The next meeting of the Society – the penultimate – is on May 9th and is a members’ evening. This is where individual members can suggest pieces which can be played with or without an introduction by them as they wish. It is usually and enjoyable evening, eclectic of course and everyone’s choice is different. Usual place, usual time.
New members are welcome and the entry is a modest £2 to help us defray costs.
We look forward to seeing you.
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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.
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
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.
David Davies and friends performed live for the Society on Monday and their programme was as follows:
Yes, we are the ‘recorded’ music society but this is an exception. Members will recall a 
previous 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.
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’.
This 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’.
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
The Society will meet again for the first time in 2016 tonight Monday February 1st at 7.30 pm in the usual place. The presentation will be by Peter Horwood and the title is Bright, Shiny and New. This will be a selection of 21st Century composers who are approachable and stimulating. It will include pieces by Philip Glass (pictured); Valentine Silvestrov; Peteris Vasks; Oliver Davis; Kenneth Fuchs; James Macmillan and Einojuhani Rautavaara.
If you want to know where we meet, details are in the ‘Find us’ tab on the Home page. There is easy parking. New members very welcome.
Last night the Society was pleased to welcome Alastair Aberdare, Chair of the 
Berlioz Society who presented what he calls a Berlioz Miscellany. This was an illustrated presentation with portraits and photographs of the composer and scenes from his operas.
Most of the music played was by British conductors for example, Sir Roger Norrington; the late Sir Colin Davies and John Eliot Gardiner. It these conductors, along with others in the past such as Sir Thomas Beecham, who have done much to popularise this composer and expand the repertoire of recorded compositions. It is also noteworthy that the finest biography is by the Society’s president, David Cairns.
Alastair said there were two key facts about Berlioz: one is the creation of mood by using different orchestrations and the second is that he is always ‘telling a story’. In addition to being a fine composer, Berlioz wrote several books including Evenings in the Orchestra and a treatise on orchestration. He was also a journalist and some of his pieces are being made available on the Berlioz website
The first piece was the youthful overture Les Francs-Juges which older readers will recall was used in the BBC programme Face to Face. The second piece was a wistful melody le Jeune Pâtre Breton. For some who still see this composer as someone writing for big forces, the delicacy of his songs can be a surprise.
Next was the Marche funèbre pour la dernièr scène d’Hamlet. Berlioz was captivated by Shakespeare and wrote several pieces based on his works most famously, Romeo and Juliet. This was followed by La Course l’abîme from La Damnation de Faust a work which failed to appeal when it was first introduced and the negative reaction greatly disappointed the composer.
This was followed by the Pantomime scene from his great work Les Troyens which Berlioz never heard in its complete form and was pronounced unperformable for many years. The Duo Nocturne from Beatrice and Bénédict followed which was based on another of Shakespeare’s plays Much Ado About Nothing. Back to the songs with a performance by Dame Janet Baker of Spectre de la Rose from the charming song cycle Les nuits d’été and there was just time to hear a movement from Te Deum.
An excellent evening.
In two weeks it’s the members’ evening starting at 7.30 as normal on 30 November.
The next meeting is tonight, 2 November, and will concentrate on the music of Ronald Stevenson. A prolific composer of around 500 works, he was born in Blackburn in 1928 and died in Scotland in 2015. He was a pianist/composer in the manner of Liszt and Busoni. Christopher Guild will be presenting and he will play works transcribed by Stevenson composed by Percy Grainger, Busoni and the Scottish composer Ronald Centre. 7.30 as usual.
We are saddened to report the death of Vic Riches who died following a heart attack. Vic was a stalwart of the Society and was one of the founder members in 2002. He moved to Chichester about two years ago but last returned to present an evening in 2014. He will be sadly missed.
The next meeting of the Society is on Monday 5 October – usual time, usual place. It is entitled 1911 – New music of a sunset year and will be given by Barry Conaway. It will include music by Mahler, Delius, Sibelius, Elgar and Nielsen. We look forward to seeing you there.
Salisbury Recorded Music Society 