No 'Journey' as such this week. Only time for a few extracts to illustrate the wonderful fortnight of music we have had since the last 'Classical Journey'. Starting with the gorgeous recital of soprano Alison Burnett with piano by Nicky Perry (see previous post) we have enjoyed Devon Baroque's 'Europe in Transition' at St James' in Exeter, Oldway Mansion and Dartington Great Hall, a stunning piano duet recital by the Musical Director of the Exeter Bach Society, Nicholas Marshall with his close and astoundingly talented friend, Roger Fordham, the Divertimento Ensemble in the staggeringly beautiful setting of the James Wyatt music room at Powderham Castle and, to cap it all, a benefit night of opulent proportions put on by Hamish and Muffet Monro at Blundell's School in Tiverton, featuring the Exeter Symphony Orchestra, the City of Exeter Pipe Band, Michael Mates MP in comic revie mode, and the wonderful and glamorous violinist, Tasmin Little. - the last in aid of the Army Benevolent Fund (aka ABF, The Soldiers' Charity) - great music and a great cause.
Devon Baroque: Europe in Transition
Last weekend there were three opportunities to hear and see the magnificent Devon Baroque ensemble play music from the transitional period between the 'baroque' (1600-1750) and 'classical' (1750-1820). Renowned international 'cellist, Sebastian Comberti, joined a trimmed down ensemble for a series of beautiful pieces by late baroque/early classical composers, William Boyce, W. A. Mozart, Luigi Boccherini, and Joseph Haydn.
The opening symphony by Boyce (No 4) brought Sebastian Comberti to the forefront immediately. The ensemble was reduced in size compared to their previous concert series ('Les Goûts Réuinis'). There were no other 'cellists (no Reinmar Seidler, or Jonathan Rees) and violone player Jan Spencer played his part very delicately. As a result, thhe sound of Sebastian's 'cello broke through immediately against the very gentle and perfectly coordinated violin sound.
For Mozart's Divertimento in B lfat (K. 137) Jan dropped out completely allowing Sebastian to provide the continuo with a very light touch. With such a soft combination every accent from the violins (led of course by Margaret Faultless) was a delight. In the Allegro Molto the 'cello tremolo was fast but still gentle alternating with single notes. Sharon Lindo, leader of the second fiddles (all four of them) stood statuesque, waiting for the moment when the full sound was introduced for full effect. The Allegro Assai (very lively) introduced a jerky element, with sweet short notes from the first fiddles, to finish the piece.
Jan relaxed further during Boccherini's 'Cello Concerto No 7. Sebastian played a series of enchanting solos, his fingers dancing on the fretboard. The violins stayed soft as he played a very accurately right up to the highest position. The Adagio, with even Steve Glead's violin taking a break, and the violins reduced to a whisper, allowed to Sebastian to take the audience on a journey of pure auditory pleasure ending in a magical ending on the open string, and an audible sigh of satisfaction from the audience. Jan joined Sebastian in the final Allegro in a combination which was perfectly balanced. The 'cello, initially low and slow, sped to a high harmonic trill at the end which some likened to the sound of a flute..
The leader of the ensemble, Margaret Faultless, is a soloist in her own right and the first piece after the interval (during which people took the opportunity to explore the beautiful ground of Dartington) was Haydn's Violin Concerto No 1. Supported by both Sebastian Comberti's 'cello and Jan Spencer's Violone, Margaret performed beautifully, with the violins and violas in perfect harmony despite their leader's attention being otherwise engaged. After an allegro which ended gently with a soft passage from the violone, the adagio built perfectly with delightful pizzicato accompaniment to Margaret's solo. The presto involved an interesting collaboration between Margaret and Jan on his violone - drawing a beaming smile from Margaret at the satisfying sound they were producing.
The final piece of Mozart, Divertimento in D (K. 136) involved very fast and precise playing by Sebastian Comberti repeated by the other players. Steve Glead and Emilia Benjamin playing viola got their chance to show their virtuosity in a few solo sections. Sebastian himself performed a splendid pizzicato section, which was repeated later. For the audience at Dartington there was an extra treat - as the opening allegro came to its abrupt end the ensuing silence was broken by the piercing whistle of the steam train pulling into Churston station on its way to Kingswear - at precisely 4.34pm. The following andante was soft and dreamy and so gentle, right up to the the last drawn out note. The presto finished the concert with big fun. Sebastian Comberti was teh centre of attention, but there were also opening sections for Sharon Lindo who also worked in lovely duet with Margaret Faultless.
The final concert in the series, at Dartington Great Hall, was as atmospheric and moving as ever. a packed house basked in the delightful sound of a small and perfectly co-ordinated ensemble, and two very special soloists, Margaret Faultless and Sebastian Comberti.
The next 'Devon Baroque' concert series will be at the end of June, over four days, starting in Plymouth and moveing to Barnstaple, Exeter and finally St Mary's Church in Totnes for the Sunday afternoon concert. 'Towards Bach' will involve plenty of music by J S Bach but also Nicholas Bruhns, Johann Rösenmuller and Jean Sigismond Kusser. Watch this space for further details.
Piano Duet: Nicholas Marshall and Roger Fordham
The following Wednesday (23 Feb) Nicholas Marshall and Roger Fordham give a free recital at Glenorchy. Nicholas is a well known figure as the Musical Director of the Exeter Bach Society. He is also a very talented pianist. He was joined on Wednesday by a quite remarkable musician, Roger Fordham from Torbay, who has developed an impressive repertoire of piano pieces which he plays with consummate skill - despite having been blind from birth. Not only did Roger play treble and bass parts in separate pieces, he also played a beautiful solo piece as well - all by ear of course. He also proved an entertaining raconteur, giving several of the introductions, despite not being able to see the audience - and initially facing the wrong way. Roger also agreed to be photographed with Nicholas, but clearly this must be an unrewarding chore - and a rather incomprehensible project - when the end result involves a sense he has never known. But one sense he and Nicholas clearly do know and share - hearing and music. A wonderful recital. The full programme was:
Mozart: Sonata in c K.521. Roger played treble, Nicholas bass. Opening with a lively allegro, very complicated but crisply played all the way to its breathless finish. A thoughtful andante leading to a hugely complicated allegretto - all played from memory by Roger.
Schubert: Impromtu in F minor D.935. Roger played this as a solo, warning that the crossing over of the hands might 'confuse his brain'. Roger played with a very firm touch becoming more and more vigorous. The softer passages, coming at intervals, made a delightful contrast. The 'hand crossing', when it came, involved a steady rhythm in the right hand with the left playing alternately above and below. Roger did seem uncertain at times, but managed to stay in control, delivering two little stories in instalments, one in the treble one in the bass.
Debussy: Petite Suite. Nicholas and Roger changed places, Roger taking the bass. These four duets were composed and performed by Debussy to promote his orchestral works - and make more money. By his own admission, Debussy was very nervous before playing them in public. Nicholas and Roger may have been nervous, but they didn't show it. 'En Bateau' was simple and playful, with a gentle rolling bass. 'Cortège' was much more frenzied, amazing and amusing, finishing with a bang. 'Menuet' was light and soft. 'Ballet' was once more tempestuous but with serene moments of calm.
Nicholas Marshall is also the Musical Director of the Exeter Bach Society with regular conducting engagements. Apart from the Bach Cantata service at the Cathedral this weekend, Nicholas is also preparing the Bach Society for a performance of Bach's Mass in B minor at St David's Church Exeter on Saturday 2 April. Guildhall student Clement Hetherington will return as tenor with three other new faces in the other parts, soprano Raphaela Papadakis, mezzo-soprano Cátia Moreso and bass Ben McAlteer. Roger Fordham, who lives in Torbay, made quite a journey to be with us, for which many thanks. Roger also plays regularly at the Budleigh Festival (which starts on Saturday 16 July this year, full details to be arranged).
"Powderham Castle 1769 Organ Restoration Project"
That title may sound a mouthful but, under the inspired guidance of Professor George Pratt, the trustees of the restoration fund have been endeavouring over the past year to raise funds to restore the early classical Brice Seede organ in the James Wyatt Room at Powderham Castle. In his own words, when George first encountered to organ at Powderham he fell in love, and is determined to see it restored to its former glory. Two independent surveys found the survival of such a rare organ to be of the 'utmost historical importance'. The initial estimate for restoration and conservation of the organ was £35,000. By July last year, through appeals and benefit concerts - involving the organ itself in the James Wyatt Music Room, £3,700 had been raised - just over 10% of the amount required. By the end on the year the figure had reached roughly £12,000 - a good third. But then the collapse of markets and the increase in VAT (which affects the conservation of priceless instruments too, by the way) meant that the estimated cost started to increase faster than money could be raised.
Neverthelsess efforts continued, including the wonderful concert on Friday evening last week. The Divertimento Ensemble led by Brenda Willoughby accompanied George playing his beloved organ (restored to playable, but by no means original, condition by Michael Farley of Budleigh Salterton in 2009). Voices were supplied by Josie Walledge, soprano, and Laurence Blyth, countertenor, for two magnificent baroque vocal works by Giovanni Pergolesi. Josie Performed the Salve Regina (Holy Queen) as a solo soprano piece and filled the room with her sweet angelic voice.
This was no ordinary room, of course. The James Wyatt Music Room itself is an absolutely ravishing baroque survival of which the organ is only a part. The Ninth Earl of Devon, and Third Viscount of Powderham, William Courtenay, engaged the architect James Wyatt to design the flamboyant music room to house the organ - which was commissioned shortly after he was born.
Laurence joined Josie for the familiar 'Stabat Mater'. Familiar, but now wonderfully embellished by the opulent surrounding and the magnificent sound of the Bryce Seede Organ. Laurence gave a very stirring performance and was clearly communicating well with Josie. At the interval he disappeared. He had been feeling very unwell - not that anyone would have known from his impressive singing.
During that interval some very exciting news was revealed. Simon Fishwick, the Powderham Estate Director, addressed the audience to announce that - after George's colleague, Adrian Huxham of the Huxham Charitable Trust, had approached perhaps one hundred possible sponsors - a sponsor has agreed to provide funding to make up the amount raised to date to whatever the cost of restoration for the Bryce Seede organ! Furthermore the current (18th) Earl of Devon, Hugh Courtenay, has appointed Professor George Pratt as 'Honorary Kapellmeister' of Powderham. George, who had been playing, and conducting, with his back to the audience, turned and received this unexpected and welcome news with his face wreathed in smiles.
However, benefit concerts will continue. The restoration of the organ will be brought forward and concert proceeds will go towards its maintenance and the extension of the musical work of Powderham. The next concert is certainly not to be missed. On Friday 6 May the world acclaimed flautist Judith Hall from Bovey Tracey will be at Powderham to perform Max Reger's 1904 Serenade for Flute and Sir Andrzej Panufnik's 'vocalese' music transcribed for flute and orchestra. Further details on this site.
But Friday night's entertainment was still only half finished. After a leisurely intermission drinking wine in the sumptuous oak-panelled rooms of the castle, the audience were treated to two glorious works by the 'Red Priest' himself, Antonio Vivaldi. First George played the Sinfonia al Santo Sepulcro (The Holy Sepulchre) demonstrating the fine timbre of the Bryce Seede Organ, and concealing as much as possible the 'white knuckle ride' of uncertainty about which notes would actually sound. Then, as a 'first' for Powderham, Vivaldi's Gloria Mass was performed as the composer initially intended - with only female voices. (Vivaldi composed music for the inmates of the 'Ospedale della Pietà', Venice orphanage for girls.) Josie was joined by the imposing figure of Juliet Curnow singing alto. (See post 11 February for details of Juliet's mezzo-soprano performance of the Nelson Mass and Duruflé Requiem under the direction of - Laurence Blyth!) Antonia Brook sang the tenor voice while Jenny Broom sang a transposed bass part. George was not sure whether this combination would work - the voices would be 'upside down' - but the resulting sound was magnificent. Everyone left in an an exultant mood - especially knowing that the unique Brice Seede organ would be restored and preserved for posterity.
(The concert posting that was here about the 'Messiah' was an error - that concert was last year!)
Tasmin Little - A Special Performance at Blundell's School
On Saturday night there was another very special benefit concert. This time proceeds were to go to the Army Benevolent Fund (now called, simply, ABF - the Soldiers' Charity). To raise money to help British soldiers who have been injured or fallen on hard times as a result of their service to the county, Hamish and Muffet Munro had, almost single-handedly, brought together a wonderful line-up of musical talent.
The setting was Blundell's School in Tiverton a wonderful, traditional public school with imposing gothic buildings. However, the concert was not in the main school building but in the new wing on the opposite side of the road. Glass-fronted it shines like a beacon when open for functions at night. Several hundred arrived for the concert, dressed formally - some old Blundellians, some army officers, all prepared to pay a hansome £35 for a concert and supper with proceeds going directly to help individual soldiers suffering the consequences of war.
The Exeter Symphony Orchestra opened the proceedings with the overture to Gioachino Rossini's opera 'The Thieving Magpie'. The snare drum gave a rousing opening leading to a gentle crescendo bringing all teh instruments with increasing vigour, ending with the tuba. Notable in the line-up were several woodwind players familiar to regular 'Classical Journey' listeners. Sally Kirby (see posts 10 & 16 January) was playing the bassoon. Richard de la Rue (see posts 14 & 29 November 2010) was playing clarinet. Julia Hill (see concert listings below) was playing oboe. Last but not least Ruth Avis was playing Flute. (We shall be hearing Ruth again on Phonic FM today!)
For the second piece the soloist came onto the stage - Tasmin Little. Tasmin was resplendent in an orange satin décolletage and played RAlph Vaughan Williams' 'The Lark Ascending' perfectly and in perfect co-operation with audience. She used every break in the solo part to beam pleasure and encouragement to the other musicians with her infectious smile. Her own playing was utterly perfect and the last note was drawn out to the last dying breath of the bow on the string - quite perfect!
Then two Blundell's pupils, Charles Silcock and Alexander Everett, braved the spotlight to perform Emille Fauré's Mi-a-ou from the 'Dolly Suite' on the grand piano. A splendid duet from two very brave young lads.
The orchestra resumed with Britten's 'Matinées Musicales'. The snare set the scene again for a fun violin theme with lots of percussion and sounding brass. Those woodwind players each got their turn to be heard playing attractive little pastiches with what sounded like glockenspiel accompaniment (sadly the electronic equivalent, but still well played by Daphne Harlock).
To end the first half - and the ESO involvement - the overture to Mozart's 'Marriage of Figaro'. Anyone who has listened to Phonic FM long enough to remember 'Light Bites' with Lily Neal would recognise that overture - Lily's theme tune. The ESO played us out with gusto - and plenty of support from the tympani!
Hamish took the stage to warn everyone, very sternly, that they must not dally when the end of the interval came. Anyone not in their seats was likely to get mixed up in the City of Exeter Pipe Band. Twenty minutes later, with everyone back in their seats, and a good number or the orchestra members sitting in the gallery, the pipers marched in. Splendid in full regalia, they marched in playing 'Alba an Aigh' ('Scotland the Brave'). Six sets of pipes, with eighteen drones wailing, fairly set the hall ringing with sound of one highland tune after another. The players, in full highland dress, stood solid and impressive throughout. As they marched out to one last rendition of 'Alba an Aigh' the audience, their ears still ringing, prepared for the special highlight of the evening.
Tasmin, billed to play a little Telemann and Bach, re-entered the stage, now dressed in an equally resplendent green satin décolletage. Instead of Bach she played an extraordinary arrangement of the 'Skye Boat Song', almost entirely in harmonics - interspersed with double-stopped chords - and ending with a delicate strummed chord as if on a guitar. Standing alone centre-stage, she the spoke out clearly to the whole audience explaining that she didn't think Telemann would follow neatly after the pipers. She had decided to to 'off-piste' with that little arrangement - entirely of her own invention!
She also explained that she was playing her 'Giovanni Guadagnini' violin, made when Mozart was a baby - 1757. (Not the Stradivarius on this occasion!) The Telemann was only the allegro from his second Fantasia, short and vigorous. Bach's E major Partita she played in its entirety - all five movements - after explaining that a previous performance given from a boat on the Zambesi River in Zimbabwe had attracted a rather terrifying audience. A hippo! Fortunately the music brought the hippo as much pleasure as the human audience and no confrontation ensued. After the prelude and four dances Saturday's audience understood the hippo's sentiments precisely.
Finally Tasmin played her own arrangement of Frederic Weatehrly's 'Danny Boy' (the tune of which is really the 'Londonderry Air'). Tasmin's arrangement, which she had been inspired to compose on a performing tour of Ireland, was quite sublime, finishing with delicate combination of bowing and pizzicato.
Last on the bill of musical entertainment was Michael Mates MP performing the songs of Michael Flanders and Donald Swann. I had kept an open mind about this, being prepared for some young upstart making a fool of himself. Not a bit of it. Michael Mates, when he appeared, was every inch the music hall performer. having first performed as a pupil at Blundell's School 67 years ago (!) his experience showed in his confident bearing and polished delivery. William Godfrey, at the piano, chimed in from time to time with a strangely contrasting voice - just as Donald Swann had in the original 1950s performances.
When Michael spoke of the revues of the 1940s and 'At the Drop of a Hat' in the 50's it was interesting to realise that he was speaking from personal experience. He has performed selections of Swann and Flanders numbers 125 times and raised over £300,000 for various charities including, of course, ABF - the Soldiers' Charity. On Saturday night he sang 'Transport of Delight', 'A Gnu', 'Rain on the Plage', 'Friendly Duet', 'The Gasman Cometh', 'Misalliance', 'Ill wind', 'Slow Train' and , very appropriately following Tasmin's Zimbabwean tale, 'The Hippopotamus'. Michael's links were very reminiscent of Michael Flanders, who was sadly not familiar to everyone in the audience. When he quoted the intro to 'Ill Wind' ("I had hoped to play a horn concerto . . . ") Some people were genuinely disappointed that he hadn't brought a horn with him. 'Slow Train' was particularly moving as the recitation of railway station names (all sadly closed following the Beeching Report) again referred to a time that Miccchael could remember. He had travelled to Blundell's each morning on a line which has since been destroyed. To finish the evening in style, everyone joined in with 'The Hippopotamus'. A rousing chorus to cheer everyone up. (Just visible through the dressing room door, Tasmin was also enjoying the performance!).
After an address from Brigadier Lunn reminding us all of the vital work of the ABF, and a brief prayer for all soldiers by Padré Pearson-Miles, William came back to the piano for the National Anthem.
The concert was followed by supper and an auction and sale of gifts to raise further funds, but that's another story. All money raised went to the ABF, and any further fund-raising projects or donations are always welcome. Even as you read this a soldier serving this country may be killed or injured leaving him or her disabled and potentially destitute. To find out more about how the ABF helps our soldiers, and how we can help too, read the full details of their work at www.soldierscharity.org.
This morning there will be a very brief mention of all these great concerts, plus a few extracts - a recording of Sebastian Comberti playing the 'cello, an aria from Pergolesi's 'Stabat Mater' and Vaughan Williams' 'The Lark Ascending'. Sally Daldorph will join us by telephone to tell us about another great concert this Saturday - German romantic music - and we'll have a chorus from Brahms Requiem to give us the flavour.
At 10.30 Ruth Avis will join us along with her 'Piazzolla Duo' partner, guitarist Clive Betts. They will play live music - Astor Piazzolla's 'Café 1930', Sebastián Iradier's 'La Paloma' and Jacques Ibert's 'Entr'acte - and discuss their concert this weekend, which sounds wonderful. At 11.30 their place will be taken by Bethany Jameson and Romano Viazzani of Vérité Productions to tell us about their musical play 'the Accordionist' which opens at the Bikeshed theatre tonight. Oh - and they will be playing us some music as well - numbers by Edith Piaf and some of their own. Bethany is a soprano and Romano plays the accordion. But we'd guessed that!
What's on in March
Vérité Productions (Soprano Bethany Jameson, Accordionist Romano Viazzani)
Bikeshed Theatre Fore Street Exeter
Tues-Sat 1-5 March 7.30pm
The Accordionist
Story of Edith Piaf Tribute Singer Jacqueline Lacroix
Tickets £10 (concession £7) Box 667080 www.bikeshedtheatre.co.uk
Josephine Pickering (Piano) and Julia Hill (Oboe)
Devon Baroque: Europe in Transition
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| Sebastian Comberti plays perfect 'cello with Devon Baroque L-R Linda Hannah-Anderson, Emelia Benjamin Margaret Faultless, Steve Glead, Sebastian Comberti Jan Spencer, Oliver Sandig |
The opening symphony by Boyce (No 4) brought Sebastian Comberti to the forefront immediately. The ensemble was reduced in size compared to their previous concert series ('Les Goûts Réuinis'). There were no other 'cellists (no Reinmar Seidler, or Jonathan Rees) and violone player Jan Spencer played his part very delicately. As a result, thhe sound of Sebastian's 'cello broke through immediately against the very gentle and perfectly coordinated violin sound.
For Mozart's Divertimento in B lfat (K. 137) Jan dropped out completely allowing Sebastian to provide the continuo with a very light touch. With such a soft combination every accent from the violins (led of course by Margaret Faultless) was a delight. In the Allegro Molto the 'cello tremolo was fast but still gentle alternating with single notes. Sharon Lindo, leader of the second fiddles (all four of them) stood statuesque, waiting for the moment when the full sound was introduced for full effect. The Allegro Assai (very lively) introduced a jerky element, with sweet short notes from the first fiddles, to finish the piece.
Jan relaxed further during Boccherini's 'Cello Concerto No 7. Sebastian played a series of enchanting solos, his fingers dancing on the fretboard. The violins stayed soft as he played a very accurately right up to the highest position. The Adagio, with even Steve Glead's violin taking a break, and the violins reduced to a whisper, allowed to Sebastian to take the audience on a journey of pure auditory pleasure ending in a magical ending on the open string, and an audible sigh of satisfaction from the audience. Jan joined Sebastian in the final Allegro in a combination which was perfectly balanced. The 'cello, initially low and slow, sped to a high harmonic trill at the end which some likened to the sound of a flute..
The leader of the ensemble, Margaret Faultless, is a soloist in her own right and the first piece after the interval (during which people took the opportunity to explore the beautiful ground of Dartington) was Haydn's Violin Concerto No 1. Supported by both Sebastian Comberti's 'cello and Jan Spencer's Violone, Margaret performed beautifully, with the violins and violas in perfect harmony despite their leader's attention being otherwise engaged. After an allegro which ended gently with a soft passage from the violone, the adagio built perfectly with delightful pizzicato accompaniment to Margaret's solo. The presto involved an interesting collaboration between Margaret and Jan on his violone - drawing a beaming smile from Margaret at the satisfying sound they were producing.
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| A bouquet for the leader Margaret Faultless |
The final concert in the series, at Dartington Great Hall, was as atmospheric and moving as ever. a packed house basked in the delightful sound of a small and perfectly co-ordinated ensemble, and two very special soloists, Margaret Faultless and Sebastian Comberti.
The next 'Devon Baroque' concert series will be at the end of June, over four days, starting in Plymouth and moveing to Barnstaple, Exeter and finally St Mary's Church in Totnes for the Sunday afternoon concert. 'Towards Bach' will involve plenty of music by J S Bach but also Nicholas Bruhns, Johann Rösenmuller and Jean Sigismond Kusser. Watch this space for further details.
Piano Duet: Nicholas Marshall and Roger Fordham
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| Piano twosome Roger Fordham and Nicholas Marshall |
Mozart: Sonata in c K.521. Roger played treble, Nicholas bass. Opening with a lively allegro, very complicated but crisply played all the way to its breathless finish. A thoughtful andante leading to a hugely complicated allegretto - all played from memory by Roger.
Schubert: Impromtu in F minor D.935. Roger played this as a solo, warning that the crossing over of the hands might 'confuse his brain'. Roger played with a very firm touch becoming more and more vigorous. The softer passages, coming at intervals, made a delightful contrast. The 'hand crossing', when it came, involved a steady rhythm in the right hand with the left playing alternately above and below. Roger did seem uncertain at times, but managed to stay in control, delivering two little stories in instalments, one in the treble one in the bass.
Debussy: Petite Suite. Nicholas and Roger changed places, Roger taking the bass. These four duets were composed and performed by Debussy to promote his orchestral works - and make more money. By his own admission, Debussy was very nervous before playing them in public. Nicholas and Roger may have been nervous, but they didn't show it. 'En Bateau' was simple and playful, with a gentle rolling bass. 'Cortège' was much more frenzied, amazing and amusing, finishing with a bang. 'Menuet' was light and soft. 'Ballet' was once more tempestuous but with serene moments of calm.
Nicholas Marshall is also the Musical Director of the Exeter Bach Society with regular conducting engagements. Apart from the Bach Cantata service at the Cathedral this weekend, Nicholas is also preparing the Bach Society for a performance of Bach's Mass in B minor at St David's Church Exeter on Saturday 2 April. Guildhall student Clement Hetherington will return as tenor with three other new faces in the other parts, soprano Raphaela Papadakis, mezzo-soprano Cátia Moreso and bass Ben McAlteer. Roger Fordham, who lives in Torbay, made quite a journey to be with us, for which many thanks. Roger also plays regularly at the Budleigh Festival (which starts on Saturday 16 July this year, full details to be arranged).
"Powderham Castle 1769 Organ Restoration Project"
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| The Bryce Seede Organ |
Neverthelsess efforts continued, including the wonderful concert on Friday evening last week. The Divertimento Ensemble led by Brenda Willoughby accompanied George playing his beloved organ (restored to playable, but by no means original, condition by Michael Farley of Budleigh Salterton in 2009). Voices were supplied by Josie Walledge, soprano, and Laurence Blyth, countertenor, for two magnificent baroque vocal works by Giovanni Pergolesi. Josie Performed the Salve Regina (Holy Queen) as a solo soprano piece and filled the room with her sweet angelic voice.
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| Professor George Pratt at the console |
Laurence joined Josie for the familiar 'Stabat Mater'. Familiar, but now wonderfully embellished by the opulent surrounding and the magnificent sound of the Bryce Seede Organ. Laurence gave a very stirring performance and was clearly communicating well with Josie. At the interval he disappeared. He had been feeling very unwell - not that anyone would have known from his impressive singing.
During that interval some very exciting news was revealed. Simon Fishwick, the Powderham Estate Director, addressed the audience to announce that - after George's colleague, Adrian Huxham of the Huxham Charitable Trust, had approached perhaps one hundred possible sponsors - a sponsor has agreed to provide funding to make up the amount raised to date to whatever the cost of restoration for the Bryce Seede organ! Furthermore the current (18th) Earl of Devon, Hugh Courtenay, has appointed Professor George Pratt as 'Honorary Kapellmeister' of Powderham. George, who had been playing, and conducting, with his back to the audience, turned and received this unexpected and welcome news with his face wreathed in smiles.
However, benefit concerts will continue. The restoration of the organ will be brought forward and concert proceeds will go towards its maintenance and the extension of the musical work of Powderham. The next concert is certainly not to be missed. On Friday 6 May the world acclaimed flautist Judith Hall from Bovey Tracey will be at Powderham to perform Max Reger's 1904 Serenade for Flute and Sir Andrzej Panufnik's 'vocalese' music transcribed for flute and orchestra. Further details on this site.
But Friday night's entertainment was still only half finished. After a leisurely intermission drinking wine in the sumptuous oak-panelled rooms of the castle, the audience were treated to two glorious works by the 'Red Priest' himself, Antonio Vivaldi. First George played the Sinfonia al Santo Sepulcro (The Holy Sepulchre) demonstrating the fine timbre of the Bryce Seede Organ, and concealing as much as possible the 'white knuckle ride' of uncertainty about which notes would actually sound. Then, as a 'first' for Powderham, Vivaldi's Gloria Mass was performed as the composer initially intended - with only female voices. (Vivaldi composed music for the inmates of the 'Ospedale della Pietà', Venice orphanage for girls.) Josie was joined by the imposing figure of Juliet Curnow singing alto. (See post 11 February for details of Juliet's mezzo-soprano performance of the Nelson Mass and Duruflé Requiem under the direction of - Laurence Blyth!) Antonia Brook sang the tenor voice while Jenny Broom sang a transposed bass part. George was not sure whether this combination would work - the voices would be 'upside down' - but the resulting sound was magnificent. Everyone left in an an exultant mood - especially knowing that the unique Brice Seede organ would be restored and preserved for posterity.
(The concert posting that was here about the 'Messiah' was an error - that concert was last year!)
Tasmin Little - A Special Performance at Blundell's School
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| Exeter Symphony Orchestra take the stage |
The setting was Blundell's School in Tiverton a wonderful, traditional public school with imposing gothic buildings. However, the concert was not in the main school building but in the new wing on the opposite side of the road. Glass-fronted it shines like a beacon when open for functions at night. Several hundred arrived for the concert, dressed formally - some old Blundellians, some army officers, all prepared to pay a hansome £35 for a concert and supper with proceeds going directly to help individual soldiers suffering the consequences of war.
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| Hamish keeps order |
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| Tasmin Little |
Then two Blundell's pupils, Charles Silcock and Alexander Everett, braved the spotlight to perform Emille Fauré's Mi-a-ou from the 'Dolly Suite' on the grand piano. A splendid duet from two very brave young lads.
The orchestra resumed with Britten's 'Matinées Musicales'. The snare set the scene again for a fun violin theme with lots of percussion and sounding brass. Those woodwind players each got their turn to be heard playing attractive little pastiches with what sounded like glockenspiel accompaniment (sadly the electronic equivalent, but still well played by Daphne Harlock).
To end the first half - and the ESO involvement - the overture to Mozart's 'Marriage of Figaro'. Anyone who has listened to Phonic FM long enough to remember 'Light Bites' with Lily Neal would recognise that overture - Lily's theme tune. The ESO played us out with gusto - and plenty of support from the tympani!
Hamish took the stage to warn everyone, very sternly, that they must not dally when the end of the interval came. Anyone not in their seats was likely to get mixed up in the City of Exeter Pipe Band. Twenty minutes later, with everyone back in their seats, and a good number or the orchestra members sitting in the gallery, the pipers marched in. Splendid in full regalia, they marched in playing 'Alba an Aigh' ('Scotland the Brave'). Six sets of pipes, with eighteen drones wailing, fairly set the hall ringing with sound of one highland tune after another. The players, in full highland dress, stood solid and impressive throughout. As they marched out to one last rendition of 'Alba an Aigh' the audience, their ears still ringing, prepared for the special highlight of the evening.
Tasmin, billed to play a little Telemann and Bach, re-entered the stage, now dressed in an equally resplendent green satin décolletage. Instead of Bach she played an extraordinary arrangement of the 'Skye Boat Song', almost entirely in harmonics - interspersed with double-stopped chords - and ending with a delicate strummed chord as if on a guitar. Standing alone centre-stage, she the spoke out clearly to the whole audience explaining that she didn't think Telemann would follow neatly after the pipers. She had decided to to 'off-piste' with that little arrangement - entirely of her own invention!
She also explained that she was playing her 'Giovanni Guadagnini' violin, made when Mozart was a baby - 1757. (Not the Stradivarius on this occasion!) The Telemann was only the allegro from his second Fantasia, short and vigorous. Bach's E major Partita she played in its entirety - all five movements - after explaining that a previous performance given from a boat on the Zambesi River in Zimbabwe had attracted a rather terrifying audience. A hippo! Fortunately the music brought the hippo as much pleasure as the human audience and no confrontation ensued. After the prelude and four dances Saturday's audience understood the hippo's sentiments precisely.
Finally Tasmin played her own arrangement of Frederic Weatehrly's 'Danny Boy' (the tune of which is really the 'Londonderry Air'). Tasmin's arrangement, which she had been inspired to compose on a performing tour of Ireland, was quite sublime, finishing with delicate combination of bowing and pizzicato.
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| William Godfrey and Michael Mates MP |
When Michael spoke of the revues of the 1940s and 'At the Drop of a Hat' in the 50's it was interesting to realise that he was speaking from personal experience. He has performed selections of Swann and Flanders numbers 125 times and raised over £300,000 for various charities including, of course, ABF - the Soldiers' Charity. On Saturday night he sang 'Transport of Delight', 'A Gnu', 'Rain on the Plage', 'Friendly Duet', 'The Gasman Cometh', 'Misalliance', 'Ill wind', 'Slow Train' and , very appropriately following Tasmin's Zimbabwean tale, 'The Hippopotamus'. Michael's links were very reminiscent of Michael Flanders, who was sadly not familiar to everyone in the audience. When he quoted the intro to 'Ill Wind' ("I had hoped to play a horn concerto . . . ") Some people were genuinely disappointed that he hadn't brought a horn with him. 'Slow Train' was particularly moving as the recitation of railway station names (all sadly closed following the Beeching Report) again referred to a time that Miccchael could remember. He had travelled to Blundell's each morning on a line which has since been destroyed. To finish the evening in style, everyone joined in with 'The Hippopotamus'. A rousing chorus to cheer everyone up. (Just visible through the dressing room door, Tasmin was also enjoying the performance!).
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| The originals - Flanders and Swann |
The concert was followed by supper and an auction and sale of gifts to raise further funds, but that's another story. All money raised went to the ABF, and any further fund-raising projects or donations are always welcome. Even as you read this a soldier serving this country may be killed or injured leaving him or her disabled and potentially destitute. To find out more about how the ABF helps our soldiers, and how we can help too, read the full details of their work at www.soldierscharity.org.
This morning there will be a very brief mention of all these great concerts, plus a few extracts - a recording of Sebastian Comberti playing the 'cello, an aria from Pergolesi's 'Stabat Mater' and Vaughan Williams' 'The Lark Ascending'. Sally Daldorph will join us by telephone to tell us about another great concert this Saturday - German romantic music - and we'll have a chorus from Brahms Requiem to give us the flavour.
At 10.30 Ruth Avis will join us along with her 'Piazzolla Duo' partner, guitarist Clive Betts. They will play live music - Astor Piazzolla's 'Café 1930', Sebastián Iradier's 'La Paloma' and Jacques Ibert's 'Entr'acte - and discuss their concert this weekend, which sounds wonderful. At 11.30 their place will be taken by Bethany Jameson and Romano Viazzani of Vérité Productions to tell us about their musical play 'the Accordionist' which opens at the Bikeshed theatre tonight. Oh - and they will be playing us some music as well - numbers by Edith Piaf and some of their own. Bethany is a soprano and Romano plays the accordion. But we'd guessed that!
What's on in March
Vérité Productions (Soprano Bethany Jameson, Accordionist Romano Viazzani)
Bikeshed Theatre Fore Street Exeter
Tues-Sat 1-5 March 7.30pm
The Accordionist
Story of Edith Piaf Tribute Singer Jacqueline Lacroix
Tickets £10 (concession £7) Box 667080 www.bikeshedtheatre.co.uk
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| Bethany Jameson as Jacqueline Lacroix as Edith Piaf in the studio this morning |
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| Romano Viazzani adds magic with his accordion |
Josephine Pickering (Piano) and Julia Hill (Oboe)
Glenorchy United Reformed Church Exmouth Wednesday 2 March 12.30pm
A very special lunchtime concert!
No charge for admission
Exeter Recorded Concert Society
Exeter Central Library Music Room Saturday 5 March 1.30pm
A Russian Selection Ray Fane
Admission free
Exeter Recorded Concert Society
Exeter Central Library Music Room Saturday 5 March 1.30pm
A Russian Selection Ray Fane
Admission free
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West Barok Director, Brian Northcott |
West Barok Exeter's Early Music Ensemble
Glenorchy United Reformed Church Exmouth Saturday 5 March 7.30pm
Baroque Gems
Bach: Jesu meine Freunde
Monteverdi: Messa a quattro voci da cappella (1650)
Adoramus te Christe
Campra: Cantate Domino (soprano duet)
Vivaldi: Sinfonia ('cello & continuo)
Tickets £10 (£12 at door) Booking: 01395 272401 alison@westbarok.org.uk
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| Beare Trio (Chris with sax) |
Crediton Parish Church Saturday 5 March 7.30pm
Chris Gradwell, clarinet; Hilary Boxer, 'cello; Andrew Daldorph, piano
A Feast of German Romantic Music
Rheinberger: Abendlied
Beethoven: Trio No 4 in Bь Opus 11 (allegro con brio)
Bruckner: Locus Iste, Ave Maria
Brahms: Piano Trio in A minor Opus 114 (adagio)
Requiem (Wie Lieblich sind deine Wohnungen:
How amiable are your tabernacles)
Bruckner: Christus factus est (Christ became - obedient for us, Philippians)
Os Justi (The mouth of the righteous - speaks wisdom, Psalm 37)
Mendelssohn: Concert Piece No 1
Psalm 43
Schubert: Psalm 23
Mendelssohn: Verleih uns Frieden (Grant us peace)
Bruck: Studies from Opus 83
Rheinberger: 3 motets
Brahms Geitliches Lied (Sacred Song)
Rheinberger: Abendlied
Tickets: £7 (at door £8, concessions £4)
ECC Tickets 01404 813041 www.exeterchamberchoir.co.uk
(Many thanks to Sally Daldorph for phoning in those details to the studio this morning.)
Bruck: Studies from Opus 83
Rheinberger: 3 motets
Brahms Geitliches Lied (Sacred Song)
Rheinberger: Abendlied
Tickets: £7 (at door £8, concessions £4)
ECC Tickets 01404 813041 www.exeterchamberchoir.co.uk
(Many thanks to Sally Daldorph for phoning in those details to the studio this morning.)
The Piazzolla Duo
Holy Trinity Church Exmouth Saturday 5 March 7.30pm
Clive Betts, guitar & Ruth Avis, flute (plus Emma Welton, violin)
'Celtic Tango'
Latin American folk medley (from Brazil, Chile and Mexico)
Albeniz: 'Asturias'
Bizet: 'Habanera' from the opera 'Carmen'
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The 'Little People' - Eos Sídhe |
Sebastián Iradier: 'La Paloma' (another habanera, 'Dove', Cuba 1860)
Carlo Domeniconi: 'Sonatina Mexicana' (guitar, Berlin 1986)
Marco Granados: 'Venezuelan Studies' (flute, Venezuela 2007)
Trad: Spanish Ballad, 'Amazing Grace', 'Danny Boy'
Turlough O'Carolan: 'Sídhe Bheag agus Sídhe Mhór' (Ireland 1690)
(That's your actual Gaelic - Irish this time -
a 'Little Fairy Clan' and a 'Big Fairy Clan')
More medleys:
Irish: 'Harvest Home', 'Belfast Hornpipe' (guitar and violin)
Welsh: 'All through the night', 'Suo Gân' ('Lullaby') 'The Bells of Aberdovey' (flute and violin)
C.P.E. Bach Sonata in A minor (flute, Berlin ~1750)
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Jesus and the twelve disciples Duccio di Buoninsegna |
Tickets: £10, booking: David Prentice 07890 511439
St Peter’s Singers / Exeter Bach Society and Chamber Ensemble
Exeter Cathedral Sunday 6 March 5pm
Laurence Blyth, Alto
Tom Castle, Tenor
J.S.Bach Cantata 22: Jesu Jesus nahm zu sich die Zwölfe (Luke 13:31)
This is an Anglican evening service - no charge for admission
. . . and following the service:
Lara Melda (well known as Lara Ömeroğlu, 'Young Musician of the Year' 2010
Exeter Cathedral Chapter House, Sunday 6 March 6pm
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Lara Ömeroğlu, 'Young Musician of the Year' 2010 |
Piano Recital
J. S. Bach: Fantasia in C minor
Beethoven: Piano Sonata No 11
Schumann: Abegg Variations
Chopin: Étude in C sharp minor
Tickets £12, with concession £9, students £6
Phoenix Ticket Agency 667080
Opus Classical (Exeter Guildhall) 214044
Front of House: Roger Churchward 468867
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Antonio Vivaldi - The Red Priest |
If music be the food of love (Chapter House Concert Series)
Exeter Cathedral Chapter House Wednesday 16 March 7.30pm
Julie Hill baroque violin
Clare Garton-Sprenger baroque ’celloAndrew Daldorph harpsichordSiona Stockel soprano
Music to include
Vivaldi Nulla in mundo pax sincera
Handel Violin Sonata in F Op.1, No.12
and music by Bach and Purcell.
Tickets £12 (students £6) to include light refreshments and a glass of wine
Box: Cathedral Shop 01392 271354
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