Author: welland2

Sir Charles Mackerras

The last meeting of the Society was a presentation by Anthony Powell of the conducting of Sir Charles Mackerras illustrated by extracts from some of his recordings.  Mackerras was born in Schenectady in USA to Australian parents but they returned to their home country when he was two to live in Sydney.

He was a precocious talent and wrote a piano concerto when he was 12.  His parents were not convinced a musical life would be a viable profession so sent him to The King’s School with its focus on sport and discipline hoping that he would pursue a different career.  It was not to be and at the age of 16 went to the New South Wales State Conservatorium of Music where he studied oboe, piano and composition.

Vaclav Talich

At 19 he was the principal oboist with the ABC Sydney Orchestra.  A few years later he sailed for England and began his career at the Saddlers Wells Theatre.  He studied conducting with Vaclav Talich (pictured) in Prague and returned to resume his career at the English National Opera.

There then followed a distinguished career with a variety of famous orchestras including the BBC Concert Orchestra; Covent Garden; the Met and the Sydney Symphony Orchestra.  He was the first non Briton to conduct the BBCSO at the Proms.

Tony selected a wide range of his conducting and started with a piece by Sir Arthur Sullivan followed by a piece by Delius: Paris: the song of a great city first performed in 1899 in Germany and this recording with the Liverpool Philharmonic.

Mackerras had a great attachment to Czech music – indeed he spoke the language fluently – and we heard the Symphonic poem: the Noonday Witch by Dvorak.  This was followed by an extract of the familiar Sinfonietta by Janacek.

The classics were not neglected and two movements from Mozart’s Symphony No. 32 in G major performed with the Scottish Chamber Orchestra.  Then it was Beethoven’s seventh followed by Shostakovich’s Symphony No. 5.  All these extracts illustrated the close attention to rhythm and pace which Mackerras had.  This was particularly illustrated by an extract from Stravinsky’s The Rite of Spring, a piece of great energy and requiring great skill to keep the orchestra together.  This was an electrifying performance.

To record Handel’s Messiah using no less than 26 oboes were needed – which is what the composer required – meant it had to be done at night finishing in the small hours.  After the final scene of Janacek’s Jenufa we heard the final movement of Mahler’s Symphony No. 5, again with the Royal Liverpool Philharmonic Orchesta.

The range of this conductor’s performances was well illustrated and the pieces carefully chosen to give good examples of his style and ability.  Sir Charles died in 2005.  He had received many honour including a CBE; Medal of Merit from Czech Republic and was made Honorary President of Edinburgh International Festival Society.

Next meeting on May 9th and is a member’s evening

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Next meeting

THE next meeting of the Society will be tonight, Monday, 18th April starting at 7:30 usual place.  See the ‘Find us’ tab on the front page for a map or details if this will be your first visit.  The presentation will be by Anthony Powell – no stranger to the Society – who will be taking about the conductor Sir Charles Mackerras and illustrating his talk with examples of his conducting.

Sir Charles Mackerras. Picture filharmonie-brno.cz

Mackerras was one of the great polymath conductors of the 20th century, with interests that ranged from the operettas of Gilbert and Sullivan to the high opera of Wagner and Strauss.  His rigour and empathy with both music and musicians, as well as his intellectual curiosity, earned acclaim and respect from across the musical world.  Any performance directed by Mackerras – particularly one featuring Janacek – bore the imprimatur of unsurpassed authority.

In the 1960s he was at the forefront of the period instrument movement, uncovering the original intentions of composers such as Handel, Mozart and Beethoven, and bringing to audiences some of the first “authentic” performances to be heard in Britain.  Of particular note was a production of Mozart’s The Marriage of Figaro at Sadler’s Wells in 1965 in which he controversially – and to some ridicule – reinstated the appoggiaturas and other ornamentation that would have been used in the 18th century.

From the Telegraph

In Flanders’ Fields

A century ago, the First World War was in full swing.  The battle for Ypres was taking place in April 1916 and it was the first time phosgene gas was used.  It is difficult to believe that out of this carnage and bloodletting, some lovely music, poetry and art was created.

At the last meeting, Richard Seal played a selection of pieces which were composed during the time of the war or inspired by it.  Richard was much moved by visits to the war graves in Flanders including Vimy Ridge, Arras and Thiepval where he hopes to go to again.

He began with A Shropshire Lad by George Butterworth who died on the Somme in 1916 aged just 31.  This is a familiar piece and his death was a great loss to music.  This was followed by the last movement of Morning Heroes by Sir Arthur Bliss who lived until 1975 but who lost his brother in the conflict.  He returned to the battlefield in 1928 and this piece was the result of that visit.

This was followed by Three songs by Ivor Gurney.  Gurney had a troubled life and was both a poet and composer.  He was gassed while serving with the Gloucester regiment but his biggest problem was his mental health.  At the time he was thought to be the greatest of his generation but his full promise never materialised.

Britten was too young for the war but his War Requiem, which was composed for the consecration of Coventry Cathedral destroyed in WWII, was inspired by the poems of Wilfrid Owen who regrettably died a week before the Armistice.

Frederick Septimus Kelly

This was followed by an Elegy for strings and harp by Frederick Kelly who died in 1916. An Australian he also had a gold medal for rowing in the 1908 Olympics and this elegy was in memory of Rupert Brooke who also lost his life.

Some pieces by Charles Ives followed including In Flanders’ Fields composed in 1917.

The evening finished with the last movement of the Pastoral Symphony by Vaughan Williams.  The First World War, in which he served in the army in the medical corps, had a lasting emotional effect.

It was a fascinating evening and the presenter’s erudition about this moving period of our history shone through.

The next meeting is on April 18th

peter curbishley

Next meeting

The next meeting of Salisbury Recorded Music Society, will be tonight Monday 4th April 2016 at 7.30pm, in our usual venue.  Richard Seal will be presenting In Flanders Fields – music inspired by World War I including works by Vaughan Williams, Britten and George Butterworth.  A great deal of attention is paid to the poets who were affected by the war, rather less attention is paid to the composers who were also strongly influenced by the carnage. 

A personal musical journey

Last nights meeting was a presentation by Anthony Powell in which he played music which he has enjoyed over his life.  As we move into the electronic age, and increasingly people download their music from the internet, it is hard to remember that there are people who’s first experience was with 78s.  For younger readers these are discs that rotated at 78 rpm.  They didn’t last long and any piece of any length involved several disks and several trips to the turntable to turn them over.

The first piece was Beethoven’s Egmont overture which was a transcription from a 78 and was recorded by Toscanini.  Typical of this conductor it was a very forthright performance and sounded good despite the fact it was mono and of some vintage.

Tony’s first LP (can we all not forget our first LP and the trip back from the shop to play it for the first time?) was Beethoven (again) 5th Symphony conducted by Bernard Haitink.  This was a live recording at Birmingham and the audience burst into applause at the end of this thrilling piece.

Next was Mahler and the end of his Symphony No. 3 followed by Rimsky Korsakov and this was a version recorded from a Decca 7″ record which were popular around 40 or so years ago.  Many of us took advantage of these budget priced discs.

Next we heard the finale of the thrilling Shostakovich Violin concerto.  Alongside the music Anthony had brought in a collection of signed autographs of composers and conductors.  Some he had acquired by writing to Russia at a time when this was an unusual thing to do.

A lifelong liking for the Late Quartets of Beethoven was illustrated by an extract from No 16 in F major.  There are pieces that stay with you throughout your life and you never tire of them.

This was followed by the Sanctus from Berlioz’s Grande Messe Des Morts performed in St Paul’s cathedral and conducted by the late Sir Colin Davies a Berlioz specialist.  A feature of the evening was the large preponderance of live recordings which, although sometimes less than perfect, do have a certain electricity to them which a studio recording can lack.

The rest of the programme included;

  • Robert Simpson’s Symphony No. 4

    Thomas Ades
  • Beethoven’s Misa Solemnis
  • 3rd movement from Thomas Adès’s Violin Concerto (2005)
  • two songs by Richard Strauss
  • and the evening finished – appropriately enough – with final part of Mahler’s Resurrection Symphony No. conducted by Klaus Tenndstedt recorded in 1989

A most enjoyable evening and truly a Dance to the Time of Music.

A personal musical journey

Details of the next meeting

The meeting was held  last night, Monday 14th March at the usual time and usual place.  The presentation was by Anthony Powell and the title of the talk was A personal musical journey – 60 years of discovery.  Tony presented a range of works he has enjoyed over the years which  included Beethoven; Mahler; Richard Strauss and Robert Simpson.

For details of where we meet see the ‘Find us’ tab on the home page.  Parking is right outside and is free.  A fuller report will appear soon.

The presentation will be preceded by a Committee meeting so if any member has a point to bring to their attention please get in touch.

We look forward to seeing you. Next meeting is on 4 April.

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Live evening

David Davies and friends performed live for the Society on Monday and their programme was as follows:

Ciaccona from Sonata da Camera Op 2 No 12
Arcangelo Corelli (1653 – 1713)
Allegro moderamente from Sonata Accademiche Op 2 No 9
Francesco Maria Veracini (1690 – 1768)
Sonata Op 5 No 4 Gottfried Finger (1660 – 1730)
Adagio – Allegro – Adagio – Allegro
Contrapuntus 9 from Art of Fugue Johann Sebastian Bach (1685 – 1750)
Sonata Prima Johann Philipp Krieger (1649 – 1725)
Grave – Poco Presto – Adagio – Presto – Affetuoso – Presto
Andante from Sonata 1 Op 2 Georg Frideric Handel (1685 – 1759)
Duetto for violin and viola Christian Cannabich (1731 – 98)
Two Passepieds from Premiere Recreation de Musique Op 6
Jean-Marie Leclair L’Aine (1697 – 1764)
Sonata 2 William Boyce (1710 – 79)
Andante vivace – Adagio – Allegro – Allegro ma non troppo
For your diary: Salisbury Baroque, with vocal soloists, will be giving a concert in
Wilton Parish Church on Sunday 6 March at 6pm. This will include Bach – Cantata
102, Dall’Abaco – Concerto for 2 flutes and Telemann – Die Tageszeiten. Full details
at www.salisburybaroque.org.uk
There is an emailing list for information about early music in the area. If you would like to join it, please email davidracheld@gmail.com

Live performance!

 

Next meeting is a live performance

Yes, we are the ‘recorded’ music society but this is an exception.  Members will recall a David Davies 3 croppedprevious evening at which David Davies performed on the keyboard.  Now we are delighted to see him return for an evening of baroque music played by David and some friends.  These include David Morgan and Sue Wyatt (violins), Sally Reid (‘cello) and David himself who will be on the harpsichord.  It will be more than just the music as there will be some explanation about the music and the instruments.

The programme includes works by familiar composers including Boyce, Bach, Handel and Corelli as well as some less well know composers such as Veracini, Krieger, Leclair and Finger.

For non-members, tickets on the door will be a modest £2 for the evening.

7.30 on Monday 29th February at the rear of the Guide’s Centre.  Details of how to find us is on the ‘Find us’ tab.  Parking is easy and free.  We look forward to seeing you.  Space is limited so please arrive in good time.

Bernstein: musical polymath

bernstein
Leonard Bernstein

Leonard Bernstein had many talents and at the last meeting of the Society three of them were on vivid display in a presentation by Alan Forshaw.  First was his ability as a pianist was shown in a recording, made in 1946, of Ravel’s Concerto for Piano and Orchestra from which we heard the first movement.  It is no surprise Bernstein liked this piece with its strong jazz influences and powerful rhythms.  We also heard him play one of his own compositions, Seven Anniversaries recorded in 1947.

His second great skill was as a conductor for which he was in great demand.  He was the principal conductor for the New York Philharmonic Orchestra for many years.  Examples we heard included the second movement from Shostakovich’s Piano Concerto No. 2 with the NYPO with Bernstein conducting from the keyboard and also the Adagietto from Mahler’s 5th Symphony.

He was an accomplished composer in a wide range of genres.  Few may of heard of his Clarinet Sonata for example, his first composition.  More familiar perhaps is his Symphony No. 1 from which we heard the second movement with its strong rhythms and echoes of Stravinsky.  We also heard part of his Symphony No. 2 for Piano and Orchestra both recordings with the NYPO.

He was a composer of operas and first was Trouble in Tahiti – an opera in seven scenes – from which we heard scene 2.  Candide did not achieve critical acclaim unfortunately and had to wait two decades before it found a place in the repertoire again.  West Side Story is undoubtedly his most successful work, loved the world over and was made into a film.  Two extracts were played: Tonight performed by Jose Carreras and Kiri Te Kanawa, and Somewhere, in a performance conducted by Bernstein himself.

Alan explained that Bernstein was the son of a Ukrainian immigrant and it is perhaps worth reflecting on the enormous contribution east European and Russian immigrants made to the life of the United States.  Not just musicians, but scientists, writers, mathematicians and in many other areas of cultural life.  As the UK is struggling with the ‘threat’ of immigrants fleeing Syria and other war torn areas, it is worth remembering on the benefits that they can bring, as Bernstein did to the USA and musical life generally.

This was an accomplished presentation which gave an insight into the range of talents Bernstein had and the musical legacy he has left behind. A musical polymath indeed.

 

 

 

 

Bright, shiny and new

Wine merchants often say that particular wines needed ‘careful selection’ especially after a poor harvest and these words came to mind after last night’s presentation of new music by Peter Horwood.  Some modern music is difficult to take to especially if melody, harmony and structure have all been abandoned in the name of some kind of ‘ism.  Under the title of Bright, shiny and new, Peter had selected works composed this century and what a fine selection it was.  With perhaps a few notable exceptions, many of the composers were unfamiliar and their pieces for the most part unheard.

He focused on works which were approachable starting with extracts from Flight by Oliver Davis, a violin concerto composed in 2012.  Davis only graduated in 1994 yet has many pieces to his name.  This is definitely a composer to look out for and the concerto was melodic and definitely ‘approachable’.

Philip glassThis was followed by three pieces by Philip Glass: first piano etude No. 17 which was more lyrical than we have come to expect from this composer; the third movement of his Symphony No. 10 which had rhythmic brass and a march like theme and thirdly, the second movement of Symphony No. 10 which had a magical feel to it.  It is easy to be put off by some of Glass’s music but this selection was certainly a ‘way in’ to this composer.

We moved on to Kenneth Fuch’s string quartet No. 5 called the American.  This was followed by James MacMillan’s Tu es Petrus  (no, not the wine!) from his percussion concerto with plainchant (sounds odd described thus but it does work) premiered in 2010 which has been performed in Westminster Cathedral.  We also heard his more modest O Radiant Dawn from his Strathclyde motet.

On to the Baltic next and a piece by he Finnish composer Rautavaala, born in 1928, called Incantations – a percussion concerto – and the extract we heard had a xylophone accompanied by a string ensemble.  He has written eight symphonies and is described as a ‘neo-romantic’.

Valentyn Sylvestrov
Valentyn Sylvestrov

The Ukrainian composer Valentyn Sylvestrov contributed some pieces next, first Bagatelles Nos. 1 -3 and then, Waltz of the Hours.  Sylvestrov was one of those who struggled under the yolk of ‘Soviet Realism’ but has lived to tell the tale.  Parts of his work were reminiscent of Mahler.

Finally, two pieces by Pêteris Vasks: the first movement from his Cello Concerto No. 2 composed in 2015 and started with a long solo section followed by the orchestra and this was followed by Viatore – a tribute to the Finnish composer Avo Pärt. Vasts had to leave Latvia during the Soviet era as he was a Baptist and had to finish his training in Lithuania.

… well not quite final because we had a brief extract from the music to Pirates of the Caribbean composed by Hans Zimmer. 

This was a particularly enjoyable evening and one of discoveries.  That the speaker was able to come up with nearly two hours of approachable music composed in this century was an achievement.

Next meeting on 15th and is of Bernstein