North York Moors Chamber Music Festival

We welcome support for this event, which is why we’ve set up The North York Moors Chamber Music Festival Trust, a charitable organisation. The aim is to generate such interest that it becomes an annual celebration so if you wish ‘Beethoven: A Legacy’ to make a donation please download a Gift Aid form (if you are a UK taxpayer) to ensure your donation goes 17-30 August 2014 further. Cheques payable to The North York Moors Chamber Music Festival Trust would be most gratefully received; please send to The NYM Chamber Music Festival, The Granary, Appleton-le-Moors, York yo62 6tf. The accounts will www.northyorkmoorsfestival.com be made readily available as part of our annual returns to the Charity Commission. Patron Sir Peter Maxwell Davies

www.northyorkmoorsfestival.com Photo Credit: Frank Harrison

56 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 1 Introduction

North York Moors “Among the most impressive of its kind in Britain” Chamber Music Festival Michael White, The Telegraph 2012

Shortlisted for a Royal Philharmonic Welcome to the sixth North York Moors time when a new Viennese school began understand why it has been essential to Society Award 2011 Chamber Music Festival – ‘Beethoven: A to emerge, widely recognised now as include works from this period. legacy’. This year we explore not just the the ‘Second Viennese School’, born out Our ticket prices remain unchanged so pinnacle of great classical music but also CONTENTS of Arnold Schoenberg’s unique and as to include everyone who shares our the immeasurable influence Beethoven creative example. That began by slowly love of music, regardless of background Programme 4 wielded over so many composers shaking off the (particularly Wagnerian) or position. We do therefore rely on other North York Moors 6 throughout the past 200 years. This influences from the late Romantic vital support, however small – and as a temperamental genius spectacularly Visitor Information 7 period, evident in ravishing works like charitable organisation we can claim Gift paved his way out of the Classical era Schoenberg’s Verklärte Nacht (featured Notes 10 Aid, so please consider this option if you and arguably invented the Romantic in the concert on August 28th) and then do kindly donate to us. Your tremendous Biographies 31 period, pushing musical and stylistic exploring the chromatic expressionism collective support has helped us to boundaries like no one before him. He Venues 45 that tore up the rule book of tonality. develop our lighting, invest in a trailer and is a giant amongst the greats, baffling Acknowledgements 55 His most devout pupils included Anton improve on many visual aspects of our audiences in his day with daring ideas Webern and Alban Berg, who helped performances, so I’d like to thank you for and musical intensity, changing the champion Schoenberg’s rigorous these generous gestures. course of music forever. philosophy within the heart of the Do spread the word and encourage So from this ‘Viennese School’ twentieth century, as artists like Francis others to join the mailing list (Beethoven, Schubert, Haydn, Mozart), Bacon, Pablo Picasso and Kandinsky ([email protected]). as it has come to be called - a truly were similarly doing. This was achieved by This festival is about passion, celebration monumental period for classical music challenging form, colour and expressing and exploration, so I hope you – Beethoven brought this ingenious the reality of the times such as the experience all three elements throughout and innovative period to a natural end brutality of politics, the human condition what promises to be an intense but through his incredibly dramatic and and violent social changes, rather than invigorating festival, celebrating the personally expressive writing. the emotional charge through passion greatness of Beethoven and his legacy. This in turn cast a powerful spell over and drama which was so predominant Enjoy! emerging composers such as Brahms in the Romantic era. It could be said that and Schumann. By the end of the 19th some of the greatest music, was written century that Romantic period of music during the last century and although Jamie Walton was also beginning to run its course at a difficult to absorb comfortably, I hope you Artistic Director

2 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 3 Programme

Week one Week two

Sunday 17th August St Nicholas’, Beethoven String quintet in C major op 29 Monday 25th August St Helen’s & All Saints’, Beethoven String quartet in E flat major op 74 (‘Harp’) 2.00pm (note start time) Guisborough Korngold Sextet in D major op 10* 7.00pm Wykeham Berg Lyric Suite op 3* Mendelssohn Octet in E flat major op 20 Maxwell Davies Naxos quartet No.6

Monday 18th August St Oswald’s, Beethoven Clarinet Trio in B flat op 11 Wednesday 27th August St Mary’s, Maxwell Davies ‘Voyage to Fair Isle’ for piano trio 7.00pm Lythe Hummel Clarinet quartet in E flat S78* 7.00pm** (concert a Lastingham Zemlinsky Clarinet trio in D minor op 3* Mozart Grand Quintetto (‘Gran Partita’) in B flat part-repeat of 20th August) Beethoven Piano trio in B flat major op 97 (‘Archduke’) WALTON Piano quartet in D minor

Wednesday 20th August St Mary’s, Maxwell Davies ‘Voyage to Fair Isle’ for piano trio 7.00pm Lastingham Zemlinsky Clarinet trio in D minor op 3* Thursday 28th August St Stephen’s, Schubert Quartettsatz in C minor Beethoven Piano trio in D major op 70 No.1 (‘Ghost’) 7.00pm Fylingdales Beethoven String quartet in F minor op 95 (‘Serioso’)* Maxwell Davies The Last Island (string sextet) Schoenberg Verklärte Nacht Friday 22nd August St Hilda’s Priory, Beethoven Piano quartet in E flat major op 16 7.00pm Sneaton Castle, Whitby Mendelssohn Piano sextet in D major op 110* Schubert Piano quintet in A major (‘Trout’) Friday 29th August St Hedda’s, Beethoven String quartet in B flat major op 130 6.00pm (note start time) Egton Bridge (with Grosse Fugue)* Strauss ‘Till Eulenspiegel Einmal Anders’ Saturday 23rd August St Martin-on-the-Hill, Beethoven String quartet in E minor op 59 Maxwell Davies ‘Seven Skies of Winter’ Scarborough No.2 (‘Razumovsky’) 7.00pm JanáCˆek ‘Mladi’ Brahms Clarinet quintet in B minor op 114* Schubert String quintet in C Saturday 30th August St Hilda’s, Handel Sinfonia to ‘Messiah’ HWV 56 (organ) 5.00pm (note start time) West Cliff, Whitby Hindemith Kammermusik op 24 No.1 Sunday 24th August St Hilda’s, Mozart/Bach Prelude and fugue for string trio Schumann Introduction and Allegro appassionato op 92* 3.00pm (note start time) Danby Maxwell Davies String trio Beethoven Septet in E flat major op 20 Schoenberg String trio op 45 Maxwell Davies An Orkney Wedding with Sunrise Beethoven String trio in D major op 9 No.2

* Interval follows * Interval follows

4 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 5 North York Moors Visitor Information

The North York Moors It covers an area of 1,436 km (554 moorland. These two kinds of scenery are ago the cold climate of the Ice Age Car Parking Getting there by satnav square miles), and it has a population the result of differences in the underlying ameliorated and temperatures rose The churches in Danby, Lythe and St Danby YO21 2NH is a national park in of about 25,000. The North York Moors geology and each supports different above a growing point of 5.5˚C. Plant Hilda’s Priory have large car parking N54:26:51, W0:55:41 North Yorkshire. The became a National Park in 1952, through wildlife communities. There are records of life was gradually re-established and facilities. Those in Lastingham, Fylingdales, the National Parks and Access to the 12,000 archaeological sites and features animals and humans also returned. Many Guisborough, Egton Bridge and Egton Bridge YO21 1UX moors are one of the Countryside Act 1949. in the North York Moors National Park, visitors to the moors are engaged in Wykeham have local village parking. N54:26:13, W0:45:42 of which 700 are scheduled ancient outdoor pursuits, particularly walking; the At St Hilda’s West Cliff and St Martin-on- largest expanses of The North York Moors National Park Fylingdales YO22 4RN monuments. Radio carbon dating of parks have a network of rights-of-way the-Hill there are local car parks and encompasses two main types of N54:26:03, W0:32:21 heather moorland in pollen grains preserved in the moorland almost 2,300 km (1,400 miles) in length, on-street parking. landscape: green areas of pasture land peat provides a record of the actual and most of the areas of open moorland Guisborough TS14 6BX the United Kingdom. and the purple and brown heather species of plants that existed at various are now open access under the Toilets N54:32:12, W1:02:56 St Hilda’s West Cliff and St Hilda’s Priory periods in the past. About 10,000 years Countryside and Rights of Way Act 2000. Lastingham YO62 6TL have their own facilities. The churches in N54:18:16, W0:52:58 St Nicholas’ Church St Oswald’s Church Egton Bridge, Fylingdales, Lastingham, Guisborough Lythe St Hilda’s Church Lythe YO21 3RW West Cliff Guisborough, St Martin-on-the-Hill and N54:30:25, W0:41:18 St Hilda’s Church WHITBY Wykeham have village facilities. The St Hilda’s Priory Chapel Danby Sneaton Castle churches in Danby and Lythe have Scarborough YO11 2DB portable toilets. N54:16:30, W0:24:05 St Hedda’s Church Egton Bridge St Stephen’s Church Refreshments Sneaton Castle YO21 3QN Fylingdales Refreshments are available for a N54:28:60, W0:38:31 suggested donation of £1 for soft drinks West Cliff YO21 3EG and £2 for a glass of red or white wine. N54:29:20, W0:37:14

Wykeham YO13 9QA N54:14:14, W0:31:17

St Mary’s Church Lastingham St Martin-on-the-hill Church SCARBOROUGH

St Helen and All Saints’ Church Wykeham

6 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 7 8 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 9 Notes when he became ill at the end of the Piano trio in D op 70 of variations – on an original theme, tour that the first signs of hearing loss no 1 (Ghost) op 44, and on ‘Ich bin der Schneider became apparent. Kakadu’, op 121a. For a completist, Allegro vivace e con brio All notes are by Philip Britton; quotations from Sir Peter Maxwell Davies are the this gives a total of fourteen works of The work is a direct homage to Mozart Largo assai ed espressivo varying weight and seriousness, which composer’s copyright, from www.maxopus.com. and his quintet for piano and winds Presto could (and do) fill at least four discs. K452 from 1784, which it is thought There are some interesting questions Once we reach the pair of op 70 piano Composers are listed in alphabetical order by surname. Where several works by the Beethoven heard some Czech about what to count as central trios, directly following the Cello sonata players perform in Berlin: both works, in A op 69, Beethoven is now in his same composer are performed in this year’s Festival, individual works (and their linked as quintets, were played in the 2013 amongst Beethoven’s piano trios ‘middle period’; he is returning to this notes) are also in alphabetical order, by the first key word of the work’s title, then by Festival. Beethoven copied Mozart and what to relegate to the margin. medium after a long gap since the op directly in his first version of op 16 – This Ghost trio and its op 70 no 2 the opus number of the work. Works in minor keys are identified in headings with the keyboard plus the same four winds, the companion, in E flat, clearly belong 44 variations – even longer since the key’s name and the word ‘minor’; those in major keys with just the key’s name. same ‘home’ key and same number of in any ‘A list’, together with the three three-movement op 11 trio. catalogued as op 1 and the movements, the first (by far the longest It is at the end of 1808, the year in Archduke (below). of the three) having a slow introduction which his Symphony no 6 (Pastoral) had Ludwig van Beethoven and then comes the final movement, errand-boy might whistle, perhaps. At and the finale in rondo form. Each of these six piano trios makes a first been heard, when a contemporary marked allegretto. least three other composers, including Overall, however, the virtuoso piano serious claim on a listener’s attention – account describes him at the piano 1770-1827 Hummel and Paganini, penned It opens by stating a theme, ‘Before I go part dominates more than in the even the op 1 works (especially op 1 no in the salon of the Viennese palace of variations on it. Clarinet trio in B flat op 11 to work’, from the comic opera L’amor Mozart original. The first performance 3, in a forceful C minor), which are far Countess Anna-Marie Erdödy (1779- more than the juvenile exercises their 1837), giving the first performance of Allegro con brio marinara (‘Love at Sea’) by the prolific From the start – presumably for of the Beethoven quintet in Vienna was opus number might suggest. Beethoven both op 70 trios. With him are violinist Adagio but now almost forgotten Austrian commercial as much as artistic reasons probably one in April 1797, with the was already in his mid-twenties when Ignaz Schuppanzigh – appearing Tema ‘Pria ch’io l’impegno’ (allegretto) composer Joseph Weigl (1766-1846); – Beethoven accepted that a violin composer at the keyboard, including repetitively in these notes – and cellist con variazioni nine remarkably inventive variations might replace the clarinet, transforming the famous oboist Friedrich Ramm from they were published in 1795; in fact, follow, one even suggesting a funeral Munich, for whom Mozart had written he had already completed many Joseph Linke. This trio for clarinet, cello (sometimes the work into a conventional piano trio. march, a wittily syncopated coda the Oboe quartet K370. compositions which were never to gain substituted by a bassoon) and piano The Countess may have been the bringing back 4/4 time at the opus numbers, including a complete was written in 1797 and published the Piano quartet in Like its Mozart companion, Beethoven’s ‘Immortal Beloved’ addressed in a last moment. early piano trio in E flat (WoO38). In the following year. The first movement, E flat op 16 keyboard part would originally have celebrated love letter in Beethoven’s ‘B list’ probably belong Beethoven’s the longest of the three, has an This movement looks ahead to the been played on a fortepiano, lighter in hand found after his death, though Grave – allegro ma non troppo reworkings in piano trio form of the arresting unison opening and is then variations in Schubert’s Piano quintet touch, more subtle in timbre and lower there are many other candidates; she Andante cantabile Septet and of the Symphony no 2, full of surprises: changes of key which in A (The Trout) of 1819, also heard in potential volume than a modern and the composer had certainly been Rondo: allegro ma non troppo as well as the violin version of the undermine the B flat ‘home’ key and a in this Festival. The Weigl theme was concert grand. To help the published very close, and he dedicated the op ‘Gassenhauer’ clarinet trio op 11 cavalier approach to traditional sonata so well-known in Vienna that this trio This early chamber work started out as score find a wider market, Beethoven 70 pair of piano trios to her. No 1, the (discussed above). form. The cantabile slow movement acquired the nickname ‘Gassenhauer’ a quintet for piano and winds in 1796, soon arranged the work for keyboard only mature Beethoven piano trio to uses a similar approach, opening with (not Beethoven’s doing, it seems), which while Beethoven was on his only major plus violin, viola and cello, keeping the In this second category we should have only three movements, opens cello and piano alone con espressione; simply means ‘a street song’ – a tune an concert tour as a piano virtuoso; it was same key and opus number; this is the probably also put two isolated explosively and in unison in its ‘home’ version played in this year’s Festival. allegretto movements and two sets key of D major, but after only four bars

10 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 11 an F natural ‘wrong note’ high in the Austrian Emperor and thus a member B flat major theme in piano alone, Septet in E flat op 20 critics and public, who found his later Finale: presto cello signals an instability of key, though of the House of Habsburg-Lorraine. then joined by the violin and cello, works ‘difficult’. It is true that it has Adagio – allegro con brio Beethoven’s three ‘Razumovsky’ the second subject does in the end Following a tradition in which younger the writing using the full range of the a divertimento or serenade feeling Adagio cantabile quartets are at the heart of his ‘middle adopt D major. brothers of great houses went into cello’s compass; the music shifts to an and structure, with – as expected – a Tempo di menuetto period’ of quartet writing, together with the Church, in 1819 he became unexpected G major for the second movement containing a theme and This is a movement which, as Richard Tema con variazoni: andante the isolated op 74 and op 95 quartets, Archbishop of Olmütz (now Olomouc in theme. Also to listen out for specially in variations (the fourth movement, using Wigmore puts it, ‘trades on abrupt Scherzo: allegro molto e vivace both also performed in this Festival. the Czech Republic) and a year later this movement: a pizzicato duet for the a popular tune from the Rhineland). contrasts of texture and dynamics Andante con moto alla marcia – a Cardinal; more relevantly, he was an strings against piano trills which grows Their name comes from Count Andrei and, in the development, [contains] presto But it also has far more substance accomplished pianist and as in volume as if to herald a reprise of Kirillovich Razumovsky (1752-1836); some of the composer’s most rugged, than most works called divertimento a young man in 1803 or 1804 had the main theme – but Beethoven This genial work from 1800 follows he was the Russian Ambassador to rebarbative imitative writing’. It is the or serenade; and the writing is more started studying composition with heads in another direction, delaying a period of rapid development in the Habsburg Empire and built a will-o-the-wisp, Gothic D minor slow subtle and inventive, in particular the Beethoven, their meetings continuing the recapitulation. Beethoven’s compositional abilities and magnificent neo-classical embassy movement, the slowest marked in all use – rare in chamber music at this time until about 1824. his ground-breaking first set of six string on Landstraße in Vienna. Tsar Nicholas Beethoven, which gave rise to the When this does arrive, it sneaks in – of a ‘symphonic’ slow introduction to quartets, published as op 18. It is ahead I was a guest at the inaugural New Ghost nickname – doubly appropriate, The composer seems to have been dolce and pianissimo, though the both first and last movements. by only a whisker of his Symphony no Year’s Eve ball there in 1814; Beethoven since Beethoven used the same acknowledging a genuine friendship, main theme does eventually return in 1 in C, op 21, which was given its first As Peter Holman points out: ‘… the was invited but did not attend. manuscript paper to sketch out music not just making a diplomatically astute triumph in the coda at the very end of performance at the same Burgtheater relationship between strings and winds Razumovsky is now best remembered, for a planned opera of Macbeth, gesture, by dedicating so many works the movement. The impudent scherzo concert in Vienna as the Septet; and is more flexible and varied than before. like his brother-in-law Prince Lobkowitz, including a witches’ chorus in D minor. to Archduke Rudolph: not only this which follows plays with a simple rising not far ahead of the String quintet op There is antiphonal writing between as a musical patron: Razumovsky piano trio but also three piano sonatas, scale, turning this into an Austrian The presto finale restores normality 29 (on which see below). the two groups, ‘orchestral’ passages had his own ‘in-house’ string quartet; the Piano concertos nos 4 and 5, the Ländler dance; the movement’s trio and good humour, with much made with the wind supporting the strings Beethoven dedicated his fifth and Violin sonata op 96, the Große Fuge (heard twice) starts with a fugato Op 20 is for what at the time was an of hesitations in the main theme and with held chords, florid wind solos and sixth symphonies to Razumovsky and and the Missa Solemnis. Op 97 is the passage in B flat minor which somehow unusual combination of string trio notable excursions to remote keys, duets accompanied by the strings, and Lobkowitz jointly; and Razumovsky last, and most expansive, complete turns into a salon waltz, with wild (violin, viola and cello) with clarinet, somehow facilitated by that first concerto-like passages for solo violin commissioned the set of three string multi-movement piano trio Beethoven changes of key. horn, bassoon and double bass. (Later movement F natural. (written for the virtuoso player Ignaz quartets from Beethoven which now was to write. It was begun in parallel composers using the same forces The slow movement is a series of four Schuppanzigh) accompanied by the bear his name. with the String quartet op 95 (Serioso) include Kreutzer, Berwald and Adolphe increasingly complex variations on a rest of the ensemble’. The Septet was Piano trio in B flat op 97 in 1810 (on this quartet, see the note Blanc – but none of their septets are The E minor quartet opens with a 6/8 simple hymn-like theme in D major, with overtly the model for the Schubert (Archduke) below), was completed in 1811 but played as often as Beethoven’s.) allegro movement which starts with an intense and intimate slower coda Octet D803. first performed only in 1814, Beethoven two brief chords, then a rather Allegro moderato at its end. The rondo finale hints at café The Septet has a self-confidence having the same long-term musical tentative theme, Beethoven next Scherzo: allegro music and includes a presto coda in untinged by anger, defiance or colleagues with him as had given the String quartet in E minor destabilising the key by repeating the Andante cantabile, ma però con 6/8 in A major which, with the musical introspection – the qualities that moto – poco più adagio op 70 pair to the world six years before. op 59 (Razumovsky) no 2 theme raised a semitone (rather than, equivalent of a screech of brakes, characterise the works of Beethoven’s Allegro moderato more conventionally, repeating the Richard Wigmore’s words ‘grand, Beethoven at the very end pulls back middle and later period. So much so, Allegro opening chords). The Archduke in question was Rudolph tranquil and tender’ seem to fit the into the work’s ‘home’ key. that Beethoven came to hate the Molto adagio (1788-1831), younger brother of the opening movement, with the opening Septet’s continued popularity among Allegretto Overall, this movement, the longest

12 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 13 of the whole work, displays very quartets as a whole: ‘Beethoven was Beyond a common ‘home’ key, these String quartet in F minor outburst, a rest, and then a completely Andante con moto, ma non troppo fragmentary material: Joseph Kerman neither the first nor the last composer works share few features, except that op 95 (Serioso) contrasting idea; conventional Alla danza tedesca: allegro assai in ‘The Beethoven Quartets’ calls it ‘a to try to reconcile the philosophical neither in the piano trio nor quartet linking passages are absent, and Cavatina: adagio molto espressivo Allegro con brio compound of brusqueness, tenseness abstractions of being and becoming. is any part of either work’s middle the exposition is not repeated. The Overtura: allegro – fuga Allegretto ma non troppo – and hypersensitivity’. For the hymn-like He just did it with greater profundity, movements in this key. The architecture second movement opens with a Allegro assai vivace ma serioso – Commentators all agree that E major slow movement, which his pupil admittedly a rather self-conscious of The Harp is closer to the classical famous unaccompanied cello scale più allegro Beethoven’s late quartets contain some Czerny said had been inspired by the profundity, than anybody before norm than any of the ‘Razumovskys’, downwards which introduces D major – Larghetto espressivo – allegretto of the most innovative and personal composer gazing at the miracle of the or since.’ though in early performances some in traditional terms an extreme contrast agitato – allegro music that he ever wrote – perhaps night sky, Beethoven adds a specific critics thought that the unconventional to the F minor of the first movement, but Although commentators sometimes that any composer has ever written. instruction: ‘Si tratta questo pezzo con directions and harmonies of the the movement moves chromatically in String quartet in E flat op treat the op 95 quartet from 1810 as However, the prosaic origin of the first molto di sentimento’ (‘this piece should opening movement’s slow introduction more directions than any conventional 74 (The Harp) one of Beethoven’s ‘late quartets’, it three of this final group of five quartets be played with much feeling’). made this lose its way (not the likely slow movement ever would, including actually sits on its own – more than was a commission from Russia: in late Poco adagio – allegro reaction of a modern audience). It is a central fugue. In this hard-to-fathom In the first two op 59 quartets, the a decade before op 127 and one 1822 Prince Nikolas Galitzin (1794- Adagio ma non troppo the extensive use of pizzicato in this composer gave effect to the Prince’s personal world, the only movement Presto – Allegretto con variazioni year after another ‘singleton’ among 1866) offered to pay whatever fee the allegro – unusual for the period – which actually marked serioso is the request for ‘a Russian melody, real or quartets, op 74 in E flat (The Harp) (also composer thought appropriate (50 This quartet dates from 1809, so fills gives this quartet its Harp nickname; equivalent of a scherzo, which Kerman imagined’. In our case it follows the performed in this Festival). ducats, apparently) for up to three another feature in the movement to restless first section of the allegretto: the gap between the ‘Razumovskys’ calls ‘a serious, three-legged, tough little new quartets. listen out for is the violin cadenza in the The bilingually titled Quartett serioso the major-key trio includes the folk and the op 95 Serioso quartet quick-march’ with a contrasting and coda at the end. therefore fits between his major works Beethoven accepted the offer, and tune ‘Glory to the Sun’, which later discussed below; and was dedicated awkward trio. of 1809 – the Piano concerto no 5 (The the money, eagerly. But he was too reappears in the coronation scene to Prince Lobkowitz, whose palace The lyrical slow movement, starting in The final movement opens with eight busy with the Symphony no 9 and the of Mussorgsky’s opera Boris Godunov. was the scene for the quartet’s Emperor) and three piano sonatas opp A flat, has elements of both variation bars of slow introduction leading into Missa solemnis, whose first complete However, Beethoven’s four-square first performance. 78, 79 and 81a (‘Les Adieux’) – and the form and rondo; it is followed by a fast the main body of the movement, which performance Galitzin helped organise counterpoint and the players’ Archduke piano trio of 1811, followed in The Prince had recently formed what and furious C minor scherzo (with a combines sonata and rondo elements; in St Petersburg, to start work seriously helter-skelter overlapping entries turn the next year by the Seventh and we would now call a syndicate of twice repeated trio in the major). This the coda at the very end changes the until 1824. The opus numbers of the seem to be at war with the theme Eighth symphonies. Perhaps because patrons who had successfully offered looks back to the same movement in mood entirely, suggesting the finale of late quartets do not match their – perhaps Beethoven was rebelling of the bleakness of the piece – Misha Beethoven financial support, on the Symphony no 5 but also suggests an opera buffa and bringing a sunny composition order: op 127 came first against Razumovsky’s wish to limit his Donat calls it ‘terse and austere’ – condition that he did not leave Vienna. the ‘faery’ genre Mendelssohn was to major-key conclusion. in 1825; the next new quartet was op compositional freedom. Beethoven withheld publication for six 1809 was the year for E flat, with not just make his own a decade and more 132 later the same year – delayed by a years and said that it was never to be The exhilarating finale starts in the this quartet but also the piano sonata later. It leads pianissimo without a serious abdominal illness, from which the performed in public. String quartet in B flat op ‘Les Adieux’ and the Piano concerto break into the final movement’s theme ‘wrong’ key of C major, taking more 130 and GroSSe Fuge op 133 composer’s recovery led to the title of than fifty bars to land decisively in no 5 (Emperor); and it was not long plus six variations and a coda. ‘Open, The quartet does at moments sound like its central movement. Op 130 was the the ‘home’ key of E minor. As Michael since the Piano trio op 70 no 2 in the unproblematic [and] lucid’ is how ‘Beethoven’s private workshop’ (Joseph Adagio, ma non troppo – allegro third work for Galitzin, first performed in Henderson has said, of the string same key. Joseph Kerman sums up The Harp. Kerman), opening with an initial unison Presto March 1826 at the Musikverein in Vienna.

14 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 15 This quartet shares the multi-movement own mysterious introduction, in today’s quickly dubbed ‘the Moonlight’). Festival). The quintet was one of several (probably written for the virtuoso Ignaz As Richard Whitehouse has pointed structure of most of the late quartets, performance. The energy released by works which Beethoven dedicated Schuppanzigh, Beethoven’s friend and out, the odd-numbered movements At this time Beethoven was already well with a brief presto (interrupted midway these three commissioned works then to his friend Count Moritz von Fries leader of Count Razumovsky’s private become progressively faster and more established in Vienna, with income from by a strange series of downward led him to compose the remaining two (1777-1826), banker, art collector and string quartet) illustrates. disruptive, while the even-numbered compositions and an allowance from swoops and staccato chords) after the quartets, op 131 and 135: quartets were supporter also of Schubert. It is an ones become progressively slower and Prince Lichnowsky – but with increasing So these trios seem to have been substantial first movement. However, the only substantial new works of his last unjustifiably neglected masterwork. more intense, the fourth movement deafness and trying what now seem thought too difficult to enjoy great it is alone among the late group years and they make best sense seen adagio forming the heart of the work. grotesque and implausible remedies for popularity. As Stephen Daw has said: in not having a serene large-scale as a group. All were first performed by this. Of the psychological torment this String trio in D op 9 no 2 ‘The rather conservative culture of Underneath all the technical brilliance set of variations at its core; perhaps the Schuppanzigh Quartet, also good caused there is little sign in this quintet, Vienna, which valued convention high of the invention, making extreme Beethoven thought this would not be friends to Schubert, who was writing Allegretto whose spacious first two movements above even outstanding invention, demands on its performers, the piece compatible with a long fugue as the his last great works in the same period, Andante quasi allegretto (together taking up more than two will have found Beethoven’s aims – to has extra-musical associations not work’s finale. Instead, the andante surviving Beethoven by only eighteen Menuetto: allegro thirds of the work) express an easy- surprise, to interrupt, even to overwhelm suggests a light mood, continued by months. Rondo: allegro known at the time. It expresses the going geniality, with Mozartian charm – difficult to accommodate, let alone to composer’s feelings for Hanna Fuchs- the 3/4 ‘German dance’ of the next Many have pointed out that but greater adventurousness in tonality. accept or enjoy’. Robettin, the wife of a family friend, movement (originally intended to be String quintet in C op 29 Beethoven’s string trios (for violin, viola More distinctively Beethovenian in to whom Berg secretly dedicated the fourth movement of op 132), while and cello) contain unjustly neglected Allegro moderato their use of rhythm and counterpoint the work; more openly, it pays tribute the fifth movement ‘Cavatina’ carries music of high quality, in which he Adagio molto espressivo are the terse but obsessively energetic Alban Berg 1885-1935 to Zemlinsky by quoting from his best the greatest emotional charge in the was developing his chamber music Scherzo: allegro and single-themed scherzo, then the Lyric Suite op 3 known work, the large-scale Lyric whole work. technique without yet having to tackle Presto – andante con moto e ‘stop-start’ presto finale which opens in Symphony op 18. head-on the legacy of Mozart and Allegretto gioviale Critics at the time thought the scherzoso – tempo I 6/8 time, shifts dramatically to 2/4 and original granite-hewn fugal finale an Haydn in the string quartet (Haydn Andante amoroso This is Beethoven’s only completely has two andante con moto e scherzoso incomprehensible and disproportionate dedicated his last set of quartets, op Allegro misterioso – trio estatico original full-scale work for string quintet interruptions in 3/4 time before returning Johannes Brahms mistake: what Misha Donat calls ‘surely 77, to the same Prince Lobkowitz as Adagio appassionato (adopting the more usual ‘string quartet to the original time signature and 1833-1897 the gruffest and most uncompromising Beethoven did his first, op 18, as well as Presto delirando – tenebroso plus extra viola’ approach of Mozart, tempo, with in total as many as four piece he ever wrote… almost in The Harp op 74). Largo desolato Clarinet quintet in B minor rather than the ‘string quartet plus extra themes and two codas. In German- defiance of the medium in which it is op 115 cello’ model of Schubert). It dates from speaking countries, this dramatic finale The existence of five string trios, of This six-movement work dates from scored’. The composer in the end came 1801, which is usually treated as the has given the quintet the nickname Der which the op 9 set of three – written 1926 in its original string quartet form Allegro to agree and replaced the Große Sturm (‘The Storm’). end of the composer’s ‘first period’. over several years, but all completed (but in 1928 the composer arranged Adagio Fuge with a more traditional allegro It thus follows the six string quartets of As Richard Wigmore suggests, the by 1798 – is undoubtedly the most three movements for string orchestra). Andantino – presto non assai, finale – the last piece of music he ever ma con sentimento op 18, the Septet op 20 (on which see work looks, Janus-like, back to Mozart accomplished, partly explains why It is one of the foremost examples of composed; the fugue movement was Con moto above), the Symphony no 1 op 21 but also forward to the composer’s Beethoven was already thirty when his twelve-tone (or dodecaphonic) music, then published separately as op 133 and the ballet music The Creatures future symphonic writing, as well op 18 quartets were completed. But most (but not quite all) of the musical This autumnal and elegiac work for and dedicated to Archduke Rudolph. of Prometheus. Its immediate as to chamber masterpieces like the string trio was not, at least in his material of each short movement being clarinet and string quartet from 1891 We hear Beethoven’s original thoughts, predecessors are a sequence of piano the ‘Razumovsky’ quartets and the hands, the right repertoire for amateurs, derived from a sequence of all the represented an unplanned post- including the fugue heralded by its sonatas, opp 26-28 (op 27 no 2 was ‘Archduke’ piano trio (also in this as the testing violin part of op 9 no 2 twelve notes of the chromatic scale. retirement return to composing for

16 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 17 Brahms; it was the skill of clarinetist theme-and-variations movement Paul Hindemith hints of polytonality (instruments playing contemporary music the following year. and taught and housed him for two Richard Mühlfeld, whom Brahms heard (the same structure as Mozart used) in different keys at the same time). The The ensemble for the première of op years free of charge – the only live-in in the orchestra at Meiningen, which ends – cyclically – almost exactly as 1895-1963 second movement (‘moderately fast 24 no 1 was directed by conductor student Mozart ever had. inspired all his late chamber works the long opening sonata-form allegro Kammermusik op 24 no 1 minims, with strong rhythm’) starts out Hermann Scherchen (1891-1966), with Hummel made his first concert involving this instrument (also including had begun. As the critic Hanslick said like a tango, with satirical outbursts whose son ‘Wulff’ Benjamin Britten fell in Sehr schnell und wild appearance at the piano at the age a trio and two sonatas with piano); all at the time, ‘in the quintet everything often sounding off-key and with love in the 1930s. Mäßig schnelle Halbe: sehr streng of nine, at one of Mozart’s concerts. are dedicated to Mühlfeld. belongs to a single spectrum of colours, contrasting smoother music for strings. im Rhythmus His father then took him to London however manifold the life that reigns The third ‘quartet’ movement, which The quintet is modelled on the superb Quartett: sehr langsam und mit for four years, where he studied with within it’. Ausdruck – ein wenig belebter – starts ‘very slow and with expression’ Johann Nepomuk Hummel Mozart work for the same forces, Clementi and played a concert at the wieder ruhig but has a more lively central section, is 1778-1837 K581 from 1789, equally inspired by a Hanover Square Rooms with Haydn in Finale 1921: lebhaft scored for the three woodwinds alone gifted player (Anton Stadler – see also George Frideric Handel Clarinet quartet in the audience. Back in Vienna, Hummel The composer was in his middle (seldom all playing together), with the note below on Mozart’s ‘Grand E flat S78 started to compose – mostly for the 1685-1759 twenties in 1921 when he wrote op some restrained comments from Quintetto’); the Mozart regularly piano – and became friends with 24 no 1 for an unusual combination the glockenspiel. Allegro moderato appears on disc and in concert paired Sinfonia to Messiah HWV 56 both Beethoven and Schubert, who of instruments: flute, clarinet, bassoon, La seccatura: allegro molto with the Brahms. A distinctive feature of As is well known, Handel’s most popular Of the last movement (‘lively’), dedicated his last three piano sonatas trumpet, harmonium, piano, string Andante the Brahms’ work is that it hardly calls for oratorio exists in many different versions, Calum McDonald writes: ‘The finale... to Hummel. On Haydn’s death he quintet and a large percussion section Rondo: allegretto showy display from the clarinet, though varying according to the place and unleashes the whole ensemble in succeeded to the post of Kapellmeister (including glockenspiel, siren and a Robert Simpson points out that ‘in the date of performance (Dublin, 1742; an obstreperous display of anarchic Hummel was born in Pressburg – then to the Esterházy court, then held similar tin can filled with sand). It is the first centre of the otherwise rapt adagio… Oxford, 1749; Covent Garden and the humour. The climax comes with still the capital of the Kingdom of positions in Stuttgart and Weimar, of eight of his pieces which share the intense ruminative beauty is Foundling Hospital, 1751; and so on): the quotation, by the trumpet, of a Hungary –these days transformed becoming close friends with Goethe the same generic Kammermusik title abruptly broken into by wildly evocative contemporary foxtrot in G major… into Bratislava, capital of the Slovak and Schiller. His legacy of compositions none are definitive, since the composer (‘chamber music’), though the forces clarinet flourishes reminiscent of the accompanied by scales in all the Republic. The city is now just over an (no symphony, but concertos, twenty- kept tinkering with aspects of the work. required in most of the eight put them gipsy music Brahms loved so much’. other eleven major keys, and the end is hour by hydrofoil down the Danube two operas and numerous chamber Happily, the Sinfonia (or Overture) in closer to chamber ensemble in scale manic [enough for] any great comedy from Vienna, in Hummel’s time still the and solo piano pieces) remains In general, the degree of integration E minor which opens Part One seems than traditional chamber music; six of the silent screen’. Imperial capital. His father was Director significant, though his reputation has between clarinet and strings is to be the same in all versions, with a even have a ‘concerto’ subtitle. The of the Imperial School of Military Music never quite been rehabilitated from remarkable, and Brahms abandons ceremonial dotted first section, marked first movement (‘very fast and wild’) The work was dedicated to His Serene grave, then a faster fugal section there and conductor of the orchestra its decline at the end of his life. This the classical insistence on contrasts opens with a definite ‘machine age’ Highness Maximilian Egon II, Prince von marked allegro moderato, which in at the Theater auf der Wieden. quartet in E flat, for clarinet, violin, viola between movements (in tempo, feel, suggesting repetitive industrial Fürstenberg (1863-1941), whose family’s a performance of the full oratorio is and cello, exists in an authenticated metre, mood or key) as a source of processes or implacable automata; principal residence is the castle at In 1789, Mozart’s close friend Emanuel followed directly by the orchestral score (the only one, it seems) in the drama, musical development and listeners may be reminded of Stravinsky, Donaueschingen. It was there at the Schikaneder (1751-1812) became the introduction for ‘Comfort Ye’. British Museum, which suggests 1807 or forward movement. Instead, there is a or of Shostakovich’s film music and first Donaueschinger Musiktage in July theatre’s impresario and director, also ‘jazz’ pieces. 1808 as the composition date, placing perceptible integration of theme and The Sinfonia is played here on the 1922, alongside new works by Webern, writing the libretto for The Magic Flute, it during Hummel’s time as Haydn’s mood between all four movements, church’s fine three-manual Harrison & But its second subject is in a gentler Schoenberg, Krenek and Hába, that op first performed there in 1791. As a boy, successor at Esterházy. each being based, or including an Harrison organ from 1926, which has a neo-classical style, typical of Hindemith; 24 no 1 was first performed – to great the young Hummel was heard at the episode, in the ‘home’ key of B minor. ‘Historic Organ Certificate’ from the the two are then combined in the acclaim. Hindemith became the main piano by Mozart, who invited him to The first movement is in sonata-allegro In particular, the final con moto British Institute of Organ Studies. movement’s development section, with organiser of this prestigious festival of make the journey upstream to Vienna form, giving each instrument a chance

18 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 19 to shine; noteworthy is a curious hushed memories and tunes. Any listener who asked him to come to Hollywood to Peter Maxwell Davies the Sea), which might have been sung into a drunken stupor. passage, heard close to the end of knows the Janácekˆ Sinfonietta of adapt Mendelssohn’s incidental music by the small group of monks who lived As everyone finally staggers home, the exposition and repeated near the 1926, with its brass fanfares at the start for the famous Warner Brothers film of 1934- here before the Reformation, whose a Highland piper arrives – there is end of the whole movement. The title and finish, will not be surprised at the Midsummer Night’s Dream with James The Last Island op 301 ruined chapel still dominates the closer no bagpipe tradition on Orkney – of the E flat major second movement, composer’s confident and inventive use Cagney as Bottom. of the two islands.’ This single movement for string sextet announcing the dawn of the next day La seccatura (The Nuisance), warns of the timbres of the wind instruments He returned to Hollywood in 1938 for was completed in 2009 and first An Orkney Wedding, as the sun rises over Caithness on the that the scherzo is also a musical joke: in Mládi. Warner Brothers’ The Adventures of performed at the Wigmore Hall by the with Sunrise op 120b mainland, which in clear weather can each part is written in a different time The work can also be seen as part Robin Hood, which meant that he was Nash Ensemble, who with assistance be seen from Hoy. signature. Happily, this is more of a The larger scale orchestral version of of the composer’s extraordinary away from Vienna when the Nazis from others had commissioned nuisance for the players than for the this single-movement programmatic Piano trio: A Voyage to late flowering creativity: he had his arrived; he never went back to Austria the work. audience. The slow movement, in work was commissioned by the Boston Fair Isle op 232 seventieth birthday while composing and became an American citizen in A flat major, is in three sections and Max writes: ‘The title refers to the further Pops Orchestra and first performed it and was much celebrated (with 1943. In recent years his pre-Hollywood The trio was completed in 2002 for the is reminiscent of a Beethoven slow of two small islands off the coast of on the occasion of its centenary in the first of many statues unveiled in compositions have been rediscovered, Grieg Trio of Norway. The composer movement. The final rondo is introduced Sanday, Orkney, close to my house, 1985; it remains one of Max’s most his native Moravia). In parallel, he was with modern recordings of his operas writes: ‘The inspiration was a trip to by the clarinet, its theme a perky tune which can be reached by foot at low frequently heard compositions, played at work on his fifth mature opera The and of his three string quartets. Fair Isle, an island I can just see from suggesting the Austrian countryside. tide. It is home to rare wild flowers and in this Festival in his version for chamber Makropoulos Case. Today’s string sextet is perhaps his my home in Orkney on a good day, birds, and is reputed to be the resting orchestra from 1986. finest chamber work; it was composed but a place which, under normal place of hundreds of shipwrecked Leoš Janáček 1854-1928 in 1914-1916, completed on a summer The title evokes Sibelius’s Nightride circumstances, is difficult to get to, and mariners who have perished on the Erich (Wolfgang) holiday in Alt-Aussee, in parallel with and Sunrise, a tone poem for winds, which one would hardly have time to Mládi rocks through the centuries. This sextet Korngold 1897-1957 his opera Violanta, and first performed bass and percussion of 1908; and visit. However, I was invited to the first attempts to invoke the island’s unique Allegro in 1917. Its style draws from Brahms, the forces used are almost identical. ever music festival there. The physical String sextet in D op 10 atmosphere – essentially peaceful and Andante sostenuto the Schoenberg of Verklärte Nacht However, instead of a moonlit sleigh remoteness and craggy beauty of full of the wonder of ever-changing Vivace Moderato – allegro (also performed in this Festival) and ride in snow, Max’s piece is an aural the place are well-known, but it was light of sea and sky, yet strangely Allegro animato Adagio Mahler, but this is a composer with his picture-postcard of a thronged and the involvement of the population of Intermezzo: moderato, con grazia own voice. threatened with menace, even on the seventy or so souls in the mounting This lively and characterful work (Youth) jolly, but also tipsy, wedding reception Finale: presto brightest of days. of a new work by Alasdair Stout, a from 1924 is a short suite for wind sextet: As critic Brendan Carroll says: ‘The on the island of Hoy (the southwesterly Shetlander from there, which struck flute (shifting to piccolo in the march- Korngold was born to a Jewish family interplay of motifs, the intricate I have taken some of its most intriguing main island of the chain forming home most. like third movement), oboe, clarinet, in Brno (now in the Czech Republic); filigree work of the inner voices, the bird and sea sounds as starting points, the Orkneys). The piece starts with horn, bass clarinet and bassoon. Some his father was a well-known music contrapuntal textures and the masterful and transformed these through a wild weather, out of which comes a This made demands on the island suggest that Janácekˆ was inspired critic. He started composing as a child, scoring for each of the six instruments ninefold lunar magic square, which processional in which the party arrives Chorus and the folk musicians which to write it by hearing a Divertimento completing two operas before 1914, make this sextet one of the finest in the informs the whole structure. There is at the hall. The festivities continue into would daunt professionals, but which, for wind quintet and piano by Albert and later teaching in Vienna. His work canon. It is all the more extraordinary just one movement, characterised the small hours, fragments of in performance, gave everyone Roussel at a meeting in Salzburg in was appreciated by Mahler, Zemlinsky that it was written by a teenager. One by extreme contrast of tempo and strathspeys and reels emerging (with concerned huge satisfaction. I 1923 of the International Society of and Richard Strauss. He is now best is reminded of Mendelssohn’s String dynamic, with, towards the end, nods to Copland, Kodály and Bartók) was most of all moved through Contemporary Music; others report remembered for his film scores, which Symphonies or Schubert’s Octet, written references to an unusual plainsong until the musicians at the wedding, the extraordinary expression of a that he wanted to recall childhood began in 1934 when Max Reinhardt at about the same age.’ version of ‘Ave Maris Stella’ (Hail, Star of as well as the guests, collapse community’s essence – one felt that a

20 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 21 challenging piece of new music had primal Pentecostal experience.) never aspire to write work remotely String trio op 290 The brilliance and precociousness lines, as well as joining together in tutti really permeated, through months of approaching such a model, I trust of Mendelssohn’s talent continue passages of unusual colour’. I have tried to give each player Max writes that this work from 2008 rehearsal, into the spirit of Fair Isle, to these studies show through positively in to astonish; an equal and opposite rewarding solos, and to devise was written for the Hebrides Ensemble, The slow movement is less obviously become a part of its fabric in a way the present work. reaction is regret that he died so harmonic patterns at times taking and dedicated to the memory of contrapuntal, but there is no shortage new music seldom can – affecting relatively young. The Octet, for four on a luminosity, as it were, from The first movement is an allegro whose Karen Aim, who had died tragically in of interest. Mendelssohn then puts to and even changing the lives of a very violins, two violas and two cellos, deep inside the group. I attempted tonality becomes ever clearer, or, New Zealand: ‘My starting point was good use his deep study of Bach and special community. is perhaps the greatest work of to fulfill this aim in part by selecting rather, relationships are gradually baroque counterpoint by starting the a memory of accompanying, with Mendelssohn’s teenage years. He My Trio is an attempt to express transformation patterns (through exposed between chords which will my group The Fires of London at the finale with a busy fugue subject in my delight at, and appreciation of composed it in the autumn of 1825, a magic square) which naturally be more fully explored and fleshed 1978 St Magnus Festival, her relative, the cellos, which he combines with a this Fair Isle experience. I based all when he was just sixteen, as a birthday generate the most suitable intervals. out later. The second movement, the late Ronny Aim, the celebrated song-like second theme and develops on a plainsong, proper to the day gift for his friend and violin teacher Seven Skies is dedicated to the based on an Advent plainsong, is Orkney folk musician, in traditional with edge-of-the-seat modulations composition commenced, for the birth Eduard Rietz. memory of Ian McInnes, the late entitled Dominica Tertia Adventus, Orkney fiddle music. I have alternated (also throwing in a reference back to of the Virgin, which generates and Antiphona, and is a short scherzo and The next opus number belongs to Stromness painter, probably best known quick music, based on the reel, and the theme of the scherzo). He gave permeates the whole of the single trio, in pizzicato. The third movement is the Overture to Midsummer Night’s for his Orkney landscapes.’ slow music, based on the slow air – specific instructions in the published movement.’ a second scherzo, with trio, of a more Dream from 1826: this consolidated his and, while taking liberties with the score: ‘This octet must be played in substantial nature, though still quite unique ability to evoke magic in music, Seven Skies of Winter op 238 Naxos Quartet no 6 op 257 rhythmic articulations, and extending the style of a symphony in all parts; brief. The return of the scherzo material through light-as-air pianissimo quivering the pianos and fortes must be very This work was written in 2003 for seven the traditional harmonies into regions Allegro is varied, and prepares the listener for and scampering string passages. precisely differentiated and be more members of the Nash Ensemble to where they don’t usually venture, I Allegro moderato (Domenica Tertia the fourth movement. The scherzo of the Octet already sharply accentuated than is ordinarily perform at the 2004 Magnus Festival. Adventus, Antiphona) have been careful to preserve what I showed this special mood, as did the done in pieces of this type.’ It was first The composer explains: ‘As in ‘real’ Presto The fourth movement is an adagio, hope remain audible and meaningful central section of the Intermezzo of his performed at the Leipzig Gewandhaus Orkney skies, there is hardly any hard- Adagio molto contrasting sections of warm lyricism frames of reference. The Trio is in String quartet no 2 op 13 from two in 1836, with Rietz as one of the edged division between sections – the Andante (In Die Nativitatis) with a more dramatic and dissonant one continuous movement, with years earlier. players; we have to wait until 1890 and work is in one continuous movement. Allegro central section. Towards the end, each dramatically contrasting sections. Tchaikovsky’s string sextet Souvenir de It is one of several written around instrument has a recitative, during It was difficult to make a suitable The first movement of the Octet This is the sixth of the series of ten Florence for a comparably exuberant, the Pentecostal Mass I wrote for which the other three players hold conclusion: I decided it should end in occupies almost half the length of the string quartets commissioned by the Westminster Cathedral – it is based sustained chords: the last bars of the a spirit of quiet reflection.’ whole work, with an assured variety of sunny and life-affirming large chamber recording company Naxos; they were on the plainsong ‘Dum Complerentur movement are the first in the Naxos textures, as well as effortless invention work for strings. Dies Pentecostes’, dealing with the written between 2001 and 2007 and Quartets to have a key-signature, of and development of memorable descent of the Holy Spirit, in tongues of all first performed (and then recorded) four flats, for F minor. It was Christmas Felix Mendelssohn themes which avoid the sound ever Piano sextet in D op 110 fire, among the disciples. (Sometimes by the Maggini Quartet. Of this Day when I wrote the fifth movement, becoming congested or tiring. As (-Bartholdy) 1809-1847 Allegro vivace the overwhelming nature of the quartet, dedicated to fellow-composer before movements three and four, and Susan McGinnis has said: ‘The first two Octet in E flat op 20 Adagio experience of flaming winter skies, Alexander Goehr (1932- ) and a friend it is based on a Christmas plainsong, movements… shift back and forth Menuetto as when a low white sun irradiates since student days in Manchester, Max and becomes a simple carol. The finale Allegro moderato ma con fuoco between its orchestral aspect and Allegro vivace fulminant cloud, or simply under a writes: ‘I have recently been studying is quick, and takes up again material Andante that of a violin concerto, with the canopy of northern lights, suggests again Beethoven’s late quartets, and, from the first movement, expanding Scherzo other instruments alternately providing Despite its high opus number (assigned to me an echo of the intensity of the although I am well aware that I could and transforming this.’ Presto background and trading contrapuntal posthumously), Mendelssohn in fact

22 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 23 composed this work in April-May 1824: Largo – molto allegro extended lower register, later led to the from Book II of Bach’s Well-Tempered Schoenberg’s near fatal heart attack, her: O sieh, wie klar das Weltall so it is a teenage work from the year Menuetto Clarinet quintet K581 and the Clarinet Clavier of 1738. with a theme of infirmity and recovery schimmert! Es ist ein Glanz um Alles her before the Octet – but far less often Adagio concerto K622. However, why it has reminiscent of Beethoven’s op 132 (See how brightly the universe gleams! It was Baron Gottfried van Swieten played. It is for piano, violin (unusually, Menuetto: allegretto such an expansive structure and is the string quartet. There is a radiance over everything). (1733-1803), the Imperial Librarian in a single player), two violas, cello and Romance: adagio only Mozart wind band serenade with Vienna, who introduced Mozart to There the resemblance ends: all double bass – in effect, The Trout with Tema con variazioni so many movements, or for as many Bach’s monumental keyboard work the material is derived from a single Franz (Peter) Schubert an extra viola. The strings open the work, Finale: molto allegro instruments, is unclear. After the opening (at the time almost forgotten) in 1782; ‘tone-row’ of each of the twelve immediately followed by the piano, allegro in the ‘home’ key, a minuet 1797-1828 This is an arrangement for five the Baron was a leading light in the notes of an octave, and the sounds, which develops the opening subject. follows in the same key, with two trios (in instruments – clarinet, violin, viola, cello Gesellschaft der Associierten, an combinations of the three instruments Piano quintet in A E flat and G minor), then an adagio in E Over a sustained pedal E from the and keyboard (fortepiano) – of Mozart’s association of music-loving nobles and playing techniques required (The Trout) D667 flat, another B flat minuet (with trios in B produce a work of great variety and double bass, the second subject largest-scale Serenade, no 10 in B flat which fostered interest in Bach and Allegro vivace flat minor and F major), a ‘Romanze’ in E experimental feel. The string trio is in a arrives in the piano, which introduces a for twelve wind instruments (including Handel and whose Sunday meetings Andante flat, the traditional theme and variations single movement but there are in effect distinctive accompaniment in triplets. two clarinets and, for the first time, Mozart regularly attended. It was van Scherzo: presto (based in the ‘home’ key) and a rondo three sections: first an exposition, next The slow movement is in F sharp major, two basset horns) and double bass, Swieten who encouraged Mozart to Andantino – allegretto finale. [Not all performances play both a sort of development and finally a opened by the strings (violin and violas catalogued as K361/370a. arrange four of Handel’s larger works Allegro giusto muted), the piano then taking up the trios to each minuet.] (including Messiah) for the instrumental recapitulation and coda. The original is often, ungrammatically, Although Vienna has attracted many violin melody; the movement then forces of the day; he also provided called the Gran Partita, though this The arrangement is by pianist and Verklärte Nacht op 4 composers from elsewhere (Mozart, explores a range of chromatic ideas. Haydn with patronage (offering his own was not Mozart’s own title. It is usually composer Christian Friedrich Gottlieb This work for string sextet (Transfigured Haydn, Beethoven and Brahms), The minuet, marked agitato, is in 6/8 carriage for the composer’s second assumed that he may have started it in Schwencke (1767-1822); it seems to Night) is a highly expressive late Schubert is one of the few native and D minor, with an F major trio. trip to London), as well as the German Munich at the time of Idomeneo, then have been made in about 1805 in romantic narrative piece in a single Viennese composers bridging the end The calm of its ending is broken by text for The Creation and The Seasons. completing it in Vienna in 1783-1784. It Hamburg, where Schwencke was long movement, bisected by a of the eighteenth century and the start the flourish which heralds the final The prelude played today is in G minor, is almost certain – especially in light of Kantor at the Lutheran Johanneum dramatic key change from D minor of the nineteenth to have spent most allegro vivace. leading to Mozart’s arrangement (and the double bass part – that he intended School and Director of church music. to major midway. It was written in a of his short but astonishingly productive transposition) of the fugue no 14 of This movement moves into remote keys, it for concert performance, though no He did a similarly reduced arrangement three-week burst of inspiration in 1899, working life in the city. It was during a Book II of The Well-Tempered Clavier, at its climax bringing back the D minor record exists of this ever happening. of Mozart’s Clarinet concerto. well before the composer discovered three-month stay in 1819 with his friend BWV 883, originally in F sharp minor. material from the minuet and staying It therefore contrasts with wind much sparer twelve-tone methods of Prelude and fugue in G the baritone Johann Michael Vogl in in D minor for an allegro con fuoco serenades written earlier, in his time composition. minor K404a/K405 Steyr, Upper Austria (Vogl’s birthplace), return of the main theme. Only at the in Salzburg, which were often played that Schubert composed this Piano Arnold Schoenberg The music closely follows a very end does the ‘home’ major key outdoors and on the move. Six preludes for string trio (violin, viola quintet in A for piano, violin, viola, cello 1874-1951 psychologically dark narrative poem re-assert itself. and cello) exist in Mozart’s hand, and double bass. This seven-movement work, opening in German by Richard Dehmel (1863- String trio op 45 with a long ceremonial introduction though whether they are his own work 1920), in which a man and a woman The forces are the same as in a quintet Wolfgang Amadeus leading into its first molto allegro, is less clear – hence the ‘a’ in the K404a This work from 1946, twelve years who are lovers walk through a dark in E flat from 1802 by Hummel; Schubert may have been commissioned (or at catalogue number. Four of the preludes after the composer had moved to forest on a moonlit night. She shares seems to have been encouraged Mozart 1756-1791 least inspired) by the clarinetist Anton are linked to arrangements by him for the USA, was a commission from with him the secret that she is pregnant to copy this instrumentation by his ‘Grand Quintetto’ Stadler, whose skill on the relatively the same forces – two in their original Harvard University; its composition and with another man’s child; he ponders host in Steyr, a wealthy mine-owner (Gran Partita) in B flat new instrument, especially with an keys, and two transposed – of fugues programmatic structure derive from this, in the end accepting and forgiving and amateur cellist called Sylvester

24 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 25 Paumgartner. It is a mostly genial and single movement for string quartet, or Christopher Hampton. but Beethoven’s sense of titanic if you were to hear it by itself, would Allegro sunny work, with an ‘open-air’ feel not marked allegro assai and never played and defiant struggle is replaced by make you think of Brahms’. What explains the power which the Zemlinsky grew up in Vienna and was far from the mood of his Octet D803, or published in Schubert’s lifetime, is Schubert’s bittersweet lyricism. work enjoys and the respect with which an influential teacher of Schoenberg, still five years in the future. Its five- the opening movement for a quartet it is now regarded? In part, it is the as well as a prolific composer of movement structure suggests a piece which Schubert then never completed Richard Strauss tragic externalities of the piece – written large-scale operatic, orchestral and midway between a divertimento (though he did write forty-one bars of Robert Schumann only two months before Schubert’s 1864-1949 vocal works and a conductor, notably and a Beethoven-inspired ‘serious’ a following andante). Brahms acquired 1810-1856 death, with the composer seeming Till Eulenspiegel – at the Deutsches Landestheater in chamber work. the manuscript and organised the first to know (like the singer in Winterreise) Introduction and allegro einmal anders! Prague from 1911 to 1927 and in Berlin performance in Vienna in 1867. Formally, there is a linking theme appassionato op 92 under Klemperer in the 1930s. In the that the road ahead is cold and This is a jeu d’esprit, perpetuated should between all the movements (except The work is frequently recorded as a ‘fill- lonely and leads to the grave; and Schumann sketched out this work for be perpetrated on Strauss’s tone early 1900s he was involved with Alma the scherzo): it is the rippling and up’ to the late quartet ‘Death and the forgotten until its first performance in piano and orchestra, shorter than his poem of 1895, Till Eulenspiegels Lustige Schindler (1879-1964), later to marry in Maiden’ in D minor D810 but deserves watery upward-moving piano figure 1850 and publication in 1853. But on Piano concerto in A minor op 54 of Streiche, op 28, which celebrates the succession composer Gustav Mahler, to be heard in its own right. which Schubert had already penned as musical grounds alone it is superb and four years before, in just two days in mythical mediaeval prankster and architect Walter Gropius and novelist the piano accompaniment for his song remarkable. It may have been inspired September 1849, finishing the full score prototypical ‘outsider’ Till Eulenspiegel. Fritz Werfel. Zemlinsky fled Europe for Die Forelle (The Trout) D550. The tune String quintet in C D956 by Mozart’s String quintet in G minor a week later. Clara Schumann gave the This deconstructed version is by Austrian the USA in 1938 but received little of the song (another suggestion from K515 and by Beethoven’s String quintet first performance the following February composer and teacher Franz Hasenöhrl recognition there, dying in New Allegro ma non troppo Paumgartner) then provides the theme op 29 (also in this Festival). However, it in Leipzig, but it was not a success. (1885-1970) and was first performed York State. Adagio for the quintet’s fourth movement, a set breaks new ground in its overall scale in 1954 by members of the Vienna Scherzo: presto – The second performance in Düsseldorf His music went into a steep decline of delicious and ingenious variations. (the first movement alone plays for Philharmonic; although he was a Trio: andante sostenuto a month later, with her husband after his death, but a revival is now Other distinctive features to listen for close to twenty minutes, though no prolific composer, it appears to be his Allegretto conducting, was much more favourably underway. This trio, for clarinet, cello and include kaleidoscopic key changes attentive listener will find this too long); received. But the work remains unjustly only published work. ‘Einmal anders!’ Schubert’s String quintet, for string piano, is a relatively early work, dating in unexpected directions; the piano in its bold and unconventional use means ‘differently, for once’; this version neglected in the concert hall – in from 1896, but Zemlinsky had already part frequently high in the instrument’s quartet with extra cello, is adored of key changes; in the way Schubert part because finding the best way reduces the length of the original by and revered by those lucky enough written several other chamber works register and often in octaves; and the develops and transforms themes; and almost half, and Strauss’s orchestral to include it in a programme, and and his first symphony in D minor (all construction of both second and final to play it, as well as by generations of forces of more than a hundred players how he exploits the tension between committing the resources to do so, is concertgoers and listeners. Excerpts without opus numbers). It was Brahms, movements as pairs of symmetrical major and minor, as well as the range of down to violin, double-bass, clarinet, not straightforward except in a context impressed with Zemlinsky’s music, who from it (often the sublime and bassoon, and horn. Hasenöhrl’s subtitle, sections in which the second section is sonorities made possible by the like this Festival. otherwordly E major slow movement, recommended this trio to his own a transposed (moved up or down the extra cello. Grotesque musicale, says it all. publishers Simrock; its first movement is scale) version of the first. Like much of though usually without its troubled and Angela Hewitt, who has recorded the Beyond – or between – the notes, the the most substantial, but the work as a Schubert’s music, the quintet had few if violent F minor central section) have work for Hyperion, notes: ‘Schumann quintet appears to speak of existence, whole shows both his debt to Brahms any commercial concert performances been chosen by more than seventy was immersed in Byron’s dramatic Alexander von Zemlinsky beauty, the transience of life and its and his wish to find his own path. in the composer’s lifetime; it was not castaways on BBC Radio 4’s Desert poem Manfred at the time (resulting in 1871-1942 Island Discs – not just professional potential meaning, even though its his Manfred Overture), and some of its The work also exists in an alternative published until 1829, the year after Clarinet trio in musicians like Benjamin Luxon, ‘home’ key is the usually mundane urgent despair can also be heard in the version where the clarinet is replaced his death. D minor op 3 Sir Mark Elder or Sir Michael Tippett, and cheery C major. In its apparent opening theme of the allegro. At one by a violin. Quartettsatz in C minor D703 but also knowledgeable amateurs like subject-matter, it joins Beethoven’s point the theme of the introduction Allegro ma non troppo Scholars all assume that this tumultuous Dame Joan Bakewell, Jonathan Pryce final string quartets of the same period, returns in B major in a passage that, Andante

26 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 27 Photo Credit: Schubert’s Trout by Frank Harrison

28 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 29 Biographies

Katya Apekisheva - Piano Marcus Barcham-Stevens - Over the past few years a number of Born in Moscow and a graduate of the Violin Gnessin Music School, Katya Apekisheva is musicians who feature in this Festival Co-leader of the Britten Sinfonia and a one of Europe’s foremost pianists, in demand also appeared in the various concerts member of the Fitzwilliam Quartet, Marcus internationally as a soloist and chamber received starred First Class Honours in Music and seasons given around the North musician and described by Gramophone from Cambridge University and the Diploma York Moors. Every one of them was Magazine as ‘a profoundly gifted artist who for Advanced Instrumental Studies from has already achieved artistic greatness’. struck by the experience as a whole the Guildhall School of Music and Drama – the audiences, the sacred buildings, Studying at the Royal College of Music under where he studied with David Takeno. He was the landscape and general feeling of Irina Zaritskaya, she went on to become awarded the Norman-Butler Scholarship escape and freedom. a finalist and a prize-winner at the Leeds from the english-Speaking Union to the Piano Competition and Scottish Piano Tanglewood Music Center USA, where he was The musicians unanimously agreed: Competition as well as being awarded the invited back as a Violin Fellow and received ‘how rewarding to be playing music London Philharmonic Soloist of the Year. She the Henry Cabot Award for outstanding for all the right reasons’. In stressful has subsequently appeared as soloist with contribution. He has broadcast as a soloist high profile careers it is easy to forget the London Philharmonic, Philharmonia, Hallé, on BBC Radio 3 and performed chamber Moscow Philharmonic, Jerusalem Symphony, music with Peter Donohoe,Paul Lewis, Peter how uplifting a relaxed and intimate Our Patron Hill, Emmanuelle Haim, Alina Ibragimova, Leon English Chamber Orchestra and the Royal performance can feel. This is the magic Sir Peter Maxwell Davies, CH, CBE Philharmonic Orchestra with conductors such McCawley and with Thomas Adès in music by of chamber music in locations such as as Sir Simon Rattle and Alexander Lazarev. Adès at Carnegie Hall. Amongst composers of the 21st century, has made his home, Maxwell Davies’s scene and a launchpad that, along with ours. The tremendous success of the past Her 2008 recording debut of Grieg solo piano He has featured at London’s Wigmore Hall, only a relative few have come to be status has adapted from enfant terrible his presidency or patronage of many five Festivals has set high expectations works (Quartz) received overwhelming critical Purcell Room, Bridgewater Hall, Symphony regarded as having reached the to leading cultural figure, playing a centrally important bodies, has offered not just for audiences but also the response, becoming Classic FM CD of the Hall Birmingham,the Library of Congress in week and a Gramophone Magazine Editor’s Washington and at the Haydn String Quartet very peak of their profession. Sir Peter key role at the very heart of the British him added powers to champion the performers who savour giving their best Choice and 2008 Critic’s Choice. Katya Festival, Esterhazy. Marcus has played for Maxwell Davies occupies such a musical causes about which he feels for this unique experience. We all share establishment. His appointment as recently toured South Africa performing with several years in Sir John Eliot Gardiner’s position, ranking among the world’s Master of the Queen’s Music in 2004 most passionately. this love of collaborating to bring you all major orchestras and in May 2012 Onyx Orchèstre Révolutionnaire et Romantique world-class music within an inspiring released her CD of works by Mussorgsky and most eminent composers today; a recognises his influential role as a A hugely prolific composer, his vast and has guest led ensemble Modern environment. Truly it is a Festival based on Shostakovich to great acclaim. This season Frankfurt, Musikfabrik Köln, City of Birmingham natural successor, in the close-worked leading British composer and figure of output of nearly 350 opuses include ten highlights include a Bach solo recital at Kings Symphony Orchestra, Royal Liverpool British tradition, to Elgar, Tippett and world standing: it is both a tribute to the passion, camaraderie and celebration. symphonies, ten string quartets, operas, Place, performances with the Belcea quartet Philharmonic Orchestra and the Birmingham Britten in particular. revolutionary, yet enabling, influence song cycles, concert suites, sonatas, at Wigmore Hall and Aldeburgh. Contemporary Music Group. Marcus is also Over the course of six decades, most of he has had upon the public perception concertos and a dazzling variety of Jamie Walton www.katyaapekisheva.com a composer. them upon the Orkney islands where he of the English contemporary music chamber music. www.maxopus.com Artistic Director

30 North York Moors Chamber Music Festival 2014 Photo Credit: Paul Joyce Lucida Productions North York Moors Chamber Music Festival 2014 31 James Bower - Percussion Simon Browne - Violin/Viola Jane Booth - Clarinet Mark Braithwaite - Viola Emma Burgess - Clarinet Meghan Cassidy - Viola James studied Timpani and Percussion at Simon Browne teaches and performs at the Head of Historical Performance at the Guildhall Violist Mark Braithwaite studied at the Royal Emma Burgess is currently in her fourth year The Strad magazine (Tully Potter) recently the Birmingham Conservatoire where he University of Trinidad & Tobago Academy for School of Music & Drama London, Jane is a College of Music with Simon Rowland-Jones as a Scholar at the Royal College of Music in described Meghan Cassidy as a stand out specialised in orchestral performance and the Performing Arts and is well known at the specialist in the early clarinet and chalumeau, and Andriy Viytovych, and at the Universität London, where she studies clarinet with Timothy violist . . “with a fine tone, a good feeling for was awarded the Birmingham Conservatoire Festival, being part of it right from the start in pursuing a busy international career with many Mozarteum Salzburg with Thomas Riebl. Lines, Barnaby Robson and Michael Collins. chamber music and a real personality”. She percussion prize. Alongside orchestral playing, 2009. As a principal violinist with the Northern renowned ensembles including the Orchestra Mark was a member of the Doric String Emma previously studied at Eltham College was born in London in 1988 and studied James enjoys performing solo percussion and Sinfonia, under the direction of Thomas of the Age of Enlightenment, Tafelmusik, The Quartet, making regular Wigmore Hall where she was a sixth-form music scholar. the viola with Garfield Jackson at the Royal chamber repertoire, appearing at Colston Zehetmair, he gained a reputation as a fine Academy of Ancient Music, Amsterdam appearances and performing alongside From 2008-2010 she was Principal clarinet of Academy of Music in London, where she Hall Bristol and the Norfolk and Norwich interpreter of baroque and classical concerti Baroque Orchestra, Orchestre des Champs- artists such as Michael Collins, Kathryn Wyn- the Bromley Youth Symphony Orchestra and graduated in 2010. She continued her studies Festival. He has performed with the City of and for his versatility in repertoire from Bach Elysees, La Petite Bande, Classical Opera Rogers and Roger Vignoles. The group studied has participated in masterclasses with Chris with Tatjana Masurenko (Leipzig), Nabuko Imai Birmingham Symphony Orchestra and the to Shostakovich. Amongst other orchestras Company, Gabrieli Consort etc. In chamber intensively with Rainer Schmidt of the Hagen Richards, Michael Wight and Robert Plane. (Hamburg) and Hartmut Rohde at IMS Prussia English Symphony Orchestra, where he had he has co-led the BBC Philharmonic, Royal music Jane has appeared in the UK, North Quartet as well as well as with members of Emma has played Principal clarinet with the Cove. Meghan enjoys a busy career both as the opportunity to work with conductors such Liverpool Philharmonic, and City of Birmingham America, Japan, Australia and Europe and the Artemis and Albans Berg Quartets. Mark’s RCM Symphony Orchestra, RCM Philharmonic a chamber musician and Orchestral Principal. as Andris Nelsons, Sakari Oramo, Gustavo Symphony orchestras and has worked with the performs regularly with her Ensemble DeNOTE recent chamber music partners have included and Orchestra Vitae and recently performed As a member of the Solstice Quartet (winners Dudamel, Ilan Volkov, Vernon Handley and Berlin Philharmonic, BBC Symphony Orchestra and Ensemble F2 as well as lecture recitals The Dante Quartet, Jack Liebeck, Jamie with English National Opera London and the of the Royal Overseas League 2009), Meghan Andrew Litton. James toured with the CBSO to and the Hallé Orchestra. with fortepiano specialist John Irving. Walton, Robin Michael and Macus Northern Lights Symphony Orchestra under has performed at the Wigmore Hall, Museé Germany, Italy, Switzerland and Greece. Her vast repertoire also includes many Barcham-Stevens. Adam Johnson. d’Orsay, Paris and live on BBC Radio 3. Simon Browne is much in demand as a neglected concertos such as those by After gaining his undergraduate degree, he chamber musician on the violin & viola, and As a soloist, Mark recently appeared at the In 2013 Emma was chosen as an RCM Rising Currently Principal Violist with the Orion Fasch and Telemann. was awarded the D’Oyly Carte Scholarship has been invited to numerous festivals in Wigmore Hall, performing works by Frank Bridge Star and this year was selected to take part in Symphony Orchestra who recently appeared and Oldhurst Trust award to study for a Master Europe, Canada and Japan as well as the Jane has recorded for Analekta (Canada), and Simon Rowland-Jones, alongside Roderick the RCM/ENO ‘evolve’ scheme. She is a very at the Royal Albert Hall, Meghan has also guest of Arts at the Royal Academy of Music in International Musicians Seminars in Prussia ATMA (Canada) and sfz music (UK) performing Williams, Susan Bickley and Iain Burnside. Mark keen chamber musician and as a member led the Royal Liverpool Philharmonic Orchestra London. During this time he worked with the Cove. He was a multiple prize-winner on Royal Mozart’s Clarinet Quintet, solo repertoire for the has received prizes from the Royal Overseas of the Meriden Clarinet Quartet won the and Royal Scottish National Orchestra, also London Philharmonic, Royal Philharmonic Northern College of Music and Manchester Basset Horn, wind music by Gossec and Méhul, League, and has been recorded by BBC Radio Douglas Whittaker Memorial prize in the 2012 performing regularly with Royal Philharmonic Orchestra, London Concert, Britten Pears University’s joint course, studying violin with and a programme of Lieder by Schubert. A 3, in concerti by Bruch and Mozart. RCM Woodwind Ensemble Competition. In Orchestra, City of Birmingham Symphony Orchestra and New English Concert Richard Deakin and baroque violin with DVD documentary on Mozart’s Kegelstatt Trio Since 2008, Mark has been involved in regular September, Emma will take up a scholarship Orchestra and Aurora Orchestra. Highlights Orchestras, as well as the BBC Singers. Whilst Andrew Manze. Simon went on to study was released in December 2012 with Ensemble projects with the Orchestre Révolutionnaire place for her Masters in Performance degree this year include performances with the DeNOTE (Optic Nerve). Her most recent at the Royal Academy of Music, James was with renowned Hungarian pedagogue, et Romantique under Sir John Eliot Gardiner. at the Royal College of Music where she will Pavao Quartet, the Rhodes Piano Trio, recital recording is of works by Franz Danzi, including awarded the James Blades prize for orchestral Lorand Fenyves, with the aid of awards This has included touring Europe and America be kindly supported by a ‘Help Musicians with Ian Brown at the Jubilee Hall Aldeburgh his Clarinet Sonata (on the Devine Music label). performance and set up ‘Cymbiotic’ – a duo from the Countess of Munster Trust, and with Brahms, Schumann and Beethoven UK’ Postgraduate Award. This is her first and a performance of the Mozart Sinfonia Forthcoming for 2014 are performances of the with fellow percussionist Ross Garrod, going won the chamber music prize at the Royal Symphonies, and residencies at the Opera appearance at the North York Moors Concertante at the Aberystwyth Music Festival. Mozart Clarinet Quintet and Clarinet Concerto, on to perform at London’s Southbank Centre, Conservatory of Music in Toronto. Comique in Paris. Mark studies early repertoire Chamber Music Festival. University of London, for Elton John and HM recordings with The Classical Opera Company. with Judy Tarling, and has recently played with the Queen. www.janebooth.net many of the major period ensembles. www.denote.org.uk www.ensemblef2.com 32 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 33 Cremona Quartet - Quartet Lindsay Davidson - Bagpipes Madeleine Easton - Violin Michael Gurevich - Violin Matthew Huber - Cello John Irving - Fortepiano Renowned for their ‘extremely mature Lindsay Davidson studied at the Reid School The Australian violinist Madeleine Easton has A member of the London Haydn Quartet, British cellist Matthew Huber collaborates Recently described as ‘One of the foremost and lyrical sound’ (Strad) the Quartetto of Music in the University of Edinburgh - the first forged a unique career combining both Dutch violinist Michael Gurevich performs as a as a soloist and chamber musician with exponents of the period piano in the UK’, John di Cremona, as they’re known on the person in the world to finish any music school period and modern performance practice. chamber musician and orchestral leader and many of Europe’s finest chamber and early Irving pursues a dual career as a fortepianist international stage, perform regularly at majoring as a ‘piper. He holds a PhD in musical After winning a scholarship to study at the is passionate about teaching. music ensembles, performing recently at and internationally recognised Mozart scholar, many prestigious venues such as Wigmore composition for a thesis seeking ways to Royal College of Music with Dr Felix Andrievsky, London’s Wigmore Hall and Amsterdam’s publishing five books on the composer As a chamber musician he has appeared Hall (London), Konzerthaus (Berlin), the New synthesise the Scottish bagpipe tradition and she began working with orchestras such as Museikgebouw. He has appeared at the including the international best-selling The at Carnegie Hall, Wigmore Hall, the Royal York Metropolitan Museum and Accademia western art music. the Gabrieli Consort, the Orchestra of the Kronberg, Schiermonnikoog, Zagreb “Virtuosi”, Treasures of Mozart. Previously Professor of Concertgebouw and at the Aldeburgh, Aix- di St Cecilia in Rome. The Quartet formed in Age of Enlightenment and the Academy of Salisbury, Boston and Utrecht Early Music Music at Bristol University and subsequently He has always been involved in teaching; he en-Provence, Verbier and Florestan Peasmarsh 2000 at the Stauffer Academy in Cremona Ancient Music, alongside which she performs festivals and will give a series of concerts Director of The Institute of Musical Research at ran his own school of ‘piping before moving to Festivals, collaborating with the Nash Ensemble, and in 2005 received a Borletti-Buitoni Trust regularly with the London Philharmonic later this year with pianist Sam Haywood at London University (where he was also Professor Poland were he now leads an internet teach Ensemble 360, the London Bridge Ensemble, Fellowship, leading to appearances at many Orchestra, the City of Birmingham Symphony Esplanade in Singapore. A Fellow of the Royal of Music History and Performance Practice) he yourself method, writing and publishing music Navarra and Heath quartets, the Florestan of the world’s great festivals such as the Perth and many more. Schools of Music, he has presented recitals is Professor of Historical Performance at Trinity education material. Lindsay devised a unique Trio and many others. Live radio broadcasts International Arts Festival in Australia and the throughout Europe and the USA, and has been Laban Conservatoire of Music and Dance. and highly successful method of teaching Teaching and directing involves a large part have included appearances on BBC Radio 3 BeethovenFest in Bonn. invited to teach masterclasses in Seoul, Korea He is Associate Fellow of the IMR and Vice- instrumental performance and has researched of her life, specifically at the Royal Academy as well as SWR2 in Germany, ABC Classic FM as well as 18th-century performance practice President of the Royal Musical Association. They were recently nominated as ‘Artist in brain based methods for learning to sing. of Music where she has directed the Bach in Australia, CBC Radio in Canada and many at the Royal Academy of Music, London. Residence’ at the Societa’ del Quartetto of Cantata series over the last four years. Further others. With the London Haydn Quartet he As a recitalist, concerto soloist and chamber Lindsay has held the honorary positions of Milan who are celebrating their 150th year for to her work teaching period style on modern has recorded, on the Hyperion label, critically He studied with Steven Doane at the Eastman music performer on fortepiano, clavichord Clan Piper since 1992 and from 1987 till 2001 which the Cremona Quartet will perform the instruments, she was invited to lead and acclaimed discs of Haydn’s op. 20 and op. 33 School of Music in Rochester, New York; Ralph and harpsichord, he specializes in 18th- and was ‘Town Piper to Linlithgow’ (his home town). complete cycle of Beethoven quartets. Recent coach the world orchestra at the Schleswig quartets, and with the Rhodes Piano Trio on Kirshbaum at the Royal Northern College early 19th-century solo and chamber music In 2004 he was appointed composer to the and forthcoming tours include engagements Holstein Festival in Germany this year. Champs Hill Records, a disc of Schumann’s of Music, Manchester; Steven Isserlis at IMS repertoires. His latest solo CD recording, ‘John Court of the Baron of Ardgowan and has in the USA, Japan, Mexico and China as well Madeleine is invited regularly to guest lead piano trios. Prussia Cove and Gary Hoffman at the Queen Irving Plays Mozart on the Hass Clavichord’ given concerts, recitals, workshops and papers as in the UK, Italy, Scandinavia, Germany orchestras such as the Orquesta Sinfonica Elisabeth Music Chapel, where he held a features Sonatas, Fantasias and miscellaneous all over the world; on five continents and in Michael is a tutor at Chetham’s School of and Austria. de Madrid and the London Orchestra da Young Artist Soloist Residency during 2012-2013. early works played on a historic clavichord approximately forty countries, appearing o Music in Manchester and has given chamber Camera and travels back to Australia as Recent projects have included collaborations dating from 1763. This SFZ CD and associated The Cremona Quartet’s debut recording for n over 30 CD projects including several music masterclasses at the Juilliard School, guest concertmaster of the Australian with Alasdair Beatson, Daniel Philips, Xenia website, www.mozartclavichord.org.uk Decca (2011) championed the complete solo undertakings. Indiana University, Oxford University, Royal Brandenburg Orchestra several times a year. Jankovic, Sam Haywood, Annette Isserlis, were funded by a research grant from The string quartets by Fabio Vacchi and they have Academy of Music, Royal College of Music, Lindsay has translated two major books from Kristian Bezuidenhout and Ida Levin. British Academy. just recorded the complete Beethoven String She made her concerto debut with La Yong Siew Toh Conservatory in Singapore and Polish to English – one about Chopin and the Quartets for the German label Audite who Philharmonie de Toulouse shortly before at the Domaine Forget in Canada.. Matthew plays on a rare cello by Francesco He has recently appeared in many other about literary theory. also issued ‘Italian Journey’, a CD dedicated her debut as soloist with the Australian Ruggieri, Cremona, 1685, on loan from a international festivals and this year gave www.lindsaydavidson.co.uk to Italian composers. Since Autumn 2011, the Brandenburg Orchestra last year. generous sponsor. masterclasses for students of the Royal Quartet has taught at the Walter Stauffer www.madeleineeaston.com www.matthewhuber.co.uk Conservatory in The Hague. Academy in Cremona. www.johnirving.org.uk www.quartettodicremona.com

34 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 35 Adam Johnson - Piano Denitsa Laffchieva - Clarinet Jack Liebeck - Violin Priya Mitchell - Violin Dirk Mommertz - Piano Andrew Pettitt - Oboe One of the most versatile and exciting young Denitsa Laffchieva made her début as a Jack made his acclaimed London recital ‘One of the foremost violinists of her generation’ Originally a violinist, Dirk Mommertz was born Andrew graduated from the Royal Northern musicians on the circuit, the pianist and soloist at the age of 14 in the Great Bulgaria debut to a sold-out Wigmore Hall in 2002 (The Strad), Priya Mitchell studied with David in Mainz and studied in Karlsruhe, Frankfurt, College of Music in Manchester after studying conductor Adam Johnson founded his own Hall with the Sophia Philharmonic. She has and has gone on to perform recitals all over Takeno at the Yehudi Menuhin School and Paris and Cologne. Artistic Director of the with Robin Canter, Hugh McKenna and orchestra - The Northern Lights Symphony toured extensively throughout Europe, Japan Europe, plus tours of Australia, China, Korea, with Zachar Bron in Germany. She was chosen ‘Festival Spring Rügen’, he has received Thomas Davey. He then completed two years Orchestra - of which he is both Artistic Director and Middle East, playing as a soloist with the Taiwan, New Zealand and the USA. Jack is a as the British representative of the ‘Rising Star’ many international awards as a pianist of postgraduate study at the Musik Academie and Principal Conductor. major European orchestras and made her committed chamber musician and became concert series by the European Concert and is a member of the internationally in Basel, Switzerland with Omar Zoboli and international debut at the age of 15. By the the violinist of renowned Paris-based piano trio, Halls Organisation giving recitals in many of renowned Fauré Quartet who have worked with the world- renowned chamber Winner of the Ricordi Operatic Conducting age of 18 she had recorded her first solo CD Trio Dali. Formed in 2007, the trio has a prize- the great concert halls from Carnegie to performed in some of the world’s most musician Sergio Azzolini, gaining invaluable Prize whilst studying under Sir Mark Elder, of the Mozart Clarinet Concerto and was winning international career with acclaimed the Wigmore. As soloist, Priya has directed eminent halls such as Wigmore Hall, experience in the field of chamber music Adam was invited to conduct at the awarded Musician of the Year 2000 by the recordings and performances scheduled all and performed with the Moscow Philharmonic, Berlin Philharmonie, Teatro Colon Buenos Aires, performance. He has since been living in Manchester International Festival as well Bulgarian National Radio. In 2003 Denitsa over Europe and further afield. RPO, the Deutsches Sinfonie-Orchester, BBC Concertgebouw Amsterdam, Tonhalle Zurich Manchester where he not only pursued a as associate conductorship of the London was given the scholarship for extraordinary (www.trio-dali.com) Symphony Orchestra, BBC Philharmonic and many other venues including Tokyo, Paris career in teaching and recording but also première of Jonathan Dove’s opera Flight musicianship of the Herbert von Karajan Orchestra, Australian Chamber Orchestra, and New York. Their prize-winning recordings freelancing with the Hallé Orchestra, with British Youth Opera under Nicholas Since a hugely successful recording debut on foundation in Vienna and a year later Denitsa Bournemouth Symphony Orchestra, English on Deutsche Grammophon have singled the Opera North, the Royal Liverpool Cleobury. His subsequent operatic successes the Quartz label with pianist Katya Apekisheva, was the youngest musician ever to be given Chamber Orchestra, Royal Liverpool group out as a ground-breaking ensemble Philharmonic, Manchester Camerata and have included direction of Karol Szymanowski’s Jack recorded two critically acclaimed discs the prestigious award of the Republic of Philharmonic, Philharmonia, Belgian Radio equally at home with the classics as well as the Ulster Orchestra. for Sony Classical and has just started a new King Roger and Benjamin Britten’s The Rape Bulgaria for Outstanding Contribution to the Orchestra, Sinfonia Varsovia and the Polish more experimental contemporary repertoire. recording relationship with Hyperion Records. As well as performing which remains a keen of Lucretia for Elemental Opera. Bulgarian Culture. She studied with some of National Radio Orchestra, amongst many others. Dirk has also appeared as a soloist with the passion, Andrew also enjoys working in the most significant living clarinettists, such as He also has an established bond with Oscar BBC National Orchestra Of Wales, the A former scholar at the RNCM with the Sema Priya is also a sought-after guest at world- education and is currently in charge of A level Peter Schmidl (Vienna Philharmonic Orchestra), winning composer Dario Marianelli and is Stuttgart Chamber Orchestra, the Duisburg Group Contemporary Performance Prize to wide international chamber festivals and was Music Technology at Canon Slade School, Petko Radev (Teatro della Scala di Milano) featured as soloist on the film scores of Jane Philharmonic Orchestra and the Hamburg his credit, Adam continued his piano studies asked last year to serve as Artistic Director Bolton and was a former member of the Live and Andrew Marriner (London Symphony Eyre and Anna Karenina. Symphony Orchestra. with Peter Feuchtwanger who has described of ‘Caravan – Gypsy Folk’: a festival she curated Music Now Scheme, an organisation set up Orchestra). Since 2010 she has been him as ‘in possession of an excellent technique As well as appearing in many international at Kings Place in London, following her own From 2000 to 2005 he lectured in piano by legendary violinist Yehudi Menuhin which Principal Clarinettist with the Sinfonia Finlandia and full of fantasy’. festivals in chamber music, Jack also has Indian and Irish roots through the extraordinary at the Musikhochschule Karlsruhe and tours musicians to transform lives of those in and now teaches at the Conservatory of a broad range of concerti which he has Future plans include developing an ambitious musical journey of the Roma, from Rajasthan since 2005 has been Professor of chamber need. Andrew was a member of Minerva Wind Central Finland. performed with many of the world’s great educational programme in inner London to the British Isles, via the Near East, Spain and music at the Folkwang University Essen, in Quintet for five years while studying at the orchestras. He is now Professor of violin at the with his orchestra which enjoys a residency at Denitsa made her debut recitals at the the Balkans, across the centuries. She is the addition he was also recently appointed Royal Northern College of Music and has also Royal Academy of Music and Artistic Director various London churches. A supreme chamber Wigmore Hall, London and in Carnegie founder and Artistic Director of the Oxford to a similar position in chamber music at appeared with the London Sinfonietta and the of Oxford May Music Festival, music and frequent artist at this festival both as Hall, New York during 2009/2010. The great Chamber Music Festival, described by The the Hochschule für Musik Nuremberg. He also Spitalfields Festival in London. More recently a festival of Music, Science and the Arts conductor and pianist, the eminent composer Russian conductor Gennady Rojdestvensky Daily Telegraph as ‘a musical miracle’ and The enjoys giving masterclasses at the Academy he has been Principal oboe with the Northern (www.oxfordmaymusic.co.uk). Oliver Knussen hailed his performances as said of Denitsa Laffchieva “She is an Independent as putting Oxford ‘on the map of of Montepulciano, the European Chamber Lights Symphony Orchestra. www.jackliebeck.com containing ‘extraordinary detail’. amazing clarinettist.” the classical music world. Music Association and in the magical Lofoten www.ocmf.net Islands in Norway. www.nlso.org

36 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 37 David Pipe - Organ Tom Poulson - Trumpet Victoria Sayles - Violin Andrew Skidmore - Cello David Tollington - Elizabeth Trigg - Bassoon David Pipe read Music at Cambridge Yamaha Music Foundation of Europe Victoria Sayles was a Foundation Scholar at Specialising in early music, Andrew Skidmore French horn After graduating from the University of Surrey, University as Organ Scholar of Downing Scholar, Tom Poulson graduated from the the Royal College of Music, London where studied at New College, Oxford University and Elizabeth Trigg won a scholarship to the Royal David left the Royal Northern College of Music College, later studying at the Royal Academy Royal Conservatoire of Scotland (RCS) in she graduated with First Class Honours. the Royal Academy of Music in London. Northern College of Music in Manchester, in 2000 collecting the Alfred de Reyghere of Music in London, having gained a 2010. During his studies he performed Jolivet’s She is currently Associate Leader of the studying bassoon with Edward Warren. She He is currently cellist of the Salomon String Memorial Prize. As a successful freelance postgraduate entrance scholarship. His Concertino for Trumpet, Piano and Strings Royal Liverpool Philharmonic Orchestra then graduated to the Royal Academy of Quartet, performing the classical repertoire on musician he has worked with many of the teachers have included David Titterington, with the BBC Scottish Symphony Orchestra, and the London Mozart Players. She was a Music where she took up further studies with period instruments and was from 2005-8 cellist country’s finest orchestras including the BBC Susan Landale and Lionel Rogg. Haydn’s Trumpet Concerto with the Royal member of Scottish Chamber Orchestra and Gareth Newman and John Orford before of the Fitzwilliam String Quartet, one of the Philharmonic, the Hallé, the Royal Philharmonic Scottish National Orchestra and Shostakovich’s Concertmaster in Santiago Opera House, pursuing a career as a chamber musician David appears regularly as an organ recitalist, oldest surviving quartets in the world, now into Orchestra, Northern Sinfonia, the BBC National Concerto for Piano, Trumpet and Strings with Chile as well as guest Concertmaster in Bergen and as an orchestral bassoonist in some of the accompanist and conductor; recent recitals its fifth decade. Orchestras of both Scotland and Wales, the the RCS Symphony Orchestra. Philharmonic (Norway), BBC Scottish Symphony, country’s most eminent orchestras. Elizabeth have featured appearances at Westminster City of Birmingham Symphony Orchestra and Bournemouth Symphony, City of Birmingham Andrew is also principal cellist of Collegium is in great demand as a freelance musician Abbey and Westminster Cathedral as well as A multi-award winner, Tom has won all the Royal Liverpool Philharmonic. Symphony, London Mozart Players, Royal Musicum 90 and Ex Cathedra and performs, and performs with the likes of the London tours to Vermont and Colorado in the USA. He the major competitions at the RCS, is a Liverpool Philharmonic, Royal Philharmonic and records and broadcasts regularly as a Guest He also regularly works with Opera North and Symphony Orchestra, London Philharmonic recently performed Poulenc’s Organ Concerto recommended artist of Making Music’s Philip Trondheim Symphony (Norway) Orchestras. Principal and as a continuo cellist. the English National Ballet as well as appearing Orchestra and the BBC Symphony Orchestra with Sheffield SymphonyO rchestra and has & Dorothy Green Award and was runner-up at She also appears regularly with Philharmonia as guest Principal Horn with The Symphony under such prestigious conductors as Valerie worked as both organist and conductor on the Bromsgrove International Young Musicians’ Aside from his experience with chamber Orchestra and has recently led orchestras in Orchestra of India with whom he recently Gergiev, Sir Colin Davis, Mark Elder and John BBC television and radio, featuring on several Platform. He has performed concertos with the music, Andrew also works with many of the China on national television. performed in Moscow. Adams. As well as orchestral playing, she recordings. His first solo recording - a disc of English Symphony Orchestra and Camerata UK’s leading period instrument orchestras enjoys a varied career as a chamber musician, original organ works and transcriptions by Liszt Scotland and given recitals at St. Martin-in- As a chamber musician Victoria has performed and ensembles including the Orchestra of His work has taken him all over the world with playing regularly at London’s Wigmore Hall. and Brahms - was released last year to critical the-Fields and the Royal Festival, Wigmore and in festivals all over the world such as the the Age of Enlightenment, Gabrieli Consort, tours of Japan, China, India, much of Europe acclaim on the SFZ Music label. David became Usher Halls. Tom regularly works with Scotland’s Australian Chamber Music Festival, the Gstaad Arcangelo, Academy of Ancient Music, Early and, as a baroque hornist, he appeared Elizabeth also has a real passion for music Principal Conductor of York Musical Society in national orchestras as well as the Mahler Festival Switzerland, throughout Japan, New Opera Company, Dunedin Consort, The as principal with Les Arts Florissant in Paris, education which enhances her busy schedule. April 2012 and has conducted them in works Chamber, Aalborg Symphony and Aarhus Zealand and UK. In January 2009 Victoria Sixteen, Classical Opera Company, Retrospect Switzerland and the Edinburgh Festival. His Highlights of her career to date include including Brahms’s Ein Deutsches Requiem Symphony Orchestras. He has also been a played to refugees in the refugee camps on Ensemble and Irish Baroque Orchestra. recording work has been incredibly varied performing Beethoven’s Ninth Symphony and Bach’s St Matthew Passion. member of the Lucerne Festival Academy, the Thai-Burmese Border with the Iuventus Recent solo performances have included with a wealth of classical CDs and also a with the BBC Symphony Orchestra for the performing under the baton of Pierre Boulez String Quartet. recent collaboration with Sting in Durham First Night of the Proms, recording the sound David came to work at York Minster in unaccompanied Bach in Cadogan Hall, and worked as an onstage musician with the Cathedral of his ‘Winter Songbook’. David track for the film ‘The Golden Compass’ and September 2008 and was appointed Assistant Recent concerto performances include Bach, London and the Birmingham Town Hall as well Royal Shakespeare Company. has also, occasionally, ventured into the realm touring America and Europe with the Royal Director of Music in September 2010. He Beethoven, Bruch, Glazunov, Mendelssohn as Haydn’s Sinfonia Concertante at the English of film and TV with perhaps his most notable Philharmonic Concert Orchestra and Anthony performs regularly with local groups and is Tom is very grateful for the ongoing support he and Saint-Saens Violin Concertos. She also Haydn Festival. appearance being in the recent Daniels. Elizabeth has appeared with us during increasingly in demand as a teacher as well receives from the John Hosier Trust, the Martin’s performed the Bach Double Violin Concerto Keira Knightley film ‘The Duchess’. This is his the past two festivals and is very excited to as freelance organist. Musical/Philharmonia Orchestra Scholarship with Jack Liebeck, Sydney Opera House. Tours third appearance at the North York Moors return for a third year. www.david-pipe.co.uk Fund and the Anglo-Danish Society. He also with Southern Cross Soloists, Chamber Music Chamber Music Festival. holds a silver medal from the Worshipful New Zealand, Chamber Music Festivals in Company of Musicians. America, Canada, UK and USA. www.victoriasayles.com 38 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 39 Carol Tyler - Resident Artist Zsolt-Tihamér Visontay - Jamie Walton - Cello Dan Watts - Flute Anthony Williams - Alexander Zemtsov - Viola Carol Tyler trained in Wolverhampton and Violin Founder of this festival and with chamber Dan Watts attended Wells Cathedral School Double-bass Alexander Zemtsov was born in Ufa, USSR, Birmingham receiving a BA.(Hons) Fine Art and music remaining his number one passion, and the Aspen Music School before studying and studied with Elena Ozol at the Gnessin German-Hungarian violinist Zsolt-Tihamér Born in 1980, Anthony Williams read an MA in Fine Art respectively. Since graduating Jamie Walton’s solo appearances have at the Royal Northern College of Music. After Special Music School in Moscow. After further Visontay began performing in 1988 and in 2007, Mathematics and Music at Royal Holloway as a mature student in 1990 she has exhibited taken him throughout much of Europe, USA, graduating Dan was appointed Professor of studies in Maastricht with Michael Kugel and at the age of 24, he became the youngest University of London, before undertaking widely. Key exhibitions since 2000 include - New Zealand, Australia, Scandinavia and Flute at the National Conservatory of Music in Berlin with Tabea Zimmermann, he was ever Joint Concert Master of the Philharmonia postgraduate study at the Royal College of Brewery Arts Centre, Kendal, Cumbria - Light the UK at many international festivals and in Ramallah, Palestine. He has performed awarded a number of prizes, including first Orchestra. Laureate of several international Music in London. as a Feather, Installation at the Showroom with orchestras such as the LPO, RPO and concertos at Royal Festival Hall, St John’s Smith prize at the International Youth Competition solo prizes including the International Louis Cinema Sheffield - Contemporary View, Philharmonia Orchestra. Square and appeared with the Manchester Anthony has a busy freelance career working Classical Legacy in Moscow, at the Elise Meyer Spohr Violin Competition and the International RCA London - Back to Nature, Ikon Gallery, Camerata, Faros Soloists (Cyprus) and with orchestras including the BBC Philharmonic Competition in Hamburg and at the Brahms Henry Marteau Violin Competition, he has With Signum Records he has recorded over Birmingham - as well as shows in numerous Orquesta di Algarve. Dan has also played Orchestra, BBC National Orchestra of Competition in Austria. Alexander Zemtsov has appeared as concerto soloist with a number twenty sonatas as well as ten concertos with commercial galleries throughout England. She with the Royal Shakespeare Company and Wales, BBC Scottish Symphony Orchestra, worked with several European orchestras and of German orchestras and performed the the Philharmonia orchestra most recently is also a regular exhibitor at the Affordable Art in numerous West End productions including Philharmonia, Royal Liverpool Philharmonic in 2002 was appointed Principal Viola of the Lark Ascending with the Philharmonia under the Dvorák and Schumann concertos under Fairs in London and Glasgow. ‘Phantom of the Opera’, ‘Mary Poppins’ Orchestra and Brandenburg Sinfonia, as well London Philharmonic Orchestra. both David Hill and Sir Andrew Davis. With the Vladimir Ashkenazy. He has also recorded three and ‘Wicked’. as performing principal bass with the London In 1995 she was Artist-in-Residence at Grizedale Philharmonia he has also recorded the John Russian concertos with the Royal Philharmonic In addition to his concerts with the Hermitage Mozart Players and the Northern Lights Forest in Cumbria. Living in a caravan and Jeffreys Violin Concerto. orchestra under Okko Kamu as well as the Dan is Principal Flute of the Northern Lights String Trio, Alexander is active as a soloist Symphony Orchestra (founded and run by working in a huge attic studio for three months, complete works of Britten, including a film Symphony Orchestra and is one of the and in chamber music; he plays regularly Before becoming Joint Concert Master, Zsolt Adam Johnson). the experience changed her working methods about the Britten Suites made with director founding members of the Metropolitan with the Razumovsky and Aronowitz also led the Radio Symphony Orchestra Berlin, and life. The following year, she moved to a Paul Joyce, premiered on SkyArts and released Ensemble, a flute and string ensemble, Anthony is in demand as a chamber Ensembles and his solo engagements Hamburg Philharmonic, London Symphony caravan on the North York Moors near Whitby on Signum Vision. Having just returned from with which he has performed live on musician, and last season performed the include appearances with the Belgian Radio Orchestra, Academy of St Martin-in-the-Fields, and finally realised her ambition to integrate performing the Schumann concerto in Chile, national television. Schubert ‘Trout’ Quintet with three different Orchestra, Konzertverein Orchester Vienna and Royal Scottish National Orchestra, Orchestra her life and work. future performances include concertos in ensembles alongside major works by Vaughan the London Philharmonic Orchestra. He has Nacional de Porto, City of Birmingham A trademark purity of sound is a distinctive Finland, Canada and Germany. Williams, Rossini and Beethoven as well as performed in the Tchaikovsky Conservatoire Carol continues to exhibit regularly and in Symphony Orchestra and Bamberg Symphony quality in his playing and Dan is a committed the Dvorák string quintet with the Wihan Hall (Moscow), the Musikhalle (Hamburg), the June each year opens her house and studio in Orchestra, touring throughout Europe, Russia, Elected to the Freedom of the City of London chamber musician both in modern and Quartet of Prague. He also enjoys performing Palais des Beaux-Arts (Brussels), Musikverein the Dales as part of the North Yorkshire Open Asia and the USA. through the Worshipful Company of Musicians, period performances. His versatility as an contemporary music, as a member of the (Vienna), Wigmore Hall and Queen Elizabeth Studios. Her intimate relationship to the moors Jamie was recently awarded a Foundation artist manifests also in solo work, guesting as Established as a sought-after chamber critically acclaimed Theseus Ensemble, and Hall (London). Alexander is viola professor at during those nomadic years has given her a Fellowship by Wells Cathedral School for his soloist with the Aubry String Trio and earlier musician, he has performed and recorded as soloist in the world première of William the Guildhall School of Music, Konservatorium unique perspective to its vision through art outstanding contribution to music. Jamie plays this year he gave the world premiere of Bartók’s Contrasts with Mark van de Wiel and Attwood’s Double Bass Concerto in 2009. He and also teaches in Lausanne and at the and this is why her regular depictions of the on a 1712 Guarneri and lives upon the North Edward Gregson’s flute concerto at Yefim Bronfman as well as the Rachmaninov plays on a double bass from 1840 made by Vienna Konservatorium. His recent solo landscapes are commissioned by the Festival York Moors. Next month he makes his debut St Martin-in-the-Fields with the Northern Piano trios with Mats Lidstroem and Vladimir the Manchester-based William Tarr. and chamber CDs are released on Naxos, each year. with the BBC National Orchestra of Wales and Lights Symphony Orchestra. Ashkenazy. As a chamber musician he has also Chandos and LPO live labels. is about to launch his own record label. performed at the Mozartsaal, Vienna, the Salle www.jamiewalton.com Gaveau, Paris and Wigmore Hall, London.

40 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2014 41 Photo Credit: Jamie Walton

42 North York Moors Chamber Music Festival 2013 North York Moors Chamber Music Festival 2013 43 Venues

St Oswald’s The earliest written record of St Oswald’s Sir Walter Tapper, the architect occurs in 1100; but in 1910, at a major commissioned in 1910, was a Lythe restoration carried out under the distinguished member of the Arts and The church of St Oswald dominates auspices of the Vicar, the Reverend Crafts movement, renowned for his the headland above the village of the third Marquess of Normanby (who attention to detail. The pews, pulpits, Sandsend. Inland, to the north, west began his ecclesiastical career as rood screens and organ lofts in the many and south lie the vast open spaces of assistant curate here), 37 fragments churches he restored were always of the North York Moors but at the church of carved stone were found built into the best quality, and the acoustics were, the eye and the mind are drawn to the the walls of the Norman church. These almost without exception, fine. This is true east, to the sea which forms the Parish are Anglo-Danish gravestones from, of St Oswald’s at Lythe, where Tapper boundary on that side, and south, down most likely, a Christian burying ground created an elegant, calm and airy the steep bank and along the beach to established following the Viking invasion space in great contrast to the fury of the Whitby Abbey, founded in 657. of the neighbourhood in 867. sea and winds outside.

44 North York Moors Chamber Music Festival 2014 North York Moors Chamber Music Festival 2013 45 St Mary’s Roman road and near to the great villa lectures sponsored by the Friends of at Hovingham. Bede’s further reference Lastingham Church. Lastingham to Cedd having to purify the site before Today the interior of the church is as J. L. The church is undergoing a major he could begin building seems relevant Pearson reconstructed it in 1879, when reconstruction, not of its fabric but its here. Now that a recent survey carried he was inspired to put groin vaulting history. There was a long accepted belief out by archaeologists from the University over the nave and the chancel. It is this that the site of St Mary’s chosen by of Leeds has found Roman material in that produces the exceptional quality Cedd between 653 and 655 to build a the crypt, it begins to look as if the shell of sound. The rest is plain, and this is monastery was, as described by Bede’s of an Anglo-Saxon religious building what gives the church such a sense of Ecclesiastical History ‘among steep and was neatly dropped into the middle peace, reflection and simplicity, devoid remote hills fit only for robbers and wild of an abandoned Temple. The wider of oppressive features. Simon Jenkins beasts’. Now that is giving way to the significance of Cedd’s church and of its gives it four stars in his Thousand Best realisation that where it stands, on the successor, the Benedictine monastery Churches; Sir John Betjeman gave it one edge of the fertile area of Ryedale, it was refounded in 1078 by Stephen of Whitby, word - ‘unforgettable’. only three miles from an important is being explored in a series of annual

St Hilda’s West Cliff and stayed 45 years, during which his to the Abbey, though this was not forceful personality made him famous achieved without a prolonged struggle Whitby throughout Yorkshire. ‘Whitby was his with the landowner of the site. West Cliff Big and bold is how Nikolaus Pevsner kingdom’ it was said, and what more Fields were open country until George describes this huge church, built in fitting that the five Anglican churches Hudson, the railway king, bought them two years from 1884. Designed by the over which he presided, including the for development. Nowadays the east Newcastle architect, R.J. Johnson, whom endearingly unusual, but not exactly window of St Hilda’s looks soberly down Pevsner salutes for his competence shipshape, Parish Church of St Mary Hudson Street to the River Esk. and high mindedness, St Hilda’s was on the East Cliff, should be formed into Whitby did not become an conceived on a scale, and with features, a new diocese? To that end the new archdeaconry with a suffragan Bishop suitable to the cathedral the Rector St Hilda’s soon acquired a bishop’s until 1923. By that time Austen had left to of Whitby, Canon George Austen, throne. Austen himself planned and become a Residentiary Canon at York intended it to be. A southerner by oversaw every detail of the new church, Minster. He died aged 95 in 1934. birth, Austen arrived in Whitby in 1875 including the view across the harbour

46 North York Moors Chamber Music Festival 2013 North York Moors Chamber Music Festival 2013 47 St Hilda’s St Hilda’s Priory architect, Ronald Sims, who died in 2007 Wilson in 1799). By the time the school aged 80, advised on the reordering of closed in 1997 the nuns had greatly Danby Sneaton Castle, Whitby the chapel ‘to improve its ambience, diversified their work in this county into This is the church that inspired the cult The neo-Romanesque chapel was dignity, accessibility and liturgical use’. preaching, spiritual guidance, retreats, book Forty Years in a Moorland Parish designed by C. D. Taylor and built Later on he was responsible for the cross hospital chaplaincy and missions. They by Canon John Atkinson, in which he between 1955 and 1957 for the Anglican and candlesticks made of black wrought have other houses in and around Whitby famously described how his first sight Order of the Holy Paraclete, whose metal (as also for the crypt window in St as well as in Rievaulx, York and Hull. Their of the interior in 1845 was of shocking Mother House is here. Central to the life Mary, Lastingham.) long-standing commitment to Africa neglect, dirt and an almost total absence of the Order, which follows St Benedict, has recently been extended by two The Order was founded in 1915 by of worshippers. He believed this was are the Divine Office and the Eucharist. new convents: in Ashanti, Ghana and due to its remote position in the middle Margaret Cope when a girls’ school was Johannesburg. There is also a home for of the dale, one and a half miles from In 1992 the distinguished ecclesiastical established in the Castle (built for James girls in Swaziland. Danby village. Arriving at a time when the Methodists had the ascendancy over the Anglican church in the area, he believed the solution lay in returning among the people. In 1863 he caused an iron church to be built in Castleton (the Tin Tabernacle), where he held a service once a week.

Yet under Atkinson’s regime St Hilda’s was no longer neglected; the year after he arrived a new chancel was designed by the architect, William Butterfield. This was only the latest among many alterations since the church was founded. There are possible traces of Danish occupation in the burial ground, and Saxon remains in the church. The tower is 15th century and two of the bells are marked 1698. There was a major restoration in memory of Atkinson in 1903 in the Early English style by Temple Moore. It might have been a muddle, yet the impression nowadays is of a most harmonious building, glowing under 21st century lighting, a sanctuary brought back to life, standing on the promontory below what Pevsner called ‘the noble line of the moor’.

48 North York Moors Chamber Music Festival 2013 North York Moors Chamber Music Festival 2013 49 St Nicholas serviced by clergy from the priory, so his peers. after dissolution separate provision had There are several fine monuments Guisborough to be made. within the church, of which the most The church of St Nicholas stands distinguished is the Brus Cenotaph. adjacent to the ruins of the once The church building is largely This tomb-chest was originally housed physically imposing 12th century Perpendicular in style, with the chancel within the Priory and was executed Augustinian priory. When one imagines and tower dating from circa 1500. circa 1520 as a commemoration to the the size and scale of the priory church, The west window and doorway are founder of the Priory, Robert de Brus. it naturally raises the question why a contained within the tower but given After dissolution it was moved to the separate church should be built in such focus by an elegant two-centred arch. church. The decoration is sophisticated proximity. Yet on closer examination Upon entering the church there is a great for its time and consists of knights, saints this is not at all peculiar – separate sense of space which is enabled by the and possibly the prior all praying for the lithe and delicate arcade of six bays churches to cater for the laity were often repose of the souls of the family. In the which ensures that the low roofline does established close to abbey churches right spandrel is seated the Virgin Mary. (e.g. St Margaret’s and Westminster not impinge. This overall effect was also The window adjacent to the Cenotaph Abbey) to ensure different pastoral, aided by a very skilful restoration of the contains fragments of medieval glass spiritual and liturgical emphases could church in 1903–08 by the eminent church from the original east window. be harmoniously undertaken. Even so, architect Temple Moore, whose work the church would have been completely displays a sensitivity often lacking in

St Helen’s and All Saints’ on higher ground some way to the in the church at Baldersby St James, north-east. This again was a deliberate near Ripon, which dates from 1857. In Wykeham ploy by Butterfield: piercing the old common with both of these locations, Those who travel along the Pickering- tower to create a gatehouse effect. The Wykeham also possesses elegant secular Scarborough road cannot fail to notice original church building was cleared buildings designed by Butterfield, namely the imposing presence of the church away to create a virtual tabula rasa: a the school to the south and also of St Helen and All Saints: specifically, common aim of certain Victorian church the parsonage. the elegant broach spire that adorns designers, especially those influenced by Wykeham was also the location of the 14th century tower dominating the ‘Ecclesiologist’ tendencies, rather to the the priory of St Mary and St Michael main village crossing. To a superficial detriment of our heritage. for Cistercian nuns, founded by Pain look they appear contemporary but the The Victorian church building shows an Fitz Osbert circa 1153. Little remains of spire is in fact a sympathetic creation adherence to simple Gothic forms of this and the site is now occupied by a of William Butterfield dating from 1853. the 13th century which is consistent with large house which is the home of the This was early Butterfield, who had yet to Butterfield’s earlier work in North Yorkshire Dawnay family who hold the Viscountcy yield to the polychromatic detailing for (e.g. Sessay of 1847); but after Wykeham, of Downe. The modern stained glass which he is renowned. The other notable completed in 1855, this restraint was window in the north aisle commemorates feature is the detached status of the soon lost as he quickly moved towards the life of the 11th Viscount. tower from the church, which nestles the temptations of intense decoration

50 North York Moors Chamber Music Festival 2013 North York Moors Chamber Music Festival 2013 51 St Stephen’s The new St Stephen’s church – where and Ripon and also undertook Fylingdales the concert is to be held – is a bold considerable commissions abroad. statement of design as influenced by a Use of such an eminent ecclesiastical Confusingly there are two churches generation of architects raised on the architect with high ideals inevitably dedicated to St Stephen within the civil tenets of the Oxford Movement; Pevsner increased the cost of the building to parish of Fylingdales. The old church of calls it “big, earnest and rather stern”. This a sizeable sum of £6,000. The work 1822 is situated on a hillside overlooking time the emphasis is sacramental with was financed by the long-standing Robin Hood’s Bay, itself built on the site special detailing such as the large four- incumbent, Robert Jermyn Cooper, of a much older chapel. It conformed to light west window and the rib vaulting and local landowner Robert Barry. Their the style of worship common at that time in the apsidal chancel, leaving the munificence ensured a high standard – a simple if somewhat crowded interior worshipper in no doubt as to the focal of design and execution; in particular dedicated to the spoken word. Further point for their devotions, namely the altar. the stained glass designed by Henry down the hill is the new church of 1868- The building was designed by George Holiday is especially meritorious, ranking 1870. Barely fifty years separate the two Edmund Street, whose most notable alongside the best examples of late churches, yet the contrast in architecture building is the Royal Courts of Justice in Victorian stained glass in the county. and interior design is immense: a The Strand, London. Street was much in beautiful illustration of the powerful forces demand as an ecclesiastical architect. unleashed that revolutionised English He was Diocesan Architect to the Christianity in the mid 19th Century. cathedrals of Oxford, York, Winchester

St Hedda’s RC village. He discreetly ministered across apotheosis at Cheadle) this project did Yorkshire for fifty years until he fell victim not rely upon a wealthy patron; instead, Egton Bridge to the hysteria of the Popish Plot of 1678 all the costs were defrayed by small Many features of the story of Roman and was hanged, drawn and quartered donations. Volunteer aid was enlisted in Catholicism within England since the in York the following year. every task including quarrying the stone. Reformation can be found in the history English Roman Catholicism was at its The building itself was designed by of St Hedda’s Church. The village and lowest ebb in the eighteenth century Hadfield & Son of Sheffield in a simple the surrounding population have long maintained a Roman Catholic tradition yet the first church was built in 1798; this French style with lancet windows and even when under extreme official is now the school next door. Within the an apsidal chancel. However at 114ft by disapprobation in the 16th and 17th next fifty years both legal emancipation 47ft with a height of 43ft it was a triumph century. This was aided by gentry families, and the influx of labourers from Ireland of volume over expense. The present such as the Smiths of Bridgehome in the created a rising demand. In 1859 the church opened in 1867 while furnishings village, who were able to provide a safe priest in charge – Fr Callebert – set such as the altar from Messrs Mayer & haven for priests to live and for Mass about trying to raise funds for a much Co. of Munich and the Lady Chapel to be said. Probably the most notable larger church building. Unlike many large were added over the subsequent ten priest – and later martyr – was Nicholas Catholic churches of the period (one years. The Lady Chapel now contains Postgate who was also born in the immediately thinks of Pugin’s neo-gothic the Postgate Relics.

52 North York Moors Chamber Music Festival 2013 North York Moors Chamber Music Festival 2013 53 St Martin-on-the-Hill the munificence of a local spinster, Miss Madox Brown and William Morris can be Scarborough Mary Craven, who offered to finance seen in abundance, while other furniture Acknowledgements the complete building costs of £6000. such as the pulpit can be accurately By 1860 the influence of Tractarian Her late father had retired to South Cliff described as a ‘Pre-Raphaelite gem’. principles had spread far beyond Oxford; and she saw the church as a fitting The church was consecrated in July 1863 We musicians all fondly thank the you for your fantastic energy and focus. and celebratory year. We are thrilled to but in Yorkshire it had yet to penetrate memorial for him. and from the start caused controversy. Sisters at St Hilda’s Priory, Sneaton have such a musical legend as part of beyond Dean Hook’s fortress at Leeds Our thanks also to Marianne Sweet from The architect was George Bodley. The first vicar, Rev Robert Henning Parr, Castle for accommodating musicians it all. Parish Church. Yet within three years a Damselfly Communications for PR and This was an early commission and the was openly Tractarian and throughout with such generosity, allowing us to new church – St Martin-on-the-Hill - was helping to deliver this beautiful brochure, Finally an enormous thanks to you exterior of St Martin’s shows his clear the next few years the vicissitudes of rehearse and perform in their wonderful established that would openly embrace as well as to our website designer Mike the audience who, in times of cultural preference at that time for French the Ritualist controversies were played and inspiring premises. the Catholic heritage of liturgy and Samuels. Thank you Philip Britton for your Gothic e.g. the distinctive ‘saddleback’ out within St Martin’s as he introduced hardship and cuts in the Arts, show ultimately become ‘a remarkable The Normanby Charitable Trust have thorough and splendid notes. tower and high pitched nave roof. While innovations that outraged some – tremendous loyalty and passion – this treasury of Victorian art’. supported this festival for many years the exterior is austere, the interior is such as lighted candles, statues and The artists-in-residence merit particular gives us the musicians the drive to share and their contributions are deeply St Martin’s was born out of need; the anything but. St Martin’s was a showcase vestments, very much encouraged attention for their stunning contributions: in this mutual appreciation. Do spread appreciated. There are many who expansion of Scarborough had placed the word and keep this energy alive - for the talents of the ‘Pre-Raphaelites’ by Miss Craven. The church remains a have also been supportive from the very painter Carol Tyler and photographer too much demand on the ancient it’s very unusual in today’s climate and who had combined into an artistic place for those who seek ‘distinction in start so we’d like to thank Derek Knaggs, Frank Harrison who both search deep we have all been part of the Festival’s church of St Mary’s. However, funds for a partnership in 1861 primarily to furnish decoration and worship’. John Haines, Rollits Solicitors, Yvette to produce such extraordinary images success through our belief in it. new church on the South Cliff were not new churches. Exquisite stained glass Turnbull and all those who wish to purely for the festival itself. Thank you readily available. This all changed with designed by Edward Burne-Jones, Ford for making our ‘brand’ so unique remain anonymous. I’d like to dedicate this Festival to the and exquisite. The committed team who work tirelessly memory of my great and dear friend, throughout the year deserves much Sir Peter Maxwell Davies, who turns 80 Anne Taylor. credit, namely the Trustees of the this year, is extraordinarily generous festival and those behind the scenes - in becoming our new Patron and Jamie Walton in particular Joel Brookfield, John and committing to the Festival in person for its Artistic Director Katrina Lane and Adam Johnson; thank duration, particularly within such a busy

The North York Moors Chamber Festival painting: Useful websites: Music Festival Trust is a charitable Carol Tyler www.caroltylerpaintings.com www.northyorkmoorsfestival.com (festival) company limited by guarantee www.damselflycommunications.co.uk Photography credits: (Marianne Sweet) registered in England and Wales. Frank Harrison Company registration number www.lucidaproductions.com (Paul Joyce) 6878005; registered charity no Historical material: www.maxopus.com Anne Taylor and Joel Brookfield (Sir Peter Maxwell Davies CH, CBE) 1129262. Registered office: The www.concertsatcratfield.org.uk Granary, Appleton-le-Moors, York, (Philip Britton) North Yorkshire yo62 6tf

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