Bulletin 10

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Bulletin No 10, April 2007

Chairman's Report

Last term's programme was much enjoyed for its wide range and made good use of the whole orchestra's talents by including all the brass, so at FALO, with a pleasantly numerous and enthusiastic audience, we made a cracking start with the strings pitching in with a will in Mozart's Magic Flute overture under John. Wagner's Prelude and Liebestod from Tristan & Isolde was an interesting departure for us with all its passionate chromatic complexity. It had been building up well, though the first part fell apart at our last properly so-called 'open rehearsal', yet finally everyone came together valiantly to sing on, yea, unto death itself. Elgar's Romance for bassoon and orchestra gave Ann Moore a chance to step out from the back rows to sing a mellow tenor part out in front and for us to weave subtle strands in with her. It is a relatively unfamiliar little warm Arts & Crafts tapestry we are glad to have woven. Finally Steve led us through Mendelssohn's grand Reformation Symphony to great effect thanks to hard work by all the string sections in turn, and specially lovely soft singing in the slow movement. Meanwhile the wind had a field day with parts written by one with such a keen ear, not difficult but splendidly telling, whether in soft counterpoint upon well-known chorales, in the lively allelujas of the central scherzo, or in the final blazing fanfares celebrating God's Mighty Fortress.

At the Committee Meeting on April 22nd, the Treasurer reported a healthy balance so we can afford to hire more adventurous pieces, though at present the conductors are managing to find plenty to please us at a modest charge. Any suggestions will be welcomed.

Less interesting but important administratively, Fire Regulations now require us to keep a register so that we can account for everyone in that unlikely event. David Short has nobly volunteered, with Russell as back-up, and it will give us a useful record of how the orchestra is doing. In the same cause, I went to an excellent fire course on April 23rd to make sure someone knows the drill. This term started later than some expected owing to redecoration of the Beansheaf and it is to be hoped that new contractors will maintain the loos more pleasantly in future.

Socially, a most important date was to celebrate Lynne and David's wedding on January 28th . We presented them with a most appropriate bowl from Andrew Hazleden of the Pottery in Aldermaston, a village where they are so well known in the choir and organ loft. We also had a fair turnout for another skittles session on February 14th at the Gardeners' Arms in Caversham. A good evening was had by all, thanks again to Lynne and David, though mastery of the skills eludes most of us. This term Sue and I hope as many as possible will be free to join us again for a Garden Party on June 24th the day after FALO.

Dates for your Diary

Summer Term: Apr. 21, 28, May 5, 12, 5, 26, (Jun 2 Holybrook Festival) Jun 9, 16, 23 FALO

WinterTerm: Sep 15, 22, 29, Oct 6, Ufton Court 12-14, (Half-term 20), Oct 27, Nov 3, 10, 17, 24, Dec 1, 8 FALO

Programme Notes

Steve writes: Weber: Euryanthe overture
Weber's life can be summed up as brilliant, but brief. As well as being a composer, he was also a conductor, virtuoso pianist, poet, music critic and lithographer. However, his major contribution to music was in the field of opera - and German opera in particular. No one admired Weber's music more than Wagner who saw him as the father of German Romantic opera. Weber began writing operas at the age of 13, and became an operatic conductor at age 18. He is famous for his three operas Der Freischutz, Euryanthe and Oberon as well as the change from spoken dialogue to words sung with the melody of the music. Weber not only established German opera, as opposed to the Italian type, exploiting folk elements and borrowing from Germanic traditions and superstitions, but also made more than one suggestion of what the music-drama should be, anticipating the Wagnerian revolution. For example, he used the leit-motif: Der Freischutz has eleven themes that appear and reappear throughout the opera; Euryanthe, eight. While the overture to Euryanthe remains popular today the opera is rarely performed as its libretto is seen as over-complicated.

Grieg: Symphonic Dances, op.64
Although Grieg produced a large number of piano and chamber works, there are few purely orchestral examples. He never wrote any orchestral work on a truly symphonic scale. The Symphonic Dances - nearly his last orchestral work, and probably his orchestral masterpiece - are unjustifiably neglected in the repertory. The melodic materials are drawn mostly from Norwegian folk dances and peasant songs, but they are cast in a highly Romantic, German symphonic style. In the slow movement the opening oboe melody is stated above a single, static unchanging chord until the very last measure. Although the general feeling of the work is pastoral, it still has its dramatic moments for contrast. The frenzied, whirling final dance gradually builds tension and intensity. Grieg's frequent use of simple melodies emphasizes solo playing, especially by the woodwinds. In this work he gives all the sections of the orchestra their opportunity to shine, and these dances are a perfect showpiece of his orchestral achievement.

John Tims writes of two old warhorses this term, well-known and loved, but each capable of throwing the unwary rider.
Elgar. Enigma Variations, Op. 36
With the performance under Hans Richter in 1899, London critics recognised the arrival of a major new composer. Public interest was heightened by the two mysteries with which Elgar tantalised his listeners. One was the identification of the dedication: "My friends pictured within", whose initials were placed at the start of each of the 14 variations. The second was the Enigma itself. Elgar talked mysteriously of a theme, perhaps a well-known tune, which is never heard, but which runs through the whole work. No such theme has ever been identified. However, the identities of the dedicatees, including the unnamed Variation XIII, are now well-known. The Finale portrays Elgar himself, looking back over the relationships that helped mould his artistic personality.
DEBUSSY. Prlude l'aprs-midi d'un faune.
This piece, written in the mid-1890s, is almost contemporary with Elgar's Enigma Variations, but is a world away in style and inspiration. It is based on a pastoral poem by Mallarm, portraying the amorous daydreams of a faun as he lies enjoying the summer sunshine watching a group of nymphs at play. It is a sensual as any score ever written, with prominent roles for two flutes.

A final reflection

I like having books about playing music to discuss a problem with them immediately, to keep reminding myself of the solution and not bother any teacher, though I am often glad to have jotted down their tips too. Such a book is The Inner Game of Music by Barry Green & W.Timothy Gallwey published by Pan Macmillan 7.99 ISBN 0.330-30017-2. Recently I had some difficult exposed solos to play at a Langtree concert, but trying ever harder, even getting angry, just didn't help. Then I remembered this book.

Some children can play wonderfully well, blissfully unaware of any supposed difficulties, relaxed and just caught up in the spirit of the music itself. As a student I used often to play the clarinet obbligato in Schubert's The Shepherd on the Rock with a promising soprano at house parties given by her singing teacher, but I couldn't imagine myself doing it now even though given the chance not long ago. Yet I must have learned so much better now how to play. How lovely it would be if we too still 'could recapture the first fine careless rapture!' (see below*)

Yet I think we often do. Haven't you, relaxed and playing at home for your own pleasure, sometimes shaped a phrase just right, even though only the cat heard it? Now we have more experience of both hearing and playing music than young people, stored in our unconscious brain and ready to be drawn on, if only that conscious worrying side of our brain could be persuaded to shut up. The authors show how one can achieve 'relaxed concentration', suggesting all sorts of exercises to help you 'get out of your own way'. Flurries of difficult notes can be analysed into simpler patterns, memorised as separate phrases, and only then strung together. In doing this recently I was much cheered by the advice: 'Allow yourself to fail' - whereupon you'll find you can relax and play it perfectly!

Shutting out distracting worries and giving your whole attention to the music takes practice, but happily in the Saturday Morning Orchestra we can just play for our own and our friends' pleasure. Yet even playing for our Friends and Loved ones can have its tensions. Last term Brahms' Second Symphony just seemed to be playing itself marvellously in rehearsal - then come FALO, I remember 'There's a difficult solo' - and promptly fluffed it. Learn to forget yourself and think only of Brahms!

Antony

* Writing this towards the end of the month, I was reminded of Robert Browning's poem:

Oh to be in England
Now that April's there,
And whoever wakes in England
Sees, some morning, unaware,
That the lowest boughs and the brush-wood sheaf
Round the elm-tree bole are in tiny leaf,
While the chaffinch sings on the orchard bough
In England - now!

And after April, when May follows,
And the whitethroat builds, and all the swallows!
Hark, where my blossom'd pear-tree in the hedge
Leans to the field and scatters on the clover
Blossoms and dewdrops - at the bent spray's edge -
That's the wise thrush; he sings each song twice over,
Lest you should think never could recapture
The first fine careless rapture!
And though the fields look rough with hoary dew,
All will be gay when noontide wakes anew
The buttercups, the little children's dower
- Far brighter than this gaudy melon-flower!

Antony