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Concert programme - Salisbury Symphony Orchestra

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Concert programme - Salisbury Symphony Orchestra Powered By Docstoc
					Salisbury                               Salisbury City Hall
                                                  th
                                       Saturday 24 November
Symphony                                   2007 at 7:30pm
Orchestra                                           Established 1917 –
                                         formerly the Salisbury Orchestral Society

                          President: Dr Richard Seal
                         Vice President: Mr Graham Daniels


                                       90th Anniversary
                                       of the Salisbury
                                     Symphony Orchestra
                                   Nicholas Walker – Piano
                                      David Halls – Conductor
                                       Rosamund Bromley – Leader

Beethoven....................... Prometheus Overture
Beethoven....................... Piano Concerto No 5 “Emperor”
                        INTERVAL of 20 minutes

Bax................................... Symphony No.6
                   with support from The Sir Arnold Bax Trust


Please switch off all mobile phones during the concert –
thank you!

The Salisbury Symphony Orchestra is most grateful to
its patrons, stewards and programme sellers.
The Orchestra is affiliated to Making Music, which
represents and supports amateur vocal, instrumental
and promoting societies throughout the UK.

                   www.SalisburyS ym phonyOrchestra.org.uk
                               ~ Programme Notes ~

PROMETHEUS OVERTURE (OP.43)                          Ludwig van Beethoven
                                                               (1770-1827)

This overture arose out of Beethoven's
first major involvement with the Theatre.
He was invited to collaborate with the
celebrated ballet master Salvatore Vigano
to provide music for the ballet The Men of
Prometheus. The story is a variant of the
classical one in which Prometheus makes
a man and a woman from clay and then
has to steal fire from heaven to animate
them, Zeus having refused to give them
any. The creatures, however, have no
powers of reasoning or feeling, and
Prometheus is minded to destroy them
but is restrained by the gods; so he takes
them along to the Parnassus, where
Apollo introduces them to music. This
does the trick: they develop feeling and
reasoning faculties and a sensitivity to
nature and the arts generally and the ballet ends with dances which, albeit
solemn, indicate that everybody proceeds to live happily ever after.
Fanciful suggestions are often made on programmatic lines – e.g., that
Beethoven was attempting to encapsulate in the Overture the whole of the
story just related. What is far more interesting is that this, his first overture, is
an epitome of classical form and style, glancing as it were backward to
Mozart and forward to Schubert. Chronologically, it stands between the First
and Second Symphonies (it was written in 1801, just a year after the First).
The Mozartian influence is obvious; after the Adagio introduction the Allegro
which follows is very reminiscent of, for example, the Marriage of Figaro
Overture.

PIANO CONCERTO NO.5 IN E FLAT                        Ludwig van Beethoven
“EMPEROR” OP.73                                                (1770-1827)

 I. Allegro
II. Adagio un poco mosso
III. Rondo: Allegro
The nickname "Emperor" was not given to this piece by Beethoven himself
and is only known as such in the English-speaking world. Moreover, the
nickname would doubtless have angered Beethoven, a republican who had
angrily removed the dedication of his 3rd Symphony to Napoleon, replacing
it with the title "Eroica", because his hero had crowned himself Emperor.
The nickname was first applied by the composer and pianomaker, JB
Cramer, because of the concerto's majestic nature. As Hans Keller asserted,
the nickname identifies the piece amongst music lovers for whom Opus
numbers and keys are boring, mystifying and confusing.
The 5th Concerto might have been called the 'Archduke', like the wonderful
piano trio of that name, for it was publicly dedicated "To His Imperial
Majesty, Archduke Rudolf", pupil and patron of Beethoven. At the time of
composition, Rudolf was generously contributing to an annuity for
Beethoven. Hans Keller said that "it successfully combines the un-
combinable: a concerto at its most concerto-like and a large-scale symphony
at its most symphonic" and suggests that a better name would be "Concerto
Symphony".
Unfortunately Beethoven's hearing had deteriorated too severely to allow
him to give the first performance. This job was entrusted to Carl Czerny and
took place in Vienna during February 1812. Unfortunately, its length and
formal innovations won it a poor reception and it was performed only once
more (again by Czerny) in the composer's lifetime.
Beethoven sets the piano ringing in our ears at the outset of the first
movement with three impressive rhetorical passages following orchestral
chords. The normal roles of orchestra and soloist are reversed, as here the
latter lays down the red carpet for the former. The ensuing orchestral tutti
presents the confident, gloriously uplifting and assertive melody we know so
well. Its extension and associated themes uncannily suggest that they are all
logically connected. Soon they are handed over to the soloist and orchestra
for treatment, as each takes the role of dominant partner in turn through the
ever-developing progress of the movement. Before the recapitulation there
is a repeat of the opening pianistic flourishes and near the end there is no
place for the conventional improvised cadenza, only for a short, gentle,
linking passage in the piano's treble register.
The adagio melody is a prayer-like song first sung by the orchestra's strings
with a subsequent meditative commentary from the piano. At the end, there
is a quiet anticipation of the coming rondo following a magical key change.
The rondo is in a galloping rhythm and communicates a sense of
tremendous fun.
Beethoven programme notes supplied through the notes bank of Making Music.

                        INTERVAL of 20 minutes
SYMPHONY NO. 6 (1935)                                    Sir Arnold Bax
                                                             (1883-1953)

 I. Moderato – Allegro con fuoco
II. Lento, molto espressivo
III. Introduction (Lento moderato) – Scherzo and Trio (Allegro vivace –
     Andante semplice) – Epilogue (Lento)


Arnold       Bax’s     seven
symphonies were written
between 1922 and 1938 and
for a short time in the early
1930s he was regarded as
the       leading      British
symphonist. However over a
couple of years in the mid
1930s the appearance of
Walton’s First Symphony
and Vaughan Williams’s
Fourth (which was dedicated
to Bax) were the signals that
Bax had been supplanted.
The Sixth Symphony was
first sketched as a viola
sonata, the sketches soon
incorporated      into     the
symphony’s slow movement,
and it was written at Morar,
Invernessshire during the
winter       of      1934-35.
Orchestrated and printed
later in 1935 it was first performed at London’s Queen’s Hall on 21
November 1935 when the London Philharmonic Orchestra was conducted
by Sir Hamilton Harty. One critic described the performance as ‘glowing and
extremely effective’ and Bax himself was ecstatic about it, writing to Harty,
‘you realized everything I wanted and indeed took some of it into a world of
beauty I did not know the work compassed’. Bax first dedicated the score to
the Polish composer Karol Szymanowski, but in September 1935 he
changed this to the conductor Adrian Boult, champion of many of Bax’s
orchestral works.
In the Sixth Symphony, which many consider to be his finest symphony, and
which is certainly the climax of the music written by Bax in the 1930s, he
returns to the theme of The Tale the Pine-Trees Knew in a thrillingly
successful essay in relentless nature-music, which constitutes the main
section of the first movement. The opening with its ostinato bass and
grinding wind chords is unlike anything else Bax wrote. After the grim
opening we are presented with a wild landscape which is finally assaulted by
a violent and spectacular musical storm. In this symphony we are in the far
north, possibly even in Morar where much of it was written. (Certainly Bax is
reported as identifying a passage in the slow movement as deriving from a
view of the islands across the wintry sea.) This is a more primaeval, primitive
vision than that in any of his earlier symphonies, Bax’s mood in it perhaps
underlining his feelings about approaching old age.
The slow movement is beautifully lyrical with typically simple yet haunting
melodic ideas, and with the device of the ‘Scotch snap’ to remind us that
Scotland is its location. After one of the composer’s most succinct first
movements and evocative slow ones comes his most original finale, having
almost the stature of a separate work. Perhaps its most original feature is
the tripartite form: Introduction – Scherzo and Trio – Epilogue. The
movement is derived from the opening clarinet solo; around this the other
winds gradually entwine, a conception reminiscent of the opening of the
Third Symphony. In this movement Bax alludes to the theme of Sibelius’s
Tapiola – though in a quite un-Sibelian way. He first makes passing
reference in the interweaving winds during the slow introduction, but the
main quotation is the subject of the passionate high string phrases that
follow the Trio.
The critic Peter J. Pirie encapsulated the power of this music when he wrote
how ‘the conflict at the heart of Bax finally explodes in his Sixth Symphony.
In no other work does the head-on collision between beauty and brutality
express itself more forcibly.’ The work culminates in a terrific climax; again
quoting Pirie, ‘the roots of the earth are being torn up, and we have a sense
not merely of the breaking of nations but of the passing of worlds’. This
seemingly unresolvable cataclysm is hauntingly brought into perspective by
the Epilogue. This luminous half-lit world still has a slight menace about it
until the last nine bars, when ethereal horns call over hushed chords on harp
and wind to bring Bax's tempestuous vision to a close. The Sixth Symphony
marked the very peak of Bax’s powers – a peak that he never regained.
Over the last twenty years of his life the urge to compose gradually left him
and he wrote less and less.
                                             Bax programme note by Lewis Foreman
NICHOLAS WALKER, acclaimed by the Evening Standard as "a prodigy, of
awesome technical fluency backed by exceptional artistry", studied at the Royal
Academy of Music and at the Moscow Conservatoire. Winner of the first Newport
International Piano Competition, he has performed with major British Orchestras,
recorded for BBC Radio3, Cirrus and BMG, and given recitals worldwide. The
first two discs of his recording of the complete Balakirev piano music for ASV
have received great critical acclaim, as has his recent live recording of the
Liapunov Sonata on Danacord; his own “Salvete Flores Martyrum”, a Millennium
commission from Godolphin School Choir, is available on VIF (VRCD027). He is
also preparing an edition of all Johann Baptist Cramer's piano concertos, the first
of which he played recently in the London Festival Orchestra's “Virtuoso Pianists”
series, and is planning a Balakirev Festival for 2010 to commemorate the
centenary of Balakirev's death. This season sees him giving three performances
in Bulgaria of the Balakirev piano concerto in E flat major in addition to several
concerts in Russia.
DAVID HALLS was born in 1963
and was taught the piano and cello
from the age of four. Whilst a pupil
at Harrogate Grammar School, he
was Assistant Organist at St.
Wilfrid's, Harrogate, studied the
organ with Ronald Perrin at Ripon
Cathedral and later with Thomas
Trotter in London.
David won an Organ Scholarship to
Worcester College, Oxford and
graduated in 1984 with an Honours
Degree in Music. He passed both
the Associate and Fellowship
Examinations of The Royal College
of Organists in the same year, being
awarded five prizes and the Silver
Medal      from    the   Worshipful
Company of Musicians. He studied
in Winchester for a post-graduate
Certificate in Education and was
Organ Scholar of Winchester Cathedral under the guidance of Martin Neary and
James Lancelot.
In September 1985 he was appointed Assistant Organist of Salisbury Cathedral
and Director of Music of Salisbury Cathedral School. In addition to his daily duties
in the cathedral, he has toured France, Holland, Sweden and the USA with the
cathedral choirs and has appeared as conductor, accompanist and soloist in
many concerts and recordings. In demand as a recitalist, he has recorded two
solo CDs on the Willis Organ in Salisbury Cathedral. He is also active as a
composer and has choral works published in the UK and USA. In September
2005 David was appointed Director of Music of Salisbury Cathedral.
He is a member of the Salisbury Diocesan Choral Festival Group and regularly
conducts the Diocesan Choir Festivals. David first guest conducted the Salisbury
Orchestral Society in November 1994 and was appointed full time conductor in
September 1995. He also conducts the Salisbury Musical Society.
ROSAMUND BROMLEY was born
on Jersey in the Channel Islands,
but spent her childhood in Kent.
She began violin lessons at 11
years of age – “I learned to please
my father. He was a pianist and
organist and wanted at least one of
his children to accompany.”
Rosamund studied at the Royal
Academy of Music. On leaving,
she      auditioned     for    the
Bournemouth             Symphony
Orchestra and there began a long
association, although she mainly
played with the Bournemouth
Sinfonietta.   The work involved
many foreign tours, recordings and
seven years with Glyndebourne
Touring Opera Company.
Rosamund was principle 2nd violin
for English Touring Opera for
several years and co-principle for
the Scottish Ballet Company for
ten years.
Rosamund has also played with
the City of Birmingham Symphony
Orchestra,      BBC       Northern
Symphony Orchestra, the Northern
Sinfonia and Covent Garden
amongst others. She has taught at
the Salisbury Cathedral School for over 16 years.
She is playing a violin by Benjamin Banks (1727-1795) on loan from Salisbury
District Council. Banks was one of England’s outstanding violin-makers in the
18th century. He worked in Catherine Street, Salisbury and is buried in St
Thomas’s churchyard, Salisbury.
                                     ~ Player Profiles ~
This is the fourth of a series of player profiles we are planning for inclusion in our concert
programmes. We hope you find them interesting.
                                       ~~~~~~~~~~~~
                                   BRIAN MOULD – VIOLA
I started violin lessons during secondary school
at St Thomas’s, and as an avid ‘Children’s
Hour’ fan recall the music sessions introduced
by Brahms’s hymn - like tune from the first
symphony. Radio played an important role in
my education, with ‘Grand Hotel’ and the
wonderful coverage of the classics by the
Proms. Later Edna Moore became my teacher.
She was then leader of the Salisbury Orchestral
Society and on achieving my grade eight I
auditioned for the orchestra around the mid-
1950’s. The conductor was John McN Milne
(BWS), Eileen Merry was the secretary, her
father Mr C P Merry, was our only double bass
player and teller of stories. Gordon Moody was
the percussionist. The orchestra rehearsed in
Church House, and performed in the Guildhall,
where the back desks had to limit their ‘con energico’ for fear of upsetting the balance, quite
literally, should they disappear off the edge of the makeshift stage.
At this time I worked in Chippenham and commuted weekly, so Friday SOS days were sacred.
I played with various occasional groups including some Wilts Rural Music School events at
Urchfont and Westbury. Bath was within reach where I was fortunate to see Menuhin and the
guitarist Segovia amongst others.
Through the 1950’s and 60’s I often went to the Downe House Summer Music Schools; the
chamber music courses were led by the Aeolian Quartet who introduced me to most of the
standard repertoire.
After changing jobs to IBM at Hursley, in 1968, I joined the Solent Sinfonia led by Joan
Schmeising, which after expanding its membership became the City of Southampton Orchestra.
During this period I married a lass from Lancashire and we produced two offspring, Elizabeth
and Alexander. The former has given us our first grandchild.
On retiring from IBM in 1993 I found much pleasure in teaching at home and in two schools.
One of the schools asked me to take two viola pupils, which I baulked at, but was persuaded by
the argument “either you do or they just won’t learn the viola”. Unable to contemplate such a
viola(tion) of musical justice, I did, and am most grateful to that hand of fate for launching me on
my viola experience; the instrument’s dark brown tones and harmony within the music are so
captivating.
When my wife and I decided to retire a second time I gave up the teaching and we moved to
Salisbury in November 2005. To my delight the SOS was still alive and well under the less
quaint title, the Salisbury Symphony Orchestra. To my relief they accepted the offer of a viola
player. Learning the viola clef and distinguishing it from the violin’s treble clef is still a challenge
to my grey cells, witness the tolerance of other viola players and David Halls; however, it is
more sociable than crosswords or sudoku. I still play both instruments in quartets.
Despite the new name, the SSO publicity notices still carry the distinctive green bands which
were our format in Eileen Merry’s day. Green is the appropriate colour for an orchestra that
recycles string players, thankfully.
                                   ~ Orchestra ~
1st Violins            Violas              Flutes               Horns
Rosamund Bromley       Martin Alford       Graham Daniels       Jonathan Cox
      (leader)         David Ashwin        Sharon Coates        Darrell Cox
Alan Bett              Polly Dickins       Cherie Richens       Fiona Ross
Kirsty Brown           David Morgan                             Ross Mallock
Colin Carnegy          Brian Mould         Piccolo              Patrick Jordan
David Curzon           Vanessa Murby       Cherie Richens       Emily Markham
Katrina Ellis          Hazel Priestley
Andrew Fisher          Gillian Riley                            Trumpets
Lizzie Lawson          Melanie Strachan    Oboes
                                           Sarah Cox            Neville Moody
Gordon Lewis           Chris Smithies                           Nick Briggs
Catherine Litherland   Aiden Fischer       Ros Wiseman
                                           Kim Horner           Marcus Adams
Lynn Menzies           Sue Wyatt
Edward Rippier
Norman Savage                              Cor Anglais          Trombones
                  ‘Cellos                                       Michael Lomas
John Shellabear   Claire Makin             Sarah Cox
Renee Tylers                                                    Michèle Lomas
                  Jane Parsons                                  Rob Priestley
                  John Cann                Clarinets
2nd Violins       Alison Larkham           Elizabeth Poppleton
Lyndy Bishop      Bryony Moody             Amanda Creese       Tuba
Philippa Baldwin  Michael Moorsom          Natalie Horner      Jonathan Hodgetts
Pat Corcoran      Fiona Murphy
Charles Dew-Jones Susan Newby                                   Harp
                                           Bass Clarinet
Jane Fry          Sally Reed                                    Katie Flanaghan
                                           Nigel Salmon
Rob Keylock
                                                                Timpani
Janet Lehoucka    Double Basses
                                           Bassoons             Graham Annetts
Jack Long         John Blake
Alisuin Pickvance Judy Ashwin              Helen Corlett
Sue Savage                                 Alex Raws            Percussion
                  Paul Gooderham
Rachel Stratton                                                 Daniel Cook
                  Adrian Osman
Lindsay West                               Contrabassoon        Peter Grove
                  Jo White
Nigel Wyatt                                Graham Horner        Miriam Cook




 The Orchestra appreciates the help and advice given by the Wiltshire Performing Arts
 Library in securing orchestral music from all parts of the country.
                      ~ Patrons (up to time of printing) ~
 Mrs E. Albrow                Miss P.M. Ford-Young        Mr C.B.M. Reed
 Mr & Mrs D.S. Bament         Mr R. Freeman               Dr F.M. Ross
 Dr A. Bebbington             Mrs M. Fulker               Drs R. & S. Seal
 Mr & Mrs R. Bexon            Mr R. Godwin                Miss J.R. Sharman
 Mrs B. Binns                 Mrs A. Gradidge             Mr & Mrs J.R. Shore
 Rev H.L Blenkin              Dr & Mrs P. Grandison       Miss J.M. Skelton
 Miss M.A. Bodey              Mrs S. Hall                 Mrs J. Smith
 Miss J.M. Bowen              Mr & Mrs W.J. Halls         Miss F.A. Snelling
 Miss J.M. Brown              Mrs A. Harries              Mr D.A. Stephenson
 Mr J. Cann                   Mrs Margaret Hart           Lady Stewart
 Mr & Mrs J. E. Carvell       Mrs D. Hinxman              Dr T. Tyler
 Mr W.J. Collins              Mrs S. Locke                Miss I.M. Walby
 Rev Prof & Mrs P. Curzen     Mr J.B.D. Lovell            Dr & Mrs B.L. Waldman
 Mr & Mrs C.G. Daniels        Mr B. Makin                 Mr & Mrs B.H.J. Webster
 Mr & Mrs J.A. Dickson        Mrs O. Moody                Mr R. Wharton
 Mrs J.M.E. Fletcher          Mrs G.M. Pattle

The orchestra would welcome new patrons. If you would like to support our
work, please contact Mrs Polly Dickins (see back page for contact details)
Patrons receive the right to attend orchestral rehearsals and meetings.


Eileen Merry Memorial Fund
Between 1948 and 1994, the Salisbury
Orchestral Society’s administration was in the
hands of Eileen Merry, who served as secretary
for 46 years. Even after she gave up as an
active strings player, Eileen continued to run the
orchestra’s affairs almost single-handed.
She bequeathed a generous sum of money to
the orchestra in her will, to which the profits of a
concert in March 2002, held in her memory,
were added. This fund is now known as the
Eileen Merry Memorial Fund and is administered
by the orchestra’s committee to disperse the
annual interest to young people in need of
financial help in their musical activities. The
latest recipient is Eve Ridgeway who will be
using it towards piano lessons.
Salisbury
Symphony                            ~ Forthcoming Concerts ~
Orchestra                       formerl y the Salisbur y Orchestral Society

Saturday 8th March 2008 at 7:30 pm City Hall, Salisbury
Wagner - Rienzi Overture
                                                   We enjoy the music of three of the
Bach - Orchestral Suite no. 2                      greatest German composers. The
            Sally Stocks - flute                   thrilling overture by Wagner, a
                                                   classic by Bach and the glorious
Brahms - Symphony No.3 in F major                  third symphony of Brahms.


Saturday 5th July 2008 at 7:30 pm                 SALISBURY CATHEDRAL
Vaughan Williams -
                                                   Special anniversary concert with




                                                                                         Rosamund Bromley – Leader
           Toward the Unknown Region               the Salisbury Musical Society and
           Tallis Fantasia                         in collaboration with the Vaughan
                                                   Williams Society commemorating
           Serenade to Music                       50 years since the great British
           Pilgrim’s Journey Cantata               composer’s death.


Saturday 22nd November 2008 at 7:30 pm City Hall, Salisbury
                                                   In this concert we undertake a
Weber - Der Freischütz Overture
                                                   journey from the forests of
Sibelius - Violin Concerto in D Major              Germany, via Finland to the plains
Borodin - Symphony No.2 in B Minor                 of Russia through some of the
                                                   most memorable music ever written
                                                   after which you are bound to head
                                                   home humming!

        For the latest information on the orchestra, visit our website at:
              www.SalisburySymphonyOrchestra.org.uk
                   Chairman: Ross Mallock; Treasurer: David Curzon;
                Assistant Secretary: Fiona Ross; Librarian: Darrell Cox;
  Publicity Officer: Jonathan Hodgetts( jonathan@SalisburySymphonyOrchestra.org.uk)
 Contact – Secretary: Mrs Polly Dickins, Little Compton, Hindon Road, Tisbury, SP3 6QQ
         (Tel: 01747 870226; email: polly@SalisburySymphonyOrchestra.org.uk)
                            David Halls – Conductor

				
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