Friends' Newsletter April 13

Issue No.61

Friends Newsletter The curious story of ’

April 2013

Contents...

pages one an d two Angus Smith on th e May Festiv al pages three and four Say hello to Pav Silent Art Auc lo Beznosiuk tion page five Fundraising update

page six Tra nsformations page seven Just a Note page eight A Look Ahead

music in Britain: Angus Smith elaborates…

The May Festival is almost upon us and I find it incredibly exciting to think that plans that have existed on paper for many months will soon be translated into electrifying music-making. I have been working closely with Ensemble 360 and my colleagues in the MitR office to prepare some very original, indeed unique concerts. We have brilliant guests coming and I am especially looking forward to our ‘Made in Britain’ event at Kelham Island.

This is a day of discovery, a celebration of Yorkshire and British music-making at its very best. You may even like to think of it as MitR’s Grand Day Out or as an early summer party.

While there are a number of events in the festival that may appear to be ‘stand-out’ items, we take

meticulous care over the programmes for all the concerts. Even the shortest pieces in the festival are included for a reason, but the pressure on printed space means it is not always possible to signpost our thought processes in advance. I am therefore pleased to be able to take this opportunity to mention a few short pieces that I believe capture the spirit of our ‘British’ festival in very individual ways. Each adds an extra dimension to what is already a fascinating and complex story.

James MacMillan: Memento (Tuesday 14 May, 12.45pm) I have long been a fan of James MacMillan’s choral music and was delighted to come across this short but achingly beautiful string quartet movement,

written as a memorial to a close friend. In the composer’s own words, “the music is slow, delicate and tentative and is based on the modality of Gaelic lament music and psalmsinging in the Hebrides.”

An idiomatic Scottish twist is very evident in this soul-searching music and its immediacy is strong enough to demonstrate that at least one strand of nationalism in British music is still very much alive.

continued overleaf...

John Foulds: Essays in the Modes (Friday 17 May, evening concerts) Foulds’ music has recently been championed by the CBSO and Sakari Oramo and it is easy to understand why. He was a composer of extraordinary vision and ambition – his ‘World Requiem’ of 1921 was scored for 1,250 instrumentalists and singers - but also one capable of great pathos.

It has been suggested that he was never truly in favour because of his left-wing political leanings and his status as a conscientious objector.

It is equally possible that the public simply did not know how to react to his unorthodoxy. These piano pieces (which Tim Horton was thrilled to discover) reflect the lifelong obsession with India that eventually led Foulds to settle in Delhi in 1935.

He died of cholera in Calcutta four years later.

Harrison Birtwistle: Trio (Wednesday 15 May, 12.45) As Ivan Hewett commented in the Daily Telegraph, “Who would have thought Harrison Birtwistle, the man who once brought a deafening Panic to the Last Night of the Proms and unleashed a roaring Minotaur onto the stage of the Royal Opera House, would one day compose something so harmless and domestic as a piano trio?” This melancholic and atmospheric piece not only gives an opportunity to represent one of Britain’s finest composers of the last 100 years, but also to reflect on the notion that the current crop

of British composers is arguably the finest group of composers working in any country throughout the world.

Stanford: (Tuesday 14 May, 6.45pm) Just to be different, I would finally like to recommend a pre-concert talk. Dr Jeremy Dibble of Durham University is widely regarded as the leading authority on the music of Stanford, Parry and many other British composers of their generation. I have had the pleasure of knowing Jeremy since our undergraduate days and I can assure you that there is no better person to advance our premise that British composers have, for far too long, been massively under-rated.

I can pretty well guarantee that Jeremy’s knowledge and infectious enthusiasm will convince you that Stanford must, without hesitation or qualification, be spoken of in the same breath as Brahms!

involved in the May We invite you to get the day at Kelham t ou gh ou thr Festival seum as part of our Mu l ria Island Indust Sunday 12 May , Made in Britain day

instrument?

Do you play a string Simple Symphony n’s itte Br y me and pla Co 360 alongside Ensemble m, 1p – 11 l rsa Rehea 1.30pm informal performance before the day ed vid pro Music can be t To take part contac nd.co.uk fraser@musicintherou

www.musicintheround.co.uk | 0114 281 4660 Fundraising Update: With your help, we’ve raised nearly £70,000 in donations from individuals and private trusts over the last six months to go towards Music in the Community, a new piano and extra activity in our annual programme. Thanks to the generosity of Friends, individuals, the Mayfield Valley Arts Trust, Esmée Fairbairn Foundation and others, we aim to claim the full Arts Council match-funding of £83,500

by June 2014. Match funding in 2013/14 will support the Transformations project and audience development initiatives in Barnsley, Doncaster, Sheffield and on tour.

Say Hello to Pavlo Beznosiuk

Pavlo Beznosiuk, director & violinst of The Avison Ensemble talks to Fraser Wilson, the newest member of the Music in the Round team.

I think you’ve performed in Sheffield before?

Yes, in the days of Peter Cropper’s curation of the Festival, playing arrangements of Beethoven symphonies, including a version of the ‘Eroica’ for piano quartet. Sadly, as with many such concerts it was a quick visit with no time to see the city or the area. I am looking forward to coming back!

How did you go about assembling the fascinating programme you will be performing this time?

Curating programmes is a very important skill when making music.

Context is everything. We aim to give an idea of the influences that were at work in London in the eighteenth century. Of course, Handel dominated, but there were innumerable itinerant musicians on the scene, and influential trends coming in from Italy and from France. We aim to put together pieces not just because they share the quality of ‘beauty’, but because they help to establish a picture of the musical and historical context of a particular period of time.

England was a very welcoming place for foreign musicians in the late Baroque period, and our programme illustrates some of the many strands and styles of the time. The Locke suite we open with, for example, is firmly rooted in the English tradition of consort stringplaying, but then we’ll also play an Italian trio sonata as reinterpreted by Purcell – a fascinating variety of styles.

How do you feel that the music of this period fits in to what many would call the ‘quintessential’ English style?

This music has neither the dense counterpoint of Byrd and the seventeenth century nor the pastoralism of Delius and Elgar: it is music of a period when London was a melting-pot for all kinds of ideas, when new and native styles were coming together. Our May Festival programme hints at the effect that this mélange of influences had on the music of Britain.

Going forward, progress can be traced in the ‘lighter’ style of British music through Thomas Arne and William Shields. Of course the trend of foreign influences continued into later centuries, not always to the advantage of homegrown artists it must be said.

So we can expect to be transported back to the eighteenth century?

We can never know how the music actually sounded. But we can endeavour to create a sense of occasion in which the audience will play a full part. A continuo realisation, which of course is improvised on the spot, might be executed very differently in performance compared to the preceding rehearsal, because for example the venue’s acoustic changes significantly when the audience arrives. That sense of creation in the moment is very exciting, especially so when it is experienced at close quarters.

continued overleaf...

It sounds as though you are looking forward to performing ‘in the round’ at the Crucible Studio?

Playing in the round suits the intimacy of this music wonderfully. This repertoire was never really intended for concert halls, but for private parties, soirées, and small gatherings, so we will be playing in the ideal venue and format for the music!

And what are the challenges of playing that way?

The challenge for us players is in deciding where to focus our performance: we could easily come adrift if we try to play to the whole space, and opportunities for moving are limited. We are likely to end up playing primarily to each other, with the audience almost eavesdropping on it. But the proximity of the audience in a venue like the Studio means that they will definitely be part of the conversation!

The ‘historical performance’ aspect is a particular feature of your contribution to the Festival.

Our motivation is to see what happens to us and to the music when you go back to basics, when you present it without (as far as possible) the accretions of three

centuries of interpretation. You aim to get inside the mind of the composer himself.

Performing on period instruments is obviously a key part of that process. What can we expect to hear?

In terms of the performance, it is a more intimate sound than contemporary audiences are used to. The instruments do sound different – the strings produce a visceral, nutty tone – and there is the issue of how you achieve long lines on the harpsichord, whose sound dies away so quickly. This is to do with timing and placement. The whole process is learning how to mix sounds and join them together in a new way.

And what other projects are you working on?

I look forward to touring the Far East with the Academy of Ancient Music, with a programme of Vivaldi’s Four Seasons and operatic arias. But the exoticism of Sheffield will be a highlight! appears as part of The Avison Ensemble ay 15 May esd dn We on our Festival at 7.45pm

Silent Art Auction

Bid for a beautiful, unique sculpture and contribute towards the Ebony and Ivory Fund Vivien Whitaker ARBS, a Lifelong Patron of Music in the Round and professional sculptor, has very generously donated two days of her time and ten small classical sculptures, made from the last pieces of English Alabaster, for us to auction during the May Festival. All proceeds from our Silent Art Auction will go to the Ebony & Ivory Fund. It will be launched on Monday 13 May at a viewing event for Friends of Music in the Round and Museums Sheffield in the Crucible Theatre’s Adelphi Room.

Registration and bidding will be possible both online and in person. Keep track during the week to see if your bid remains the highest; if not, why not bid again?

Lots include these lovely rare pieces, a day composing for an alabaster lithophone, and the opportunity to carve your own piece in Vivien’s studio under her tuition.

For further information on the Auction please visit www.musicintheround.co.uk

Friends News

We’re sad to report that Scila Thornton, a founding member of Music in the Round, died on 28th March 2013 after a long illness. Scilla and Tony Thornton have been fantastic supporters of the arts in Sheffield since the 1980s when Tony chaired the Crucible Theatre Trust. Scilla had studied piano and was actively involved in putting on the very first Beethoven Festival in 1984. Some Friends may remember her literally pushing a piano on stage with Tony and David Brown.

That was also when the relationship with the Lindsay String Quartet took wing,

with the results we are all still enjoying to this day. Through the Mayfield Valley Arts Trust they were able to bring about the complete refurbishment of the Crucible Studio in the 1990s, giving it enough seating to make chamber music financially viable there. But what I will cherish most is the extent to which they have supported our work in the community, bringing thousands of Sheffield children (and grownups!) into contact with an art form whose excitement we all share but which otherwise might never have reached them. We owe Tony and Scilla so much.

Paul Allen

The Andrew a n a i D McEwan s ' n a m z r u K Fund Legacy Since September 2012, the Andrew McEwan Fund has supported 12 weeks of Music Box workshops in three primary schools: Broomhill, Phillimore and Greystones. 150 children have learnt songs, percussion and ensemble skills with Polly Ives and musicians from Ensemble 360. The fund also enabled us to buy good quality percussion instruments for the children and support them to take part in the Sir Scallywag and the Golden Underpants concert, December 2012. All three schools will come together in July to share the songs and activities they have learnt. The University of Sheffield has undertaken research throughout the project to evaluate Music in the Community’s impact in schools at Early Years Foundation Stage and Key Stage 1.

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Transformations…

What do Benjamin Britten and stainless steel have in common? The answer is: more than you might immediately think! Tracy Bryant explains…

The first, and most obvious, connection is that they both celebrate a centenary this year. In 1913 Britten was born in Lowestoft on St Cecilia’s day, the patron saint of music, to a proud mother whose first hope was that he become the ‘fourth B’ after Bach, Beethoven and Brahms. In the same year, in a laboratory in Sheffield, a young, determined self-educated metallurgist, Harry Brearley, discovered how to make steel ‘rustless’. It was from this discovery that the now world-famous Sheffield stainless steel cutlery industry was born, examples of which can be found from our dinner tables and offices to our hospitals and transport network; without stainless steel St Paul’s Cathedral, the Louvre and the Petronas Towers wouldn’t be what they are today.

rely on the skill, judgement and creative prowess of the creator to combine different elements under the right circumstances.

each movement. In the meantime, conversations with the Showroom Cinema had brought to our notice the BFI’s mammoth project to restore all the old footage Both Britten and Brearley they have relating to the achieved their standing steel industry, and get as in history by being much of it as possible in determined and headfront of an audience. A strong. Both were eager visit to the BFI’s London to learn from mentors and home with our Associate friends. Both were keen Composer Charlie Piper collaborators; Brearley revealed his interest in working closely with the process of turning one his brother and Britten element into another, and working with many people, Transformations was born. particularly Peter Pears and W. H. Auden, and Ten members of Ensemble enjoying the challenge of 360 will perform Charlie’s writing for film, television, second commission for us, radio, theatre, children, accompanied by restored opera and ballet as well BFI footage of steel-making. as for the concert hall. In Adrian will perform their own ways, they both Britten’s Metamorphoses made an indisputable with spoken word and a mark on our cultural and new film by artist Katie economic landscape.

Goodwin. The programme is completed by Britten’s These centenaries provide Sinfonietta and the Britten/ a creative crucible of ideas Auden GPO film, The Way to that could not be ignored. the Sea. Adrian, Charlie and Adrian Wilson had already To see the second Katie will finish the evening approached us overflowing similarity we have to dig off with a Q&A. with enthusiasm to share deeper. Brearley said, “I his passion for Britten’s like to believe that a piece part of Metamorphoses after The premiere forms of steel has its history inless the 100 Years of Sta Ovid through creating a d will be written in it, and that if Steel celebrations, an film to complement the adcast bro ure submitted to suitable forms fut for ed film different transformations as, of examination its history in independent cinem inherent in the piece, ies and at museums and librar may be read.” Could the pu. and to reinstate Britten’s Sheffield’s Outokum same not be said of music? original intention of using Both steel-making and urday the spoken word between Transformations, Sat m creating a piece of music May, 8.30pm, Showroo 11 Workstation.

xJust a Note

Kujlit Bhamra enthralled Music in the Round audiences in 2011 with his Parampara concert. He returns to Sheffield for a series of workshops in April, and to play in the May Festival with Tim, Claudia, Judith, Benjamin and Gemma in a special late night concert. We asked him…

What’s your favourite piece of music?

At the moment, I’m really enjoying Bizet’s Carmen. I’ve been asked by the BBC to create a re-imagined Bollywood version of the opera and so I’m examining the piece with a fine toothcomb. Many people believe that the roots of Flamenco can be traced back to India along the Romani trail - so in theory, there is a natural link! Let’s see what happens when I get my hands on it...

Who or what is your biggest influence?

In terms of inspirational figures, I have many - ranging from Michael Jackson, Stevie Wonder & George Benson to the likes of Mumbai’s Laxmikant Pyarelal & Anand Ji Kalyan Ji. However, I have to say that what really influences me is musical notes, melodic structures and instrumental pieces. Notes themselves have a profound effect on me and sometimes I feel that adding lyrics spoils everything!

What do you like to do in your spare time?

I don’t have any natural spare time! So, I make sure that I get ample rest and breaks from the many projects that I always seem to be working on by going away on holiday. I love travelling to India and have been there about twice a year for the past few years.

What’s your favourite place in the world?

I love places where land meets water, so it used to be Amsterdam, but currently it’s Goa.

If you hadn’t become a musician, what would you have done?

Well, I started off as a qualified civil engineer - and sometimes when I’m playing on stage I wonder whether I’m still being one! I like observing and creating things, so I would have chosen to be some sort of ‘maker’.

Still to come...

Friday 3 May Wiltshire Music Centre Heath Quartet Mozart, Tippett, Mendelssohn

Friday 15 June Priory Place Church, Doncaster Ensemble 360 Elgar, Schubert

Friday 3 May Emmanuel Church, Barnsley Ensemble 360 Bax, Stanford, Bruch, Elgar, Bennett

Saturday 16 June Wiltshire Music Centre Onyx Brass Afternoon family concert and evening programme including Monteverdi, Shostakovich, Frances-Hoad, Gabrieli, Arnold

Saturday 4 May Stephen Joseph Theatre, Scarborough Ensemble 360 Beethoven, Britten, Piper, Mozart Tuesday 7 May New Vic Theatre, Newcastle-underLyme Cropper Welsh Roscoe Trio Beethoven Friday 10 May Third Floor Arts Centre, Portsmouth Heath Quartet Mozart, Tippett, Mendelssohn Friday 10 – Saturday 18 May Sheffield (various) May Festival 2013 Turtle Soup: The Curious Story of Music in Britain

Friday 5 July Emmanuel Church, Barnsley Tim Horton Beethoven Wednesday 10 July New Vic Theatre, Newcastle-underLyme Ensemble 360 & Peter Cropper Wolf, Schumann, Mendelssohn

Plus more concerts on tour around the country, as well as a variety of talks and Q&As.

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