DRP 2024

DIRECTORS’ RECITAL PRIZE, 2024 7PM 11 JUNE

PROGRAMME

Calum Landon, organ

Trio Sonata no.2 Vivace

J.S.Bach

Master Tallis’s Testament H.Howells

Suite op.5 Toccata Duruflé

George Brady, French horn

Anna Michels, piano

Sea Eagle Adagio P.Maxwell Davies

Sonata in Eb for Horn & Piano Poco Lento Maestoso Y.Bowen

En Foret op.40 E.Bozza

Alexander Kwon, piano

Partita no.2 in C minor BWV 826 Sinfonia

J.S.Bach

Etude-Tableau in C minor op.33 S.Rachmaninov

Toccatina N.Kapustin

Java Suite - The Gardens of Buitenzorg L.Godowsky

Ben-David Zasman, piano

Partita no.2 in C minor BWV 826 Capriccio

J.S.Bach

L’Isle Joyeuse C.Debussy

Moment Musicaux op.16 No.4 S.Rachmaninov

ADJUDICATION PANEL

Sarah-Jane Davies, Alistair Mackie and Maya Iwabuchi

Shionka Kamikaji-Inkster - Winner Junior Recital Prize 2023

Swan LK243 - Catriona McKay

Michelle Huang - Winner Intermediate Recital Prize 2023

Etude op.10 no.3 - Chopin

India Reilly - Winner Directors’ Recital Prize 2023

Tzigane - Ravel

WINNER ANNOUNCED

BIOGRAPHIES

Calum Landon (S6)

Calum Landon is an 18 year old organist in Edinburgh who studies at St Mary’s Music School with Duncan Ferguson. After beginning his organ studies with Robert Gower after an organ workshop with the world famous Thomas Trotter at age 13, he was appointed organ scholar at Berwick Parish Church where he became familiar with church organ playing, solo organ playing having played for services, and solo recitals. Since joining St Mary’s Music School, Calum has been appointed organ scholar at Greyfriars Kirk, has had masterclasses with the likes of Tom Bell, Kevin Bowyer and Martin Schmeding, and continues to play at Berwick outside of term time.

He is currently looking forward to continuing his studies at St Mary’s Music School in S6 extension.

George Brady (S5)

George has been playing the horn for eight years and was taught by his mother, horn player Rachel Brady, whilst attending school in the Scottish Borders. George joined St Mary's Music School in Autumn 2023 and currently studies with Sue Baxendale. Alongside his studies at St Mary's Music School, George attends the RCS Junior Conservatoire and has performed with the National Youth Orchestra of Scotland, the National Youth Orchestra of Great Britain, the National Children’s Orchestra and Edinburgh Youth Orchestra. In early 2024, George was Highly Commended in both the Edinburgh Competition Festival concerto and recital classes, whilst his horn trio was placed first in the chamber music class, and he was selected as one of the final 50 in the BBC Young Musician 2024.

George’s musical interests range from historically informed performance to jazz, with a particular emphasis on contemporary music. He enjoys exploring works by lesser known composers and from the the wider, more esoteric horn repertoire. Outside music, his interests include hill-walking, model planes and spending time at his home in the Scottish Borders.

Alexander Kwon (S6)

Alexander Kwon is an 18 year old pianist based in Edinburgh studying piano at St Mary’s Music School with Richard Beauchamp. In 2023

Alexander made his Concerto debut performing Rachmaninov’s Rhapsody on a Theme of Paganini in St.Mary’s Episcopal Cathedral after winning the Lord Clyde Concerto Competition and has also performed as part of the Edinburgh Festival in a recital in the dynamic Pianodrome venue.

Alexander has participated in masterclasses with Norma Fisher, Joanna MacGregor and Angela Hewitt. In addition to performing solo repertoire he is also an avid chamber and orchestral musician, playing with horn trios to jazz groups as well as currently being Principal Orchestral Keyboard for the National Youth Orchestra of Great Britain, with which he will perform as part of the BBC Proms this summer. In his spare time Alexander enjoys playing tennis and hiking.

Ben-David Zasman (S5)

Ben-David Zasman, 17 years old is a student at St Mary’s Music School. He has been playing the piano for 11 years and currently studies with Helena Buckmayer. The Luxembourg born pianist has participated in numerous competitions in Europe and Edinburgh such as the Edinburgh Competition Festival, for which he achieved 1st prize in the piano 15-minute recital category, the Liège Piano Competition in Belgium where he reached the semi-final, and the Samson François International Piano Competition in Cagnes-sur-Mer, France, where he claimed 3rd prize. Ben-David has also participated in several summer courses, like the Austrian Master Classes course for piano in 2021 and the Piano Summer School at St Mary’s Music School twice. Beyond the piano, Ben-David has several other musical interests. He plays the trombone and is keen on jazz and ensemble music.

He has played in big bands, jazz groups, and various wind ensembles and orchestras. Ben-David is an avid musician with many interests, he hopes to study music in Europe.

PROGRAMME NOTES

Calum Landon, organ

Bach-TrioSonataNo.2Vivace

Bach'striosonatasarewidelyregardedasbeingamongthemostmasterful ofhisworks.Thetextureoftheseworksimitateaninstrumentaltriosonata; requiringtwoseparatevoicestobeplayedbyeachhandwiththethirdpart beingplayedinthepedal.Thehighlyexposednatureofthesepieces requiresaflawlessperformancetotrulycometolife,bywhichpointmany organistsfindtheysoundquiteeasy!Intotal,Bachcomposedsixtrio sonatasconsistingofthreemovementseach-thecollectionwascompiledin Leipzig(Germany)in1720.DespitebeingsomeofBach'sbestwork,itis thoughtthatthesepieceswerenotcomposedwiththeintentofbeing performedbutaspracticepiecesforhissonWilhelmFriedemannBachin ordertofullymasterhisorganplayingtechnique.

Howells-MasterTallis’sTestament

Composedin1940,MasterTallis’sTestamentisthethirdpieceina collectionofsixpiecesfororganthatHowellscomposedwhichwas published13yearslater,in1953.Theworkisasetofvariationsonthe openingthemewhichevolvesinintensityandcomplexityinmodalGminor. Itgraduallyunfoldsintoalargeclimaxandfinisheswithaquietand reflectivecoda.Thispieceisregardedastypicalbutwithmuchaffectionby HowellshimselfasitpaystributetoafatherofEnglishcathedralmusicThomasTallis.

Duruflé-Toccata(fromSuiteOp.5)

MauriceDurufléwasborninLouviers,Francein1902.Hejoined Parisconservatoireatage18andgraduatedwithfirstsinorgan,harmony, fugue,pianoaccompanimentandcomposition.Durufléhadhugeself criticism,publishedonly14worksandrefusedtoeverperformtheToccata fromsuiteOp.5.HealsoneverprogrammedhisSicilieneoreitherthe PreludeorAdagiofromVeniCreator.Evenafterpublication,hecontinued toedithispieceswhichleadtoamajorchangetotheendingofthistoccata, althoughtheoriginaleditionismorecommonlyperformed.Despite Duruflé'sresentmentforthework,itiswidelyconsideredoneofthe greatestFrenchtoccatasandisregularlyperformedalongsidetherestofthe suite,orasarapturousvoluntaryattheendofaservice.

George Brady, French horn

PeterMaxwellDavies:SeaEagle(I)Adagio

DescribedbyRichardWatkins,forwhomthispiecewaswritten,as “ferociouslydifficult,”SeaEaglebyPeterMaxwellDavies(1934-2016)hasa reputationforbeingoneofthemostchallengingpiecesinthehorn repertoire.Thefirstmovement,whichwillbepresentedinthisprogramme, callsforamyriadofextendedtechniquesincludinghandstopping,fluttertonguingandglissandi,takingadvantageofthehornsnaturalharmonic series.Severalpassagesaredescribedbythecomposertobeplayed “impressionistically”tocreateanexcitingonslaughtofchaoticsound,the soundofamajesticandpowerfulbirdinflight.

Thepieceisinspiredbytheseaeaglewhichpriorto2016wasextinctinthe OrkneyIslands,whereSirPeterMaxwellDavieslived.Aroundthetimeof thiscomposition,abreedingprogrammehadsuccessfullyboostedseaeagle populationsinScotlandontheIsleofMull,some293milesawaywhich cameasquiteashocktoDavieswhenoneappearedatthefrontdoorofhis cottage.Thismovementdepicts,inmymind,thejourneyofaseaeagleon thehuntforprey,representingthebroodingnatureoftheseepicbeasts.

YorkBowen:SonatainEflatforHornandPiano(II)PocoLento MaestosoOp.101

YorkBowen(1884-1961)wasanaccomplishedEnglishcomposer,virtuoso pianist,conductor,violistandhornplayer.Hiswiderangingmusicalcareer spannedover50yearsandwiththepublicationofover150worksincluding manyworksforhorn,suchasthissonata,aquintet(hornandstrings),a concerto,atrioforhorn,oboeandpianoandsomeothershorterpieces.

Acornerstoneoftheearly20thcenturyhornrepertoire,thesonatawas writtenforAubreyBrain,fatherofthefamedDennisBrain,towhomBowen wouldlaterdedicatehisconcerto.Withacompositionalstylefullofrichand complexharmonies,YorkBowenearnedhimselfthenicknameTheEnglish Rachmaninov-surelythebeginningofthismovementmustbeareference tohiswell-knownsecondpianoconcerto.Thesecondmovementjuxtaposes declamatoryoutburstswithextremelyricalsections,takingtheaudienceon acascadingjourneythroughlifeanddeath.

EugéneBozza:EnForetOp.40

WithBozza’sEnForet,wereturntoanothertwentiethcenturycomposer. BozzawonthePremierPrixatthetheParisConservatoirethreetimes,for violin,conductingandcomposition.BorninNicein1905,helivedfor almostthewholeofthe20thCentury,dyingin1991.Hismusicisinthe neoclassicalstyle,influencedbyarangeofdifferentsourcesincluding plainchant,Frenchhymnsandjazz.

Alexander Kwon, piano

Bach-KeyboardPartitaNo.2inCminor,BMV826

Outofthe1128piecesBachcomposedduringhislifetime,223arewritten forthekeyboardandthekeyboardpartitasformanimportantpartofthe modernkeyboardrepertory,beingplayedonpianos,harpsichords, clavichordsandorgans.Thesepartitasareessentiallydancesuitesandthe 2ndpartitaopenswiththe‘Sinfonia’,symphonyinItalian.AgrandFrench overturetoopen,followedbyalyricalandornamentedmiddlesectionanda 2partfugueattheend.Thismovementisincrediblyevocative,atestament tothevividmusicallanguageoftheBaroqueperiod.

Rachmaninov - Étude-Tableaux in C minor (posthumously published)

“ThesoundofchurchbellsdominatedallthecitiesoftheRussiaIusedto know—Novgorod,Kiev,Moscow.TheyaccompaniedeveryRussianfrom childhoodtothegrave,andnocomposercouldescapetheirinfluence.All mylifeIhavetakenpleasureinthedifferingmoodsandmusicofgladly chimingandmournfullytollingbells.Thisloveforbellsisinherentin everyRussian…IfIhavebeenatallsuccessfulinmakingbellsvibratewith humanemotioninmyworks,itislargelyduetothefactthatmostofmy lifewaslivedamidvibrationsofthebellsofMoscow…”

Rachmaninov’sfondnessforbellsandbellringingisclearlyevidentinhis writing,evenwritingalargecantatacalled‘TheBells’aftertheeponymously namedpoembyEdgarAllenPoe.FromtheveryoutsetofthisÉtudeTableaux,belltexturesareevidentwiththetransparentopenfifths contrastingwiththelowgrumblesandRussianorthodoxchantlikemelody intheopeningsection.Thesebellsarelatertransformedintothelight Glockenspiel-likemelodythatoutlinesthefollowingsection.

Kapustin-Toccatina

TakenfromhisconcertetudesinJazzstyle,thispieceisahallmarkofhis style,Jazzinspiredwithlatinorhythmsaswellasthefleetinglyricismof Scriabin,thisfastpacedToccatinaflitsaroundthepianowithelementsof Gershwin’sRhapsodyinBlueinthiswellwornform.Toccatinacomesfrom theItalianwordToccatawhichliterallytranslatesto‘totouch’.Whileall toccatasarequitedifferent,theyallemphasisevirtuosityandtherepetition ofnotesascanbeheardinthisexample.

Godowsky-TheGardensofBuitenzorgfromJavaSuite

BuitenzorgwastheadministrativecentreoftheislandofJavawhenunder colonisationfromtheDutchEastIndiaCompany.Atthistimethecity possessedoneofthelargestbotanicalgardensintheworld,featuring microcosmsofnaturefromallaroundtheworld.Godowsky,the Lithuanian-bornAmericanvirtuosopianistwasclearlyquiteimpressedas hewroteintheprefacetothework.Theheavilyperfumedairawakensan inexpressiblydeepandpainfulyearningforunknownworlds,for inaccessibleideals,forpasthappeningsirrevocablygone thesememories whichtheoceanoftimegraduallysubmergesandfinallyburiesinoblivion. Importantly,thisworkstandsasaninterestingartefactoftheendofthe romanticandimpressionisterasofwriting,withitsinterweavinglines, complexharmoniesandintensecounterpoint.

Ben-David Zasman, piano

J. S. BACH – Keyboard Partita no. 2 in C Minor, BWV 826 - VI. Capriccio

Johann Sebastian Bach (1685-1750) is a composer who needs little introduction. He is one of the most revered figures in the history of Western classical music, hailed as a master of counterpoint and a composer proficient in many styles. Bach’s Keyboard Partitas stand as monuments of Baroque keyboard literature, blending intricate contrapuntal textures with expressive lyricism and virtuosic flourishes. Each Partita is made up of dance movements, following the traditional structure of the Baroque suite. The Capriccio from the 2nd Partita, with its lively and elaborate polyphonic textures, showcases Bach’s mastery of compositional form. It begins with a bold, dramatic statement using wide intervals, propelling the piece forward into a journey through contrasting textures and interwoven melodic lines. This movement is full of energy and bravura, conveying a sound that is at once exhilarating and profound.

C.DEBUSSY-L’IsleJoyeuseL106

ClaudeDebussy(1862-1918)wasaFrenchcomposerwidelyregardedas oneofthefoundersofimpressionisminmusic,thoughhehimselfrejected thistitle.Hisstylefocusesonthequalityofsoundandthecreationof moodsusingtheinstrument,deviatingfromthetraditionalstructuresand harmoniesoftheromanticera.

Debussywastrulyaninnovator,incorporatingrichtextures,non-standard harmonies,andexoticscalesintohismusic.L’IsleJoyeuse(theislandof joy)isanexuberantpiecefullofcolourandimagery,saidtohavebeen inspiredbyaRococopaintingdepictingloversonapilgrimagetoasacred island.Imageryisclearlyevokedinthispiece,withflourishesandintricate passagesfeedingtheimaginationwithdelightfulpictures.Itsextensiveuse ofthewhole-tonescalecontrastedwithaplayfultuneindottedrhythm createsafeelingofincreasingexcitementthroughoutthepiece.Aswellas starkcontrastsbetweensections,Debussyusesnearlythewholerangeof thekeyboardtoexpressvariousemotionsandfeelings,endingthepieceon thelowestnoteofthepianoinatremendousfashion.

S.RACHMANINOV–MomentMusicauxop.16,no.4inEMinor SergeiRachmaninov(1873-1943),oneofthetoweringfiguresoflate Romanticism,leftanindeliblemarkonthelandscapeofclassicalmusic withhislushharmonies,virtuosicpianism,anddeeplyexpressivemelodies. HisMomentsMusicauxareastapleinthepianorepertoire,aprofoundly richandcomplexcycleof6pieces,eachinadifferentmusicalstyle.This4th pieceisanetude-likework,featuringarepeatedleft-handpatternthatruns throughoutthewholepiece,similartoChopin’sRevolutionaryetude.The melodicmaterialisrelativelysimple,featuringfewnotesandmostlyplayed righthand.Whatdrivesthepiece,istherelentlessarrayofsemi-quavers andextremedynamicsthatmakeforanintenseyetrousinglistening experience.It'sagrandioseexpressionofpassionillustrativeof Rachmaninov’spianisticstyle.

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