North York We welcome support for this event, which is why we’ve set up The North York Moors Chamber Music Festival Trust, a charitable organisation. If you wish to make a donation please download a Gift Aid form (if you are a UK taxpayer) to ensure your donation goes further. Cheques payable to The Moors 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 be made readily available as part of our annual returns to the Charity Commission. Chamber Schumann: Music A genius revealed 14 – 27 August 2016 www.northyorkmoorsfestival.com Photo Credit: Frank Harrison Festival www.northyorkmoorsfestival.com Introduction "Amongst the most impressive of its kind in Britain" North York Moors Telegraph Welcome to the eighth To our ears now, Schumann’s music would be a merely good piece of music Chamber Music Festival consecutive North York Moors resonates lyrically but in the mid 19th to a truly great one. Ultimately, all this century some of his works - and is underpinned by a painfully sensitive Chamber Music Festival, particularly those from his latter years nature and an uncanny ability to use exploring the tempestuous world - may have sounded rather disturbed, dissonance and rhythmic complexity as of that great German Romantic, undisciplined and baffling. This was tools, providing a robust ‘tautness’ to his Nominated for a Royal Philharmonic more in evidence when Schumann finally Romantic and natural talent for melody. Robert Schumann. succumbed to debilitating mental health Society Award 2011 and 2016 issues and, as his condition worsened, His wife Clara Schumann was by Central to the Romantic era when the the compositions became more tortured all accounts a remarkable woman. concept of ‘Sturm und Drang’ (storm when his introspective and almost Devoted wife and mother, she was and stress) had taken hold, Schumann claustrophobic tone found its zenith. one of Europe’s foremost pianists and Contents developed his own tumultuous style premiered most of her husband’s works Programme 4 exacerbated by what we would now refer Schumann’s split personality was which demonstrates her towering talent. to as ‘manic depression’ - or ‘bi-polar something he expressed by referring Sacrificing a performing career in order to North York Moors 6 disorder’. In his day this was called to himself (twice) in the third person: nurture their children she seems to have Visitor Information 7 ‘psychotic melancholia’ - a condition ‘Florestan' and ‘Eusabius’. They provided an equally vital foundation for he was indeed diagnosed with. Many Notes 10 represented in that order the extrovert, her increasingly troubled husband. great artists have famously suffered from impetuous side then the more introverted, Biographies 32 mental disorders and Schumann is in confessional aspects of his inner self. So let us enjoy one of music’s most Venues 43 one way fortunate to have been creative This naturally manifested through treasured composers, celebrated during a period when expressing matters every composition, particularly within throughout the world for his honesty, Acknowledgements 54 from the heart as an artist was precisely the solo piano and chamber repertoire complexity and originality. It is a journey of the point. Harmonically rooted within the where his style can become ferociously surprise and revelation we hope, one we foundations of J S Bach and stylistically passionate then simply remorseful. This musicians are here to equally relish since influenced primarily by Schubert and demonstrates a plethora of ideas from I’m yet to meet one who wasn’t fanatical Mendelssohn, Schumann’s technical a mind that was almost too unsettled about Schumann. This year’s festival is structure and deep logic within his writing to sit upon them for long. Nevertheless, about expressing purely from the heart - was fleshed out through stylistic flair and the obsessive nature of his imagination and appropriately so. harmonic genius. It is this genius we are created what’s known as idée fixes which here to explore alongside his influences develop throughout any given work, Jamie Walton and music inspired by his legacy. providing the glue that transforms what Artistic Director

Photo credit: Frank Harrison

North York Moors Chamber Festival 2016 3 Programme Week one Programme Week two

Sunday 14th August St Peter & St Paul Exuberance Sunday 21st August St Hilda’s Danby Roots 2pm Pickering SCHUMANN Kinderszenen op15 2pm BACH Goldberg Variations BWV 988 (string trio) SCHUBERT Piano quintet in A D667 The Trout* Monday 22nd August St Hilda’s Priory Cycle of life MENDELSSOHN Piano sextet in D op 110 2pm Sneaton Castle BRAHMS Variations on a theme by SCHUMANN Piano quintet in E flat op 44 Robert Schumann op 23 Monday 15th August St Helen’s & All Saints’ Ardour SCHUMANN Frauenliebe und -leben op 42 7pm Wykeham SCHUMANN String quartet in A minor op 41 no 1 Monday 22nd August St Hilda’s Priory Reverence BEETHOVEN String quintet in C op 29* 7pm Sneaton Castle BRAHMS Trio for horn, violin and piano in E flat op 40 MAXWELL DAVIES Naxos Quartet no 10 op 283 SCHUMANN Piano trio no 2 in F op 80* MENDELSSOHN String quintet no 2 in B flat op 87 MAHLER Piano quartet movement in A minor Wednesday 17th August St Mary’s Lastingham Philosophy SCHUMANN Piano quartet in E flat op 47 2pm SCHUMANN Waldszenen op 82 Wednesday 24th August St Stephen’s Reflection SCHUMANN Dichterliebe op 48 7pm Fylingdales WEBERN Langsamer Satz Wednesday 17th August St Mary’s Lastingham Folk SCHUMANN String quartet in A op 41 no 3* 7pm CHOPIN Piano trio in G minor op 8 GLAZUNOV Rêverie Orientale op 14 no 2 SCHUMANN Piano trio no 3 in G minor op 110* BRAHMS Clarinet quintet in B minor op 115 MAXWELL DAVIES Piano trio A Voyage to Fair Isle op 232 Thursday 25th August St Oswald’s Lythe Romanticism BRAHMS Piano quartet no 1 in G minor op 25 7pm SCHUMANN String quartet in F op 41 no 2 Friday 19th August All Saints’ Helmsley Turmoil ELGAR String quartet in E minor op 83* 7pm SCHUMANN Violin sonata no 2 in D minor op 121 BRAHMS String quintet no 2 in G op 111 SCHUMANN Piano trio no 1 in D minor op 63* Friday 26th August St Nicholas Transformation TCHAIKOVSKY Piano trio in A minor op 50 7pm Guisborough MAXWELL DAVIES Lumen Cognitionis op 272 Saturday 20th August St Martin-on-the-Hill Transcendence STRAUSS Metamorphosen (string septet)* 7pm Scarborough BACH Fantasia and Fugue in G minor BWV 542 (organ) SCHUBERT Octet in F D803 TCHAIKOVSKY String sextet in D minor op 70 Saturday 27th August St Hilda’s West Celebration Souvenir de Florence* 5pm Cliff Whitby BACH Toccata in F BWV 540 (organ) SCHUMANN Fugue on B-A-C-H op 60 no 2 (organ) MENDELSSOHN Overture and Scherzo from MENDELSSOHN Octet in E flat op 20 A Midsummer Night’s Dream op 61 SCHUMANN Piano concerto in A minor op 54* WAGNER Siegfried Idyll WWV 103 TCHAIKOVSKY Adagio and Allegro brillante from Schumann Symphonic Etudes op 13 *Interval follows *Interval follows BRAHMS Hungarian Dances nos 4 in F# minor, 2 in D minor and 1 in G minor 4 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 5 North York Moors Visitor Information

The North York Moors is a of about 25,000. The North York Moors of differences in the underlying geology About 10,000 years ago the cold Car Parking Getting there by Sat Nav became a National Park in 1952, through and each supports different wildlife climate of the Ice Age ameliorated and national park in North Yorkshire. The churches in Danby, Lythe and DANBY YO21 2NH the National Parks and Access to the communities. There are records of 12,000 temperatures rose above a growing Sneaton Castle have large car parking N54:26:51, W0:55:41 The moors are one of the largest Countryside Act 1949. archaeological sites and features in the point of 5.5˚C. Plant life was gradually re- facilities. Those in Lastingham, expanses of heather moorland in North York Moors National Park, of which established and animals and humans also FYLINGDALES YO22 4RN Fylingdales, Guisborough, Helmsley and The North York Moors National Park 700 are scheduled ancient monuments. returned. Many visitors to the moors are N54:26:03, W0:32:21 the United Kingdom. Wykeham have local village parking. At encompasses two main types of Radio carbon dating of pollen grains engaged in outdoor pursuits, particularly Whitby West Cliff, Pickering and GUISBOROUGH TS14 6BX From this Romantic period, epitomised by landscape: green areas of pasture land and preserved in the moorland peat provides walking; the parks have a network of Scarborough there are local carparks and N54:32:12, W1:02:56 It covers an area of 1,436 km (554 square the purple and brown heather moorland. a record of the actual species of plants rights-of-way almost 2,300 km (1,400 on-street parking. miles), and it has a population These two kinds of scenery are the result that existed at various periods the past. miles) in length, and most of the areas LASTINGHAM YO62 6TL of open moorland are now open access N54:18:16, W0:52:58 under the Countryside and Rights of Way LYTHE YO21 3RW Act 2000. Facilities N54:30:25, W0:41:18 St Nicholas’ Church St Oswald’s Church Guisborough Lythe St Hilda’s Church Pickering and Sneaton Castle have their West Cliff own facilities. Helmsley, Fylingdales, PICKERING YO18 7HL St Hilda’s Church WHITBY N54:14:44, WO:46:32 St Hilda’s Priory Chapel Lastingham, Guisborough and Wykeham Danby Sneaton Castle have village facilities. The churches at HELMSLEY YO62 5YZ Lythe, Scarborough, Whitby West Cliff N54:14:47,W1:03:44 and Danby have portable loos. St Stephen’s Church SCARBOROUGH YO11 2DB Fylingdales N54:16:30, W0:24:05 SNEATON CASTLE YO21 3QN N54:28:60, W0:38:31 WHITBY WEST CLIFF YO21 3EG N54:29:20, W0:37:14 WYKEHAM YO13 9QA N54:14:14, W0:31:17 St Mary’s Church All Saints Church Lastingham Helmsley St Martin-on-the-Hill Church SCARBOROUGH

St Peter & St Paul’s Church Pickering St Helen and All Saints’ Church Wykeham

6 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 7 Photo credit: Frank Harrison

8 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 9 (only some of which are identifiable) are system for any aspiring keyboard player Goldberg was in the service of Count lightheartedly combined with the theme, or composer – its title already familiar Hermann Carl von Keyserlinck, Russian Notes as if in improvised singing at a Bach from publications by earlier German Ambassador to Saxony, so could have family gathering. keyboard composers, like Kuhnau come to Dresden and may have studied The work was originally intended, as its and Graupner. there with Wilhelm Friedemann, one of title page makes clear, for performance on Sets of variations were common in Bach’s sons. From this possibility comes the extra twist: Goldberg is said to have All notes are by Philip Britton; quotations from Sir Peter Maxwell Davies are the composer’s copyright, a two-manual keyboard (Clavier, meaning keyboard writing of the period, including harpsichord) of the period, which would from Bach’s illustrious and influential asked Bach for a keyboard piece to play mostly from www.maxopus.com. have been tuned at significantly lower predecessor Dieterich Buxtehude (1637- in order to entertain the Count during than modern concert pitch and in a 1707), whose longest set is of thirty-two, bouts of insomnia, thus becoming their Composers are listed in alphabetical order by surname. Where several works by the same composer are being temperament markedly different from the also in G major (but lasting only about half first performer. Whence also the insulting performed this Festival, individual works (and their linked notes) are also in alphabetical order, by the first equal temperament of the modern piano. as long as the Goldbergs), on a theme idea that the Goldbergs could (or would) identifying word of the work’s title (‘A’, ‘An’ and ‘The’ being disregarded). Where necessary, they are then Bach specifically marks eleven of the he called ‘La Capricciosa’ (BuxWV 250). send anyone to sleep… ordered by opus number or equivalent. Works in minor keys are identified with the letter of the key and the variations as needing two manuals, since Buxtehude’s theme was better known Toccata in F BWV 540 (organ) the player’s hands are on notes close across most of Europe at the time as ‘La This is the first part of a toccata-and- word ‘minor’; those in major keys with just the letter of the key. to each other – or actually overlapping. Bergamasca’ – a rustic dance originating fugue combination which share the same Though pianists regularly play and from Bergamo in northern Italy. Perhaps BWV number and the same key. But there Johann Sebastian Bach ‘home’ key in the pedal at the end. The Italian musicologist Alberto Basso points record the Goldbergs, these two-manual as a tribute to Buxtehude, this tune is some evidence that the fugue was 1685-1750 virtuoso fugue that follows appears to out: ‘Bach uses the term Veränderung variations require great technical ability appears in the quodlibet at the end of composed on a separate occasion, so contain a tribute to the Dutch/German to signify an arrangement of his material and precision on a single keyboard – of the Goldbergs. So the variations were Fantasia and Fugue in G minor there is no reason to play both together. composer Johan Adam Reincken (1643- which starts out from an arbor, or trunk, the level famously possessed by Glenn originally intended more for private study BWV 542 (organ) The precise date for each part of the 1722), a friend of Buxtehude and an and then spreads out into a series of Gould, whose first ever recording was than for public performance. Concerts of This pair of works is sometimes work remains uncertain. Like most works influence on Bach: its theme is derived ramifications and metamorphoses. These of the Goldbergs for Columbia (mono the Goldbergs only became common in called ‘Great’ to distinguish it from the called toccata, it has an improvisatory from a cheerful Dutch song, ‘Ik ben follow a systematic plan of development LP) in 1955. Today’s recent arrangement our own time, along with audio recordings freestanding ‘Little’ Fugue in G minor character and heads in many unexpected gegroet van’, from the collection Oude en without ever losing sight of the starting for string trio (violin, viola and cello) is by (more than 600 versions to date, with only BWV 578. They are thought to have directions by modulating between keys, Nieuwe Hollantse Boeren Lieties. point, which is present in the background Soviet-born violinist Dmitri Sitkovetsky a minority on the harpsichord). been composed around 1720, when of every successive example’. This wide with extensive passages for the pedals (1954- ). It naturally sidesteps all these There is a second, less plausible, Bach played at least the Fantasia as Goldberg Variations BWV 988 interpretation of what makes for a unifying (whose required range suggest that it may pianistic difficulties, though may bring answer, from Bach’s first biographer a test piece for the post of organist at (string trio) idea allows great variety, very few of the have been composed for the organ in the new challenges of its own. Forkel in 1802. He suggested that Bach St Jacob’s Hamburg. He was happily Among the many sets of keyboard variations having any tempo indication, chapel of the ducal castle at Weissenfels). A work on this scale prompts the wrote them for the harpsichordist and settled at Cöthen at the time, so may variations from the baroque period, which makes for differences in the length It is the longest of all Bach’s organ works question: why? There are at least two composer Johann Gottlieb Goldberg have wished to stake his claim in case Bach’s Aria mit verschiedenen of individual performances. Dance forms which has a toccata or prelude label answers. The obvious first one is that (1727-1756); this explains why, since the something grander came up in Hamburg. Veränderungen (‘Aria with diverse are represented by gavottes, courantes, and is linked to a fugue. Scholars have Bach could – in the sense that his nineteenth century, they have almost He therefore probably did not care that Alterations’) are the most famous and gigues, sarabandes and a siciliana. As called the passages between the pedal prodigious skill could carry off a work so always been known as ‘the Goldbergs’. Telemann was offered the St Jacob’s most ambitious. The opening aria is in the Variation 3, and every third variation after solos concerto-like (or ritornelli), since extensive, so varied and yet so unified Though some aspects of Goldberg’s post, and in any event Bach was able form of a richly decorated sarabande in G that, Bach places a two-voice canon (at the opening material returns four times, by its original material. His Clavier later life are reliably recorded, notably his himself to move to Leipzig before major in 3/4 time from the Notebook for ever increasing intervals, from unison to a though not in precisely the same form. Übung (‘Keyboard Practice’), of which unjustly neglected compositions, many long. The Fantasia starts in traditional, Anna Magdalena Bach (repeated at the ninth, the last also being the ninth canon). Some even see links between this toccata the Goldberg Variations appeared as an in the style of CPE Bach, this supposed apparently free improvisatory, style, but close) and thirty intervening pieces follow, Midway, he inserts a French overture and Vivaldi’s Concerto for two violins in unnumbered part in 1741, was designed link between him and Bach’s variations is episodes of dramatic argument arrive each derived from the bass line and/or with fugal middle section as Variation D minor, which Bach had transcribed for not only to showcase Bach’s own talent not independently verifiable. As a musical and the music shifts chromatically in all chord sequence of the opening theme 16; and the final variation is a quodlibet, organ as BWV 596. but also to be a manual and teaching prodigy in his early teens in the 1740s, directions, returning definitively to the and each directed to be played twice. As in which fragments of several folk tunes

10 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 11 Ludwig van Beethoven con moto e scherzoso interruptions in van Bülow was the chief conductor in the Hungarian Dances nos 4 in F in Hamburg in 1861. It later made a always made the work a favourite. Here 1770-1827 3/4 time before returning to the original 1880s (succeeded by Richard Strauss) sharp minor, 2 in D minor and significant impact in Vienna too, after Brahms indulges his love of Hungarian time signature and tempo, with in total as that Brahms first heard clarinettist Richard he had moved there in 1862, shaping rhythms and themes, learnt from his String quintet in C op 29 1 in G minor many as four themes and two codas. In Mühlfeld. His skill inspired four late Brahms’ fondness for ‘Hungarian’ or his reputation as Beethoven’s heir. Its violinist friends Reményi and Joachim; Allegro moderato German-speaking countries, this dramatic chamber works involving this instrument ‘gypsy’ tunes and rhythms (many much minor ‘home’ key lends itself to strong he also gives the piano a grand cadenza Adagio molto espressivo finale has given the quintet the nickname (including a trio and two sonatas with tamer than Bartók would later collect and assertion and stirring dramatic passages, close to the end of the whole work. In Scherzo: allegro Der Sturm (‘The Storm’). piano); all are dedicated to Mühlfeld. transcribe, though almost all Brahms’ but the work opens gently on the piano Bill Sherwood’s 1986 feature film Parting Presto – andante con moto e scherzoso As Richard Wigmore suggests, the The quintet is modelled on the superb tunes are original folk melodies) found alone, the strings entering one-by-one Glances, this movement accompanies – tempo I work looks, Janus-like, back to Mozart Mozart work for the same forces, K581 its way into his music at many points up the stave. Of this movement, Calum a chase sequence in Central Park, New This is Beethoven’s only completely but also forward to the composer’s from 1789, equally inspired by a gifted – the finale of the Piano quartet no 1 McDonald comments: ‘The outer spans York City. Brahms dedicated the work to original full-scale work for string quintet, future symphonic writing, as well as to player, Anton Stadler; the Mozart regularly (also in this Festival) is a good example. of exposition and development, with their Baron Reinhard von Dalwigk (1802-1880), following Mozart’s ‘string quartet plus chamber masterpieces still in the future, appears on disc and in concert paired He published four books of Hungarian almost reckless expansion and length a distinguished statesman and sometime extra viola’ example. It dates from 1801, like the ‘Razumovsky’ quartets and the with the Brahms. A distinctive feature of Dances, originally for two pianos, of themes, are held in balance by the Minister-President of Hesse, but an which is usually treated as the end of the ‘Archduke’ piano trio. The quintet was the Brahms’ work is that it hardly calls for between 1869 and 1880, which were ruthless concentration on the one-bar opponent of Bismarck’s aim to unify composer’s ‘first period’. It thus follows one of several works which Beethoven showy display from the clarinet, though a great commercial success, including motif that is the foundation of the very Germany under Prussian leadership, and his first set of six string quartets op 18, dedicated to his friend Count Moritz von Robert Simpson points out that ‘in the in orchestrations by Brahms and many first theme, continually raising the level ultimately the loser in that struggle. the Septet op 20, the Symphony no 1 op centre of the otherwise rapt adagio… of tension, in the development’. It seems Fries (1777-1826), banker, art collector others. They in turn influenced his friend String quintet no 2 in G op 111 21 and the ballet music The Creatures of and supporter also of Schubert. It is an the intense ruminative beauty is abruptly Dvorákˇ in his own sets of Slavonic so symphonic in scale – a comment Allegro non troppo ma con brio Prometheus. Its immediate predecessors unjustifiably neglected masterwork, not broken into by wildly evocative clarinet Dances of 1878 and 1886, which similarly often made, sometimes critically, about Adagio are a sequence of piano sonatas, opp seriously challenged by Beethoven’s flourishes reminiscent of the gypsy music started out as for piano four hands but Brahms’ chamber works in general – that Un poco allegretto 26-28 (op 27 no 2 quickly acquiring the ‘other’ String quintet, op 104 in C minor Brahms loved so much’. did equally well in orchestral and other in 1937 Arnold Schoenberg in California Vivace ma non troppo presto – Animato ‘Moonlight’ nickname). (featured heavily in Vikram Seth’s 1999 In general, the degree of integration versions; and may even have had an orchestrated the whole quartet, which By this time, Beethoven was already well novel An Equal Music). The later quintet between clarinet and strings is influence in the development of ragtime. Balanchine then turned into a ballet. This Composers choose to write for five established in Vienna, with income from is no more than an arrangement of the remarkable, and Brahms abandons the Today’s selection derives from Brahms’ all came about by encouragement from string instruments for a range of reasons: compositions and an allowance from Piano trio in C minor, Beethoven’s op 1 no classical insistence on contrasts between own orchestrations of his Book 1. Otto Klemperer, then conductor of the LA they may want the richer texture and Prince Lichnowsky – but with increasing 3, begun by someone else and revised by movements (in tempo, metre, mood Philharmonic, who two years before had greater possibilities for counterpoint, or Piano quartet no 1 in G minor deafness and trying what now seem Beethoven at a low point in his life. or key) as a source of drama, musical facilitated a teaching post for Schoenberg want to pit a pair of instruments against op 25 at UCLA. a contrasting trio, or want a solo line grotesque and implausible remedies for Johannes Brahms 1833-1897 development and forward movement. this. Of the psychological torment this Instead, there is a perceptible integration Allegro The second movement is a gentle slow supported by a quartet. Like both Mozart caused there is little sign in this quintet, Clarinet quintet in B minor op 115 of theme and mood between all four Intermezzo: allegro (ma non troppo) – scherzo and trio, opening in 9/8 and C and Brahms, they may at a moment in whose spacious first two movements Allegro movements, each being based, or Trio: animato minor, with strings muted, with a main their composing lives actually find writing (together making up more than two-thirds Adagio including an episode, in the ‘home’ key Andante con moto theme from Robert Schumann which for five strings less difficult and more of the work) express an easy-going Andantino – presto non assai, of B minor. In particular, the final con Rondo alla Zingarese: presto evokes Clara. Brahms told her that he had satisfying than writing for a standard geniality, with Mozartian charm but ma con sentimento moto theme-and-variations movement This is the first of Brahms’ three piano thought of her in every bar; Clara replied: string quartet line-up. Like Brahms, most greater adventurousness in tonality. More Con moto (the same structure as Mozart used) ends quartets and comes from the end of the ‘it is as if my soul were rocked to sleep on achieve this by adding a second viola, distinctively Beethovenian in their use of This autumnal and elegiac work for – cyclically – almost exactly as the long 1850s, while he had an undemanding the sounds’. The trio shifts to A flat, the like Beethoven (whose op 29 quintet rhythm and counterpoint are the terse but clarinet and string quartet from 1891 opening sonata-form allegro had begun. post as choral conductor and chamber original allegro then returning, but a short is also in this Festival), Mozart and obsessively energetic and single-themed represents an unplanned post-retirement As the critic Hanslick said at the time: ‘in musician at the little court of Lippe- animato coda closes the movement. The Mendelssohn. However, in perhaps the scherzo, then the ‘stop-start’ presto return to composing for Brahms. It was the quintet everything belongs to a single Detmold (now part of North Rhine- slow movement, in 3/4, opens in E flat most celebrated string quintet, Schubert finale which opens in 6/8 time, shifts in the medium-sized court orchestra at spectrum of colours, however manifold Westphalia). The first performance of but shifts into an animato march-like C in in C from 1828 (D956), the composer dramatically to 2/4 and has two andante Meiningen, of which Brahms’ friend Hans the life that reigns within it’. a revised version of the quartet (with its middle section. The helter-skelter and takes the rarer course by adding an Clara Schumann at the piano) was fiendishly tricky ‘Gypsy rondo’ finale has extra cello: this makes possible a darker 12 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 13 range of colours and reinforces the bass has a Hungarian feel, with an opening some infinite sigh of regret’ (Donat), and movement of his Violin concerto – and to Prince Antoni Radziwill (1775-1833), by Albert Sammons stepped in. line when the cellos are asked to play in theme in B minor, a second theme in the marking ‘mesto’ (sorrowful) gives a wrote five variations on it. It was his statesman and notable patron of the arts This work (like the Piano quintet, in three unison. Another way of increasing the the ‘home’ key and many other musical further autobiographical clue: Brahms is last piano work; part way through the (in 1815 Beethoven had dedicated to him movements, but on a smaller scale) weight at the bottom of the texture is to ideas, leading into a helter-skelter fugal mourning the death of his mother earlier composition he attempted to kill himself the Overture in C Zur Namensfeier op begins with a complex and wide-ranging add a double-bass instead, as Dvorákˇ development section. After a recap of the same year. The slow movement also by jumping half-clothed into the freezing 115, and Paganini gave concerts in his first movement. Andrew Clements and Milhaud both did: the bass can even the original thematic material, the players gives a foretaste of the finale before Rhine, which led shortly afterwards to palace in Poznan). The trio is noteworthy describes this as ‘a tangle of stream- double the cello an octave below. have a unison passage over four and its passionate climax, the music then his confinement in an asylum for the for the exuberance and brilliance of the of-consciousness cross-references and Opus 111 is the second of Brahms’ two a half bars, down then up a scale and sinking away towards a quiet close. final years of his life. He called the theme piano writing, reminiscent of Chopin’s sly harmonic shifts, whose quality of string quintets; it dates from a summer marked forte crescendo, which leads The finale’s ‘hunting’ theme has two his ‘letzter Gedanke’ (‘last thought’). two concertos, but also for the ingenious elusiveness sometimes recalls that of holiday at Bad Ischl in Upper Austria in into the faster tempo coda, bringing the added ingredients: off-beat accents and As a homage to Schumann, Brahms coloration and structure of its 3/4 slow Fauré’s only string quartet, completed six 1890, late in his composing life. Some movement (and the piece) to an end in a examples of the composer’s fondness for presents the same theme, marked ‘leise movement and for the energetic Polish years later’. [Clements might also have suggest that he intended it to be his last sunny G major. three beats against two in the same bar. und innig’ (‘softly and inwardly’), and dance rhythm of its rondo finale. made a link to the single string quartets Like the scherzo, this last movement is in then ten variations, the fourth opening composition, before his late-flowering Trio for horn, violin and piano in Edward Elgar 1857-1934 of both Debussy (1893) and Ravel (1902- sonata form, though sounding equally and closing in a minor key and the love for the clarinet changed all that (see E flat op 40 3), which Elgar must have known.] The the note above on the Clarinet quintet). like a rondo and ending jauntily in the finale in a march tempo. Clara had not String quartet in E minor op 83 slower middle movement, which Lady The opening movement – by far the Andante – poco più animato ‘home’ key. wanted Schumann’s own variations Allegro moderato Elgar described as ‘captured sunshine’ – Scherzo: allegro – molto meno allegro published, though Brahms insisted on longest of the four – is in 9/8 metre and Variations on a theme by Robert Piacevole (poco moderato) arguably, sunshine interrupted by clouds opens in the ‘home’ key with the first Adagio mesto including them in the Collected Edition of Allegro molto – has the tempo marking ‘agreeably’ Finale: allegro con brio Schumann op 23 subject in the cello, rising from the depths Schumann’s works in 1893. Brahms also Elgar’s only completed and published and quotes from the composer’s own These variations from 1861 are Brahms’ against a backdrop of oscillating chords: Brahms completed this trio, his only wondered whether publishing his own set string quartet (following many abortive Chanson de Matin op 15 no 2. The final first work for piano four hands and the texture is rich and contrapuntal, with chamber work for horn, in 1865 while had been insensitive to beloved Clara. earlier attempts) comes from 1918. It movement has a fiery opening and a hence intended primarily for domestic many accents on unexpected beats of staying in Baden-Baden – the first of ten was composed alongside the Piano more relaxed second subject, but moves music-making. They are a second- Frédéric Chopin 1810-1849 the bar. A second set of ideas arrives in summers in which he lived at Lichtental quintet (heard in the 2013 Festival). After a ahead energetically towards the final bars. stage version of Brahms’ obsession Piano trio in G minor op 8 the violas, with the cello playing pizzicato 8, now a museum in his honour. He did performance in Manchester of the Enigma As Robert Matthew-Walker suggests, with Clara Schumann, in that they were below, energetically developed towards not intend the trio for the modern fully Allegro con fuoco Variations under Richter in 1900, Elgar the quartet is ‘valedictory yet forward- dedicated to Clara and Robert’s third the end of the exposition (then repeated). chromatic concert horn, preferring the Scherzo met the Brodsky Quartet (in tribute, the looking… the work of a major composer daughter, the sweet but frail Julie (born The development section includes many valveless ‘natural’ Waldhorn, which Adagio sostenuto modern-day British quartet has re-used at the height of his powers’. in 1845). As Julie grew up, Brahms changes of key and ends double forte on produces a fuller and more ‘raw’ sound, Finale: allegretto the name); its cellist asked Elgar for a became very attached to her, but his Alexander Glazunov 1865-1936 two decisive G major chords. closer to the open air hunting horn which Chopin’s solo piano music is so string quartet. It took nearly two decades feelings – whatever they were – remained The adagio starts in D minor with a theme is the ancestor of the modern concert significant and so extensive that it for the right moment to arrive: after Rêverie Orientale op 14 no 2 undeclared (as they had for her mother). for the first viola, with the cello pizzicato. instrument. However, the music of course entirely overshadows his modest the composer had his tonsils removed Glazunov was a pupil of Rimsky- His complex reactions when Julie The viola returns with a ghostly triplet fits the current orchestral horn perfectly. chamber output, which beyond this and was convalescing out of London Korsakov and composed his first became engaged to Count Vittorio motif, providing the second theme for As Misha Donat points out, it is Brahms’s trio comprises just three works, all for in a rented house deep in the woods at symphony in 1882, hailed as a Amadeo Radicati di Marmorito found the movement, which includes a troubled only chamber work to begin without a cello and piano. The piano trio is thus Fittleworth in West Sussex. Very quickly masterpiece (eight more followed, plus expression in the Alto Rhapsody op 53, middle section, then a calm return to the sonata-form movement. Instead, after his only small-scale work to include a – after a thirty-year gap – he completed one incomplete at his death). He held his wedding gift to the pair in 1869. Julie opening material, ending on a D major the slow introduction it alternates two violin part; unsurprisingly, at moments three new chamber works, the String orchestral conducting appointments died three years later, giving birth to their chord. The third movement is in 3/4 time, ideas in rondo fashion, the second slightly the piano tends to dominate the texture, quartet having its first public performance in Paris and London, and in Germany third child. a sort of wistful valse triste (or minuet) in more agitated than the first. By contrast, the two string instruments having little – with the Piano quintet – at the Wigmore was exposed to the music of Wagner; G minor, alternating with a serenade-like the second movement scherzo is in In 1854 Robert Schumann composed a interplay with the keyboard and being Hall in 1919. The Brodsky Quartet were, he became head of the St Petersburg trio in G major, then a short coda. The through-composed sonata form. The rather wistful theme – which he believed relegated to accompanying roles. It was as expected, the quartet’s dedicatees, but Conservatoire in 1905, playing a role in final sonata-form movement is in 2/4. It slow third movement begins with deep dictated to him by angels, but in fact written in 1828 or 1829, so at the end they had all retired by the time the work the development of composer Dmitri chords in the bass of the piano, ‘like very close to the main theme of the slow of the composer’s teens, and dedicated was ready, so an ad hoc string quartet led Shostakovich and violinist Nathan 14 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 15 Milstein. He left the Soviet Union for theme follows. The development section on CD by Naxos. This, the last of the of implications in the Passamezzo. The The physical remoteness and craggy and violin teacher Eduard Rietz. The next good in 1928, dying in Paris’s smartest is interrupted by completely new material series, was completed in 2007, his own tune ‘Deil Stick da Minister’ [sometimes beauty of the place are well-known, but opus number belongs to the Overture to suburb at Neuilly-sur-Seine. His chamber via an obsessively repeated three-note note making clear his ambivalence about spelt Devil Stick the Minister], composed it was the involvement of the population Midsummer Night’s Dream from 1826 works include seven string quartets and dotted figure, which leads to the climax of reaching ‘an’, if not ‘the’, end. ‘The big anonymously when the Scottish of seventy or so souls in the mounting (also in this Festival): this consolidated his this short but characterful rhapsody the whole work, a recapitulation with the decision… was whether this should Protestant Church was trying in vain to of a new work by Alasdair Stout, a unique ability to evoke magic in music, for clarinet and string quartet, which strings muted and a quiet finish. It is in no be a grand finale or not. Although the ban all dance music, is only quoted at the Shetlander from there, which struck home through light-as-air pianissimo quivering dates from 1886 and which he later way characteristic of the mature Mahler former course was tempting – to make end. The finale is a hornpipe, in the more most. This made demands on the island and scampering string passages. The orchestrated as the second of Two Pieces and his development of large-scale something even bigger than quartets nos. recent, post-Purcellian sense. When it Chorus and the folk musicians which scherzo of the Octet already showed this for Orchestra. symphonic form. In 1878-1880 came 6, 7 and 9 – I eventually decided to write becomes clear how the movement might would daunt professionals, but which, in special mood, as did the central section Das klagende Lied, a cantata with large a modest work, based on the Baroque finish, the resolution is left to the listener’s performance, gave everyone concerned of the Intermezzo of his String quartet op Gustav Mahler 1860-1911 symphony orchestra, showing clear signs suite, but with Scottish dances, rather imagination: the dance is simply stopped, huge satisfaction. I was most of all moved 13 from two years earlier. Piano quartet movement in A minor of the composer he was to become. than bourrées and allemandes. with a suspended gesture. This is not a through the extraordinary expression of The first movement of the Octet, marked finale – the hornpipe could lead straight a community’s essence – one felt that a This single movement was in all likelihood Peter Maxwell Davies 1934-2016 After finishing the work, I realised ‘moderately, but with fire’, occupies intended to open a traditional four- that the real reason for this was that back to the opening of Naxos Quartet challenging piece of new music had really almost half the length of the whole work, movement work, of which the other Lumen Cognitionis op 272 I did not wish to draw a thick black no 1, or into something as yet unwritten. permeated, through months of rehearsal, with an assured variety of textures, as well survivor is the start of a scherzo (24 This short single-movement work, for line at the conclusion – that in no way There is no double bar-line.’ into the spirit of Fair Isle, to become a part as effortless invention and development bars, completed by Schnittke in 1988). string quartet, flute and clarinet, was must this be a last quartet… Another In fact, Max wrote no more music for of its fabric in a way new music seldom of memorable themes which avoid the It is one of Mahler’s only three chamber written as a tribute for fellow-composer temptation was to refer to each of the string quartet after this work, which is can – affecting and even changing the lives sound ever becoming congested or works, which included a Piano quintet Sally Beamish’s fiftieth birthday in 2006. previous quartets in a solemn farewell dedicated to the memory of Fausto of a very special community. My Trio is tiring. As Susan McGinnis has said: in the same key and Violin sonata (both It was first performed as part of the sequence, as I had done in the last Moroni, the smallholder’s son from an attempt to express my delight at, and ‘The first two movements… shift back lost). The Piano quartet cannot be dated Cheltenham Festival that year. The ‘light of the ten Strathclyde Concertos for Ravenna who lived with fellow-composer appreciation of this Fair Isle experience. I and forth between its orchestral aspect precisely, but 1876-1878 is the likely of recognition’ in the title appears to the Scottish Chamber Orchestra: this Hans-Werner Henze (1926-2012) for based all on a plainsong, proper to the day and that of a violin concerto, with the window. So it seems to be a teenage refer to mediaeval theories of knowledge was firmly resisted. Although the third more than forty years, dying in 2007. composition commenced, for the birth of other instruments alternately providing work, at the start of the composer’s (Saints Augustine and Bonaventure), movement is entitled Passamezzo [Henze himself wrote a choral work to the Virgin, which generates and permeates background and trading contrapuntal time as a star student at the Vienna which categorise knowledge into different Farewell, there is no nostalgia – but there new Latin texts in memory of Fausto, the whole of the single movement.’ lines, as well as joining together in tutti Conservatoire. Records show Mahler at forms of created light (‘illumination’) from are backward-reaching references. The Elogium Musicum, first performed in Felix Mendelssohn (-Bartholdy) passages of unusual colour’. the piano for two private performances which humans may learn – externally, first movement is a Broken Reel – the Leipzig in 2008, then at the Barbican in 1809-1847 The slow movement is less obviously in Vienna, but the manuscript was then from the physical world; or internally, from outline of the dance form is there, but 2010 by the BBC SO and Chorus under Octet in E flat op 20 contrapuntal, but there is no shortage of lost until his widow Alma discovered it philosophy, scripture and so on. its rhythms are fractured, with the ghost Oliver Knussen.] interest. Mendelssohn then puts to good in the 1960s. It made it into film on the of a sonata shape hovering behind the Allegro moderato ma con fuoco use his deep study of Bach and baroque Naxos Quartet no 10 op 283 Piano trio A Voyage to Fair Isle Andante soundtrack of Martin Scorsese’s thriller baroque surface. The second, very brief, counterpoint by starting the finale with a Broken Reel: allegro op 232 Scherzo Shutter Island (2010), together with music movement is a Slow Air and Rant. The busy fugue subject in the cellos, which Slow Air and Rant: adagio non troppo Presto by Penderecki, Cage, Ligeti and Feldman. Rant is based on a ‘real’ Scottish tune This single movement trio was completed he combines with a song-like second Passamezzo Farewell: adagio flessibile The Piano quartet is in a recognisably – the irony is blatant. The Passamezzo in 2002 for the Grieg Trio of Norway, The brilliance and precociousness theme and develops with edge-of- ‘Deil Stick da Minister’: allegro late Romantic Austro-German style, Farewell is a more extended movement Max at the time telling its back story: of Mendelssohn’s talent continue to the-seat modulations (also throwing in Hornpipe Unfinished: allegro moderato before the arrival of Schoenberg’s hyper- – a meditation not only on the nature ‘The inspiration was a trip to Fair Isle, astonish; an equal and opposite reaction a reference back to the theme of the chromatic instability. It opens with the At the turn of the twenty-first century, of the Renaissance Passamezzo [an an island I can just see from my home is regret that he died so relatively young. scherzo). He gave specific instructions marking ‘Nicht zu schnell’ (Not too fast) Max was commissioned by the record old originally Italian dance in duple time in Orkney on a good day, but a place The Octet, for four violins, two violas and in the published score: ‘This octet must and a three-note phrase reminiscent of company Naxos to write ten string resembling the pavan but about twice as which, under normal circumstances, is two cellos, is perhaps the greatest work be played in the style of a symphony in Brahms, then there is a more assertive quartets, each to be given its first public fast], but on ultimate mezzi di passare. difficult to get to, and which one would of his teenage years. He composed it in all parts; the pianos and fortes must be twelve-bar short section marked performance at the Wigmore Hall, London Movement number four is again very hardly have time to visit. However, I was the autumn of 1825, when he was just very precisely differentiated and be more ‘Entschlossen’ (resolute) and yet a third by the Maggini Quartet, then released brief – a sudden outburst, a summary invited to the first ever music festival there. sixteen, as a birthday gift for his friend 16 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 17 sharply accentuated than is ordinarily the Octet – but far less often played. It irascibility and he was to live only two The Octet is one of the sunniest and most used in the rest of the work. A graceful with an ‘open-air’ feel not far from the done in pieces of this type.’ It was first is for piano, violin (unusually, a single further years. expansive of Schubert’s chamber pieces, minuet and trio follow, then a tense and mood of his Octet D803, still five years in performed at the Leipzig Gewandhaus in player), two violas, cello and double bass having something of a divertimento ominous slow introduction to the final the future. The quintet is marked by thick, almost 1836, with Rietz as one of the players; we – in effect, The Trout with an extra viola. or serenade quality (and length): ‘a mock-symphonic allegro, the slow music orchestral, textures, far away from Its five-movement structure suggests a have to wait until 1890 and Tchaikovsky’s The strings open the work, immediately bourgeois equivalent to summer-party returning unexpectedly as the lead-in to Mozartian elegance, the first movement piece midway between a divertimento string sextet Souvenir de Florence (also in followed by the piano, which develops the music in the gardens at Schönbrunn’ the faster final bars of this golden and (the longest of the four) opening in and a Beethoven-inspired ‘serious’ this Festival) for a comparably exuberant, opening subject. Over a sustained pedal E (Arthur Hutchings). Though this ‘open- satisfying work. The piece dates from concertante style, the first violin racing chamber work. Formally, there is a linking sunny and life-affirming large chamber from the double bass, the second subject air’ feel recalls Mozart’s writing for wind 1824, contrasting strangely with the two ahead with the first theme, accompanied theme between all the movements work for strings. arrives in the piano, which introduces a band, the Octet was in fact inspired by far darker string quartets from the same by excited semiquavers from the other (except the scherzo): it is the rippling distinctive accompaniment in triplets. Beethoven’s early and popular Septet year – in A minor D804 (‘Rosamunde’) Overture and Scherzo from A players. Later on there is a deft transition and watery upward-moving piano figure The slow movement is in F sharp major, op 20 of 1800. It was commissioned by and D minor D810 (‘Death and the to the second theme. Each movement which Schubert had already penned as Midsummer Night’s Dream op 61 opened by the strings (violin and violas Count Ferdinand Troyer, chief officer to Maiden’). The Octet was not published in has the composer’s apparently effortless the piano accompaniment for his song Close in time to the Octet (discussed muted), the piano then taking up the violin the household of the Archduke Rudolph full or performed regularly until long after skill and inventiveness stamped on it, the Die Forelle (The Trout) D550. The tune above), so still a teenager, Mendelssohn melody; the movement then explores a (Beethoven’s patron) and a keen amateur Schubert’s death. andante scherzando in 6/8 time evoking of the song (another suggestion from composed the Overture to A Midsummer range of chromatic ideas. The minuet, clarinettist. The Count specifically asked once again the will-o-the-wisp world of Piano quintet in A (The Trout) D667 Paumgartner) then provides the theme for Night’s Dream as his op 21; but the rest of marked agitato, is in 6/8 and D minor, with Schubert to follow Beethoven’s model: Midsummer Night’s Dream, opening with the quintet’s fourth movement, a set of his incidental music to the Shakespeare an F major trio. The calm of its ending is the composer did so very closely, with Allegro vivace the first violin over the other instruments delicious and ingenious variations. Other play (including the Scherzo, an intermezzo broken by the flourish which heralds the the same number of movements (and Andante pizzicato and ending with a brief phrase distinctive features to listen for include between Acts I and II) came sixteen years finalallegro vivace. This movement moves even copied Beethoven’s minor-key slow Scherzo: presto in which all play pizzicato. The slow kaleidoscopic key changes in unexpected later in 1842. It was a commission from into remote keys, at its climax bringing introduction to the final movement). It Andantino – allegretto movement has superb textural variety, directions; the piano part frequently high King Friedrich Wilhelm IV of Prussia, back the D minor material from the minuet also has the same instrumentation (but Allegro giusto ending pp and in D major, but this leads in the instrument’s register and often in who had enjoyed Mendelssohn’s theatre and staying in D minor for an allegro con with an extra violin), so is scored for string Although Vienna has attracted many directly into the finale, a carefree rondo octaves; and the construction of both music for Sophocles’ Antigone in 1841. fuoco return of the main theme. Only at quartet plus clarinet, bassoon, horn and composers from elsewhere (Mozart, opening forte in the ‘home’ key which second and final movements as pairs At this second stage, the original Overture the very end does the ‘home’ major key double bass. In deference to the Count, Haydn, Beethoven and Brahms), relies on Mendelssohn’s trademark busy of symmetrical sections in which the was integrated into the whole work as re-assert itself. many of the most memorable themes and Schubert is one of the few native but emotionally charged counterpoint second section is a transposed (moved the first number of its fourteen. The moments belong to the clarinet; but each Viennese composers bridging the end of String quintet no 2 in B flat op 87 (though he told the pianist and composer up or down the scale) version of the music remains a classic in its creation player has testing music to negotiate. the eighteenth century and the start of the first. Like much of Schubert’s music, the Allegro vivace Ignaz Moscheles that he thought this of atmosphere, in particular the magic The opening movement has a slow nineteenth to have spent most of his short quintet had few if any commercial concert Andante scherzando movement not his best work). The quintet of ‘faery’; it was first performed as an introduction which works its way in only but astonishingly productive working life performances in the composer’s lifetime; Adagio e lento – was published only posthumously in 1851. integral part of a production in the rococo a few bars into keys far away from the in the city. It was in 1819, during a three- it was not published until 1829, the year Allegro molto vivace theatre of the Neues Palais (the New Franz (Peter) Schubert 1797-1828 ‘home’ key of F and then settles into a month visit with his friend the baritone after his death. Palace) at Sanssouci in Potsdam. This is the second of Mendelssohn’s two Octet in F D803 broad and genial allegro. The adagio Johann Michael Vogl to Steyr, Upper string quintets (string quartet plus extra is reminiscent of the slow movement Austria (Vogl’s birthplace), that Schubert Robert Schumann 1810-1856 Piano sextet in D op 110 Adagio – allegro – più allegro viola), composed in the summer of 1845 of the ‘Unfinished’ symphony, with composed this quintet for piano, violin, Dichterliebe op 48 Allegro vivace Adagio – along with the Piano trio in C minor – in the clarinet in a prominent role; a lively viola, cello and double bass. The forces Adagio Allegro vivace – trio – allegro vivace The brilliant pianist and writer about Bad Soden, a spa town in the Taunus and easygoing scherzo and trio follow. are the same as in a quintet in E flat Menuetto music Charles Rosen (1927-2012) range in Hessen, not far from Frankfurt. Andante (variations) – un poco più mosso The fourth movement, following the from 1802 by Hummel; Schubert seems suggested in The Romantic Generation Allegro vivace This was more than twenty years after his – più lento divertimento tradition, brings a brilliant to have been encouraged to copy this that the song-cycle – a sequence of Despite its high opus number (assigned first string quintet op 18 and a year before Menuetto: allegretto – trio – menuetto – set of variations, here on a melody from instrumentation by his host in Steyr, songs from words by the same poet, posthumously), Mendelssohn in fact his triumph in Birmingham with Elijah. He coda Schubert’s Singspiel Die Freunde von a wealthy mine-owner and amateur usually for a single voice with piano, composed this work in April-May 1824: so was beginning to be beset by ill health, Andante molto – allegro – andante molto Salamanka (1815), one of which asks cellist called Sylvester Paumgartner. both performers being of linked and it is a teenage work from the year before his students started to notice moody – allegro molto for the C clarinet rather than the B flat It is a mostly genial and sunny work,

18 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 19 equal importance – was the most original Texts and translations will be available at the rediscovery of Bach, the revival of his Wieck’s father prevented Schumann own instrument, as well as his wife Andante cantabile musical form created in the first half of the concert. music (the twenty year old Mendelssohn from seeing her. Musicologist Blair Clara’s, who gave the first performance Finale: vivace the nineteenth century. Starting in the mounting the first St Matthew Passion Johnston calls them ‘utterly charming in Leipzig on New Year’s Day 1846, with Frauenliebe und -leben op 42 As Schumann was completing his Austro-German world with Beethoven’s since Bach’s death in Berlin in 1829) yet substantial miniatures’, of which the work’s dedicatee, Ferdinand Hiller, Piano quintet (see the entry below), Schubert wrote this song-cycle (‘The Die ferne Geliebte in 1816, where there is and in integrating counterpoint into their most are in a small-scale ABA form. The conducting. his mood began to darken and he Love and Life of a Woman’) in July of his no narrative but a cycle, in the sense of new music. In 1845 Schumann wrote six sequence opens and closes with pieces Its first movement – opening with recorded sleepless and agitated nights. ‘year of song’ 1840, only two months the last song returning to the mood and fugues on the notes B flat-A-C-B natural, in G major; in between, the seven in a dramatic flourish and including a Composition seemed an answer, and after completing Dichterliebe (see its own music of the first, the torch of evolution the equivalent of the German names for major keys include Träumerei, perhaps cadenza for the soloist – derives from within a week in October 1842 he had entry above). The text of the eight poems passes to Schubert with Die schöne the notes B-A-C-H. Together they form Schumann’s best known piano piece. It a fantasy for piano and orchestra of completed this quartet for piano and comes from Albert Chamisso (1781- Müllerin (1823) and Winterreise (1827) a kind of fugal symphony for the organ. was used under the opening and closing 1841, which Clara encouraged Robert violin, viola and cello. As a musical genre 1838), a French poet who fled the French and onwards to Schumann’s two greatest No 2 has the tempo marking allegro, with titles of Song of Love, the 1947 MGM to expand into a full concerto. But the it has never been common, though Revolution to settle in Prussia, becoming cycles, both in this Festival. Schubert set virtuoso writing for both hands and feet. biopic which had Katharine Hepburn as genre was not yet his own: by this point Mozart completed two masterpieces an accomplished translator of poems poems which trace a story, like a kind of As organist and writer about organ music Clara, Paul Henreid as Robert Schumann he had already embarked on, but failed (thought by publishers to be too difficult into German (some of which Schumann narrative for and by the singer; although David Gammie suggests: ‘it represents and the soundtrack played by Arthur to complete, seven piano concertos, for the amateur market); and Schumann’s also set). He was committed to women’s Schumann’s cycles do not go quite so the composer in his most fiery and Rubinstein. Four of the thirteen pieces are or concert-pieces. He wanted the last protégé Brahms picked up the baton with rights and had married a woman many far, in length and emotional range they heroic mood’. Schumann was also an in minor keys, including the three which two movements to be thought of as a three superb examples (his no 1 is also in years his junior (as Schumann was about go beyond Beethoven’s pioneering work. enthusiast for the pedal piano – a piano lead up to the final one. The composer single subdivided movement, called this Festival). Dichterliebe, like Frauenliebe und - Leben, to do with Clara Wieck (1819-1896), her with a pedal board added for the feet – so described the background to Clara: ‘You andantino and rondo (in length, together Like Schumann’s more frequently played opens and closes with a piano prelude father having lost his last legal battle these fugues were intended also to be once said to me that I often seemed they balance almost equally the first Piano quintet, it is a hybrid work, midway and postlude which underline the cyclic to prevent the marriage). The Lieder playable on that now rarely seen type of like a child, and I suddenly got inspired movement); but convention seems to between chamber music and small-scale nature of the whole work, as well as scholar Dr Richard Stokes suggests that instrument. and knocked off around thirty quaint prefer to treat them as distinct, though piano concerto. Schumann’s choice of emphasizing the importance of the piano these elements drew Schumann to the little pieces.... I selected several and Kinderszenen op15 still with no break between. Schumann key suggests homage to Beethoven’s overall and looking ahead to the songs poems; but from Dresden the composer titled them Kinderszenen. You will enjoy seems to have provided the model for String quartet op 127 –the slow and sound-world of Mahler. As Grieg said: already knew and respected the work Von fremden Ländern und Menschen them, though you will need to forget that Grieg’s single piano concerto of 1868 (in introduction at the start copies exactly ‘Woe to the singer who tries to perform of Carl Loewe (1796-1869), who had set (Of foreign lands and peoples) you are a virtuoso when you play them’ the same key) and for Rachmaninov’s Beethoven’s approach. In the scherzo, Schumann without keeping a close eye the same poems just a year before. The Kuriose Geschichte (A curious story) (nor, however, are they intended to be first of 1891. The use of individual Mendelssohn’s gossamer ‘faery’ mood on what the piano is doing’. Loewe cycle, with which Schumann must Hasche-Mann (Blind Man’s Bluff) played by children). The pieces unused instruments in the orchestra in dialogue is invoked, with two contrasting trios. have been familiar, includes one final Bittendes Kind (Pleading child) in Kinderszenen were later published in Dichterliebe (‘A poet’s love’) dates from with the piano is a special feature – more Joan Chissell compares the repetitive use song which Schumann omitted. The arc Glückes genug (Happy enough) Schumann’s Bunte Blätter op 99 and May 1840 and is Schumann’s longest generally, Schumann treats the orchestra of the interval of a seventh in the main of the cycle, from adolescent distress to Wichtige Begebenheit Albumblätter op 124. song-cycle. The sixteen poems (the and soloists as equals – so the knee- theme of the slow movement with the joy, marriage, pregnancy, motherhood (An important event) composer omitted four additional ones jerk criticisms of his orchestration often yearning and nostalgia of Elgar’s theme and (ultimately) bereavement and loss, Träumerei (Dreaming) Piano concerto in A minor op 54 when the work was published) are by applied to his symphonies are simply for the Enigma Variations. The finale relies proved prophetically accurate for Clara, Am Kamin (At the fireside) Allegro affettuoso Heinrich Heine (1797-1856), whose texts not justified in relation to this much loved on skilled and energetic counterpoint. who bore Schumann eight children (four Ritter vom Steckenpferd (Knight of Intermezzo: andantino grazioso – have been set by an astonishing range concerto. Musicologists detect coded However, for all its merits, musically predeceased her) and outlived him by the hobbyhorse) Allegro vivace of German (and non-German) art song references to Clara, to Schumann’s love the work is not a complete success: almost forty years. Fast zu ernst (Almost too serious) Of Schumann’s three concertos properly composers, including Borodin, Meyerbeer for her and to her music throughout the as Howard Smith suggests, ‘overripe Fürchtenmachen (Frightening) so called (piano, violin and cello – and and Ives. The themes of unrequited love Texts and translations will be available at work, but any listener can sense the accompaniments, needless doubling of Kind am Einschlummern each in a minor key), this is the earliest and of fear of isolation which run through the concert. tenderness behind the writing. lines and a heaviness of piano texture (Child falling asleep) (1845 – so it follows his Symphony no 1) his poetry may explain its attractiveness mean that at a critical level the work Fugue on B-A-C-H op 60 no 2 Der Dichter spricht (The poet speaks) but also the most popular and the most Piano quartet in E flat op 47 to composers. Schumann had already set is somewhat unbalanced’. But it still (organ) This sequence of thirteen piano pieces critically acclaimed. This is no surprise, Sostenuto assai – allegro ma non troppo Heine in his Liederkreis op 24 earlier the deserves to be heard; and Clara regularly same year. Romantic composers were key figures in (‘Scenes from Childhood’) dates from perhaps, given that the piano was his Scherzo: molto vivace – trio I –trio II 1838, hence from the period where Clara 20 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 21 took it with her on tour, together with developing this, a gentler second theme essentially Romantic but also as music for call a ‘down’ episode in his developing reception in Leipzig in 1850. is a theatrical and fairy-tale feel to both Schumann’s other chamber works from then arriving in cello and viola. After a concert hall performance, rather than the schizophrenia. Its tensions are released in the last movements, the music shifting Piano trio no 3 in G minor op 110 the same year. repeat of the exposition, the development salon. Equally celebrated piano quintets the uncomplicated and positive D major between styles and moods to make it ‘a section opens in A flat minor and heads by Brahms, Dvorák, Franck, Elgar and finale (‘With fire’), whose material derives Bewegt, doch nicht zu rasch patchwork of miniatures’. Schumann’s Piano quintet in E flat op 44 into distant keys, both themes returning Fauré (amongst many others) followed from the opening movement. Ziemlich langsam – Etwas bewegter – wife Clara, who took part in the trio’s first Allegro brillante in close to their original form near the directly in Schumann’s footsteps. Tempo I performance in Leipzig in 1852, described Piano trio no 2 in F op 80 In modo d’una marcia (un poco end of the movement. The movement ˇ Rasch – Etwas zurückhaltend bis zum it as ‘original and increasingly passionate, Piano trio no 1 in D minor op 63 largamente) easily matches its description as brillante: Sehr lebhaft langsameren Tempo – Tempo I especially the scherzo, which carries Scherzo: molto vivace ‘sparkling’. The second opens with an Mit Energie und Leidenschaft Mit innigem Ausdruck Kräftig, mit Humor one along with it into the wildest depths’. Allegro ma non troppo eerie C minor march, used repetitively Lebhaft, doch nicht zu rasch In mässiger Bewegung This is Schumann’s final work for piano Schumann dedicated the trio to his friend This, the largest of all Schumann’s in Ingmar Bergman’s film Fanny and Langsam, mit inniger Empfindung Nicht zu rasch trio, from 1851, a busy time in the the Danish composer Niels Gade (1817- chamber works and the first significant Alexander (1982), the mood then Mit Feuer Though from the same year as the D composer’s life. It was the period of his 1890), whom he had met in Leipzig. quintet to blend a piano with a traditional magically transformed by the lyrical Schumann’s first two piano trios, heavily minor trio, this major-key work could first two violin sonatas, two new overtures String quartet in A minor string quartet, was composed between second theme (first violin and cello); after inspired and influenced by Mendelssohn, hardly be more different in mood and and the revision of the earlier D minor October and November 1842, at the end the march returns, it is disturbed by an were both composed in 1847, five years feeling; it is also significantly shorter and symphony. Signs of his mental instability op 41 no 1 of his ‘year of chamber music’. This also agitated episode led by the piano, whose after the four-movement Fantasiestücke the movements more uniform in length. were beginning to become evident and Introduzione: andante espressivo – saw the arrival of his three op 41 string introduction subtly re-uses material from op 88, his first work – mainly piano- Celebrating the tenth anniversary of his his tenure of the post of Music Director stringendo – allegro quartets and a piano quartet (all also in the first movement. The march returns centred – for the medium. Schumann’s secret engagement to Clara, Schumann in Düsseldorf was starting to unravel: Scherzo: presto – Intermezzo this Festival) and his Fantasiestücke for to end the movement. The 6/8 scherzo first even shares the ‘home’ key of weaves into the first movement (‘Very his erratic behaviour led to hostility from Adagio trio; it represented a move away from features running scale passages, both Mendelssohn’s Piano trio no 1 and its lively’) a quotation from the opening players and singers and to protest letters Presto composing piano pieces and songs (138 up and down, interrupted by two trios: mood of romantic turbulence. Its first two lines of ‘Intermezzo’, the second from the public. Like his Piano quintet and quartet (both in 1840 alone, making him rival Schubert a lyrical canon for violin and viola and a movement (‘With energy and passion’), song in his op 39 Liederkreis to poems The energetic and dark first movement, also in this Festival), Schumann’s three as a song composer in both quality and Hungarian-style dance in A flat minor. The by far the longest, shows how strongly by Eichendorff: ‘I bear your beautiful the longest of the four, is in 6/8 metre string quartets – in keys related closely quantity). The quintet was composed finalallegro unexpectedly opens in the Bachian counterpoint was in the toolkit likeness/deep within my heart’. The slow (‘Agitated, but not too fast’), in sonata to each other – come from a period of two years after his struggle to overcome minor, rather than in the home key. As a of all the leading composers of the movement (‘With inward expression’) form and in the work’s ‘home’ key, with manic activity in his ‘year of chamber Clara Wieck’s father’s opposition to their coda, its main theme is combined with early Romantic period and how skilled is equally song-like, with the main arpeggio motifs and a delicious fugato music’. All the quartets were composed marriage finally succeeded and before that from the first movement in a double Schumann was at exchanging musical falling melody in the violin over a episode in the development section, the within about three weeks in June 1842, his mental instability became evident. It fugue, reminiscent of Mendelssohn, ideas between the different instruments. sustained canon for piano and cello. movement ending with Mendelssohnian and published the next year with a was dedicated to Clara, who was to give bringing the work to an energetic and There is a magical moment midway, The same canonic structure underlies magic. There follow an E flat major dedication to Mendelssohn (whose the first (private) performance. When she positive conclusion. in which violin and cello are directed the intermezzo-like third movement (not slow movement (‘Quite slow’) in 12/8, influence on their writing seems stronger became ill, Mendelssohn stepped in, As pianist Jonathan Biss suggests: ‘So to play ‘am Steg’ (near the bridge of quite a scherzo), marked ‘With moderate which Kai Christiansen describes as than that of Beethoven). In a letter to his sight-reading the demanding score and much of his music’s shattering power their instruments), producing a ‘glassy’ movement’; this has a contrasting middle ‘an exquisite operatic duet for violin publishers Breitkopf & Härtel, Schumann suggesting changes to the work which comes from the feeling that confidences sonority against shimmering chords at the section, then combined with the opening and cello’, including a turbulent central reported: ‘We have played them several Schumann then incorporated – including are being shared – that Schumann is top of the keyboard, with the soft pedal material in a coda. What David Threasher section; a C minor scherzo with two trios, times at David’s house [Ferdinand David, a second trio in the scherzo. Clara then disclosing the sorts of truths one often on. A scherzo and trio follow (‘Lively, but calls ‘the generous melodic outpouring’ marked ‘Fast’ at its start but slowing Mendelssohn’s appointee as leader of gave the first public performance in hides even from oneself’. This pioneering not too fast’) which once again show the of the finale (‘Not too fast’) builds to an for the start of the first (C major) trio, the Leipzig Gewandhaus orchestra], Leipzig in 1843. quintet makes full use of the increasing composer’s skill in canonic writing and optimistic climax; we can almost imagine which has an upwards chromatic theme, and they seemed to give pleasure to The first movement – the longest of the power of the modern grand piano (the in deriving contrasting material from the Schumann putting down his pen with followed by a march-like second trio in players and listeners, and especially four – opens in the ‘home’ key with a composer’s own instrument) yet also same set of notes. A soulful and song-like satisfaction and feeling free to move on to A flat major; then a rondo finale marked also to Mendelssohn. It is not for me forthright chordal statement by all the recognises the centrality of the string slow movement (‘With deep feeling’) his much more demanding next project: ‘Energetically, with humour’ in G major, to say anything more about them; but performers of the first theme, the piano quartet as a vehicle for ‘serious’ chamber follows, reflecting Schumann’s gloomy his first opera Genoveva op 81, to remain which in turn quotes the theme from the you may rest assured that I have spared almost immediately taking the lead in music. The result marks out the genre as mood at the time – what we might now his only opera after its unfavourable first trio. As Christiansen suggests, there no pains to produce something really 22 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 23 respectable—indeed, I sometimes think String quartet in F op 41 no 2 (which some hear as the call ‘Clara’). The and Schumann’s wife Clara who gave du, Jesu Christ’, given out fortissimo by is the sense that each piece represents my best.’ They have all stayed firmly in Allegro vivace movement has a second subject first the first public performance. Joachim both players—an anticipation, as it turns just a shard of a larger experience, an the repertoire, though no 3 seems to be Andante, quasi variazioni heard in the cello, which with its off-beat reported: ‘I consider it one of the finest out, of the gentle serenade-like theme aural snapshot’. the most frequently played – and accompaniment creates an effect of compositions of our times in respect of the following variation movement. Scherzo: presto Richard Strauss 1864-1949 perhaps the most obviously successful Allegro molto vivace instability and dislocation. The second of its marvellous unity of feeling and its Conversely, the third movement’s musically too. movement – in effect the scherzo – offers thematic significance. It overflows with penultimate variation recalls both the Metamorphosen The opening movement suggests a waltz, a very unusual location for a theme and noble passion, almost harsh and bitter figuration and the actual material of the Strauss started work on a new single- The first Schumann quartet opens with eight-bar units and only one real four variations (the third a siciliano in F in expression, and the last movement scherzo; and its coda ties the pieces movement piece for strings in Spring with a slow canonic introduction in the theme; its structure resembles closely sharp minor), plus coda. The intense reminds one of the sea with its glorious together still more closely, in such a way 1944. It began for small forces; following Viennese classical style and in the ‘home’ the first movement of no 1. The andante slow movement contains a contrasting waves of sound’. that the two seem to be inextricably a request from from that renowned key. Schumann’s sketches, now in the which follows is in 12/8 metre, with the central episode above a march-like interwoven. Like the opening movement, commissioner of twentieth century new Heine Museum in Düsseldorf, suggest theme for four variations (in style not far The work begins with a majestic slow accompaniment where repeated notes the finale, with its ‘waves of sound’ so music, Paul Sacher, for his Collegium that this passage was originally to be from those in Beethoven’s String quartet introduction (‘Quite slow’). The melodic play an important role. The finale is in evocatively described by Joachim, is Musicum in Zürich. Strauss gradually played muted; perhaps at suggestions op 131) derived from the second set of outline of its initial chords (they are to several juxtaposed sections, creating a tumultuous sonata-form movement expanded it to the twenty-three solo from David at the play-through, this sixteen bars, which are in A flat. Hefling return at the close of the exposition, in what Misha Donat calls ‘a patchwork marked ‘turbulently’. This time, however, strings of its final version (ten violins, indication was removed. The main describes the C minor scherzo which a manner which implies a close tempo design’. One of these evokes the mood the more lyrical second subject affords five violas, five cellos and three double part of the movement which follows is follows as ‘an arpeggiating syncopated relationship between the two sections) of the scherzo and another, oddly marked genuine relief from the music’s prevailing basses). He completed this larger version (unexpectedly) in a lilting F major and in tongue twister’, though the oddities take gives rise to the opening theme of the ‘quasi trio’, suggests a gavotte from the intensity; and the piece has an extended on 12 April 1945 – the same day that 6/8 metre, but it begins with a four-bar place over regular eight-bar phrases. The main body of the movement, marked baroque period. Schumann develops coda in the major which provides a Franklin D Roosevelt, 32nd President phrase marked stringendo (‘increase the sonata-form finale has the quality of a ‘lively’; and even the broader second the movement’s main theme into an hard-won effulgence provides a splendid of the USA, died in office. Its title looks intensity by increasing the speed’), which rousing German dance and includes moto subject affords little real contrast of impressive coda towards the close. conclusion to the whole work. back to the long narrative poem of the Schumann appears to have lifted from perpetuo figures (chiefly for the first violin) mood. Both subjects, together with a same title by the Latin poet Ovid: an the start of the second quartet and simply which provides a hard-won and splendid Violin sonata no 2 in D minor syncopated descending scale idea that Waldszenen op 82 dropped in here at a late stage – showing separates them, are explored at length in epic work about transformations and conclusion to the whole work. op 121 Eintritt (Entry) how he had more than one quartet ‘on the the turbulent central development section; the history of the world through myth Jäger auf der Lauer go’ at the same time. The short scherzo String quartet in A op 41 no 3 Ziemlich langsam – lebhaft while in the coda the music’s agitation that has inspired innumerable works of (Hunters on the lookout) returns to the ‘home’ key of A minor, with Sehr lebhaft increases still further. Though Schumann art, literature, plays and opera down the Andante espressivo — allegro molto Einsame Blumen (Lonely flowers) clipped phrases and scurrying parallel Leise, einfach Bewegt had provided his A minor Violin sonata centuries, including Strauss’s own opera moderato Verrufene Stelle (Haunted place) motion reminiscent of Mendelssohn; its Schumann’s first two violin sonatas, both with a central intermezzo-like slow Dafne (1938). Strauss’s direct source was Assai agitato — un poco adagio — Freundliche Landschaft trio is delightful, in C major over drone intensely passionate, were written in movement and scherzo rolled into one, a short Goethe poem which he originally tempo risoluto (Friendly landscape) basses. The adagio is, as Stephen E Autumn 1851, close to the Piano trio no this less concise companion-piece has intended to set for chorus; instead, Adagio molto Herberge (Wayside Inn) Hefling suggests in the Cambridge 3 discussed above, and seem to have two self-contained middle movements the musical material for this went Allegro molto vivace Vogel als Prophet (Bird as prophet) Companion to the String Quartet, perhaps been a response to encouragement from (marked ‘very lively’ and ‘quietly and into Metamorphosen. In order to enter the string quartet Jagdlied (Hunting song) the climax of the whole work, combining Ferdinand David, the leader of the Leipzig simply’) which are nevertheless world, Schumann had studied Haydn Abschied (Farewell) The moment in history, and Strauss’s a Beethovenian hymn-like melody which Gewandhaus Orchestra, who had led the closely interlinked. sense of belonging to a version of and Mozart, but also the quartets of Forest Scenes, a sequence of nine short settles into F major (shifting abruptly into group playing through all Schumann’s German culture traduced by the Nazis Beethoven, whose influence can be felt in The scherzo second movement, with its piano pieces – ‘a cycle of fragments’, as it A flat) with an ostinato accompaniment new string quartets in 1842 and was no 3’s slow introduction, which previews driving 6/8 rhythm, is a piece that seems has been called – dates from 1848-1849 and now being annihilated – including in Mendelssohnian song-without-words impressed by the Fantasiestücke for both the shape and the harmonization to have left a strong impression on the and was composed with Schumann’s the destruction of the opera house in style. The swashbuckling sonata-form clarinet and piano. He thought Schumann of the main subject of the allegro, into young Brahms, whose own early C minor typical speed. It is his last major set for Munich in a 1943 air raid – may explain finale, opening in A minor, veers often ideal to fill the need for new works for which it leads. The voice, however, is Scherzo for violin and piano is very similar solo piano. As Harriet Smith suggests: its sombre and elegiac mood, with a enough into F major that it seems violin and piano. The hint certainly bore distinctly Schumann’s own, dropping in mood. Schumann’s scherzo reaches ‘this is no objective foray into the woods descending chromatic bass line in the fruit, as Schumann then dedicated this destined to end in that key; but the its climax with the opening phrase of the but a very personal reaction to this opening section, marked adagio, and a fifth between the two opening notes sonata to David; but it was Joachim outcome is not certain until the very end. Lutheran chorale melody ‘Gelobet seist imagined landscape; and equally striking 24 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 25 the predominance of a gloomy C minor. twelve variations), originally for solo piano, on a Rococo Theme op 33 – and eleven conducting trips to western Europe and Richard Wagner 1813-1883 wrote, though he may have intended it as Towards its final section, the funeral which Schumann started composing in variations, including a fugue as Variation to the USA); and journeys to the warm Siegfried Idyll WWV 103 one movement of a future string quartet march theme (C minor again) from the 1834 and published in 1837. The work 8. Its ‘B’ section (almost as long) brings South. He spent time in the summer of which he never pursued. It is one of the On Christmas Day 1870, Richard second movement of Beethoven’s Third was dedicated to Schumann’s friend, a twelfth variation, finale and coda. The 1890 in Italy, writing the whole of the full most intense and moving late Romantic Wagner’s second wife Cosima, Liszt’s Symphony (Eroica) enters with a heavy the British composer William Sterndale theme is said to have been inspired by a score of his opera The Queen of Spades pieces in the Austro-German tradition. It daughter, was woken by this tender tread in the bass line, Strauss adding the Bennett (1816-1875), whom Schumann spring day in 1873 which Rubinstein and in just 44 days in Florence; on his return, was written in 1905 – ahead of Webern’s serenade (and birthday present, one day text ‘In Memoriam’ in the score at this had met in Leipzig. In 1864 Tchaikovsky Tchaikovsky spent together in the country he composed Souvenir de Florence for op 1 – while he was a composition pupil late), having its first performance on the point. The significance of this was once orchestrated these two movements from near Moscow, with peasants singing and string sextet, his last chamber work. in Vienna of Arnold Schoenberg (1874- stairs outside their villa in Tribschen, on thought to be that Strauss was refusing the Symphonic Etudes; they appear to dancing. From Tchaikovsky’s years Though based in D minor (three of its four 1951), like Alban Berg; this was before the edge of Lake Lucerne south-east to honour Hitler, just as Beethoven had have no opus number. of wandering – a trough in his creative movements at least start in that key), it is Webern fully joined what we now call the changed the dedication of his Eroica life – the Piano trio stands out a sunny and exuberantly romantic work: of the city. The players were a small Second Viennese School by adopting symphony from° Napoleon to ‘A Great Piano trio in A minor op 50 as an accomplished and heartfelt Tchaikovsky must have had a happy time ensemble from the Tonhalle Orchester twelve-tone methods of composition. Zürich, including conductor Hans Richter Man’. But, as Alec Ross suggests: ‘In the Pezzo elegiaco: moderato assai – musical success. in Italy, if recalling it could produce such a It is really love music: Webern had gone light of the hidden citation of Goethe’s allegro giusto At the composer’s request, three flow of rich melody and counterpoint. on the trumpet. It is one of Wagner’s few on a walking holiday with his cousin, line “No-one can know himself”, it is more A Tema con variazioni: andante con moto Conservatoire colleagues of his (and The long first movement is in sonata non-operatic compositions, antedating Wilhelmine Mörtl, whom he married likely that the hero being laid to rest is – B Variazioni finale e coda Rubinstein’s), including Taneyev at the form in 3/4, the first theme starting his opera Siegfried – of which Richter was six years later. Webern described the Strauss himself’. to conduct the first performances – by When Tchaikovsky heard in 1881 that piano, gave its first performance on the almost abruptly, leading then to a soaring trip in language reminiscent of the six years, though many of the themes in Strauss himself never gave any direct clue Nikolai Rubinstein, founder of the first anniversary of Rubinstein’s death; second theme in F, the relative major. psychologically complex Richard Dehmel the Idyll re-appear in the opera. So the about the significance of the work or its Moscow Conservatoire and a loyal Tchaikovsky then revised it further, The equally extended adagio, opening narrative poem on which Schoenberg Siegfried in the work’s title is also their title. It was the start of his miraculously colleague and friend, was dying in Paris, incorporating a version of Variation 8 from in D major, sounds innocently romantic: based his string sextet Verklärte Nacht baby son, born in 1869. In its original heartfelt and luminous series of final he arrived there from Nice only in time to Taneyev (not always played). The trio after a short introduction, the first violin (1899): ‘To walk forever like this among form it was for for thirteen instruments: works, including the Oboe concerto (also see the coffin being loaded on the train became very popular, being played at the introduces the movement’s song-like the flowers, with my dearest one beside Russian Embassy in Washington DC in two violins, viola, cello, double bass, flute, me, to feel oneself so entirely at one with 1945) and the Four Last Songs (1948). for Moscow. The Piano trio, written in theme over pizzicato strings, other 1891 in honour of a visit by Tchaikovsky; instruments gradually joining in: it is close oboe, two clarinets, two horns, trumpet the Universe, without care, free as the lark Here the post-Wagnerian excesses of Rome and completed in early 1882, was and later at memorial concerts for the in mood to the slow movement of his fifth and bassoon; but under commercial in the sky above – Oh, what splendour orchestration and chromaticism give way his musical response, dedicated ‘to the composer in November 1893. In 1942 symphony – and in the same key. The pressure Wagner expanded it in 1878 ... When night fell (after the rain) the sky to direct and moving bittersweet regret, memory of a great artist’. It is in only two Léonide Massine used an orchestral shorter third movement is the equivalent into a piece for full orchestra and gave it shed bitter tears but I wandered with her with moments of tender beauty. The movements, but on an expansive scale, version for his symphonic ballet Aleko, of the minuet and trio of a classical string its present title. The composer’s time in along a road. A coat protected the two performance today is of the composer’s and is his only work for this combination based on a poem in gypsy mood quartet, the central trio being much more Tribschen (1866-1872) is remembered in of us. Our love rose to infinite heights early version for string septet (two violins, of instruments. To his patron Nadezhda two violas, two cellos and a double bass), by Pushkin. lively. The final movement opens with the Richard-Wagner-Museum there. and filled the Universe. Two souls were von Meck he wrote: ‘I fear I may have the short score having been discovered what feels like a Russian peasant dance, enraptured.’ Though based in E flat arranged music of a symphonic String sextet in D minor op 70 Anton Webern 1883-1945 in Switzerland in 1990, then realised by which leads via a fugal section to an major, it combines an intensely chromatic character as a trio, instead of writing ‘Souvenir de Florence’ Langsamer Satz Rudolf Leopold and first performed in unmistakably Tchaikovskian ‘big tune’ and shifting post-Wagnerian language directly for the instruments. I have tried Allegro con spirito public in 1994. as its second theme (later repeated): ‘Slow movement’ is all the title promises with something more: what Paul Morley to avoid this, but I am not sure whether Adagio cantabile e con moto the two ideas are developed towards about this single movement work has called ‘the sound of a new world Peter (Piotr) Ilyich Tchaikovsky I have been successful’. Allegretto corto moderato an energetic conclusion. All the themes for string quartet, though its opening opening up, of the imagination creating 1840-1893 The first movement, elegiac in name Allegro con brio e vivace and their treatment seem more obviously marking in the score adds ‘Langsam, its own reality’. Inexplicably, it was first Adagio and Allegro brillante (from and character, is in a large-scale version Even after Tchaikovsky chose to settle Russian than Italian, and look back to mit bewegter Ausdruck’ (‘Slowly, with performed only in May 1962, by the of sonata form, opening with a heartfelt Schumann Symphonic Etudes op 13) down in Russia again after years of Tchaikovsky’s string quartets: this sextet turbulent expression’). By a whisker, it University of Washington String Quartet cello solo; the second has an ‘A’ section wandering following his disastrous is not the equivalent of Hugo Wolf’s Italian is the longest single piece Webern ever in Seattle (USA). These are two of the thirteen pieces comprising a theme – again presented marriage in 1877, there were still Serenade of three years earlier. (a theme from Baron von Fricken and first on the cello, rather as in the Variations opportunities for foreign travel (including 26 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 27 Remembering Max

We remember our late friend Sir Peter Maxwell Davies (Max), related to, whilst being equally delighted and astonished that you who very sadly passed away in March. He was one of our - the audience - were so open-minded and loyal (even though country’s most towering composers and to have known him as at times it must have been difficult on the ear). Your passion a friend seems a tremendous privilege. I’m also proud that he expressed for all music mirrored his own and he was very moved was, during his visits to the festival, very much part of the fabric. that we programmed his works alongside composers he was Max was a true pioneer, unbound by convention and resolutely greatly influenced by (such as Beethoven and Berg). Pushing uncompromising, living on the Orkney islands far away from boundaries and shifting perceptions were qualities he always contemporary influences. In a way much of his own personality nurtured from the start of his musical life and which seem so was reflected in the festival and partly why he was attracted to it relevant today. We will miss his presence enormously. in the first place. It was an experience he deeply respected and

Max and his dog Judy on the beach at Cata Sands, Sanday (Martin U K Lengemann)

28 North York Moors Chamber Festival 2016 30 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 31 Biographies

Over the past ten years or so a number of musicians who feature in the Festival have also appeared in the various concert seasons we’ve promoted in and around the North Jill Allan - Clarinet Katya Apekisheva - Piano Matthew Barley -Cello Nathaniel Boyd – Cello Thomas Carroll - Cello York Moors National Park. Every one of Jill Allan studied the clarinet at the Royal Katya Apekisheva is one of Europe’s foremost Matthew Barley is passionate about As an internationally recognised chamber As a concerto soloist Thomas has appeared these musicians were struck by the experience Northern College of Music in Manchester pianists, in demand internationally as a soloist improvisation, education, multi-genre music- musician and soloist, Nathaniel Boyd has with the London Symphony Orchestra, as a whole – the audiences, the sacred where she is currently a Professor of Clarinet and chamber musician and described by making, electronics, and pioneering community appeared at many of the world's leading Philharmonia Orchestra, Royal Scottish buildings, the landscape and general feeling at Manchester University. She went on Gramophone Magazine as ‘a profoundly programmes. His musical world has virtually concert halls, including the London’s Wigmore National Orchestra, BBC National Orchestra ofescape, freedom and inspiration. to complete a postgraduate diploma in gifted artist who has already achieved no geographical, social or stylistic boundaries, Hall, the Concertgebouw, Berlin Konzerthaus of Wales, London Mozart Players, the performance at Rotterdam Conservatoire in artistic greatness’. appearing in venues ranging from Ronnie and the Paris Opera. Described as an Vienna Chamber Orchestra, RPO, English the Netherlands. Scott’s and the WOMAD festivals to Vienna’s 'exceptionally gifted' recitalist by Musical Chamber Orchestra, Prague Philharmonic and They unanimously agreed: how rewarding Studying at the Royal College of Music under Konzerthaus and Zürich’s Tonhalle. As a world- Opinion in 2013, Nathaniel is a laureate Bayerischer Rundfunk Orchestra. to be playing music for all the right reasons. During this period, Jill began to establish Irina Zaritskaya, she went on to become a renowned cellist, Matthew has performed in of numerous prizes for his work with the herself as one of the foremost clarinettists finalist and a prize-winner at the Leeds Piano Much in demand as a chamber musician, In stressful high profile careers it is easy to over 50 countries, including concertos with Navarra String Quartet, including the MIDEM in the UK and has since gone on to perform Competition and Scottish Piano Competition Thomas has worked with many of the world’s forget how uplifting a relaxed and intimate many international orchestras such as the Outstanding Young Artist Award, Cannes as a guest player with many of the country's as well as being awarded the London greatest musicians and appeared at numerous performance can feel and if anything, this Czech and BBC Philharmonic as well as recent and First Prize at the Florence International finest ensembles including the BBC Philharmonic Soloist of the Year. She has festivals including Edinburgh, Dubrovnik and tour to Mexico with City of London Sinfonia. Chamber Music competition. elevates the performance to an even higher Symphony and Philharmonic Orchestras, subsequently appeared as soloist with the Cheltenham. His recordings include Michael level because of its spirit and intention. Hallé, Royal Philharmonic Orchestra, the City London Philharmonic, Philharmonia, Hallé, Along with a trio with jazz pianist Gwilym In 2007 he was awarded the Borletti Buitoni Berkeley’s String Quintet with the Chilingirian This is the magic of chamber music in of Birmingham Symphony Orchestra and the Moscow Philharmonic, Jerusalem Symphony, Simcock and clarinettist Julian Bliss, Matthew’s Fellowship as well as being selected for Quartet for Chandos and sonatas by Beethoven, Schubert and Brahms with pianist locations such as ours and the touching highly acclaimed John Wilson Orchestra. Jill is English Chamber Orchestra and the Royal other music group ‘Between The Notes’ has representation by YCAT and as a soloist by Llyr Williams on the Orchid Label. success of the past seven Festivals has set regularly Guest Principal with the Symphony Philharmonic orchestra with conductors such undertaken over 60 creative projects with the Tillett Trust. His recordings of Vasks' Orchestra of India, based in Mumbai and has as Sir Simon Rattle, Alexander Lazarev and young musicians and orchestral players around Quartets and Haydn's Seven Last Words Thomas has performed at Wigmore Hall, high expectations not just for audiences but also appeared throughout Japan, China, South Jan-Latham Koenig. Her recording debut the world. Matthew has released recordings with the Navarra Quartet both received 5 star the Louvre in Paris, Konzerthaus in Vienna, also the performers who savour giving their Korea and Europe. Aside from orchestral of Grieg solo piano works (Quartz) received on Black Box, Signum Classics and Onyx reviews from BBC Music Magazine. Recently the, Bath MozartFest and The International best for this unique experience. We all share playing, Jill enjoys the variety and interactive overwhelming critical response, as did Classics – Viktoria Mullova for which Matthew Nathaniel has appeared as Principal Cellist with Chamber Music Festival in Utrecht with this love of collaborating to bring you world- challenges of chamber music, helping to her follow recording on Onyx of works by was cellist, arranger, composer and producer. major UK Orchestras including the Scottish Janine Jansen and Julian Rachlin. He has class music within an inspired environment found the Minerva Wind Quintet and working Mussorgsky and Shostakovich. She has also The Peasant Girl which has gained rave Chamber Orchestra, Orchestra of Opera North, also given concerts in Tokyo, been resident alongside the Birmingham Contemporary released numerous CDs with violinist Jack reviews and now also available on DVD. They Manchester Camerata, the Royal Scottish at the Delft Festival in Holland and appeared created by all these factors. It is a Festival Music Group and Ensemble 10/10. Liebeck and her duo partner pianist Charles also gave the premiere of Thomas Larcher’s National Orchestra and Aurora Orchestra. as soloist with the BBC Concert Orchestra at of friendship and one which is based on Owen. This season highlights includes a double concerto at the Proms. Chamber music highlights this season include the Queen Elizabeth Hall (broadcast by BBC This is Jill’s fourth visit to the North York Moors generosity whilst sharing and celebrating recital at Kings Place, Wigmore Hall and a recitals at the Esterhazy Palace, Hungary, the Radio 3). In 2007 he made his debut with the Chamber Music Festival, looking forward to In 2013 Matthew undertook a 100-event UK debut in Tokyo. Katya is also Professor of Concertgebouw in Amsterdam and the Purcell Melbourne Symphony Orchestra in a series the art of communication and collaboration. being part of great chamber music with long tour celebrating Benjamin Britten – the tour Piano at London’s Guildhall School of Music Room. Nathaniel is delighted to be a member of performances of Shostakovich’s Concerto established colleagues within one of the most was accompanied by a CD release, Around and Drama. of the newly formed Albion Quartet who No.2. Thomas is currently a Professor at the Jamie Walton inspiring settings in the country. Britten, described by Sinfini as “a defining recently appeared as the Honeymead Quartet Royal College of Music in London and the www.katyaapekisheva.com statement in modern cello playing”. Artistic Director in Lastingham back in March. Yehudi Menuhin School. www.matthewbarley.com www.thomascarroll.com 32 North York Moors Chamber Festival 2016 Clarinet Viola North York Moors Chamber Festival 2016 33 Megan Cassidy - Viola Rebecca Gilliver - Cello Clare Hammond - Piano Anna Huntley - Soprano Adam Johnson - Rachel Kolly d'Alba - Violin Meghan studied the Viola with Garfield Rebecca is Principal cellist of the London Acclaimed as a pianist of ‘amazing power and Lauded by The Guardian as a ‘fast-rising Piano/conductor The Swiss violinist Rachel Kolly d'Alba Jackson at the Royal Academy of Music, Symphony Orchestra. Early success in panache’ (The Telegraph), Clare Hammond is British talent’, award-winning mezzo-soprano is considered one of the most talented One of the most versatile and exciting young where she graduated in 2010 winning the national and international competitions led to recognised for the virtuosity and authority of Anna Huntley sings on concert, opera and musicians of her generation. Known for her musicians on the circuit, the pianist and Sydney Griller Award and Sir John Barbirolli critically acclaimed debut recitals at Wigmore her performances. Having completed a BA recital stages in the UK and internationally. fire, temperament and fine musicianship conductor Adam Johnson founded his own memorial prize. In 2007 Meghan joined the Hall in London and Carnegie Hall, New York. at Cambridge University where she obtained Currently a recipient of a Wigmore Hall/ she has performed concertos with many orchestra - The Northern Lights Symphony Solstice Quartet who were awarded the Tillett These led to appearances at many major a double first in music before furthering her Independent Opera Vocal Fellowship given great orchestras including the Rotterdam Orchestra - of which he is both Artistic Director Trust and Park Lane Group in 2008 before music festivals such as Bath, Bergen, and the studies at the Guildhall School of Music at the 2011 Wigmore Hall/Kohn Foundation Philharmonic, Bournemouth Symphony and Principal Conductor. winning the Royal Overseas League in 2009. Manchester International Cello Festival. A keen and Drama, Clare has gone on to develop a International Song Competition, she is a Orchestra, WDR Rundfunkorchester Köln, They went on to perform at London’s Wigmore chamber musician, she has collaborated with reputation for brilliantly imaginative concert laureate of the ‘Das Lied’ Competition, Berlin Winner of the Ricordi Operatic Conducting Symphonic radio Orchestra Frankfurt, BBC hall and QEH as well as live on BBC Radio numerous international artists including Nikolai programmes. She recently won the Royal and the London Handel Singing Competition. Prize whilst studying under Sir Mark Philharmonic Orchestra, Lausanne Chamber 3 during which time Meghan continued her Znaider, Sarah Chang and Roger Vignoles with Philharmonic Society's 'Young Artist Award' She was selected by YCAT in 2012, Kirckman Elder, Adam was invited to conduct at the Orchestra and the NHK Symphony Orchestra studies with Tatjana Masurenko (Leipzig), whom she recorded for BBC Radio 3. in recognition of outstanding achievements Concert Society in 2013 and is currently Manchester International Festival as well in Tokyo. Rachel made her US debut in Nabuko Imai (Hamburg) and Hartmut Rohde in 2015 and over the past year Clare has mentored by Angelika Kirschlager as part as associate conductorship of the London Chicago at the International Beethoven Rebecca is also regular participant at IMS at IMS Prussia Cove. A much sought after performed at the Barbican Hall, given 5 of the Royal Philharmonic Society/Sir Philip première of Jonathan Dove’s opera Flight with Festival during September 2012 bringing Prussia Cove and a frequent guest with the chamber musician, Meghan has appeared broadcasts for BBC Radio 3 and recorded Langridge Mentoring Scheme. British Youth Opera under Nicholas Cleobury. international praise for her visionary spirit. acclaimed Nash Ensemble. As well as chamber at many international festivals throughout discs for Sony, BIS and Signum. In 2014, she His subsequent operatic successes have As a recitalist she performs regularly with her music, her passions extend to teaching, giving An outstanding recitalist, Anna has worked with Britain and Europe Meghan and has recently gave debut performances at seven festivals included direction of Karol Szymanowski’s longstanding duo partner Christian Chamorel, frequent masterclasses at the Guildhall School a number of leading accompanists including been collaborating with the London Conchord across Europe, including the ‘Chopin and his King Roger and Benjamin Britten’s The Rape appearing at many prestigious festivals such of Music and Drama, the Royal Academy of Graham Johnson , Iain Burnside, James Ensemble, Ensemble Midvest, Monte Piano Europe Festival’ in Warsaw. of Lucretia for Elemental Opera. A former as the Menuhin Festival in Gstaad and the Music in London and coaching at Aldeburgh Baillieu, Julius Drake and Simon Lepper whilst Trio and Fidelio Piano Trio. Alongside a scholar at the RNCM with the Sema Group Schleswig Holstein Festival. Strings as part of the Britten-Pears Young Highlights in 2016 include her Royal Festival other concert engagements have ranged from chamber music career Meghan appears as Contemporary Performance Prize to his credit, Artist Programme. Originally joining the LSO as Hall debut with the Philharmonia and a Bach’s B Minor Mass with Trevor Pinnock and Her first concerto recording with Warner Guest Principal Viola with Orchestras such as Adam continued his piano studies with Peter Co-principal in 2001, Rebecca was promoted concerto tour of Poland. This autumn, she Haydn’s Harmoniemesse with Andras Schiff Classics was voted Best Recording of the BBC National Orchestra of Wales, the Royal Feuchtwanger who has described him as ‘in to Principal in 2009 and has also appeared curates three concerts for the BBC at the to Mahler’s Das Lied von der Erde with the Year in 2012 by ICMA and Rachel has gone to Liverpool Philharmonic Orchestra, Opera North possession of an excellent technique and full as Guest Principal with other international Belfast International Arts Festival, to be City of London Sinfonia (Michael Collins) and record many albums most recently chamber and the Royal Scottish National Orchestra. of fantasy’. Future plans include developing orchestras around the world including the broadcast at a later date as part of the BBC Berio’s Folksongs with the Hebrides Ensemble. music works by Chausson and Franck. Three Highlights this year include performances of an educational programme in inner London Australian Chamber Orchestra, New Sinfonietta Radio 3 Lunchtime Concerts series. Have just Highlights of recent opera seasons have been years ago Rachel became an Ambassador for Mozart Concertante with Orion Symphony with his orchestra which enjoys a residency at Amsterdam and the World Orchestra for released her third disc with BIS, Clare will also a variety of roles for English National Opera, Handicap International and her first work for Orchestra in London and Aberwystwyth. various London churches. A supreme chamber Peace. This is Rebecca’s return visit to the be recording world premiere recordings of two Welsh National Opera, English Touring Opera the charity was in Cambodia in February 2013 Meghan is founder and Artistic Director of the music and frequent artist at this festival both as North York Moors Chamber Music Festival. keyboard concertos by Myslivecek with the and the Cambridge Handel Opera Group. and has regularly organised many concerts for Marylebone Music Festival which made its conductor and pianist, the eminent composer Swedish Chamber Orchestra. Anna Huntley is generously supported by the them. She is a devoted mother to her daughter debut this June. Rebecca will be teaching at Guildhall School of Oliver Knussen hailed his performances as www.clarehammond.com Richard Carne Trust. and she also writes short stories and novels. www.orionorchestra.org.uk/marylebone Music and Drama from September. containing ‘extraordinary detail’. www.ycat.co.uk/artist/anna-huntley Rachel plays on a magnificent Stradivarius www.nlso.org violin made in1732. www.racheldalba.com 34 North York Moors Chamber Festival 2016 Cello North York Moors Chamber Festival 2016 35 Natacha Kudritskaya – James Newby - Baritone Emma Parker - Violin David Pipe – Organ Victoria Sayles - Violin Virginia Slater - Viola Piano Baritone James Newby is currently in his final Emma Parker graduated in 2005 from the David read Music as Organ Scholar of Victoria Sayles was a Scholar at Bryanston With siblings as violinists, Virginia began Natacha was born in Perm in the Urals in year of study at Trinity Laban Conservatoire of Royal Academy of Music in London with first Downing College Cambridge, later studying School, a Foundation Scholar at the Royal playing the viola at the age of six attending 1988 to musical parents. She studied in Kiev, Music and Dance and will continue his studies class honours degrees in both undergraduate organ at the Royal Academy of Music in College of Music (where she graduated with The Purcell School of Music then continuing first at the Lysenko School and then at the with a scholarship place on the Masters and postgraduate performance after which London. While a Master’s student there, First Class Honours) and a Scholar at Kingston her studies at London’s Guildhall School of Tchaikovsky National Academy of Music. In course at the Guildhall School of Music and in her capacity as a chamber musician she he was Organ Scholar and Director of the University studying Masters in Publishing. Music. She went on to hold a postgraduate 2000 she won the contest of young pianists Drama next month. Earlier this year James went onto to win 1st and audiences prizes in Merbecke Choir at Southwark Cathedral. As an orchestral player, Victoria was Associate fellowship there with the help of numerous to Rachmaninov Novgorod in Russia. From was the 1st prizewinner at the Kathleen Ferrier Melbourne and appear at London’s Wigmore David has given recitals throughout the Leader of the Royal Liverpool Philharmonic awards and scholarships. As recitalist and 2003 she worked with the pianist Alain Planès Awards and last year he was also awarded the Hall. Emma enjoys a busy and varied freelance British Isles and as part of tours to the USA Orchestra, the London Mozart Players and chamber musician, Virginia’s UK concerts at the Conservatoire de Paris and in 2007 and Richard Tauber prize for ‘best interpretation career as part of the Albion and Badke string throughout Vermont and Colorado; festival a full-time member of Scottish Chamber include performances on London’s Southbank was admitted to the Conservatoire’s advanced of a Schubert Lied’ at the Wigmore Hall/Kohn quartets and in 2013 she was also appointed performances have included the Cambridge Orchestra. She has also been Concertmaster at the Purcell Room and Queen Elizabeth Hall, course to study with Jacques Rouvier She International Song Competition. James has principal 2nd violin with the Manchester Summer Music Festival, St Albans International of Bergen and Royal Philharmonic Orchestras, the Wigmore Hall, St. Martin-in-the Fields and continues to work with pianists Ferenc Rados just become the recipient of the Wigmore Hall/ Camerata where she appeared as guest Organ Festival and our North York Moors Santiago Opera House, BBC Scottish, City of the Royal Albert Hall as part of the 2007 Prom and Elisabeth Leonskaja. Independent Opera Voice Fellowship and leader for a recent Chandos recording. Chamber Music Festival. Birmingham, Swedish Radio and Trondheim Series. She has performed at many Festivals is currently singing with the Glyndebourne including Edinburgh and the City of London, In 2009 Natacha was awarded the Grand She regularly performs with various orchestras David has also appeared as organist and Symphony Orchestras plus guest co-leader of Festival Chorus. playing concertos in Paris, Vienna, Budapest, Prix by the Safran Foundation for Music such as the Aurora Orchestra, London conductor on national television and radio; his the Philharmonia Orchestra. Victoria has also Helsinki, Tallinn and Japan. As a member of and featured on the Génération Spedidam As well as an extensive Oratorio repertoire Mozart Players, Northern Sinfonia, London recordings include a disc of original works and led orchestra live on television in China. the Covent Garden Consort, Virginia has made programme. She won first prize at the Vibrarté under his belt, James' operatic roles include Philharmonic Orchestra, BBC Symphony transcriptions by Liszt and Brahms which was In chamber music Victoria has regularly several recordings and been a featured artist International Music Competition and the the title roles in Eugene Onegin, Don Giovanni, Orchestra, Royal Philharmonic Orchestra and released in 2012 and voted ‘Recording of the performed with Southern Cross Soloists on Classic FM and BBC Radio 3 as well as Robert Casadesus Prize for her performance Aeneas in Dido and Aeneas, Guglielmo in Cosi the BBC Philharmonic. Emma also studied Month’on MusicWeb International. David took (Sydney Opera House), Chamber Music New appearing in television broadcasts in Ireland, of French music. Natacha is particularly fond Fan Tutte and Papageno in Die Zauberflöte. period performance whilst at the RAM with up the post of Director of the Organists’Training Zealand, Oxford May Music Festival, Australian France and Italy. of baroque music and in particular that of Nicolette Moonen and always loves to perform Programme and Cathedral Organist in the Festival of Chamber Music, Gstaad Festival Recent performances include two recitals in Bach, Rameau and Couperin, as well as the on gut strings, subsequently appearing with Diocese of Leeds in May 2016, having been Switzerland, Grindelwald Chamber Series, She enjoys a varied freelance career and has the Perth International Arts Festival (Australia) Romantic repertoire in which she excels with the Academy of Ancient Music, Irish Baroque Assistant Director of Music at York Minster. He throughout Japan and many others including, appeared as Guest Principal with the Royal which included Schumann's Dichterliebe her emotionally profound style. As a chamber Orchestra and Jonathan Cohen’s Arcangelo. has been Principal Conductor of York Musical of course, our very own festival here where she Liverpool Philharmonic Orchestra, the Royal that he sings at the festival here. Upcoming musician Natacha performs all over the world Emma is in much demand as a session player Society since 2012, achieving critical acclaim is very much part of the festival’s DNA. Philharmonic Concert Orchestra, Scottish performances will include Vaughan Williams with musicians such as Ivry Gitlis, Hugo Ticciati and enjoys collaborations with many chamber in works including Bach’s St Matthew Passion, Ballet, Opera North, Orchestra of the Swan A Serenade to Music at the Last Night of Enjoying a diverse career within the arts and Daniel Rowland. She has recorded ensembles including Ensemble 360, Acoustic Brahms’s Ein Deutsches Requiemand Verdi’s and City of London Sinfonia. Virginia is the Proms and creating the role of Simon in Victoria was also Artist Manager at Harrison works by Rameau, Berio and Ravel and her Triangle and the Honeymead Ensemble with Requiem. David is delighted to return for his delighted to be returning to the North York Howard Moody’s Push in the Battle Festival, Parrott, London and is newly appointed recent album of ‘Nocturne’ is released on Tamsin Waley-Cohen. She plays on a Pietro fifth North York Moors Chamber Music Festival! Chamber Music Festival. in conjunction with the Glyndebourne Artistic Director of Music at Hazelgrove Deutsche Grammophon. Giovanni Guarneri (1655–1720) violin, kindly on education department. www.david-pipe.co.uk School, Somerset. loan from a private donor. Victoria plays a 2013 Joachim Schade Violin, Leipzig. 36 North York Moors Chamber Festival 2016 Piano Organ North York Moors Chamber Festival 2016 37 Simon Tandree - Viola Hugo Ticciati - Violin David Tollington - Horn Elizabeth Trigg - Bassoon Carol Tyler - Tamsin Waley-Cohen - As an internationally recognised soloist Believing in the power of the present moment David left the Royal Northern College of Music After graduating from the University of Surrey, Resident Artist Violin and chamber musician Simon Tandree and freedom of expression, Hugo Ticciati in 2000 collecting the Alfred de Reyghere Elizabeth Trigg won a scholarship to the Royal Carol Tyler trained in Wolverhampton and Described by The Times as a violinist has performed in the world's leading embraces the world of contemporary music, Memorial Prize. As a successful freelance Northern College of Music in Manchester, Birmingham receiving a BA.(Hons) Fine Art ‘who held us rapt in daring and undaunted concert halls including the Wigmore collaborating with many diverse composers musician he has worked with many of the studying bassoon with Edward Warren. She and an MA in Fine Art respectively. Since performances’, the prize-winning violinst hall,Concertgebouw,Berlin Konzerthaus, from around the world and in the coming country’s finest orchestras including the BBC then graduated to the Royal Academy of Music graduating as a mature student in 1990 she Tamsin Waley-Cohen enjoys an international Vienna Konzerthaus and Library of Congress seasons he will be performing world premières Philharmonic, the Hallé, the Royal Philharmonic where she took up further studies with Gareth has exhibited widely. Key exhibitions since career and has just been announced a in Washington. Simon also plays regularly of concertos dedicated to him in Europe, Orchestra, Northern Sinfonia, the BBC National Newman and John Orford before pursuing 2000 include - Brewery Arts Centre, Kendal, ‘Wigmore Emerging Artist’ 2015/2016 as in festivals around the globe including Asia, and North and South America. He has Orchestras of both Scotland and Wales, the a career as a chamber musician and as an Cumbria - Light as a Feather, Installation at the well as the prestigious European Concert Maputo,Sidney,New York and Bratislava. performed in many of the word’s most eminent City of Birmingham Symphony Orchestra and orchestral bassoonist in some of the country’s Showroom Cinema Sheffield - Contemporary Halls Organisation’s Rising Stars programme As a member of the world-renowned Doric venues including Carnegie Hall, Mariinsky the Royal Liverpool Philharmonic. most eminent orchestras. Elizabeth is in great View, RCA London - Back to Nature, Ikon 2016/2017, embarking upon a prestigious Theatre Concert Hall, Chicago Symphony Hall demand as a freelance musician and performs String Quartet Simon won numerous prizes He also regularly works with Opera North and Gallery, Birmingham - as well as shows in European tour. She has performed with major and Cadogan Hall (London). Next season with the likes of the London Symphony including 1st prize Osaka International the English National Ballet as well as appearing numerous commercial galleries throughout UK orchestras such as the RPO, Bournemouth features tours in China and the USA with his Orchestra, London Philharmonic Orchestra Chamber Music competition, 2nd prize as guest Principal Horn with The Symphony England. She is also a regular exhibitor at the Symphony Orchestra and the BBC Concert own string orchestra, a series of concerts at and the BBC Symphony Orchestra under such Borciani Competition in Italy as well as Orchestra of India with whom he recently Affordable Art Fairs in London and Glasgow. Orchestra under conductors including Andrew having two Gramophone nominations for the Muziekgebouw aan ‘t IJ, Amsterdam and a prestigious conductors as Valerie Gergiev, Litton, Jose Serebrier and Tamas Vasary. With performed in Moscow. In 1995 she was Artist-in-Residence at CD’s recorded with Chandos. Simon has weekend of concerts at Wigmore Hall. Sir Colin Davis, Mark Elder and John Adams. performances taking her across Europe, New His work has taken him all over the world with As well as orchestral playing, she enjoys a Grizedale Forest in Cumbria. Living in a collaborated with some of the world's leading Hugo has a passion for chamber music and Zealand, and the USA, future engagements tours of Japan, China, India, much of Europe varied career as a chamber musician, playing caravan and working in a huge attic studio for artists including Alexander Melnikov,Mark gives regular recitals across Europe and the include concertos with the Hungarian Radio & and, as a baroque hornist, he appeared as regularly at London’s Wigmore Hall. three months, the experience changed her Padmore, Chen Halevi, Anthony Marwood and Far East, featuring in many great festivals such TV Symphony Orchestra and the Christchurch principal with Les Arts Florissant in Paris, working methods and life. The following year, Laurence Power. as Gstaad, Edinburgh, the St Magnus Festival Elizabeth also has a real passion for music Symphony Orchestra in New Zealand. Tamsin Switzerland and the Edinburgh Festival. His she moved to a caravan on the North York As well as being in demand as Principle Viola, (set up by Sir Peter Maxwell Davies) and is education which enhances her busy schedule. is a Signum Artist for Signum Records and her recording work has been incredibly varied Moors near Whitby and finally realised her appearing regularly with orchestras such also the artistic director of his own festival Highlights of her career to date include growing discography includes a disc of works with a wealth of classical CDs and also a ambition to integrate her life and work. as Britten Sinfonia,Aurora orchestra ,ENO, O/MOD RNT at Ulrikdal’s Palace Theatre performing Beethoven’s Ninth Symphony for violin and piano by Hahn and Szymanowski recent collaboration with Sting in Durham Manchester Camerata and Porto Sinfonica Confidencen, Stockholm, as well as a string with the BBC Symphony Orchestra for the Carol continues to exhibit regularly and in June with her duo partner Huw Watkins and violin Cathedral of his ‘Winter Songbook’. David Simon is passionate about teaching and festival in Kazan, Russia. Teaching is another First Night of the Proms, recording the sound each year opens her house and studio in the concertos by Harris and Adams with the BBC has also, occasionally, ventured into the realm has given master-classes in institutions passion, applying the physical and spiritual track for the film ‘The Golden Compass’ and Dales as part of the North Yorkshire Open Symphony Orchestra under Andrew Litton. of film and TV with perhaps his most notable and courses in Spain,India,Indonesia and aspects of meditation to the art of practising, touring America and Europe with the Royal Studios. Her intimate relationship to the moors Tamsin is Artistic Director for the Sunday appearance being in the recent Keira Mozambique where he is part of the Xiquitsi playing and living in music. Philharmonic Concert Orchestra and Anthony during those nomadic years has given her a Series at London’s Tricycle Theatre and the Knightley film ‘The Duchess’. This is his fourth project helping to bring classical music to Daniels. Elizabeth has appeared with us during unique perspective to its vision through art Honeymead Festival. She is also a member of www.hugoticciati.com appearance at the North York Moors Chamber young children. Simon studied at the Guildhall the past two festivals and is very excited to and this is why her regular depictions of the the acclaimed London Bridge Trio with whom Music Festival. in London,in Detmold,Germany and in return for a third year. landscapes are commissioned by the Festival she has recently recorded the Dvorak piano Basel,Switzerland. Simon is also a qualified each year. quartets for the Champs Hill label. Tasmin Cranio-Sacral Therapist. www.caroltylerpaintings.com plays the 1721 Ex-Fenyves Stradivarius violin. www.tamsinwaleycohen.com 38 North York Moors Chamber Festival 2016 Bassoon Jamie Walton - Cello Dan Watts - Flute Rosalind Ventris - Viola Zsolt-Tihamér Visontay - Anthony Williams - Karolina Weltrowska - Founder and curator of this festival, Jamie Dan Watts attended Wells Cathedral School Rosalind Ventris is emerging as one of the Violin Double-bass Violin has performed all over the world in concertos, and the Aspen Music School before studying most sought after young violists internationally, German-Hungarian violinist Zsolt-Tihamér Anthony Williams studied music and maths Karolina Weltrowska was born in Poland and recitals, broadcasts and as a chamber at the Royal Northern College of Music. After having read Music at Cambridge Visontay began playing the violin in 1988, at Royal Holloway, University of London, and began playing the violin at the age of seven. musician which remains his main passion. graduating Dan was appointed Professor of University, studying with David Takeno taking lessons at the music school in then double bass performance at the Royal She studied with Mirosłav Ławrynowicz at the Jamie also set up his own record label to Flute at the National Conservatory of Music at the Guildhall School of Music & Drama Magdeburg, going on to study under Professor College of Music. He enjoyed a busy and Frédéric Chopin Music Academy in Warsaw celebrate the festival and the important of in Ramallah, Palestine. He has performed and Kim Kashkashian at the New England Jost Witter at the Schloss Belvedere Music varied freelance career performing with the and then furthering her studies in the soloist collaborative music making: Ayriel Classical concertos at Royal Festival Hall, St John’s Conservatory. She recently performed at School and the Franz Liszt Academy. Philharmonia, Orchestra of Opera North, BBC class with Priya Mitchell at the Academy of was launched last year and a further two Smith Square and appeared with the the Wigmore Hall's 2014 viola celebration Laureate of several international solo prizes, Philharmonic, BBC National Orchestra of Music and Performing Arts in Frankfurt/Main. releases are due out in 2016 to include a world Manchester Camerata, Faros Soloists (Cyprus) with Tabea Zimmermann and has given including the International Louis Spohr Wales and the BBC Concert Orchestra, and With her string quartet she was also a student premier by the late Sir Peter Maxwell Davies, and Orquesta di Algarve. Dan has also played premieres at the Royal Festival Hall, Purcell Violin Competition and the International playing principal with London Mozart Players, a the European Chamber Music Academy written during his time at the festival for us to with the Royal Shakespeare Company and Room, Wigmore Hall, Aldeburgh Festival and Henry Marteau Violin Competition, Zsolt has Brandenburg Sinfonia and the Northern Lights (ECMA) where her teacher was, among others, debut last year. On his 1712 Guarneri, Jamie in numerous West End productions including Bridgewater Hall. At the age of 17, she was performed extensively as a soloist as well as an Symphony Orchestra (founded and run by Hatto Beyerle. Karolina is a prize winner of has recorded most of the sonata repertoire ‘Phantom of the Opera’, ‘Mary Poppins’ the youngest prize-winner at the Lionel Tertis orchestra leader, heading the European Union Adam Johnson). In July 2013 Anthony was major national violin competitions and this led for Signum Classics, ten concertos with and ‘Wicked’. Competition, subsequently performing with Youth Orchestra in 2005. appointed to the Royal Liverpool Philharmonic to many appearances as soloist with various the Philharmonia (including the Dvořák and the European Union Chamber Orchestra at the Dan is Principal Flute of the Northern Lights Orchestra with which he undertakes regular orchestras in her native country. Schumann with Vladimir Ashkenazy), three Emilia Romagna Festival in Italy, and in the UK In 2007, at the age of 24, he became Joint Symphony Orchestra and is one of the performances, broadcasts, recordings and As a member of her string quartet she won concertos with the RPO and the complete with violinist Tasmin Little. Concert Master of the Philharmonia Orchestra. founding members of the Metropolitan tours: recent travels have taken him as far first prizes in various international chamber works for cello by Benjamin Britten including a Since then his solo engagements with the Ensemble, a flute and string ensemble, A keen chamber musician, Rosalind is a afield as Japan, China and Bucharest. Anthony music competitions in Heerlen (Netherlands), film about the solo suites which was premiered Orchestra have included performing The with which he has performed live on member of Trio Anima and the Albion String also continues to freelance with many of Sondershausen and Weimar (Germany). on SkyArts. Lark Ascending under both David Hill and national television. Quartet with whom she appears during this the UK's top orchestras including the BBC Sir Andrew Davis. He has recorded the John Developing a real affinity for collaborative Jamie was awarded a Foundation Fellowship festival. She has collaborated with the Arcanto Symphony and RPO, and has recorded music making, Karolina has gone on to A trademark purity of sound is a distinctive Jeffreys Violin Concerto with the Philharmonia by Wells Cathedral School for his outstanding Quartett (at the Beethovenhaus in Bonn), soundtracks for several films and television perform at various chamber music festivals quality in his playing and Dan is a committed and Paul Bateman. In addition he has acted as contribution to music and is Patron for Gerhard Schultz, the Aronowitz Ensemble, shows including The Man from U.N.C.L.E and including those at Kuhmo (Finland), Gidon chamber musician both in modern and violinist/director with the Philharmonia and the Cedars Hall, a new concert hall which Jamie Clive Greensmith, Philippe Graffin, the Downton Abbey. Kremer’s Lockenhaus Festival, Priya Mitchell’s period performances. His versatility as an Academy of St Martin in the Fields. and colleagues open in October with a gala Benedetti Elschenbroich Grynyuk Trio and the Oxford Chamber Music Festival, Osnabrück artist manifests also in solo work, guesting as As a soloist he gave the world premiere of concert. As a member of the Worshipful Endellion quartet. For the IMS Prussia Cove, Established as a sought-after chamber and Schleswig-Holstein (Germany), Warsaw, soloist with the Aubry String Trio and earlier William Attwood’s Double Bass Concerto in Company of Musicians, Jamie was elected to she performed at the Salzburg Festival in 2012 musician, he has performed in major venues Sapporo and New York. Since 2010 she is a this year he gave the world premiere of 2009 and enjoyed a visit to Whitby to play the Freedom of the City of London (although and on the 2013 tour, broadcasting live on such as the Mozartsaal, Vienna; Salle Gaveau, member of Ensemble MidtVest in Denmark Edward Gregson’s flute concerto at Vanhal’s Concerto with the St Hilda’s Festival he now lives permanently in North Yorkshire). BBC Radio 3. Rosalind records for Delphian Paris; and Wigmore Hall, London. Zsolt and is delighted to be returning to North St Martin-in-the-Fields with the Northern Orchestra last Summer. Anthony lives on the www.jamiewalton.com in September 2016 after returning from the has also recorded Bartók's Contrasts with Yorkshire since her debut appearance earlier Lights Symphony Orchestra. Wirral with his wife Rosie (stage manager and Mark van de Wiel and Yefim Bronfman; and Marlboro Music Festival. bassoonist) and cats Jeoffry and Suzie. He back in March. has recently recorded Rachmaninov and regularly visits Yorkshire for real ale, chamber Shostakovich piano trios with Mats Lidstroem music and walks! and Vladimir Ashkenazy on Decca. 40 North York Moors Chamber Festival 2016 Flute North York Moors Chamber Festival 2016 41 Venues

All Saints - Helmsley continuity and lineage. The north aisle wall is a large medieval styled colourful Restore, rebuild or start completely mural to demonstrate the roots and afresh? This Festival uses examples development of Christianity in the local of all three options available to church area. The story of St Columba and St architects and patrons in the mid 19th Aidan in the South Transept is even Century. At All Saints’ the wise decision more audacious. Here we see St Aidan was to restore and integrate a sizeable attempting to convert the inhabitants portion of the original medieval fabric. The of Helmsley to Christianity: a scene south door contains delightful Norman high in drama but without any actual zigzag decoration and scalloped capitals documented justification. while the chancel arch is a supreme example of playful detailing. Close Much of this interior detailing was examination shows four orders with the the result of Helmsley’s most famous outer ring being a series of hoodmasks: incumbent, Charles Norris Gray. He was a 28 vernacular faces tending towards the classic activist clergyman whose zeal and jocular or even grotesque. It is easy to vision was employed in every aspect of imagine those responsible had certain his role. He oversaw the development of several churches in far-off hamlets while individuals in mind as they carved. giving moral leadership to issues such as The remainder of the church largely dates education, sanitation and the dangers of from an 1860s restoration undertaken by women wearing tight lace. He died from the London firm of Barry & Banks which overwork in 1913 having significantly cost some £16,000. The restored church advanced the social infrastructure of is “big and self-confident” (Pevsner); the Helmsley. The massive marble altar and tower conveys a certain solidity about reredos in the Chapel of St Aelred was the church’s presence within the town. installed by Gray as a memorial to his Whereas the Victorian fascination for father who was Bishop of Cape Town. medieval forms of art and architecture The fine woodwork in the chancel is by is well known, All Saints’ offers a good Robert ‘Mouseman’ Thompson example of another obsession: that of of Kilburn.

42 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 43 St Oswald’s - Lythe St Mary's - Lastingham crypt, it begins to look as if the shell of an Anglo-Saxon religious building was neatly The church of St Oswald dominates The church is undergoing a major dropped into the middle of an abandoned the headland above the village of reconstruction, not of its fabric but its Temple. The wider significance of Sandsend. Inland, to the north, west history. There was a long accepted belief Cedd’s church and of its successor, the and south lie the vast open spaces of that the site of St Mary’s chosen by Benedictine monastery refounded in 1078 the North York Moors but at the church Cedd between 653 and 655 to build a by Stephen of Whitby, is being explored the eye and the mind are drawn to the monastery was, as described by Bede’s in a series of annual lectures sponsored east, to the sea which forms the Parish Ecclesiastical History ‘among steep and by the Friends of Lastingham Church. boundary on that side, and south, down remote hills fit only for robbers and wild the steep bank and along the beach to beasts’. Now that is giving way to the Today the interior of the church is as J. L. Whitby Abbey, founded in 657. realisation that where it stands, on the Pearson reconstructed it in 1879, when edge of the fertile area of Ryedale, it was he was inspired to put groin vaulting The earliest written record of St Oswald’s only three miles from an important over the nave and the chancel. It is this occurs in 1100; but in 1910, at a major that produces the exceptional quality restoration carried out under the auspices Roman road and near to the great villa of sound. The rest is plain, and this is of the Vicar, the Reverend the third at Hovingham. Bede’s further reference what gives the church such a sense of Marquess of Normanby (who began his to Cedd having to purify the site before peace, reflection and simplicity, devoid ecclesiastical career as assistant curate he could begin building seems relevant of oppressive features. Simon Jenkins here), 37 fragments of carved stone here. Now that a recent survey carried out gives it four stars in his Thousand Best were found built into the walls of the by archaeologists from the University of Churches; Sir John Betjeman gave it one Norman church. These are Anglo-Danish Leeds has found Roman material in the word - ‘unforgettable’. gravestones from, most likely, a Christian burying ground established following the Viking invasion of the neighbourhood in 867. Sir Walter Tapper, the architect commissioned in 1910, was a distinguished member of the Arts and Crafts movement, renowned for his attention to detail. The pews, pulpits, rood screens and organ lofts in the many churches he restored were always of the best quality, and the acoustics were, almost without exception, fine. This is true of St Oswald’s at Lythe, where Tapper created an elegant, calm and airy space in great contrast to the fury of the sea and winds outside.

44 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 45 St Hilda’s West Cliff - Parish Church of St Mary on the East Cliff, St Hilda’s - Danby Yet under Atkinson’s regime St Hilda’s Whitby should be formed into a new diocese? To was no longer neglected; the year after he that end the new St Hilda’s soon acquired This is the church that inspired the cult arrived a new chancel was designed by Big and bold is how Nikolaus Pevsner a bishop’s throne. Austen himself planned book Forty Years in a Moorland Parish the architect, William Butterfield. This was describes this huge church, built in and oversaw every detail of the new by Canon John Atkinson, in which he only the latest among many alterations two years from 1884. Designed by the church, including the view across the famously described how his first sight since the church was founded. There are Newcastle architect, R.J. Johnson, whom harbour to the Abbey, though this was not of the interior in 1845 was of shocking possible traces of Danish occupation in Pevsner salutes for his competence achieved without a prolonged struggle neglect, dirt and an almost total absence the burial ground, and Saxon remains in and high mindedness, St Hilda’s was with the landowner of the site. West Cliff of worshippers. He believed this was the church. The tower is 15th century and conceived on a scale, and with features, Fields were open country until George due to its remote position in the middle two of the bells are marked 1698. There suitable to the cathedral the Rector of Hudson, the railway king, bought them for of the dale, one and a half miles from was a major restoration in memory of Whitby, Canon George Austen, intended development. Nowadays the east window Danby village. Arriving at a time when the Atkinson in 1903 in the Early English style it to be. A southerner by birth, Austen of St Hilda’s looks soberly down Hudson Methodists had the ascendancy over the by Temple Moore. It might have been a arrived in Whitby in 1875 and stayed Street to the River Esk. Anglican church in the area, he believed muddle, yet the impression nowadays is 45 years, during which his forceful the solution lay in returning among of a most harmonious building, glowing Whitby did not become an archdeaconry personality made him famous throughout the people. In 1863 he caused an iron under 21st century lighting, a sanctuary with a suffragan Bishop until 1923. By Yorkshire. ‘Whitby was his kingdom’ church to be built in Castleton (the Tin brought back to life, standing on the that time Austen had left to become a it was said, and what more fitting that Tabernacle), where he held a service once promontory below what Pevsner called Residentiary Canon at York Minster. He the five Anglican churches over which a week. ‘the noble line of the moor’. died aged 95 in 1934. he presided, including the endearingly unusual, but not exactly shipshape,

46 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 47 St Hilda’s Priory - St Nicholas - Guisborough serviced by clergy from the priory, so after There are several fine monuments Sneaton Castle, Whitby dissolution separate provision had to within the church, of which the most The church of St Nicholas stands be made. distinguished is the Brus Cenotaph. The neo-Romanesque chapel was adjacent to the ruins of the once The church building is largely This tomb-chest was originally housed designed by C. D. Taylor and built physically imposing 12th century Perpendicular in style, with the chancel within the Priory and was executed circa between 1955 and 1957 for the Anglican Augustinian priory. When one imagines and tower dating from circa 1500. The Order of the Holy Paraclete, whose the size and scale of the priory church, west window and doorway are contained 1520 as a commemoration to the founder Mother House is here. Central to the life it naturally raises the question why a within the tower but given focus by an of the Priory, Robert de Brus. separate church should be built in such elegant two-centred arch. Upon entering of the Order, which follows St Benedict, After dissolution it was moved to the are the Divine Office and the Eucharist. proximity. Yet on closer examination the church there is a great sense of space church. The decoration is sophisticated this is not at all peculiar – separate which is enabled by the lithe and delicate In 1992 the distinguished ecclesiastical for its time and consists of knights, saints churches to cater for the laity were often arcade of six bays which ensures that the architect, Ronald Sims, who died in 2007 and possibly the prior all praying for the established close to abbey churches low roofline does not impinge. This overall aged 80, advised on the reordering of (e.g. St Margaret’s and Westminster effect was also aided by a very skilful repose of the souls of the family. In the the chapel ‘to improve its ambience, Abbey) to ensure different pastoral, restoration of the church in 1903–08 by right spandrel is seated the Virgin Mary. dignity, accessibility and liturgical use’. spiritual and liturgical emphases could the eminent church architect Temple The window adjacent to the Cenotaph Later on he was responsible for the cross be harmoniously undertaken. Even so, Moore, whose work displays a sensitivity contains fragments of medieval glass and candlesticks made of black wrought the church would have been completely often lacking in his peers. from the original east window. metal (as also for the crypt window in St Mary, Lastingham.) The Order was founded in 1915 by Margaret Cope when a girls’ school was established in the Castle (built for James Wilson in 1799). By the time the school closed in 1997 the nuns had greatly diversified their work in this county into preaching, spiritual guidance, retreats, hospital chaplaincy and missions. They have other houses in and around Whitby as well as in Rievaulx, York and Hull. Their long-standing commitment to Africa has recently been extended by two new convents: in Ashanti, Ghana and Johannesburg. There is also a home for girls in Swaziland.

48 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 49 St Helen’s and All Saints’- nestles on higher ground some way to the intense decoration in the church at north-east. This again was a deliberate Baldersby St James, near Ripon, Wykeham ploy by Butterfield: piercing the old which dates from 1857. In common Those who travel along the Pickering- tower to create a gatehouse effect. The with both of these locations, Wykeham Scarborough road cannot fail to notice original church building was cleared also possesses elegant secular the imposing presence of the church away to create a virtual tabula rasa: a buildings designed by Butterfield, of St Helen and All Saints: specifically, common aim of certain Victorian church namely the school to the south and the elegant broach spire that adorns designers, especially those influenced by also the parsonage. ‘Ecclesiologist’ tendencies, rather to the the 14th century tower dominating the Wykeham was also the location of the detriment of our heritage. main village crossing. To a superficial priory of St Mary and St Michael for look they appear contemporary but the The Victorian church building shows Cistercian nuns, founded by Pain Fitz spire is in fact a sympathetic creation an adherence to simple Gothic forms Osbert circa 1153. Little remains of this of William Butterfield dating from 1853. of the 13th century which is consistent and the site is now occupied by a large This was early Butterfield, who had yet with Butterfield’s earlier work in North house which is the home of the Dawnay to yield to the polychromatic detailing Yorkshire (e.g. Sessay of 1847); but family who hold the Viscountcy of Downe. for which he is renowned. The other after Wykeham, completed in 1855, this The modern stained glass window in the notable feature is the detached status restraint was soon lost as he quickly north aisle commemorates the life of the of the tower from the church, which moved towards the temptations of 11th Viscount. St Peter & St Paul - The church was heavily restored During the 16th century such paintings in 1876-9 and while this degraded came to be viewed by the authorities as Pickering some architectural features it led to icons of superstition; the Reformation The 14th century spire of St Peter and St the permanent uncovering of its most abjured the role of saints and instead Paul discreetly asserts the location of the notable feature: the medieval frescoes. pushed the Bible towards the top of church from all directions. A substantial Dating from c.1450 these are 'one of the the devotional tree. The result was that cruciform building, the church is lofty most complete series of wall paintings images were often whitewashed then and expansive; it demonstrates what in English churches' (Pevsner). The overwritten with Biblical texts so that Pevsner calls ‘complex’ development function of paintings, to inspire faith and church interiors instead resembled “a from its Norman origins. There are notable inform an illiterate congregation, is largely giant scrapbook of the Bible” (Diarmaid examples to be found here of all the understood. Here in Pickering we have MacCulloch). The whitewashing of major orders of ecclesiastical Gothic major Christian figures and events: the the Pickering images ultimately saved architecture. The 14th Century triple Annunciation, Passion and them from destruction. There was no sedilia with its crocketed gables springing the Resurrection and scenes from Salome systematic iconoclasm here: a fate which from sculptured heads (including & St John the Baptist. We also have often occurred in tumultuous periods monsters, bishops and a priest) is a notably English twists on the theme – St of protestant zeal such as the 1530s particularly fine example of Decorated George, St Edmund King & Martyr and or 1640s. The result is St Peter and craftsmanship. The church also contains Thomas a Becket. Although the artistic St Paul’s has much to offer in explaining a number of fine effigies of the Brus and quality is merely vernacular they represent key features in the history of the Rawcliffe families dating from the a genuine and vivid glimpse of a pre- English Church. 14th century. Reformation English parish church interior. 50 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 51 St Stephen’s - Fylingdales west window and the rib vaulting in the St Martin-on-the-Hill - of St Martin’s shows his clear preference apsidal chancel, leaving the worshipper Scarborough at that time for French Gothic e.g. the Confusingly there are two churches in no doubt as to the focal point for their distinctive ‘saddleback’ tower and high dedicated to St Stephen within the civil devotions, namely the altar. The building By 1860 the influence of Tractarian pitched nave roof. While the exterior parish of Fylingdales. The old church of was designed by George Edmund Street, principles had spread far beyond Oxford; is austere, the interior is anything but. 1822 is situated on a hillside overlooking whose most notable building is the Royal but in Yorkshire it had yet to penetrate St Martin’s was a showcase for the Robin Hood’s Bay, itself built on the site Courts of Justice in The Strand, London. beyond Dean Hook’s fortress at Leeds talents of the ‘Pre-Raphaelites’ who had of a much older chapel. It conformed to Street was much in demand as an Parish Church. Yet within three years a combined into an artistic partnership in the style of worship common at that time ecclesiastical architect. He was Diocesan new church – St Martin-on-the-Hill - was 1861 primarily to furnish new churches. – a simple if somewhat crowded interior Architect to the cathedrals of Oxford, established that would openly embrace Exquisite stained glass designed by dedicated to the spoken word. Further York, Winchester and Ripon and also the Catholic heritage of liturgy and Edward Burne-Jones, Ford Madox down the hill is the new church of 1868- undertook considerable commissions ultimately become ‘a remarkable treasury Brown and William Morris can be seen in 1870. Barely fifty years separate the two abroad. of Victorian art’. abundance, while other furniture such as churches, yet the contrast in architecture the pulpit can be accurately described as Use of such an eminent ecclesiastical St Martin’s was born out of need; the and interior design is immense: a a ‘Pre-Raphaelite gem’. beautiful illustration of the powerful forces architect with high ideals inevitably expansion of Scarborough had placed unleashed that revolutionised English increased the cost of the building to too much demand on the ancient church The church was consecrated in July 1863 Christianity in the mid 19th Century. a sizeable sum of £6,000. The work of St Mary’s. However, funds for a new and from the start caused controversy. was financed by the long-standing church on the South Cliff were not The first vicar, Rev Robert Henning Parr, The new St Stephen’s church – where the incumbent, Robert Jermyn Cooper, readily available. This all changed with was openly Tractarian and throughout concert is to be held – is a bold statement and local landowner Robert Barry. Their the munificence of a local spinster, Miss the next few years the vicissitudes of of design as influenced by a generation munificence ensured a high standard Mary Craven, who offered to finance the the Ritualist controversies were played of architects raised on the tenets of the of design and execution; in particular complete building costs of £6000. out within St Martin’s as he introduced Oxford Movement; Pevsner calls it 'big, the stained glass designed by Henry innovations that outraged some – such Her late father had retired to South Cliff earnest and rather stern'. This time the Holiday is especially meritorious, ranking as lighted candles, statues and and she saw the church as a fitting emphasis is sacramental with special alongside the best examples of late vestments, very much encouraged by memorial for him. detailing such as the large four-light Victorian stained glass in the county. Miss Craven. The church remains a The architect was George Bodley. This place for those who seek ‘distinction in was an early commission and the exterior decoration and worship’.

52 North York Moors Chamber Festival 2016 North York Moors Chamber Festival 2016 53 Acknowledgements

Our continued thanks to the Also too Chris Mason for his wonderful audience who continue to support us with lighting and staging set-up. Thank you your presence throughout the year and not patient and warm Sisters at also to the friends and Trustees who just during what must now be considered St Hilda’s Priory, Sneaton help with refreshments, catering and ‘our’ festival – your open minds and Castle - we really appreciate accommodation throughout the festival hearts help create these programmes your generosity. - Jane and Peter Dingle, Johannes and because without you coming along to Josephine Secker, Tony and Sue Mason, listen, they wouldn’t exist. Without further support from organisations Alice and Michael O'Neill. This year’s festival is dedicated to the and individuals we couldn’t continue Our thanks to Marianne Sweet from memory of Francis Quantrill from Castleton, to grow and deliver on what we so Damselfly Communications for PR and who tragically lost her life earlier this year. passionately believe in - we’d like to thank helping to deliver this beautiful brochure, Still in her teens, life was snatched away the Normanby Charitable Trust and the too soon. From such an early age, Francis Arts Council as well as Derek Knaggs, Mike Samuels for the website and Philip Britton who was meant to retire from began to attend our concerts even before John Haines, Rollits Solicitors, Yvette the festival began and as we appreciate Turnbull and others who have supported writing programme notes last year but agreed to deliver them for one more year! and encourage young children to be part the festival but wish to remain anonymous. of concert life, her presence is sorely This collective input is so vital to us as an Both artist Carol Tyler and photographer missed. Our thoughts are with her family - organisation that believes low ticket prices Frank Harrison have been so creative, and I hope that the music can translate and subsequent affordability is priority. providing us with images which we that which can't easily be expressed Our committed team who help put this all relate to and recognise. Thank you f through words. festival together deserve special attention or keeping our ‘brand’ so seasonal - namely Joel Brookfield, John and Katrina and personal. Jamie Walton Lane, Adam Johnson and Rosie Burton. A heartfelt thanks must go to you the loyal Artistic Director

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 Photography credits: registered in England and Wales. www.damselflycommunications.co.uk Frank Harrison (Marianne Sweet) Company registration number Historical material: 6878005; registered charity no www.ayrielclassical.com Anne Taylor and Joel Brookfield (festival record label) 1129262. Registered office: The www.concertsatcratfield.org.uk Granary, Appleton-le-Moors, York, (Philip Britton) North Yorkshire YO62 6TF A Sea of Cold Flame in progress Photo credit: Joel Brookfield

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