Upload
cavatina-chamber-music-trust
View
224
Download
0
Embed Size (px)
DESCRIPTION
Â
Citation preview
Lord Moser in 2007 (© Martin Godwin)
I n September 2015, CAVATINA was saddened to learn of the death of one of its long-
standing patrons, Lord Moser. His fervent support of the arts – perhaps most notably
through his chairmanship of the Royal Opera House between 1974 and 1987 – was lent to
CAVATINA on several public occasions, always to great effect.
Having started to learn the piano at the age of seven (his mother was a talented pianist),
Lord Moser became an accomplished musician, with a life-long love of chamber music,
formed during the musical evenings of his childhood at home in Berlin. He was
particularly fond of the Amadeus Quartet, and became a member of the board of the
Amadeus Scholarship Fund following the quartet’s retirement in 1987, a trust formed to
help young string players.
Lord Moser, statistician, educationist, banker, and arts administrator, born 24 November
1922; died 4 September 2015.
2
We are delighted to welcome the composer
Roxanna Panufnik as our new patron.
Roxanna studied composition at the Royal
Academy of Music and since then has
written a wide range of pieces – opera,
ballet, music theatre, choral works,
orchestral and chamber compositions, and
music for film and television – which are
performed all over the world.
Roxanna has a great love of world music,
which has culminated in her Four World
Seasons for violinist Tasmin Little, the world
première of which was picked by BBC Radio
3 to launch their Music Nations weekend,
celebrating the London Olympics. Other
works stemming from this passion include
her multi-faith album for Warner Classics,
Love Abide, and the specially-commissioned
Dance of Life: Tallinn Mass, written to
celebrate Tallinn’s reign as European Capital
of Culture in 2011.
She is especially interested in building
musical bridges between faiths and her first
project in this field was the violin concerto
Abraham, commissioned for Daniel Hope,
incorporating Christian, Islamic, and Jewish
chant to a make a musical analogy for the
fact that these three faiths believe in the
same one God. This work was substantially
converted into an overture for the World
Orchestra for Peace, and was premiered in
Jerusalem and London under the baton of
Valery Gergiev, in 2008 and at the 2014 BBC
Proms, respectively.
2016/17 holds some exciting projects,
including a commission for Garsington
Roxanna Panufnik—CAVATINA’s new patron (photo by Paul Marc Mitchell)
3
Opera’s 2017 season and recording her Four
World Seasons with Tasmin Little and the
BBC Symphony Orchestra for release on
Chandos.
Roxanna is Associate Composer with the
London Mozart Players. Her compositions
are published by Peter’s Edition Ltd and
recorded on many labels including Warner
Classics, Chandos, Signum, and EMI
Classics.
Roxanna’s previous relationship with
CAVATINA includes one commission for
the Wihan Quartet: Cavatina & Moravian
Dance. On its première at Wigmore Hall,
reviewer Peter Grahame Woolf wrote: “The
new Cavatina was composed as a ‘signature
tune’ , designed to be easily recognized by
young listeners, whilst a Moravian Dance
which follows is based upon a traditional
Czech folk melody.”
SIMON’S MARVELLOUS ‘MAGGINI’
Simon Majaro, founder executive trustee, has long made string instruments as a hobby.
Here, David Wigram (violist of the Piatti Quartet) talks about getting to know one of
Simon’s copies of a fine instrument by the Brescian-born seventeenth-century maker,
Giovanni Paolo Maggini:
“After a concert with my quartet at Netherhall House, which
was kindly sponsored by Simon and Pamela, Simon
mentioned to me that he had a Maggini copy that he’d made a
few years previously that was sitting around at home doing
nothing. I was of course very interested to have a go and see
how it was sounding. On playing it I found that it had a
beautiful and easily controlled sound, but that it would
definitely benefit from being played on a more regular basis
(as all string instruments need regular playing in order to
realise their full potential). Simon agreed and kindly suggested
that if I was interested he would be very happy for me to take
it and use it in the quartet over the next year.
Since then I have been using it regularly and getting to grips
with its unique personality and quirks: it’s been a great
pleasure getting to know Simon’s viola over the last few
months. With its rich and easy sound it performs well
throughout all registers, retaining true quality of sound even
in the highest positions. My thanks go to Simon for entrusting me with his ‘baby’ and I
look forward to seeing how it develops and evolves over the next year.”
David Wigram · viola, Piatti Quartet
4
Joanna Wyld—CAVATINA’s new Schools Co-ordinator (photo by Tommaso Tuzj)
Another recent addition to the team at
CAVATINA is Joanna Wyld, who is the
new Schools Co-ordinator, responsible
for developing further both the number
of visits to schools each year, and also
their geographic reach around the
country.
Joanna Wyld was born and educated in
London before reading Music at New
College, Oxford, where she was an
instrumental scholar. She taught music
theory to the choristers of New College
Choir, and was listed as one of the
Women of Distinction in 25 Years of
Women at New College. Joanna then
took a Masters degree in composition at
King’s College London and studied flute
with Clare Southworth at the Royal
Academy of Music.
Joanna is an accomplished flautist and
was principal flute of all the major
Oxford orchestras. She was the joint
winner of the Oxford University Sinfonia
Composition Competition for her
orchestral work Jethro Furber’s Change
of Heart, based on the novel
Omensetter’s Luck by William H. Gass.
Joanna’s compositions were also
performed by the Choir of New College,
Oxford, and in workshops with the BBC
Singers and composer and pianist John
McCabe, who described her piano
5
Sonatina as “exciting”. She was commissioned by Edward Higginbottom to
orchestrate a Bruckner Motet for performance by the combined choirs of New
College, Magdalen College, and Christ Church, Oxford in the Sheldonian Theatre,
and has re-orchestrated two Mozart operas for performance by opera company Hand
Made Opera.
Joanna is an experienced writer, editor, and proof-reader, and between 2001 and
2007 was Editor at Sanctuary Classics. When writing for children Joanna has shown
particular versatility, completing a note in verse for a disc narrated by Harry Enfield,
as well as writing a short biography of Enfield, commissioned by his agent. On the
strength of this release, Magpie’s Susan Stranks commissioned Joanna to write a
poem for the children’s online radio station Fun Radio Live.
Joanna is passionate about music education. In addition to her writing and editorial
work, she is a flute teacher with the Bromley Youth Music Trust, and is part of a trio
comprising two flutes and piano called Trillium.
In 2014 Joanna won the Oxford University Press spoof Grove Dictionary article
competition, and was also awarded both second and third runner-up slots. The OUP
judges noted: “… in wit and prose most [of the shortlisted entries] seem to have
flowed from the fingertips of the same inspired author”, one judge adding that the
winning entry was “the only one that made me laugh out loud.” The winning
submission is reproduced below:
Henderson, Lucas John (b Philadelphia, 19 June, 1910, d Appenzell, Switzerland, 27
November, 1987). American composer. His style encompassed the avant garde and, later,
post-modernism, including works which paid tribute to, or satirised, the music of other
composers. His 1956 piece, Cage, an homage to John Cage, consists of a cage, the bars of
which have been loosely interwoven with violin strings. The performer, who need not be a
violinist, is required to pluck the strings while emulating the movements of a bird. In a
follow-up to this work, Byrd-Cage (for performer, cage and tape, 1958), a recording of
Byrd’s motet Siderum rector is played throughout the performance. When the original
score to Henderson’s satirical fusion of Stravinsky and Beethoven, Oiseau de für Elise (for
voice and Bunsen burner) was destroyed by fire, Henderson ceased composing altogether,
retiring to a life of quiet solitude in the Swiss village of Appenzell.
Bibliography
N. Doggerel, The Anechoic Chambers of the Mind (New York, 1967)
KEITH G. GRAFING
6
Ticket Scheme
The Ticket Scheme continues to grow, in
turn offering a greater number of
opportunities for young people to access
world-class chamber music across the
country. Indeed, this reach is to be
significantly expanded in 2016, as
CAVATINA welcomes its first ever
members to the programme in Scotland:
the Cottier Chamber Project in Glasgow,
and the New Town Concerts Society in
Edinburgh. Both additions are the result
of generous benefaction from two of
CAVATINA’s Friends in Scotland, and
exemplify the invaluable support that
you offer CAVATINA.
Other new members include the Three
Choirs Festival – the oldest, non-
competitive classical music festival in
the world – a series of concerts in
Penarth Pier Pavilion (thereby marking
CAVATINA’s return to Wales,
following the closure of Sunday morning
coffee concerts at the National Museum
Cardiff), Lewes Chamber Music Festival,
the Bristol Proms, and Sunday Concerts
at London’s Conway Hall. The latter
concert series has recently enjoyed the
preliminary successes of an experiment
into further widening the audience’s
demographic by offering free admission
not only to the young people who attend,
but to some of their parents, too. The
idea behind this rationale is to
encourage families to try such concerts,
in the hope that concert-going can then
become a habitude. Further such trials
will be offered to members of the Ticket
Scheme throughout 2016 to see whether
it is a successful and worthwhile
programme overall.
“Listening to an early Beethoven Trio eight times in succession might
have been hard work. But given the immense talent on offer it wasn’t,
though making the final choice was! All eight trios had something
individual to say about the music although, at the final hurdle, both
the Morisot Trio (first prize) and the Jørgensen Trio (second) excelled
beyond my wildest dreams, the Morisot reaching top dollar because of
an added degree of technical brilliance. But the RCM, Zengö, Mathias,
and Cordoso Trios were also excellent … and had the rivalry been less
spectacular, it would have been just as difficult to choose between
those four. Altogether an exceptional experience and my deepest
gratitude to all who made it possible.”
Adjudicator of the 2015 CAVATINA Intercollegiate Chamber Music
Competition, the broadcaster and musicologist Rob Cowan.
7
All in all, the Ticket Scheme provided free entry to young people to 230 concerts in
2015 – the highest number yet – with almost 2,000 8-25-year-olds taking advantage
of the offer. This is in addition to the average annual reach of CAVATINA’s school
visits to around 6,000 children.
Feedback from a pupil at Aylward Primary School, Middlesex, following a CAVATINA School Concert given by the Camarilla Ensemble
8
CAVATINA would like to thank the following for their generous and constant support:
Andor Charitable Trust, The Coln Trust, John Lewis Partnership, The Monument Trust,
The Paul Morgan Charitable Trust, The Laurie & Gillian Marsh Charitable Trust,
The Fidelio Trust, Peter Storrs Trust, The Harold Hyam Wingate Foundation, Anonymous Benefactors
CAVATINA Chamber Music Trust
52D Maresfield Gardens, London, NW3 5RX
[email protected] · www.cavatina.net
020 7435 8479
Newsletter Editor · Thomas Hancox
Patrons: Derek Aviss OBE, Sir Vernon Ellis, Edmond Fivet CBE, Prof. Jonathan Freeman-Attwood, John Gilhooly OBE,
Gavin Henderson CBE, Lady Alison Irvine, Steven Isserlis CBE, Seppo Kimanen, Roxanna Panufnik, Gábor Takács-Nagy,
Sir John Tusa, Dr Peter Woodford, Benjamin Zander
Trustees: Dr Ioan Davies, Pamela Majaro MBE, Simon Majaro MBE, Pauline McAlpine, John Wright
Registered Charity No. 1067716
Dates for your Diary
CAVATINA Intercollegiate Chamber Music Competition
Royal Academy of Music, Marylebone Road, London, NW1 5HT
Wednesday 11 May 2016 · 2.00pm
Set Piece: Beethoven Quartet in D, Op. 18, No. 3
Adjudicator: Richard Morrison (chief music critic for The Times)
·
Annual CAVATINA Family Concert at Wigmore Hall
Saturday 18 March 2017 · 11.00am
Piatti Quartet