• I

Part of the International Ernest Bloch Festival 2009 - and beyond

Goldner Quartet with , piano

Monday 20 April, 2009 • • 7:30pm Im! Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible and ensure that watch alarms and any other electronic devices which may become audible are switched off.

Programme

Mahler: Piano Quartet (1876) (1860-1911 )

Bloch: Paysages String Quartet (1925) (1880-1959)

Beethoven: String Quartet Op.74 Harp (1809) (1770 -1827)

Interval - 20 minutes

Bloch: Piano Quintet No.1 (1921 -3) .

Ernest Blach drawing by Milein Casman

Concert Management by: J Audrey Ellison International Artists' Management 135 Stevenage Road, Ful ham, SW66PB Tel: 020 7381 9751 Fa x: 020 7381 2406 email: [email protected] Ernest Bloch Jubilee Concert

It is fitting that, in this chamber much chamber music recital commemorating the 50th music during this anniversary year of his death, Bloch period (including a should be celebrated not only by Piano Quintet performances of his own music but also premiered in by works by two towering geniuses Vienna in 1878), the Piano Quartet is whose influence upon him was to prove the only student work that he did not decisive and indelible. Two instances later destroy. It comprises the powerful will exemplify the special musical eleven-minute-Iong movement in relationship that existed between Bloch sonata form that we are to hear tonight. and Beethoven and between Bloch and (A scherzo movement survives as but Mahler. a fragment of 24 bars.) In 1940, when he began teaching Affinities with the style and ethos of summer courses at the University of composers such as Schubert, California at Berkeley, Bloch spent Schumann and Brahms are apparent several months working on the Eroica from the very outset of the work; and Symphony, enthusiastically scrutinizing there are harmonic progressions which Beethoven's copious sketches and even seem to anticipate Rachmaninov copying them out meticulously by hand, (13 years Mahler's junior). with the purpose of understanding - The first subject of the exposition is and disseminating to his students - the an insistent three-note rising figure (A­ intimate inner workings of Beethoven's F-E) that recurs frequently throughout craft and creativity. Meanwhile, several the movement, often in canonic or decades earlier, Mahler's Second imitative counterpoint. Contrasting with Symphony had made such a profound this largely diatonic material are the impact on Bloch when he first heard it chromatic elements present in the in Basle in 1903, that he published a bridge passage, leading to a second long and moving article about his subject in which modulation plays a responses to this work in the Parisian significant role. Much of the journal, Le Courier Musical (No.13, 1 development section, which explores July 1904, pp.408-11). Bloch and the first-subject figure extensively, is Mahler enjoyed a brief but cordial centred upon the subdominant key of 0 correspondence, each composer minor, whereas the recapitulation feeling that he had come into contact returns to , and remains in , the tonic with a truly kindred spirit. key. Gustav Mahler was sixteen years The piano functions in part as old when, in 1876, he composed his soloist and in part as accompanist. Piano Quartet in A minor. He had Cascades of arpeggio figurations been enrolled at the Vienna contrast with repeated chords and Conservatoire the previous year, passages in double octaves in grand studying piano with Julius Epstein style. There are dramatic pedal points (1875-77), harmony with Robert Fuchs and passionate climaxes. The string (1875-76), and composition with Franz writing is lyrical and intense by turns, Krenn (1875-78). Although he wrote and the violin cadenza that occurs Bloch wrote several impressionistic shortly before the peaceful conclusion miniatures for string quartet during the of the work evokes an almost Gypsy 1920s. Paysages (Landscapes) was spirit. written in Cleveland between 8 and 13 The overall mood is elegiac, December 1923; and the premiere was brooding, and deeply Romantic; given by the Flonzaley Quartet in however, there are no overtly Florida in February 1924. programmatic intentions. The musical Depiction of the natural world is the idiom that Mahler was later to evolve is focus in this work; and the geographical present here perhaps only in locations of each of the three embryonic form. Nevertheless, there is contrasting movements are clearly much that is characterful, for example, delineated, namely, the frozen wastes the juxtaposition of contrasting tempi of the Arctic, the lush vegetation of the and the sometimes unusual and Alpine landscape, and the pulsating unexpected chord progressions. These energy of life as lived in the islands of are evidence of a highly gifted the South Pacific. composer in his mid-teenage years who was to reach his musical maturity Ever since his youth, Bloch had in Oas Klagende Lied, completed four been fascinated by the Exotic. For years later in 1880 - the year Bloch example, as a child he had read was born. legends about the Incas that made a Bloch composed chamber music powerful impression upon him, throughout his life. In addition to duos according to his own testimony. When, for voice, violin, viola, cello, flute, and in his early twenties, he came to know trumpet, all with piano accompaniment, the celebrated music critic Robert he wrote one piano trio, five substantial Godet, he was spellbound by the older string quartets, several smaller pieces man's personal descriptions of Java, for string quartet, and two piano Sumatra and Borneo. While preparing quintets. lectures for the Geneva Conservatoire Bloch had learned the vi61in from an between 1911 and 1916, he early age, and showed such promise researched collections of traditional during his student years that he would music from Africa and the Arctic doubtless have become a professional regions. Bloch never had the performer had not Eugene Ysaye - his opportunity to visit such places, and teacher and mentor at the Brussels this caused him much frustration and Conservatoire from 1896 to 1899 - regret. However, following his arrival in sensed a profound talent for New York in 1916, he was able to travel composition in his teenage pupil , and extensively throughout the New World, encouraged him to pursue this path and gradually developed a strong instead. Though writing music became affinity for Native American cultures his primary focus, Bloch continued to from every part of the continent. All of nurture his abilities as a violinist, and these - as well as the more familiar later became an accomplished pianist Jewish influences - inspired Bloch; and as well. His deep affinity for string as a result he incorporated into his instruments and piano is given ample expression in the two works to be compositions motifs, melodies, performed during this chamber music rhythms, and textures typical of these recital, both of which date from his widely separated ethnicities. years as Director of the Cleveland 'North' (,Moderato molto'), the first Institute of Music (which he founded in movement of Paysages, was inspired 1920). by Robert Flaherty's film about Eskimo life, entitled Nanook of the North. Bloch Almost exactly two hundred years was overwhelmed by the vivid images ago, in the Summer and Autumn of portrayed - to the extent that he was 1809, in Baden (near Vienna), unable to sleep after the showing. In Beethoven composed -his String one hour, in the middle of the night, he Quartet No.1 0 in E flat major, Op. 74. completed 'North'. This has been This work followed on immediately from described by one commentator as 'a two others in the same key: the study in pianissimo', descriptive of the Emperor and Les bleakness and desolation of icy Adieux (piano sonata); all are wastes. Against a backdrop of representative of his 'middle period'. frequently repeating quavers in groups Earlier drafts of the quartet show of four and three respectively, marked the process of transformation of 'without expression' at the beginning musical materials from the sketch (the time-signature of this movement is stage to the final manuscript which, for mainly 7/8), motifs compnslng exactly one century, remained in the oscillating semitones or augmented possession of the Mendelssohn­ seconds are occasionally interrupted Bartholdy family. In 1909, it was by phrases covering much wider donated to the Berlin State Library. The intervals. work received its first performance at the end of 1809 in the palace of its Switzerland, the country of Bloch's dedicatee, Prince Lobkowitz, and was birth , was a further source of inspiration published by Breitkopf and Hartel the to the composer; and again , motifs following year. There are four from the Swiss folk repertoire find their movements. way into many of his works, including The first begins with a quasi­ the middle movement of Paysages: Schumannesque introduction: 'Poco 'Alpestre' ('Allegretto'). This pastoral Adagio', and continues with an 'Allegro' essay is altogether warmer and more in sonata form . The nickname 'Harp' lyrical. There are four main ideas: the was not of Beethoven's devising: it opening melody on viola that swoops derives from the insistent pizzicato low then high , rather as a bird in flight; motifs that appear for the first time in a tighter motif of narrow compass that the passage that fol lows the first suggests the Lydian mode, also subject. Much of the writing involves the pairing of instruments. Passages of introduced by viola ; an ornamented lyrical beauty contrast with virtuoso phrase on the first violin ; and a figurations, scale passages, bravura passage marked misterioso played by string crossing, double and triple all four instruments. stopping, and off-beat accentuation, all The finale is entitled 'Tongataboo' of which contribute to the evoking of a ('Allegro') and evokes the pounding quasi-orchestral timbre - as well as a dance and percussion traditions of the mood of exhilaration, especially at points of climax. island of Tongatapu in the Tongan archipelago. There are striking The longest movement is the rhythmical similarities here with the serene and somewh at austere 'Adagio finale of the Piano Quintet No.1 . Apart ma non troppo', in the form of a modified rondo: A-B-A-C-O-A-E. The from several secondary motifs, there is main keys are th e subdominant A flat one prominent theme that first appears major and its parallel minor; but there on the first violin soon after the are gentl e modulations and beginning, and is th en repeated unexpected harmonic excursions throughout the movement. beyond . This is followed by the shortest The 'Harp' Quartet as a whole may movement: . 'Presto', representing a be described as intimate and new form developed by Beethoven out introspective, revealing moments of of the Classical Minuet and Trio pain and intensity that contrast vividly structure and, in this case, anticipating with passages of sweetness and the scherzo-style of Mendelssohn. charm. There are two sections, the first comprising two ideas, one in the relative key of C minor, and the second in 0 flat major. The strikingly contrasted INTERVAL - 20 minutes second section (Trio) appears twice between three statements of the first section (A-B-A-B-A), and the movement ends with a coda that Please check that your mobile comes to rest in E flat major, the home phone is switched off, especially if key of the quartet. The motif that you used it during the interval. dominates this movement, ·consisting of three quaver upbeats followed by an Bloch's Piano Quintet No.1 was accented crotchet, is strongly completed in March 1923 after two reminiscent of one of the most years of arduous effort. It had originally prominent motto themes of been conceived as a three-movement Beethoven's Fifth Symphony. sonata for cello and piano, The last movement, in E flat major, incorporating some themes that Bloch is entitled 'Allegretto con Variazioni', had created during his childhood; but it and it succeeds the 'Presto' without a was shelved while he was working on break. The theme is a smooth melody the second movement. Having almost in 2/4 time, covering two eight-bar destroyed the mass of accumulated phrases, each of which is repeated. sketches in a moment of depression, There are six variations, aliI in the tonic he came to the realization that a larger key, the first of which - somewhat framework could successfully angular in contour - leads to the lyrical accommodate his expanding ideas; second variation, in which the viola is and the medium of string quartet plus the soloist, to the accompaniment of piano - with the piano as ensemble sustained minims in the other parts. instrument rather than solo - was The syncopated third variation features selected. The result was a work of epic instruments in pairs, whereas Variation dimensions lasting over half-an-hour, IV is a solo for the first violin. The and comprising three movements: distinguishing feature of the 'Agitato', leading without pause into penultimate variation is the 'Andante mistico', and finally 'Allegro accompanying figure (two quavers - energico'. The world premiere was quaver rest - quaver) in each bar; and given by Harold Bauer and the Lenox in the last variation, the rhythmical Quartet during the inaugural concert of pedal point in the cello part serves as a the League of Composers in New York solid foundation for the smooth on 11 NQvember 1923. harmonic progressions heard in the Introduced at the very outset of the upper strings. A lively 'Allegro' in first movement is one of the distinctive octaves brings the movement to a features of this work that has provoked gentle conclusion. a great deal of discussion among commentators and scholars, namely, the composer's use of quarter-tones. octave. This consonance, together with Bloch made a special point of the establishment of a gentler tempo, emphasizing that his intention - so far has the effect of transforming its from creating a quarter-tone 'system' - formerly violent character into one of was rather to inflect, upwards or tenderness. This kind of dramatic downwards, the existing diatonic and metamorphosis is typical in Bloch's chromatic intervals of standard cyclic method. There are several other Western keys and scales, in order to prominent motifs: (vii) a repeated rising intensify even further the enormous fourth first heard in the cello; (viii) a range of emotions with which the descending figure also played for the quintet is replete. first time by the cello; (ix) a plaintive The opening pages of the work gesture compnslng an upward contain the motivic materials upon arpeggio ending with repeated quarter­ which the entire quintet is based. Thus, tone inflections appearing on the first as in most of Bloch's multi-movement violin; (x) two adjacent motifs compositions, the overall form is cyclic. reminiscent of material in Bloch's Some of the motifs are simple and Sche/omo (rhapsody for cello and narrow in range, whereas others, by orchestra of 1916); and finally (xi) an contrast, are more complex and cover idea, in quasi-Lydian mode, similar to a wider gamut; but all are short and those in other works of Bloch that succinct, and all are subjected to evoke the folk idiom of his native extensive development - melodically, Switzerland. harmonically and rhythmically. The finale opens with a powerfully The first movement is a vigorous rhythmical metamorphosis of motif (i) essay in a modified Sonata Form. from the first movement; and motif (ii) There are six main ideas, from which appears later in the movement. New further material is generated: (i) a material takes the form of (xii) a triadic brooding phrase no wider than a minor motto theme suggestive of an Alpine third that moves tightly around the tonic horn call , first heard on viola and cello· C at its first appearance on the piano; (xiii) a slower-moving, heavily accented (ii) a crisply angular figure comprising motif designated barbarico in the score· intervals of the fourth and seventh also (xiv) a spiky theme in dotted notes i~ the piano; and (xv) an expansive lyrical pivoting around C and introduced by motif mainly in the whole-tone scale, the strings; (iii) a sweeping lyrical apparently derived from a Caribbean melody that is first heard on the strings chant. Towards the end there is a long in their highest register; (iv) a subdued passage based on the notes D and A in motif first presented by the viola; (v) a the bass register which eventually slowly rising chromatic figure played by resolve to tonic C; and it is on this viola and cello in octaves; and (vi) a major chord that the work peacefully dramatic quaver motif first heard in the concludes. In the words of the British piano in triple octaves, then critic Ernest Newman: 'There is no harmonized in consecutive root­ more welcome, more impressive, more position triads, and subsequently in clinching , more conclusive, more bare fifths. It is with this figure that the authoritative C major chord in all movement ends. music.' This key carried special spiritual The second movement opens with connotations for Bloch; and in this motif (ii) from the first movement. Here, context, it served to resolve the however, the dissonant interval of the harmonic ambiguities found in the main major seventh is expanded into an body of th is work. Apart from differences in tempo, the write without any regard to please three movements exhibit remarkable either the so-called 'ultra-moderns' or similarities in terms of technique and the so-called 'old-fashioned .. .' And style. In each can be found melodies though he neither applied a constructed from small cells, 'programme' to this quintet, nor accumulated in upward or downward categorized it among his 'Jewish' sequences, then imitated, inverted, works, there are distinct resonances ornamented in a multiplicity of ways. with earlier compositions such as the Gritty motifs contrast with soaring 'Israel Symphony', Schelomo, and solos. Some of the string writing is String Quartet No.1 (all completed in contrapuntal, where two or more 1916). primary themes may be combined; other passages are written in unisons and octaves, or with the support of Two further works from Bloch's sustained chords and drones. Special Cleveland period - the Sonata No.1 of features include rapidly repeated notes, 1920 and the Baal Shem Suite: Three double and triple stopping, harmonics, Pictures of Chassidic Life of 1923 - use of mutes, suI ponticel/o and suI feature in the second of the two tastiera, col legno, glissando, and chamber music recitals pizzicato strumming. The overall devoted to Bloch's life and work, sonority is often that of a string scheduled for the exact 50th orchestra rather than a quartet. The anniversary of the composer's death on piano part is similarly demanding, 15 July. The recital, to be given by Jack many passages requiring virtuoso Liebeck (violin) and Bengt Forsberg skills. Arabesques, tremolos, ostinatos (piano), will begin with Debussy's and hammered chords all take their Sonata in G minor and conclude with place alongside lyrically expressive Franck's Sonata in A major. cantabile writing. A section of the finale The programme notes on Bloch's contains a motif featuring acciaccature Piano Quintet No.1 and Paysages in which Bloch encourages Ithe pianist (Landscapes) have been adapted, by to sound 'like an exotic bird'. Tonalities kind permission of Hyperion Records and modalities fluctuate and are Ltd, London, from insert notes for the sometimes left undefined through the recording of these works by Piers Lane use of open fifths and octaves and and The Goldner Quartet, CDA 67638, whole-tone harmony. Simple diatonic issued in November 2007. triads are often superimposed in unusual combinations. Rhythms are © Alexander Knapp 2009 sometimes freely rhapsodic, sometimes trenchant; and I ne Goldner String Quartet is syncopations and other cross-rhythms named after , founder abound. However, the 'Scotch Snap', of the original . In so frequent in many of Bloch works, is 1997 the Quartet made their London largely absent here. Moods are debut at the Wigmore Hall, and have extreme, and they change dramatically since regularly appeared at many - sometimes with little or no warning. European music festivals. They made Serenity and meditation contrast with their American debut in 2001 with melancholy and savagery; primitive concerts at the prestigious 92nd St Y in passions yield to poignancy, nobility New York and in Washington DC and and tenderness. Bloch's independence have undertaken several tours through of spirit is vividly expressed in the Asia and New Zealand. statement he made about his quintet: 'I At the 2000 Festival, the vor Husum in Germany, La Roque Quartet performed a major d'Antheron and Paris Chopin in France retrospective of twentieth century string and Valdemossa Chopin in Majorca. quartets, highlighting thirty-one of the Highlights in the 08-09 season include most significant quartets of the century his debut with the Warsaw Philharmonic and a recital for Wig more - a unique chamber music event. In Hall's London Pianoforte Series. 2004 they performed the complete Beethoven Cycle, recorded live on In 2007, Piers Lane added a new ABCClassics. They will repeat this dimension with his appointment as Artistic Director of the Australian series in 2009 to celebrate the Festival of Chamber Music. He tours inaugural season of the Melbourne annually in Australia and New Zealand. Recital Centre. In 2007, his performance of Recent recordings include discs of Beethoven's Emperor Concerto with Ernest Bloch for Hyperion the Queensland Orchestra received the (Gramophone magazine's Editor's Limelight magazine Award for Best choice) which was recently nominated Orchestral Performance. In 2008, he undertook a third national tour for as a finalist for the BBC Music Musica Viva as well as giving solo Magazine's Chamber Music Award for recitals in Adelaide, , 2009. Music of Frank Bridge and and , and Chopin and Liszt volume three of the music of Peter concerto performances in Sculthorpe are soon to be released. and . This year they will record Dvorak Piano Five times soloist at the BBC Proms Quintets with Piers Lane for Hyperion in London's , Piers and the complete string quartets of Carl Lane's concerto repertoire exceeds 80 Vine. works. He has played with all the ABC Piers Lane and BBC orchestras, the Aarhus, American , City of Birmingham, "No praise could be high enough for Bournemouth, Gothenburg and New Piers Lane whose playing throughout is Zealand Symphony Orchestras; Halle; of a superb musical intelligence, Kanazawa Ensemble; Orchestre sensitivity, and scintillating brilliance." National de France; Philharmonia; City Bryce Morrison, Gramophone of London Sinfonia and the London, London-based Australian pianist Royal Philharmonic and Royal Piers Lane has a flourishing Liverpool Ph ilharmonic Orchestras international career which has taken among others. Leading conductors with him to more than forty countries. In the whom he has worked in recent years past few years, his engagements have include Andrey Boreyko, Sir Andrew included concerto performances at Davis, Richard Hickox, Andrew Litton, New York's Avery Fisher Hall , Lincoln Sir Charles Mackerras (for whose 70th Center; a three-recital series titled Birthday Gala he played Metamorphoses at London's Wigmore MozarUHummel K491 at the Barbican Hall; the Opening recital of the Sydney Centre) Jerzy Maksymiuk, Maxim International Piano Competition; Shostakovich, Vassily Sinaisky and concerto appearances with the London Yan Pascal Tortelier. Philharmonic, City of Birmingham and Piers Lane is also in great demand Halle orchestras among others, and as a chamber music player. He festival appearances at Bard and con tinues his long-standing partnership Newport in the USA, Bergen, Elverum with British violinist . Other and Trondheim in Norway, Como recent collaborations have included Autumn Music in Italy, Prague Spring, Musica Viva tours with soprano Cheryl The Ruhr Klavier-Festival and Schloss Barker, baritone Peter Coleman- Wright, and violist/composer Brett The International Ernest Bloch Dean and performances with Ann Sofie Society and Jubilee Festival von Otter and Bengt Forsberg in Malmo, Stockholm and the Bergen Ernest Bloch was so admired in his Festival. heyday that many considered him the fourth 'B' after Bach, Beethoven and Brahms. He Piers Lane's extensive discography was one of the most original composers of includes, on the Hyperion label, much admired recordings of rare Romantic the 20th century whose music, whilst concertos, the complete Preludes and intellectually challenging , was accessible to Etudes by Scriabin and transcriptions a wide audience. of Bach and Strauss, along with An International Society celebrating complete collections of Concert Etudes Ernest Bloch was launched in London in the by Saint-Saens, Moscheles and summer of 2008 to herald the 50th Henselt and transcriptions by Grainger. anniversary in 2009 of the composer's Recent releases include the Piano death. This Society revives the original one Concerto by William Busch on the set up in London and New York in 1937 Lyrita label and , from Hyperion, Piano which had Albert Einstein as Hon. President Quintets by Bloch with Australia's and included Sir Thomas Beecham, Sir Goldner String Quartet, (an Editor's John Barbirolli, Sir Henry Wood , Bruno Choice in the Gramophone magazine Waiter and Ralph Vaughan Williams among and Record of the Month in the BBC its illustrious Vice Presidents. Music Magazine). He has also recorded for the BMG, Classics for The new International Ernest Bloch Pleasure, Decca, EMI Eminence, Lyrita Society (IEBS) is proud to have Sir Charles and Unicorn-Khanchana labels. Mackerras as Hon . President, and the Hon . Piers Lane has written and Officers include contemporary conductors, presented over 100 programmes for composers, musicians and the heads of BBC Radio 3, including the popular 54- music establishments the world over. The part series The Piano. Society is grateful to the Associated Board In 1994, he was made an Honorary of the Roya l Schools of Music. Students will Member of the Royal Academy of have the opportunity to study Bloch's works Music, where he has been a Professor in the course of preparing for the Board 's since 1989. In 2007, he was awarded exams in the coming years. an Honorary Doctorate from Griffith To mark the anniversary, musical University in Australia. He is Patron of organisations large and small and the European Piano Teachers' performers worldwide have been invited to Association UK, the Old Granary include Bloch's music in their programmes Studio in Norfolk, the Youth Music as part of a grand Jubilee Festival. Foundation of Australia and the Music Teachers' Association and the In London two chamber concerts will be Accompanists' Guild in Queensland. prc ~\:: nted at the Wigmore Hall by the He is a Trustee of the Hattori International Ernest Bloch SOciety in Foundation in London; Vice-President association with the Jewish Music Institute of Putney Music Club; Artistic Director whose Joint Presidents are Lady Solti and of the Day held annually at Leopold de Rothschild CBE. This present the in London and of concert is paired with a piano and violin the Bloch Festival to be held at the recital by Jack Liebeck and Bengt Forsberg Wig more Hall in 2009. on 15 July (the actual anniversary of Bloch's Piers Lane is delighted to return to death in 1959). This will include Bloch's the Wigmore Hall on Sunday 26th April riveting Violin Sonata No 1 and the Baal 2009, when he will perform a solo Shem Suite, along with music by Oebussy recital of works by Beethoven, Brahms and Cesar Franck. and Chopin. The IEBS is hosting pre-concert talks at created a Jewish Music Library with both these concerts at 6.00pm in the recordings, manuscripts' and scores Bechstein Room, which are free to available to musicians, scholars, and the members of the Society. IEBS is working public. Six International Conferences have with partner Bloch Societies in Switzerland brought 500 scholars from around the world (where Bloch was born), in Agate Beach, to share their research. Oregon in the USA (where he died) and also JMI embraces music of Jewish with partners in China, Israel and Japan, communities of Ashkenazi, Sephardi and where there is considerable interest in his Oriental origin. It also deals with the music of works. Israel and the Middle East and has a section A performance of Bloch's only devoted to resurrecting the music of the early completed opera Macbeth was mounted in 20th century that Hitler tried to obliterate. March at the Bloomsbury Theatre by In its 25 years of work in education, University College London Opera and two performance and information, JMI has performances of Bloch's Sacred Service produced ten pioneering month-long were presented by the Roehampton festivals in which 80,000 people have University Music Society in February. attended 675 concerts in London's major Professor Malcolm Troup offers lecture concert halls and across the country. It has recitals on Bloch's piano works as well as commissioned new works and presented works for violin and piano in conjunction with many premieres. Many performing groups violinist Eugene Feigelson. have been established and won major prizes To invite Malcolm Troup to your Society in international competitions through the or Festival and to be included in this opportunities for training and performing that International Festival if you are featuring JMI has provided. Bloch's music this year, please contact Highlights have included Bloch's Sacred [email protected], and to see details of UK Service in York Minster in 1990 and at St events go to the Jewish Music Institute Paul's Cathedral in 1995 conducted by website www.jmi.org.uk. Yehudi Menuhin; Kadish for Terezin by To find out more about, and to join, the Ronald Senator at Canterbury Cathedral and International Ernest Bloch Society, contact a Rothschild Soiree at famous Rothschild the Hon. Secretary J Audrey Ellison homes. [email protected] Current projects include partnerships The two Wigmore Hall concerts are with the Mayor of London, the Institute of Musical Research and other cultural bodies supported by the Nordev Trust, and the in Paris, Vienna, Berlin and Schwerin. JMI John S Cohen Foundation. will present summer schools as part of the World Music Summer School at SOAS that it helped to create, as well as in music of The Jewish Music Institute prayer across the spectrum of Jewish The driving force for Jewish music in the UK: worship. informing, teaching, performing, inspiring. The JMI Website gives the latest details Registered Charity No. 328228 of all JMI activity and contains articles, pictures reports and reviews on different The Jewish Music Institute is the leading aspects of Jewish Music. You can also buy British organisation bringing Jewish music, recorded music of all kinds from JMD via the sacred and secular, from its ancient past, web, as well as find scores for chamber and right up to the present, within access of vocal ensembles. JMI can arrange everybody. performance programmes for weddings, Based at SOAS, University of London, parties and other celebrations. with its own artistic and academic policies, Tel 020 8909 2445 JMI supports the first full-time Jewish music e-mail [email protected] lectureship at a mainstream University. It has Website www.jmi.org.uk THE SPIRO ARK TZAVTA in association with the JEWISH MUSIC INSTITUTE announces the ERNEST BLOCH MUSIC COMPETITION Commemorating the 50th Anniversary of his death 1st Prize: £500 plus the 2nd ISRAELI MUSIC COMPETITION 1st Prize: £1,000 The Bloch competition is open to candidates of all ages (Israeli music up to age 35) For soloists and chamber ensembles. Entrance fee per person: £25

Apply by Friday I 1 May 2009 Second Round- 12 July at Enford St, London W1 Final- 16 July at the President: Lilian Hochhauser Jurors: include Dr Malcolm Miller, Benjamin Frith, Emeritus Professor Malcolm Troup Further information, application and competition details: The Spiro Ark/s Tzavta Department 25-26 Enford Street, London W1H 1DW 020 7723 9991/7121, [email protected] www.spiroark.org. Registered Charity No. 1070926

The Wigmore Hall Trust 36 Wigmore Street, London, W1 U 2BP

Registered Charity No. 1024838 Director: John Gilhooly www. wigmore-hall.org. uk

Facilities for Disabled People [@~[f&J~ [g~~~ Please contact House Management for full details

Wigmore Hall is a no smoking venue. No recording or photographic equipment may be taken into the auditorium, nor used in any other part of the Hall without the prior written permission of the Hall Management. Wigmore Hall is equipped with a 'Loop' to help hearing aid users receive clear sound without background noise. Patrons can use the facility by switching their hearing aids over to 'T'. In accordance with the requirements of City of Westminster, persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to sit in any of the other gangways. If standing is permitted in the gangways at the sides and rear of the seating, it shall be limited to the numbers indicated in the notices exhibited in those positions.