiences. It was she who offered this programme
to the BMS in memory of her grandfather, Jim Briggs, for so many years the
Society's Honorary Treasurer. Fittingly, the programme contains one of Jim's
favourite pieces of chamber music, Beethoven's mighty Archduke Trio.
PROGRAMME NOTES
Piano Trio in C major, Hob.XV:27
Allegro
Andante
Presto
Joseph Haydn
(1732-1809)
Haydn would have made a wonderful father - modest, kindly, understanding and
brimming over with fun. In reality he was locked in a barren and increasingly
loveless marriage with a woman who turned out to be a shrew. It must be some
consolation to his ghost to be remembered as "Papa" Haydn and as the father of
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the symphony. And not just the symphony: he would have been one of the
prime suspects in the paternity of the string quartet and piano trio, though
ultimately he would (if you will indulge me while I bludgeon this criminal
metaphor to death) have failed the DNA test.
One might be forgiven for thinking that the piano trio (harpsichord/piano, violin
and cello) had its origin in the baroque violin sonata (violin and continuo - the
latter played by harpsichord and, usually, cello). The time frame, at least, fits:
Haydn was already eighteen by the time J.S. Bach died and by his own
admission learned almost everything he knew about composition from playing
the keyboard sonatas of J.S.'s son C.P.E. Bach. But there is a clear distinction
between the two types of composition. The baroque violin sonata was definitely
a violin piece with a "continuo" accompaniment, that is a bass line to be played
by both a cello (or similar) and keyboard instrument, with the keyboard player
vamping harmonic support from chord symbols. Only a very few such sonatas
ever came with a written-out keyboard part.
The "piano" trio, as Haydn wrote for it, though, is not violin-, but piano-led.
The early examples are intended for the pianist/harpsichordist, with the violin
and cello there just to fill out the texture and make the keyboard player feel
good: they spend much of their time doubling music in the keyboard part, adding
much needed sonority. It all made sense given the relatively simple textures of
the early classical period. As the years went by, however, textures became more
subtle and complex, thanks in no small measure to Haydn's own example. So
the early history of the piano trio is the long story of the emancipation of first the
violin and then the cello from the tyranny of servitude to the harpsichord/piano.
The received wisdom of music history is that full emancipation came only with
the middle period trios of Beethoven, in the first years of the 19th century. In
Haydn's later, mature trios the violin is seen as beginning to break free, in places
managing to drag the cello with it, if only briefly. Generations of musicians and
music-lovers have belittled or ignored Haydn's piano trios, as though the
composer somehow hadn't the imagination to see beyond this restriction. It's a
breathtaking insult to the memory of the man who effectively created the string
quartet as a game for four equal players. Of course, he had the imagination to
envisage such music, he didn't have the instruments. The way he wrote for the
three players was what worked best on the instruments he had available to him at
the time - as performance on period instruments has proved.
Haydn's greatest achievements in the genre are his four last piano trios, a set of
three written for the pianist Therese Jansen (Mrs Bartolozzi, as she was by then)
and the E flat work that the Eimer Trio played for us last season. The exact
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chronology of the four works is uncertain, but it is fairly clear that all were
written in the sixteen months following the end of August 1795, when Haydn
returned from his second and final stay in London. In the final volume of his
exhaustive Haydn: Chronicle and Works, the pre-eminent Haydn scholar H.C.
Robbins Landon said of these works:
On these last four piano trios - and it must have been abundantly clear that very soon,
works like The Creation would not allow Haydn to devote anymore time to such
smaller forms as piano trios - their composer lavished all his talents; it is almost as if he
wished to show the world what possibilities in tonal relationships, harmonic subtleties,
instrumental combinations and sheer brilliance of form these trios could display in the
hands of a master at the summit of his artistic career. Haydn in fact pursued several
new avenues of thought in these trios, some of a purely technical (but nonetheless
musical) nature.
The C major is, for the piano, the most virtuosic of the four trios, a tribute to,
and display vehicle for, Mrs Bartolozzi's nimble brain and agile fingers: one can
catch in it more than a dim echo of the panache her playing must have had. This
is late Haydn, though, and there is no place for empty display: despite the
brilliance, despite the jollity, serious musical things are happening here, not least
in the way the first movement explores remote harmonic regions. The slow
movement (in A major Haydn developed a fascination with juxtaposing
movements in keys a third apart), despite its affable opening, is not afraid to
shock, plunging the music suddenly and noisily into the minor in mid bar.
Charles Rosen describes the Presto finale, as "possibly the most humorous piece
Haydn ever wrote," and as we're talking about Haydn here, there's no shortage
of contenders for the title. The whole movement, as the accolade suggests, is
full of surprises and wonders.
Piano Trio No.2 in E minor, Op.67
Andante - Moderato
Allegro, non troppo
Largo -
Allegretto
Dmitri Dmitriyevich Shostakovich
(1906 - 1975)
Shostakovich grew up in a household where the Revolution was welcomed, the
promise of a socialist state seeming like a godsend after the chaos and suffering
caused by years of brutal, corrupt and ineffective autocratic rule. There were the
horrors of the Civil War to get through, but once this was over, Shostakovich's
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time as a student at the Petrograd/Leningrad Conservatory coincided with the
first great artistic flowering of the Soviet period.
Shostakovich was one of the most promising musical talents in the country. The
First Symphony (1925), still in the active repertory today, was his graduation
piece from the Leningrad Conservatory, at the age of eighteen. And back in his
twenties he was not just known as a composer, but also as a pianist: he was
highly enough regarded to be included in the strong team the Soviet authorities
sent to the very first Chopin International Piano Competition in Warsaw in 1927.
Shostakovich even had an early career as a performer, until it dawned on
everyone that there were plenty of Russians who could play the piano, but very
few who could compose anything like as well as he did, and wouldn't his time
much better be spent composing?
Of course a talent such as his was quickly taken up by those in need of a
composer, such as the conductor Nikolai Malko and the theatre director
Meyerhold, whose director of music Shostakovich became in 1928. It was
Malko who had conducted the premiere of the First Symphony, and who
famously challenged the composer to demonstrate his legendary powers. In
1928 he returned from a tour of the USA bringing, amongst other things, a
collection of recordings of popular American music. One of these was of the
Vincent Youmans classic Tea for two, which Malko challenged Shostakovich to
orchestrate, giving him an hour and even locking him in a room in his flat:
Shostakovich emerged forty-five minutes later with the completed score. The
result, known, bizarrely, as Tahiti Trot, is a hoot and still popular as an encore.
It was in Malko's flat, in 1927, that Shostakovich met the man who was to be the
closest friend of his early maturity, Ivan Sollertinsky. Sollertinsky was four
years older than Shostakovich and one of those amazing walking encyclopedias
you occasionally find, who can speak virtually every language, living or dead,
and seem to know everything about everything, down to the last date. What was
still more remarkable was that Sollertinsky found it all fun. Sollertinsky
introduced Shostakovich to poker, pub-crawling, a whole host of artists of
various kinds and the by then almost totally forgotten symphonies of Mahler -
with consequence that are clear from virtually the whole of Shostakovich's
subsequent symphonic output. For twelve years from 1929 Sollertinsky was in
effect resident musicologist with the Leningrad Philharmonic Orchestra - he was
in charge of their repertory, wrote their programme notes, gave introductory
lectures before many of the concerts (most of which were thought better than the
concerts themselves) and as often as not then reviewed the performances. It
would be difficult the exaggerate the creative and moral push his meeting with
Sollertinsky gave Shostakovich.
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More to the point, Shostakovich was headed towards a time when he would need
all the friends he could get. By the early 1930s Stalin had achieved his
stranglehold on the communist party and hence the country. And now his
paranoia started to surface. Anyone with any degree of talent or competence
who showed signs of thinking for themselves, not toeing the party line, were
automatically suspect. The blow for Shostakovich came in the opening months
of 1936. His opera The Lady Macbeth of the Mtensk District had opened in
Leningrad in 1934 and been a great success, both there and internationally. In
December 1935 a production was mounted in Moscow. Stalin went to see it in
late January and was so horrified at what he saw he walked out. Two days later
an unsigned article, rumoured to be by Stalin himself, appeared in Pravda
attacking the opera. A second article shortly after, attacking his most recent
ballet, further isolated him. It was only the success of his perfectly calculated
Fifth Symphony, and its presentation to the artistic world as "a Soviet artist's
creative response to just criticism," that rehabilitated him. For the moment.
In fact Shostakovich was relatively lucky: this was only a rap over the knuckles.
Others were not so fortunate: the Stalin purges of the 1930s claimed millions of
lives. Meyerhold was arrested and died six months later in an NKVD cell; his
wife was murdered in a particularly horrible way and just left in their flat.
Marshal Tukhachevsky, who, as one of top officers in the Red Army was
Shostakovich's highest placed friend and one of those to whom he turned to for
advice in 1936, was arrested the following year and shot, another victim of the
purge which deprived the Red Army of over seventy-five per cent of its
experienced senior staff officers just in time for the Nazi invasion in 1941.
The outbreak of war - for Russia, of course, in the summer of 1941 -
accelerated Shostakovich's rehabilitation. One of the country's best known
composers internationally, he was needed for propaganda purposes. And can
there have been any more perfect image for that slightly hysterical period, when
the western press was attempting to overturn the thrust of the last twenty years
of diatribe and welcome the USSR as "our gallant ally", than the picture of
Shostakovich caught in the siege of Leningrad, writing the Leningrad Symphony
by day and fire-watching on the Conservatory roof by night? He even made the
cover of Time Magazine, complete with fire helmet. It was all true, though in
fact he was evacuated comparatively early (October 1941) to Kuibyshev (which
has now reverted to its old name of Samara), wartime seat of the Soviet
government. But he was bored there and in 1943 moved to Moscow, preferring
the threat of German attack to the provincial nature of Kuibyshev's cultural life
- not to mention the concentration of party placemen.
1
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I
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x
2
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D
20
21
et
Sollertinsky meanwhile had been evacuated with the Leningrad Orchestra to
Novosibirsk, the Birmingham of Western Siberia. Shostakovich had visited him
there, and now Sollertinsky came to Moscow for the premiere in November
1943 of perhaps the most stupendous of Shostakovich's symphonies, No.8 in C
minor. It was the last time the two were to meet. On 11 February Shostakovich
received a telegram to say his friend had died of a heart attack at the age of
forty-two. He was almost inconsolable: he had now lost the only friend to
whom he could really open up to. He began work immediately on the E minor
Piano Trio. Why a piano trio? Maybe because commemorative piano trios were
something of a Russian tradition: Chaikovsky had begun it with his A minor
Trio in memory of Nikolai Rubinstein, the teenage Rakhmaninov had written
one in memory of Chaikovsky and Arensky one commemorating the cellist Karl
Davydov.
To be a composer in the Soviet Union, it was necessary to belong to the Union
of Composers. It was, it has to be admitted, a clever way of maintaining state
control over music. Like all such bodies, the Composers' Union ensured line-
toeing by the carrot and stick approach. The stick was that no new composition
could be performed in public until it had passed an audition by Union
functionaries. But there were carrots, too, the sort of perks that throughout
history have been available to inner circles. In the case of the Composers'
Union one in particular was of use to Shostakovich. In 1943, with the German
army still deep in their country, they inaugurated a scheme to provide "houses of
rest and creativity" where composers and their families could escape from the
chaos and noise of cities to work productively in peace and quiet. The first of
these opened at Ivanovo, in what had been a nobleman's country retreat in pre-
revolutionary times. The families were allocated rooms in the main building,
meals were taken communally, and the outbuildings were converted into
"studios" for the composers to work in: Khachatur'yan, for instance, was
allocated a little log cabin, while Shostakovich was in what had formerly been a
poultry barn. Despite the slightly comical sound of this, many composers later
looked back on this period with particular fondness - Khachatur'yan wrote:
Many Soviet classics were produced there in a stimulating, heady atmosphere
conducive to creative invention. As we worked, we played our compositions for
each other, sought advice and exchanged opinions. It is a remarkable fact, but
while we were at Ivanovo our work seemed to progress without any hitches.
It was at Ivanovo that Shostakovich wrote the Eighth Symphony in 1943 and
where he started work on the Trio in February 1944. Ironically, in view of the
Khachatur'yan quote above, the Trio took Shostakovich an incredible six
months to compose: the Second String Quartet, written a month later, took just
nineteen days. He did, though, have many distractions: the lectures he gave at
the Moscow Conservatory, the return of his children from Kuibyshev in April
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and work on the score for the film Zoya in June. Besides, like his hero
Musorgsky, Shostakovich was one of those composers who prefer to have their
works more or less fully formed in their heads before they commit them to
paper: it is quite likely Shostakovich was already mentally at work on the
Second String Quartet and Ninth Symphony before the score of the Trio was
fully written down.
The Trio has four movements. The first opens with a fugal introduction, the first
entry given to the cello in stopped harmonics, emphasising the elegiac nature of
the piece. The second movement is a complete contrast - a scherzo using
Shostakovich's coarsest vein of humour. Its main theme is so crude in
construction that it has been convincingly characterised as a satire on the
rampant anti-intellectualism of contemporary Soviet arts policy: you can just
hear Shostakovich and Sollertinsky laughing themselves silly - which is how
they apparently spent much of their time together, particularly in their early
days. The third movement sobers the piece up quickly. It is a funereal
passacaglia of great simplicity and directness. The finale was composed very
quickly in late July and August 1944, and suddenly the work embraces
commemoration of an altogether more uncomfortable kind. The main ideas all
have a prominent Jewish inflection, prompted by reports of what the advancing
Red Army had discovered at the death camps at Belzec, Sobibor, Majdanek and
Treblinka. Shostakovich had been brought up considering all forms of anti-
Semitism despicable, and the central importance of this idea to his life can be
gauged from the fact that the second subject from this finale is one of the themes
picked for quotation in his autobiographical Eighth String Quartet (1960).
INTERVAL
Coffee and drinks are available in the foyer. Coffee is 80p a cup: to find us, just
go past the bar, out on to the landing, and turn to the left.
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the first
funeral
braces
can be
dus, just
Piano Trio in B flat, Op.97 (Archduke)
Allegro moderato
Scherzo: Allegro
Andante cantabile -
Allegro moderato
Ludwig van Beethoven
(1770-1827)
Archduke is a straight translation of the German word Erzherzog, a title used in
the Austrian imperial family in almost exactly the same way as the British royal
family uses the title Prince. In case you're a bit hazy on your Austrian
emperors, allow me. Franz I, who ruled from 1745 to 1765, actually married
into the dynasty: the male line had failed in 1745, and he became emperor
("Kaiser" - from Caesar) by virtue of marrying the heiress Maria Theresa. They
had plenty of children, though, including Marie Antoinette who made the fatal
mistake of marrying the heir to the French throne. Franz I was succeeded by his
eldest son Josef II, Mozart's emperor - the one who complained to its composer
that Die Entführung had "vastly too many notes." Josef left no heir, so his
younger brother succeeded as Leopold II in 1790, dying under two years later.
Fortunately, Leopold had lots of children, and the eldest of his twelve sons
succeeded in 1792 as Franz II. (Bewilderingly, he became Franz I in 1804 on a
legal technicality: the title that had been passed down his family was that of
Holy Roman Emperor, but as Napoleon was on the brink of dismantling this,
Franz had himself regraded Emperor of Austria - only, being the first of those,
he could no longer be Franz II.) The second Franz I died in 1835, to be
succeeded by his weak son Ferdinand. Ferdinand made such a botch of the job,
he was forced to abdicate in 1848 in favour of his nephew Franz Josef, who held
the throne until his death in 1916, by which time there wasn't much of an
Austrian Empire left.
Archduke Rudolf Johann Josef Rainer, born in 1788, was the youngest son of
Leopold II (making him a grandson of Maria Theresa, nephew of Marie
Antoinette, brother of the reigning emperor throughout Beethoven's time in
Vienna and a great-uncle to Franz Josef). Rudolf was actually born in Florence:
Leopold had succeeded to one of his father, Franz I's titles, that of Grand Duke
of Tuscany, and was resident in that part of the Hapsburg domains until he
became emperor in 1790, when Rudolf was a child of two. As the last of twelve
sons, Rudolf was destined for the army, but he turned out not to be made of
military stuff, and so it was decided he would eventually join the church. Rudolf
showed considerable musical talent as a boy and, being who he was, did not lack
for tutors. However, as soon as he was old enough to have some say in this area,
he insisted he wanted to be taught by Beethoven. And sure enough this was
arranged: sometime in the winter of 1803/4 he became a pupil, and very quickly
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a patron, of Beethoven, beginning an unlikely but close friendship, which lasted
until the composer's death. Beethoven was a notoriously prickly character and
made few concessions either to pupils or to nobility, and it says much for
Rudolf's meekness and forbearance that the relationship was so strong and
lasting. It says still more about what the young Archduke meant to the
composer.
Beethoven dedicated more pieces to Rudolf than to any other dedicatee: Rudolf
has almost double the number of pieces of his nearest rival - and remember he
didn't really come into Beethoven's orbit until he was well into his composing
career. It's noticeable, too, that the works in question are always big ones of
their kind the Fourth and Fifth Piano Concertos, this Piano Trio, the
Hammerklavier and Op.111 Piano Sonatas, and the final version of the opera
Fidelio. And then there are the pieces written specially for him. In 1805
Napoleon occupied Vienna. Rudolf was naturally evacuated with the rest of the
imperial family, and Beethoven recorded these events in the piano sonata Les
Adieux, whose three movements depict with startling frankness Beethoven's
feelings at the Departure, Absence and Return. Far more important, though, was
the work he composed for Rudolf's enthronement as Archbishop of Olmütz
(now Olomouc in the Czech Republic), the Missa Solemnis. Rudolf was created
Archbishop of Olmütz and Cardinal in 1819 (having been co-adjutor
effectively assistant archbishop since 1805): the enthronement took place in
1820, and Beethoven's great Mass was completed in 1823. I'm sure Rudolf
appreciated the gesture anyway, and it is a fine piece.
The Trio in B flat major, Op.97, is easily the most popular of Beethoven's piano
trios, which is why it has acquired a nickname in the first place, musicians not
liking to use numbers much unless they have to. Here they simply identified it
by its dedicatee, much as pianists have done with the Waldstein Piano Sonata.
There is a commanding spaciousness and gravity about the work, however, that
resonates well with the title Archduke - "the Rudolf Trio" wouldn't have quite
the same ring. Beethoven worked on the piece in 1810, finishing it in March
1811. He wrote it directly after the incidental music to the play Egmont (Op.84)
and the String Quartet in F minor (Op.95). Work on the Trio and Quartet to
some extent overlapped. Don't expect to find Op.96 mixed in with them -
Beethoven's opus numbers are notoriously unreliable as an indication of the
chronology of composition: Beethoven didn't get round to writing his Op.96
(his last violin sonata) until he'd (in chronological order) fulfilled two
commissions from the Theatre at Buda for music for King Stephen (Op.117) and
The Ruins of Athens (Op.113) and composed the Seventh and Eighth
Symphonies (Op.92 & 93). In between, he even toyed with ideas for an opera
based on Macbeth.
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D
1
The
The Trio's first movement unfolds at a moderate pace and, at the risk of
sounding like an estate agent, is exceptionally spacious, a type of opening
movement Beethoven also tried in the Op.96 Violin Sonata.
straightforward, almost ingenuous Scherzo contrasts splendidly with the sinister
chromatic contortions of the trio section. The slow movement is set of
variations on a sublime theme in D major: it fascinated Liszt so much he
incorporated it into several of his own works. It leads straight into a finale
whose main ideas are so quirky as to out-scherzo any scherzo of Beethoven's.
Programme notes by David Mather
Floral decorations by Sue Bedford
FORTHCOMING CONCERTS
The next concert in the 83rd Season of the British Music Society of York,
presented in association with the Department of Music at the University, takes
place as usual in the Sir Jack Lyons Concert Hall, beginning at 8 pm.
Friday, 6 February 2004
The Lindsays
Haydn Quartet in C, Op.54 No.2
Janáček Quartet No. 1
Dvořák Quartet in A flat, Op.105
Concert in memory of Brian Richards
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More dates for your diaries:
Saturday, 17 January 2004
St Olave's Church, Marygate, 8.00 pm
Academy of St Olave's
John Hastie director
Vivaldi Concerto for 2 violins (Claire Jowett & Clare Howard), Milhaud's
Boeuf sur le toît & Haydn Symphony No.99 in E flat
Wednesday, 21 January 2004
Sir Jack Lyons Concert Hall, 7.30 pm
Ashley Wass piano
A recital by the pianist who so impressed us with his BMS concert in March
1998. Music by Bartók (Out of Doors), Schumann (C major Fantasy), Janáček
(In the Mist) & Beethoven (Appassionata)
Saturday, 31 January 2004
York Barbican Centre, 7.30
City of York Guildhall Orchestra
Simon Wright conductor
Beethoven's Egmont Overture, Brahms' Violin Concerto (Nicholas Wright)
& Dvořák's Symphony No.7
Th
the
ma
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BRITISH MUSIC SOCIETY
of YORK
OFFICERS OF THE SOCIETY
President Dr Francis Jackson
Vice-Presidents
Chairman
Vice-Chairman
Hon. Treasurer
Hon. Secretary
Hon. Publicity Secretary
Hon. Programme Secretary
NFMS Representative
Hon Auditor
Members of the Committee
Prof. Nicola LeFanu, Rosalind Richards
Bob Stevens
Dr Sandy Anderson
John Robinson
Nigel Dick
Marc Schatzberger
Amanda Crawley
Dr Richard Crossley
Derek Winterbottom
Helen Mackman, Lesley Mather, Mary
Ormston and John Woods
BENEFACTORS AND PATRONS
The BMS manages to maintain the high standard of its concerts largely through
the generosity of its Benefactors and Patrons. Without their gifts to the Society,
many of them covenanted, we could not hope to balance our books.
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Our Benefactors (§) and Patrons are as follows:
Mr A. Ainsworth §
Dr R.J.S. Crossley §
Mrs M. Danby-Smith §
Mr N.J. Dick §
Mr J.A. Gloag §
Mr M. N. Lange §
Mr G.C. Morcom §
Mrs E.L.Park
Mr & Mrs D.G. Rowlands §
Mrs I. Stanley §
Mr D.A. Sutton §
Mr J.I. Watson
Mrs H.B. Wright §
Dr D.M. Bearpark §
Mr J. Curry §
Dr J.D. Dawick §
Mr & Mrs C.G.M. Gardner §
Mr S.M. Hartley §
Prof. R. Lawton §
If you would like to become a Benefactor or Patron, please get in touch with our
Hon. Treasurer, either at the ticket desk before each concert, or at 20, Barmby
Ave, Fulford, York, YO10 4HX. All other correspondence about the Society
should be addressed to the Hon. Secretary, 6, Bishopgate St., York, YO23 1JH.
Making
Music
Mrs G.O. Morcom §
Canon & Dr J.S. Pearson §
Mr & Mrs M. Schatzberger §
Mrs D.C. Summers §
Dr & Mrs G.M.A. Turner §
Mr R. Wilkinson §
Mrs S.M. Wright
The BMS is affiliated to Making Music, the National
Federation of Music Societies, which represents and
supports amateur vocal, instrumental and promoting
societies throughout the United Kingdom. The Society
also gratefully acknowledges the assistance of the
THE NATIONAL FEDERATION Royal Bank of Scotland.
OF MUSIC SOCIETIES
Registered Charity No.700302
TAHFUIE
DURTANIS
(*(BMS 3/2/12 (1)
OF
HISTORICAL
Compiled by David Mather and published by the British Music Society of York.
Reproduced by the Trophy & Print Shop, Commercial St, Norton, Malton.
RESEARCH
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BAS
YORK
100 gnisthev
The Lindsays
Friday, 6 February 2004
Programme: £1.00
Presented by the British Music Society of York
in association with the Department of Music
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NOTICE BOARD
*** Advertising our Concerts
The bigger the audience we can attract to BMS concerts, the more money there
will be for the concerts budget, which means we would be able to afford artists
we can at present only dream of inviting. You can help. You must know of
places where our posters could be seen by potential new audience. Posters for
our next concert are available in the foyer: help yourself and help the Society.
*Forthcoming Concerts
One of the ways we are increasing our publicity effort is by reciprocal
advertising with other concert promoters: when they have a concert coming up
shortly we tell our audience about it and they reciprocate. You will find details
of these concerts towards the end of this book.
Brian Richards
At the request of his family, the Committee of the BMS is dedicating this
evening's concert to the memory of Brian Richards, who died at the beginning
of June last year. Brian was a long-time supporter of the Society and the genial
host of so many committee meetings, and for eight years, after his cruel illness
had forced him to abandon his surgical career, he took on the onerous
responsibility of organising our concerts for us. Our concerts don't just happen:
they only come about as the result of long-term dedicated effort by a small band
of selfless workers. Brian is much missed.
Our Website
The BMS has its own dedicated website, containing a short history of the
Society and an updated list of forthcoming concerts. If you haven't found it
already, the URL is http://www.bms-york.org.uk/
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BRITISH MUSIC SOCIETY
of YORK
83rd Season
Friday, 6 February 2004
Sir Jack Lyons Concert Hall
The Lindsays
it Peter Cropper & Ronald Birks violins
Robin Ireland viola & Bernard Gregor-Smith cello
This performance is supported by funding from
Arts Council England
Haydn String Quartet in C, Op.54 No.2
Janáček String Quartet No.1 (Kreutzer Sonata)
INTERVAL
Dvořák String Quartet in A flat, Op.105
For the sake of others in the audience, please turn off all
mobile phones and alarms on watches, calculators etc.,
and use a handkerchief when coughing.
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The Lindsay String Quartet are securely established as one of the world's
foremost string quartets. Their interpretations are rooted in the European
tradition of great quartet playing, and the intensity, spontaneity and
communicative power of the Lindsay's performances have made them favourites
with audiences throughout the world.
THE LINDSAYS
The Quartet was formed at the Royal Academy of Music in London and takes its
name from Lord Lindsay, Vice Chancellor of Keele University, where the
Quartet were resident from 1967 to 1972. They went on to a six-year residency
at Sheffield University and since that time they have been firmly established at
Manchester University, where they give an annual concert series, direct seminars
on quartet repertory, coach chamber music and provide individual tuition. In
1991 they were awarded the Royal Philharmonic Society/Charles Heidsieck
Award "for the breadth of their musical taste and the total dedication of their
playing."
Alongside a busy international schedule, the core of their work in the UK is at
Manchester University and in their home town, Sheffield, where in 1984 they
founded the Sheffield Chamber Music Festival. This Festival is a unique event
in British musical life, famous for the informal, intimate and intense atmosphere
of its concerts. In recognition of the Festival's growth and imaginative
programming (now renamed Music in the Round) it was awarded the 1994 Royal
Philharmonic Society Music Award in the Concert Series and Festivals
category. The Lindsays' own commitment to building new audiences for
chamber music extends to several other towns in the North of England, where
they promote annual series of concerts.
COUNCIL
ENGLAND
The Lindsays' return to the BMS this evening (we were
lucky enough to have them play for us three times during
the 90s - in March 1992, January 1994 and October 1996)
is supported by funding from Arts Council England.
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PROGRAMME NOTES
String Quartet in C, Op.54 No.2
Vivace
Adagio -
Menuetto: Allegretto
Finale: Adagio - Presto - Adagio
Joseph Haydn
(1732-1809)
The string quartet its composers, players and devotees - owe a great debt to
Joseph Haydn. He did not actually invent the form, but his efforts alone raised it
from relative obscurity, gave it cogent structure and sent it out into the world as
the powerfully expressive medium we now know. In Marion Scott's pretty
words, "Haydn and the string quartet were young together."
It was in the mid 1750s, his early 20s, that Haydn first wrote for the combination
of two violins, viola and cello: he had been invited to a nobleman's country
palace to spend the summer teaching and while there provided "divertimentos"
for entertainment. At the time Haydn was still scratching a precarious living as
a freelance musician in Vienna. It was only in 1759 that he entered service with
a certain Count Morzin, but he was quickly snapped up by the Esterházys, one of
the great houses of the Austrian Empire, with whom he spent nearly all his long
and astonishingly productive working career.
The Esterházy musical establishment, which Haydn soon came to direct, was a
large one and had little use for quartets: the demand was always for symphonies,
operas, masses, and, bizarrely, trios involving the baryton, a curious stringed
instrument that was a passion of Prince Nikolaus. But Haydn was allowed to
accept commissions from outside, provided he obtained permission first, and as
his fame spread throughout Austria and beyond to Paris, London and elsewhere
requests came flooding in.
Apart from symphonies, Haydn was most often asked for quartets. These were
popular with amateurs, but also had a vogue amongst the nobility. Not everyone
could afford a musical establishment on the opulent scale of the Esterházys, but
a string quartet was a respectable alternative with a burgeoning repertory.
And so Haydn produced quartets by the half dozen to various commissions. He
wrote two such sets for one Johann Peter Tost, a talented violinist who seems to
have joined Haydn's orchestra at Eszterháza in 1783. Tost remained there until
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1788, when he left to make a name for himself in the world, but this artistic
enterprise does not seem to have been successful, and Tost is next heard of in
Vienna as a rich merchant and keen amateur violinist.
When Tost left the employment of the Esterházy family in 1788, he asked
Kapellmeister Haydn for some music to help his assault on the musical world.
Haydn gave him two recent Symphonies (Nos.88 & 89) and six String Quartets:
the quartets were published in two batches of three, one in 1789 as Op.54, the
other in 1790 as Op.55. When Tost reappeared in Vienna in 1790 he
commissioned a further six Quartets, which Haydn wrote the same year. They
were published as his Op.64 in 1791. By then the Prince Esterházy Haydn had
served for almost thirty years had died; his successor had little taste for music
and dismissed almost the entire Esterházy musical establishment he kept on
only the wind band (for outdoor entertainments) and Haydn. A great change-
around had occurred during the composer's time with the family: Haydn's name
now lent more lustre to the Esterházys than vice versa. Haydn, though, was
Kapellmeister in name only: he had virtually no duties and was effectively in
retirement. But not for long: the same year Op.64 was published he made his
first visit to London, where the quartets written for Tost, performed publicly by
Salomon, did as much as the first of the specially-written London Symphonies to
establish Haydn's reputation here.
Haydn's Op.33 Quartets, written in 1781 and published the following year, were
effectively the manifesto for the string quartet as we understand it today - a
capital work for four equal partners. It was a significant advance that was not
lost on Mozart, twenty-three years younger, newly parted from the service of the
Prince Archbishop of Salzburg and embarking on a freelance career in Vienna.
He responded to Haydn's challenge with his own set of six, which he wrote in
fits and starts between the end of 1782 and the beginning of 1785: we know
them as a seemingly random collection of K. numbers between 387 and 465, but
they were published as Mozart's Op.10 in the latter part of 1785 with an
elaborate dedication to Haydn.
Haydn didn't have to wait until publication to hear them: when he visited
Vienna in the early months of 1785 they were played to him by Mozart himself,
with some of his colleagues. It was these performances that prompted Haydn to
tell Mozart's father that Mozart was the greatest composer known to him. The
dedication of these quartets to Haydn was a double-edged compliment: it was
flattering, to be sure, but at the same time it must have been obvious to Haydn
that when it came to the string quartet he could no longer afford to rest on his
laurels. He rose magnificently to the challenge, responding two years later with
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the splendid set of six Quartets, Op.50, followed a year later by the sis Quartets
of Op.54 and 55.
Haydn's confidence shows right from the first page of the Quartet - the dramatic
silences, the unequal phrase lengths, the detours through strange keys, it's all the
work of a composer in complete command. And not afraid to experiment. The
Quartet has the most unusual layout. You would expect: opening allegro, slow
movement, minuet, quick finale maybe with the middle two the other way
round. Not here: here we have what starts out like a slow movement, but which
turns into an extended slow introduction to the minuet. And instead of a quick
finale, another Adagio - enclosing a brief Presto full of Haydnesque wit to be
sure, but a real adagio nonetheless, ending as such. It would take Beethoven a
dozen or more years to come up with a structure as radical.
String Quartet No.1 (The Kreutzer Sonata)
Adagio
Con moto
Con moto
Con moto
Leoš Janáček
(1854-1928)
[initial tempo markings only]
Leoš Janáček was one of music's late developers, the exact opposite of prodigies
like Mozart and Mendelssohn. His early music belongs to the world of Dvořák 100
and Smetana; he did not find his mature, startlingly individual voice until the
turn of the century, when he was already forty-seven, and his finest music is
concentrated in the last ten years of his life, an Indian summer virtually without
parallel in musical history. (While many other composers had remarkable
Indian summers, none contained so large a proportion of its composer's greatest
works, save perhaps César Franck's.)
There were three main reasons for this late flowering: the formation of the
Czechoslovak state in 1918; the successful staging of Janáček's opera Jenůfa in
Prague; and the composer's passionate but apparently unconsummated love for a
young married woman called Kamila Stösslová, whom he met in 1917 and to
whom he wrote over six hundred letters.
The state of Czechoslovakia was created in 1918 when the map of Europe was
redrawn in the aftermath of the Great War. The crumbling Austro-Hungarian
Empire was dismantled, and the industrialised North and North East made into a
new state. Its three main constituents were: Bohemia in the West, with its chief
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city of Prague; Moravia in the middle with its chief city of Brno; and Slovakia inadh
the East, its chief city being Bratislava. Janáček was Moravian, and an eastern-
looking nationalist, which explains his excitement at the new independent state
and also his leanings towards Russian and Slavonic literature.
His First String Quartet was composed between 30 October and 7 November
1923 in Brno. It was dedicated to the Bohemian Quartet, whose leader was the
violinist and composer Josef Suk (1874- 1935): they gave the work its first
The Bohemian Quartet's
performance in Prague on 14 October 1924.
the extent of
performance, however, was somewhat idiosyncratic, even to
changes to the musical text, which were in fact incorporated into the original
edition of the piece. Janáček, though, went on refining the Quartet, making
many changes during a series of rehearsals with the Moravian Quartet in the
autumn of 1924: only in the 1970s was the score shorn of its Suk revisions and
amended as Janáček wished.
The Quartet is known as the Kreutzer Sonata, but it is only indirectly connected
with the Beethoven Violin Sonata. Janáček was in fact inspired by Lev
Tolstoy's novella of that name: the autograph title page bears the words Z
podnetu L.N. Tolsteho "Kreutzerovy sonáty" [= inspired by L.N. Tolstoy's
Kreutzer Sonata]. Tolstoy wrote his novella in 1891, over twenty years after
completing Война и мир and fourteen years after Анна Каренина.
The book makes bleak reading. It takes the form of an Ancient Mariner-style
confession, made by one Pozdnyshchev to the author on a long railway journey.
The first two thirds of the book form an impassioned, searing, jaundiced and,
ultimately, depressing analysis of all that was rotten with conventional marriage
among the late nineteenth-century Russian middle class - the hypocrisy, double
standards, lying, self-deceptions, romantic myths, delusions, misery and hatred.
The remaining third of the book accelerates towards inevitable tragedy.
Pozdnyshchev's wife Lisa, having borne a clutch of children, begins to practise
the latest fashionable form of birth control. She regains her beauty and her
figure, and begins to spend more time playing the piano. Pozdnyshchev's
jealousy is aroused, even before the appearance of Trukhachevsky, a friend of
his youth who studied the violin in Paris. (For simplicity I'm going to replace
these jaw-breaking names with "the husband" and "the violinist".) The violinist
begins to visit to play music with the wife, their efforts culminating in a musical
soirée at which they perform Beethoven's notoriously difficult Kreutzer Sonata.
Their association is meant to cease with this final performance, but the husband,
away on business, is alarmed to find from one of his wife's letters that the
1
(
0
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)
)
)
)
violinist has been calling again. The husband returns early and sees the
violinist's overcoat in the hall. He arms himself with a knife and bursts in on
them as they are (innocently) discussing music. The violinist escapes, but in an
insane jealous rage the husband stabs his wife fatally.
As his operatic output shows, Janáček had enormous sympathy for woman as the
victim of male aggression, and so he was naturally drawn to Tolstoy's novella.
Indeed, he had worked on a piano trio inspired by it in 1908/9. The trio went
through two versions that we know of, but is now lost, presumed destroyed.
From a letter of 1924 we know that "The Quartet derives from some of the ideas
in the earlier work", but how much will probably never be established.
The Quartet is in four movements, none of which keeps a single tempo for more
than a few bars, though each mostly alternates two speeds. No one movement,
then, has a consistent character, though the second and third are the closest the
Quartet comes to a scherzo and slow movement. Janáček does include a quote
from the Beethoven, though it is not easy to spot, given the change in character:
at the opening of the third movement he quotes the second subject of
Beethoven's first movement, disguising it by perversely altering the very first
note.
INTERVAL
Coffee and drinks are available in the foyer. Coffee is 80p a cup: to find us, just
go past the bar, out on to the landing, and turn to the left.
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String Quartet in A flat, Op.105 dan put
Adagio ma non troppo - Allegro appassionato
Molto vivace
Lento e molto cantabile
Allegro non tanto
Antonín Dvořák
(1841-1904)
Dvořák was born in 1841, making him a contemporary of such composers as
Balakirev, Bizet, Musorgsky, Chaikovsky, Grieg and Rimsky-Korsakov. Those
names alone tell you that this was the generation of composers who took the
high Romantic style of the previous, Berlioz/Liszt/Schumann generation and
imbued it with colours derived from the characteristic rhythms, harmonies and
melodic inflections of their various folk traditions.
Dvořák was Bohemian, what would now be called Czech, his country forming
the most northerly part of the sprawling Austrian empire. He came from humble
origins, and his musical education was correspondingly limited: he was taught
by local musicians. It was only through the financial assistance of an uncle that
he was sent to the Prague Organ School, where he received the usual education
of a church musician. He had also learned the violin and viola, and his first job
on graduating was as principal viola player in the nucleus of what would become
the orchestra of the future National Theatre.
He was already composing, but it was not until the mid 1870s that he began to
enjoy any prominence. He applied several times (three of them successfully) for
an annual prize, the Austrian State Stipendium, which was intended to assist
poor, young artists. Through this his music came to the attention of Brahms,
who recommended Dvořák to the publisher Simrock. After which, Dvořák
hardly ever seems to have looked back. His reputation grew steadily during the
1880s, substantial portions of which he spent in England being enthusiastically
received by those who found his orchestral and choral music so much more
approachable than that of many contemporaries, with its bouncing rhythms,
exotic but not too exotic inflections of melody and harmony and above all its
apparently effortless invention.
And finally in 1892 Dvořák was coaxed to America by a Mrs Thurber to take
over the post of Director of the National Conservatory of Music, an essentially
philanthropic institution whose finances she controlled. He was not to be in any
sense the adminstrative head of the Conservatory: his job was to be the
figurehead, to teach a few of the most advanced students and, she hoped,
compose an American opera on the subject of Hiawatha. Nothing came of that,
though during his American years he did write the New World Symphony, an F
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me
to
varak
more
th
hyred
major String Quartet and E flat String Quintet both nicknamed "The American,"
the charming G major Violin Sonatina and the Cello Concerto.
The summer of 1895 Dvořák spent back in Bohemian countryside. He was
unhappy at the prospect of returning to America for the 95/96 academic year, as
he was contracted to do, not least because the near bankruptcy of Mr and Mrs
Thurber meant his salary hadn't been paid for some time. In the event his
friends rallied round and persuaded him not to go back: he wrote to Mrs Thurber
in mid August, telling her of his intention and citing family reasons.
In the very best of moods, he turned to a String Quartet in A flat he had begun in
the spring. Work went so well, it sparked new ideas off, and he was suddenly
diverted into another Quartet, in G major this time, which he finished first, on 9
December 1895. He then returned to the A flat, completing it exactly three
weeks later. Published the following year as Opp.105 & 106, they are his last
string quartets, and indeed his last chamber works of any kind: the only
significant works of his remaining years were four operas (which included
Rusalka) and five symphonic poems (including The noon witch and The golden
spinning wheel).
The first movement begins with a slow introduction in the minor key,
prefiguring some of the main material of the movement. The movement proper
is marked "Allegro appassionato" and though the exposition shows an agreeable
The
tendency to relax, the development builds up a serious head of steam.
Scherzo second movement takes the form of a furiant, the characteristic Slavonic
dance form, fast-paced, rhythmic and exciting, typically making much of the
cross-play derived from alternating 3/4 and 3/2 rhythms - here with a few more
cross-rhythms thrown in for good measure. After the F minor of the Scherzo, an
F major slow movement where, as in some late Brahms slow movements, there
seem at times to be as many as three melodic lines going on at once. There's a
more sombre, unsettled middle section in the minor, before the F major material
returns, this time in slightly more flippant livery. Just before the end, there's a
hint of the F minor music, probably to prepare the way for the hesitant and
slightly sinister F minor opening of the fourth movement. But Dvořák is only
kidding: the music quickly slips into a comfortable A flat major for one of his
typically bouncy finales.
Programme notes by David Mather
Floral decorations by Sue Bedford
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FORTHCOMING CONCERTS
The final concert in the 83rd Season of the British Music Society of York,
presented in association with the Department of Music at the University, takes
place as usual in the Sir Jack Lyons Concert Hall, beginning at 8 pm.
Friday, 19 March 2004
*
The Zephyr Ensemble of London
Emma-Louise Hible flute, Helen Barker oboe,
Charys Green clarinet, Evgeny Chebykin horn
& Thomas Oxley bassoon
Malcolm Arnold
Rossini
Ibert
Farkas
Ligeti
Paul Taffanel
Jim Parker
More dates for
3 Shanties
Quartet No. 1 in F
3 pièces brèves
Ancient Hungarian Dances
6 Bagatelles
Andante
Mississippi Five
your diaries:
Wednesday, 25 February 2004
Sir Jack Lyons Concert Hall, 7.30 pm
Maggini Quartet
Quartets by Haydn (Op.71 No.2) & Chaikovsky (No.2), with smaller works by
Britten & Bridge
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Saturday, 20 March 2004
Chapter House, York Minster, 8.00 pm
Chapter House Choir
Stephen Williams director
Bach's Jesu meine Freude, Handel's Dixit Dominus and Vivaldi's Nulla in
mundo sincera pax
Saturday, 20 March 2004
Sir Jack Lyons Concert Hall, 8.00 pm
York Symphony Orchestra
David Blake conductor
Kodály's Dances of Galanta, Chopin's Piano Concerto No.2 (Gemma Webster)
and Brahms' Symphony No.3
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BRITISH MUSIC SOCIETY
of YORK
OFFICERS OF THE SOCIETY
President Dr Francis Jackson
Vice-Presidents
Chairman
Vice-Chairman
Hon. Treasurer
Hon. Secretary
Hon. Publicity Secretary
Hon. Programme Secretary
NFMS Representative
Hon Auditor
Members of the Committee
Prof. Nicola LeFanu, Rosalind Richards
Bob Stevens
Dr Sandy Anderson
John Robinson
Nigel Dick
Marc Schatzberger
Amanda Crawley
Dr Richard Crossley
Derek Winterbottom
Helen Mackman, Lesley Mather, Mary
Ormston and John Woods
BENEFACTORS AND PATRONS
The BMS manages to maintain the high standard of its concerts largely through
the generosity of its Benefactors and Patrons. Without their gifts to the Society,
many of them covenanted, we could not hope to balance our books.
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Our Benefactors (§) and Patrons are as follows:
Mr A. Ainsworth §
Dr R.J.S. Crossley §
Mrs M. Danby-Smith §
Mr N.J. Dick §
Mr J.A. Gloag §
Mr M. N. Lange §
Mr G.C. Morcom §
Mrs E.L.Park
Mr & Mrs D.G. Rowlands §
Mrs I. Stanley §
Mr D.A. Sutton §
Mr J.I. Watson
Mrs H.B. Wright §
If you would like to become a Benefactor or Patron, please get in touch with our
Hon. Treasurer, either at the ticket desk before each concert, or at 20, Barmby
Ave, Fulford, York, YO10 4HX. All other correspondence about the Society
should be addressed to the Hon. Secretary, 6, Bishopgate St., York, YO23 1JH.
Dr D.M. Bearpark §
Mr J. Curry §
Dr J.D. Dawick §
Mr & Mrs C.G.M. Gardner §
Mrs S.M. Hartley §
Prof. R. Lawton §
Mrs G.O. Morcom §
Canon & Dr J.S. Pearson §
Mr & Mrs M. Schatzberger §
Mrs D.C. Summers §
Dr & Mrs G.M.A. Turner §
Mr R. Wilkinson §
Mrs S.M. Wright
Making
Music
The BMS is affiliated to Making Music, the National
Federation of Music Societies, which represents and
supports amateur vocal, instrumental and promoting
societies throughout the United Kingdom.
Society also gratefully acknowledges the assistance
OF MUSIC SOCIETIES of the Royal Bank of Scotland.
The
THE NATIONAL FEDERATION
Registered Charity No.700302
Compiled by David Mather and published by the British Music Society of York.
Reproduced by the Trophy & Print Shop, Commercial St, Norton, Malton.
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priblsM
INSTITUTE
BORTHWICK
BMS 3/2/12 (2)
OF HI TOPIC L
FES
CH
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D
BAS
YORK
The Zephyr Ensemble
of London swoiy mo
Friday, 19 March 2004
Programme: £1.00
Presented by the British Music Society of York
in association with the Department of Music
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NOTICE BOARD
* Farewell to the 83rd Season
Tonight is the last concert of the 83rd Season of the British Music Society of
York, held in association with the Department of Music of the University of
York. Our next fixture will be the Society's Annual General Meeting, which
we're aiming to hold in the first half of June. There will be a short business
meeting (to include the unveiling of next season's programme), followed by a
short musical entertainment and a meal, to both of which guests are welcome.
All members of the Society will receive notification of the date and venue nearer
the time. Meanwhile, the 84th Season is set to begin in mid October. Some
weeks before this, the Season's brochure will automatically be sent to all our
members, as well as to all those on the mailing list run jointly by the BMS, the
University Music Department and a basket of local concert-giving organisations.
If you suspect you might not be on this list, or have recently changed address,
could you please contact our Treasurer, Mr John Robinson, 20 Barmby Ave.,
York, YO10 4HX.
* Your Views
The BMS is a society run for the benefit of its members by a dedicated
committee elected from amongst those members. If there is something you
think we should be doing, or should not be doing, don't keep it to yourself:
please tell a committee member. They should all be wearing badges, and,
however it may appear, they do want to hear from you.
Our Website
The BMS has its own dedicated website, containing a short history of the
Society and an updated list of forthcoming concerts. If you haven't found it
already, the URL is http://www.bms-york.org.uk/
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BRITISH MUSIC SOCIETY
of YORK
83rd Season
Friday, 19 March 2004
Sir Jack Lyons Concert Hall
The Zephyr Ensemble of London
Emma-Louise Hible flute, Helen Barker oboe
Charys Green clarinet, Evgeny Chebykin horn
Thomas Oxley bassoon
Malcolm Arnold
Rossini
Ibert
Farkas
Ligeti
Taffanel
Jim Parker
Three Shanties
Quartet No.1 in F
Trois pièces brèves
Ancient Hungarian Dances
INTERVAL
Six Bagatelles
Andante
Mississippi Five
For the sake of others in the audience, please turn off all
mobile phones and alarms on watches, calculators etc.,
and use a handkerchief when coughing.
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TONIGHT'S ARTISTS
The Zephyr Ensemble of London was formed in September 1997 at the Royal
College of Music. In December the same year, the group won the RCM Wind
and Brass Ensemble Prize, which they retained in 1998. Since then the group
has enjoyed much success and now performs regularly at music clubs and
festivals round the country. Recent performances include appearances at the
Wigmore Hall, the Purcell Room and the King's Lynn Festival.
In February 2001 the Ensemble won a place on the Tillett Trust Young Artists
Platform, as a result of which they made their Wigmore Hall debut in February
2002. In September 2001 they won a Maisie Lewis Award, the prize being a
second Wigmore Hall appearance, in October 2002. Also in 2001 the Ensemble
was awarded second place in the Anglo-Czech Trust's annual competition for
their performance of Janáček's Mládi.
In February 2002 the Ensemble were runners up in the Total Elf Martin Musical
Scholarship Award competition and as a result of this received funding to
commission a new work by Huw Watkins. They gave the world premiere of this
work at their Purcell Room debut in January 2003 as part of the Park Lane
Group Young Artists Series. They were also awarded the Leverhulme Chamber
Group Junior Fellowship at the Royal College of Music for the year 2002/3
Other achievements include winning a place on the Blackheath Young Artists
Scheme for 2000/1, which involved giving recitals at Blackheath Halls and
education work with schools and music groups in the Blackheath area. The
group has also broadcast on Radio 3, including a live performance as a preview
for the Brighton Festival of 2002.
In addition to recital work, the group also provides music at parties and
corporate events, such as the Queen's re-opening of the Albert Memorial and
Prince Charles' fiftieth birthday celebrations at Hampton Court Palace.
35
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3 Shanties, Op.4
PROGRAMME NOTES
Allegro con brio
Allegretto semplice
Allegro vivace
Malcolm Arnold
(b.1921)
Malcolm Arnold is one of the very few composers to emerge as it were from the
brass section of the orchestra: plenty have been pianists or organists; or string
players; rather fewer have been wind players. Those whose principal study was
the trumpet are very rare. Arnold studied at the Royal College of Music in
London, having won an open scholarship in 1938. He joined the London
Philharmonic Orchestra in 1941, becoming first trumpet the following year.
After two years' war service he spent a season in the BBC Symphony Orchestra,
before returning to the LPO in 1946. But in 1948 he won a Mendelssohn
Scholarship and took a year off to study composition in Italy. Since then he has
devoted himself to composing and conducting.
To some, Arnold's musical style could be seen as dangerously populist, but its
exuberance, wit, spontaneity and colour disarm all such criticism. He is one of
the few "serious" composers who can write genuinely funny music, a vein not
always confined to such pieces as his contributions to the legendary Hoffnung
Festival concerts. His accessible style also led to commissions for films, most
notably his Oscar-winning score for the 1957 film The bridge on the River Kwai.
The Three Shanties, now a staple of the wind quintet repertory, was one of his
earliest pieces, composed in 1943 when he was still in his early twenties and had
just joined the LPO. It was composed at much the same time as the overture
Beckus the Dandipratt and was apparently given its first performance in an
aircraft hangar in Bristol during a lunchtime break from war work.
The three shanties are: What shall we do with the drunken sailor?, Boney was a
warrior and Johnny come down from Hilo. None is named in the score as such,
although the second movement is headed by the quatrain:
Boney was a warrior
Way, hay, yah
O Boney was a warrior
John François
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Sonata a quattro No.1 in F
Moderato
Andantino
Allegro
Gioachino Rossini
(1792-1868)
The six Sonate a quattro [= sonatas in four parts] represent just about the earliest
surviving music by the young Gioachino Rossini. [The correct form of the
forename in Italian is Gioacchino, but he used just one c - his spelling always
was a little shaky.] Much of his early history is hazy, a situation not helped by
the fact that some of it had to be pieced together from off-the-cuff remarks
dropped by the composer in later life: Rossini retired at the age of 37, the most
famous and successful opera composer of the age, to pursue the life of a bon
viveur in Paris, and those who have come across his penchant for self-
deprecatory humour will know just how much credence to place on these
biographical glimpses. It was certainly a colourful childhood - elements from it
might well be confected into the basis of a comic opera of the sort for which he
became famous.
His mother, Anna, was nineteen, his father, Giuseppe, the thirty-two-year-old
lodger, when Giachino's imminent arrival precipitated the marriage. Even the
day of his first appearance was special: it was 29 February 1792 when his voice
was first heard in Pesaro, a town on the Adriatic coast of what is now Italy,
roughly on a level with Florence. His childhood was overshadowed by the
Napoleonic wars. Pesaro formed part of the Papal States, ruled from Rome, but
the tyrannical and oppressive local governor was much resented, and the
invading French were widely seen as liberators. Rossini senior was at the
forefront of the pro-French movement, and the enthusiasm with which, as town
trumpeter, he stirred revolutionary fervour earned him the nickname "Vivazza" -
as well as a term of imprisonment later, during a period when the Papal States
regained the upper hand.
Father and Mother made a precarious living doing whatever musical work they
could find. Mother was a singer of modest talent and also worked as a
seamstress; father sang or played in the orchestra at various opera houses. It was
while they were engaged at the nearest large city, Bologna, for the opera season,
that the seven- or eight-year-old Rossini had his first keyboard lessons from one
Giuseppe Prinetti: according to the composer's later colurful account this
Prinetti eked out his income from pupils by distilling brandy and, not possessing
a bed, used to sleep upright under the city's arcades.
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mi
In 1802 the family moved to Lugo, Giuseppe's home town, and it was here that
Rossini's evident thirst for knowledge found what it was waiting for: he took
singing lessons from a local priest, Giuseppe Malerbi, a man of some substance,
whose musical knowledge and taste - and above all, library of scores - were to
have an enormous influence. This showed two years later, in the summer of
1804, when, before he had had any formal education in music theory, Rossini
composed his six Sonate a quattro.
They were composed for Agostino Triossi, a landowner with an estate not far
away, near Ravenna. Rossini scored them for the unusual combination of two
violins, cello and double bass, not because he was being experimental or
quixotic, but for practical reasons. A manuscript copy which turned up in the
Library of Congress in Washington contains a note by Rossini, clearly written in
his old age, describing the set as:
six dreadful sonatas composed by me at the country place (near Ravenna) of my
Maecenas friend Triossi, when I was at the most infantile age, not having taken
lessons in counterpoint, the whole composed and copied out in three days and
performed by Triossi, double bass, Morri, his cousin, first violin, the latter's brother,
violoncello, who played like dogs, and the second violin by myself, who was not the
least doggish of the three, by God.
The Sonatas have a clarity, freshness and grace that have endeared them to the
public since 1825/6, when a Milan publisher issued versions of five of them for
conventional string quartet The Quartets have also been successfully adapted
for wind quartet (flute, clarinet, bassoon and horn), to whose repertory they have
proved a sunny and popular addition. Rossini, whose father taught him the horn
and whose orchestral writing contains some of the most striking and effective
writing for wind instruments at that time, would no doubt have approved. The
wind quartet version transposes the first of the sonatas from G major to the more
manageable F major.
Trois pièces brèves
Allegro
Andante
Assez lent - Allegro scherzando
Jacques Ibert202
(1890 - 1962)
Jacques Ibert was born in Paris. Encouraged by his pianist mother, he studied
the piano and when still young decided to become a musician. In this he was
opposed by his businessman father, so it was only in 1911 that he was admitted
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to the Paris Conservatoire. In the composition class there he met both
Honegger, who became a lifelong friend, and Milhaud. Ibert volunteered in the
First World War, but was rejected on health grounds: instead he worked first
with the Red Cross and then with the Marine Intelligence Corps.
After the War, encouraged by Nadia Boulanger, he entered for the Grand Prix
de Rome, which he won at his first attempt, spending the first years of the 1920s
at the Villa Medici, home of the Académie de France in Rome. He was to return
there in 1937 as Director - the first musician to be appointed to the post. Alas,
his time at the Villa was short: in 1940 Mussolini declared war on France, and
Ibert was deported, though he returned again after the War, holding to post of
Director until 1960.
The Trois pièces brèves [= three short pieces] date from 1930, the same year as
perhaps Ibert's best-loved work, the orchestral Divertissement, with which they
share his typically light, but sophisticated style, sparkling with virtuosity and
wit. The first piece is a cheerful Allegro, whilst the second is in effect a duet for
flute and clarinet - the other instruments only enter at the end. After a slow
introduction the third movement returns to the spirit of the dance and includes a
parody of an Austrian Ländler.
Ancient Hungarian Dances
Intrada
Lassú
Lapockás Tanc
Chorea
Ugrós
Ferenc Farkas
(1905 - 2000)
Ferenc Farkas (being a Hungarian name, the final s is pronounced sh) studied at
the Budapest Academy of Music from 1922 to 1927 then spent two years as
repetiteur at the Municipal Theatre in Budapest. He went to Rome in 1931 to
study with Respighi and between 1933 and 1935 earned a living writing film
scores in Vienna and Copenhagen. In 1935 he returned to Hungary and a career
as a teacher of composition between 1949 and 1975 at the Budapest Academy
of Music, where he taught a whole generation of Hungarian radicals, including
Ligeti, Kurtág and Durkó.
Farkas' own style is more moderate, and formed from a wide variety of
influences, from Gesualdo to Stravinsky. He has also been much influenced by
old Hungarian folk ballades, some of which he helped collect. This interest
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resulted in the Ancient Hungarian Dances for wind quintet, composed in 1943,
the year Farkas became Director of the Conservatory in Kolozsvár (now Cluj in
Romania). The dances all date from the seventeenth century, and Farkas'
arrangements preserve both the traditional Hungarian melodic inflections and
the simple harmonic patterns. There are five movements: a majestic
processional introduction; a slow dance, led by the clarinet; a "shoulder-blade"
dance; a sedate dance simply entitled Chorea; and an energetic jumping dance.
INTERVAL
Coffee and drinks are available in the foyer. Coffee is 80p a cup: to find us, just
go past the bar, out on to the landing, and turn to the left.
6 Bagatelles for wind quintet
Allegro con spirito
Rubato. Lamentoso
Allegro grazioso -
Presto ruvido
Adagio. Mesto -
Molto vivace. Capriccioso
György Ligeti
(b.1923)
The generation of composers who were to dominate the avant-garde in the
decades following the Second World War were born in the mid 1920s -
Stockhausen in 1928, Boulez and Berio in 1925 and Ligeti in 1923. Of the four,
Ligeti has perhaps the most developed ear for colour and without doubt the most
overt sense of humour. Each brought his own mix of influences, but the
movement as a whole expanded and developed the ideas of the Second Viennese
School - Schoenberg, Berg and (especially) Webern. It was re-discovery as well
as discovery: all music of this kind had been suppressed or banned during their
teenage years throughout most of mainland Europe - no performances took
place and what music had already been published disappeared.
In the case of Ligeti, this suppression continued beyond the end of the war. The
Stalinist regime that took over his native Hungary had no more time for such
music than had the Nazis. (You know your country has serious censorship
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problems when it starts banning books such as Don Quixote and Winnie the
Pooh.) Ostensibly Bartók (who had died in exile in 1945) was revered as the
country's greatest composer, but in practice the "soft" late works like the
Concerto for Orchestra and Third Piano Concerto were the only concert pieces
ever heard. Foreign radio broadcasts were also jammed. Nonetheless, an artistic
underground did exist: composers and others circulated banned material and
wrote/created for their bottom drawers.
The Bagatelles have their origin in a work for piano Ligeti composed between
1951 and 1953, the Musica ricercata, which the composer described as:
... a youthful work from Budapest, still deeply influenced by Bartók and Stravinsky.
The first piece contains only two notes (along with their octave transpositions); the
second, three notes; and so on, so that the eleventh piece (a monotonous fugue) uses
all twelve pitches. A severe, almost noble piece, hovering between academic
orthodoxy and deep reflection: between gravity and caricature.
In 1953 Ligeti transcribed six of the pieces for wind quintet, calling them
"Bagatelles." A performance was given in Budapest in September 1956, but
only five of the six could be played, the other having been suppressed by the
authorities. The first complete performance wasn't given until October 1969,
possibly prompted by the success of Ligeti's ten Pieces for wind quintet
premiered earlier that year.
If you're following the structure of the piece, the wind quintet version
transcribes Nos. 3, 5 and 7- 10 of the piano original. The penultimate Bagatelle,
as in its piano version, is headed Béla Bartók in memoriam. And if you're
wondering about the ruvido tempo marking, I had to look it up, too: it means
rough or rude.
Andante
Paul Taffanel
(1844-1908)
If, like me, you have lived any time amongst flute-playing folk, you will
undoubtedly have met the names of Marcel Moyse and Paul Taffanel. Moyse
was the cornerstone of the French school of flute-playing in the twentieth
century and thus an influence on virtually every flute player alive today. It was
Paul Taffanel who taught him and who, with Phillipe Gaubert, is widely
considered to be the founder of the modern French school of flute playing.
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2
S
Taffanel's natural talent for the flute can be judged from the fact that at the age
of twenty, while still a student, he joined the orchestra of the Paris Opéra,
becoming principal flute six years later. Such was the authority of his
musicianship that twenty years later he became conductor there.
Taffanel was understandably eager to raise the profile of the flute, and indeed of
wind instruments in general, especially in the realm of chamber music, which
had been too long dominated by strings and piano. In 1876 he wrote an award-
winning Wind Quintet in G minor and three years later founded the Société des
Instruments à Vent which was to help stimulate interest in wind instruments
across Europe for the next fourteen years. For instance, on behalf of the Society,
Taffanel persuaded his friend Gounod, then a central figure in French music, to
write a work for wind instruments. Gounod responded with his charming Petite
Symphonie of 1885, a work scored for pairs of oboes, clarinets, bassoons and
horns, but only one flute - for all the world as though there could only be one
flautist - Paul Taffanel.
The Andante the Zephyr Ensemble are playing for us is the second of the three
movements making up Taffanel's Quintet.
Mississippi Five
King Oliver steps out: Misterioso - Stomp
Blues for Johnny Dodds: Andante - Allegro - Andante
The River Queen: Moderato ritmico
Le Tombeau de Bessie Smith: Andante
Les Animaux: Vivace
Jim Parker
(b.1934)
Jim Parker was born in Hartlepool. He began his musical career in an army
band and later studied the oboe at the Guildhall School in London. In 1959 he
joined the City of Birmingham Symphony Orchestra as an oboist, later
appearing with the group known as the Barrow Poets, who toured the country
with programmes of poems and music. It was no doubt this that led to his
involvement with Sir John Betjeman on the album Banana Blush.
Mr Parker is now a full-time composer, in huge demand for
vision
programmes. He wrote the theme tune for Ground Force and his other work has
included music for The House of Elliott, Moll Flanders (1996 BAFTA award for
Best Television Music), Tom Jones (1997 BAFTA), A rather English marriage
(1998 BAFTA), Midsomer Murders and Foyle's War.
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Mississippi Five dates from 1990. "Five" because apart from being for wind
quintet, the work has five movements celebrating the early jazz musicians
working in News Orleans and on the riverboats of the Mississippi. The first
movement commemorates cornettist and bandleader Joe "King" Oliver, who
with his pioneering recordings and residencies in Chicago and New York did
more to disseminate the classic New Orleans style than almost any other.
Oliver's speciality was the so-called "talking trumpet," where he used various
orthodox and less orthodox mutes such as cups and glasses to produce an
uncanny impersonation of the human voice.
Johnny Dodds was a clarinettist and almost the opposite of what many would
expect a jazz musician of those times to be: he was a lifelong non-smoker and
tee-totaller, scrupulously honest, careful with money and serious-minded. The
clarinet is given a particularly virtuosic part here, though Dodds himself was not
so much a virtuoso: he was renowned for his deep, bluesy tone, the clarity and
directness of his lines and the urgency and directness he shared with many of
these early New Orleans musicians. It was no doubt for all these that Louis
Armstrong chose him for his celebrated Hot Fives.
The River Queen suggests those staples of Mississippi life, riverboats, which
played as important a role in the earliest stages of the history of jazz as the more
often mentioned Storyville brothels in New Orleans. The chugging motion of
the paddle steamer is obvious in the music. Next comes Le tombeau de Bessie
Smith the French title a reminder that New Orleans is at heart a French city.
Bessie Smith was the "Empress of the Blues": once you'd heard her sing a
number, many held, no one else could ever seem more than merely adequate in
it. But as well as blues, she had an extrovert style which led to her immense
success during the 1920s. She died in a car crash in 1937, in her early forties.
Here the flute acts as chief mourner
The finale is Les Animaux, so called because of its animal noises: many early
jazz bands added variety to their programmes by the introduction of novelty
numbers, which often included such special effects as klaxons, motor horns and
various exotic percussion instruments. Here the score specifies the following
noises: bull, cockerel, horse, donkey, cow, and the ominous "growl."
Programme notes by David Mather
Floral decorations by Sue Bedford
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FORTHCOMING CONCERTS
DIS
This is the last concert in the 83rd Season of the British Music Society of York.
For our plans in the near future, see inside front cover.
Meanwhile here are other dates for your diaries:
Saturday, 20 March 2004
Chapter House, York Minster, 8.00 pm
Chapter House Choir
Stephen Williams director
Bach's Jesu meine Freude, Handel's Dixit Dominus and Vivaldi's Nulla in
mundo sincera pax
Saturday, 20 March 2004
Sir Jack Lyons Concert Hall, 8.00 pm
York Symphony Orchestra
David Blake conductor
Kodály's Dances of Galanta, Chopin's Piano Concerto No.2 (Gemma Webster)
and Brahms' Symphony No.3
Saturday, 27 March 2004
St Olave's Church, Marygate, 8.00 pm
Micklegate Singers
Nicholas Carter director
A matter between God and myself - celebrating personal responses to God
through the medium of the Spiritual and music for the Eucharist, including
works by Chilcott, Tippett, Villette, Messiaen, Tavener & Frank Martin
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BRITISH MUSIC SOCIETY
of YORK
OFFICERS OF THE SOCIETY
President Dr Francis Jackson
Vice-Presidents
Chairman
Vice-Chairman
Hon. Treasurer
Hon. Secretary
Hon. Publicity Secretary
Hon. Programme Secretary
NFMS Representative
Hon Auditor
Members of the Committee
Prof. Nicola LeFanu, Rosalind Richards
Bob Stevens
Dr Sandy Anderson
John Robinson
Nigel Dick
Marc Schatzberger
Amanda Crawley
Dr Richard Crossley
Derek Winterbottom
Helen Mackman, Lesley Mather, Mary
Ormston and John Woods
BENEFACTORS AND PATRONS
The BMS manages to maintain the high standard of its concerts largely through
the generosity of its Benefactors and Patrons. Without their gifts to the Society,
many of them covenanted, we could not hope to balance our books.
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4₂
Our Benefactors (§) and Patrons are as follows:
Mr A. Ainsworth §
Dr R.J.S. Crossley §
Mrs M. Danby-Smith §
Mr N.J. Dick §
Mr J.A. Gloag §
Mr M. N. Lange §
Mr G.C. Morcom §
Mrs E.L.Park
Mr & Mrs D.G. Rowlands §
Mrs I. M. Stanley §
Mr D.A. Sutton §
Mr J.I. Watson
Mrs H.B. Wright §
Making
Music
If you would like to become a Benefactor or Patron, please get in touch with our
Hon. Treasurer, either at the ticket desk before each concert, or at 20, Barmby
Ave, Fulford, York, YO10 4HX. All other correspondence about the Society
should be addressed to the Hon. Secretary, 6, Bishopgate St., York, YO23 1JH.
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
Dr D.M. Bearpark §
Mr J. Curry §
Dr J.D. Dawick §
Mr & Mrs C.G.M. Gardner §
Mrs S.M. Hartley §
Prof. R. Lawton §
Mrs G.O. Morcom §
Rev. & Dr J.S. Pearson §
Mr & Mrs M. Schatzberger §
Mrs D.C. Summers §
Dr & Mrs G.M.A. Turner §
Mr R. Wilkinson §
Mrs S.M. Wright
Registered Charity No.700302
The BMS is affiliated to Making Music, the National
Federation of Music Societies, which represents and
supports amateur vocal, instrumental and promoting
societies throughout the United Kingdom. The
Society also gratefully acknowledges the assistance
of the Royal Bank of Scotland.
Compiled by David Mather and published by the British Music Society of York.
Reproduced by the Trophy & Print Shop, Commercial St, Norton, Malton.
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INSTITUTE
BORTHWICK
SMS 3/2/12 (3)
OF FITORIC LIFESTACH