“Billy and Edward - a Musical Friendship”: “Billy and Edward - a Musical Friendship” (continued) with Simon Baggs (violin) and Nick Patrick (piano) th Simon then played us two passages from Elgar’s Violin Concerto, the second of which was with Quaker Meeting House, Liverpool, 12 March 2016 Reed’s suggestion of using artificial harmonics! It is worth remembering that Reed in fact was the first person to play the concerto (in private) with the composer at the piano. Simon Baggs gave an entertaining and informative talk about W H Read and his friendship with Edward Elgar to a responsive audience in the Friends Meeting House, Liverpool. He interspersed the talk with live and recorded music. The duo opened the session with a performance of Elgar’s “Reminiscences”. This composition dates from 1877, a few months before W H “Billy” Reed was born. Reed was to become a key figure in the history of Elgar as he wrote two books about our favourite composer! After a performance of “Reverie” composed by Reed himself but undated, Simon reminded us of the time, near the end of Elgar’s life, when Reed asked about the “Enigma” and was given the infamous reply: “Ah, now that would be telling”! W H Reed was leader of the London Symphony Orchestra and first met Elgar at a rehearsal in 1902. He became one of Elgar’s closest friends from about 1910 until his death in 1934 – the years that included the 2nd symphony, Falstaff, the Violin and Cello concertos and then the long, bleak years of silence after WW1 and the death of Lady Elgar in 1920. (continued on page 10)
Simon Baggs plays a solo passage from the Elgar Violin Concerto
The first half of the afternoon ended with a performance of the wonderful “Sospiri” Simon Baggs (violin) and Nick Patrick (piano) play Elgar’s “Reminiscenses” (continued on page 11) 9 10 Elgar’s Cello Concerto from a Performer’s View: “Billy and Edward - a Musical Friendship” (continued) Stephen Threlfall ... and a Violin and Piano Recital: Louise Latham (violin) and Alison Havard (piano) The music heard in the second half was a mixture of live and recorded music by both Elgar Chetham’s School of Music, 16th April 2016 and Reed starting with the first movement of Elgar’s Violin Sonata. Reed offered much helpful advice about technique etc with many of the string works. Simon reminded us of some of the witty remarks between Elgar and Reed and their stay at Brinkwells in Sussex. After Alice’s The first part of the branch’s April meeting was an illustrated talk by Stephen Threlfall on Elgar’s death Elgar remarked that Reed was “always a ray of sunshine”. The audience were then treated Cello Concerto. In the dim and distant past, when I had misguided pretensions of becoming to three short works by Reed (two live and one recorded) and the impression given was that a musician, I took it upon myself to study the full score in some depth at the piano. But I the music was more akin to Franck than Elgar – a thought confirmed by Simon! Reference was learned more about the work in 50 minutes with Stephen than I did in 6 months in the 1970s. made to how when Elgar was living near Stratford upon Avon he would go (often with Reed) to Leamington Spa to purchase his favourite sausages. As an aside I can confirm that Elgar did A cellist and former sub-principal with the BBC Philharmonic, and now a respected conductor indeed buy sausages from Leamington because my Professor (Denis Matthews), when I was at and Director of Music at Chetham’s, Stephen began by telling us that earlier, whilst practising, a University, often told the story of how he was in the butchers as a young boy and his mother blackbird in the roof had joined in with him! Beatrice Harrison (a notable early performer of the Elgar said “Look, there is Sir Edward Elgar”! He even recounts this in his autobiography “In Pursuit Concerto) and nightingales came to mind; it was the perfect omen for a superb afternoon ahead. of Music”. Next, we heard a recording of Reed playing the violin cadenza from “Dreaming – Envoy” (the last part of The Nursery Suite) with Elgar conducting. The two men had a great It is not possible here to go into the details of the score and the various markings but Stephen friendship and Reed was a constant encourager to Elgar especially during the hard years after kept us entertained throughout with his infectious good humour and deep knowledge of the Alice’s death. He tried to persuade Elgar to complete the trilogy of great choral works but sadly work. Scores were available to follow, yet for those who did not read music his explanations without success. Simon and Nick finished the afternoon by playing Elgar’s “Mazurka”. We had of markings, tempi, bowings and the use of harmonics, were fascinating and he illustrated spent a splendid and informative time with Simon Baggs and we hope that there will be many them liberally on his cello. Indeed he occasionally went over to the piano to point out more afternoons learning more about our favourite composer. Geoff Hill something of interest in the orchestral parts. I had forgotten that there are trombones in this concerto, but Elgar uses them sparingly. The work, we learned, is full of intervals of a 7th.
Stephen Threlfall
talking and playing the cello
during the first half
Ken Swallow proposes a vote of thanks to Simon Baggs and Nick Patrick (continued on page 13) 11 12 Elgar’s Cello Concerto from a Performer’s View: Elgar’s Interpreters on Record: John Knowles, 13th May 2016 Stephen Threlfall ... and a Violin and Piano Recital: Louise Latham (violin) and Alison Havard (piano) Our May meeting was a presentation by John Knowles, one of the NW Branch committee Chetham’s School of Music, 16th April 2016 (continued) members, who spoke about Elgar’s Interpreters on Record. John has gained international standing through his published discography of Elgar’s music Stephen demonstrated the physical impossibility, at least without making a horrible noise, of [which may now be accessed and readily searched through the Elgar Society website - DLJ] playing the soloist’s famous opening chords on all four strings at once. Playing three strings and he drew on his unique and extensive knowledge to enlighten and enthrall us during a truly at the same time is just possible, but not very musical; going from two strings across to the fascinating afternoon presentation. other two works best. When the chords return at the end of the concerto the bowings are all subtly altered. “You can rely on Elgar’s bowing marks”, Stephen told us. We learned about From curiosities which included an amazing recording of In the South (published in Italy only “French shift” (portamento, sliding) or “German shift” (“clean”, no sliding) and how the second five years after its composition in 1904) and a rousing whistled version of Salut d’Amour, movement’s repeated quavers are easily heard through the orchestral texture. to lesser known works such as The Shower and a marvellous cello version of Elgar’s setting of Alice’s poem, Wind at Dawn, we had a succession of rich pickings from the Knowles’ bowl of cherries. John shared with us the thrill of the chase discovering ‘lost’ recordings and concluded with an unpublished recording of Elgar conducting his ‘Elegy’. John tracked this recording down and, with a group of friends, bought it. (It is hoped that this unique recording will soon be made available to the public as one item on a full CD of rare Elgar recordings.)
Louise Latham (violin) and Alison Havard (piano) entertain us in the second half
But there were more delights to come that afternoon. After a refreshment break Louise Latham (a conductor, teacher and violinist), along with pianist Alison Harvard (who stepped in at short notice), entertained us with Elgar music as well as three lovely pieces by Frank Bridge. Elgar’s Six Very Melodious Exercises in First Position may not be the catchiest of titles, but the one we heard was far from being just a practise piece on playing mostly “open” strings. It sounded quite charming. We also heard the second movement of Elgar’s Violin Sonata (we shall have a complete performance of this work at our December meeting). Louise and Alison continued with the two Chansons, de Matin and de Nuit. Finally, to a recently acquired rare recording of Elgar conducting his Elegy bring a memorable afternoon to a close, Louise announced an encore, Elgar’s Mazurka. It was a truly remarkable afternoon, which ended our season on a high note. Geoff Scargill Clive Holland 13 14 A Visit to Evesham, Pershore and Worcester A Visit to Evesham, Pershore and Worcester (continued) Saturday, 11th June 2016
This was our 33rd annual coach trip, and this year it was dedicated to the memory of our dear friend (and for many years our beloved North West Branch Secretary) Pat Hurst.
Once again, our driver was “Scottish Steve” who joined in with enthusiasm to the day. On the way down to Evesham we took a detour along a single track road from Drakes Broughton to Wadborough. Elgar apparently once told a friend that if he were to have to haunt anywhere it would be along this road! No one knows the reason for this, so it is left to our own imaginations!
We arrived at Evesham for lunch and a look round this pretty town with its black-and-white gatehouse to the Abbey and the lovely Bell Tower. We stopped at Pershore, the small Georgian town with its ochre-coloured Abbey Church. There was a concert by the Worcester Philharmonic taking place inside the Abbey, but we were able to stand at the entrance and eavesdrop on the 1812 Overture!
Beech trunk carvings in Abbey Park, Pershore
several members of the NW branch approaching the Abbey Church at Evesham Helen Petchey lays the chaplet below the Elgar Window, Worcester Cathedral Our day concluded in Worcester where we were pleased to meet up with many other members of the Elgar Society, there for the AGM and Birthday Weekend. We were treated to Elgar music Everyone agreed that it was a most successful day out and, true to Mawbey tradition, the during Choral Evensong, after which Helen Petchey (the retiring Elgar Society Secretary) laid weather was kind, warm and mostly dry – which was even more remarkable when we returned the chaplet at the Elgar Window. We were surprised by the changes taking place in the centre home to find the area had been beset by torrential rain and floods! We would like to thank Marie of Worcester, but pleased that the Elgar Statue still reigns supreme! (continued on page 16) Conway for bringing members of her U3A group to swell the numbers – all are very welcome! John Mawbey 15 16