Autumn 2008 No. 149 £1.75 NEW RELEASES

Bulletin Autumn 2008 No. 149 £1.75 NEW RELEASES www.hyperion-records.co.uk

BRITTEN PIANO CONCERTO CLEMENTI DIVERSIONS / YOUNG APOLLO THE COMPLETE PIANO SONATAS The three compositions which comprise VOLUME 2 Britten’s music for solo piano and This is the second volume in a complete orchestra constitute a unique, yet still little chronological survey of the Clementi explored, part of his output. Here they are sonatas. After the somewhat frivolous brought together in a stunning disc that delights of Volume 1, Volume 2 displays pays tribute to the great artistry of all Clementi in more serious and weighty involved. form. The selection recorded here is of STEVEN OSBORNE pieces that begin to reveal depths of BBC SCOTTISH SYMPHONY ORCHESTRA expression seldom encountered in the ILAN VOLKOV composer’s earlier music. CDA67625 CDA67717 HOWARD SHELLEY SCHUMANN DICHTERLIEBE MARTINUO & OTHER HEINE SETTINGS THE COMPLETE MUSIC FOR VIOLIN AND Why another Dichterliebe recording? ORCHESTRA VOLUME 4 Because Gerald Finley has simply one This is the fourth volume in Hyperion’s set of the greatest voices of his generation, of the complete works for violin and and is an artist at the peak of his powers. orchestra by Martinuo , featuring the He brings to this noble cycle the supreme wonderful Bohuslav Matoušek. Many first musical understanding that characterizes recordings are included in the series, as all his performances. This is his fourth well as works totally unperformed outside disc with collaborator Julius Drake, and the Czech Republic. the partnership has proved to be a BOHUSLAV MATOUŠEK uniquely rewarding one. CZECH PHILHARMONIC ORCHESTRA GERALD FINLEY / JULIUS DRAKE CDA67676 CDA67674 CHRISTOPHER HOGWOOD MORALES MAGNIFICAT THE STUDY OF LOVE FRENCH SONGS MOTETS & LAMENTATIONS AND MOTETS OF THE 14TH CENTURY Morales was the first Spanish composer ‘A wonderful addition to the catalogue, to achieve true international fame, and was and the recorded sound … is superlative’ described by contemporaries as ‘the light (Gramophone) of Spain in music’. The longest work on ‘A simply superb CD … a recording this disc is Morales’s Magnificat primi which you might use to snare those as toni. This is the first recording of any of yet unconverted and resistant to the Morales’s Magnificats to present the entire beauties of the Gothic’ (Fanfare, USA) work as the composer originally intended. GOTHIC VOICES THE BRABANT ENSEMBLE CHRISTOPHER PAGE STEPHEN RICE CDA67694 CDH55295 PORPORA CANTATAS FOR SOPRANO MOZART Porpora is best known for his open rivalry EPISTLE SONATAS with Handel on the London operatic scene. ‘Not to be missed. But this dazzling new disc from Auser Buy it at once!’ Musici shows the composer to be a (Musical Opinion) profound musician with a rich and wide- ‘An hour’s delightful listening. ranging output, a mastery of compositional Warmly recommended’ (CD Review) technique and a keen sense of theatre and ‘Cannot fail to delight’ dramatic pacing. Stylishly performed and (BBC Music Magazine) recorded, this disc will surely force a THE KING’S CONSORT reappraisal of Porpora’s artistry and ROBERT KING reawaken interest in this great composer.

ELENA CECCHI FEDI / AUSER MUSICI CDA67621 CDH55314

PAWEL/ /LUKASZEWSKI CHORAL MUSIC CORELLI LA FOLIA This latest disc from Trinity showcases the ‘The most persuasive talent of this marvellous young choir in a account of Corelli on disc’ disc of seductively beautiful spiritual music (The Rough Guide 100 from Poland. Pawel/ L/ ukaszewski is the Essential CDs) most outstanding of the younger generation ‘Highly enjoyable’ (Gramophone) of Polish composers specializing in sacred ‘Excellent performances from all choral music. Conductor Stephen Layton concerned, and recording quality to match’ is one of L/ ukaszewski’s most enthusiastic (Penguin Guide to Compact Discs) proponents. He communicates this deep THE PURCELL QUARTET understanding of L/ ukaszewski’s music to his young singers, coaxing from them a committed and potent performance. CDA67639 CDH55240 THE CHOIR OF TRINITY COLLEGE, CAMBRIDGE / STEPHEN LAYTON

FRMS BULLETIN Autumn 2008 No. 149

CONTENTS Editor Thelma Shaw EDITORIAL Page 15 Cann’s Lane Division of labour or, many hands make light work 2 Hethersett OUT & ABOUT Norwich NR9 3JE Federation Tel: 01603 812996 Daventry Music Weekend a Sellout 3 Regional Groups Editorial copy If your copy is in manuscript form Yorkshire Region’s Music Weekend at Scarborough 9 or on CD or floppy disc, send it West Middlesex Group’s Festival of British Music 12 direct to the Editor at the above Societies address. Rachmaninov revealed at Goudhurst 12 If your copy is available as an Kettering & District Jubilee 12 email attachment send it to: Rare presentation at Radlett 13 [email protected] Ickenham Gramophone Club celebrate 60 years 13 Editorial deadlines Epsom RMS recognises Secretary’s long service 14 st President of Horsham 90 years young 14 Spring issue: 31 December Autumn issue: 30th June REVIEWS New, nostalgic & historical from Dutton Advertising Music by Budd, Chagrin, Carr, Sutherland and Addinsell Advertisements are available from British Light Music Premières – Vol. 5 15 £35. For information on rates and Fire Island –Music for Flute 15 discounts contact the Editor or the Billy Mayerl – a miscellany for solo piano 16 Advertising Manager: New releases on Historical label 16 [email protected] Wyastone produce Hallé and unearth treasure (full address inside back cover) Elgar: Symph. no.2; Intro and Allegro for Strings (Hallé label) 17 Albert Herring conducted by Britten (Nimbus label) 17 Circulation If you would like your own copy of Naxos presents world première of Alan Hovhaness Bulletin sent direct, contact the Fanfare for the new Atlantis; Guitar Concert no.2; Distribution Manager Symphony no.3; 18 [email protected] Variety from Hyperion (full address inside back cover) Handel opera arias; Lionel Monckton’s songs from the shows Copies are distributed to all In a state of jazz, piano music played by Marc-André 18 affiliated societies and to the For your bookshelf Federation’s Associates, with a The Making of Music: James Naughtie 19 total estimated membership in the Questions of Music: Norman Edwards 19 region of 10,000. SPECIAL FEATURES NB Copyright. The material A Tribute to Michael Smith by Roderick Shaw 21 content of Bulletin may not be Evelyn Barbirolli, a personal memoir by Lyndon Jenkins 22 reproduced elsewhere without the Handel and the Divas 23 formal permission of the NEWS & VIEWS publishers, The Federation of From the Chairman’s desk 24 Recorded Music Societies Ltd. What’s in the Secretary’s postbag? 25 Printed by: The Max Kettlestring Lane Clifton Moor Front cover: G. F. Handel Please note that the address York YO30 4XF The Royal Collection of the FRMS website is 2008 Her Majesty Queen Elizabeth II www.thefrms.co.uk ISSN 0928150

1 EDITORIAL

Division of labour - or many hands make light work pleasant faint buzz of je ne Chairman and Vice- sais quoi when it gets to Chairman work as a team Saturday. But not today! but in other cases, for The Bulletin is finished, just instance the office of about ready to go to print – programme secretary, one except for my editorial! person has responsibility for Usually, there is always finding and liaising with something I want to say, or speakers to cover the whole some pertinent bee buzzing year – quite a task. It might This heading refers to some around, trying to get out of be worth considering how to words that you will find on my bonnet and onto paper. divide this responsibility p.27, and which I’ll get But not this time. That is between several people, each round to in due course. until, in the small hours of one responsible for this morning, I remembered providing speakers for, say, I wonder how many of you those words on p.27. four or even fewer meetings. remember a broadcast on the BBC Light Programme from Among the great number of Or how about trying a single days of yore, when we were Societies that I have visited, ‘brainstorming’ meeting at very young and carefree? It or with which I have contact, the beginning of the year was Record Roundup, there is a small handful when every member could compèred by a very cheerful battling from a lack of make suggestions and a Jack Jackson late on Friday people ready to take office. consensus reached as to how nights. As Big Ben struck This means that the burden the task could be allotted. midnight he would say: of running the Society falls It is possible to make many “Oh boy! It’s Saturday!” continually on the same few variations on this theme of This signalled the start of the people (or, in a couple of division of labour. If weekend, time to slow down cases, even one person). adopted, a job-sharing and forget the weekly There are all kinds of scheme could revitalise a treadmill, deadlines and reasons for this sometimes flagging Society. general hurly burly that almost insoluble problem, In this way, harking back to came with the daily routine but it occurred to me that it p.27, Everybody would play of work, whatever that might might be worth trying to a part, Nobody would have be, and generally a time to have more than one person too daunting a job and poor do one’s own thing. sharing the duties of an old Muggins, whoever that Even after years of officer. might be, would be able to ‘retirement’ I still get a It usually happens that the relax a bit more! Thelma Shaw Important events before Christmas! 25 October: FRMS 72nd AGM hosted by Bristol Music Club. Details on page 26 15 November: FRMS Central Region AUTUMN MUSIC DAY. Details on page 27 21 – 23 November: Friends of Torbay MUSIC WEEKEND. Details on page 14 And don’t forget YRG Music Weekend in Scarborough next year! Details on page 11

2 OUT & ABOUT Daventry Weekend a Sell-out

This year’s Federation Music Weekend from 25th - 27th April at the Barceló Daventry Hotel was a sell-out before the final week for residential booking and well supported by local day visitors. There were several new faces among the battalion of regulars and the usual party atmosphere abounded. Adrian farmer and Antony Smith of Wyastone were in residence with a CD stall of their products and on Friday, for night owls, gave a short presentation of music from their current catalogue. My thanks to those who contributed to this report, including George Steele who supplied the photographs. Ed.

fter the pre-dinner drinks tend to destroy the all- surprise since he was, as is A reception, the celebration important structure of the John, a great Beethoven dinner set the tone for the work. interpreter. He also expressed next two days of musical John is somewhat ambivalent a great admiration for entertainment by celebrated about critics and is irritated to Sviatoslav Richter. Commenting presenters, with good food in read a good review of what he on singers, John caused a smile good company between sessions. considered to be a less than when he declared that, although John Lill satisfactory performance. he respects them, he “can do without choral music for long The weekend started splendidly periods”! with an informal, and at times One of the best experiences of hilarious, conversation between his life, he recalled, was John Lill , one of our foremost meeting Shostakovich whose pianists, and Lyndon Jenkins, a concertos he had performed. long-standing friend of the Another was being asked to FRMS. The two formed a perform before Queen superb double act as they Elizabeth, the Queen Mother, Humour, hobbies and idols explored John’s career, and Prince Charles. John’s interests and views on many John brought roars of laughter choice of music: matters. from the audience as he gave *Toscanini conducting part of Role of the performer the lie to his serious public Beethoven’s 3rd Symphony (Eroica) *William Matthias’ conducting the John described his professional persona by demonstrating his opening of his 2nd Symphony life as “solitary but not lonely” love of the ridiculous (the Goons in particular) with a recording *Furtwängler conducting the finale and considers accurate of Haydn’s Symphony No. 88 of Peter Sellars in a spoof interpretation of a composer to *The end of Rachmaninov’s Piano interview of a Lisbon pop singer. be the most important aspect of Concerto No. 3. In contrast to his artistic life, the performer’s role. He must With consummate skill, Lyndon John’s many interests and understand the composer’s conducted the proceedings and hobbies show a scientific bent. intentions, be utterly convinced kept the lively conversation They include amateur radio, for by the structure of a work and flowing smoothly in an intimate which he has a certificate; has a duty to transfer that and highly entertaining manner. chess; bird watching and psychic conviction to the audience, He showed us an approachable, research. sometimes at odds with an honest man who is a giant not incompatible conductor. In his Asked which was his favourite only on stage but also off and words: ”The buck stops with composer he replied without one whose modesty belies his you; it’s an exciting challenge.” hesitation “Beethoven” and said stature as one of our greatest John Lill is not enthusiastic that he would love to be able to living classical artistes. It was about recordings and considers have a conversation with him. an enormous pleasure to spend that, except in the case of a Of fellow pianists, his idol is an all-too-short two hours in very few good companies, they Claudio Arrau. This is no John Lill’s company.

3 OUT & ABOUT Brian Godfrey concert performances, with the Christopher Fifield emphasis on the music rather than visual theatre. First time perfection COG began recording its performances on tape in the early 50s, often in somewhat precarious conditions, at first in Brian Godfrey, Secretary of mono but in stereo from 1971. Radlett Record Society, is a These ‘amateur’ recordings are Christopher Fifield is primarily regular Weekender, usually of remarkable quality with their a conductor and has directed among the audience but this outstanding clarity, perfect orchestras all over the world, year was on stage as a diction and freshness. from Cape Town, Sweden, Singapore and Iceland to presenter. Brian is a consultant Brian’s music was from a dozen Glyndebourne. But he has other discographer for International superb recordings of COG strings to his bow: music Record Review and formerly performances between 1955 and historian, author, broadcaster worked for Gramophone. 1990 of operas by Mozart, and lecturer. His work for the As a member of the LSO Chorus Beethoven, Berlioz, Verdi, Swedish CD Sterling label and The Chelsea Opera Group Stravinski, Gershwin, and concentrated on unfamiliar, (COG) for over 50 years, Brian Tchaikovsky. The extracts under- (or even un-) performed has sung in many operas and featured artists that were to works. He entitled his talk concert works. His presentation become famous names and Brian Recording unknown Romantic covered the background and gave a fascinating background repertoire and invited us to activities of COG and featured story to each item. Every one Follow the conductor’s downbeat several of its archive was a musical jewel but, for this view. recordings. writer, the highlights were: His music items were all COG was founded almost 60 *April Cantelo, (sop) singing Padre, excerpts from his own years ago, the brainchild of germani from Mozart’s Idomeneo; recordings with Sterling, David Cairns the well-known conductor Colin Davis (1955) rehearsed and recorded in very author and authority on Berlioz, *Jack Irons & Anne Pashley in a long takes in order to preserve and the oboist Stephen Gray. duet from Beethoven’s Fidelio; the structure of the work. He David found the soloists and conductor, James Loughran(1963) emphasised that trust between Stephen the orchestral players *Adrian de Peyer’s Where art thou the orchestra and the engineer and conductors. A very young Venus? from Stravinski’s The Rake’s was of paramount importance. and talented conductor until Progress;cond. R. Norrington (1969) The rarely heard composers 1957 was one Colin Davis. After *Willard White singing Oh Bess, that Christopher introduced he left COG, Davis returned Where is my Bess? From Porgy and were: occasionally, mainly for Berlioz. Bess; cond. Simon Rattle (1976) In the very early days COG gave Frederic Cliffe (1857-1931), *A galaxy of stars in the quintet a Bradford born piano/organ mostly Mozart operas, and they Wer ein holdes errungen from prodigy. At the age of 16 he usually sing works in the original Fidelio; cond. Colin Davis (1975) language. accompanied the Bradford Brian’s presentation was full of Festival CS when Sullivan was Platform for young artists anecdotes and information as conducting his own Light of the The idea was partly to have fun well as wonderful music. If only World. Sullivan suggested that but, more importantly, also to these recordings were available Cliffe apply to NTS (which give young artists the on general release! became the RCM in 1883). opportunity to play and sing in There he studied with Prout and

4 OUT & ABOUT

Stainer and in 1883 was movement, where everything Lady Solti talked of her late appointed a professor of piano. stops for a solo double bass husband’s life and work as a Cliffe wrote the March for the cadenza. The score carries the renowned conductor and told of coronation of George V in 1911 instruction: Here the double her first meeting with Georg but, apart from a few songs, he bass becomes sentimental! Solti. This was in 1964 when, as left only six works, including his Andreas Hallén (1846-1925). Valerie Pitts, she went to Symphony no.1 in C minor. After Hallén studied in Germany under interview him about Wagner’s its première in 1889 the Daily the three Rs: Rheinberger, Ring Cycle for a BBC Arts Telegraph wrote of it: “(it is) Reinecke and Rietz and took the programme. Lady Solti doubted whether musical Wagnerian gospel back to his described this meeting as a history can show on any of its native Sweden. We heard this coup de foudre and they were pages the record of such an in part of his Music of the married in 1967. opus 1. The symphony is a Spheres, which recalls the Sir Georg was born in Hungary masterpiece.” Christopher Prelude to Wagner’s Lohengrin. and studied piano and began and ended his Christopher also played Hallén’s composition in Budapest until presentation with extracts that Elf’s dance in the moonlight, a the start of World War II, covered all movements of this miniature very reminiscent of when he went to Switzerland, accessible romantic work. Mendelssohn. Of this composer aged 24. There he supported Sandwiched between were: Christopher said: “If he sounds himself by teaching and playing Xaver Scharwenka (1850- like other composers, so what? the piano. Lady Solti said that 1924). Of Czech/Polish We can still enjoy the music.” for the following nine years he parentage, this composer was And we did! But the appeal of couldn’t really get started primarily a renowned pianist who the music was only part of it; musically and “was always once appeared 22 times in Christopher’s pithy humour catching up.” By the end of the London in one season, including added zest to a most revealing war he had become known for being hauled out of the audience and enjoyable presentation to his dynamic flair and in the to play Beethoven’s Emperor an audience who eagerly early 60s was appointed Music concerto when the scheduled purchased the Sterling label Director at Covent Garden. soloist failed to turn up! He was CDs that were available. Long association with Decca represented by excerpts from John Culshaw of Decca first saw his only Symphony in C minor, Lady Valerie Solti & Solti in 1946 and later decided which Christopher described as Edward Greenfield that this vital, free-spirited being “lush, like lying in a bath conductor was the man he of Barbara Cartland pink!” wanted to record The Ring. Later we heard a charming piece Thus began a long collaboration by his older brother, Philipp between Solti and Culshaw and Scharwenka: Shepherd’s Song we heard excerpts from some from his symphonic Arcadian of the remarkable recordings Suite. that they made. Franz Xaver Schnyder von First was the marvellous Kirsten Wartensee (1786-1868). His Flagstaad singing Fricka in the stylistic influence came from 1958 production of Rhinegold in Beethoven showing formal The highlight of Saturday Vienna. Although in her late classical structure. His afternoon was a conversation 60s she still had a powerful Symphony no. 3 (Military) posed between a remarkably youthful voice and could hold a the intriguing problem of how to Lady Valerie Solti and FRMS beautifully sustained note with finish a work efficiently! We President Edward Greenfield. no hint of vibrato. Edward heard the end of the first Greenfield referred to her as

5 OUT & ABOUT an example of “those wonderful Julian Lloyd Webber and had insisted that they be old war horses among the played as written! singers of old, who had a special Further commissions followed as magic not found today.” Julian's career prospered and Another notable recording from he described how he had the Solti/Culshaw association hesitatingly asked the elderly was Richard Strauss’ Salome and nearly blind Joaquin Rodrigo with Birgit Nilsson singing the for a concerto. Rodrigo had title role. responded with a work that was Servant of the composer immediately accessible and of Solti considered the role of The Saturday evening session great vitality. Much more conductor to be the servant of featured the inspiring cellist recently, there was a concerto Julian Lloyd Webber the composer. Lady Solti told talking to from Philip Glass, written for Paul Guinery, th us that he drove himself hard a familiar voice to Julian’s 50 birthday. Julian . and would work for about two listeners of BBC Radio 3 played extracts from both of years on a new work. He had Julian began by talking about his these commissions. the ability to create the same family background. Both parents This led to a discussion about tension in a recording as in a live were musical: his father, cello works, music in general and performance. His sympathetic William Lloyd Webber, was a the recording industry in understanding of Elgar and teacher, composer and, later, particular - all of which are Mahler was heard in the Director of the London College hard-driven by commerce to the wonderfully controlled last of Music, and of course, he has detriment of music. Paul and movement of Symphony no. 1 by a well-known brother. Julian agreed that there are Elgar and the Veni Creator When he was four years old his probably 10 great cello Spiritus from Mahler’s mother began to teach him concertos that are played Symphony no. 8. piano but "pounding the keys" frequently, 10 very good

Georg Solti was renowned for (as he put it) did not appeal to concertos that are played his interpretation of the him especially. His musical occasionally and about another

Beethoven Symphonies, which awakening came when his father 100 fine works that are never he recorded three times, and took him to a recital by played. Three highlights among Lady Solti played the finale of Rostropovich. From then on, and those that we did hear were: the 9th (Choral) Symphony, inevitably, "it had to be the *Frank Bridge’s almost forgotten conducted at a lick with the cello" for him. His lessons began Oration. This was Julian’s first orchestral recording and he Chicago SO. Asked about in earnest at the age of 13, considers the work one of the great Solti’s attitude to Mozart, Lady followed by studies at the Royal pieces in the ‘cello repertoire. Solti quoted Sir Georg’s College of Music and the *Britten’s Cello Symphony, which observation that: ”Mozart’s insecurity of a professional Julian considers his best recording. career. music is the manifestation of It was conducted by Neville Spiritual Being.” His first success came with Mariner at the Academy of St It was a memorable afternoon, Variations on a theme for cello Martin-in-the Fields. not only for the fine quality of and rock band composed by his An item from the Edwardian era, the recordings but also for the brother Andrew and well known Rasbach’s Trees and on Julian’s last reminiscences of Sir Georg by to a wide public as the recording in 2006. Lady Solti and the President. introduction to the South Bank The conversation ended all too These gave the audience the Show. Asked if there was much soon and received a well opportunity to appreciate once improvisation in his performance deserved round of applause and again the enormous contribution of the piece, Julian replied that the presentation of bottles of the Maestro made to music. Andrew had written every note wine to each guest.

6 OUT & ABOUT Brilliant young pianist opportunity to demonstrate to with consummate ease and the full her mastery of moving interpretation. from Beijing technique and interpretation. She received tremendous Didi began with two contrasting applause and delighted her Sonatas in A by Domenico audience with an encore, Scarlatti, the slow romantic Sibelius’ Impromptu. There is K208 and the lively, almost no doubt that many of us, in the impish K209. Scarlatti was not-too-distant future, will be considered the most modern able to boast that “I heard her among his musical contempories, before she was famous!” that included Bach, Handel and Jim Bostwick produced a CD of Rameau. Burney wrote: her performance, made from a “Scarlatti hazarded notes of recording by one of our taste and effect at which other After Sunday breakfast, taken technical engineers, Antony musicians have but just arrived.” more leisurely than usual, the West-Samuel. If you would like Next, a lyrical performance of morning began with the a CD (some 75 minutes of Mozart’s Sonata in F, K332, customary recital given by an superb music for just £5) which was one of a set of three, artist in association with the please contact the FRMS published in Vienna in 1784. Birmingham Conservatoire. This Treasurer, Graham Kitely, year it was a recital by the With a dazzling virtuoso whose details are at the back of charming and most gifted performance of Didi showed the Bulletin. pianist Di Xiao, Didi to her Schubert’s Impromptus 3 and 2, friends. op.90, with contrasting serene Technical Forum and exhilarating passages, to be Didi was awarded a scholarship After the Sunday afternoon tea among his most attractive to Birmingham after graduating break FRMS Technical Officer, works. as top student at the Central Philip Ashton, hosted a Conservatory of Music in Next, by contrast, the colourful discussion for those who Beijing. She was awarded a full Spanish atmosphere of Albeniz’ understand the finer points of scholarship to stay on for her Evocation from Iberia Book 1. recording technology and other related mysteries. His Master’s degree in piano Chopin’s Ballade in F minor, introductory talk covered four performance, and studied under op.52 is often considered to by main topics: the distinguished Professor Qi the most intense and technically *Blu-Ray and HDDVD and DRM Fang Li, graduating with one of demanding of his Four Ballades. *HiFi/Theatre Systems without the highest marks in the history Didi played this work with connecting cables of the Conservatory. confident conviction, and great *Notes from the Bristol HiFi Already highly acclaimed for sensitivity for the dramatic exhibition held in February her concert performances in contrasts of light and shade. *Transmission Line Speakers. the UK, Didi has been accepted The final item was a superb Philip announced that Warner for the Rising Stars performing rendering of Ravel’s Miroirs, has stopped producing series for 2008/9 and will with sharp dynamic and textural HDDVD/records and will appear in Amsterdam, Athens, contrasts. produce commercial recordings Baden-Baden, Brussels, Cologne, This was a truly stunning and in SACD/Blu-Ray. He believes Salzburg, Stockholm and Vienna. flawless recital by a young that DRM technology will not Didi enchanted her audience artist on the threshold of her feature prominently in Europe, with her sensitive virtuosity and career. Didi’s diminutive size the main use probably being in artistry. Her varied repertoire, bears no relation to the power Australia, South and East Asia outlined below, gave her the of her playing, which she does and Africa.

7 OUT & ABOUT

He went on to the main part of has many documentary *Thomas Beecham introducing his talk, which looked at the programmes to his credit. He Mozart’s Marriage of Figaro to an latest developments in virtual has been associated with overseas audience as: “The most incomprehensible, most inscrutable surround sound. He explained Birmingham’s Symphony Hall for and finest comic opera ever the theory and described many years, first as Special written.” various techniques for building Projects Manager and now as This master of the art of virtual surround systems. After Music Advisor. He is a long- balancing information with describing items of HiFi standing friend of the FRMS comedy educated and equipment displayed at the and RMS groups and a welcome entertained us, giving a perfect WHAT HiFi exhibition, Philip return speaker at Daventry. end to the weekend. described transmission line Lyndon began by saying that he loudspeakers and compared preferred to be considered as Au Revoir various makes. These are “having the last word at the complex and potentially weekend, rather than as the expensive and therefore not bitter end!” Thus began an amenable to mass production. unusual presentation spiced with Before opening the discussion his own brand of highly amusing Philip ended with a mini disc comments. Under the heading recording of a short extract Who said that? Lyndon’s Chairman John Davies is not from a VOX mono HiFi disc, programme consisted of rare baying to the moon but is closing circa 1953, explaining exactly and unusual recordings of words the weekend in front of the what HiFi is all about. and music and we were invited stage backdrop. To hearty Ed’s note: I realise I have nowhere to guess who was speaking. applause from the audience, he near done justice to Philip’s *First was a nostalgic recording of warmly thanked the many people comprehensive address but will be Peter and the Wolf, narrated by involved in its great success, very happy to send a copy of his the inimitable Wilfred Pickles. particularly Graham Kiteley and complete talk to any reader who *Malcolm Sargent conducting and Tony Baines, the organisers. would like to know more. narrating Benjamin Britten’s Young Thanking delegates for their Person’s Guide to the Orchestra; Having the last word! *Robert Donat reciting from enthusiastic support he bid Rawsthorne’s Practical Cats; them Au revoir until next year. *Noel Coward reading verses from OBITUARY an Ogden Nash poem that was the The Loughborough RMS regrets to inspiration for Saint Saens’ Carnival report the death of Miss Doreen Roe, of the Animals; one of its longest serving members. *Antony Hopkins reading the lovely sunset poem from Under Milk Many outside our own music society will know Doreen as she attended Wood; many of the FRMS Music Weekends. *Eric Fenby describing how he and She was always a very active member Delius worked together; After his dynamic duo with of our society, Secretary for 10 years *A highly amusing extract from the before 11 years on the committee as John Lill that started the three Anna Russell Album, in which the Social Secretary. days of musical festivity, it fell comedienne describes the Apart from performing these offices, to the popular Lyndon Jenkins Valkyries; she was involved with everything the to end the weekend’s *The composer Vaughan Williams society did. She would help anyone in presentations. Lyndon is a well- beginning his thanks to Sir Adrian time of need, and it is for this that known writer, lecturer and Boult and the orchestra at a Doreen will be remembered by recording of his symphonies : members, and all who knew her. broadcaster. Specialising in “…gentlemen, and I include the lady Ray Wainwright Sec. Loughborough RMS British music, British artists harpist!” and British musical history, he

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7711 OUT & ABOUT – Regional and Society News West Middlesex Group illustrate specific points. Instead, the audience Festival of British music was treated to a live and dazzling exposition of a th Alan Ball, Roger Hughes and Denis Jiggins most popular 20 century work, Rachmaninov’s nd presented the 11th of the biennial West Middlesex 2 Piano Concerto in C minor, op.18. Festival on 2nd April and a further six evenings The performers were two brilliant young pianists from 16th October to 20th November 2008. Each from Royal Tunbridge Wells, Anthony Zerpa- Society within the Group (Ealing, Perivale, Falcon and his partner Jong-Gyung Park. Hayes, Uxbridge, Ruislip, Ickenham and Heston) Seated side by side at two Yamaha grand pianos, hosted an evening to provide a wealth of music by they did so much more than merely perform the British composers. There was a sad overtone to music. One with a piano reduction of the full the April programme, which was brought forward orchestral score and the other with the solo part, because the host society, Ealing RMS, was they casually and effortlessly changed places from closing down at its AGM later that month because time to time, presenting and discussing the work of declining membership. Nevertheless, Ealing in the order of its composition. They started with gave us an excellent evening to end its 60 happy the famous slow movement, then the Finale, years as a society. followed by the opening Moderato. The preface to the festival brochure explains that Both pianists clearly take an unromantic and the theme title, Land without Music, was taken unsentimental view of the work and showed how from a scathing remark made by a German critic it gains in strength and firmness of structure when just over 100 years ago. Commenting on the the composer’s markings are followed precisely, English cultural scene, he claimed that England without unnecessary and unauthorised rubatos, was “Das lande ohne Musik” (the land without rallentandos and other soupy flourishes. music). Furthermore, Heinrich Heine, who was Their firm grasp of Rachmaninov’s intentions and touring England in the 1840s, said: “These people their clear interpretation of his score made one have no ear either for rhythm or music. Nothing almost feel the presence of the composer himself, on earth is more terrible than English music, guiding their brilliant performances and endorsing except English painting.” what they had to say. Anthony Zerpa-Falcon and These provocative statements were a challenge to Jong-Gyung Park played the music and discussed the three presenters to prove those critics wrong it in a way that was neither formal nor academic. and judging from the programmes they did so Indeed, their exchanges were full of gentle with a vengeance. A wonderful selection of teasing, spontaneous wit and good humour that works from some 50 composers covered all added to the charm of a most rewarding and very genres: from large orchestral works to chamber well spent musical evening. Robert Hardcastle. music; compositions for solo instruments from Kettering & District Jubilee harp, piano and wind instruments; oratorio to folk songs and even Flanders and Swann got a look in! Among some well-loved and familiar music there was a great deal that was new and exciting. Our thanks to the three organisers who provided programmes that were not only extremely enjoyable and informative but also opened some new musical doors. And they certainly gave the lie to those critics! Rachmaninov Revealed Goudhurst meeting with a difference May Abbot (left), 95 years young and the longest serving member of Kettering & District RMS, and Mary Cranbrook School generously placed its splendid Underwood cut the Golden Jubilee celebration cake. new music room at the disposal of Goudhurst Kettering & District RMS was founded by John RMS and in doing so made possible a musical Butcher and Derek Bradshaw on 12th March 1958, evening of exceptional interest and value. For with advice from John Bulman on its formation once recordings were used only briefly, to and affiliation to the then NFGS. Meetings

12 OUT & ABOUT – Regional and Society News started in the Kettering Technical College but of moving house in Malvern she gave Tony a soon moved to the George Hotel, where we met dusty package of manuscript scores. When he until 1988 when we moved to our current meeting returned home he was rather excited to discover place, the refurbished Corn Market Hall. that, mixed in with some original compositions by Our Jubilee party on Wednesday 12th March was Alder, there were several pages in a different the exact 50th anniversary of our foundation. We hand. One of these was headed Sonata for Piano th welcomed the Mayor and Mayoress of the and Horn, dated 30 January 1901 and dedicated Borough of Kettering and also one of the founder to George Allaby Alder by E. Arnold Trevor Bax. members, John Butcher, with his wife Meryl. Sorting out more pages, Tony discovered a two Unfortunately Derek Bradshaw was unable to be movement Sonata in E major for clarinet; it had with us but we were delighted to welcome him to no dedication but was dated April 1901 and our meeting a fortnight later. autographed by Bax. Representatives from local Societies were present The scores were eventually assembled and shown and Mick Birchall represented the FRMS as its to Graham Parlett, a well-known orchestrator and Vice-Chairman. Members of the Committee an authority on Bax. He confirmed that these presented music that symbolised the five decades works were quite unknown and, moreover, are of the Society and Jocelyn Pack, our Chairman now considered to be Bax’ earliest adult Brian’s wife, mounted an interesting display of compositions. He introduced Tony to Lewis Society memorabilia, which included photographs Foreman, an eminent musicologist and Chairman of our 10th and 25th anniversaries. There was also of the Bax Trust, which owns the copyright. Mr. a collection of sound reproduction equipment, Foreman quickly contacted the principal ranging from a wind-up gramophone (formerly clarinettist of the (then) BBC Welsh Symphony belonging to John Bulman) to a reel-to-reel tape Orchestra, Robert Plane. By pure coincidence, recorder, cassette recorder and a 2009 iPod. Plane was preparing to make a recording of all the early chamber works by Bax. In the meantime, At the buffet supper the Mayor proposed a toast to using computer technology, Tony had made exact the Society and presented a signed facsimile of facsimile copies of each page -–with permission! the Borough Coat of Arms; Mike Birchell responded to the toast. The celebration cake, Robert Plane and Benjamin Frith gave a private shown in the photograph, was suitably decorated first performance of the Clarinet Sonata at the with a horn gramophone and a CD. All in all, a Royal Academy of Music. Later they recorded wonderful celebration to launch us on the next the beautiful lilting phrases and melodies for half century! Michael Guest. Naxos together with four other early chamber works by Bax. (1)The Clarinet Sonata in E was Rare presentation at Radlett played during the evening to much acclaim. The following is Tony Dutton’s report of an interesting account he gave to Radlett Record Society of how he To date, the horn sonata has not been performed discovered three hitherto unknown and unpublished or officially recorded but arrangements are in works by Arnold Bax and the events leading up to the progress. All the original scores are now in the first recording, in 2006, of one of those pieces. British Library, carefully stored with most of Bax’ In September 1900 the Royal Academy of Music, other manuscripts. © J. A. Dutton London, admitted two pupils who became firm (1) BAX: Clarinet Sonatas (1901 and 1934). Piano Trio. friends. One of them was Arnold Bax who was to NAXOS 8.557698 become world famous. The other, George Allaby Two that slipped the net –almost! Alder, who was Mr. Dutton’s uncle, achieved Unfortunately, two news items intended for the last only local fame. issue had to be held over but, better late than never, I am glad that they can be included this time. Ed. In the summer of 1901 Bax was invited to stay Ickenham Gramophone Club with the Alder family in Malvern and it is recounted in Bax’s autobiography and also The club was formed in May 1947 and a special Elgar’s biography that they visited Elgar, who get-together was held in July 2007 to celebrate its th was a family friend of the Alders. 60 anniversary. Guests from the West George Alder’s only daughter was Tony Dutton’s Middlesex Group, namely, Ealing, Hayes, Heston, cousin and while she was in the daunting process Perivale, Ruislip and Uxbridge gathered at the

13 OUT & ABOUT – Regional and Society News home of Olive Smith on a (rare!) fine evening to President of Horsham RMS relax informally in her spacious garden. 90 years young No music was played but a quiz was organised Horsham RMS was formed 78 years ago and its and the most enjoyable evening ended with a President, Peter Dinnage, has been an extremely champagne toast and cutting a suitably iced home- important figure in its growth and development. made fruit cake, generously provided by our Since he joined the Society 45 years ago Peter Chairman Roger Hughes’ wife, Chris. has been very active in many capacities and still Long-serving Secretary at Epsom RMS works hard for its continued success. He reached Peggy Dubois has been the Secretary of Epsom his 90th birthday last January, which was th RMS for over 50 years and on 14 July 2007 celebrated at the Society’s annual party the same members recognised her long service with a month. For many years he attended Federation lovely lunch at the South Hatch Restaurant near events and was well known to the organisers. Epsom Downs. Peggy was the guest of honour Morris Stanton, Sec. Horsham RMS and the picture shows her receiving a surprise gift. Special guests were ERMS President, Peter Gammond, and his wife Anna. Would you like to be a Friend ? If you are interested in the Federation of Recorded Music Societies (FRMS) and its activities, but for various reasons are not able to join an affiliated Society, you might like to become a Friend of the FRMS. For an annual subscription of only £5.00 you will receive two issues of the Bulletin, a regular newsletter and advance details of the annual Music Weekend and AGM. For further details contact Allan Child. Tel: 01332 332649

Why not come to Torbay to meet old friends or make new ones at The 2008 Friends of Torbay Musical Weekend? From Friday 21st to Sunday 23rd November

at THE PALACE HOTEL TORQUAY

The programme includes Gregory York, Edward Clark, Ian Pillow, Colonel Malcolm Torrent, Terry Barfoot, Mark Lowther, Gwynn Parry-Jones, John Leeman and our own Bob Hardcastle and Peter Gammond. Also a recital by the Martin Gatt Wind Trio

Weekend, daily or session bookings available Contact: Chairman, Friends of Torbay, 78 Camden Park, Tunbridge Wells, TN2 5BB telephone 01892 526610, email [email protected]

14 REVIEWS New, nostalgic & historical from Dutton Dutton’s latest issues on its Epoch and Historical labels encompass light music; compositions for flute; ballet music and a miscellany for solo piano, as well as beautifully remastered classics British Light Music Premières, vol. 5 An interesting and well balanced collection of works by five 20th century composers: *Tricolor Overture (1988) by from the legendary composer of film music, Roy Budd (1947-93). *Aquerelles (Portraits of Five Children) (1950) by Francis Chagrin (1905-1972) was first scored for solo piano and later for strings, the version recorded here. *From Paul Carr (1961-): Concerto for Oboe & String Orchestra (2007), lively and evocative, with a poignant slow movement, The Unusual Quietness of Snow. Also his haunting Air for Strings, with a theme to rival Barber’s Adagio. *The soloist Verity Butler commissioned the Clarinet Concerto (2003) by Gavin Sutherland (1972-). * From Richard Addinsell (1904-1977), Ring Round the Moon (1949) a suite for Anouilh’s play of the same name. Epoch CDLX 7209 Fire Island –Music for Flute The renowned flautist, Anna Noakes, and Caroline Palmer, piano, are featured in compositions that demonstrate the lyricism and versatility of the flute: *Sonata for Flute & Piano -Fire Island (1992) and Sonatina for Flute & Piano (1991) by conductor Martin Yates (1958-). Compared to the virtuoso sonata, written for and dedicated to Anna Noakes, the sonatina is a lighter and more melodic work. *The Moon Dances (2003) for flute & piano, which contrasts aspects of dance, and Not Just a Place (1999), a lovely arrangement for flute, piano and cello (originally for viola, double bass and piano) by award- winning composer Cecilia McDowell (1951-). *Golden Sunset ((2003) for solo flute and flute ensemble by David Heath (1956-) was inspired by and dedicated to the flute maker Albert Cooper. Heath is an adventurous composer and this exciting innovative work has strong rhythms and elements of modern jazz. *Oblivion (1984) by Astor Piazzolla (1921-92). This slow, sultry work from the Argentinean composer and bandleader exemplifies his rhythmic style, synonymous with the tango. Epoch CDLX 7210 Richard Arnell – ballet music Born in London in 1917, Richard Arnell visited New York in 1939 where he was stranded during World War II. He quickly established his reputation as an important young composer and continued his prolific output when he returned to

15 REVIEWS

London in 1947. For the first time on CD are two delightful ballets commissioned by Sadler’s Wells and not heard complete since the 1950s: 1(: *The Great Detective (1953) is a comic ballet in three '87721 scenes inspired by Sherlock Holmes’ exploits. *The Angels (1957). With a powerful intricate +,6725,&$/ structure in the symphonic idiom, this work is more than mere entertainment. Epoch CDLX 7208 Billy Mayerl – a miscellany for solo piano Toes will start tapping at Leslie De’Ath’s masterly performance of Billy Mayerl’s syncopated piano music that was at its height of popularity in the 1920s and 30s. This splendid recording gives 24 miniature gems, beginning with Leprechaun’s Leap and ending with the only (15,48()(51É1'(= *(50$1&20326(56 piece that is not Mayerl’s own work: his $5%Ð6&21'8&76$5%Ð6 &21'8&7 27+(563$1,6+&20326(56 .QQHNH7lQ]HULVFKH6XLWH arrangement of Phil the Fluter’s Ball. It also $UEyV1RFKHGH$UDELD %(5/,13+,/+$5021,&25&+(675$ GH)DOOD7KH7KUHH&RUQHUHG+DWH[FHUSWV 6FKUHNHU/LWWOH6XLWHIRU&KDPEHU2UFKHVWUD includes a longer poem, The Forgotten Forest, $OEpQL]6XLWH,EHULDH[FHUSWV 1DYDUUD %(5/,13+,/+$5021,&25&+(675$ *UDQDGRV'DQ]D(VSDxRODQR *R\HVFDV 6FKLOOLQJV0RQD/LVD scored for piano and orchestra. As De’Ath writes 67$$76.$3(//(%(5/,1 7XULQD/DSURFHVLRQGHO5RFLR (JN-RDQYRQ=DULVVD in his full accompanying notes: “This is light 'DQ]DV)DQWDVWLFDVH[FHUSWV 25&+(675('(/¶23e5$3$5,6 %UHWyQ3RORJLWDQR (QOD$OKDPEUD 6LHJIULHG:DJQHU 0$'5,'6<03+21<25&+(675$ music at its finest.” Epoch CDLX 7211 &'%3 7ULVWDQXQG,VROGH9RUVSLHOXQG/LHEHVWRG 25&+(67(5'(567$$7623(5%(5/,1 &'%3 Dutton Historical Four expert transfers on the Historical label are: *Enrique Fernández Arbós conducting the Madrid Symphony Orchestra with his own Noche de Arabia and works by other Spanish composers. CDBP 9782 *The Busch Quartet Play Beethoven – Vol. 3. The legendary ensemble give inspiring performances of Quartet No.7 and Quartet No.12, first recorded during the 1930s and early 40s. CDBP 9786 %$6,/&$0(521 7+(%86&+48$57(7 *A compilation of rare 78 rpm discs bring together five (5,&+/(,16'25)&21'8&7 3/$<%((7+29(1 6,%(/,866<03+21,(6 92/80( German composers of the inter-war years playing their 6\PSKRQ\QRLQ'PDMRURS 4XDUWHWQRLQ)PDMRURSQR %DVLO&DPHURQ FRQGXFWRU ³5DVXPRYVN\QR´ own works. From 1929 recordings are: Eduard 6\PSKRQ\QRLQ(ÀDWRS 4XDUWHWQRLQ(ÀDWPDMRURS .DUHOLD6XLWHRS$OODPDUFLD &'%3 Künneke and his Tänzerische Suite; Franz Schreker’s (ULFK/HLQVGRUI FRQGXFWRU 92/80(&'%3 67,// Little Suite for chamber orchestra, and extracts from /21'213+,/+$5021,&25&+(675$ 92/80(&'%3 &'%3 $9$,/$%/( Von Schilling’s opera Mona Lisa. Siegfried Wagner also conducts the Prelude and Liebestod from his 1(:XQECNKQP father’s Tristan and Isolde. CDBP 9787 * Two acclaimed conductors, Basil Cameron and Eric Leinsdorf conduct the London Philharmonic Orchestra in superb interpretations of music by Sibelius: Cameron was admired for his understanding of Sibelius and often visited the elderly composer. Here he gives an authoritative direction to Symphony No.2 in D major, Op.43. Although Leinsdorf was not regarded as a Sibelius 086,&)5207+(029,(6 )/276$0 -(76$0 specialist, the LPO and also the public considered this )($785,1*%5,7,6+029,(6 ´0867,7$/:$<6%(62"µ 2ULJLQDOPXVLFE\-RKQ9HDOH ,QFOXGLQJ:KDWZDVWKHPDWWHUZLWK fine 1946 recording of Symphony No.5 in E flat, op.82 5DOSK9DXJKDQ:LOOLDPV 5DFKPDQLQRII"/LWWOH%HWW\%RXQFHU 6LU:LOOLDP:DOWRQ:LOOLDP$OZ\Q 2QO\DIHZRIXVOHIW6FKXEHUW¶VWR\VKRS a great success. Side two contained the Alla Marcia -RKQ,UHODQG3KLO*UHHQHWDO 6LPRQWKHERRWOHJJHU$%ULWLVKVSHOOLQJVRQJ &'($ 5HFRUGHGEHWZHHQ from the Karelia Suite, all recorded in one day! &'($ In both recordings the empathy between the respective %X\GLUHFWIURPZZZGXWWRQYRFDOLRQFRXN WRH[SHULHQFHRXUZRUOGFODVVPDLORUGHUVHUYLFH conductors and the LPO is obvious. Each conductor 2UGHUVQRUPDOO\GLVSDWFKHGVDPHGD\RQLQVWRFNLWHPV had his own distinctive style but their rapport with the 'XWWRQ_32%R[_:DWIRUG:'<$ players resulted in exciting and outstanding 7_LQIR#GXWWRQYRFDOLRQFRXN performances reproduced here with Dutton’s superb technical expertise. CDBP 9787

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Musical Events: Winter, 2009.

Enjoy music more by meeting other music lovers at a weekend house party. Arts in Residence offers themed musical weekends discussing and exploring the music of the great composers while staying in characterful houses and hotels, with lectures illustrated by music examples on excellent hi-fi equipment.

23rd - 25th January: Bartley Lodge Hotel, Cadnam, New Forest Bartley Lodge is a splendid Grade II listed country house hotel set in the heart of the New Forest, in acres of grounds. The Grand Baronial Hall will be the location for our meetings.

‘Heroes and Villains’ The weekend will focus on operas by Janáek (Jenufá) and Verdi (Rigoletto), alongside orchestral music by Prokofiev, Weber, Wagner and Liszt. with Terry Barfoot

20th - 22nd February: The Angel Hotel, Midhurst, West Sussex The Angel Hotel, a former coaching inn, is located in the centre of the characterful Sussex market town of Midhurst, situated in the beautiful South Downs countryside.

‘Beethoven in Vienna’ The featured music will include the Fourth and Sixth Symphonies, the Fourth Piano Concerto and Triple Concerto, as well as chamber music and piano sonatas. with Terry Barfoot and Peter Rhodes

For information and booking contact: -

Arts in Residence, 25, Mulberry Lane, Cosham, Portsmouth, PO6 2QU

Price: £270.00 per person (twin/double rooms), £295.00 (single rooms) to include course fees, two nights accommodation, all meals, wine with dinner and beverages.

£50 DEPOSIT ON BOOKING FULL PROGRAMME DETAILS AVAILABLE

www.artsinresidence.co.uk tel: 02392 383356 email: [email protected]

20 " - ! " ! %') ! 3 3 " .3 3 3 # / 0 $$ %% , + , & & '()! 2! % & '(* + ! , -, ++ , , + # & ! " !5 3 3 + , & '(* + + '*'! ! " " ! + -+ + '*'./ !'0 + + # ,. # ;0 & '*! + + # , + ;"+ " #$ " ! % ') + ! + *+ 1 '( , + 5 < 2 3 33& ,+ , & = + ! 1 & ! 2 " 2 , ! 5 & 2 - ! + , "-+ + ! -+ 5 7 .;0 # '*> , & '*) + + , 27 '> 4 & !5% 7 + + + '>! 2 % + !% < = $!$! + , (,! '') + & % , # & + , , + & ! , , ,+ ! '* + , + 6 6 # +! , , !2 , # , '') + + + ! % & " + + + 27 ''8 9: ! % , , # ! , ,

21 Evelyn Barbirolli A personal memoir by Lyndon Jenkins, Music Advisor, Symphony Hall, Birmingham first met Evelyn in 1955 when like royalty. That little restaurant Symphony Hall to play the I Sir John Barbirolli brought the just off Abbey Road that she Brahms symphonies over a Hallé to the festival in my loved so much, where we would weekend. Knowing of Evelyn’s home town of Swansea but it was go around her birthday time, was affection for the conductor, I invited her to come as our guest. not until well after his death that one. And in Worcester, watching She could have gone to hear the we were introduced properly - I from a restaurant window as the concerts in London, but she often think it was when she narrated swans floated majestically on the preferred the provinces: “Besides, Peter and the Wolf at a concert in Severn, was another. I had not that music will sound so good in Manchester. said who she was, but afterwards your Hall in Birmingham!” she From then on we were in regular the owners wanted to know. said, and that clinched it. We touch. Wherever I went, I’d send ‘Yes’, they said, ‘we knew she must were lunching quietly together on a postcard, which she always be somebody.’ the Saturday when who should acknowledged. This was the last In Manchester, of course, she was walk in but the Maestro himself: thing I wanted her to be bothered royalty, as we saw on that it was easy to sense the warmth between them. She was on to do so I took to telephoning such sparkling form that day a few days later so there was that I sprang a suggestion that no need for her to respond. In we might do a talk together return she would occasionally before one of the concerts. send me a card, when she was ‘Oh, how lovely!’ she said on one of those cruises she without hesitation, and a enjoyed so much. simple leaflet handed out at When I felt I knew her well the first concert was enough to enough I asked her to speak to ensure a full house for her at the second. music clubs and societies and at other events. She came to Her reminiscences of the Delius Society during my Glyndebourne, the Hallé days chairmanship, to Worcester for and much else were hugely enjoyed and, not surprisingly, an Elgar festival and twice to a there was a standing ovation FRMS weekend. Everyone Sir John and Lady Evelyn Barbirolli for her at the end. She took knows she was worth her my arm to make our slow exit weight in gold on such occasions. memorable night marking JB’s centenary in 1999. Hallé from the stage, and when we got Her totally selfless side showed personnel from his time joined to the side the innate performer in one year when the Federation her, Daniel Barenboim and her caused her to half turn to give found itself with a defecting Michael Kennedy in an evening the audience a last wave with her principal guest. She answered of delightful reminiscence. It was stick. I’m sure she didn’t even my cri de coeur immediately with a privilege for me merely to try to notice how the applause almost doubled in volume. I suspect that a ‘yes’; she came and she keep them in order, but Evelyn many people there that evening conquered. Edward Greenfield was enthralling, full of those probably felt that they were and I were so grateful. When we fascinating little details and features that were so much part seeing her in Birmingham for proposed sending a car to bring perhaps the last time. her the response was typical: of JB’s make-up. Some carried into her affectionate memoir Life But there was one more “Don’t worry about me, I’ll get with Glorious John, which also opportunity. In January 2005 we there!” But Stratford-on-Avon is contains a transcript of that devised a day of concerts, films not the easiest place to reach by anniversary evening. It was a and talks to mark what would train, especially at a weekend, pity that her publishers let her have been Jacqueline du Pré’s 60th and we were able to persuade down with poor proof reading. birthday. From the earliest her. “I’m not used to being treated And how typical of her that she planning stages I wondered like royalty” she protested, as she went through the copies she sent whether she might like to take got out of the car. out personally and, in her own part, but I was conscious that Jackie’s real connection was with Well, she may not have wanted it hand, corrected all the errors. JB through their renowned disc of (and she certainly didn’t seek it), A little later Daniel Barenboim the Elgar concerto. Eventually I but people always did treat her brought his German orchestra to

22 overcame my diffidence and eventually ran to almost an hour arranged for her contribution to telephoned her. Her reply took longer than scheduled. come at the end so that the my breath away. Not only would What a trooper she was! And programme could finish with her she come, but: “You won’t know kindness itself. Generous of her words merging into the that I visited Jackie regularly all time, ever thoughtful, culmination of JB’s magnificent through her illness, and ended up considerate, and always ready to Promenade performance of the feeding her from a spoon.” help with sensible and sensitive Inextinguishable Symphony. It Effortlessly, she was the high advice from her long experience. was the perfect conjunction. As I point of the day. listened, I thought: ‘What haven’t I still meet oboists who, however those two done for music in If that occasion was unforgettable advanced they might be, are England?’. for me, so was our last proud to think of themselves as appearance together, in 2006 at her ‘pupils’. The latest was And now she, too, is gone. Oxford. At lunch she seemed Joachim Dam Thomsen of the However keenly we feel the loss, tired and much less her usual Royal Danish Orchestra, in we consider how immensely communicative self, and I rather London for a concert at Wigmore fortunate we were to have such a feared for the talk we were due to Hall. “Do you think she might wonderful person among us for give at five o’clock. But when she come?” he asked me. I enquired, so long. re-appeared, refreshed from a and she would have done so but rest, somehow she had bounced for a previous engagement: “Give back to her top form. him my love,” she said. Ed’s note: So many members of the Once into her stride there was no Another time she graciously FRMS affiliates think of Lady Barbirolli with affection and will remember her stopping her, and I felt it was one found time for a producer friend of the best of all the talks we had presentation appearance and lively of mine from Copenhagen who conversation with Edward Greenfield at done together. She brushed aside was making a programme about the Music Weekend in Daventry in 2006. any attempt I made (purely out of Carl Nielsen’s music for Danish consideration for her) to bring the Radio. He was enchanted with session to a close, and it ‘Madam Barbirolli’, and we

operas in which the singers starred. The arias are Handel & the Divas sung by Dame Emma Kirkby, who opened the Exhibition at Handel House Museum; 020 7495 1685 exhibition, and Catherine Bott. They double as the 25 Brook Street, London until 16th November 2008 famous ‘rival queens’ mentioned in the review on Tues-Sat 10 am-6 pm. £5 adult (conc.£4.50), £2 child p.18 of Hyperion’s CD, in which Kirkby sings roles assigned to Faustina Bordoni, seen in the insert(1). I went to the opening of the Handel and the Divas exhibition in April and highly recommend this as There are also displays explaining the term ‘diva’ one worth making an effort to visit. The museum and her worth. Handel would not have used ‘diva’ keeps Handel’s residence alive with music, weekend to describe his leading ladies, although he would lecture-recitals, family activities and other events. have been familiar with the behaviour coupled with The current exhibition brings to life the atmosphere the word today. There were usually two leading of the place where Handel worked with ladies in his operas, the one with the the great performers of his work and more prominent role known as the ‘prima where life was musically vibrant. donna’. The inevitable battles for precedence would be fought on and off Handel made use of the whole house. He stage. To quote: ‘Handel’s female composed, rehearsed and held informal singers captured popular imagination, performances for his friends and attracting loyal audiences and devoted neighbours on the first floor; used the fans. They were idolised. They behaved second for his bedroom and dressing badly and made extravagant demands. room and his servants slept in the garret. They were the first divas.’ From the ground floor he sold tickets for his concerts and copies of his music. In terms of financial worth, a female singer’s career was erratic. With only Throughout the house are rarely seen portraits of the verbal agreements with managers, players relied on famous opera divas of the day, each with a benefit performances and gifts from patrons and comprehensive summary of the successes, failures, admirers. A popular prima donna with social rivalries and scandals behind the singer. There are standing could reap high rewards – but only for as also original scores and other archive material on long as her voice lasted. Some of Handel’s singers display. Using audio headsets one can listen to the died in poverty. commentaries and recordings of music from the (1) Reproduced by permission of Handel House Collections Trust.

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