SUK Piano Quartet Op.1 PHYLLIS TATE Sonata for Clarinet and Cello MARTINŮ Three Madrigals for Violin and Viola H.313 DOHNÁNYI Sextet in C Op. 37
Czech music is one of Leamington Music’s specialities and Suk’s youthful Piano Quartet Op.1 – dedicated to his teacher Antonín Dvořák – is brimming with character and confidence. Martinů’s Three Madrigals represent the determination of the composer’s creative spirit to continue despite major obstacles and are beautifully balanced by the Sonata for Clarinet and Cello by Phyllis Tate, who was known for her idiosyncratic musical imagination and her unique sensitivity to musical colour. We round off the afternoon with the Sextet by Dohnányi – a Romantic work, richly scored and bubbling with tunes.
Concert generously supported by Howard Skempton
SUK JOSEF, Piano Trio in C Minor, Op.2
Allegro
Andante
Vivace
Suk composed the earliest version of his Piano Trio in 1889 during his first year as a composition pupil at the Prague Conservatory, originally in four movements. A year later, he revised while in the class of Karel Stecker (to whom the trio is dedicated), and the first
performance was given at an evening of music by student composers on 15 January 1891. Suk completed the revision process once he had joined Dvořák’s composition class (he later married Dvořák’s daughter), completing the definitive version in spring 1891. The opening of the Allegro is muscular and impassioned; its bold opening theme gives way to a more tender contrasting theme and these two characterful ideas form the basis of what follows. Even though Suk was still a student, his handling of form is impressively confident and closely-argued. He brings this admirably compact movement to an affirmative close in C major. The second movement is marked Andante and it resembles a gentle folk dance, reaching a dramatic climax before moving into a tranquil coda, still dominated by the dotted rhythms that have permeated the whole movement. The third movement, marked Vivace, is a vigorous finale, with some enchanting moments of repose. A change from C minor to C major sets up the coda which brings the work to an impressive conclusion.
Tate wrote Sonata for Clarinet and Cello upon discovering that (at that time) only one work had been written for this duo of instruments. It was first performed in 1947 by Frederick Thurston and William Pleeth, to whom she dedicated the piece.
The Sonata for Clarinet and Cello is one of Phyllis’s most performed works.
Phyllis discovered that only one work had been written for these instruments, a duet of 1894 by a clarinettist named Johann Sobeck. She set to work on the Sonata, which was critically acclaimed as a ‘minor masterpiece’ and ‘a tour de force of the first order, revealing a wonderful sense of colour’ (Music and Letters 1950).
The first movement is fairly slow and mostly cantabile. A feature is the persistent interruption of the flow by a curious sotto voce semitonal passage between the two instruments, as if played in brackets. The second and third movements are fairly straightforward from the audience’s point of view. The fourth movement is the most elaborate and takes the form of free variations on thematic material heard in the first movement, but now much transformed.
Following the first performance at the Wigmore Hall, Martin Cooper wrote in The Spectator: ‘At this concert the work of a young English composer, Phyllis Tate, quite overshadowed the small works by great names which composed the rest of the programme. The imaginative power, the real mercurial emotion and the wit and skill with which the two instruments are blended and contrasted makes this essay entirely successful.’
The Sonata was one of the works chosen to represent our country at the International Society of Contemporary Music Festival in Salzburg in 1952. Since then it has been performed many times, recently by The Varenne Ensemble (Elaine Cocks, clarinet and Robin Michael, cello) at a NASDA concert in 2014.
MARTINŮ Bohuslav, Three Madrigals
Poco allegro
Poco andante
Allegro
It was hearing a performance of Mozart’s Duo in B flat played by Josef and Lillian Fuchs (brother and sister) that inspired Martinů to compose his Three Madrigals in February–March 1947, with the subtitle ‘Duo No. 1’ on the autograph manuscript. Martinů wrote to his friend Miloš Šafránek on 16 May 1947: ‘I have written Three Madrigals for violin and viola … for J. Fuchs and Lillian (his sister) who is a great and unique viola player. I heard them at a concert and was amazed by their artistic quality, so I wrote the Duo for them, and it seems to be good. They are both excited and will put it in their Carnegie recital.’ This was given on 22 December 1947 and in the next day’s New York Times, the venerated critic Virgil Thomson gave a warm welcome to the new work: ‘a delight for musical fantasy, for ingenious figuration [and] for Renaissance-style evocation.’ Josef and Lillian Fuchs performed the Madrigals on many more occasions and when their recording of the work was issued in 1950, it was coupled, appropriately, with the Mozart Duo in B flat.
Allegro appassionato
Intermezzo
Allegro con sentimento
Presto, quasi l’istesso tempo
Born in Hungary, Dohnányi’s early compositions had been praised by Brahms, and he always had a strong sense of being part of the Austro-German Romantic tradition. In this respect he was very different from his classmate at the Budapest Academy, Béla Bartók, but his music is always beautifully crafted and has very individual harmonic touches. The Sextet for piano, violin, viola, cello, clarinet and horn was completed on 3 April 1935 and it is the most unusually scored of his chamber works. It was first performed in Budapest on 17 June 1935, with the composer at the piano, and received warm reviews. One critic specifically praised the unusual choice of instruments, commenting that ‘the combination … is neither coincidental nor arbitrary.’
The musical structure is unified by Dohnányi’s use of a dramatic rising motif – often on the horn – that is first heard right at the start. The first movement is brooding and tense, but ends with hope (the rising motif returning in triumph). The Intermezzo includes a rather sinister march, while the third movement is a set of variations that includes one that is scherzo-like. This leads directly into the finale – an almost dizzyingly ebullient movement which suggests a kind of jazzed-up Brahms.
A brand-new storybook concert, based on the modern classic book series by Benji Davies.
The Storm Whale tells the story of a child, and a whale washed up on the beach, and friendships that will change their lives forever and echo down the generations. These heart-warming tales of friendship, love and courage are brought to life through music specially written to accompany the book by our Children’s Composer-in-Residence, Paul Rissmann.
Perfect for 3 to 7 year-olds and their families, this is an illustrated and narrated storybook concert from Music in the Round, the producers of previous popular family concerts Izzy Gimzo, Giddy Goat and Sir Scallywag. It is a wonderful introduction to a live concert experience, brimming with wonderful music, memorable songs, images from the book and plenty of chances to join in.
“The Storm Whale tells a simple but powerful story about loneliness and the love between a parent and child… The world may be as big and lonely and incomprehensible as the ocean, but still it’s possible to find tremendous, heart-stopping tenderness.” The New York Times on the book
With many thanks to all our funders, including:
The Sarah Nulty Power of Music Foundation, The JG Graves Charitable Trust, Sheffield Town Trust and Wise Music Foundation
“The musicians did a wonderful job of introducing the young audience to enjoyment of the theatre, live music and engaging story-telling. Proof of their success [were] the lines of excited children coming up to meet the musicians who had gathered in the foyer with their instruments.”
The Yorkshire Post (on a previous Music in the Round storybook concert)
BRITTEN Three Divertimenti for String Quartet
COLERIDGE-TAYLOR Clarinet Quintet in F sharp minor Op.10
HOLBROOKE Eilean Shona for Clarinet Quintet
DVOŘÁK String Quartet No.12 in F Op.96 ‘American’
Ensemble 360 presents a sumptuous afternoon of folk-inflected chamber music for strings and clarinet, which combines well-known works with some new discoveries.
Britten’s early invention and whimsy are at the fore in his charming and characterful Divertimenti. Holbrooke’s intoxicating depiction of a Scottish Island is a magical celtic evocation for clarinet and strings. Samuel Coleridge-Taylor’s exquisite Clarinet Quintet, arguably the composer’s greatest achievement in chamber music, owes a clear debt to the work of Dvořák, whose profoundly moving and ultimately celebratory ‘American’ Quartet reworks a cornucopia of diverse folk traditions and concludes this intimate and expansive programme.
BRITTEN Benjamin, Three Divertimenti for String Quartet
Britten planned these movements as part of a five-movement Quartetto serioso with a subtitle from Shakespeare’s Winter’s Tale: “Go play, boy, play!” An earlier version of the opening March was written for a suite inspired by the film Emil and the Detectives (the children’s novel by Erich Kästner was a great favourite of Britten’s), but this was never completed. Eventually he settled on a work in three movements, and the first performance was given by the Stratton Quartet at the Wigmore Hall on 25 February 1936. The audience response was chilly and a hurt Britten withdrew the Three Divertimenti, which were only published after his death. His brilliant gift for idiomatic quartet writing is already apparent in this early work – from the arresting rhythms and textures of the March to the beguiling central Waltz, and the driving energy of the closing Burlesque.
Allegro energico
Larghetto affettuoso
Scherzo. Allegro leggiero
Finale. Allegro agitato – Poco più moderato – Vivace
Samuel Coleridge-Taylor was born in London and entered to Royal College of Music in 1890 to study the violin. His ability as a composer soon became apparent, and he studied composition with Stanford, becoming one of his favourite pupils. His Piano Quintet Op.1 (1893) heralded the arrival of a remarkable talent, but the Clarinet Quintet, composed in 1895, demonstrates Coleridge-Taylor at the height of his creative powers. Stanford had given his students a challenge, declaring that after Brahms’s Clarinet Quintet, written in 1891, nobody would be able to escape its influence. Coleridge-Taylor couldn’t resist trying, and when Stanford saw the result he is said to have exclaimed ‘you’ve done it!’ Coleridge-Taylor took his influences not from Brahms but from another great contemporary composer: in places this work sounds like the clarinet quintet that Dvořák never wrote. That’s a mark of Coleridge-Taylor’s wonderfully fluent and assured writing. The sonata form first movement is both confident and complex, with the clarinet forming part of an intricately-woven ensemble texture. The Larghetto has a free, rhapsodic character, dominated by a haunting main theme. The Scherzo delights in rhythmic tricks while the central Trio section is more lyrical. The opening theme of the finale governs much of what follows until a recollection of the slow movement gives way to an animated coda. The first performance took place at the Royal College of Music on 10 July 1895, with George Anderson playing the clarinet. Afterwards, Stanford wrote to the great violinist Joseph Joachim describing the piece as ‘the most remarkable thing in the younger generation that I have seen.’
HOLBROOKE Joseph, Eilean Shona for Clarinet and String Quartet
Joseph Holbrooke was a curious and sometimes infuriating character. His chamber music concerts would often include oddly aggressive notes for the audience, presenting – as he put it – ‘music to an apathetic public’ after which he ‘hopes to receive as few blows as possible (with the usual financial loss) in return.’ On another occasion, he refused to perform his Piano Concerto in Bournemouth: an insert in the programme explained that ‘Mr Joseph Holbrooke declines to play today because his name is not announced on the posters in large enough type.’ Setting his personal flaws to one side, he was capable of producing fine music, of which Eilean Shona is a brief and very attractive example. Eilean Shona is a small island off the west coast of Scotland and Holbrooke’s short work for clarinet and string quartet (reworked from a song for voice and piano) is haunting and evocative.
Nigel Simeone 2024
DVOŘÁK Antonin, String Quartet in F Op.96 ‘American’
Allegro ma non troppo
Lento
Molto vivace
Finale. Vivace ma non troppo
Dvořák was teaching in New York in 1893, and for his summer holiday he travelled over a thousand miles westwards, to the village of Spillville in Iowa, set in the valley of the Turkey River. It had been colonized by Czechs in the 1850s and in these congenial surroundings Dvořák quickly wrote the String Quartet in F major. On the last page of the manuscript draft, he wrote: ‘Finished on 10 June 1893, Spillville. I’m satisfied. Thanks be to God. It went quickly.’
Coming immediately after the ‘New World’ Symphony (which was to have its triumphant première in New York later in the year), the quartet has a mood that suggests something of his contentment in Spillville. Dvořák’s assistant Josef Kovařík recalled the composer’s routine: walks, composing, playing the organ for Mass and talking to locals, observing that he ‘scarcely ever talked about music and I think that was one of the reasons why he felt so happy there.’
Just how ‘American’ is the quartet? While remaining completely true to himself, Dvořák admitted that ‘as for my … F major String Quartet and the Quintet (composed here in Spillville) – I should never have written these works the way I did if I hadn’t seen America’. The first performance was given in Boston on New Year’s Day 1894 by the Kneisel Quartet.
Based on the colourful children’s book, this family concert tells the story of Giddy, a young mountain goat who is scared of heights. A tale of facing fears and making friends, it’s a brilliant way to introduce children to classical music, with visuals from the book and plenty of chances to join in!
Celebrating the importance of love and happiness in everyone’s lives, Paul Rissmann’s much-loved musical retelling of Giles Andreae and Guy Parker-Rees’s best-selling picture-book returns.
Meet Chutney the Chimpanzee who, with one small act of planting a seed, transforms the lives of the entire town of Drabsville, and teaches its inhabitants to celebrate their differences and make life more colourful along the way!
With narration, visuals from the book and lots of music to introduce the musicians of Ensemble 360, this is a brilliant first concert for 3 – 7 year-olds.
It’s becoming an annual tradition for Ensemble 360 to follow the morning Sunday Family Concert with a large-scale afternoon chamber music concert and in using all eleven members of the group, this year’s is rather special. Brahms’s first Serenade and Martinů’s Nonet have been much enjoyed by Leamington audiences before, but the Sextet by Dohňanyi is programmed for the first time. Written in Budapest in 1935, it is a Romantic work, richly scored and bubbling in tunes.
BRAHMS Johannes, Serenade No. 1 in D Op. 11, nonet version reconstructed by David Walter
Allegro Molto
Scherzo: Allegro non troppo
Adagio non troppo
Minuet
Scherzo: Allegro
Rondo: Allegro
Brahms’s D major Serenade is well known as his first orchestral work – but, like the D minor Piano Concerto from the same period, it had a complicated genesis. It was first conceived in 1857 as a Serenade for eight instruments in three or four movements, and a year later it had become a work in six movements, now scored for nine instruments. By 1860, it had been rewritten for full orchestra – the version that survives today (though Brahms even considered developing that into his first symphony, but decided to leave well alone). The nonet version was performed in public on 28 March 1859 at a concert in Hamburg, and a year later the orchestral version was given its premiere in Hannover. Whether Brahms destroyed the chamber version, or whether the material simply vanished is not known, but a skilful reconstruction reveals something of Brahms’s original conception: a work much closer in spirit to the serenades and divertimentos of Mozart than the reworked orchestral version.
This work dates from the last year of Martinů’s life and he wrote it with a specific ensemble in mind: the Czech Nonet. This Nonet is one of Martinů’s most fluent and skilful chamber works and in the outer movements his music suggests something akin to the joyful music-making of a group of Czech folk musicians. The heart of the work is the lyrical central Andante.
Martinů was far from home (he spent his last years in Switzerland) and in this movement he seems to bid a fond farewell to the Czech homeland that he knew he would never see again. The first performance was given by the Czech Nonet at the Salzburg Festival on 27 July 1959 and Martinů died a month later, on 28 August.
Allegro appassionato
Intermezzo
Allegro con sentimento
Presto, quasi l’istesso tempo
Born in Hungary, Dohnányi’s early compositions had been praised by Brahms, and he always had a strong sense of being part of the Austro-German Romantic tradition. In this respect he was very different from his classmate at the Budapest Academy, Béla Bartók, but his music is always beautifully crafted and has very individual harmonic touches. The Sextet for piano, violin, viola, cello, clarinet and horn was completed on 3 April 1935 and it is the most unusually scored of his chamber works. It was first performed in Budapest on 17 June 1935, with the composer at the piano, and received warm reviews. One critic specifically praised the unusual choice of instruments, commenting that ‘the combination … is neither coincidental nor arbitrary.’
The musical structure is unified by Dohnányi’s use of a dramatic rising motif – often on the horn – that is first heard right at the start. The first movement is brooding and tense, but ends with hope (the rising motif returning in triumph). The Intermezzo includes a rather sinister march, while the third movement is a set of variations that includes one that is scherzo-like. This leads directly into the finale – an almost dizzyingly ebullient movement which suggests a kind of jazzed-up Brahms.
When King Colin’s golden underpants go missing, it’s Sir Scallywag to the rescue! Brave and bold, courageous and true, he’s the perfect knight for the job… even if he is only six years old!
Original music by our children’s Composer-in-Residence, Paul Rissmann, features instruments including strings, woodwind, and horn, presented together with story-telling and projected illustrations from the best-selling children’s book by Giles Andreae and Korky Paul.
Performed by the wonderfully dynamic and hugely engaging Ensemble 360 and Polly Ives, this concert is a great introduction to live music for children. It’s full of wit, invention, songs and actions, and plenty of opportunities to join in.
BERWALD Grand Septet in B-flat (25′) MOZART Clarinet Quintet in A K581 (35′) BEETHOVEN Septet in E-flat, Op.20 (40′)
An evening featuring three celebrated works of chamber music, all on a larger scale.
Beethoven’s Septet was his most popular work; an inventive, celebratory piece, full of youthful energy and generosity of spirit, punctuated by fanfares, solos, cadenzas and exuberant fireworks! The evening begins with a Romantic septet, inspired by Beethoven, and written by his Swedish younger contemporary, Berwald; Mozart’s sublime Clarinet Quintet follows.
BERWALD Franz, Grand Septet in B flat
Adagio
Allegro molto
Poco adagio
Prestissimo
Poco adagio
Finale: Allegro con spirito
The influence and popularity of Beethoven’s Septet spread across Europe and the work was regularly performed in Berwald’s native city of Stockholm. Now widely regarded as the most important Swedish composer of the nineteenth century, during his lifetime Berwald was seldom able to earn a living from his music, working instead as a successful physiotherapist and, later, manager of a glass works. None of this should lead us to underestimate either Berwald’s creative talent or his imaginative handling of musical form. Both are apparent in this Septet. Completed in 1828, it may have been a reworking of an earlier piece for the same forces. Even so, it is a relatively early work, composed two decades before his best-known pieces such as the Symphonie sérieuse and Symphonie singulière. The musical language is consistently appealing, owing something to contemporary opera and to composers such as Spohr, but the melodies and harmonies have an idiosyncratic character that is entirely Berwald’s own (as at the start of the Allegro molto in the first movement, or the opening of the finale). In terms of the Septet’s design, the most striking innovation comes in the second movement which has a very quick Scherzo embedded within a seemingly conventional slow movement.
MOZART Wolfgang Amadeus, Clarinet Quintet in A K581
Allegro Larghetto Menuetto Allegretto con variazioni
The Clarinet Quintet was completed on 29 September 1789 and written for Mozart’s friend Anton Stadler (1753–1812). The first performance took place a few months later at a concert in Vienna’s Burgtheater on 22 December 1789, with Stadler as the soloist in a programme where the premiere of the Clarinet Quintet was a musical interlude, sandwiched between the two parts of Vincenzo Righini’s cantata The Birth of Apollo, performed by “more than 180 persons.”
From the start, Mozart is at his most daringly beautiful: the luxuriant voicing of the opening string chords provides a sensuously atmospheric musical springboard for the clarinet’s opening flourish. The rich sonority of the Clarinet Quintet is quite unlike that of any other chamber music by Mozart, but it does have something in common with his opera Così fan tutte (premièred in January 1790), on which he was working at the same time. In particular, the slow movement of the quintet, with muted strings supporting the clarinet, has a quiet rapture that recalls the trio ‘Soave sia il vento’ (with muted strings, and prominent clarinet parts as well as voices) in Così. The finale of the Quintet is a Theme and Variations which begins with folk-like charm, then turns to more melancholy reflection before ending in a spirit of bucolic delight.
HOWARD SKEMPTON The Moon is Flashing BEETHOVEN An Die Ferne Geliebte Op.98 HOWARD SKEMPTON Piano Concerto VAUGHAN WILLIAMS On Wenlock Edge
The music of Howard Skempton makes a recognisable feature in the Leamington Music Festival programmes, and what a delight to have two works that are new to Leamington audiences this year. Both are works originally scored for soloist and full orchestra, which have been re-scored by the composer for chamber ensemble.
We are pleased to welcome James Gilchrist back to the area after a gap of some eight years. This concert was originally conceived to celebrate Beethoven’s 250th birthday back in 2020 and we couldn’t lose the opportunity of having a tenor of this eminence perform the great composer’s only song cycle, An die ferne Geliebte, to complement RVW’s sublime On Wenlock Edge in his birthday celebrations.
Benjamin Nabarro and Claudia Ajmone-Marsan violins
Rachel Roberts viola, Gemma Rosefield cello
Tim Horton piano with guest double bassist
Mozart Piano Quartet in G minor K478 Dvořák String Quintet No 2 in G Op 77 Schubert Piano Quintet in A D667 ‘The Trout’
Ensemble 360 has traditionally followed the morning Family Concert with a large-scale chamber concert attracting growing and enthusiastic audiences. The Dvořák and Schubert Quintets make a feature of the double bass adding an extra sonority, as we trip through Bohemian woods and listen to the babbling stream teeming with trout.
Concert generously supported by David and Gina Wilson
Best-selling children’s book, Izzy Gizmo, tells the enchanting story of an intrepid young inventor who puts her talents to work to rescue a crow that can’t fly. This brand-new family concert brings Izzy’s mechanical marvels and infectious creative spirit to life!
Performed by Ensemble 360, narrated by Polly Ives, and with pictures from the book, this concert is a great introduction to live music for children. Original music by Paul Rissmann features pots, pans, whistles and household items (as well as orchestral instruments).
Ideal for ages 3-7 but great fun for everyone, it’s full of wit, invention, songs and actions, and plenty of opportunities to join in.
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking “Accept All”, you consent to the use of ALL the cookies. However, you may visit "Cookie Settings" to provide a controlled consent. You can find out how we use and process your data by reading our Privacy Policy
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. These cookies ensure basic functionalities and security features of the website, anonymously.
Cookie
Duration
Description
cookielawinfo-checkbox-analytics
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Analytics".
cookielawinfo-checkbox-functional
11 months
The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional".
cookielawinfo-checkbox-necessary
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary".
cookielawinfo-checkbox-others
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other.
cookielawinfo-checkbox-performance
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Performance".
viewed_cookie_policy
11 months
The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It does not store any personal data.
Functional cookies help to perform certain functionalities like sharing the content of the website on social media platforms, collect feedbacks, and other third-party features.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc.
Advertisement cookies are used to provide visitors with relevant ads and marketing campaigns. These cookies track visitors across websites and collect information to provide customized ads.
