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Format: 2014-04-17
Format: 2014-04-17
  • Mon, 2014-04-21 19:30
    Sinfonia d'Amici with David Alberman (director)
    David Alberman, Konrad Elias-Trostmann, Sinfonia d'Amici
    Jerwood Hall, LSO St.Luke's London EC1
    United Kingdom

    Sinfonia d’Amici make their third appearance at LSO St Luke’s, this time joined by director David Alberman (LSO Principal Second Violin) in much-loved works by Mendelssohn and Beethoven.

    'Sinfonia d’Amici gave a remarkable performance… [and are] a significant addition to London’s already rich musical fare' Classical Source, July 2013

    Concerto for Violin and Orchestra in E minor
    Felix Mendelssohn (1809-1847)
    Symphony No 4 in B flat
    Ludwig van Beethoven (1770-1827)
    Adults: £15, concessions: £7 Available from 020 7638 8891 .
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    Fri, 2014-04-18 19:00
    Good Friday Concert - JS Bach's Mass in B minor | St Peter's Singers of Leeds
    Alan Horsey, Christopher Trenholme, David Houlder, Helen Strange, Lucy Appleyard, National Festival Orchestra, Quentin Brown, Sally Robinson, Sarah Potter, Simon Lindley, St Peter's Singers of Leeds
    Leeds Minster Leeds LS2 7DJ
    United Kingdom

    The history of what we know as Bach’s B minor Mass is absorbingly complex. It seems almost certain that its composer never heard it through in the manner of modern performance; indeed, the work’s first complete performance is likely to have been that arranged by the Berlin Singakademie in 1834 - the result of Mendelssohn’s enthusiastic advocacy.

    Bach’s autographed full score divides the monumental opus into four distinct sections: i) Missa (in the Lutheran sense of that term, referring to Kyrie and Gloria in Excelsis); ii) Symbolum Nicenum (the Nicene Creed); iii) Sanctus; iv) Benedictus, Osanna, Agnus Dei et Dona nobis pacem. At least ten of the twenty-five movements contained within the Mass as a whole are known to have had their origin in earlier compositions. Despite all this inherent diversity, the Mass in B Minor somehow forms a unifying whole; at once artistically, emotionally and spiritually uplifting. It may be said that no single musical work is greater.

    The Missa was composed in 1733, possibly for a special service on the 21st April when Augustus III visited Leipzig to receive the town’s homage. At all events, Bach presented the work as then extant (Kyrie and Gloria sections only) to the Duke when petitioning for the office of Court Kapellmeister. Sanctus dates from nine years earlier, being written for performance at Christmas 1724. Of the remaining music, Osanna was also used as the opening chorus of the secular cantata Preise dein Glücke (S215) and the alto Agnus Dei is a different version of an aria from Cantata 11 (the ‘Ascension’ Oratorio). In these two cases it is probable that both versions stem from lost originals. Gratias is set to the opening chorus of Cantata 29 and Qui tollis derives from Cantata 46.

    The variety of musical textures exploited is a further point of major interest, and these may be best discussed in terms of the constituent movements themselves. Bach’s other Mass settings (providing music for Kyrie and Gloria only) do not contain the considerable number of subdivisions evident in the B minor Mass. In the present work, the composer gives himself considerably more scope for pictorial illustration of the verbal texts - sometimes to a considerable degree.

    The Kyrie is heralded by an independent four bar choral utterance. Some scholars have drawn comparisons between the soprano part and that in Luther’s Deutsche Messe of 1525 - certainly the rising scale motif occurs in the main section of this movement in a variety of guises. Whether this was conscious quotation or not is, of course, impossible to say. The interluded fugue which succeeds the grand opening contains a characteristic dotted motif which, together with the alternate rising semitones, gives the opening of the Mass an urgent grandeur. Christe is a vocal duet, accompanied by unison violins and continuo; the opening instrumental ritornello is reprised in full. The final movement of this first part of the work is a sturdy four part fugue with a chromatic subject.

    Gloria in Excelsis Deo unfolds from a majestic triple time ritornello of great exultation. There is a change of mood at the lines et in terra pax after which this lilting theme gives place to a blithe fugal subject and its treatment. This was one of the movements used later by Bach - in Cantata 191. Laudamus Te is a coloratura duet between voice and solo violin. Somewhat unusually, the singer enters with new material after the initial orchestral opening, but later incorporates some of the instrumental themes heard therein. The overlapping of the fugal entries in the following chorus is a strong feature - the longest section in this movement containing thirteen such dovetailings leading up to those of the trumpets ending with the basses and timpani. The duet Domine Deus may broadly be designated a da capo movement with the reprise omitted; such a form splendidly reflects the mood of the last petition of the verbal text. At each principal entry the first voice sings to God as Father and the second to Him as Son. In the second section, based on minor tonalities, the voices enter simultaneously with new vocal material. This section concludes in the key of B minor and leads directly into the exquisite Qui tollis, whose vocal arpeggios are embellished with gently moving orchestral figures in faster note values. This movement ends in its dominant key, providing a further direct link to the B minor of the alto’s Qui sedes, which features an obbligato for oboe d’amore. The Quoniam clause sees a brightening of the tonality to D major, though the unique and sombre four part texture is of considerable interest - horn solo accompanied by two obbligato bassoons and continuo: the solo bass line is developed from the horn’s motifs. This bustling movement is one of the most distinctive timbres in all music. Bach continues the final stanza of the Gloria without orchestral introduction, the final chord of Quoniam forming the first of Cum Sancto Spiritu which follows.

    Bach’s setting of the Creed is a remarkable affirmation of faith. The eight sections which make up this part of the work include several in which the choral parts contain some of the composer’s most expressive writing. The Symbolum Nicenum, as Bach refers to it, opens with a five part chorus based upon the plainchant intonation to the Gregorian Credo II in the version presented in Vopelius’s Gesangbuch of 1682 which finds the fourth and fifth notes reversed from the original chant. This opening section is a seven part fugue (the five voices being joined by violins); Patrem omnipotentem, which follows immediately, is a fugue on the subject first heard in the basses. The words of Credo are also reprised in this strong movement, borrowed from Cantata 171 of 1729. The third movement of the Creed originally incorporated the verbal text of the chorus which follows it, which Bach added as an afterthought. Et incarnatus est is distinguished by rich harmony and expressive instrumental scoring, whilst the Crucifixus which follows it (adapted from Weinen, Klagen, Cantata 12) is of heart-rending intensity. The contrast with the heaven-opening Et resurrexit could not be greater. There is an extended section for the basses of the chorus at the words et iterum venturus est cum gloria. The lilting 6/8 rhythm of Et in spiritum features bass soloist, oboi d’amore and continuo. Confiteor, like Credo at the start based on the Credo II, is for chorus and continuo, the full orchestral resources resuming at the fanfare-like opening to et exspecto which is quite one of Bach’s most brilliant choral paeans.

    As stated previously, Sanctus (originally for three sopranos, alto, tenor and bass voices rather than SSAATB as here) was composed for Christmas 1724 and almost certainly performed again at the Festival in 1726 or at Easter the following year. Notice the local German usage of gloria ejus rather than gloria tua. The movement is really like a prelude and fugue - the latter section beginning at pleni sunt coeli. Scholars have suggested that the massive six-part texture was inspired by the six-winged seraphims of Isaiah’s vision (‘I saw the Lord...’). Osanna is for double choir (the only section in the Mass so scored): with exchange of themes between the forces, and much antiphony between voices and instruments, this is one of the most memorable pieces in the work. The contrast between the rich Osanna and the sparsely scored Benedictus for tenor solo, obbligato flute and continuo is stark; as usual, Osanna is repeated after Benedictus. The alto’s expressive Agnus Dei (half the length of the version of this music in Cantata 11 incidentally) is one of the high points of the work. Leading as it does into a reprise of the Gratias music from Gloria to the words Dona nobis pacem, it presents an interesting contrast in timbre. Being in G minor, the subdominant minor of the D major of Dona nobis, Agnus also explores a tonality unused elsewhere in the Mass as a whole.

    ©Programme Note by SGL

    Mass in B minor
    Johann Sebastian Bach (1685-1750)
    £12 (£8 discounts) - discount tickets available online Available from 0113 224 3801 Monday to Saturday 10am to 6pm.
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    Sat, 2014-04-26 19:30
    Brockenhurst Choir Concert April 2014
    Anna Gillingham, Brockenhurst Choir, Joseph Padfield, Marta Fontanals-Simmons, Miriam Newton, Sam Smith
    St Saviour's Church Brockenhurst SO42 7SP
    United Kingdom

    Brockenhurst Choir is very pleased to be celebrating its 50th anniversary this year. To mark this special occasion, a Golden Jubilee Concert will be held at St Saviour’s on Saturday 26 April at 7.30pm. The Choir of over 90 singers will perform Handel’s Oratorio ‘Israel in Egypt’, a wonderfully tuneful and exciting setting of one of the most dramatic stories in the Bible. It includes vivid depictions of the plagues, the terrifying slaying of the first born, and the tumultuous Red Sea crashing over the Egyptians. The choir will be accompanied by a full orchestra, and will be conducted by Miriam Newton. The soloists are four impressive, young professional singers from London. We look forward to sharing this landmark event in the history of the choir.

    Israel in Egypt
    George Frideric Handel (1685-1759)
    £15 (students £5)
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    Sat, 2014-04-26 19:30
    Craig Ogden supported by the Corinium Players Guitar Ensemble
    Craig Ogden, The Corinium Players Guitar Ensemble
    Sundial Theatre, Cirencester College Cirencester GL7 1XA
    United Kingdom

    Australian born guitarist Craig Ogden is one of the most exciting artists of his generation. He studied guitar from the age of seven and percussion from the age of thirteen. He is the youngest instrumentalist to have received a Fellowship Award from the RNCM in Manchester.His many recordings for Virgin/EMI, Chandos, Nimbus, Hyperion, Sony and Classic FM have received wide acclaim. Ogden’s Classic FM albums The Guitarist and Summertime both shot straight to no 1 in the UK classical chart in summer 2010 and 2011 respectively. Craig Ogden has performed concertos with all of the main UK orchestras plus many abroad and has presented on BBC Radio 3 and on ABC Classic FM (Australia).

    Craig Ogden is Principal Lecturer in Guitar at the Royal Northern College of Music in Manchester and Visiting Lecturer at London’s Royal College of Music.

    The Corinium Players Guitar Enemble was formed in 1999 to give young classical guitarists the opportunity to play together as an orchestra. They now have around 40 playing members and as well as playing concerts locally, have travelled to the continent and appear in many national music festivals. They have appeared alongside other renowned guitarists such as Gary Ryan, The Vida Guitar Quartet, The Aquarelle Quartet, to name but three.

    £13 full, £10 concessions Available from 01285 654228 .
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    Thu, 2014-04-17 19:00
    Michael Petrov (cello) - Hattori Foundation 21st birthday series
    Anthony Hewitt, Michael Petrov
    1901 Arts Club London SE1 8UE
    United Kingdom

    1992-2013: The Hattori Foundation celebrates 21 years assisting and encouraging exceptionally talented young musicians with a sixth series of rush-hour recitals, each with a special pre-recital talk. Tickets include a pre-concert drink and an invitation to join the performers in the club's exclusive bar and lounge after the performance for light refreshments.

    For this reictal Imogen Cooper Hattori Foundation trustee and international pianist will be providing the pre-concert talk.

    Michael Petrov grew up in Bulgaria and later studied at the Yehudi Menuhin School with Thomas Carroll and since 2009 with Louise Hopkins at the Guildhall School of Music and Drama. In 2013 he was selected for representation by Young Classical Artists Trust (YCAT). Michael has won numerous prizes and awards including 2nd Prize in the 2012 International Brahms Competition in Austria and 1st Prize in the 2011 International Suggia Competition in Porto which led to the use of Guilhermina Suggia’s Montagnana cello. Concert highlights include recitals at Wigmore Hall, the Kronberg and Los Angeles Cello Festivals and at Weill Recital Hall, Carnegie Hall. As a soloist he has performed at the Barbican, St. John’s Smith Square and with the London Mozart Players and Munich Chamber Orchestra.
    Future engagements include performances with the Philharmonia Orchestra and the English Chamber Orchestra. Michael has been selected for the 2014/15 season as an European Concert Hall Organisation Rising Star.

    Rosie Richardson studied with Senior Professor Joan Havill at the Guildhall School of Music and Drama, graduating with a Master’s Degree in solo performance. During her studies she won the school's Romantic Piano Prize, became a Philip and Dorothy Green artist for the Making Music Award and performed as a concerto and recital soloist and chamber musician around the UK and in Europe. Rosie is a faculty pianist for the String Department at the Guildhall and the class pianist for Head of Strings, Professor Louise Hopkins.
    Rosie is now in great demand pursuing her passion as a collaborative pianist and is particularly known for her work with cellists. In this capacity she has played recitals at Wigmore Hall, Bridgewater Hall, The Venue Leeds, Jacqueline Du Pre Music Building, Menuhin Hall and 1901 Arts Club. She has upcoming performances at the Purcell Room and at music societies around the UK.

    The Hattori Foundation was established as an Educational Trust by the Hattori Family and granted charity status in 1992.

    The aim of the Foundation in the field of music is to encourage and assist exceptionally talented young instrumental soloists or chamber ensembles who are British Nationals or resident in the UK and whose talent and achievements give promise of an international career.

    For more information about the work of the Hattori Foundation please visit www.hattorifoundation.org.uk

    Sonata for Arpeggione and Piano in A minor
    Franz Schubert (1797-1828)
    3 Fantasiestücke
    Robert Schumann (1810-1856)
    Sonata for Violin and Piano in A (arranged for Cello and Piano)
    César Franck (1822-1890)
    £15 incl a pre-concert drink Available from 020 7620 3055 Monday to Friday 9am to 6pm.
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    Sat, 2014-04-26 19:30
    Mid-Somerset Orchestra - Tchaikovsky's Violin Concerto
    Fenella Humphreys, Hywel Jenkins, Stephen Smith, The Mid-Somerset Orchestra
    St Cuthbert's Church Wells BA5 2AW
    United Kingdom

    The The Mid-Somerset Orchestra’s spring concert features the work of Borodin and Tchaikovsky, two of the most loved of all Romantic composers, both creators of the most fabulous melodies, in a programme imbued with the spirit of Russia, the homeland that they shared.

    Opening with Borodin’s evocative In the Steppes of Central Asia (1880), the MSO welcomes renowned violinist Fenella Humphreys as soloist in Tchaikovsky’s immortal and beautiful Violin Concerto of 1878. With playing described as ‘alluring’, ‘mesmerising’ and ‘unforgettable’, Fenella Humphreys is regarded as one of the most distinctive performers of her generation and is much in demand as soloist and chamber musician in concerts, broadcasts and recordings in UK and across Europe and has had works written for her by eminent British composers.

    The concert closes with an opportunity to hear Borodin’s First Symphony, successfully premièred in 1869.

    In the Steppes of Central Asia
    Alexander Borodin (1833-1887)
    Concerto for Violin and Orchestra in D
    Pyotr Tchaikovsky (1840-1893)
    Symphony No 1 in E flat
    Alexander Borodin (1833-1887)
    £11 full, £9 concession, £3 age 18 and under Available from 01749671770 Monday to Saturday 11 a.m. to 4 p.m..
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    Sun, 2014-04-27 19:30
    Rotary Club of Cambridge introduce Prime Brass and Bold as Brass Ensemble
    Bold as Brass Ensemble, Prime Brass, Stephen Cleobury, Tim Lihoreau
    West Road Concert Hall Cambridge CB3 9DP
    United Kingdom

    Prime Brass welcomes an exciting new brass decent from the Guildhall School of Music, Bold as Brass Ensemble in a joint concert promoted by Rotary Club of Cambridge in aid of a Rotary Literacy Project for children in South Africa. The grand finale is a joint performance of Richard Strauss's Festmusik der Stadt Wien conducted by Stephen Cleobury.

    William and Mary for Brass Ensemble
    Derek Bourgeois (1941-)
    The Earle of Oxford’s Marche
    William Byrd (1543-1623)
    Concerto di Cucaracha
    Stephen Roberts ()
    Suite from Porgy and Bess
    George Gershwin (1898-1937)
    Festmusik der Stadt Wien
    Richard Strauss (1864-1949)
    Old French Dances
    Claude Gervaise (fl 1540-1560)
    Hungarian Rhapsody No 2
    Franz Liszt (1811-1886)
    Sunny
    John Eacott (1961-)
    Procession to the Cathedral from Lohengrin
    Richard Wagner (1813-1883)
    Homage to the noble grape
    Goff Richards (1944 - 2011)
    Spain
    Chick Corea (1941-)
    Leviathan
    Paul Denegri ()
    £15 £10
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    Mon, 2014-04-21 15:00
    The Busch Ensemble (piano trio)
    Jonathan Bloxham, Matthieu van Bellen, Omri Epstein, The Busch Ensemble
    St Mary's Church, Perivale London UB6 8SS
    United Kingdom

    St Mary's Perivale Afternoon Concert Series. St Mary's Perivale is a tiny, beautiful 12th century church situated close to Western Avenue (A40) in Perivale, West London. Declared redundant in 1972, it is now a flourishing classical music venue, with an excellent reputation for superb concerts, given by many of the best musicians in London. All our concerts are free with a retiring collection. No tickets are issued beforehand – just turn up ! We also provide free refreshments, and free parking is readily available. It is a perfect venue for chamber and instrumental concerts, with close proximity to the musicians, excellent acoustics and a good piano. We think it compares favourably with any other small concert hall in London. Do come along – you will be very welcome.

    Keyboard Trio in G , 'Zigeuner' (Gypsy Rondo)
    (Franz) Joseph Haydn (1732-1809)
    Piano Trio No 1 in D minor
    Felix Mendelssohn (1809-1847)
    Piano Trio No 3 in F minor
    Antonín Dvorák (1841-1904)
    No Tickets required.
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    Wed, 2014-04-23 19:30
    Jeanette Ager (mezzo-soprano), Ofer Falk (violin), Viv McLean (piano)
    Jeanette Ager, Ofer Falk, Viv McLean
    St Mary's Church, Perivale London UB6 8SS
    United Kingdom

    St Mary's Perivale Wednesday Evening 'Double Concert' Series. St Mary's Perivale is a tiny, beautiful 12th century church situated close to Western Avenue (A40) in Perivale, West London. Declared redundant in 1972, it is now a flourishing classical music venue, with an excellent reputation for superb concerts, given by many of the best musicians in London. All our concerts are free with a retiring collection. No tickets are issued beforehand – just turn up ! We also provide free refreshments, and free parking is readily available. It is a perfect venue for chamber and instrumental concerts, with close proximity to the musicians, excellent acoustics and a good piano. We think it compares favourably with any other small concert hall in London. Do come along – you will be very welcome.

    Operatic Arias
    Wolfgang Amadeus Mozart (1756-1791)
    Concert Arias
    Wolfgang Amadeus Mozart (1756-1791)
    Sonata for Violin and Piano in E minor
    Sir Edward Elgar (1857-1934)
    Salut d'amour, 'Liebesgruss'
    Sir Edward Elgar (1857-1934)
    Chanson de Matin
    Sir Edward Elgar (1857-1934)
    No Tickets required.
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    Fri, 2014-04-18 18:00
    Orchestra of St John's - Verdi and Bach
    Howard Moody, Jan Schmolk, John Lubbock, Orchestra of St John's, OSJ Voices
    Dorchester Abbey Dorchester-on-Thames OX10 7HN
    United Kingdom

    Founded in 1967, the Orchestra of St John’s is rated amongst the leading orchestras in the world by professional musicians.

    The Orchestra of St John's has the community at its very heart with an active programme of education and outreach activities, alongside its musical repertoire.

    Over the last 12 years, OSJ has donated its talents through Music for Autism to help and inspire over 35,000 autistic children by giving 50 days of free concerts a year in specialist schools.

    The Orchestra also has a track record of spotting young musical talent and providing opportunities and a platform for their earliest public performances.

    Founder and Artistic Director John Lubbock performs with the world’s most outstanding professional musicians, who share his ethos of making live classical music accessible to people of all ages and from all walks of life, including those who might otherwise have little or no experience of music.

    4 Sacred Pieces (Quattro pezzi sacri)
    Giuseppe Verdi (1813-1901)
    Adagio and Fugue from Sonata for Violin and Continuo No 1 in G minor
    Johann Sebastian Bach (1685-1750)
    Partita No 2 in D minor
    Johann Sebastian Bach (1685-1750)
    Violin Partita in E major
    Johann Sebastian Bach (1685-1750)
    £30, £25 Available from 0845 680 1926 9am to 5pm.