Issue No.69
Friends’ Newsletter April 2016
Contents...
page one Sin ger in Res idence page two Sch ubert Son g Cycles page three S potlight o n Ruth Gibson pa ge four Musi c in the Communit y page five A vison Ensemble page six Obit uaries page seven M armen Qu artet page eight E nsemble d ates for your diary
AAngus Shared Journey Smith introduces our new Singer in Residence We are delighted that Roderick Williams has agreed to become Music in the Round’s first ‘Singer in Residence’. I’ve known Roddy for many years, always enjoying his company and his wonderful singing, but I also know that he is fondly remembered here for his contribution to Daughter of the Sea in 2004. The timing could hardly be better. Roddy is spending much of the next three years focussing on Schubert’s three great song cycles: Die Winterreise, Schwanengesang, and Die schöne Müllerin – having steered clear of them in the past. Why the reticence? Precisely because this is some of the most wonderful repertoire in classical music and Roddy, in common with many singers, has felt a need to be technically and emotionally ready for the challenge. What is unusual about Roddy’s approach to learning these song cycles
is that concerts are not the ‘be all and end all’; in his own words, “my eventual performances are not the ultimate goal of my study; rather, the study itself, the act of preparation will be my focus.” For Roddy, it’s not simply about addressing the notes on the page, but about gaining responses and insight from other people: schoolchildren, students, fellow professional musicians, adult amateur singers, musicologists, linguists and more. As Roddy says, “I would like to engage with anybody who will give me the time!” Music in the Round is setting up some of these ‘encounters’ for him in South Yorkshire and around the country. By the time you read this, he’ll have already collaborated with schoolchildren as part of Sheffield Music Hub’s ‘Spring of Singing’. You can meet and hear him at the May Festival and in the Autumn he will be
launching his Schubert series in Sheffield. This project, and this collaboration, say something especially exciting about music. Schubert’s songs are an incredibly deep reflection on human experience and what Roddy instinctively recognises is that it is the sharing of experience that makes humanity special. Even then, his journey is not simply one that we are sharing. As Roddy appreciates, it is one to which we are all making a contribution. Roderick Williams performs The Rime of the Ancient Mariner on 7 May and the first of his Schubert song cycle recitals in November
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Roderick Williams on rising to the challenge of the Schubert song cycles What are you most looking forward to as Music in the Round’s first Singer in Residence?
My memories of Iain Burnside’s Millennium song project and singing ‘in the round’ are still strong. It’s a wholly immersive experience with an intimacy about it that suits song in particular. So I’m looking forward to getting especially close to the audience. You always have to be aware that someone is watching your back and you have to be prepared to shift your focus constantly; but that’s engaging rather than debilitating.
Why have you decided to perform all Schubert’s song cycles at this point in your career?
I guess I have managed to avoid them for so long because I have been busy with other repertoire, but also because I’ve allowed Schubert’s master works to build up an intimidating reputation in my mind. I reckoned it was time to deal with that intimidation. I don’t know that I will have anything wonderfully new to bring to them, but I have come to realise that this is not an excuse to overlook the songs any longer.
Being a very skilled narrator, how important do you find strong characters within the songs you sing?
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Often song cycles such as these will have a nebulous sense of character. In Die Winterreise or Die schöne Müllerin, for example, one is led to
suppose that the central character is the same person throughout. But other cycles vary the central viewpoint - such as in Schwanengesang or the great Hardy/Finzi cycles. These are more collections of poems on a theme, assembled by the composer to form a looser picture. Thus the character can change quite radically from one song to the next, which is more testing than, say, presenting a single character throughout an opera. Testing is an enjoyable challenge in this context!
What would you say to a listener before listening to a whole song cycle?
Don’t be afraid to let your mind wander. If you are not a German speaker, it is only natural that it should seem a little odd that I’m singing so earnestly in a completely different language but Schubert’s music is expressive enough that I could sing much of the repertoire to ‘Laa’ and the listener would still have an idea of the emotions involved. However if a listener has the time and energy to do a little homework, then the message of the songs will be that much more direct. You can find out more about Roddy’s progress in learning the song cycles by reading his blog at rwschubertcycleproject.blogspot.com.br Gina Walters
Spotlight on
Ruth Gibson When did you know you wanted to be a Viola player? I had amazing but
at The Crucible and I just loved the whole weekend, especially the lectures with Julian and playing so close to the audience. I understand now just how involved the audience are in the whole experience.
strict teachers in Ireland and I was totally petrified at the idea of actually being a professional musician. But when I was 16 I went to Concorda, an What have you learned from performing in amazing chamber music course and Hugh Maguire was my first teacher. We this Ensemble? To trust my instincts. I’m played the 2nd movement of Schumann always surprised how even the hardest of Quartet no. 3 and I’ve been hooked ever pieces (especially those I haven’t played before) don’t feel so hard within the group; since! it has a unique confidence and enthusiasm. What inspires you? I guess a mixture What other projects are you currently of the compositions and amazing involved in? I have a chamber music storytelling musicians. We’re so lucky as chamber musicians to retell someone residency at The Royal College of Music. It’s else’s ideas. It’s incredibly sad to think called the ‘String Quartet Collective’ and essentially I take four separate chamber Beethoven never heard so many of his music players and form a new quartet. This amazing quartets. year I’m playing with some of my favourite Do you have a favourite piece of music? musicians: Sini Simonen (Castalian Quartet), Bogdan Božović (Vienna Piano I have a soft spot for Ravel’s Trio. It Trio) and Francisco Dillon (Prometeo transports me back to my living room Quartet). We performed Schnittke and in Dublin, and listening to it on repeat after school every day when I was about Tchaikovsky at the end of January, in June 15. When I hear it I feel cold and warm we come back to learn Berg, Mozart and then some Korngold and Arensky with RCM at once. Only Ravel can do that. students. We also coach some of the student quartets throughout the year, which is You’ve been a part of Ensemble 360 really inspiring. I’ve done a big US tour for nearly a year! What’s been the with Academy of St Martin in the Fields and highlight so far? I loved the May Joshua Bell and have some great chamber Festival and getting to play so many music projects coming up in Cyprus, Greece great works but I think it has to be the and then in the Shetlands with the Scottish Haydn Weekend: you can’t beat Haydn Ensemble. quartets! It was my first time playing
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y t i n u m m o c e h t music in or everyone something f For everyone involved with the May Festival, months of careful preparation are about to boil down to nine thrilling days of action. Music in the Community is no exception!
As always, we seek to offer something for everyone, from Music Box for Babies to ‘come-and-plays’, massed brass, talks, composition workshops, and lots more. This year there’s a particular focus on musical “making” in all its forms, to tie in with Sheffield’s Year of Making. We’ve picked out a couple of personal highlights. Kate has chosen Seascapes (Sunday 8 May at 2pm), which sees Sheffield Young Singers collaborate with students from Yewlands Academy, Ensemble 360, and the Cassia String Quartet on a unique voyage inspired by The Rime of the Ancient Mariner, which of course is the theme of the 4pm concert too. We warmly invite you to both maritime events that afternoon! Kate’s especially excited that the concert will combine live music with atmospheric electronic compositions which will create a thrilling atmosphere of nautical perils and set the scene perfectly for Roderick Williams’ appearance later. And I’m really looking forward to our Platform 4 day on the Thursday. In the afternoon, you can come and try your hand at composing, even if you have never done so before! All you need is some enthusiasm to see where it might go. The way it’ll work means that everyone will be able to contribute to the
final piece, which will be performed at the end of the day. I’ve composed with a number of Friends in different contexts and we’ve always had a lot of fun and often discovered a creative spark for the first time. For years, Music in the Round has championed the importance of music for very young children, and blazed a trail in commissioning music especially for them. We’re now leading a new initiative, the South Yorkshire Early Years Music Network, connecting anyone in the region who makes music with children aged up to 5, whether they’re parents or carers, nursery staff, freelance musicians, or anything else. Training, resources and networking opportunities, which enable everyone to feel confident and positive about musicmaking, are at the heart of it. If you or anyone you know makes music with little people, you can become part of the network at www.musicintheround.co.uk. Finally, some news about someone who’s recently been a vital part of our team – Hannah Blumsohn, a native of Sheffield who took part in many MitC events while growing up – has made a great contribution on long-term work experience with us, not just with MitC but in concerts, marketing, and across MitR. This spring she’s returned to Guildhall to continue her studies, and we send our thanks and best wishes to her. Fraser Wilson & Kate Thompson
Pavlo Beznosiuk tells Tom McKinney about the Avison Ensemble programme for May Beethoven considered Handel to be the greatest composer of all, and your programme is focussed around Handel’s trio sonatas. What exactly is a trio sonata? The vast majority of sonatas in Handel’s time were written for two soprano/violin parts and basso continuo which equals three parts, hence trio sonata. In a way it still exists - it became the string trio (where the bass line is played by cello) and great string trios were written by Haydn, Mozart, Beethoven and Schubert.
You’re also playing an Orchestral Trio by Johann Stamitz. How does he fit with our Beethoven festival? Stamitz
established a lot of the symphonic effects and tricks which fed into later styles, including Beethoven’s. I think they were designated “Orchestra” trios to increase their appeal - they can be played with as few as three but are written in such a way as to work well with larger forces.
What are the advantages of using period instruments? I don’t know about
advantages, it’s just what we do! I feel the idiosyncrasies of period instruments are an integral part of this music. This doesn’t preclude performance on modern instruments - of course not - but to me the old instruments add several dimensions to the whole musical expression.
You’re widely regarded as one of our finest Baroque violinists. How did you come to specialise in that period? By
accident while I was studying modern violin. I never set out with the intention of specialising and in fact I don’t - I’m lucky that I get to play a huge range of music, including recent stuff, on “eraappropriate” instruments. The Avison Ensemble performs Tuesday 10th May, 7.15pm
Moments of Joy
The Friends’ exclusive Preview of ‘Moments of Joy’, an exhibition of sculpture by Vivien Whitaker MRBS inspired by Beethoven, will be on Friday 29 April, 6.30-9.30pm at Studio Vie in Barlow. The exhibition, part of Open Up Sheffield 2016, will be a chance to buy unique sculptures created whilst listening to Beethoven, as well as dust montages and pendants, sold in aid of Music in the Round. Selkie, Vivien’s much loved rare English Alabaster sculpture from Weston Park Museum, pictured here, will be part of the sale. The exhibition will take place from Saturday 30 April – Sunday 8 May 2016, 11am-5pm at Studio Vie, 16 Rutland Terrace, Millcross Lane, Barlow S18 7SS. Prices range from £20 - £2,950, and 75% of all sales will go to Music in the Round.
www.vivienwhitakersculpture.com/news.html
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Obituaries We’re very sad to let Friends know of the deaths of Eva Wilkinson, one of Music in the Round’s longest-serving supporters, and Mary Sharrock, who served on the board from 1995 – 2006, both of whom passed away in February this year. Eva was a strong and remarkable woman and a kind, hospitable and loyal friend, tireless in her support of Music in the Round, Broomhill Festival and other good causes. She and her late husband Peter were champions of MitR from the very first festival in 1984 and before that were devoted followers of the Lindsays from their days as Quartet in Residence at the University of Sheffield. Eva continued to rarely miss a concert, even after Peter’s death in 2003. Eva had already supported, and programmed with Ensemble 360 and Angus, a concert to celebrate her 90th birthday, which would have been in August this year. The concert will go ahead in her memory and we will keep you posted of the date. The family are creating a fund in the names of Eva and Peter Wilkinson to help young musicians. The fund will be administered by Music in the Round and donations from other Friends are welcome. Please contact me if you would like to contribute. Deborah Chadbourn
Mary set up the Friends of Music in the Round scheme and worked tirelessly to encourage people to join. She was a very visible and audible presence at MitR concerts, taking people under her wing if they were attending for the first time or were on their own, making them feel welcome and included. She was also passionate about opening up cultural experiences to wider and younger audiences, including those with special needs. She was a kind and loyal supporter of musicians and staff alike, understanding the importance of both sides of the equation to realise Peter Cropper’s vision. If Mary was aware of a problem, or challenge, she would always help find a solution. Mary’s unfailing commitment and enthusiasm for all the activities she undertook was the hallmark of her personality. David Brown, Trustee We are also sad to report the death in January of Tanya Schmoller, another remarkable woman and long-standing Friend. Our thoughts are with the families of all three women.
editor required
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Would you relish the opportunity to edit the Friends’ Newsletter for a year? We’re looking for someone to roll their sleeves up, help get the latest ‘scoops’ on the artists who are performing with us and co-edit the next three editions of the Friends Newsletter to give it more of a Friends’ perspective. If you are interested, please get in touch with Deborah on deborah@musicintheround.co.uk
2 r a e y o t n Bridge i As we step into the second year of Bridge, our three-year scheme supporting a young string quartet during the early years of their career, we thought you’d like to hear how the Marmen Quartet have got on, and what lies ahead for them.
string players in Barnsley. The quartet has been introduced to a range of people from across the industry and developed their understanding of what it takes to be a successful quartet, both on and off stage. For those of you who were at their first public concert in Sheffield last October, I think you’d agree it was a huge success. The quartet were energised by their experience in the Studio, commenting:
Early last year, the quartet launched into Bridge with vigour, undertaking a two-week residency in Aldeburgh during which they spent an intensive few days with mentor Peter Cropper. In those few days he had a profound impact on them, which has shaped everything that’s happened since. In particular, Peter helped them to focus on who they are and what they have to say as a quartet. Their conclusion: it’s all about communication – music is for all to share.
“…everyone is part of the experience, and everyone is important in the experience...unforgettable.’
Johannes, Ricky, Joshua and Anton then spent much of the year rehearsing intensively both privately and together. They attended the International Summer Academy of Chamber Music in Germany, had their first experience of live radio, appearing on BBC R3 In Tune, and their first on-stage question and answer session. Martin Cropper introduced them to education work through a Music in the Round and Barnsley Music Hub project for young
Undeniably Peter is irreplaceable; however his belief in the quartet and Bridge isn’t, so this year the quartet embarks on a programme of study with London-based Chamber Studio, run by Richard Ireland alongside mentoring from violinist Simon Rowland-Jones. Their ambition for 2016 is to continue to develop their technical musicianship, grow their Marmen @ Home series (if you want to book them to perform in your house, check out their website, www.marmenquartet.com), rework their website, learn about social media (please follow @MarmenQuartet), formulate workshop ideas and have their first professsional photoshoot. You can hear the Marmen Quartet in South Yorkshire on 27 May (Barnsley), 28 May (Doncaster) and in Sheffield in the Autumn (date TBC). Tracy Bryant
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Ensemble 360
dates for your diary Emmanuel Methodist Church, Barnsley 15 April, 7.30pm JOHN IRELAND Fantasy Sonata in E flat for clarinet and piano STRAVINSKY The Soldier’s Tale Suite BRAHMS Horn Trio in E flat Op.40 01226 327000 www.barnsleycivic.co.uk
Cast, Doncaster 16 April, 2pm Sir Scallywag and the Battle of Stinky Bottom Family Concert: Ensemble 360 & narrator Polly Ives 16 April, 7pm JOHN IRELAND Fantasy Sonata in E flat for clarinet and piano STRAVINSKY The Soldier’s Tale Suite BRAHMS Horn Trio in E flat Op.40 18 June, 7pm MOZART Oboe Quartet in F K.370 WEBERN Five Movements Op.5 FINZI Interlude for oboe and string quartet Op.21 BEETHOVEN String Quartet in C sharp minor Op.131 01302 303 959 www.castindoncaster.com
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New Vic Theatre, Newcastle-under-Lyme 18 April, 7.30pm BRAHMS Horn Trio in E flat Op.40 SCHOENBERG Fantasy for violin and piano Op.47 BRAHMS Piano Trio in No.2 in C Op.87 Q&A: members of Ensemble 360 15 June, 7.30pm MOZART Oboe Quartet in F K.370 WEBERN Five Movements Op.5 FINZI Interlude for oboe and string quartet Op.21 BEETHOVEN String Quartet in C sharp minor Op.131 Q&A: members of Ensemble 360
Hoylandswaine Parish Church, Barnsley 17 June, 7.30pm MOZART Oboe Quartet in F K.370 WEBERN Five Movements Op.5 FINZI Interlude for oboe and string quartet Op.21 BEETHOVEN String Quartet in C sharp minor Op.131 01226 327000 www.barnsleycivic.co.uk