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Music in Surrey Diary log

Music on Thursdays - Online

Thursday 17th September 2020


The Voice

Artistes include:
• Barbara Hannigan, cellists of the Gothenburg Symphony Orchestra
• Aleksander Ort, oktavist

• Christine Rice, mezzo, Academy of Ancient Music, Steven Devine, director
• Simon Clark, Chapel Choir, University of Exeter, director, Michael Graham
• Dietrich Fischer-Dieskau, baritone, and Gerald Moore, piano
• David Cordier, countertenor, Wiener Sängerknaben, director Helmut Froschauer
• Wanda Brister, mezzo-soprano, Timothy Broekman, piano
• Felicity Lott, mezzo, Graham Johnson, piano

• Dr Evadne Hinge & Dame Hilda Bracket


Music by:  Villa-Lobos • Russian Orthodox Church • Purcell • Schubert • Madeleine Dring • Robert Lucas de Pearsall (aka G Berthold) • Rossini • Christoph EF Weyse

Starts: when you are ready
latecomers will be admitted at your personal discretion

Listening position:

Relax with your choice(s) of beverage, in a place of your choosing, alone, or with company
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The Voice


Programme

Heitor Villa-Lobos (1887-1959)
Bachianas Brasileiras
     5 for voice and at least 8 cellos (1938-1949)

performed by Barbara Hannigan, with the cellists of the Gothenburg Symphony Orchestra



Russian Orthodox Church
Great Litany


performed by Aleksander Ort, oktavist / basso profundo


Henry Purcell (c1659-1695)
from Act 3 of the opera Dido and Aeneas  Z626 (c1688)
    Dido: [Aria] Thy hand Belinda, darkness shades me
    [Ground, Aria & Ritornello] Dido's Lament  When I am laid in earth

performed by
Christine Rice, mezzo-soprano, with the Academy of Ancient Music, Steven Devine, director (from the harpsichord)


Traditional
collected by Ralph Vaughan Williams in 1903
Bushes and Briars

performed by a member of the Purcell Singers



Traditional
collected by Ralph Vaughan Williams in 1924
The Turtle Dove

performed by soloist Simon Clark and the Chapel Choir of the University of Exeter, director, Michael Graham



Franz Peter Schubert (1797-1828)
Die Forelle    The Trout  for voice & piano D550 

performed by
Dietrich Fischer-Dieskau, baritone, and Gerald Moore, piano

from Sieben Gesänge aus Walter Scotts 'Fräulein am See'   
       
Seven Songs on W Scott's Lady of the Lake (1825)
    Ave Maria   Hail Mary
  Op 52 D839

performed by David Cordier, countertenor, and  the
Wiener Sängerknaben (Vienna Boys Choir) in 1996, under  Helmut Froschauer


Madeleine Winifride Isabelle Dring (1923-1977)
Texts: Sir John Betjeman (1906-1984)
Five Betjeman Songs (1976)

    A Bay of Anglesey    WB/TH
    Song of a Nightclub Proprietress    FL/GJ
    Business Girls   WB/TH
    Undenominational   WB/TH
    Upper Lambourne   WB/TH

performed by:
WB/TH Wanda Brister, mezzo-soprano, Timothy Broekman, piano
FL/GJ Felicity Lott, mezzo, Graham Johnson, piano



ENCORE

possibly Robert Lucas de Pearsall, using the pseudonym G Berthold (1795-1856)
including material from Rossini's opera Otelo (1816) and Christoph EF Weyse's Katte-Cavatine

Duetto buffo di due gatti    Humorous Duet for Two Cats  (1825)

performed by Dr Evadne Hinge and Dame Hilda Bracket (George Logan at the piano, and Patrick Fyffe)



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This week, once again, Lynda Chang has chosen her concert theme and made her selections, for The Voice. Preparing our October concerts and other aspects of the Mole Valley Arts e-Live Festival is taking more of my time than expected so I am especially grateful to Lynda, and to another guest presenter you will meet next week. For now, over to you, Lynda.


Greetings.  Yes, it's me again.  No, I have not taken root.  I had not thought we would meet again so soon either.  But it's a great pleasure to be here.

Our concert today features The Voice.  What a treasure trove there is for this most versatile of instruments.  For the sake of balance, I have included some oddities as well as some goldie-oldies.  Any single item and its genre could have warranted an entire programme to itself, but I do not have that luxury.  So in spite of the broad-ranging medley, I hope you will enjoy the music.

Let us open with a wonderful celebration of the human voice by the Brazilian composer, Villa Lobos, whose prodigious output, combining Brazilian and European influences, came to represent South American music in the 20th century.  This work is called Aria and is scored, unusually but magically, for soprano and 8 cellos - an extraordinary line-up and wonderful to experience within a live setting.

The opening features the soprano without words, just ululating.  It is beauty and joy with a hint of passion and intensity, unsullied by words.   Words do make a brief appearance in the central section, describing the happy confluence of nature, earth, sea and sky.  Finally the opening tune returns but, this time, it is marked bocca chiusa, (mouth closed), ie it is to be hummed!  What a demand on the singer.  And do listen for the final vocal note - a mark of the quality of the singing - which draws the work to a close. Throughout, the cellos provide a subtle kaleidoscope of colours in support.

Canadian soprano Barbara Hannigan is the brilliant soloist here, sensitively accompanied by cello members of the Gothenberg Symphony Orchestra.  Although the link shows as being 8.5 minutes long, the music in fact finishes at 7 minutes - the rest being applause, richly deserved.
Heitor Villa-Lobos (1887-1959)    (7m20 of 8m28)
Bachianas Brasileiras
5 for voice and at least 8 cellos (1938-1949)

performed by Barbara Hannigan, with the cellists of the Gothenburg Symphony Orchestra, in Gothenburg Concert Hall


I hope you will find this diversion sufficiently interesting to warrant a 2-minute hearing.

Basso profundo is a voice type that is even lower than the normal 'bass'.  They are also called 'octavists' because they sing at least an octave below the normal bass part. 

Allegedly this became a Russian tradition due to the fact that some churches did not have an organ, so all these low notes had to be sung!  There are even Russian choirs exclusively made up of such octavists.

Aleksander Ort is a famous exponent of this art.  Does he not sound just like the hugest organ pipe ever?  I hope you will agree that it is an amazing sound.
Russian Orthodox Church
Great Litany
    (2m48)

performed by Aleksander Ort, oktavist / basso profundo
The Cantor's text:

Mirom, Ghospodu Pomolimsia,  Peace, let us pray to the Lord,
    choir: Kyrie eleison  Lord have mercy

O Svishnem Mire i spasenii dush nashih, Ghospodu pomolimsia.
    For the Highest Peace and the salvation of our souls, let us pray to the Lord.
O Mire fsego mira, blagostoyanii sviatih, bozhiih tserkvey i soyedinenii fseh, Ghospodu pomolimsia.
    For the Peace of this world, the welfare of the saints, the churches of God and for the union of all, let us pray to the Lord.
O blagorastvorenii vozduhov, o izobilii plodov zemnih i vremeneh mirnih, Ghospodu pomolimsia.
    For the goodness of the air, for the abundance of the fruits of the earth and peaceful times, let us pray to the Lord.
O plavayushchih, puteshestvuyushchih, neduguyushchih, strazdushchih, plenennih i o spasenii ih, Ghospodu Pomolimsia.
    For the salvation of travellers, for the sick, the suffering and those in captivity, let us pray to the Lord.
Zastupi, spasi, pomiuy i sohrani nas, Bozhe, Tvoyeyu blagodatiyu.
    Spare, cleanse, and save us, O God, by Your grace.

Back to more familiar territory.

As one of the earliest known English operas, Purcell's Dido and Aeneas represents an important landmark in the history of dramatic music. It recounts the tragedy of the Queen of Carthage who falls in love with the Trojan hero Aeneas, and is then abandoned by him.

Purcell was acknowledged as an outstanding composer in his day.  He produced a wide-ranging body of works including instrumental and secular pieces as well as odes, anthems and other forms of church music.  After Purcell, English vocal writing all but disappeared until the likes of Elgar, Vaughan-Williams and Britten revived the art form during the late 19th and early part of the 20th century.

English mezzo-soprano Christine Rice delivers a heart-rending account of Dido's Lament, with admirably clear diction, accompanied by the Academy of Ancient Music whose members play on authentic Baroque-style instruments.
Henry Purcell (c1659-1695)    (4m20)
from Act 3 of the opera Dido and Aeneas  Z626 (c1688)
Dido: [Aria] Thy hand Belinda, darkness shades me
[Ground, Aria & Ritornello] Dido's Lament
When I am laid in earth

performed by
Christine Rice, mezzo-soprano, with the Academy of Ancient Music, Steven Devine, director (from the harpsichord)


Thy hand, Belinda, darkness shades me,
On thy bosom let me rest,
More I would, but Death invades me;
Death is now a welcome guest.

When I am laid in earth, May my wrongs create
No trouble in thy breast;
Remember me, but ah! forget my fate.

Around the turn of the 20th century, Vaughan Williams started to collect folk songs and spearheaded a revival of these all-but-forgotten words and tunes.  In total, he amassed about 800 songs and carols and made arrangements of many of them for soloists, choirs and orchestras alike.  Folk songs had a significant influence on him, such that a modal turn of melody or harmony became never far from his own compositions.

Bushes and Briars was the first folk song ever collected by RVW.  He noted down the tune in 1903 from a labourer in the village of Ingrave near Brentwood,  Essex.  The performer here is a member of the Purcell Singers.

Traditional   (3m23)
collected by Ralph Vaughan Williams in 1903
Bushes and Briars

performed by a member of the Purcell Singers





Through bushes and through briars I lately took my way;
All for to hear the small birds sing and the lambs to skip and play.
I overheard my own true love, her voice it was so clear;
"Long time I have been waiting for the coming of my dear.
Sometimes I am uneasy and troubled in my mind,
Sometimes I think I'll go to my love and tell to him my mind.
And if I should go to my love, my love he will say nay,
If I show to him my boldness, he'll ne'er love me again."


RVW came across the melody of the Turtle Dove in Sussex in 1904. 

It is most often heard in this setting for solo baritone and mixed chorus, published in 1924.  I found this version by the University of Exeter Chapel Choir, made in 2016, particularly moving.
Traditional   (3m09)
collected by Ralph Vaughan Williams in 1924
The Turtle Dove

performed by soloist Simon Clark and the Chapel Choir of the University of Exeter, director, Michael Graham

The turtle dove
 
Fare you well, my dear,
I must be gone,
And leave you for a while;
If I roam away I'll come back again,
Though I roam ten thousand miles, my dear,
Though I roam ten thousand miles.

So fair thou art, my bonny lass,
So deep in love am I;
But I never will prove false to the bonny lass I love,
Till the stars fall from the sky, my dear,
Till the stars fall from the sky.

The sea will never run dry, my dear,
Nor the rocks melt with the sun,
But I never will prove false to the bonny lass I love,
Till all these things be done, my dear,
Till all these things be done.

O yonder doth sit that little turtle dove,
He doth sit on yonder high tree,
A-making a moan for the loss of his love,
As I will do for thee, my dear,
As I will do for thee.

During his shockingly short life, Schubert produced an astonishing number of works, from songs to symphonies, piano sonatas to chamber works.

For me, he represented, above all, the consummate song writer, forever immortalised in his two song cycles, Die Schone Mullerin (1823) and Winterreise (1827).  I am including two of his songs today, though not from either of these

Die Forelle The Trout

Schubert wrote no fewer than five versions of this charming little song, and used the same tune in the Theme and Variations movement of his Trout Quintet, D667. It reflects the naturalist theme of the Romantic period as well as his own sense of playfulness.

How lucky we are to have the incomparable Dietrich Fischer-Dieskau and Gerald Moore performing for us.
Franz Peter Schubert (1797-1828)     (1m57)
Die Forelle    The Trout  for voice & piano D550 

performed by
Dietrich Fischer-Dieskau, baritone, and Gerald Moore, piano
In einem Bächlein helle,
Da schoß in froher Eil
Die launische Forelle
Vorüber, wie ein Pfeil:
Ich stand an dem Gestade,
Und sah' in süsser Ruh
Des muntern Fischleins Bade
Im klaren Bächlein zu.

Ein Fischer mit der Ruthe
Wol an dem Ufer stand,
Und sah's mit kaltem Blute
Wie sich das Fischlein wand.
So lang dem Wasser Helle,
So dacht' ich, nicht gebricht,
So fängt er die Forelle
Mit seiner Angel nicht.

Doch endlich ward dem
Diebe Die Zeit zu lang; er macht
Das Bächlein tückisch trübe:
Und eh' ich es gedacht,
So zuckte seine Ruthe;
Das Fischlein zappelt dran;
Und ich, mit regem Blute,
Sah die Betrogne an.

Text: Christian Friedrich Daniel Schubart (1739-1791)
In a bright little brook
there shot in merry haste
a capricious trout:
past it shot like an arrow.
I stood upon the shore
and watched in sweet peace
the sprightly little fish's bath
in the clear little brook.

A fisher with his rod
stood at the water-side,
and watched in cold blood
as the little fish swam about.
So long as the water's clarity
is not lost, I thought,
he'd be unable to catch the trout
with his fishing rod.

But finally the thief
grew weary of waiting. He stirred
up the brook and made it muddy,
and before I realized it,
his fishing rod was twitching:
the fish was squirming there,
and I, with raging blood,
gazed on the betrayed fish.

Translation: Emily Ezust/Peter Steadman


This perennial favourite has stood the test of time, despite being attempted, not always successfully, by singers from beginners to professionals.  It was no 6 in a set of seven songs that Schubert wrote based on a translation of Walter Scott's Lady of the Lake.

There is a bewildering choice of singers and arrangements, but I believe the best is also the simplest as exemplified in this recording.  Here is a wonderful recording by the Vienna Boys' Choir with English countertenor (and Cambridge Maths graduate) David Cordier, in a performance conducted by Helmut Froschauer, who had been director of the choir between 1953 and 1965.
Wiener Sängerknaben, David Cordier, countertenor, Ave Maria, Schubert,
Wiener Sängerknaben, David Cordier, countertenor, Ave Maria, Schubert,
click to enlarge
Franz Schubert
from
Sieben Gesänge aus Walter Scotts 'Fräulein am See'    Seven Songs on W Scott's Lady of the Lake (1825)
Ave Maria   Hail Mary
  Op 52 D839    (6m07)

performed by David Cordier, countertenor, and  the
Wiener Sängerknaben (Vienna Boys Choir) in 1996, under  Helmut Froschauer.

And now, for something completely different - a breath of fresh air from a female English composer and actress!  I truly believe her compositions warrant long overdue recognition and wider study. (Hear, hear! Peter)

Madeleine Dring showed early musical talent and attended the Royal College of Music from the age of ten!  She studied violin, piano and composition, the latter with Herbert Howells.  She admired the light-handed quirkiness of Poulenc and also the jazzy idioms of Gershwin and Arthur Benjamin, and forged from them a musical language that was entirely her own.

I am a particular fan of her collection of 5 Betjeman Songs and I hope you will stay the course (some 12' in total) and listen to them all.  The style is original, clever and utterly illustrative of the contrasting texts.  I can't help feeling that Betjeman, whose wry humour abounds in these poems, would have been very pleased with this little suite.

So that you can fully appreciate these songs, I set out below the words to each poem in turn.  4 out of the 5 songs are performed by Wanda Brister (mezzo) and Timothy Hoekman (piano).  I wanted to feature Felicity Lott's recording of the Nightclub Proprietress recording simply because she is superb.
Madeleine Winifride Isabelle Dring (1923-1977)
Texts: Sir John Betjeman (1906-1984)
Five Betjeman Songs (1976)

A Bay of Anglesey
Song of a Nightclub Proprietress
Business Girls
Undenominational
Upper Lambourne

A Bay in Anglesey

A gentle song where you can hear the rocking motion of the waves in the accompaniment.  What fantastical images are evoked by Betjeman's words.
A Bay in Anglesey    (3m43)

performed by: Wanda Brister, mezzo-soprano, and
Timothy Hoekman, piano



A Bay in Anglesey


The sleepy sound of a tea-time tide
Slaps at the rocks the sun has dried
Too lazy, almost, to sink and lift
Round low peninsulas pink with thrift

The water, enlarging shells and sand
Grows greener emerald out from land
And brown over shadowy shelves below
The waving forests of seaweed show

Here at my feet in the short cliff grass
Are shells, dried bladderwrack, broken glass
Pale blue squills and yellow rock roses
The next low ridge that we climb discloses

One more field for the sheep to graze
While, scarcely seen on this hottest of days
Far to the eastward, over there
Snowdon rises in pearl grey air

Multiple lark song, whispering bents
The thymy, turfy and salty scents
And filling in, brimming in, sparkling and free
The sweet susurration of incoming sea

Song of a Nightclub Hostess    (2m48)

performed by: Felicity Lott, mezzo-soprano, and
Graham Johnson, piano


This is the most popular of the five songs and shows Dring at her jazzy best - infused with bitter melancholy at a life fully lived, yet with a note of defiance even at the end.


Sing of a Nightclub Hostess


I walked into the nightclub in the morning
There was Kummel on the handle of the door
The ashtrays were unemptied,
The cleaning unattempted
And a squashed tomato sandwich on the floor

I pulled aside the thick magenta curtains
So Regency, so Regency, my dear
And a host of little spiders
Ran a race across the ciders
To a box of baby 'polies by the beer

Oh sun upon the summer going by pass
Where everything is speeding to the sea
And wonder beyond wonder
That here where lorries thunder
The sun should ever percolate to me

When Boris used to call in his Sedanca
When Teddy took me down to his estate
When my nose excited passion
And my clothes were in the fashion
When my beaux were never cross if I was late

There was sun enough for lazing upon beaches
There was fun enough for far into the night
But I'm dying now and done for
What on earth was all the fun for?
I am ill and terrified and tight

Business Girls    (2m12)

performed by: Wanda Brister, mezzo-soprano, and
Timothy Hoekman, piano


The busy accompaniment creates a sense of the grim relentlessness of life for the 'business girls'.

Business Girls


From the geyser ventilators
Autumn winds are blowing down
On a thousand business women
Having baths in Camden Town

Wastepipes chuckle into runnels
Steam's escaping here and there
Morning trains through Camden cutting
Shake the Crescent and the Square
Early nip of changeful autumn
Dahlias glimpsed through garden doors
At the back precarious bathrooms
Jutting out from upper floors 

And behind their frail partitions
Business women lie and soak
Seeing through the draughty skylight
Flying clouds and railway smoke

Rest you there, poor un belov'd ones
Lap your loneliness in heat
All too soon the tiny breakfast
Trolley bus and windy street

Undenominational    (1m24)

performed by: Wanda Brister, mezzo-soprano, and
Timothy Hoekman, piano


Although pious, Betjeman held some uncertainty about the truth of Christianity, aptly reflected in this quasi-hymnal setting by Dring.

Undenominational

Undenominational
But still the church of God
He stood in his conventicle
And ruled it with a rod

Undenominational
The walls around him rose
The lamps within their brackets shook
To hear the hymns he chose
"Glory", "Gospel", "Russell Place"
"Wrestling Jacob", "Rock"
"Saffron Walden", "Safe at Home"
"Dorking", "Plymouth Dock"

I slipped about the chalky lane
That runs without the park
I saw the lone conventicle
A beacon in the dark

Revival ran along the hedge
And made my spirit whole
When steam was on the window panes
And glory in my soul

Upper Lambourne    (2m35)

performed by: Wanda Brister, mezzo-soprano, and
Timothy Hoekman, piano


An affectionate poke of fun at the genteelness of times past.
Upper Lambourne

Up the ash tree climbs the ivy
Up the ivy climbs the sun
With a twenty thousand pattering
Has a valley breeze begun
Feathery ash, neglected elder
Shift the shade and make it run

Shift the shade toward the nettles
And the nettles set it free
To streak the stained Cararra headstone
Where, in nineteen twenty three
He who trained a hundred winners
Paid the final Entrance Fee


Leathery limbs of Upper Lambourne
Leathery skin from sun and wind
Leathery breeches, spreading stables
Shining saddles left behind
To the down the string of horses
Moving out of sight and mind

Feathery ash in leathery Lambourne
Waves above the sarsen stone
And Edwardian plantations
So coniferously moan
As to make the swelling downland
Far surrounding, far surrounding, seem their own

Encore

We are going to end our concert today with a blistering tour de force - there's no other way to describe it - from Hinge & Bracket.  A typical 'encore' piece, I doubt that it has ever been bettered.

A myth to debunk - although mostly attributed to Rossini, this music was in fact a compilation of tunes from Rossini's opera Otello and from CEF Weyse, a Danish composer - cobbled together by 'G Berthold'.  Do we care?  Possibly not.

ENJOY!

possibly Robert Lucas de Pearsall, using the pseudonym G Berthold (1795-1856)
including material from Rossini's opera Otelo (1816) and Christoph EF Weyse's Katte-Cavatine

Duetto buffo di due gatti    Humorous Duet for Two Cats  (1825)    (3m40)

performed by
Dr Evadne Hinge and Dame Hilda Bracket (George Logan at the piano, and Patrick Fyffe) in 1976

Guest Host: Lynda Chang
Web Design: Peter Steadman
Assisted by: Richard Miller & Jane Forrester



We hope you have enjoyed your Voice  Concert Online


Watch your email and this website for next week's

Beethoven 250 concert


comments welcome:  musiconthursdays@gmail.com
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Please click on a title to go to the concert webpage

• Marina Kan's AGM Piano Concert

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      • 4 June 2020 Music on Thursdays Online: String Quartets
      • 11 June 2020 Music on Thursdays Online: Cello Tango
      • 18 June 2020 Music on Thursdays Organs of Paris Online
      • 25 June 2020 Music on Thursdays Flute Fest Online
      • 2 July 2020 Music on Thursdays Online: Virtual Viola
      • 9 July 2020 Music on Thursdays Online: Multi Piano
      • 16 July 2020 Music on Thursdays Online: Sackbutt to Trombone
      • 23 July 2020 Music on Thursdays Online: Harp Haven
      • 30 July 2020 Music on Thursdays Online: Oboe Omnibus
      • 6 Aug 2020 Music on Thursdays Online: Gentle Guitar
      • 13 Aug 2020 Music on Thursdays Online: Unusual Instruments
      • 20 Aug 2020 Music on Thursdays Online: Viola da Gamba
      • 27 Aug 2020 Music on Thursdays Online: Music & the Military
      • 3 Sep 2020 Music on Thursdays Online: Choral Music
      • 10 Sep 2020 Music on Thursdays Online: Clarinet Compilation
      • 17 Sep 2020 Music on Thursdays Online: The Voice
      • 24 Sep 2020 Music on Thursdays Online: Beethoven 250
      • 1 Oct 2020 Music on Thursdays Online: Eddie Lee's Jazz on Thursday
      • 8 Oct 2020 Music on Thursdays Online: Diphonon Viola & Accordion Duo
      • 15 Oct 2020 Music on Thursdays Online: Marion Bettsworth, organ
      • 22 Oct 2020 Music on Thursdays Online: CarmenCo - telling Carmen's story
      • 29 Oct 2020 Music on Thursdays Online: Phil Hopkins, classical harmonica
      • 5 Nov 2020 Music on Thursdays Online: Musical Fireworks
      • 12 Nov 2020 Music on Thursdays Online: Music of the Musicals
      • 18 Nov 2020 FINAL Wednesday at Christ Church Live Organ Concert - Mark Brafield
      • 17 Dec 2020 Music on Thursdays Online: Carols with CarmenCo
    • Christ Church Leatherhead
    • 2013 Anthony Cairns Concerts
    • 2012 Anthony Cairns Concerts
    • HGS1965
    • UNU Music on Thursdays Online:
    • Bitsa
    • W-I-P