Programme: Mozart : Overture Magic Flute Mozart : Concerto for Flute and Harp Interval of twenty minutes Next Concert Saturday 11th July 2015 Cornbow Hall, Halesowen Debussy : Prelude a L'après-midi d'un faun Liszt : Hamlet Liszt : Les Preludes Landscapes & Places Smetana: Vltava from Ma Vlast Haydn: Cello Concerto No. 1 in C Sibelius: Finlandia Mendelssohn: Symphony No. 4 "Italian" Tickets and further information may be obtained by telephoning 0121 550 0956 Candida Bowtell (Harp) Andrea Perrett (Flute) The Halesowen Orchestra Thomas Jarvis (Conductor) Saturday 21st March 2015 at 7.30 pm Cornbow Hall, Halesowen Acknowledgements: Jill Withers Daphne Baker Leasowes School Cornbow Hall, Halesowen Birmingham Central Music Library Birmingham Conservatoire Library 8 1 The Halesowen Orchestra Andrea Perrett - Flute Andrea studied Music at The University College of Ripon and York St. John and at The Birmingham Conservatoire. She has played with many orchestras including Nottingham Symphony Orchestra and as a soloist has performed all over the country, and in Europe playing well known works like the Mozart Flute Concerto, Chaminade Concertino and the Telemann Triple Concerto. She now teaches at Belle Vue Primary School in Stourbridge and in her spare time regularly performs with orchestras and choirs in the West Midlands. Candida Bowtell - Harp Candy Bowtell took up the Harp at the age of 8. She achieved her performance diploma before leaving school, and went on to study maths and music at the University of Birmingham. She studies Harp with Catherine White at the Birmingham Conservatoire. Throughout her school years, Candy was a member of the International Harp Ensemble, touring Europe, and playing solos and ensemble works in many prestigious venues including the Barbican, the Royal Albert Hall, Albi Cathedral, and at the top of La Grande Arche in Paris. Presently, Candy is an active member of the University Orchestras, CBSO Youth, and the University of Birmingham New Music Ensemble, and has also been invited to play with various orchestras around the country, including Kent Sinfonia and Birmingham Philharmonic. Candy is also a keen percussionist, as well as a mathematician, where her interests lie in combinatorics, an area of pure maths. 2 Violin: Andrew Birdsall (leader) Logan Gregory (principal) Liz Cowley Peter Halldron Christabel Harper Laura Hill Audrey Jones Briony Mills Chloë Skinner Jenny Smith Claire Thompson Dawn Watson Maria-Angela Wells Mervyn Worsey Piccolo: Melody Morris Viola: Jane Clarke (principal) Trevor Collins Edmund Dunstan Alan Hughes Barbara Taylor Kathryn Swindells Bassoon: Jan Riley Jill Sparke Cello: Carolyn Fathers (principal) Nick Cooper Joyce Hodgetts Julia Mellor Joanna Statham Tracey Williams Flute: Sue Miles Sarah Gullick Trumpet: Shelley Collins Roy Burton Trombone: Kayleigh Byng Tony Miller Oboe: Julie Billingham Helen Wynne-Jones Michelle James (cor anglais) Clarinet: Debbie Lovatt Lorinda Mitchell Bass Trombone: Bernard Moses Tuba: Ben Jones Harp: Candida Bowtell Roisin Hickey Horn: Tom Fathers Sarah Gee Stephen Mayes Tim Overton Timpani: Matt Firkins Percussion: Ruth Williams Double Bass: Philip Worsley Chairman: Julie Billingham Treasurer: Edmund Dunstan Secretary: Shelley Collins Membership Secretary: Jenny Smith Tickets: Shelley Collins Publicity: Alan Hughes and Sue Miles Website: Andrew Birdsall Programme Editor: Trevor Collins 7 Liszt: Les Preludes Thomas Jarvis - Conductor Les Preludes, like many of Liszt’s works, did not reach its final form without undergoing many revisions and changes in style. The work began life in 1848 as an introduction to a choral work, The Four Elements, before undergoing many adaptions to finally become the Symphonic Poem, that we know today, in 1853. The title of the work is derived from a poem by the French poet, Alphonse de Lamartine, although Liszt admitted that the actual music bears little resemblance to the themes of war and peace in Lamartine’s poem. The term, Symphonic Poem, was first coined by Liszt himself in 1854 to refer to compositions with an accompanying extra-musical programme for the audience to read before the performance. This following is an extract from Liszt’s original notes to accompany the work. “What is our life but a series of preludes to that unknown song whose first solemn note is tolled by death? The enchanted dawn of every life is love. But where is the destiny on whose first delicious joys some storm does not break? ... And what soul thus cruelly bruised, when the tempest rolls away, seeks not to rest its memories in the pleasant calm of pastoral life? Yet man does not long permit himself to taste the kindly quiet that first attracted him to nature’s lap. For when the trumpet sounds he hastens to danger’s post, that in the struggle he may once more regain full knowledge of himself and his strength.” Programme Notes : Logan Gregory The Halesowen Orchestra has been praised for its immense talent, dedication, enthusiasm and marked professionalism’. We promote three concerts each season, performing a wide variety of repertoire and styles. The Orchestra is open to new members. We rehearse weekly on Monday evenings, and have a reputation for our friendly welcome. We aim for a good standard, but commitment is more important than qualifications. Thomas Jarvis, 23, was brought up in Sheffield and played the trumpet for 6 years in the City of Sheffield Youth Orchestra. He went on to study Music at the University of Manchester and graduated with a First Class Honours degree in 2012. He then studied part time for a Masters in Composition with American composer Dr Kevin Malone, having been awarded a McMyn Award by the university to continue his studies in Manchester. Now in Birmingham, he juggles full time classroom teaching with conducting and teaching the trumpet. Thomas was Ensemble Director and Conductor of the Peak District Wind Band from 2011-2014, and in August 2014 conducted them on a tour of Germany, including in J.S. Bach ’s Thomaskirche, Leipzig to an audience of around 1500. Thomas has conducted in venues such as Sheffield City Hall, Birmingham Symphony Hall, RNCM Opera Theatre and the Cosmo Rodewald Concert Hall; groups including the University of Manchester Symphony Orchestra, the City of Sheffield Youth Orchestra; and many soloists including Lara Melda (2010 BBC Young Musician of the Year). He took up the post of Conductor of the Halesowen Orchestra in September 2013 and has great plans to extend the orchestra’s reach and repertoire over the coming years. More details may be obtained by telephoning 0121 550 0956 or by visiting our website at: www.halesowenorchestra.co.uk. 6 3 Mozart: Overture - Magic Flute Debussy: Prelude a L'après-midi d'un faune On September 28, 1791, Mozart completed his final opera, The Magic Flute, and he conducted its premiere in Vienna just two days later. It is a great shame that he passed away so shortly afterwards, unable to witness his opera’s triumph. The opera can hardly have received greater praise, indeed one particular critic, Neville Cardus, claimed that it may be the “only opera in existence that might have been composed by God”. Composed between 1892 and 1894, this work is based upon the poem L’après-midi d’un faune, by Stéphane Mallarmé. The words of the poem are the words of a faun, a pleasure loving cross between a man and a goat of Classical mythology. Debussy’s work does not portray the entire poem, instead it consists of a series of scenes portraying the desires and dreams of the faun on a hot afternoon as he tires of chasing nymphs and eventually succumbs to sleep. The opera contains many influences from Mozart’s background as a Freemason. The slow sombre chords which open the opera and recur halfway through the overture symbolise the three knocks on the temple door, part of traditional Masonic ritual. There are numerous other references to the number three throughout the opera, for instance, the cast includes three boys, three ladies, three slaves, and three priests. The overture sets the scene for the main characters of the opera. The slow introduction representing the weighty decrees of Sarastro and the priests contrasts with the much lighter and jolly Allegro, which is more indicative of the humbler lives of Papageno and Papagena. The work opens with the call of the faun’s flute, and this opening flute passage recurs seven times throughout the piece. Short phrases blur into one another representing the hazy passage of the faun’s dreams. Music of this free and sensuous style was revolutionary at the time and this work heralded the development of Debussy’s mature style. The premiere of the piece was a huge success. In the words of the conductor, Gustave Doret, “Suddenly I felt behind my back a completely captivated public! The triumph was complete, so much so that I did not hesitate to break the rule forbidding encores. The orchestra was delighted to repeat this work, which it had come to love and which, thanks to them, the audience had now accepted.” Mozart: Concerto for Flute and Harp In 1778, struggling for funding, Mozart arrived in Paris, seeking a patron from amongst the French nobles. In order to meet his financial needs Mozart began to teach composition to various students, one of whom was the daughter of the amateur flautist, the Duc de Guines. The Duc commissioned a concerto for himself and his daughter, a talented harpist. Mozart was not particularly enamoured with either of these instruments, however, he eagerly took the opportunity, aiming to gain favour with the Duc and to possibly gain more funding. The concerto follows a typical three movement structure, although, unusually for a concerto, there is a cadenza in all three movements. The original cadenzas written by Mozart have unfortunately been lost, and they would have undoubtedly been markedly different to more recent cadenzas. At the time, the harp was seen as the equivalent of a ‘ plucked piano’, so Mozart’s cadenzas wouldn’t have had the familiar flowing glissandos associated with later harp music. The opening allegro is written in conventional sonata form, avoiding wide ranging emotional expression and counterpoint, as is typical of Mozart’s later concertos. The two main themes, an opening chordal melody, followed by a more lyrical second theme, are quickly introduced by the orchestra and then taken up by the two soloists in unison. The harp and flute take alternate roles as soloist and accompanist throughout the rest of the movement. Accompanied by the strings, the sharing of roles is continued in the second movement, although the flute takes a more dominant role until near the end of the movement where the harp introduces the shared cadenza. The final movement is a lively rondo, in the style of a gavotte, a popular French court dance at the time. 4 Liszt: Hamlet Liszt’s tenth symphonic poem, Hamlet, is open to various interpretations about its specific meaning. The original purpose is in little doubt however, as it originated in 1858 as an Overture to a production of the play. This work, however, does not programmatically follow the events of the play, rather, as described by Liszt, it explores the conflict between the characters of Hamlet and Ophelia and their changing emotions. As with many of his works, Liszt made several changes to his overture and this final version was not heard until decades after his death. The piece opens slowly with unearthly muted notes from the horn, and the eeriness is sustained as the rest of the orchestra enters. The tempo changes throughout the piece, but the gloom and foreboding never lifts entirely, culminating in the death of Hamlet at the end of the piece. 5
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