Archive for the ‘buildings’ category

Three Hastings Composers

November 3, 2014

An exciting opportunity to hear the work of THREE HASTINGS COMPOSERS never before heard in their home town!

Treblos Wind Quintet plays works by Keith Beal, Jonathan Burton and Michael Short, along with pieces by Mozart and Bizet.

Friday 7 November at 7.30 pm, St Clement’s Church, Old Town, Hastings — it would be great to see you there!

For more details, or to reserve tickets, please email Jonathan at jg.burton@virgin.net, or call Keith on 01424 430040.

Treblos2

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St Leonards — more local history

July 30, 2012

Spotted along the Marina yesterday.  Evidently he didn’t stay long!

An Eminent Victorian, Thomas Carlyle (1795-1881) was a fascinating and infuential writer — author of Sartor Resartus, The French Revolution and On Heroes and Hero-Worship among many other things.

His personal life was interesting too, and quite sad,  but let’s not go there.

Some local history — Hastings and St Leonard’s

April 15, 2012

Spotted on recent outings:

(1)

Opposite the Royal Victoria Hotel in St Leonard’s-on-Sea.  ‘Tradition says that William the Conqueror landed at Bulverhythe and dined on this stone’.

(2)

‘The site of / ST LEONARDS PIER / Where the first moving pictures / in the town were shown / 7th November 1896’

[very hard to read unless the sunlight falls at the right angle!]

To quote Shelley, ‘Nothing beside remains…’ — except a bit of open space on the roadway which must have been where the pier head was.

(3)

At the rear of Debenhams store in Robertson Terrace, facing the seafront at Hastings — all postwar rebuilding after bomb damage.  There is other history on this site — for another day…

Kenneth Hamilton — Brahms Unwrapped

March 15, 2012

Great experience last night at Kings Place – part of the Brahms Unwrapped season – our good friend Kenneth Hamilton playing (and talking about) Brahms’s piano music.  His introductions were illuminating, informative, irreverent and witty as always, his playing quite phenomenally accurate, virtuosic and powerful:  showing us Brahms in a whole new light.

Ken started with the first movement of Brahms’s astoundingly accomplished Sonata No. 3 in F minor, written when he was only 20;  Ken convincingly argued that the movement must have started as some kind of composition exercise based on J S Bach’s ‘Weinen, Klagen’ (with Purcellian descending chromatic bass line) in the same key.  He told us that the ‘grand ending’ of the movement implied that the audience would be expected to clap;  we duly did, and he said he would have been somewhat put out if we hadn’t.

Then he introduced the rest of this huge sonata – unusually in five movements in all – explaining that the remaining four movements hung together and told a story;  the second movement is prefaced by lines from a poem about ‘two hearts in love united’ – Ken demonstrated the ‘heartbeat’ – and Brahms’s melody fits the words so as to be almost a ‘Lied’ setting;  then there’s a stormy Scherzo, then a little movement called ‘Rückblick’ (‘backward glance’),  a minor-key version of the ‘two hearts’ number as a funeral march – ‘either the beloved is dead or their love is dead’, he said;  Ken pointed out the triplet drumbeat motive so beloved of Verdi and Mahler, which he traces back to a Mendelssohn Song Without Words.  Then a stormy finale using the ‘F A E’ theme which occurs elsewhere in his and his friends’ works – standing for ‘Frei aber einsam’, free but alone.  So the 20-year-old Brahms is writing programme music – ‘but we all know Brahms doesn’t write programme music!’  We don’t know who the story is about, he said, but we can follow the ‘trajectory’ of the story – two hearts that beat as one, dissension, breakup, Brahms ultimately reconciled to being alone.  Story of his life!  (And in the 3rd Symphony the theme becomes ‘F A F’ – ‘Frei aber froh’ – free but happy:  the confirmed bachelor.)

After the interval, we heard the last things Brahms wrote – three touching organ chorales, transcribed by Busoni.  Then a little gavotte by Gluck, arranged by Brahms as an encore piece for Clara Schumann.  Ken (authentically) proceeded to improvise a modulatory passage into the key of the next and final piece, the Handel Variations.  Absolutely riveting performance, clearly characterising the 20 or so miniature ‘mood pieces’ of the variations – including a couple of ‘Hungarian dances’ and a musical box imitation (instructed to be played with the sustaining pedal held down so that the music jangled; and its clockwork runs down at the end!).  Finally a massive and magisterial fugue, with a certain degree of pianistic sleight-of-hand but some genuinely complicated counterpoint as well.  One began to view Brahms with a new respect (well, I did, at least).  Ken’s performance rose to such heights of power and energy that he literally almost knocked himself out on the piano lid at the end (‘You’d think I’d know where it was by now’, he said).

And a pretty encore to send us home smiling.

Amazing evening.  Congratulations to Ken – I haven’t done anything like justice to his constantly revelatory comments, nor to  his ability to speak, illustrate and play with not a note (of words or music) in front of him.   Thank you to Diana for getting us the tickets – wouldn’t have missed it for anything – and to Carol for joining us and being so appreciative.  And for the dear friends we met in the audience (you know who you are!).

The John Myatt Memorial Concert

February 16, 2012

Click here for a great review of a great occasion:

The_John_Myatt_Memorial_Concert_reviewFeb12

Many thanks to Colin for the link (and for the concert!)

Merry Christmas! 2011

December 24, 2011

Béatrice et Bénédict – Chelsea Opera Group; Elizabeth Connell and Barefoot Opera

November 28, 2011

A wonderful musical weekend.  On Saturday, to Cadogan Hall for Chelsea Opera Group’s concert performance of Berlioz’s late opera, Béatrice et Bénédict.  (Thank you to the Berlioz Society for the discounted tickets!)  COG orchestra on sparkling form, conductor Nicholas Collon fantastic – precise, clear and engaged (grinning widely throughout the Overture!).  Chorus somewhat under strength but valiant.  Female soloists wonderful – Ana Maria Labin sang Héro with a lovely true soprano, Emma Carrington brought her luxuriously velvety mezzo to Ursule;  their duet at the end of Act I (delicious in matching dark blue dresses) was the musical highlight of the evening.  Liora Grodnikaite has come a long way since her days on the Jette Parker Young Artists’ Programme at the Royal Opera House;  she sang Béatrice (without a score) with wit, fire and musicality, her looks and gestures conveying a huge range of emotions including amusement, scorn, uncertainty and confusion.  A terrific performance.

Her Bénédict, Ben Johnson, paled somewhat in comparison, not least because he remained resolutely score-bound.  He sang very nicely, but there was no chemistry between the pair (one recalls Ann Murray and Philip Langridge at ENO all those years ago…).  Simon Lobelson and Adrian Clarke were luxury casting in the minor male roles.  Everyone’s sung French was excellent – a rare achievement.

The wise decision had been taken to ‘stage’ the concert with three actors performing a reduced version of the dialogue in English.  So we had Shakespeare interspersed with (uncredited but very witty) translations of Berlioz’s own additions to the text.  Unlike their singing counterparts, there was plenty of chemistry and flying sparks between Helen Ramsorrun and Sion Davies – both final-year GSMD students  (he should guard against dropping his voice, though – I didn’t always catch the words.)  Donald Maxwell doubled Léonato and the Notary, as well as doing all that could humanly done with the awful role (spoken and sung) of Somarone, the joke music master who writes joke bad music… oh dear.

Because the three actors covered several roles each, it wasn’t always easy to tell who was who or what on earth was going on.  A brave try, though.  Perhaps some of the dialogue could have been cut still further…

Nice that the format followed that of COG’s previous performance in 1981, conducted by Stephen Barlow (can that really have been 30 years ago?).  My only misgivings concern the piece:  dear Berlioz, bless him, can’t get his dramatic pacing right, and in Act I he never knows when to stop.  Apart from Bénédict’s Rondo, every number outstays its welcome (even the glorious nocturnal duet) – especially Somarone’s cod Epithalamion which isn’t funny anyway and which Berlioz insists on inflicting on us TWICE.  Aarrgghh!  And then Act II flashes past with undignified haste – the final duet seems over before it has begun. But all in all, a fine achievement for COG and a fun evening.

Then, on Sunday, a local jaunt to St Mary in the Castle in Hastings – a wonderful venue we hadn’t sampled before (thank you Lesley and Alistair for the heads-up).  Billed as a Gala Concert, the first half consisted of performances by members of Barefoot Opera, a new back-to-basics ensemble directed by Jenny Miller (whom I remember as a fine mezzo Cenerentola a while ago).  But they didn’t just stand and sing:  soloists appeared in different parts of the (circular) auditorium, moved among the audience, sang to each other, and generally brought their roles imaginatively to life.  Kudos particularly to the charismatic Krysia Mansfield, who not only sang Tippett and Borodin but even managed to be riveting while playing a non-singing Vitellia to Aino Konkka’s Sesto in Mozart’s ‘Parto, parto’ from La Clemenza di Tito.  (Even clarinettist Andrew Sparling – playing from memory – directed some of his obligato towards her, presumably in an attempt to soften her heart.)  Talking of which, more kudos to Andrew Sparling for putting down his clarinet and singing a weird and powerful Ravel song, ‘Les grands vents’. 

Other stars included Carleen Ebbs’ sparkling and fearless ‘Je veux vivre’ from Gounod’s Roméo et Juliette – we reckoned we had heard it sung less well, to say the least, during the Cardiff Singer of the World week.  And Antoine Salmon, who may not possess the world’s most beautiful bass voice but was hilarious in Rossini’s ‘La calunnia’ and as Don Pasquale playing stooge to the Dr Malatesta of Nikos Penesis.  Not sure about the ensemble finale – a strange rewrite of Handel – but this seems to be part of a project they are working on.  All credit to Barefoot Opera – let’s hope we hear and see more of them.

Oh — and brava Nancy Cooley for her indefatigable accompanying!

For the second half, Elizabeth Connell took to the stage (is it ungallant to call her a ‘veteran soprano’?), accompanied by Stephen Rose.  She treated us to a hilarious résumé of her long and colourful life in opera, illustrated by knockout performances of Wagner (‘Dich teure Halle’), Mozart (‘Non più di fiori’ from La Clemenza di Tito), and Verdi (Lady Macbeth’s ‘La luce langue’.)  From low G to top B, her voice was big, true and thrilling.

She then gave us an outrageous ‘Diva Song’ written for her by Betty Roe and involving many changes of hats… I say no more,  You must try to see her for yourself.

Her encore was the immensely touching ‘When I have sung my songs to you’ by the American composer Ernest Chance. Not a dry eye in the house (even hers!).  A great lady and another great evening, rounding off a great weekend.

photo of Liza Connell (c) Clive Barda, borrowed from musicweb-international http://www.musicweb-international.com/SandH/2008/Jul-Dec08/connell.htm