Bulletin Spring 2008 No. 148 £1.75 NEW RELEASES www.hyperion-records.co.uk

MARC-ANDRÉ HAMELIN MONCKTON SONGS FROM THE SHOWS IN A STATE OF JAZZ Lionel Monckton was among the finest The brilliant Marc-André Hamelin turns British melodists, ranking as such with his attention to the music of Kapustin, the likes of Arthur Sullivan and Ivor Antheil, Gulda and Weissenberg—all Novello. This new recording is the perfect composers who felt keenly that there introduction to his charming songs and was a fundamental desire on the part features soloists Catherine Bott and of the concert-going public to hear Richard Suart—the master of the patter something different. This wonderful disc song. Formerly better-known as an early is full of surprises—as Hamelin writes in music specialist, Catherine Bott’s cabaret his entertaining yet scholarly liner notes, entertainment London Pride (CDA67457) ‘There is much to be enjoyed here, and established her as an ideal performer of much to be amazed by’. this repertoire.

MARC-ANDRÉ HAMELIN piano Compact Disc CDA67656 Compact Disc CDA67654 CATHERINE BOTT soprano RICHARD SUART baritone NEW LONDON ORCHESTRA/ RONALD CORP

STRAUSS SONGS VOLUME 3 THE ROMANTIC PIANO CONCERTO Hyperion’s Strauss Lieder series is fast VOLUME 45 HILLER becoming a worthy successor to the The Romantic Piano Concerto series seminal Schubert and Schumann Lieder continues to bring undiscovered works to sets on the label. In this third volume, the listening public, performed by the the wonderful young British tenor Andrew greatest piano virtuosos of today. The Kennedy performs a range of songs, composer Hiller was admired by from favourites such as Ständchen to Schumann, who described him as the some fascinating rarities. Roger Vignoles exemplar of ‘how to combine orchestra performs with his usual matchless and piano in brilliant fashion’. This disc musicianship and provides the extensive contains two premiere recordings, booklet notes. brought to life by Howard Shelley who ANDREW KENNEDY tenor directs the Tasmanian Symphony Orchestra from the piano. ROGER VIGNOLES piano Compact Disc CDA67602 Compact Disc CDA67655 TASMANIAN SYMPHONY ORCHESTRA HOWARD SHELLEY piano / conductor

TORMIS CHORAL WORKS DUFAY MUSIC FOR ST The Holst Singers are acclaimed as one JAMES THE GREATER of England’s greatest amateur choirs. ‘This is Dufay as I have Veljo Tormis is one of Estonia’s most always wanted to hear important living composers, holding an him. [It] is as close to a almost mystic status in his home country. perfect Dufay CD as I have ever heard … He is also a passionate and practical So utterly compelling is this recording torch-bearer for Estonian folk-singing that I can imagine it acquiring cult status’ revival. His music is almost all written (Gramophone) for choirs; few composers have ever ‘Superb’ (BBC Music Magazine) been so committed to one genre. For THE BINCHOIS CONSORT Tormis, the words and the music are ANDREW KIRKMAN director inseparable. This is beautiful music, immaculately performed—a great Compact Disc CDA67601 Compact Disc CDH55272 (budget price) discovery. HOLST SINGERS / STEPHEN LAYTON

THE FEAST OF THE ASCENSION SCHUMANN AT WESTMINSTER ABBEY PIANO SONATAS The Choir of Westminster Abbey, under This obvious yet rare its inspirational director, James O’Donnell, coupling brings together continues its exploration of the larger two of the repertoire of the liturgy in the Abbey Schumann’s three Piano Sonatas, their with music for the Feast of the Ascension. passionate intensity suiting perfectly The works recorded here represent a wide Nikolai Demidenko’s style of playing. range of the best of liturgical music, from ‘A pair of performances which can justly the sixteenth century to the present day. be described in terms of superlatives. Along the way are works from the great Outstanding readings of remarkable flowering of English cathedral music in works’ (Classic CD) the nineteenth and twentieth centuries. NIKOLAI DEMIDENKO piano THE CHOIR OF WESTMINSTER ABBEY Compact Disc CDA67680 Compact Disc CDH55300 (budget price) JAMES O’DONNELL director

Hyperion Records PO BOX 25, LONDON SE9 1AX [email protected] · TEL 020 8318 1234 FRMS BULLETIN Spring 2008 No. 148

CONTENTS Editor Thelma Shaw EDITORIAL Page 15 Cann’s Lane When words are not enough 2 Hethersett OUT & ABOUT Norwich NR9 3JE Federation Tel: 01603 812996 Annual General Meeting 2007 3 Regional Groups Editorial copy If your copy is in manuscript form Central Region’s day with Elgar 4 or on CD or floppy disc, send it Societies direct to the Editor at the above Newport’s golden jubilee 6 address. Eastbourne RMS; a report from retiring Secretary Eileen Howell 6 If your copy is available as an Transport for London RM Club - an unusual background 6 email attachment send it to: Recorded music in the Far North 7 [email protected] Croydon’s tribute to Victor Stocker 8 Ulveston Jazz swings into New Year 9 Editorial deadlines Spring issue: 31st December Celebrations at Orpington 9 th Classical Music Society, Kidderminster 9 Autumn issue: 30 June The Teaching Company 10 Advertising ARTICLES Advertisements are available from And he called for his fiddlers three: the violin & its antecedents 11 £35. For information on rates and From Dixieland to Big Band – to RMS 18 discounts contact the Editor or the REVIEWS Advertising Manager: Hyperion’s exciting issues [email protected] Fire burning in snow - Latin American Baroque 13 (full address inside back cover) Devotional Bruckner: Motets and Mass in E minor 13 Circulation Karl Hartmann: Concerto Funèbre; Sonatas & suites for violin 13 If you would like your own copy of Diversity from Wyastone Bulletin sent direct, contact the Engel Lund’s Book of Folk Songs (Nimbus label) 13 Distribution Manager George Lloyd symphonies (Lyrita label) 14 [email protected] Naxos’ CD of the month (full address inside back cover) Works by Benjamin Godard 14 Copies are distributed to all affiliated societies and to the Dutton world premières on Epoch label Federation’s Associates, with a Works by Bridge, Coates, Dale & Rawsthorne on four CDs 15 total estimated membership in the For your bookshelf region of 10,000. Wrong Sex, Wrong Instrument: Maggie Cotton autobiography 16 NEWS & VIEWS NB Copyright. The material From the Chairman’s desk 19 content of Bulletin may not be What’s in the Secretary’s postbag? 20 reproduced elsewhere without the Letters to theEditor 21 formal permission of the REGULAR FEATURES publishers, The Federation of Recorded Music Societies Ltd. Anniversaries for 2009 22 Printed by: The Max FRMS Presenters Panel 23 Kettlestring Lane Clifton Moor Front cover: Please note that the address York YO30 4XF Summer is acummen in: of the FRMS website is (Photograph source unknown) www.thefrms.co.uk ISSN 0928150

1 EDITORIAL When words are not enough It was quite by of negotiation to reconcile North and South coincidence that Korea have failed. But the political tensions the music in three showed signs of easing after the New York of the reviews in Philharmonic Orchestra visited North Korea. this issue reflects The N.Y. Phil arranged a concert that some aspect of the included a joint performance by musicians effect of war on the from both countries and they have agreed to composer. For a long time the healing power renew efforts to end the ingrained hostility. of music has been recognised and today is Whether it is used as a method of catharsis often used as therapy for forms of autism and for trauma, or a vehicle for the expression of other conditions that make verbal a political statement, or a means of expressing communication difficult, or even impossible. any kind of emotion, there is no doubt that It is also known that one’s auto immune music is a powerful force. system is boosted while listening to music. At the foot of one of the pages in this issue is And any mother (or role-sharing father!) quote by Gustav Mahler to the effect that if a knows that, nine times out of ten, music will composer could find words to express himself soothe a fretful baby. And Handel knew it adequately he would not bother to write when he set those lovely words by Haym to music! It was this quote (many thanks to music in his opera Rodelinda: ‘Art thou Alan Child for sending it to me) that started troubled? Music shall calm thee….’ my train of thought for this little dissertation. The potential for music to act as a common And one last observation. Following a study mediating language between disparate people by Charles Darwin, modern neurological was demonstrated recently in a news item. research has established that Man could sing So far, all the conventional diplomatic means long before he learned to talk! Thelma Shaw FRMS Website George Steele, FRMS Committee and webmaster explains the new design of the website

The FRMS website has Policy documents such as the from 2006 about to be added. undergone a major redesign, FRMS Strategy; Copyright Existing sections such as the building upon the previous Advice and the Regeneration Presenters Panel and news of work of Bob Astill and others. Policy are now available for the annual Musical Weekend It is now more informative and anyone to read. at Daventry will be updated much more responsive to the There is a new section continually. interests of the member describing how to start a new In future it is hoped to add societies with latest news and society or how become a information about Regional latest pictures being a key Friend of the FRMS and events as well. feature. information is available about In order to keep the website Photographs can also be the Committee Members and up to date the webmaster included as part of news items Officers, including personal would like all societies to from Societies and there is a profiles. continue sending updates to service for emails from The FRMS History has been programmes, preferably in individuals to the webmaster updated and the policy of electronic form. to be included on the site including older Bulletins will be The email address is: (such as Letters to the Editor updated annually with those [email protected] in the Bulletin).

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CENTRAL REGION’S DAY WITH ELGAR & CO AT OLTON A report by Allan Child and John Davies The theme of the Central Region’s annual sever contact with Elgar. Elgar never forgot Autumn Music Day, held on 3rd November her, and many possible allusions to her can be 2007, commemorated the 150th anniversary of found in his music. Even the Calm Sea and Elgar’s birth. The event was held at what has Prosperous Voyage quotation might refer to become the regular venue, St Margaret’s rather more than a sea voyage. Mendelssohn’s Church Hall, Olton, near Solihull. Allan Child theme is a fairly common motif in German has succeeded the late Gordon Wainwright as music; for example, in Weber’s Oberon – and Central Region Chairman and he welcomed the name Weber translates into English as delegates to a varied programme related to the Weaver! In The Enigma Variations Elgar also music of Sir Edward Elgar. borrows from Tristan und Isolde, which might A lasting influence? have hidden significance as the substance of Tristan is doomed love. Dr Mike Smith of the Elgar Society gave the Moving away from the Variations, Mike opening presentation, Obsession, Allusion and suggested further possibilities. For instance ‘Heroic Melancholy’. In some copies of the Elgar’s Windflower might not have been Alice day’s programme ‘Allusion’ had been given as Stuart-Wortley, often thought of as his muse, ‘Illusion’. This misprint, said Mike, would but Helen. have amused Elgar who treasured a cutting from a local newspaper reporting that, on the And is Helen also the unnamed one of whom departure of a visiting Church dignitary, “a Elgar wrote on the score of his Violin Concerto: large crow sang hymns on the station (that which he said was so emotional) “Herein platform.” is enshrined the soul of . . . . . ? It is not difficult to find allusions to people and With carefully chosen music examples, Mike places in Elgar’s music; not necessarily Smith showed us Elgar in what might have descriptive but more an emotional response. been a new light. Possibly, here was a This is what we might expect of Elgar, who composer recalling his first love in music that once said of his Violin Concerto: “awfully often seems wistful – in short, an obsession emotional – too emotional – but I love it!” leading to allusion tinged with melancholy. Some allusions take the form of quotations English fare for English music! from other composers. Nimrod in the Enigma As befits a day devoted to the music of a Variations alludes briefly to Beethoven; more leading English composer, the menu was famously in the same work is the quotation English too, with a ploughman’s lunch and from Mendelssohn’s Calm Sea and Prosperous English wine from the appropriately named Voyage in the penultimate variation – identified Three Choirs Vineyard. The lunch interval also only as * ** but generally supposed to be gave an opportunity to browse the Hyperion Lady Mary Lygon, who was at sea when Elgar CD stall run by Donald Rooksby. composed the Variations. Recent thought, however, suggests that it Attraction of opposites alludes not to Mary Lygon but to Helen After lunch Ronald Bleach gave us Sir Edward Weaver, a violinist to whom Elgar was engaged Elgar and Sir Granville Bantock: A Friendship. for 18 months in 1883-4. After the engagement Ronald is Secretary of Bristol RMS, a member was broken off Helen emigrated to New of the FRMS committee and Vice-chairman of Zealand, ostensibly for the sake of her health Bristol U3A. He began with the very interesting but possibly, at the insistence of her family, to original ending of the Enigma Variations. 4

4 OUT & ABOUT

Elgar and Bantock, lifelong friends who both detailed exactly what he had learned from him. survived to their seventies, were polar opposites Thus in this programme there were no musical in their approach to music and came from depictions of rustics leaning on gates to watch different social classes. Elgar was born at cows grazing. Nor, for that matter, was there Broadheath, a village some three miles from the much in the way of direct quotations from small city of Worcester, where his father had a Elgar. Mike’s theme was the influence of Elgar music shop in Worcester and tuned pianos; on his younger contemporaries and successors. Bantock’s father was an eminent gynaecologist. There were the obvious beneficiaries of Elgar’s But both men had to work hard to earn a place legacy – Vaughan Williams himself, together in the musical world of Victorian and with Herbert Howells and Arthur Bliss. The Edwardian Britain. opening of A Sea Symphony was a natural After the initial failure of The Dream of choice to illustrate Elgar’s influence on Gerontius in 1900, Elgar achieved fame and Vaughan Williams; we also heard parts of A success. From this period we heard the Colour Symphony by Bliss and the Concerto for ebullient concert overture, Cockaigne (In String Orchestra by Howells. London Town), successfully premièred in 1901. Less obvious perhaps was Gerald Finzi. The An all-Elgar festival at Covent Garden in 1904 opening of his Cello Concerto is sometimes included an exuberant new overture, In the thought of as Elgarian, but Elgar’s influence is South, written after a visit to Alassio in Italy. also seen in his songs and in the Clarinet In July of that year, King Edward VII knighted Concerto, from which we heard part of the first Elgar. In contrast Bantock languished in movement. Even less obvious, but certainly obscurity and was not knighted until 1930. delightful, are Elgar’s influences on the music Only recently has his music started to make of composers such as Thomas Adès, who refers headway and win new admirers, largely to Nimrod in Arcadiana, and the through the magnificent CD recordings made uncompromisingly modern Hugh Wood. by Vernon Handley; from these we heard The Rather surprisingly the latter’s Cello Concerto Witch of Atlas and a song from Sappho. does quote directly, albeit briefly, from Elgar’s A Bantock Society was formed shortly after the concerto. composer's death in London. Its first President Mention must also be made of William Walton, was Sibelius, whose music Bantock part of whose Belshazzar’s Feast we heard and championed, and who dedicated his Third who, like Elgar, was self-taught. The two Symphony to Bantock. composers shared something of the same temperament and sense of humour and Ronald’s programme was one of recorded delights and interesting and absorbing narrative. Walton’s music shares an originality with that of Elgar. Elgar’s legacy Until the next time Mike Wheeler gave the final presentation and In closing the day’s proceedings, Allan Child took his title, What have we learned from thanked all who had taken part: the speakers, Elgar? from an essay by Vaughan Williams. the helpers in the kitchen, Wolverhampton Mike is a well-known figure on the music scene RMS and John Charles for supplying and in Derby, as a critic and correspondent for local operating the equipment, and not forgetting the papers and a regular speaker at recorded music societies in the area. delegates themselves. Lastly, but most importantly, he thanked the Regional Secretary, Ralph Vaughan Williams is often thought of as Mick Birchall. As well as making all the one of the English pastoral composers who arrangements for the event Mick also organised reacted against Elgar and whose oeuvre is the catering. Alan wished the delegates safe disparagingly referred to as ‘cow-pat music’. journeys and hoped to see them again in 2008 In fact Vaughan Williams not only admired when the focus, in food as well as music, will Elgar but in the essay mentioned above he be on Eastern Europe.

5 OUT & ABOUT

Newport Golden Jubilee Sadly this will be my last report as I stood down as Hon. Secretary at the AGM after enjoying 11 years The Newport Isle of Wight Society celebrated its in office. I have had to rearrange my life and Golden Jubilee, which fell on 31 October 2007, priorities as I have a very sick husband and as a with a number of special events. First, our result do not now have a great deal of time to Chairman, Terry Mitchell took us on a nostalgic myself. I shall of course continue as a member and tour through the Society’s history, with appropriate am honoured to be asked to serve on the Society’s musical illustrations. Committee. I wish you all great success with your Two days later an anniversary lunch was followed societies. Eileen J Howell by a DVD presentation of the classic film of La Bohème, with Mirella Freni in the title role. The Transport for London RM Club celebratory events concluded the following week (Originally London Transport Gramophone Club) with a programme of well-known and popular Brian Edwards, Hon. Secretary gives an account of a music compiled by another long-standing member, society with an unusual background. th Maureen Webber. During the interval, coffee was 50 Anniversary enhanced by the serving of a Jubilee Cake, We are a recorded music club within a large beautifully decorated with a suitably musical theme. organisation – maybe the only such club - and on 19 Eastbourne R MS February 2008 we celebrated our 50th anniversary. You might think it would be easy to obtain A report from retiring Hon. Secretary Eileen Howell th membership from the tens of thousands of people Our AGM of 26 April 2007 marked the end of yet employed in running the capital’s Underground another very successful and happy season, during trains, trams, light railway and the extensive bus which we had a variety of interesting speakers and system; this is our experience. presenters. These included Eric Jennings, who gave The Club grew from a group of 3 or 4 people of a most fascinating talk about the violin and played London Transport, Metropolitan Line, who were his own violin to illustrate the versatility of the working in the Baker Street area in 1957 and who instrument. In the early part of the season the were interested in classical music and records. Headmaster of the Yehudi Menuhin School of They felt there must be many others of like mind Music described some of the former pupils who within London Transport and that it might be have passed through the school. possible to form a music club. Most of the existing In addition to visiting presenters, several of our own societies were sports or social clubs, usually run by members have contributed to our programmes, and one bus garage or Underground line, with a mainly we are very grateful to them for their contributions. local membership. Our 17 sessions included our annual Christmas Personal contacts and random feelers in likely party and also a memorable day’s visit to Christ’s departments resulted in an original get together of Hospital (Blue Coat) School in Surrey. There we around 8 people, mostly railway operating staff, were very warmly welcomed and entertained to a such as Station Masters, Signalmen and station delightful buffet lunch, a conducted tour of the staff. Happily, one of the founder members is still a school and an afternoon concert performed by some very active member. of the students. Flexible hours Jubilee celebration At that stage we met at irregular intervals to His Worship the Mayor of Eastbourne, accommodate shift workers. Later more people accompanied by his daughter, the Mayoress from the technical departments and management attended a big event on Thursday 29th March 2007. th joined, most of them now retired. This was our celebration of the 60 anniversary of First, we had to gain official recognition of the Club the Eastbourne Gramophone Society, later the so that we could hold meetings in a London Eastbourne RMS. After some interesting Transport building, use London Transport in the information about the early days of the society, Club's name, and publicise through such channels as several of our members contributed to the evening posters and the staff magazine. Fortunately the in personal ways of their own. We have to thank Musical and Dramatic Society, which already Carl Newton our archivist member for his great embraced several individual Clubs, including the work in collating material for a book about the London Transport Players, the Brass Band and the society, which should be available in a few months. Art Group (some of these well known to outsiders Our membership is in the high 80s as we look st by their public performances and shows), was forward to our 61 season. happy to add the Gramophone Club to its activities.

6 OUT & ABOUT

The way was then clear to form an official club. perhaps, but our clubs also offer other benefits: Sadly, ours is the only one of these organisations to social contact, shared knowledge and, importantly, still exist, possibly the only remaining cultural club the opportunity to hear music being played at a within Transport for London. realistic level. Although many people have good The first programme, on Monday 17th February quality sound equipment at home, it cannot always 1958 attracted 19 people, the second rather less be fully exploited. Our club is fortunate to have the because it was held on the night of a violent storm. use of a large acoustically excellent meeting room For these first meetings we used an assembly of in the Underground headquarters building: 55 borrowed equipment, but very soon the Club had its Broadway, above St. James Park station. This was own, giving very good sound, in mono of course. once the office of a notable former Chairman, Lord One of the founder members, a highly qualified Ashfield, whose portrait keeps a stern eye on our electrical engineer from the signalling department, activities. built a valve preamplifier and a (heavy!) amplifier. We send good wishes to the Federation and its The Club never became a large organisation but had associate societies and clubs. big enough audiences for visiting presenters. Recorded music in the Far North Although at one point our membership was in single Towards the end of 2006 Thurso RMS was invited figures and closure seemed imminent, most to stage an event for the 2006 Caithness Arts one- members have stayed with us. week Festival. Caithness Arts readily agreed to But, as with many societies, as the average age of cover our costs so we arranged to screen the film the membership increased over the years, we have th made for Mozart’s 250 anniversary that year, In found it difficult to attract younger members who Search of Mozart, at the local cinema. This was a will run the Club in the future. Publicity measures complete sell-out and a great financial success as include using an intranet (internal internet TRMS cleared over £500 on the project. accessible by staff) and our page on the federation’s website. A particular factor affecting us is that we Two months later Caithness Arts asked if we could meet in central London, so the journeys to and from stage two or three events in September 2007 as part meetings might be daunting. Another is the drastic of the Highland Year of Culture 2007.Weagreed change in our parent organisation from a unified on the same terms as before and contacted four or public body to a group of entities working under five people including Sir Peter Maxwell Davies, contract. Thus it is not so easy to make contact with Donald Maxwell, Norman White and Kenneth potential members but we intend to press on McKellar who was 80 that summer. We believed regardless. they would all be popular with our members and the general public. Caithness Arts agreed to include the Ideas that work for us estimated cost of around £2200 in its request of Following a successful jazz programme in the first £38K for the 2007 Festival. By the end of March year, the club has always included music other than things were well under way. Sir Peter Maxwell classical. A recent popular move has been to Davies, Donald Maxwell and Norman White had all include good light music from this country and accepted and everything looked very promising. abroad. Another idea that works well for us is the occasional programme in which the content is Now where to go for honey? unplanned, apart from a theme. Members bring Then the Director of Caithness Arts told us that they music that is assembled into a programme on the were to receive only £3K to cover the entire Festival night. Dangerous, but we have found it good for in September 2007 and more than £2K of that was audience participation, comment and laughter. earmarked for the visit of the Scottish Chamber We are not deterred by small audiences and try to Orchestra. As a consequence, TRMS would receive keep the quality of programmes high. Most of the no funding and we were faced with the dilemma of members give programmes and we seldom have having to explain this to those who had accepted our visiting presenters now. It seems unreasonable and invitation. It was a considerable achievement for a embarrassing to invite people to travel to address a small society like TRMS to persuade three such small audience. prominent and internationally renowned figures to We want to remain a viable club to which music come to Thurso and we felt we could not let such an enthusiasts can belong. Many of us joined the Club opportunity pass without exploring every avenue for so that we could hear unfamiliar music. How do alternative funding. people decide what music they like and want to The TRMS Committee decided to apply for funds have on download or record? Listening to Radio from the Dounreay Community Fund and the

7 OUT & ABOUT

Awards-for-All Scheme. This involved a good deal minority disadvantaged groups suffering from of effort but the applications were successful and hearing loss. Neither the hall in the North Highland the money from both sources was paid into our bank College nor our normal meeting place has a loop account in August. system so the Committee thought the funding It was then a case of arranging such details as submissions should include an amount that would advertising, venues, tickets, accommodation, meals, enable such a system to be installed. I am pleased entertainment and so on. Because of the celebrity to report that the equipment is now in place and is status of our guest presenters we took the view that much appreciated by visitors and members. ‘Linden’, our usual meeting place, was too small for Finally I would like to record that without the these events so we looked to the North Highland technical expertise, drive and energy of our College, which has a hall capable of seating more Chairman, Antony West-Samuel, well known to all than 100. Also, the College’s excellent training readers who attend the FRMS meetings at Daventry, restaurant was able to provide lunch for our guests this year’s programme of events could not have and refreshments for the audience each evening. taken place. Mac Cameron, Thurso RMS Presentations of musical distinction Croydon’s tribute to Victor Sir Peter Maxwell Davies, Master of the Queen’s Victor Stocker, Secretary of Croydon RMS, died at the Music, talked about his end of 2007. Society member Adrian Falk reflects on life and works, illustrated Victor’s love of music. with a variety of examples It is purely co-incidental but, on the very day Victor of his music. This was a was born in 1929, a musician and composer whose most interesting and music Victor later came to admire, Constant enjoyable evening when Lambert, was recording at the Chenil Galleries, in even the most ardent London. On that particular occasion, 78 years ago, diehards must have been Lambert and Edith Sitwell, were reciting some taken some way to an appreciation of what is comparatively new abstract poems she had written, happening in contemporary classical music today. for setting to music by William Walton; this became Our second speaker was Donald Maxwell, baritone a work that we know as Façade. and Director of the National Opera Studio who gave It would be fascinating to know how and when a talk entitled My Career in Opera. Victor first came to enjoy music. By the time I met A teacher before he became a professional singer, him that interest was fully-developed, and I soon Donald’s commanding presence and infectious appreciated not only the depth of his knowledge, but sense of humour held the large audience enthralled the fascinating way in which he imparted it in some for the two hours of his talk. This too was a most informative and varied recitals for our Society. enjoyable evening of music and discourse, laced To give you an idea of how Victor’s love of music with hilarious anecdotes. developed, I turn to an anecdote he told when he th Norman White’s programme on 25th September gave a programme to mark our Society’s 60 fell outside the two-week period of the Arts anniversary. The story related to his time as a one Festival. Norman is a great favourite with TRMS of the first National Servicemen. As did our fellow- members and although attendance was down on the members Peter Berry and Colin Dorothy, Victor previous two evenings, those who turned out were served in the R.A.F. not disappointed. As most readers of the Bulletin Victor was browsing in a junk shop and came across will know he is the Consultant for the Nimbus four records of a symphony by Dimitri Prima Voce series of CDs and his talk was entitled Shostakovich, a real rarity because the Sixth Recent Prima Voce CDs. Symphony was virtually unknown outside the It was adventurous of Thurso Recorded Music to Soviet Union. He bought the discs and took them arrange illustrated talks by Sir Peter Maxwell back to the camp, hoping that the OC would allow Davies, Donald Maxwell and Norman White for the them to be broadcast over the RAF Camp’s Radio Arts Festival; their presentations added musical system. distinction to a successful festival. But the composer’s Russian-sounding name aroused the Commanding Officer’s suspicions, and he Added benefit for hard of hearing exclaimed: “This composer is a Communist, isn’t About 40% of the TRMS members use hearing aids he?” (This was, after all, at the beginning of the and under the Disability Discrimination Act the ‘Cold War.’). Poor AC Stocker was obliged to Committee considered the Society should cater for acknowledge Shostakovich’s nationality, but I

8 OUT & ABOUT doubt if, at the age of 19, he was fully aware of the a warm welcome - jazz knowledge is not a Communist regime, which was already causing the prerequisite. Monthly meetings are well advertised composer such aggravation. locally and the venue, the meeting room of Unperturbed, by the CO’s query, Victor pointed out Hartley’s Brewery in downtown Ulverston, is easy that the symphony was played by an American to find. There’s a modest charge of £2, which Orchestra. Even the sceptical commanding officer includes refreshments. For the latest information could hardly have denied that the Philadelphia about programmes, call chairman John Robinson at Orchestra was anything other than quintessentially 01229 861317or you can visit the Society’s website American. As a consequence, and who knows?, at: www.geocities.com/ulvjazz perhaps for the first time, Forces personnel heard a Shostakovich Symphony. Celebrations at Orpington Almost sixty years after that incident, Victor, as our Unbroken record nd Syllabus Secretary, offered to present a programme A splendid party on November 2 2007 was the to mark the Centenary of Shostakovich’s birth. I say celebration to mark Orpington Recorded Music ‘offered’ because one of his endearing and Society’s 70 years of uninterrupted activity since invaluable qualities was to step in, or put forward the inaugural meeting on the same date in 1937. ideas that perhaps had been overlooked. This was More than 50 past and present members and friends unnecessary in the case of Shostakovitch, of course, gathered to enjoy an evening of music and since it was a widely celebrated anniversary, but memories at the Bromley Arts Centre, which boasts thanks to Victor’s early encounter with the an attractive music room among its excellent composer, his presentation offered special insights. facilities. Several years ago, Victor devoted a programme to The Society is proud of the fact that meetings have the music of Constant Lambert: I would like to been held continuously during its 70 years - even suggest that Lambert’s urbane, cultured, and at throughout World War II, with the problems of times witty, music struck a familiar chord with him. bombs, blackouts and the necessary absence of Victor was invited to present this programme at members serving in the armed forces. other RMs groups, which says much for his Music and memories thorough preparation. And no problem marred the 70th celebration either. Ulverston Jazz swings into New Year A locally based wind quintet presented a lively, Ulverston Jazz Appreciation Society began its 2008 varied programme of music and set the tone for a programme with a swing on 24th January and happy evening full of reminiscences and laughter. enjoyed the following sessions: President Malcolm Ruthven gave a short, very apt
The main feature was New Standards, an address before a sumptuous buffet supper. unusual look at the influence on today’s jazz Lawrie and Brenda Smith, a couple with almost 100 musicians of modern pop music, from the Beatles years membership between them, gave the birthday and Bob Dylan to Whitney Houston. It concluded cake. The cake marked the fact that the day was that, contrary to criticisms from more traditional also the birthday of Lawrie, Vice-President and listeners, both music and musicians have much to active member for over 50 years. offer. The Society was honoured by the presence of
A Little Milk from the Wood featured music and Roderick Shaw, Vice-President of the National words: British pianist Stan Tracey’s classic Federation and a past member, secretary and adaptation of Dylan Thomas’ Under Milk Wood, chairman of ORMS. Roderick had travelled from interspersed with Anthony Hopkins’ equally classic Norfolk to be present and his toast to the Society reading. was warmly welcomed.
Atlantic Jazz featured a selection of recordings All in all, a thoroughly enjoyable launch into the made by the many jazz greats, from blues singer Joe next 70 years of enjoyable and companiable Turner to modern jazz icon John Coltrane, who listening for the Society. Brenda Smith graced the Atlantic label. Classical Music Society As usual, attractions for the coming months cover Ruby Anniversary 1968-2008 the jazz spectrum, including presentations on Count Gwen Jones, Secretary, sends this report: Basie; the saxophone in jazz; Thelonius Monk; An inaugural meeting held in the Kidderminster George Gershwin, and British jazz. Public Library on Tuesday, 20th February 1968 To FRMS members living in the Cumbria area, or included in its slogan: Players and Listeners Unite! holidaying in the Lake District, the Society extends And the outcome has coloured the lives of many

9 OUT & ABOUT music lovers from the surrounding area for 40 years. The Teaching Company ‘Players and Listeners’ did unite and, as the George Steele has discovered a company that supplies brainchild of the then Kidderminster Librarian and educational material for music lovers and students alike other local music teachers, the New Music Society and gives an outline account of its products. was born. This is an American company which produces high It’s all in the name quality college level course in music (and many At that time this title distinguished it from other other fields). Since discovering the company I have local music societies but later had its consequences obtained five music courses and six scientific ones. as artistes engaged for live concerts subjected us to A very few examples from the comprehensive list avant garde music. One hippy-looking group of music courses includes: banged the piano heavily with gloved hands, Bach and the High Baroque plucked its strings and blew whistles –our sensitive Elements of Jazz: From Cakewalks to Fusion ears couldn’t cope with it! Great American Music: Broadway Musicals At the outset an orchestra was formed but by 1971 it The Concerto/The Symphony was no longer active. Society members also Understanding the Fundamentals of Music presented recorded music programmes and this There are also courses covering the life and works activity continues, as well as live concerts and of Great Masters, from Beethoven to Verdi recitals. In 1976 we changed our name to Classical At first sight they may seem expensive but every Music Society. month a limited number of the courses are offered at I joined the group in 1972, when recorded music about 25% of the normal price. That is the time to meetings in the local library took place to the buy! Most are available as DVD, CD or tape . The accompaniment of a boiler bubbling away in the easiest way to contact them is via their website: background to provide hot water for the interval www.teach12.com although they can also be coffee! Those were the days! contacted by mail at: Venues for recorded and live music have changed The Teaching Co., 4151 Lafayette Center Drive, many times since then. For the past 12 years our Suite 100 Chantilly, VA 20151-1232 , USA ‘home’ for recorded music has been at a local or by phone. 00 1 800 832 2412 Community Hall and for live concerts we have the use of The Gallery at Kidderminster Library (built FRMS YORKSHIRE REGIONAL GROUP in 1998) with its Steinway grand piano. We hold SPRING (LONG) WEEKEND 2008 four such events each year: one featuring pupils and th th Friday 4 to Monday 7 April former pupils of our President, Beryl Chempin; one in association with the Birmingham Dr Jill White - BBC for 23 years, Radio 3 senior producer and former Director of the NYO: The Power of Music Conservatoire, and two featuring local artistes. Barry Collett – Founder of Rutland Sinfonia Sadly, anno domini has taken its toll and Talking about Rachmaninov’s remarkable career membership has fallen from over 100 in the 1990s Peter Bacon – former Chairman of YRG to the mid-60s at present. We encourage members Explores composers – Fred, Peter and Jack to spread the word and bring along visitors and new Lord Aberdare – has a passion for Berlioz - hence members do join us from time to time. Berlioz from B to Z Dr David Patmore – Record reviewer and researcher Anticipating 2008 The Mad Genius School of Conductors Among the highlights in the special programmes for Antony Smith – Business Director of Wyastone Estate h our 40t anniversary year are: Looks at the revival of Nimbus *Piano recitals by Allan Schiller and Mark Babbington Maggie Cotton – Percussionist with the CBSO (Mark has started to make his name on the CD scene) Life in a male-dominated world of music * Recorded music presentations by such notables as Dr Gary Midgley – Claude Debussy: musicien français Christopher Fifield; Dr. Donald Hunt, former musical His life and work in sound and pictures Director of Worcester Cathedral, and our Vice-President, Check late availability of rooms with the hotel Lyndon Jenkins. THE CROWN SPA HOTEL Having mentioned the names of our President and The Esplanade, Scarborough YO11 2AG Tel: 01723 357400 Vice-President, I must add that we are very proud to have the composer John Joubert as our Patron. Costs: Friday Dinner to Monday Lunch £195.00 For further information, day bookings and to pay conference “If a composer could say what he had to fees (£20.00 pp) please contact: say in words he would not bother trying to Dennis Clark, Flat 6, The Belfry, Windmill Lane, say it in music ” – Gustav Mahler Yeadon, Leeds LS19 7GB Tel: 0113 250 8136

10 And he called for his fiddlers three In came a fiddler – and tuned like fifty stomach aches. Dickens: A Christmas Carol A thumbnail sketch of the violin and its antecedents. TMS

What’s in a name? shape of the instrument The Violin resembled the modern viola. When Old King Cole called A far cry from its two for his band it was probably Three gut strings were normal up to the end of the 13th unsophisticated ancestors, the not an ensemble of violins as earliest violin was known in we know them. Nowadays, century, when five strings became the norm, still usually Europe as early as 1508. The the colloquial term ‘fiddle’ is violin evolved from viols and synonymous with the violin. made of gut although sometimes of metal or silk. coexisted with them until the But in fact this is a misnomer, mid-1500s. It combines the as the violin was designed in th resonance and versatility of the early to mid 16 century as the fiddle with the simplicity a combination of two other of the rebec. well known instruments of the time, the fiddle and the rebec. Unlike its forbears, which All are members of the were carved from a single chordophone family, in which block of wood, the violin sound is produced by vibrating soundboard is made from strings stretched across a spruce, the ribs, neck scroll bridge over a hollow wooden and pegboard from maple, and box. The strings are made to The Rebec the fingerboard from ebony. Overall, there are more than vibrate by either bowing, Even earlier than the fiddle 80 component parts and one plucking or striking. The was the rebec, evolved from could write a small book on its bridge transmits the vibrations the arabic plucked lute and th refined construction. to the box that acts as a dating back to about the 7 resonator. The pitch of the century. The rebec was also We don’t know who invented sound, i.e. the note produced, bowed, again carved from one the violin but Andrea Amati is varied by ‘stopping’. That piece of wood with a was the first of the famous is, holding the fingers firmly continuous body and neck but craftsmen and founded a against the string and thus with a markedly curved back school of violin making in altering its effective length. and tapered into a pear shape. Cremona. Andrea’s grandson The Fiddle Early instruments had two Nicola taught the finest violin maker of all time, Antonio In the middle ages the fiddle strings, tuned in fifths with a Stradivari. Antonio’s earliest was a bowed instrument in its range of ten notes. Gradually surviving violin, made when own right. The lower end up to five strings were used, he was 22, is dated 1666. rested on the floor when three being the average. played and the early forms When the instrument was at The early violins had three gut the peak of its popularity in were almost as tall as the th stings but four became the standing player himself. the 15 century, Fra Angelico norm, tuned in fifths to G, D, Various sizes evolved and by painted a famous fresco (used A and E from middle C. From the 16th century bass, tenor, in many a Christmas card!) the late 17th century the G alto and descant instruments showing an angel playing a string was wound with silver were in use. pear-shaped rebec. wire to improve the tone; All fiddles were made from a It was the standard instrument much later steel replaced the single block of wood, of professional minstrels at gut E string. This arrangement hollowed out and covered with court and in noble houses in is still used today. France and England, until it a sounding board that had two It’s all in the varnish round holes either side of the was superseded by a bridge. By the mid 16th newcomer made by an Italian If you are suffering a violin century the familiar f-shaped from Cremona. From then on recital that sounds less than holes had appeared near the the rebec was an instrument rich and mellow, don’t assume neck of the fiddle and the for street musicians. the player is at fault– it might 11 be the varnish used on the wood! A bad varnish gives a bad tone. An inferior varnish by chance, the decline of It wasn’t until the end of the or one that is too hard gives a Italian violin making in Italy. 16th century that the first harsh flat tone, while one that By the end of the 18th century, music for violin was is too thick and oily reduces Nicolas Lupot, a Frenchman, published. It was for a ballet the vibrations so that it is taking Stradivari as his ideal, at the French court and scored impossible, for even the most made France the centre of the for 10 violins in four parts. skilled player, to get the best craft. The violin had entered high tone from the violin. Status of theViolin society! Its status was assured The secret of the unsurpassed in 1626, when an ensemble of Originally, the violin was richness of tone in a Stradivari 24 violins was founded at the regarded as inferior to the viol violin lies in the characteristic court of Louis XIII. and was used only to light brown varnish. This Today the violin and its accompany either the voice or dried to a delicate flexible skin relatives form the harmonic dancing. The violinist played so that the vibrations had basis of the orchestra, from the vocal score to optimum effect on the sound outnumbering the wind and accompany a singer, and produced. But Stradivari’s brass. The player nearest to played from memory for recipe died with him and also, the conductor, and on his left, dancing. is the most skilled violinist as leader of the orchestra. A few of the best Today there are many exceptional violin soloists, especially up-and-coming in the younger generation, but a few legendary virtuosi of the past deserve a special mention. Names such as Paganini (1782-1840), Joachim (1831- 1907), Heifetz (1901-86) are but three stars in a galaxy of past virtuoso players. Just two among the great players of the 20thC are Menhuin and Kennedy, while one young violinist who will undoubtedly be a major force in the future is a 22-year old Russian, the outstanding Alina Ibragimova. I heard her as soloist and director with Britten Sinfonia brilliantly performing J S Bach’s iconic work for violin, Concerto no. 1 in A and Karl Hartmann’s expressive Concerto Funèbre. Alina studied at the Yehudi Menhuin School and the RCM. She has made her recording debut with Hyperion and is contracted to record other works this year. This issue contains a review of her CD recording of Hartmann’s Concerto Funèbre.

12 REVIEWS Political statement in Hartmann concerto Hyperion’s exciting issues Although Karl Hartmann (1905-1963) has not Latin American Baroque achieved the overt fame of some of his The passion and dramatic contrasts associated with contemporaries, such as Schoenberg, Hindemith and the South American continent are evident in the Berg, he is still an important musical and political music featured in Fire burning in snow, Hyperion’s non-conformist figure in the history of German third CD of baroque music from Latin America. music between the two World Wars. As a young Juan de Araujo (1648-1712), the composer featured man during the Third Reich he was fiercely anti- and considered by many to be the greatest of the fascist and outspoken in his opposition to Hitler’s age, captures these qualities to the full in his music. regime and expressed his feeling in his music. The closing words of his Dime, amor: ‘For fire The Concerto Funèbre featured on this issue was burning in snow is the effect of love’ are taken as Hartmann’s only violin concerto and was written the title of this recording of works by a composer at after Hitler’s invasion of Poland. Written for violin ease equally with liturgical and secular text. and strings, the work is in four continuous Juan de Araujo was born in Spain but emigrated at a movements. The 2nd and 3rd movements are an very young age to South America with his parents. explicit expression of Hartmann’s abhorrence of the As yet, little is known of him except that he studied Nazis, his anguish and foreboding for the future of in Lima, was a skilled musician, choir master and his country and general despair. But, in his own director, and for the last 32 years of his life was words: ‘The chorales at the beginning and end are organist at the Cathedral of La Plata in Bolivia. The intended to offer a sign of hope against the nine works on this CD show his versatility, desperate situation of thinking people.’ sensitivity and gift for melody. From the superb Nevertheless, after moments of serenity in the coda, setting of the Dixit Dominus for triple choir, the the final bars are given to a sudden outburst of loud, sizzling Fuego de amor for four choirs and the dissonant anger. exhilarating bull-fighting re-enactment, here is This is a powerful concerto, which Alina another breathtaking example of Hyperion’s quality. Ibragimova plays with astonishing maturity and Interspersed between the de Araujo compositions understanding. The empathy between her and the are verses from Hanacpachap cussicuinin, reputed celebrated Britten Sinfonia is obvious; together to be the oldest printed polyphony in the Americas soloist and ensemble give a telling performance of a and whose opening pulsating rhythm whets the stirring and emotive work that cannot be ignored. appetite for what is to come. The other four early (1927) works on this CD are Readers need no introduction to the flawless Sonatas 1 & 2 and Suites 1 & 2 for solo violin, performance of the Ex Cathedra Consort and again exquisitely and expressively played by Baroque Ensemble under the direction of Jeffrey Ibragimova. Hyperion CDA67547 Skidmore, one of this country’s leading conductors. With superb recording by Hyperion, this team Diversity from Wyastone produces another irresistible CD. Hyperion CDA67600 Two of the labels under the Wyastone umbrella are Devotional Bruckner Nimbus Records and Lyrita; a sample from each is More often than not, Anton Bruckner is associated reviewed here. with a full-blooded symphony rather than more Engel Lund’s Book of Folk Songs restrained devotional a cappella motets and At the Torbay MW Adrian Farmer, a Director of liturgical works. In fact, Bruckner, a devout Roman Wyastone, told the Nimbus story and among his Catholic, began composing religious music when he music examples was one of the 49 folk songs from was about eleven years old and did not embark on 14 countries in a collection made by Engel Lund. his large-scale symphonic compositions until he This was an amusing Yiddish song about a girl who was almost forty. devised a strategy to marry the young man of her In a superb release from Hyperion, Stephen Layton choice without the customary marriage-broker’s fee. conducts Polyphony and Britten Sinfonia in a The song and Adrian’s account of the background wonderful recording of Bruckner’s Mass in E Minor to the recording made such an impact that I was and seven all too rarely heard motets for four, seven driven to hear more. and eight-part unaccompanied choir respectively. Engel Lund was born in Iceland of Danish parents Scored for wind instruments and choir, the Mass is in 1902 and studied singing in Copenhagen, Paris adventurous for its time, ranging from the stark to and Germany. She became interested in folk song sensuous, although there are echoes of Palestrina in and from 1929 on worked with the pianist the Kyrie and Sanctus. Ferdinand Rauter, giving highly acclaimed folk Polyphony and Britten Sinfonia give a beautifully song recitals worldwide during the 1930s and 40s. balanced, moving performance. Hyperion CDA67600 They strongly believed in the power of music to 13 REVIEWS bridge gaps and bring people closer together and NAXOS’ CD of the month Engel sang the songs in the dialect of the country of th origin, seventeen in all. She was particularly drawn NAXOS features an unreservedly romantic 19 C to Icelandic and Jewish people and always included French composer in its CD of the month. Benjamin their songs in her repertoire. Godard (1849-1895) was a celebrated child prodigy playing the violin and entered the Paris This unique collection is another example of the Conservatoire when he was 14. At 16 he wrote a music that emerged during the years leading up to violin sonata, his first published work, and and during World War II and ranges from the thereafter concentrated on composition, first amusing to the poignant, encompassing narrative chamber and piano music. Thus began a prolific text, religious comment and romantic love songs. Here, 14 young international singers perform them output that reached Opus 100 in the next 20 years. in their respective native languages to Rauter’s Although Godard wrote symphonies, string quartets, original piano accompaniments. The group was violin sonatas, orchestral works and over a 100 assembled by German tenor Norbert Meyn for his songs, his smaller pieces and operas better known, Lieder Theatre London and gave the première particularly the oft-played Berceuse from the opera performance of this collection at the Austrian Jocelyn. But his longer works are rarely played - a Embassy in London in 2006. loss to the listening public as the violin concertos are among his finest compositions. Exquisitely recorded by Wyastone, the 2-CD set comes with a booklet containing the text in the NAXOS addresses this imbalance with its February original languages and English, as well as good CD of the month, featuring three of Godard’s longer background information. A must for collectors of works: Violin Concerto no. 2 op.131, Concerto this genre. Nimbus Records NI5813/14 Romantique for Violin and Orchestra, op.35 and Scènes Poétiques for Orchestra, op.46. The violin George Lloyd Symphonies on Lyrita label works demonstrate Godard’s love of the instrument The Cornish composer George Lloyd (1913-98) on which he excelled and follow the romantic wrote his First Symphony at 19 and had three tradition of his time, although the earlier Concerto symphonies and two operas produced (one of the Romantique is more innovative and has four operas at Covent Garden) before he was 25. World movements rather than the conventional three. Both War II cruelly interrupted this shining start to a allow for spirited virtuosity on the part of the musical career when the ship on which Lloyd soloist. The rustic orchestral piece comprises four served as a marine on the Arctic convoys was blown short poetic musical comments on country scenes. up in 1942. He suffered such severe shell shock that he was incapacitated for many years and did not Some critics have dismissed Godard’s work as superficial but, taking the music in context with the return to full-time composing until 1973. However, th after the War, between 1945 and 1948, he 19 C romantic style, this writer considers the completed his Fourth and Fifth Symphonies, albeit criticism to be unjustified, certainly with respect to very slowly and laboriously, achieving no more the examples on this CD. than 20 bars a day. With the Slovak State Philharmonic Orchestra,  There are dark, stormy interludes in both Ko ice conducted by Kirk Trevor, the highly symphonies that echo the horror of Lloyd’s wartime acclaimed young international violinist Chloë experiences, but these are more than balanced by Hanslip exploits every nuance in these violin exhilarating passages that express hope and peace; concertos with outstanding charm and flair. at times the sheer lyricism is breathtaking. Although the music itself is not so profound as the Hartmann violin concerto (see above), the The Eighth Symphony is also on this CD. First performance and excellent recording give unalloyed heard in 1977, it had a tremendous impact and enjoyment to the listener. Naxos8.570554 revived the interest in Lloyd’s music. From the tranquillo opening to the first movement, through Dutton World Premières the enigmatic and emotional slow movement the The music of four 20thC English composers on music continually changes pace and character, Dutton’s Epoch label releases this month could building up to a bold and lively ending. Lloyd’s provide an interesting and varied programme for a music is overtly romantic but never trite and, RMS meeting. combined as it is with exciting innovations, makes The collective content of works by Eric Coates, for thrilling listening. Alan Rawsthorne, Benjamin Dale and Frank Bridge Sir Edward Downes was a great champion of Lloyd covers everything from chamber music to Simon and conducts the Philharmonia Orchestra in a Callow reading from G.K. Chesterton’s delightful superbly read performance of three brilliant works. Old Possum’s Book of Practical Cats, with vocal Lyrita SRCD.2258 A highly recommended 3-CD set. and orchestral items for good measure.

14 REVIEWS Alan Rawsthorne Compared with most composers, Rawsthorne was a late starter in his music career. Having first tried his hand at dentistry and architecture, and abandoning &5,,2%,%!3%$%4!),3!6!),!",%!4 both, he was in his early 20s before he began to WWWDUTTONVOCALIONCOUK study piano and cello at the Royal Manchester 2!734(/2.% College of Music. Recognition came in 1938 with a 0RACTICAL#ATS performance of his Theme and Variations for Two 3TREET#ORNER/VERTURE Violins. Rawsthorne’s work is never predictable, #ORONATION/VERTURE never dull, and frequently dramatic. Dutton also -ADAME#HRYSANTHÒME 4HEME 6ARIATIONS&INALE gives three world première recordings on this issue: -EDIEVAL$IPTYCH
Theme, Variations and Finale (1967) 3)-/.#!,,/7
Medieval Diptych for baritone and orchestra (1962) *%2%-9(577),,)!-3
Coronation Overture (1953) 2/9!, ,)6%20//, 0(),(!2-/.)# /2#(%342! Also included are Practical Cats – an entertainment CONDUCTEDBY for speaker and orchestra and two shorter works. $!6)$,,/9$ */.%3 With Jeremy Williams, baritone; the Royal #$,8 Liverpool PO, conducted by David Lloyd-Jones, #/!4%3 and Simon Callow, narrator, this is a hugely &OUR7AYS3UITE enjoyable collection. Epoch CDLX 7203 4HE%IGHTH!RMY &ROMTHE#OUNTRYSIDE3UITE Eric Coates "IRD3ONGSAT%VENTIDE If it’s good-quality light music you want, then you 'REEN(ILLSOF3OMERSET couldn’t do better than this selection of well known, 3OUNDAND6ISION and also less familiar, works by the quintessentially (OLBORNANDOTHERS 3)24(/-!3!,,%. British composer Eric Coates. Under the title Sound 2)#(!2$%$'!2 7),3/. and Vision, it includes the first complete recording ""##/.#%24 /2#(%342! of the suite From the Countryside and also world- CONDUCTEDBY */(.7),3/. first recordings in the composer’s orchestrations of #$,8 music for voice and orchestra. Tenor Richard Edgar-Wilson sings The Mill O’ $!,% Dreams song cycle, and the celebrated baritone, Sir -53)#&/26)/,! Thomas Allen, brings back popular drawing room 3UITEFOR6IOLA0IANO )NTRODUCTION!NDANTE favourites of the early 1900s. All in all, just over an FOR3IX6IOLAS hour of toe-tapping tunes and nostalgia. CDLX 7198 %NGLISH$ANCE 0HANTASYFOR6IOLA0IANO Benjamin Dale A complete contrast from the Coates selection is 2/'%2#(!3% -)#()+//4!+) this disc of highly satisfying music for viola, #$,8 composed by Benjamin Dale, a contemporary of the better known Arnold Bax. The highlight of the four works is the richly majestic Introduction and Andante for Six Violas, commissioned in 1911 by the great viola player, Lionel Tertis and recorded by "2)$'% Dutton for the first time on this CD. 3/.'3#(!-"%2-53)# 0HANTASIE0IANO1UARTET The three other works are for solo viola and piano 0HANTASIE0IANO4RIO and a perfect complement to the Introduction and 3CHERZOFOR#ELLO0IANO 3OUVENIRFOR6IOLIN0IANO Andante. Accompanied by Michiko Otaki on piano, 4HREE3ONGSWITH6IOLA Roger Chase gives a polished and haunting recital %IGHT3ONGS on Tertis’ own Montagnana viola with an especially ,/.$/."2)$'% rich tone. CDLX 7204 %.3%-",% Frank Bridge #$,8 The London Bridge Ensemble gives a beautiful miscellany of music written by Frank Bridge in the first 10 years of the 20thC. A gifted violinist as well $544/.,!"/2!4/2)%3,4$s0/"/8 7ATFORD (ERTFORDSHIRE 7$9! %NGLANDs4ELs &AXWWWDUTTONVOCALIONCOUK as a composer, Bridge was a founder member of the #$,8 a s 0OSTAGE5+aFORFIRST#$ANDPEACH#$THEREAFTER English String Quartet and appeared occasionally %UROPE %IREaPER#$ s53!RESTOFWORLDaPER#$ with the Joachim Quartet. In this programme the

15 two early Phantasies for piano trio and quartet respectively, demonstrate his empathy for the small ensemble. With Ivan Ludlow, baritone, the recording also includes: &5,,2%,%!3%$%4!),3!6!),!",%!4 WWWDUTTONVOCALIONCOUK
Two groups of songs with piano accompaniment
Scherzo for Cello and Piano ')""3
Souvenir for violin and Piano /$933%53 3YMPHONY
Three Songs with Viola $93/. Entitled Songs and Chamber Music, this issue is &OUR3ONGSFOR3AILORS typical of Dutton’s recording expertise. CDLX 7205

353!.'2)44/. ************************************** -!2+34/.% ,/.$/./2)!.!#(/)2 FOR YOUR BOOKSHELF ""##/.#%24 /2#(%342! Wrong Sex, Wrong Instrument; Maggie Cotton CONDUCTEDBY $!6)$$25--/.$ Apex Publishing; ISBN 1-904444-71-7 How often, after being excited and exhilarated and by #$,8 an outstanding performance of a major orchestral work, have we wished to be able to make great music 0(),,)03 – and get paid for it? Then we think of the cynical 0IANO#ONCERTO.O professional for whom music making is merely a 0IANO#ONCERTO.O necessary way of earning a living. The reality lies somewhere in between, as Maggie Cotton, an (%,9 orchestral player for 40 years, shows in her fascinating (54#().3/. autobiography. 4HE9OUNG)DEA The book takes us from a wartime childhood in $!6)$/7%. ./22)3 Yorkshire and almost random selection as timpanist ""##/.#%24 /2#(%342! CONDUCTEDBY for the local youth orchestra, via the National Youth '!6).354(%2,!.$ Orchestra and the Royal Academy of Music to her #$,8 career as a percussionist with the CBSO and beyond. Via a series of letters to her supportive father Maggie '%2-!. gives a compelling account of life as a music student 3YMPHONIC3UITE in the late 1950s, when the hardship of student life was 4HE@,EEDS not always much different from today. Not all 3YMPHONY.O students qualified for grants; Maggie was one of those, 4HE@.ORWICH being the ‘wrong sex’ and playing the ‘wrong -ARCH2HAPSODYON instrument’. But among the good friends who were /RIGINAL4HEMES determined that she should succeed in her chosen ""##/.#%24 /2#(%342! career was the almost legendary James Blades. CONDUCTEDBY */(.7),3/. But it is the story of her years with the CBSO, #$,8 including the Simon Rattle era, which rightly takes up most of the book. Conductors, composers, colleagues – and the author herself – all come under the critical spotlight. Triumphs and near-disasters are recounted !.4)0(/. with refreshing frankness, but never unkindly and !42)"54%4/ */(.-!.$5%,, there is a decent restraint about some events in the WORKSBY orchestra’s history that generated undue attention -ÉTYÉS3EIBER elsewhere. And it is not to detract from the ,ENNOX"ERKELEY achievements of star percussion soloists to say that the 0ETER#ROSSLEY (OLLAND 'ORDON#ROSSE role of an orchestral musician is equally as important !NTHONY'ILBERT and interesting to read about. *OHN-ANDUELL At a time when the audience for “classical” music is -!.#(%34%2#(!-"%2 said to be ageing, and liberal arts are often victims of %.3%-",% the National Curriculum, it is refreshing to read of #$,8 Maggie’s contribution to music in schools and its success in some of the most unlikely places. $544/.,!"/2!4/2)%3,4$s0/"/8 7ATFORD (ERTFORDSHIRE 7$9! %NGLANDs4ELs &AXWWWDUTTONVOCALIONCOUK The account given in the Appendix of a recording #$,8 a s 0OSTAGE5+aFORFIRST#$ANDPEACH#$THEREAFTER %UROPE %IREaPER#$ s53!RESTOFWORLDaPER#$ session will appeal to the technically minded. This is a worthwhile read for anyone interested in the making of music. AC 16 f f

17 !"#

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18 NEWS & VIEWS FROM THE CHAIRMAN’S DESK Past successes October saw a very well attended AGM in Huddersfield where our Secretary reported that the net decrease of affiliated societies to the FRMS was just one. One week later I was at Olton, Solihull where the Central Region had promoted an interesting and absorbing Elgar day. This meeting was also very well attended. Later in November I heard reports that the Torbay Music Weekend had been, as expected, a great success. Our grateful thanks are due to all those who promote and support good music. Future promise As well as looking back at past successes we can also look forward to events such as the Scarborough Music Weekend promoted by the Yorkshire region and the Daventry Weekend promoted by FRMS. These too promise to be veritable music feasts. In short it is by no means all doom and gloom. However there will be those (occasionally in tones suggesting that Armageddon is nigh) who raise the question: “How much longer can societies devoted to playing classical music survive in today’s environment with all the other counter attractions?” My answer to that is: man has a propensity to form and take part in group activities whether they are of a leisure or academic nature. Of course we can listen and enjoy music when we are alone, or at a concert or with a group of like-minded folk at the local RMS. Much in the same way that a walker can walk alone or join the local rambling society or the serious reader can choose to read alone or join a book circle. They are the various ways of savouring the same pleasure. Most of us in these situations tend to mix and match. When I attend concerts at Hanley, Liverpool and Manchester I invariably meet members of affiliated societies where we generally exchange comments about the music we have just heard and the current situation at our own society. Judging by the number of coaches waiting outside these venues it is interesting to note that many members have not travelled alone or in a small group. Some have formed a party to bring along those who do not wish to travel privately. Often by such means a camaraderie is established and the pleasure enhanced. I dream of the day when a coach will pull up outside my own society! The exhibition featured below would make a good society outing. Details for travel by rail, road, bus and tube are available on request. Share your thoughts I am sure that many of you have views on these matters so why not communicate them to the rest of us. It was never easier. You can send them to the Editor for the Bulletin or via the Secretary for the Newsletter. Or why not take a look a look at our newly revamped website where the Webmaster, George Steele, has provided a page for your views and comments. I look forward to reading these. John Davies, Chairman FRMS HANDEL AND THE ORIGINAL SUPERSTAR DIVAS New exhibition at Handel House Museum, 25 Brook Street, London W1K 4HB 30 April–16 November 2008 A new exhibition in Handel’s home from A wide collection of archive material brings 1723 until his death in 1759 explores the to light the first female opera singers and is careers, fierce rivalries and on- and complemented by a diverse series of live offstage lives of the first great musical music events performed in the very room in divas who brought Handel’s operas to life. which Handel worked with his divas. Their often scandalous behaviour made Times: Tue, Wed, Fri, Sat 10am-6pm; them the talk of the town in 18th C Thur 10am-8pm; Sun 12pm-6pm; Mon closed London and the term ‘diva’ to become Admission: £5 adults; £4.50 conc; £2 children Contact one of notoriety rather than a compliment. : 020 7495 1685 or www.handelhouse.org 19  

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20    ()(* ( # ) ! *+ " + " $ ,% ( !" ''''' - !" " ' # " $ !% & ! ! . ' ' ! ( ''''' #$%&$' WEEKEND RESIDENTIAL COURSES 2008 Organisers: John Gilks and Gavin Mist (CLPGS Board Member) (1) FROM CYLINDERS TO CD (AND NOT FORGETTING THE iPOD) 4th – 6th JULY AT HIGHAM HALL IN THE LAKE DISTRICT Discover the story of recorded sound, from its invention by Thomas Edison (cylinders in 1877) and Emile Berliner (discs in 1888) to the present day. Learn how artistes bellowed into horns, then used microphones. How broadcasting began (the need to record on tape and use equipment outdoors) and how cine-film came to talk. Tape recorders then followed and then LP with mono, stereo and digital sound. The CD provided new sound and historic recreations. Famous artistes, opera singers to crooners, and symphony and dance orchestras will provide the illustrations. VENUE: Higham Hall, Bassenthwaite Lake, Cockermouth, Cumbria CA13 9SH Telephone :017687 76276 e-mail: [email protected] (2) RECORD REVOLUTION FROM SHELLAC TO VINYL (DAN LENO TO BILL HALEY) 8TH – 10TH AUGUST AT FARNCOMBE ESTATE IN THE COTSWOLDS Today music is on tap. From radio, TV, tape, computer and iPOD. We take it for granted. But not so before 1900. How did this transformation come about? This course will examine the period covered by the 78 rpm and the long-playing record (not forgetting the cylinder!). More than a century of music, both classical and easy listening, will be demonstrated. We will focus in part on dance bands in the 78 era and the Academy of St Martin-in-the-Fields when LPs were universal. Plenty of nostalgia using archive equipment – the real thing! VENUE: The Farncombe Estate Centre, Broadway, Worcestershire WR12 7LJ Telephone :01386 854100e-mail: [email protected] PLEASE MAKE BOOKINGS DIRECT WITH THE RESPECTIVE COLLEGES

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22 PRESENTERS PANEL

FRMS PRESENTERS PANEL Societies are invited to recommend successful presenters for inclusion in this section. Please note, for those charging a fee there is a modest charge of £10 per entry per annum. An entry on the FRMS Website is also offered free. In addition, many record companies, especially the smaller firms, are able to give presentations on application. Contact the companies direct. Officers and committee members of the FRMS are experienced presenters and are generally available to give presentations within reasonable distance of home; two have entries in this list and others can be contacted at the addresses inside the back cover of the Bulletin. This supplement is intended to be a general guide to programme planning. Reasonable care is taken to ensure accuracy of the details given but neither the FRMS Committee nor the Editor can accept responsibility for any circumstances subsequent on the use of the supplement.

LORD ABERDARE – The Berlioz Society BENSLOW RECORDED MUSIC FOR ALL 16 Beverley Road, London SW13 0LX Contact: Philip Ashton, 27 Dunsby Road, Luton Tel: 020 8876 8398; mobile 07768 397190 LU3 2UA. Te: 01582 651632 E-mail: [email protected] E-mail: [email protected] Talks with visual and music illustrations include: Benslow RMFA is a scheme to encourage greater Berlioz from B to Z: an overview of the interest in music and provide enjoyment for all. composer’s life and works Presenters are willing to travel to suitable venues, Berlioz in England: his five visits from 1847-55 principally in N. Hertfordshire and surrounding The Musical Madhouse: on my translation of area, but also up to 100 miles from Hitchin. Berlioz’ book Les Grotesques de la Musique Equipment can be provided if necessary. Berlioz’ songs for voice and piano, exploring a For available programmes or more information less well-known but rewarding group of his works please contact Philip Ashton. Other Berlioz-related subjects considered. Expenses only; willing to travel. IAN BOUGHTON BA (Hons), DipMus TERRY BARFOOT 25 Bearton Green, Hitchin, Herts SG5 1UN 25 Mulberry Lane, Cosham, Portsmth PO6 2QU Tel: 01462 434318 Mobile 07703 584152 Tel: 0239 238 3356 E-mail: [email protected] E-mail: [email protected] Website: www.rutlandboughtonmusictrust.org.uk Author, contributor to leading music periodicals During the 1920s, Rutland Boughton was the most and to the New Grove; presenter/lecturer at widely talked about composer in England, conferences and other musical events, many of surpassing even Edward Elgar and Vaughan which he organises through his own company, Williams. His festivals at Glastonbury (1914- Arts in Residence. 1926) were the first of their kind in England and Reviewer for the Musicweb-International website. his opera “The Immortal Hour” broke a world Regular presenter at societies in southern record that is still held today. England. Recent presentations include studies of Ian Boughton, a grandson of the composer, gives Dvoák, Elgar, Mozart and Richard Strauss. illustrative presentations to societies. GEOFF BATEMAN ACIB Cefa Expenses only; no fee 34 Frizley Gardens, Bradford, W. Yorks BD9 DEBBIE BRIDGE BA (Voice) 4LY 14 Milnthorpe Road, Hove, East Sussex BN3 5HT Tel: 01274 783285 Tel: 01273 732121: Mobile: 07748 678564 E-mail: [email protected] Email: [email protected] Secretary, Bradford RMS. Current programmes: Website address: www.debbiebridge.com The Ravel Experience Professional opera singer and singing coach. Has Who Could Ask for Anything More? – the music toured with companies in the UK and abroad, of George Gershwin most notably D’Oyly Carte. Member of the The Art of Clifford Curzon Incorporated Society of Musicians, the Royal Great conductors: Rudolph Kempe, Guido Society of Musicians, Equity and Spotlight. Cantelli, Pierre Monteux, Carlo Maria Guilini Keen interest in music from North America. The Musical World of Stephen Sondheim No fee; travel expenses only.

23 PRESENTERS PANEL

Talks on American classical music include: ANDREW DOWNES American Round Up – series 1 and series 2 2 Church Street, Hagley, Stourbridge Fees £50 plus travel for non-local destinations. West Midlands DY9 0NA. ALLAN CHILD Tel/fax 01562 886625 12 Highfield Road, Derby, DE22 1GZ E-mail: [email protected] Tel: 01332 332649 Website: www.users.globalnet.co.uk/~downlyn E-mail: [email protected] Andrew has been described in a brochure for the Chairman, Derby Music Circle. FRMS Czech Philharmonic Orchestra as a composer Committee member.. “ranking today among the internationally Among recent programmes are: acclaimed personalities”. His music has been “The Sincerest Form of Flattery” – examples of performed in India, USA, Austria, France, Czech pastiche, parody and homage in music`. Republic, Mexico and Israel and the UK by the “Dros y Clawdd” – an exploration of Welsh Royal Philharmonic and Czech Philharmonic music, both traditional and classical. Orchestras, Sarah Walker and John Mitchinson. It “Words and Music” – a joint presentation by has been broadcast on BBC TV and radio, Czech, Allan and Ruth Child in which words about music Dutch, Austrian, French, Italian and Chinese and music inspired by words are woven into an stations and also recorded on CD. uninterrupted sequence. Titles, fee and expenses by negotiation. Other programmes include the music of Scotland, GORDON DRURY Spain and Hungary - please ask for details. 31 Kingsley Park, Whitchurch, No fee; expenses minimal or none. will travel. Hampshire RG28 7HA. Tel: 01256 892267 MAGGIE COTTON E-mail: [email protected] 57 Elmfield Crescent, Birmingham B13 9TL Experienced speaker offers audio-visual Tel; 0121 449 3196 presentations about one of London’s major E-mail: [email protected] recording venues, Kingsway Hall, and some of the many classic recordings made there. Website: www.percussionworkbook.com No fee, but reasonable travelling expenses Maggie was the first professional female required. percussionist in a UK symphony orchestra. Forty year with the CBSO, eighteen of those with Please contact to discuss your requirements. Simon Rattle. Author of : THE DVORÁK SOCIETY Percussion Workbook: detailed Promotes the music of all Czech and Slovak timpani/percussion requirements for the composers, past and present. A few of its symphonic repertoire members are invited on occasion to give talks and Agogo Bells: a guide to percussion instruments in lectures to societies at various locations. schools Enquiries to: Don Preddy, Hon Sec, The Dvorák Wrong Sex, Wrong Instrument – an autobiography Society, Church House, Lyonshall, Kington, Her presentation: Red Light District lifts the lid Herefordshire HR5 3HR. Tel: 01544 340760. off recording sessions: triumphs and terrors, E-mail: [email protected] laughter and tears - warts and all. No fee but expenses might be requested. Fee £45; will travel. THE ELGAR SOCIETY DINMORE RECORDS The Society will arrange for experienced 11 Romsley Hill Grange, Romsley presenters to give illustrated talks on general or Halesowen B62 0LN specific topics concerning Elgar’s life and work. Tel/fax 01562 710801 Contact Branch Secretaries in the following areas E-mail: [email protected] to arrange a speaker from the Society. Dinmore Records is a small, independent classical London Ruth Hellen record label with its own location recording and , 30 King James Avenue, post-production facilities, run by a professional Cuffley,Herts EN6 4LR. musician. Contact Paul Arden-Taylor to arrange a West Midlands Hywel Davies presentation with music from the current , 24 College Grove, Malvern, catalogue. Worcs. WR14 3HP. Tel: 01684 562692 No fee, but expenses requested over 50 miles.

24 PRESENTERS PANEL

North West JOHN GILKS Mrs Pat Hurst, 60 Homewood Rd., Northenden, The Old School, High Street, Nawton, Manchester M22 4DW. Tel: 0161 998 4404 York YO62 7TT Tel: 01439 771273 Thames Valley There’s Magic in the air John Beech, 38 Cedar Crescent, Thame, Music of Saint-Saëns Oxon OX9 2AU Tel: 01844 212061 Music of Grieg Southern England Dancing through the years Chris Conally, 17 Lonsdale Avenue, Cosham, C is for Composer Portsmouth PO6 2PU Tel 02392 389410 Creating good habits: the story of Simon Rattle South West England/South Wales Cylinders to CDs Michael Butterfield, 2 Leigh Road, Bristol Vive La France! BS8 2DA Tel: 01179 092503 Expenses only. Scotland JOHN HUMPHRIES ARIBA, Chartered Architect Sharron Bassett, 9 George Street, Dunfermline, 10 Drovers, Bolney Street, Haywards Heath, Fife KY11 4TQ. Tel: 01383 727491 West Sussex, RH17 5PT. Tel: 01444 881887 CHRISTOPHER FIFIELD MusB GRSM ARMCM ARCO Since retirement has made over 400 appearances 80 Wolfington Road, London SE27 0RQ as baritone soloist and speaker on subjects inc: Tel: 07752 273 558; mobile 07752 273 558 Charles Villiers Stanford. The life of arguably E-mail: [email protected] Britain’s greatest all round musician; teacher of Thirty years Freelance conductor; also 12 years on most of the best of Britain’s early 20th C the music staff at Glyndebourne. Records for the composers, brilliant organist, composer, Swedish label Sterling. conductor and tireless promoter of British music. Author of books on Max Bruch, Hans Richter and William Yeates Hurlstone. Outstandingly gifted Kathleen Ferrier and a history of Ibbs and Tillett. pupil of Stanford, who might have rivalled Purcell Talks include: and Elgar had he lived longer. Much of his work Bruch’s music beyond the first violin concerto was left in manuscript but has since been The life and work of conductor Hans Richter recorded. 2006 was the centenary of his death. (Wagner, Brahms and Elgar in particular) Expenses: negotiable. Will travel anywhere. The life of Kathleen Ferrier ERIC JENNINGS A Voice from the Pit 9 Hillside Road, Frodsham, Cheshire WA6 6AW Recording unknown repertoire for Sterling label. Tel: 01928 733209 Fee: Negotiable, plus expenses and/or hospitality E-mail: [email protected] if over 50 miles from South London. For 31 years was principal trombone with the DR DAVID FLIGG Royal Liverpool Philharmonic Orchestra. Leeds College of Music, 3 Quarry Hill, Leeds Subjects include: LS2 7PD. Tel: 0113 222 3423 Conductors I have known and worked for E-mail: [email protected] The life and times of Beethoven Website: www.impulse-music.co.uk/fligg.htm Life in the Orchestra Lecturer in composition and music history at Rio de Janeiro Leeds College of Music. On the fiddle Composer and conductor. A Musician Becoming Subject Specialist Reviewer (Music) for the Fee: £50.00 plus expenses for non-local Quality Assurance Agency for Higher Education. presentations. Member of the Incorporated Society of Musicians BERESFORD KING-SMITH and the British Academy of Composers and Cantabile, 8 South Parade, Sutton Coldfield, Songwriters. West Midlands B72 1QY Tel/Fax: 0121 355 5018 Contributor to various music magazines. CD E-mail: [email protected] sleeve notes and programme notes. Various non- Retired senior administrator with City of technical and entertaining topics and workshops. Birmingham Symphony Orchestra; author of its Contact to discuss availability, details of fees and official history ‘Crescendo!’. your Society’s requirements. Talks available include: Crescendo! - The Story of the CBSO For information about a free entry on the The Story of Birmingham’s Choral Societies FRMS website contact George Steele What is Genius?; (contact details at the back of the Bulletin) Six Special Singers Bach and the Bible

25 PRESENTERS PANEL

Fee: £75, includes travel up to 15 miles from Nimbus Records issued its first LPs in 1977 and Sutton Coldfield in 1984 opened the first CD plant in the UK. DR JIM PRICHARD - THE GUSTAV MAHLER Since then the catalogue has grown to 800 titles SOCIETY UK with a very international flavour: European 15 David Avenue, Wickford, Essex SS11 7BG classical music, World Music, and the Prima Voce E-mail: [email protected] series of vocal 78rpm transfers.. Under the Website: www.mahlersociety.org umbrella of Wyastone Estate Limited, the Jim Pritchard was Chairman of the Wagner company now operates a diverse business base of Society for 10 years and edited 100+ issues of recording and on-demand manufacturing and Wagner News. In 2001 he was co-founder of the printing. modern Gustav Mahler Society UK. He is its To arrange a presentation about Nimbus or Lyrita Chairman and also edits the GMS UK magazine, please contact Business Director, Antony Smith. The Wayfarer. He is already well known for his CLIFFORD OCCOMORE talks on Wagner. These are available again after a 37 Attlee House, Lansbury Road, Broadfield, break of several years as well as a new talk on Crawley, West Sussex RH11 9JA Gustav and Alma Mahler, entitled A Marriage of Tel: 01293 513471 Convenience? Jim Pritchard also reviews E-mail: [email protected] classical music for MusicWeb-International. Particular interests/programmes: No fee, but reasonable expenses and hospitality in British Music; inc. ‘the Celtic Fringe’ and music relation to distance travelled. of composers involved in or affected by World ALASTAIR MITCHELL LGSM Wars 1 and 2 See advertisement on p.18 Russian/Scandinavian/American Composers CHRISTOPHER MORLEY 18th and 19th century rarities 16 Melbourne Road, Halesowen B63 3NB Church and other choral music Tel: 0121 550 4482 Piano/Organ/Guitar E-mail: [email protected] Light Music Graduated as BMus(Hons) from University of Spanish/Latin American music (with assistance of Birmingham in 1969; is Honorary Fellow of Mrs. Judy Occomore) Birmingham Conservatoire, chief music critic of No fee. Travelling expenses 40p/mile up to 50 Birmingham Post and Midlands correspondent for miles; longer distances by arrangement. Classical Music, Musical Opinion, Opera and DR GEOFF OGRAM, Secretary Stafford RMS Music Teacher. Illustrated programmes include: 6 Silverthorn Way, Wildwood, Stafford ST17 4PZ Confessions of music critic Tel: 01785 663423 Changing critical attitudes to Elgar E-mail: [email protected] The Symphonies of Gustav Mahler A number of recital programmes are available, th Mahler’s Sixth Symphony - greatest of the 20 C with a significant content of 20th C British music. Composers on record My specialist composer is Gordon Jacob, whose The problem of bespoke music music I discovered in 1956. We became friends Opera Now; Music of the mountains; and I have just completed a book on his music. The lure of Italy The recital on his work is entitled Seventh Son. Fee £75, inclusive of expenses. No fee required, just minimal travel expenses. DAVID NASH Queen Anne House, Mill Lane, Shoreham, Kent TN14 7TS; Tel: 01959 523214 MISS JOY PURITZ Presentation My Father, Heddle Nash – 149e Holland Rd, London W14 8AS reminiscences of one of England’s finest ever Tel: 020 7602 4187 (evening) tenors, from within his family circle, illustrated 020 7494 3130 (daytime). with recordings. E-mail: [email protected] Fee and expenses by negotiation.` Granddaughter of Elisabeth Schumann and NIMBUS RECORDS & LYRITA RECORDED translator of her biography (written by the singer’s EDITION son, Gerd Puritz). Wyastone Estate Ltd, Wyastone Leys, Ganarew, Illustrated presentation entitled A Portrait of the Monmouth NP25 3SR. Tel: 01600 890007 Soprano, Elisabeth Schumann has been well E-mail: [email protected] received by the Friends of Covent Garden, the

26 PRESENTERS PANEL

National Sound Archive and many recorded No fee for Hyperion programme; others minimum music societies. Fee negotiable. expenses. SIVA OKE LRAM Midlands, N. England, Wales, Scotland preferred. 13 Riversdale Rd, Thames Ditton, CLIVE WILKES Surrey KT7 0QL 70 Filching Road, Eastbourne, East Sussex Tel: 020 8398 1586 Fax: 020 8339 0981 BN20 8SD. Tel: 01323 724916. E-mail: [email protected] Current programmes: Website: www. ssomm-recodings.com Wagner and Liszt, an uneasy friendship; linked to: Former professional musician, veteran of the Wagner and Liszt, their musical legacy. record industry and owner of SOMM Recordings, Vienna: Mahler and his contemporaries: linked to: a well-established label with a wide-ranging and Exiles and émigrés - follows fortunes of composers interesting repertoire who fled Vienna and Nazi Germany George Gershwin - Crazy for you ‘Sailing through Troubled Waters’, with Sergei Prokofiev - the prodigal son musicfrom current catalogue. Golden age of film music No fee, but expenses requested over 50 miles. Aspects of opera in the 20th Century TONY POOK (York RMS) Viva Verdi! and Viva Verdi! (Encore) 1 Lower Friargate, York. YO1 9SL. Once upon a time: fairytales, myths and legends Tel: 01904 642407 Dmitri Shostakovich – the great survivor E-mail: [email protected] Rimsky-Korsakov and the mighty handful Travelling expenses only. Further details on request. Expenses only. Presentations are from the lesser-known but CATHERINE WILMERS tuneful repertoire of the 19th and 20th centuries. The Brew House, Radwell, Baldock, My particular interest is in American, British and Herts SG7 5ES. Tel: 01462 730490 Czech composers, but examples of programmes E-mail: [email protected] from Finland, Russia, Slovakia and Spain are: Professional cellist, LPO recitals and chamber Dvoák in England (or America or at home) music. Recorded CD for ASV, A Cello Century The Pupils of Dvoák of British Women Composers 1884-1984,which Uuno Klami (in the shadow of Sibelius) won Diapason gold award. Catherine features Music from New England (Amy Beach and anecdotes about the composers (with her cello) Horatio Parker) and the making of the CD. Mieczyslaw Karlowicz (tone poems, songs and Also The Not so Silent Minority: examples of late violin concerto) 19th and early 20th century string chamber music Louis Moreau Gottschalk – composer/adventurer by Louise Farrenc, Ethyl Smyth, Clara Schumann, The music of Alexander Borodin Fanny Mendelssohn, Teresa Carreño, and PAUL ADRIAN ROOKE MA (Cantab) Cert. Ed Rebecca Clarke. 95 Nightingale Road Hitchin Travels countrywide. Fees negotiable + expenses. Hertfordshire SG5 1RL DAVID WILSON Tel: 01462 458614; Mobile: 07711 617561 5 Orchard Court, Bridge St, Walton on Thames E-mail: [email protected] Surrey KT12 1AN; Tel: 01932 229711 Web site: pauladrianrooke.com E-mail: [email protected] Retired music teacher. Music Adviser, The Subjects covered include: Rutland Boughton Music Trust. Talks on Rutland Kathleen Ferrier; Solomon Boughton, 19th century British music and most Adolf Busch and the Busch Quartet Sir Henry Wood; Myra Hess musical subjects. Expenses only. No fee. South East England preferred. DONALD ROOKSBY RALPH WOODWARD Glanrafon, 14 Heol Garrog, Eglwysbach, 114 Histon Road, Cambridge CB4 3JP Colwyn Bay, North Wales LL28 5AQ. Tel: 07711 384218 Tel: 01492 650244. Founder of Derby RMS and E-mail: [email protected] general manager Hyperion Records until 1986. Website: www.ralphwoodward.net Subjects include: Ralph is a young(ish) freelance conductor. Britain’s Brightest Record Label: some recent Subjects include What I do (his musical issues from Hyperion background and working life) Rare Pleasures – some neglected Mozart The music of Benjamin Britten Off the Beaten Groove: a personal search in The cantatas of J S Bach. musical byways. Fee + expenses – will travel. 27

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28 Winner

"...lapel grabbing and gorgeously larger than life."

"...his (Moeran's) work is finely crafted, melodically appealing, colourful and effectively structured ... this is the disc to own."

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