Category: Group news

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. 

New season kicks off at the end of the month

The new season kicks off at the end of this month with Ed Tinline playing music by

Sibelius
Sibelius

Sibelius.  This is on 21st  September at the usual time of 7.30.  Ed is currently researching his presentation and where else but Finland itself at the 150th anniversary festival?

Copies of the programme are to be found in the Collector’s Room in Endless St; Oxfam upstairs; the Tourism Information Centre and the Library.  You can also download it here:

2015 16 programme

Don’t forget you can see us on Twitter now and you can find us at @salisburyai.

On a sad note, members will be sorry to hear of the death of David Phillips who passed away on 25th of August after a short illness.  David was a loyal member for many years although he wasn’t able to attend recently.  Our thoughts are with his family.

Hope to see you on 21st.

#Programme for 2015/16 now being finalised

Members and supporters might like early sight of the new provisonal programme for 2015/16.  We have continued the recent innovation of having a live performance even though we are called the ‘recorded’ music society.  We have some speakers who are familiar as well as some new faces so there should be plenty to interest music lovers.  You will find the pdf version clearer for technical reasons.

2015 16 programme (pdf)

Date Speaker and title
2015
September 21 Ed Tinline.  Music from Sibelius 150th Anniversary Festival, Lahti, Finland
October 5 Barry Conaway.  ‘1911 – new music of a sunset year’ including Delius, Elgar, Mahler and Sibelius
October 19 Peter Curbishley  ‘… but I don’t like modern music’.  Music by Schoenberg, Shostakovich and other ‘moderns’
November 2 Christopher Guild.  ‘The music of Roland Center (1913 – 1973) and the influence of Britten, Shostakovich, Ravel and Vaughan Williams on his work’ (provisional title)
November 16 Alastair Aberdare.  ‘A Berlioz Miscellany’.  Lord Aberdare is a member of the Berlioz Society
November 30 Members’ Evening
2016  
February 1 TBA
February 29 A Baroque Evening.  David Morgan, Sue Wyatt, Sally Reid and David Davies will bring their baroque instruments to give a live performance, including music by Corelli, Gottfried Finger and Handel
March 14 Anthony Powell.  ‘A personal musical journey – 60 years of discovery, including works by Beethoven, Mahler, Vaughan Williams, Britten and Butterworth
April 4 Robin Lim.  Title to be confirmed
April 18 TBA
May 9 Members’ evening
May 23 Jon Hampton.  ‘The art of the arranger’.  To include works by Boccherini, arranged by Berio, Bach by Elgar and Schubert by Britten

Please note that some elements may change so it is always worth coming to this site to get the up to date position.  We are always looking for new presenters and if you would like to volunteer that would be appreciated.  If you are nervous about being on your feet then someone else can do the presentation for you if you prefer.  We look forward to seeing you in the autumn.

Shostakovich
Shostakovich

Sad news

It is with great sadness that we have to record the death on Sunday of Ron Seaman.  Ron was born in Bristol in 1933 and pursued a career as an accountant.  He was one of the founder members of the Society and has been a loyal supporter for all that time.  Recently he was the treasurer and was once the chair.  Ron had made a number of presentations the most recent being on Pietro Mascagni in April.  His unfailing courtesy and quiet wit will be greatly missed.  Our thoughts are with Jan.  Funeral was on 17th.

Final meeting of the season takes place on 1 June

The final meeting of the season takes place on 1 June at the usual place and usual time.  It is a change to the programme and will be a presentation by Ian Lance entitled ‘A critic’s choice, 2014’.

This has been an interesting year and members have heard a range of unusual pieces, some by rarely heard composers and some lesser played works by famous composers.  The new programme is in preparation and will be available later in the summer.  If you have any ideas for inclusion in the programme, or you know of someone who could present something, we would be delighted to hear from you.

Pietro Mascagni

The last meeting of the Society took place on Monday 20 April.  It focused on the Italian composer Pietro Mascagni.  He was the son of a baker in Lavorno and studied at the Milan Academy. He lived from 1863 to 1945 and in the 1930s and during World War II worked reluctantly, and with difficulty, under Mussolini’s fascist regime.  He wrote 15 operas and one operetta.

mascagniIn England we tend to remember him only for his one-act opera Cavalleria Rusticana, the piece that made him famous overnight and gave him financial security for the rest of his life.  At its first performance it received no less than 60 curtain calls.  In his native Italy and elsewhere in Europe his works are better remembered and the presenter Ron Seaman played us some examples.  He was seen as the heir to Verdi but as time went on, it was Puccini who wore that mantle.  Among the pieces played were Mein ester Walzer, my first waltz; the Apotheosis of the Stork; and the ballet music for Fiori del Brabante.  We also heard extracts from Cavalleria including the final scene; Intermezzo and the Easter Hymn.  We also heard extracts from his last opera Nerone.

He is a composer who made it big early in his life and yet did not quite follow it up as he matured.  Listening to the range of his work it was perhaps surprising that he never composed film scores as some of his compositions, which had strong melodic lines, could have been adapted.

It was interesting to hear some works not often performed to gain a wider perspective of this composer.

Continue reading “Pietro Mascagni”

Nino Rota

nino rota 2
Nino Rota

The last meeting of the Society was a presentation by Robin Lim of the music of Nino Rota.  He was born in 1911 in Milan and showed early musical talent with an oratorio composed when he was 12.  He followed this up with a cello concerto aged 14 and a musical career clearly beckoned.  After early training in Italy he came to the notice of Arturo Toscanini in America who arranged for him to further his training in Philadelphia.  Whether it was the influence of his dominant mother or for other reasons, he did not finish his training there but returned instead to Milan.

Robin played examples of his compositions which included: a Clarinet Sonata; the overture; Il Cappellodi Paglia di Firenze; Concerto Soiree and excerpts from Il Gattopardo.  All the music had strong rhythm and some good melodic interest but perhaps a problem was a lack of a clear ‘voice’ of the composer.  One kept hearing echoes of other composers such as Neilsen, Dvorak and even Bruckner.  Indeed he was criticised by critics for this but of course ‘borrowing’ themes from other composers is not unknown even by the greats.

It was to film music where he found a degree of fame and success.  An early composition was the score for the Glass Mountain and we saw and heard an excerpt from the film.  Others included Juliet of the Spirits; 8 1/2 and La Dolce Vita.  Altogether, he wrote some 150 film scores.  But the one which will bring him immortality and the music just about everyone can whistle or hum the main theme to, is the score to the Godfather series.  It was the highest grossing film of all time.  Amazingly, he did not get an Oscar for the score but after an outcry, he did get it for Godfather II but did not attend the ceremony to receive it.   

It was an interesting evening and showed again the difficulty of making the leap from prodigy to an established artist.  There are so many who show early precocity but developing that to become an original composer (or artist or author) can be the hardest thing.