New season kicks off

The new season of the Recorded Music Society kicked off with a flying start with a presentation by Tony Powell entitled One Composer’s journey into silence and then resignation.  He was of course referring to Beethoven who, as is well known, became progressively deaf starting at quite a young age in his 20’s.  By 1816 he had lost nearly all his hearing and visitors had to write down what they wanted to say.

This clearly had a traumatic effect on his musical life.  He was a fine pianist and conductor so he was no longer able to do these things.  Even though the music was in his imagination, not to be able to hear what he had composed was a heavy burden to bear.

Tony attempted to take us through his musical life, starting with the youthful compositions and ending with some of the last completed pieces.  It might be tempting to use the major pieces – the symphonies or concertos for example – but instead he chose the smaller scaled compositions: piano trios; ‘cello sonatas; string quartets and piano sonatas.  These are often give a truer insight into a composer’s ‘soul’ if you will, and are harder to compose.  Some may be surprised at this but even composers like Mozart, who could dash off pieces seemingly at will, found the shorter forms harder to complete sometimes taking months.

The big change in the piano trios Tony explained, between Beethoven and the earlier composers, was the role played by the other two instruments.  With Haydn, they were in support of the piano, in the Beethoven’s work, they played an equal role.  This was particularly evident with Op 1 in G Major composed in 1795 when he was in his 20’s.

The style changed and in Op 70 No 2 composed in 1808 we see a greater intensity.  Events in Europe would no doubt had a role to play, in particular the French Revolution and the increase in enlightenment thinking.

He only wrote 5 ‘cello sonatas and we heard extracts from Op 5; Op 69 and Op 102, again a spread through his lifetime showing stylistic changes between 1797 and 1815.

Next to the string quartets and if you were not a Beethoven scholar and heard string quartet No 6 in B flat Op 18, you might be forgiven in thinking it was a piece by Haydn.  The jaunty theme and structure of the quartet typical of that composer.  You would not make that mistake with the last completed quartet (by Beethoven) No 16 Op 135 composed in 1826 the year before he died.

The piano sonatas were a compositional form Beethoven was most comfortable with, possibly because of his piano playing background.  We heard extracts from three: No 1; No 23 (Appassionata) and No 32.  The increase in intensity and complexity was most marked.

This was a most interesting presentation, showing the changing style of Beethoven’s work over his life.  No doubt events in his life – revolution, the Napoleonic wars for example played their part – but his retreat into an inner life would also have been a powerful influence.

Peter Curbishley


Next meeting 1 October at 7:30 as usual

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New season starting!

TONIGHT!

The new season kicks off on Monday 17th at 7:30 as usual and at the usual place.  You can access the programme here:

programme 1819

Hope to see you!

End of season meeting

New style for our final meeting

The final meeting of the current season of Salisbury Recorded Music Society will be held, tonight, Monday 4th June 2018 at 7.30pm in the usual venue.  The evening will be in the form of a concert, for which Paul Goldman has assembled three historic recordings:

– Bellini: “Norma” Sinfonia/Overture. Vittorio Gui conducting the Orchestra EIAR, Turin, 1937

– Elgar: Cello Concerto. Beatrice Harrison with Elgar conducting The New Symphony Orchestra, London, 1928

– Beethoven: Symphony No 7. Bruno Walter conducting the Columbia Symphony Orchestra, New York, 1969

We hope to see you on Monday and that you will enjoy this rather different style of evening to conclude our 2017-18 season.

June concert

Notice of the June meeting on 4th

The June meeting will be a little different from normal and will be in the form of a concert of three works;

  • Bellini – “ Norma” Sinfonia/Overture – Vittorio Gui conducting the Orchestra EIAR, Turin, 1937 -Historic recording
  • Elgar Cello Concerto, Beatrice Harrison with Elgar conducting The New Symphony Orchestra, London, 1928 – Historic recording
  • Beethoven Symphony No 7 Bruno Walter conducting the Columbia Symphony Orchestra, New York, 1969 – Historic recording.

Normal place and normal time with easy parking.  If you don’t know where we are go to the ‘Find us’ tab on the home page where there is a map and a postcode.  Only £3 for non-members

Second half of the season kicks off soon

The second half of the season starts tonight, Monday 5 February and we are delighted to welcome Simon Coombs from the Vaughan Williams Society who is going to discuss and play music by this great English composer.  Starts at 7:30 as usual and is only £3 to non-members.  Parking is easy and free and details of how to find us are on the ‘Find us’ tab at the top of the site.

We look forward to welcoming existing members back also any new visitors.

Pupils of famous composers

Who was this composer’s teacher?

Many composers taught pupils in a kind of apprenticeship scheme.  Composers often needed the money and no doubt the son or daughter of a wealthy family brought in a useful income.  Some pupils went on to have promising careers – others did not have sufficient talent to succeed.

In last night’s meeting Alan Forshaw played pieces by a variety of composers and asked us to guess who had been their teacher.  A combination of style, dates and where they lived or studied gave us a clue in some cases, especially the earlier ones, but it became steadily more difficult as we approached modern times.  Once again in a Society evening, we heard examples of music by long forgotten composers who’s music is worthy of a hearing.  Many were prolific in their day turning out operas, symphonies and concertos by the dozen.  The pieces we heard were:

  • a piano sonata in C by Johann Muthel a pupil of JS Bach
  • the Adagio from the Symphonie Concertante in A by Ignaz Pleyel, who’s name survives on pianos and music scores.  He wrote 41 symphonies. He was taught by Haydn and his influence was audible
  • Thomas Attwood (pictured) studied in Vienna under Mozart and his remains are buried in St Pauls.  We heard his Rondo from a Trio fo
    Thomas Attwood

    r Piano, Violin and ‘cello

  • this was followed by a Fantasia by Steven Storace who was born in London and also studied in Vienna
  • Carl Czerny is slightly better known and was a pupil of Beethoven.  The master’s influence could clearly be heard in his Theme and Variations for Horn and Piano
  • another pupil of Beethoven was Ferdinand Reis, a native of Bonn (a clue) and his Rondo from a Piano Concerto in C# minor showed a lot of talent
  • Franz Liszt needs no introduction and was a pupil of Czerny in Vienna.  We heard his Hungarian Rhapsody No 13
  • the immensely talented but almost unknown Carl Filtsch from Romania led Liszt to say when he heard him play, he would give up performing.  Tragically, he died in his teens but his Impromptu in Gb Major showed what a loss he was to music
  • another pupil of Czerny was Thomas Tellefsen from Norway who also studied in Paris.  Waltz in Db Major
  • Valsa Caprichosa from 3 Portuguese Scenes was composed by a pupil of Liszt, Jose Vianna da Motta who was born on the island of Sao Tome off the coast of Africa
  • Carl Reinecke has almost disappeared from view and is rarely heard today.  His Finale from Wind Octet in Bb Major was a delight
  • Gabriel Fauré needs no introduction who was a pupil of  Charles-Camille Saint-Saëns.  We heard the famous Paradisum from the Requiem
  • Someone less famous, or even unheard of, is Eugene Gigout also from France who studied in Paris under Saint-Saëns.  His Toccata in B Minor is exciting and worth listening to.  He was a famous organist in his day (born 1844)
  • Josef Suk was part of a large musical family and studied under Antonín Dvořák famous for his Symphony from the New World.  Suk does sometimes make it onto present day concerts and last night we heard the Andante from the Serenade for Strings Opus 6, a fine piece
  • Glazunov was a pupil of  Rimsky-Korsakov and studied in St Petersburg.  A prolific composer and we heard the preamble from Scenes de Ballet
  • another pupil of Rimsky-Korsakov was Igor Stravinsky one of the composers who had an enormous influence over the course of 20th century musical history and famous for his ballets.  His Piano Sonata No 2 was special and well worth a listen if you can
  • the Australian Percy Grainger had several teachers and studied in Berlin and elsewhere.  We heard the extraordinary Zanzibar Boat Song – six hands on one piano
  • Busoni was the teacher of Frederick Loewe famous for his musicals with Alan Lerner and it was The Rain In Spain from My Fair Lady we heard to illustrate his talent
  • Lennox Berkeley was a pupil of the enigmatic Maurice Ravel who’s influence could just be heard in Polka Opus 5a

    Vaughan Williams
  • Finally, another pupil of Ravel was Vaughan Williams (and we will be hearing more of him later in the season with a talk from the Vaughan Williams Society coming).  We heard part of March ‘Seventeen Come Sunday from the Folk Song suite (1924)

Alan had put in a lot of work to track down some of the more obscure pieces especially in the first half which made it an interesting and worthwhile evening.

Peter Curbishley


Next meeting on 30 October