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Autumn Concert 2009

Saturday 21 November 2009
St Mary’s Church, Banbury
Music by Elgar, Hindemith and Bartók

Programme £1

Our programme this evening comprises some wonderful 20th-century symphonic music by Elgar.30pm for our concert including Walton’s Spitfire Prelude and Fugue. Hindemith Symphonic Metamorphoses on Themes of Weber (1943) Hindemith has been called the ‘twentieth-century Bach’. most popular and most accessible works.50 is a concert overture composed by Edward Elgar during a family holiday in Italy in the winter of 1903 to 1904.Welcome to our concert! Hello and welcome to our autumn 2009 concert. It is one of his best known. Hindemith and Bartók: Elgar Overture In the South In the South (Alassio). Like the great Baroque composer. Op. Interval Bartók Concerto for Orchestra The concerto is a five-movement musical work for orchestra composed by Béla Bartók in 1943.30pm for our traditional Christmas concert and on 27 March 2010 at 7. Elgar’s Nursery suite and Symphony by Arnold. Thanks again for being with us. and please make a note In your diary to join us again at St Mary’s on Saturday 12 December 2009 at 4. . Hindemith was a master of counterpoint on which all his music is based.

While studying music at secondary school. Anna particularly enjoys helping adults to learn to play and she can be contacted on 01295 780017. a post that she has held ever since. After successfully completing her music degree.Paul Willett – Conductor Paul Willett studied violin. He was a member of The Five Winds. Anna joined the Cape Philharmonic Orchestra in 1992. and also on BBC radio.Leader Anna was born in South Africa where she started playing the violin at the age of ten. Anna plays an active role in church music. a group that performed both at home and abroad. Keen to continue her orchestral playing. He has given solo recitals and performed concertos throughout the country. . majoring in orchestral studies. both adult and youth. Anna became a member of the South African National Youth Orchestra. Anna Fleming . As a committed Christian. Anna joined the Banbury Symphony Orchestra in 1997 and became the leader of the orchestra in 2000. Anna moved to England in late 1996. Paul then went on to read music on scholarship at The Queen’s College. Oxford. and studied for his teaching certificate in Music and Physical Education at Reading University. When Paul was 16. For several years Paul combined teaching and freelance playing. he gained his Performance Diploma from The Royal College of Music playing French horn. singing and piano as a student but his main instrument was the French horn. Paul now combines class teaching with conducting various ensembles. He is also in demand as an adjudicator for both adult and student competitions. Focusing primarily on private violin tuition. Paul also worked as a brass teacher for Oxfordshire Music Service and was director of a Saturday Music School of 200 students. Paul is currently Acting Assistant Head Teacher at Didcot Girls’ School.

He strolled around during the visit. and later he made several instrumental versions. The piece is about 20 minutes long and does not have separate movements. In July of the same year. all of a sudden. the conflict of the armies on that very spot long ago. flowers. The viola solo is of particular note due partly to its length.” The première of the work was conducted by the composer with the Hallé in 16 March 1904 in the last of three festival concerts of his own work at the Royal Opera House of Covent Garden. and the rest of the brass add tremendous excitement in the middle of the piece with loud chords separated by large intervals Alassio – Vintage Postcard .streams. There are large legato passages between the strings and French horns.Elgar's In the South (Alassio). I came back to reality. the distant snow mountains in one direction and the blue Mediterranean in the other. while buildings. where I now stood – the contrast of the ruin and the shepherd – and then. played by solo viola. The main descending theme is echoed throughout the sections of the orchestra all through the piece. landscape and history of the town provided him the sources of inspiration. but also because of the contrast it creates with the rest of the piece which is very bold. Perhaps the best known part of the piece is the central melody "Canto Populare". it all came to me . In that time I had composed the overture – the rest was merely writing it down. Elgar took the "Canto Populare" section from the piece and fitted it to a poem by Percy Bysshe Shelley as a song under the title In Moonlight. being on such an underused instrument. hills. The subtitle "Alassio" is a town on the Italian Riviera where Elgar and his family stayed. Op.50 is a concert overture composed by Edward Elgar during a family holiday in Italy in the winter of 1903 to 1904. He later recalled: “Then in a flash.

Weber's piano duets were written around 1801 and 1818–19. Hindemith watched one of Massine's ballets and disliked it. The work was first performed on 20 January 1944 in New York City (Artur Rodzioski conducting). 242 and 265) for the themes for the other movements. Andantino 4. 10/2 (third movement) (J. and Hindemith used some of these little-known pieces – Op. 60/2 and 60/7 (J. his Turandot music in 1809. who originally suggested that Hindemith compose a ballet based on Weber's music.Lively 3. . 60/4 (first movement) (no. and material from the two piano duets Op. March The Weber themes are taken from incidental music Weber wrote for a play by Carlo Gozzi based on the same Turandot legend that later inspired Giacomo Puccini and others. so he wrote the Symphonic Metamorphosis instead. Scherzo (Turandot): Moderato . Hindemith and his wife used to play Weber's music for two pianists.The orchestral work Symphonic Metamorphosis on Themes of Weber was composed by Paul Hindemith in 1943. Allegro 2. After studying Weber's music. The idea of composing a work based on Carl Maria von Weber's music was first put forward to Hindemith by the choreographer and dancer Léonide Massine. 253 in the Jähns catalog of Weber's works). 10). The Symphonic Metamorphosis is in four movements: 1. Op.

3. resembles a folk melody. including his Sonata for Solo Violin and Piano Concerto No. side drum. cymbals. where he wrote a longer ending. This movement is in sonata allegro form. 2 harps and strings. clarinets in minor sevenths. 4 horns. which he had fled because of World War II. and it departs from traditional tonality. 3 trombones. with a different pair of instruments playing together in each section. Second movement The second movement. called "Giuoco delle coppie" or "Game of the pairs" by Bartók (but see note below). 3 trumpets. Bartók makes extensive use of classical elements in the work. is in five sections. 6 (1939). the String Quartet No. which sparked a small number of other compositions. The drone in the horns and strings also indicates folk influence (see example). and both versions are performed today. oboes are in minor thirds.Bartók Concerto for Orchestra The work was written in response to a commission from the Koussevitzky Foundation (run by the conductor Serge Koussevitzky) following Bartók's move to the United States from his native Hungary. called Introduzione by Bartók. for instance. tuba. Both versions of the ending were published. each thematically distinct from each other. especially that of Hungary. 3 bassoons (one doubling contrabassoon). the second main theme of the first movement. 3 clarinets (one doubling bass clarinet). could well have been his last were it not for this commission. often using non-traditional modes and artificial scales. triangle. Bartók revised the piece in February 1945. bass drum. the biggest change coming in the last movement. timpani. the first and fifth movements are in sonata-allegro form. and their influence is felt throughout the work. 3 oboes (one doubling cor anglais). In each passage a different interval separates the pair—bassoons are a minor sixth apart. It has been speculated that Bartók's previous work. flutes in fifths and muted . First movement The first movement. The piece is scored for 3 flutes (one doubling piccolo). for example. is a slow introduction of night music type that gives way to an allegro with numerous fugato passages. Bartók researched folk melodies. tamtam. The work combines elements of Western art music and eastern European folk music. as played by the 1st oboe. with its narrow range and almost haphazard rhythm.

When we rehearsed I could see that the musicians didn't like it at all and in the break the side drum player (who starts the movement with a solo) came to me and said ‘Maestro. is another slow movement. . Bartók's manuscript had no title at all for this movement at the time the engraving-copy blueprint was made for the publisher. The only way to check was to locate the manuscript and through the courtesy of the Library of Congress in Washington we obtained a copy of the relevant page. The movement revolves around three themes. The printed score gives crotchet equals 74. but I thought that I must follow what it says. Furthermore Bartók headed it "Presentando le coppie" (Presentation of the pairs) not "Giuoco delle coppie" (Game of the pairs).trumpets in major seconds. which I thought must be a mistake. have been given at the wrong speed!” Third movement The third movement. but a tempo marking of "Allegro scherzando" (the printed score gives "Allegretto scherzando"). The original 1946 printed score also had an incorrect metronome marking for this movement. The movement prominently features a side drum which taps out a rhythm at the beginning and end of the movement. However. including my own up to now. At some later date. Bartók added "Presentando le coppie" (Presentation of the pairs) to the manuscript. While the printed score has the second movement as Giuoco delle coppie (Game of the pairs). which not only clearly showed crotchet equals 94. typical of Bartók's so-called "night music". which is extremely slow. I was most excited by this. because it becomes a quite different piece. Solti writes: “When preparing these two works for the recording I was determined that the tempi should be exactly as Bartók wrote and this led me to some extraordinary discoveries. it is retained in the revised edition of the score. This was brought to light by Sir Georg Solti as he was preparing to record the Concerto for Orchestra and the Dance Suite. and addition of this title was included in the list of corrections to be made to the score. I have no doubt that thousands of performances. which primarily derive from the first movement. in Bartók's file blueprint the final title is found. chief of which was in the second movement of the Concerto for Orchestra. since none of the other parts have a tempo marking. my part is marked crotchet equals 94’. and because it is believed to have been the composer's later thought. called Elegia by Bartók. The programme of the first performance in Boston clearly has the movement marked "Allegro scherzando" and the keeper of the Bartók archives was able to give us further conclusive evidence that the faster tempo must be correct.

consists of a flowing melody with changing time signatures.Fourth movement The fourth movement." Fifth movement The fifth movement. All programme notes taken from Wikipedia . The theme is itself interrupted by glissandi on the trombones and woodwinds. In this movement. called Finale by Bartók and marked presto. The general structure is "ABA–interruption–BA. the timpani are featured when the second theme is introduced. 7). intermixed with a theme parodying and ridiculing the march tune in Dmitri Shostakovich's "Leningrad" Symphony (No. called Intermezzo interrotto by Bartók. requiring 12 different pitches of the timpani over the course of 20 seconds. consists of a whirling perpetuum mobile main theme competing with fugato fireworks and folk melodies. This is also written in sonata allegro form.

Kathryn Hayman (Secretary). Andrew Waite Conductor .Banbury Symphony Orchestra Management Committee: Jonathan Rowe (Chair). Jenny Maynard (Treasurer) Emma Callery.Paul Willett Violin I Anna Fleming (Leader) Jenny Maynard Geoff Kent Heidi Robertson Penny Tolmie Marianne Robinson Trish Evans Clare Trivett Corrie Ricardo Cello Miranda Ricardo Sarah Turnock Peter Button John Pimm Ruth Mankelow Mary Martin Paul Morley Alice Hill Jennifer Hubble Violin II Emma Callery Rachel Sansome Rachel Saunders John Thomson Andrew Waite Sue Christie Christine Morley Bryony Yelloly Joanne Butler Gill Walker Double Bass Robert Gilchrist Jo Hammond Jane Martin Piccolo Rachel Hawes Trombone Paul Macey Gary Clifton Malcolm Saunders Viola David Bolton-King John Maksinski Jonathan Rowe Alison Packer Sue Wightman Oboe Estevan Ellul Corinne Ellul Lyn Gosney Tuba James Bolton-King Cor Anglais Lyn Gosney Percussion Justin Rhodes Sue Woolhouse Dave Martin Flute Rachel McCubbin Nick Planas Clarinet Helen Payne David Rule Bass clarinet Alice Palmer Bassoon Ian McCubbin Rachel James Contra bassoon Ian White Horn David Settle Richard Hartree Simon Mead Edward Bolton-King Helen Barnby-Porritt Trumpet Tony Chittock Ron Barnett Terry Mayo Harp Karina Bell . Estevan Ellul. Helen Payne. Anna Fleming.

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