Music

parsonage is the Revenewe of a free gramer schole here in Yorke and appropryated to the Deane and Chapter of the Church of Yorke for that use and so imployed; the schole I assure your Lordship is and for these many yeres (I here) hath bene verie well used and the onelie good schole in this great Cytie, so that to have the same utterlie taken away were pitifull. Two hundreth scholars or theraboutes (the most of them poore men's children) are vertuously trayned uppe ther. The cause concerneth the Churche and therfore I make bold to pray this favour that James Moyser (the Churche's tennante of the Rectorie) may be admitted and allowed to pleade the generall yssue, And so lett the matter come to ordinarie tryall. The Deane and Chapter do not distruste their tytle, they only seke to upholde the Schole, and your Lordship I well hope will favour and further. And so betaking this cause to your due consideracyon I cease your trouble. Cawood this thirde of October 1589.

Your Lordshipps Loving frende."

RECITAL BY OWEN BRANNIGAN

It is some time since a singer of national repute gave a recital to the School, but on Thursday, 24th January, in Big Hall, the School was treated to a programme given by Owen Brannigan, the famous bass. Mr. Brannigan sang selections from 17th and 18th Century English Music, from Mozart's operas, and from English Folk Songs, thus dividing the recital into three.

From the very beginning, in the five items by Henry Purcell there were at least four kinds of song with their different interpretations. "Ye Twice Ten Hundred Deities" and "Arise ye Subterranean Winds" gave scope for spacious phrasing, long crescendos, and the powerful voice Owen Brannigan possesses. To temper the mood of these two, came a winter song suggesting snow and quiet, and then a song Purcell wrote in a very frivolous mood—"The Owl is abroad". After "Man is for Woman made" we heard a song, "Whilst I'm carousing", by Richard Laveridge, a friend of Handel's, who wrote all his songs, so Mr. Brannigan told us, about drink or under its influence. "Drink to me only"—in very different mood—was the best-known piece in this section and was sung with a great amount of feeling. To appreciate this music, as all his programme, one must see Owen Brannigan in person, otherwise there seems to be "something" missing in the warmth of the songs. Three songs rounded off the first part.

Now to the highlight—that of Leporello in Don Giovanni, explaining to Donna Elvira all the loves of his master, coming to the climax— "But in Spain—one thousand and three !" This really captivated the audience. We looked for (and found) good performances in the next three songs—"When a maiden takes your fancy", "Rogues like you", and "Now for vengeance", and it will be voted that this section was the best and most popular part of the programme.

There seemed to be a little mystery in the presence of the Hungarian Folk Song amongst the English Folk Songs, but it was a very happy addition. "Madame I have coom'd a'coortin" was for two parts, and here Owen Brannigan raised some laughs by his interpretation of the woman's part. "De virgin Mary had a baby boy", a West Indian Calypso, gave variety to these songs, while "Bobby Shaftoe", although well-known, was sung with vigour, and especially worth mention was his rendering of "Buckles" with a real North-country "u". It is to be regretted that owing to pressure of time (Mr. Brannigan had another recital directly afterwards) two North-country songs had to be omitted, but an encore "Simon the Cellarer" was called for and the rendering was far superior to the recording I had heard in the morning.

In closing a word of thanks must be said to Mr. Lovell, Director of Music at Bootham School, who gave a most understanding accompaniment.

P.G.T.

MUSIC SOCIETY CONCERT

The Music Society held a Concert in Big Hall on Saturday, 8th March, when two works were played, Schumann's Carnaval, and Brahms' Piano Quintet in F minor.

Schumann was born in 1810 at Zwickau in Saxony and died near Bonn in 1856. He was the son of a bookseller and editor and derived much from his father's literary talent. He was not allowed to study music until in his late teens, although he had started composing at the age of seven. Schumann, at University and afterwards, used to meet many of his friends in the evenings in restaurants, and the idea came to them of founding a new periodical, the "Zeitschrift", which was a magazine of contemporary art criticism. Schumann edited the magazine, and his articles were signed with pseudonyms, amongst others Florestan and Eusebius. Florestan and Eusebius were meant to indicate two sides of Schumann's character, the former stormy and vehement, the latter gentle and poetic. At this time, also, Schumann thought of the "Davidsbilndler", an imaginary band of persons whom he knew had views in common with himself. The "Davidsbandler" was Schumann's solution to the problem of exterminating the Philistines of the art world. And so in Carnaval (op. 9), which he wrote early in his life (1834) we find many instances of these

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extraordinary ideas. Schumann is believed to have written the pieces separately and to have collected and named them afterwards. They nearly all have, however, a common theme, which is that they are built up around those notes which in German musical notation spell the name ASCH. Asch being a small town in Bohemia where lived at that time Ernestine von Fricken, a close acquaintance of Schumann's. These notes also occur in the Sphinxes (not to be played) but are here meant to signify the only letters of his name available on the keyboard, SCHA.

The first group of pieces after the Preambule, are the characters of the masked ball, Pierrot, Arlequin, Pantalon and Colombine, and they are described by the music. The next group is of characters from the Davidsbiind, Florestan, Eusebius and Chiarina (the diminutive of Clara, later his wife); Ernestine von Fricken as Estrella; Chopin, Paganini and Coquette (the identity of Coquette is unknown). The last group is of scenes at a ball, Recognition, Avowal, Promenade and Pause in the dance. Besides these are the "Lettres Dansantes" which are, of course, A.S.C.H., dancing noisily, and "Papillon" a reminder of an earlier theme. Two Valses are put in, one near the beginning (Valse Noble) and one near the end (Valse Allemand). The whole work is terminated by the March of Davidsbilndler against the Philistines. This latter piece has always been held rather humorous and symbolic, as it is written in 3-4 time!

Mr. Wicks gave an exuberant performance of the work, stopping occasionally to pick up any stragglers in the large audience (or was he taking breath ?). I specially liked his interpretation of "Chopin", in which he provided rich contrast with many other more boisterous pieces such as Paganini and the March. It was indeed a very enjoyable performance.

I must admit to some disappointment with the Brahm's F minor Quintet. Perhaps it was because it was the first occasion on which I had heard this gigantic work. Perhaps, as far as the playing was concerned, it was because at times the tone of one of the instruments of the quartet was a little "edgy" and did not always blend. Or perhaps it was because from where I was sitting, the piano was rather too soft, providing, it seemed, only a background to the string quartet, especially the first violin (Irene Hawkins), who had most of the tune and made excellent use of it. Brahms composed this work originally for a string quintet with two 'cellos and then before he altered it to its present shape, he arranged it as a duet for two pianos. Brahms liked this so much that he gave it a separate opus number (op. 34*), and it would be interesting to hear this, and make a comparison between the two. Together "Carnaval" and the piano quartet made up a well-balanced programme. It would be interesting to compare the effect of the same programme played in the reverse order. It might have been even more enjoyable. •

In conclusion we would like to thank all who took part in the evening's music. M.A.B. 31

THE SCHOOL CONCERT

The term was brought to a successful end by the School Concert on 31st March at 6-30 p.m. in Big Hall. The programme opened with a bright Rondo (in D minor) by Purcell played by the whole Orchestra. Then followed three solos—one violin and two piano. C. G. Howat played the melody from the Unfinished Symphony by Schubert, and although at times the bass wasn't quite clear it was a very promising performance, as was E. H. N. Turner's rendering on the violin of the Hindou chant from Sadko by Rimsky-Korsakov. The third solo was "Song without Words" (A major) by Mendelssohn played in a very lively mood by C. R. Ackroyd. Then we heard two glees sung by the refounded Glee Club. (It is to M. A. Butterworth's enterprise that this Club owes its rebirth.) In addition to the very commendable conducting of J. T. Ankers of "Hang fear, cast away care" and "There is a Paradise on Earth" most noteworthy was the clearness of the altos. Ankers then joined the Orchestra and sang "Lass of Richmond Hill" while the School, unrehearsed, joined in the chorus—at first only four bars behind ! Next the main item of the programme, Grieg's Pianoforte Concerto. R. B. Atkinson was the soloist and straight from the magnificent beginning we realised we were in for a remarkable performance. From the Pianissimo to the first climax, then to the coda through the brilliant cadenza and the wonderful quiet entry of the Orchestra leading to the final magnificent climax, he showed technical mastery which was well backed up by the Orchestra.

The second part of the concert opened as the first with a wellbalanced piece by Purcell. The next was in the way of an experiment —Sonata attributed to H. Purcell for Trumpet and Orchestra arranged for flute. J. Ford was the soloist. This could very well have been written originally for a flute, it suited it so well. Ankers sang "Drink to me only" with great feeling and again the School joined in —with much more success. There were three solos to follow. The lightning changes in mood (of the Waltz in E minor) were wellinterpreted by A. Bloomfield, and R. Atkinson played Adagio for Violin by Handel after which he took the Meditation from Thais by Massenet as his encore and did justice to the charming melody. Chopin's Nocturne in Eb written in one of the composer's more pensive moods was well rendered by R. Shepherd. The Glee Club sang a comic song, "The Goslings", which is a parody of Mendelssohn's Wedding March and the Dead March from Saul, and they, too, sang an encore, "When the •Cock begins to crow". Two more instrumental solos followed. J. A. Sutton gave an understanding performance of the slight "Serenade of the Doll" by Debussy and Sonata in A for violin by Corelli was well played by G. B. Pullan. The concert ended on a very boisterous note. Ankers (baritone) and Hodd (treble) were the soloists in "The Mermaid" with Mr. Wicks a brilliant accompanist on the piano, the Orchestra a resounding Storm

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and the School vociferous "sailor-boys". The last verse and chorus were sung again and the National Anthem followed.

Mr. Waine and all who took part are to be thanked for a most enjoyable evening.

P.G.T.

PROGRAMME

1. Rondo in D minor Henry Purcell (1659-1695)

THE ORCHESTRA Melody from the Unfinished Symphony Schubert (1797-1828) C. G. HOWAT Chant Hindou from Sadko Rimsky-Korsakov (1844-1908) E. TURNER Song without words, No. 3 in A Mendelssohn (1809-1847) C. R. ACKROYD "Hang fear, cast away care" C. Hubert Parry (1848-1918) "There is a Paradise on Earth" R. L. de Pearsall (1795-1856) THE GLEE CLUB Conductor: J. T. ANKERS 4. "The Lass of Richmond Hill" James Hook (1746-1827) THE ORCHESTRA Baritone Solo: J. T. ANKERS 5. Concerto for Piano and Orchestra in A Minor (Opus 16) 1st Movement. Allegro molto moderato Grieg (1843-1908)

Solo Piano: R. B. ATKINSON

6. (a) Air in D minor

INTERVAL

THE ORCHESTRA Henry Purcell

(b) Sonata for Trumpet and Orchestra i(from the MS. in York Minster Library) Solo Flute: J. FORD Henry Purcell

7. "Drink to me only"

THE ORCHESTRA Traditional

Baritone Solo: J. T. ANKERS 8. (a) Valse in E minor (Op, post) A. BLOOMFIELD (b) Adagio from Sonata No. 3 in F R. ATKINSON (c) Nocturne in E fiat, Op. 9 No. 2 R. SHEPHERD Chopin (1810-1849)

Handel (1685-1759)

Chopin

9. "The Goslings"

THE GLEE CLUB Serenade of the Doll J. A. SUTTON Sonata IX in A—Largo G. B. PULLAN 7. F. Bridge (1844-1924)

Debussy (1862-1918)

Corelli (1653-1713)

11. "The Mermaid" Traditional

THE ORCHESTRA Baritone Solo: J. T. ANKERS Treble Solo: D. K. HODD THE NATIONAL ANTHEM