THE
Director: Neville Reeder - Leader: Peter Hodge
playing a selection of music for
full orchestra
MONDAY 4th APRIL
2011
at 7.30
p.m.
Coates – Dam Busters March
Paul Benyon – Kleiner Vogel
(conducted
by the composer)
Haydn – Clock Symphony
Movement No. 2 Andante
David
Lloyd - Suite for Orchestra 2010
In 3 movements
No.
1 March - Seventeen come Sunday
No.
2 Intermezzo – My Bonny Boy
No.
3 March – Folk Songs from
INTERVAL
(conducted by Chris Robinson)
1.
Prelude
2.
Dance
3.
March
Bizet – Carmen Suite No. 2
Violin solo: Peter Hodge Trumpet solo: Mark Roberts
1.
2.
Habanera
3.
Nocturne
4.
Chanson du Toreador
Sullivan – H. M. S. Pinafore selection
Paul Benyon – Kleiner Vogel
First performed earlier
this year at the 2011 Woodbridge New Years Day concert, Kleiner
Vogel is a light-hearted viennese
waltz inspired by the twittering sound of a little bird heard one evening in
the composers garden.
Although the composer was a fully paid-up member of the RSPB when
this music was written, he readily admits that despite having lots of books and
recordings, he still can't tell one bird from another. Which means that the
exact type of bird portrayed in this piece of music must remain a complete
mystery - unless someone in the audience knows better of course!
Haydn's subtle
key changes add variety to the movement's progress. It opens in G major, goes
through the minor, and comes back to the major. At this point, the opening
design of the movement is turned upside down, with the flutes taking over the
tick-tock pulse (albeit with the bassoons). The lower
strings are now silent for 34 bars. After a pause the music re-starts in G
minor. It is somewhat dour in character, but not for long. We are soon back
into the major, and with the basic pulse and note groupings tossed hither and
thither throughout the orchestra, the movement proceeds to a quiet close.
David Lloyd - Suite for Orchestra 2010
David has been associated with the orchestra since
1975, playing first Cello, leading the cello section for some years. More
recently he has played Double Bass until he retired from the orchestra last
year. He has also been our President since 2005, when our previous president
and once music director Bernard Barrell died. David’s
support for the society over the years has been considerable with quite a
number of compositions over the last twelve years. We are grateful to him for
providing yet another gem to challenge us. David’s notes on his new composition
follow.
This piece is
in three movements:
1. Vivace; quite lively,
three beats per bar, like a fast waltz.
2. Andante; contemplative; at a walking pace.
3. Allegro;
a brisk march.
With
the variety of instruments in the Orchestra, there is an enormous range of
combinations of sounds available to the composer. I have tried to exploit this fact in all three
movements. As one hears it, the resulting music is rapidly changing in
character.
In
this piece, different instruments have a leading role
at different times, either solo or in small groups. Often the strings are an accompanying
feature to the leading instruments; then
sometimes they will take off with their own melody.
In
addition to variation of the lead instruments, variety is further enhanced by
changes of dynamic (soft, medium, loud), changes of pace (adagio, andante,
allegro), and by changes of key.
Describing
in words the detailed progress of all the instruments through all three
movements would be an enormous task, and I doubt if the result would be worth
reading. It must be
far better to gain an impression from hearing
the music itself. I hope you will
enjoy it!
Ralph Vaughan Williams – English
Folk Songs
1.
March - Seventeen come
Sunday
2.
Intermezzo - My Bonnie
Boy
3.
March – Folk Songs from
British composer Ralph
Vaughan Williams is one of the most eminent of 20th-century composers. He has
been credited with establishing a "new nationalist style based on English
folk traditions." He systematically rejected foreign Romantic influences
and sought inspiration from native material, including Elizabethan and Jacobean
music as well as English folk songs. He began collecting traditional folk songs
from the counties of
It's well-known that the
“democratic” brilliance of
1.
Prelude: maestoso:
Launching a melody fit to feed a full symphonic movement, and not so much
showing his influences as showing off his influences, Arnold steers us
through a Waltonian grandiloquence which dissolves
disconcertingly into Shostakovichian introspection -
but not, as we might expect, “and back again”. Instead, the music fades away,
leaving us wondering if it was just a dream.
2.
Dance:
larghetto: By way of contrast, the
utterly disarming central movement (originally entitled “Pastoral”) deposits us
in a meadow of English Dances territory (except that they
wouldn't be around for another three years!), all sunshine and buttercups -
plus the occasional harmonic tussock
3.
March:
allegro con brio: It's hat-holding
time! This cracking quick-fire march needs little comment, other than the
observations that Arnold's quick-witted tunefulness, that was to stand him in
such good stead in his film career, is well in evidence and that he was clearly
well aware just how much kids enjoy making a right old racket.
Paul Serotsky –
Bizet –
Carmen Suite No. 2
The Suite No.
2 includes highlights of arias and vocal ensemble pieces transferred to
instrumental form. There are six selections of which four will be played
tonight, beginning with the
1.
the march of Carmen’s companions, gypsy smugglers,
through the mountains at night. In the opera, this selection is originally a
chorus. In the suite, it features woodwinds.
2.
Habanera
Its score was adapted
from the habanera, originally composed by the Spanish musician Sebastian Yradier. Bizet thought it to be a folk song. When others
told him he had used something that had been written by a composer who had died
only ten years earlier, he had to add a note to the vocal score of Carmen,
acknowledging its source.
The famous
3.
Nocturne
originates as Michaëla’s aria in the
third act. It is characterized by an extended, legato melody.
4.
Chanson du Toreador
the toreador’s song, is the most famous extract from the
opera. Bizet reputedly denigrated it, calling it “trash.” Here the trumpet is
highlighted.
Sullivan - H. M. S.
Pinafore selection
Our
concert would not be complete without a piece of Sullivan in it. Listen out for some well-known melodies, including:-
|
·
His foot should
stamp |
·
Lets give three
cheers |
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·
We sail the
ocean blue |
·
Gaily tripping |
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·
I’m called
little buttercup |
·
When I was a
lad |
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·
Never mind |
·
For he himself |
Concert Participants |
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Violin Is |
Flutes |
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Julia |
Faulkner |
Naomi |
Aldous |
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Peter |
Hodge(L) |
Annabel |
Brown |
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Dave |
Lewis |
Helen |
McLeod |
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Michael |
Madden |
Claire |
Wallace |
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Dorothy |
Raslan |
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Nigel |
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Oboes |
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Sarah |
Cavanagh |
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Malcolm |
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Violin IIs |
Amanda |
McDowell |
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Clarke |
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David |
Faulkner |
Clarinets |
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Jane |
Hartley |
Rory |
Burrow |
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Jean |
Hudson (L) |
Maggie |
Porter |
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Hugh |
Johns |
Bob |
Silvester |
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Phyllis |
Palmer |
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Bassoons |
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Zoe |
Freeman |
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Violas |
Tony |
Oliver |
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Maureen |
Beales |
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Jeremy |
Harrold |
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Helen |
Hawker (L) |
Horns |
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Jackie |
Nayler |
Adam |
Cable |
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Valerie |
Reeder |
Malcolm |
Cavanagh |
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Maureen |
Stannard |
Chris |
Robinson |
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Karen |
Smith |
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Trumpets |
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Violoncellos |
Mark |
Chalklen |
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Rachel |
Lowen |
Mark |
Roberts |
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Micky |
McBurnie
(L) |
Gordon |
Scopes |
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Julia |
Middleton |
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Judy |
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Mary |
Reidy |
Trombones |
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Marianne |
White |
John |
Porter |
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Anette |
Wood |
Michael |
Porter |
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Double Basses |
Percussion |
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Paul |
Benyon (L) |
Lesley |
Silvester |
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Peter |
Lister |
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New season begins Monday
September 5th, 2011