2010

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22nd January – Sheida Davis & Helen Reid

The cellist Sheida Davis is no longer a newcomer to the music circuit, despite her relative youth. The members’ evening at Farnham Castle on 22 January was the third appearance of this popular and accomplished musician. Accompanied, once again, by the talented piano recitalist Helen Reid, local music-lovers had a feast of wonderful music served up by a gifted musical duo.

Following an enjoyable work by the Czech composer Martinu, based on a Slovak theme, JS Bach’s Sonata in G Major for viola da gamba and harpsichord, adapted for cello and piano, was an uncomplicated and delightful piece that was greatly appreciated. Three Fantasy Pieces by Schumann concluded the first half. The third of these pieces was a stirring work that invited visions of a big swell in an angry sea giving way to calm.

The second part began with seven variations on a theme from Mozart’s opera The Magic Flute, giving the audience a familiar tune to trace. The final work was Prokofiev’s Cello Sonata which seems an unfair title since the pianist also works extremely hard, particularly in the final movement. This relatively cheerful piece (compared with much of Prokofiev’s other work) comes to a superb climax at the end of a movement that begins almost playfully – it displayed the outstanding skills of both musicians to great effect.

Ian Sargeant
23 January, 2010

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26 February – The Harris Quartet

The Harris Quartet began and ended their programme at Farnham Castle on 26th February with a piece specially composed for them by Adrian Brockless. He was present to enjoy the sensitive first performance of this charming piece, a gentle ’Berceuse’ (cradle song) in a very English style with harmonies reminiscent of Vaughan Williams. The large audience enjoyed it so much they demanded a repeat at the end of the concert.

The two main works of the evening presented a fascinating contrast of youth and age: an early quartet by Mendelssohn and a late one by Beethoven. Mendelssohn’s Opus 12 reflects the former composer’s acknowledged admiration for the latter but overall the style is unmistakeably his own, ranging from romantic ardour to passages that recall skittish moments from the ‘Midsummer Night’s Dream’ overture. The stormy finale demonstrated the mature virtuosic skills of the four young musicians, Nicky Olle, Nick Evans-Pughe, Helen Roche and Toby Turton.

It is almost incredible that Beethoven was completely deaf when he wrote his astounding late quartets. Opus 130 in B flat is considered to be part of his crowning achievement as a composer and presents a great challenge to musicians. The Harris Quartet rose to this challenge admirably, giving a moving rendition of the soft ‘Cavatina’ and a contrastingly energetic Presto to end a triumphant performance.

Rosemary Wisbey
26 February 2010

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26 March – Claire Jones

Brilliant musicianship and charming and engaging personality don’t always come together in one person, but they did for members of the Tilford Bach Society on March 26th when we were royally entertained by the official harpist to HRH Prince of Wales, Claire Jones. Claire would probably have succeeded with piano, violin or harp, but chose the harp. Whilst completing her masters degree she was encouraged to compete for the post of official harpist. She was auditioned by a selection of private secretaries and the like, but at one point Prince Charles stood about a foot off the end of her harp and watched her play; she described it as an intimate moment. But he obviously has an ear for talent because she was selected. Her original appointment was for two years and four playing engagements per year. However, she has already fulfilled 80 commitments and feels her appointment could be for a further two years.

The harp is capable of filling the great hall at Farnham Castle, and in a fantasy on themes from Tchaikovsky’s Eugene Onegin the sound was almost of orchestral breadth.

Claire has been engaged in work with Patrick Hawes, and she played us How Hill, a descriptive piece of a scene in north Norfolk. Her recording of this is now on Classic FM’s most wanted list. Maqamat by the Israeli composer Ami Maayani was part of her final masters recital which she chose because it enabled her to show off the harp to its full extent. She suggested it might not be everyone’s cup of tea, but I heard no one complain.

Prelude and allemande from Bach’s partita no. 1 was in the programme because J.S.B. is HRH’s favourite composer. I must send him a programme for this year’s Tilford Bach Festival.

Claire spent some time in the second half answering questions about her harp and her appointment. There will be many memories for her including H.M the Queen sitting in the room listening to her play. But one that sticks in the mind was when she played for the Welsh rugby team. They invited her to play at the Millennium Stadium with Katherine Jenkins when Wales played South Africa. What else would she play, of course, but her own arrangement of Men of Harlech. And it was amplified on to the PA system by the BBC. She said it was an amazing experience and it certainly filled the Great Hall. Claire came to us through the auspices of the Countess of Munster Trust. She is also sponsored by the Italian harp company Salvi, and thankfully they make all the arrangements to transport her harp when she is playing abroad. Claire has promised to come back next year and we look forward to her return with great pleasure.

Pete Wisbey
26 March 2010

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23rd April – Pegasus

A visit by Pegasus, the society’s favourite chamber choir, is always a highpoint of the TBS calendar. Pegasus is a choir that was always good but has now developed into “exceptionally good” on the TBS Scale of Excellence. It brings together a group of young London-based professional people who are very musical and have good voices. Under the direction of Matthew Altham they put together bespoke programmes of choral music that they deliver without accompaniment to audiences who are always astonished and uplifted by the standard of performance.

The date of this concert was 23rd April – St George’s Day. English music was therefore the constant with a first half devoted to sacred music and the second to secular pieces. The opening was Nunc Dimittis by Gustav Holst, followed by works by Tallis, Purcell, Howells, William Harris and Stanford, spanning hundreds of years.

The second part delivered a delightful selection of songs by a variety of composers including Holst (again), George Macfarren, Charles Wood, Vaughan Williams, Percy Grainger and Ernest Moeren. There were two non-English composers in this group, but no one minded.

The choir moved smoothly from pianissimo to fortissimo, from joyful to melancholy like a well-oiled Rolls Royce being put through its paces by a skilled driver. Each group of pieces was introduced by a different member of the choir who amused and informed the audience about the works and composers. We heard several soloists within many of the pieces and they were all good, with two of them outstandingly good.

If you missed this concert, shame on you! But you have another chance to hear Pegasus on 5th June when they take part in the final concert of the 58th Tilford Bach Festival at All Saints Church, Tilford. Get your tickets now!

Ian Sargeant
24 April, 2010

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24^th September - Eleanor Harrison & David Wright

On September 24th the Tilford Bach Society shared Farnham Castle with a team-bonding conference. Violinist Eleanor Harrison and harpsichordist David Wright arrived fully bonded! Eleanor was making at least her third appearance for the TBS. In June she was the leader of the orchestra for our Community Opera, Nigel of Tilford. David was making his first visit but was immediately booked for a return to play his acclaimed interpretation of Bach’s Goldberg variations. At the end of their first item, Heinrich Schmeltzer’s Sonata Quarta, David sat at the harpsichord and applauded Eleanor explaining that his part had been to play a simple ground base whilst she played the major part in a work that has six movements linked by just a chord or two on the harpsichord. Apparently Corelli, a virtuoso violinist as well as a composer, was given to vigorous facial movements whilst playing including rolling his eyes, fortunately not something that Eleanor chose to do whilst playing his sonata opus 5 no.6. This was one of a series written for performing in church where the Pope, Alexander 8th, did not approve of dancing. Nonetheless, Corelli managed to sneak a gigue on the end. This work is a sort of trio with the left and right hand on the harpsichord making up a threesome with the violin.

Heinrich Biber was described as weird and his violin sonata no. 3 as Baroque rock and roll, moving from thundering chords and glissandos on the harpsichord to a delicate interplay with the violinist, Eleanor’s technique being tested to the full.

Handel often extemporised accompaniments to arias in his operas, and his tendency to upstage the singers caused some agro. One tenor said if he ever did it again he would jump in to the harpsichord. Handel’s reply was that if he was going to he would sell tickets because his jumping was better than his singing.

One of his extemporisations for the opera Rinaldo was transcribed by a member of his orchestra and when David played it you could well see why any singer would be hard pressed to sing whilst Handel was playing. The evening ended with Handel’s Sonata in D major, harpsichordist and violinist bonded in perfect harmony.

Pete Wisbey

24 September 2010

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22^nd October - Callino Quartet

TBS members and visitors enjoyed an exceptional concert on 22 October at Farnham Castle when, after a long gap, a string quartet paid them a second visit. It was evident to all that the nine years between visits was far too long. The Callino Quartet has been in existence since 1999 when it first came together for the West Cork Chamber Music festival and has become one of the finest ensembles to emerge in Europe.

The wide range of its repertoire is an important feature, allowing interesting and varied programmes to be presented. The recipe presented to TBS on this occasion was perfectly assembled for the tastes of Farnham’s music lovers.

Haydn’s quartet, Opus 20, No. 5 was a delightful start that was bound to please a society that savours baroque music.

Debussy’s only string quartet struck a contrasting tone. It was moody music that stirs and sways around, with high demands on the musicians, but technical challenges that are barely noticeable when played by this group.

The final piece, Mendelssohn’s Opus 13, was also very demanding but played with consummate ease throughout, including many fast and exciting passages but then surprising the listeners by ending very quietly.

This is a group of young lady musicians who are totally at ease with each other. Their synchronism is practically perfect and natural as is their expression of the pieces they play, leading to wonderful performances.

Ian Sargeant
22 October,, 2010

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19^th Nlovember - The Oboe Band

In 1642 the Roundheads routed the Cavaliers from Farnham Castle on their way to London and the execution of Charles 1st in 1649. It is a strange thing that if Oliver Cromwell and his Commonwealth had had their way the Tilford Bach Society concert at the Castle on November 19th wouldn’t have happened. But the people wanted their music and theatre back, and the restoration of the monarchy and Charles II in 1660 made that possible.

So it was with great pleasure we welcomed back the Oboe Band, Sarah Humphrys, Frances Norbury, Joel Raymond and Rebecca Stockwell for an evening called Restoration and the Monarchy. The opening overture was titled appropriately “For the Musicall Society” by Orme. John Blow was organist at Westminster Abbey and wrote mostly music for the church but the audience heard five pieces from his contribution to the theatre, the opera Venus and Adonis.

When the genius of Henry Purcell became apparent, Blow moved over as organist at the Abbey, and moved back when Purcell died young. Purcell’s suite from the comedy Old Bachelor provided some very racy performances on the assorted band of oboes, quite suited to the story which seemed to be about avoiding marriage whilst having maximum fun.

Purcell’s music for the funeral of Queen Mary is well known, but not so the march written by the French composer James Paisible, which would have been played on muted oboes, as it was by Joel Raymond and Frances Norbury. Paisble also wrote music to accompany a production of Aphra Behn’s Oroonoko about an enslaved African in Suranim in the 1660s, and a suite of music for the King and Queen of Spain in 1703, written at a time of great confusion about the succession to the Spanish throne.

Finally, the programme jumped forward to 1749 with music written specially by Handel for King George II to accompany the spectacular Royal Fireworks. The band on the barges would have been about 60 musicians; the Oboe Band are but four but gave real musical fireworks, particularly in the final Rejouissance. God save the King and the restoration of music for the people!

Pete Wisbey

19 November 2010

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