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
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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)
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.
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
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.
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.
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.
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.
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.
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 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 |
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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 |
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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 |
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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 |
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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!
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
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
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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Concert Selections still available on this Website:
Please click on a title to go to the concert webpage • Marina Kan's AGM Piano Concert • Concert for St George's Day and Shakespeare's Birthday 1 May 2020 Music on May Day Online • Music on MayDay • Music for VE Day 75th Anniversary • Piano à Deux - Linda Ang Stoodley & Robert Stoodley, 4 hands on 1 piano • Clocks & Cathedrals (musical clocks, that is) • Guitars & Friends - a guitar medley • Beethoven & Haydn String Quartets • Cello Tango - from solos to multi cellists • Organs of Paris ♥ Les Orgues de Paris • Flute Fest • Virtual Viola, hosted by Lynda Chang • Multi Piano - pianos from two to 12 at a time • From Sackbutt to Trombone • Harp Haven - our President's 100th Birthday Concert • Oboe Omnibus • Gentle Guitar • Music for Unusual Instruments • Viola da Gamba, hosted by Ibrahim Aziz • Music & the Military • Choral Music • Clarinet Compilation, hosted by Lynda Chang |
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