Forgotten Voices PICMF 2023

PICMF

Forgotten Voices

7–10 September 2023

Natalie Clein artistic director

Image © Composer Henriette Bosman by Katharina Ziemke

PICMF

Forgotten Voices

A message from the Artistic Director

There was such an abundance of music to choose from this year. The theme of forgotten voices opens up a world of possibilities. There are so many composers from different centuries that are either rarely or never performed. Whether for reasons of gender, repression, or sometimes just fashion, it seems we have lost too many interesting voices on the modern concert stage. I hope my programming this year will introduce each of you to at least one new name – and universe.

I feel incredibly lucky to bring to Purbeck this year, such a group of world-class performers. I first heard the Danel Quartet live last year at a chamber music festival in Denmark, where they played a Weinberg quartet I had never heard. It was one of those performances that will stay with me always because of the incredible intensity both of the performers and the music. It means so much to bring them to Purbeck and to include some work by this still underperformed genius. I am also deeply happy to have Marianna Shirinyan back in Purbeck – her charisma and deep musicality will touch each of you, I am sure. The same is true of my treasured colleague Nurit Stark and I am very excited to bring these two powerful women together on stage! And talking of powerful women (and of course we will be hearing the music of several), I am also very excited to have Katharina Ziemke and Vivi Lachs bring their unique worlds to us. Katharina Ziemke will paint live as we play Bosmans and Clarke, forming images with the music, and I am incredibly excited to see what will be produced on stage! And Vivi Lachs will bring the forgotten world of the Yiddish dance hall to life for us in words, song and hopefully some dance. Finally, I am thrilled to finally have the stunning Kate Royal come to sing at the festival.

I wish each of you many moments connecting with forgotten voices during the festival, whether in a concert or whilst walking on the south coast path.

Purbeck International Chamber Music Festival

Programme

THURSDAY 7 SEPTEMBER

Concert 1

Forgotten genius

3.00pm Lulworth Castle Chapel

Franz Schubert Quartettsatz no.12 in C Minor D703

Reinhold Glière Selection from 8 Duos for Violin and Cello with György Kurtág Signs, Games and Messages

Mieczysław Weinberg String Quartet no.6 in E minor Op. 35

Concert 2

She/Her/They

7.30pm St George’s Church, Langton Matravers

Madeline Dring Selection from Shakespeare Songs

Henriëtte Bosmans Sonata for Violoncello & Piano with live painting of the composer’s portrait by Katharina Ziemke

Clara Schumann Mazurka in G minor Op. 6 no.3

Younghi Pagh-Paan Fanfarella for Solo Violin Amy Beach Piano Trio Op. 150

FRIDAY 8 SEPTEMBER

Concert 3

Conversations between ourselves

11.00am St Nicholas’ Church, Studland

Hans Krasa Tanec Dance for String Trio

Nurit Hirsh Mit farmakhte oygn

(With Closed Eyes)

Béla Bartók Selection from 44 Duos for Two Violins

Anon Yiddish popular song: Shtil, die nacht is ojgesternt

Oliver Greif Selected excerpts from The Battle of Agincourt for Two Cellos

5.00pm Dorset Museum, Dorchester

Book launch London Yiddishtown

Author and performer Vivi Lachs talks about her new book London Yiddishtown and performs related songs.

Concert 4

The voice of the soul

7.00pm Dorset Museum, Dorchester

Ernest Chausson Chanson Perpétuelle Op. 37

Ernest Bloch Three scenes from Jewish LifePrayer, Supplication, Song

Selection of Yiddish popular songs by Vivi Lachs and Arn Nager

Ernest Bloch ‘Nigun’ from Baal Shem: 3 pictures of Hassidic life, for violin & piano

Franz Schubert Meeres Stille and String

Quintet in C Major D956

SATURDAY 9 SEPTEMBER

Free Family Concert at Swanage Folk Festival

10.00am Sandpit Field, Swanage

Hungarian folk music by Marc Danel & Nurit Stark, violin

Including Béla Bartók Duos for Two Violins

Concert 5 Solo

11.00am Saint Nicholas’ Church, Worth Matravers

Domenico Gabrielli Ricercari for Solo Cello

James Helgeson from Tierpark for Solo Cello

Béla Bartók Sonata for Solo Violin Sz. 117

BB 124

Concert 6

Deception–a film and a concerto

3.30pm The REX Cinema, Wareham

Erich Wolfgang Korngold Cello Concerto in C Major Op. 37

Film showing of 1946 American film noir

Deception with Bette Davis, music by Erich

Wolfgang Korngold

Concert 7

Forgotten memories

7.30pm Priory Church of Lady St Mary, Wareham

Kurt Weill Youkali, Je ne t’aime pas, Buddy on the Night Shift, One life to live Josef Suk Movement 3 from Four Pieces for Violin & Piano Op. 17

Rebecca Clarke Viola Sonata with live painting of the composerʼs portrait by Katharina Ziemke

Antonín Dvořák Piano Quintet in A major Op. 81

SUNDAY 10 SEPTEMBER

Concert 8

Enduring voices

11.30am St James' Church, Kingston Coffee Concert

Erwin Schulhoff Duo for Violin & Cello

Dick Kattenburg String Trio

Mieczysław Weinberg String Quartet no.16 in A-flat Minor Op. 130

For more information about our performers please go to page 33

PLEASE NOTE: Changes may occur due to unforeseen circumstances

Natalie Clein cello & artistic director

Kate Royal soprano Danel Quartet string quartet

Vivi Lachs singer & author Nurit Stark violin Katharina Ziemke artist Marianna Shirinyan piano

Lotte Betts-Dean mezzo soprano

THE EVENTS

FORGOTTEN GENIUS

Thursday | 7 September | 3pm

Lulworth Castle Chapel

FORGOTTEN GENIUS

Franz Schubert Quartettsatz no.12 in C Minor D703

Reinhold Glière Selection from 8 Duos for Violin and Cello interspersed with some of György Kurtág Signs, Games and Messages

Mieczysław Weinberg String Quartet no.6 in E minor Op. 35

No interval, concert ends c.4.10pm

Drinks available at the bar

Franz Schubert Quartettsatz no.12 in C Minor D703 ‘Unfinished’

Allegro Assai

1 Forgotten Voices

‘Start with a bang’? This first movement of a quartet certainly starts off our festival with a storm – all nine minutes of it. Schubert (1797-1828) was only 23 years old when he started this string quartet, and alas – never completed it. For this movement he chose to draw on the ‘Sonata Form’. Some listeners will be familiar with its classical structure: first theme, second theme, development and recapitulation. But no classical state of mind was retained. Immersing himself in the spirit of the already established movement of ‘Sturm und Drang’ (Storm and Stress), Schubert ventured further. Within the more elaborate ‘Sonata-Rondo’ form, the first theme is repeated after each attempt to develop it further. Make no mistake - to its very end, this initial movement remains open – nothing is resolved, everything is still ready for exploration. Indeed, many recognise the quality of this movement as a precursor of the remarkable outpouring that followed in quartets such as the Rosamunde and Death and the Maiden later on. In this festival we shall hear the magnificent String Quintet in C major, D956 on Friday evening.

Danel Quartet

A volunteer run bar is serving soft drinks and sparkling wine from our principal drinks partner Langham Wine. Enjoy a glass while supporting our festival.

Bars are open in Lulworth, Langton Matravers, Dorchester and Wareham

Reinhold Glière Selection from 8 Duos for Violin and Cello Op. 39, interspersed with a selection from György Kurtág Signs, Games and Messages

Reinhold Glière (1875-1956), was a Russian Imperial and Soviet composer of German and Polish descent. He was well recognised within the Soviet regime, being awarded the title of People's Artist of RSFSR in 1935, and that of People's Artist of USSR in 1938. Glière wrote the 8 Duos for Violin and Cello Op. 39 in 1909 – eight years before the Bolshevik revolution. The influence of Slavic tunes and the still entirely tonal music of the late Romantic era is readily audible in these pieces.

The selected duos will be interspersed by musical miniatures composed by Kurtág.

Glière was aged 51 in 1926, when the Hungarian György Kurtág (19262019) was born. A great deal had happened to western music by 1989. Kurtág was aged 63 years then. This was when he began to construct this series of miniatures - very brief flashes of remarkable music. Many changes had been established by then. Resorting to an identifiable musical key (tonality) had been all but abandoned. In the same vein, formal musical structures had given way to ad hoc inventions created by each composer afresh. Yet, the past had not been totally rejected. For example, listeners may notice the influence of Bartok, and particularly Anton Webern, on the music of Kurtág. Nowadays, we may call the style of his musical gems - ‘minimalist’. First formalised into 28 episodes in 2003, the composer revised this collection over the years. The selection for this concert will be introduced by the performers.

Mieczysław Weinberg String Quartet no.6 in E minor Op. 35

Allegro semplice

Presto agitato

Allegro con fuoco

Adagio

Moderato commodo

Andante maestoso

Here are excerpts from Francis Humphrys’ discussion of this quartet: ‘This quartet by Mieczysław Weinberg (1919-1996), dating from 1946, is the highpoint of his extraordinary series of youthful compositions. Yet, before this new quartet could ever be performed, it was banned in the infamous

‘Prikaz 17’ that also picked out top Soviet composers like Shostakovich, Prokofiev and Myaskovsky.’

‘From 1947 the deadening hand of Socialist Realism was re-introduced along with a vicious campaign against so-called ‘formalism’. The only safe compositions were those labelled ‘Music for the People’, tuneful, accessible and folk-like. No wonder - this quartet was given its first performance only in 2007.’

‘The irony is that the Sixth is one of Weinberg’s most accessible quartets. It is on a symphonic scale with six movements - three fast ones first, an ‘Adagio’ fugue, and two in-between movements that conclude the composition.’

‘The work opens in a familiar manner with a patient unfolding of themes and typical Weinbergian rhythmic ideas with an exposition repeat, so we do not get lost. In the development he holds the tension before unleashing an extended climax replete with wild glissandos.  As the climax fades, the recapitulation is marked by fierce pizzicatos.  The coda just subsides gently into silence.

The ‘Presto Agitato’ is brief, violent and exciting and is immediately followed by the strange ‘Allegro con fuoco’ - an interlude that looks back to Beethoven’s theatrical ideas in his late Quartets. Its last bars prepare us for the big central ‘Adagio’ Fugue that follows. This movement eschews big climaxes and instead looks quietly and patiently inward. The ‘Moderato commodo’ is another interlude, longer this time, circling around several fragmented themes, a series of spectral pizzicatos, a sudden passionate outburst and a wonderful ethereal coda. The ‘Andante maestoso’ is a terrific movement, full of power and strength, as if to make up for earlier uncertainties. There are no doubts now, each episode bursting with confidence, even including a little folksong out of nowhere before the final stupendous bars.’

Danel Quartet

Natalie Clein cello, Nurit Stark violin

Purbeck International Chamber Music Festival

SHE/HER/THEY

Thursday | 7 September | 7.30pm

St George’s Church, Langton Matravers

2

SHE/HER/THEY

Madeline Dring Shakespeare Songs

‘It was a lover and his lass’, ‘Come Away Death’, ‘Under the Greenwood Tree’, ‘Take those lips away'

Henriëtte Bosmans Sonata for Violoncello & Piano with live painting of her portrait by Katharina Ziemke

Interval. Drinks available at the bar

Clara Schumann Mazurka in G minor Op. 6 no.3

Younghi pagh-Paan Fanfarella for Solo Violin

Amy Beach Piano Trio Op. 150

Concert ends c.9.15pm

Madeline Dring Shakespeare Songs

It was a Lover and his Lass Come Away Death

Under the Greenwood Tree

Take those Lips Away

Madeleine Winefride Isabelle Dring (1923-1977) was an English composer, pianist, singer and actress. Her Three Shakespeare Songs were published by Legnick in 1949, and republished with four additional Shakespeare songs by Thames in 1992.

Dring was born in London where she studied music, became a performer, married and had one child. While at first she was particularly attached to the music of Rachmaninov, her major collaborator, Ro Hancock-Child, commented that, later on - Dring preferred ‘jazzy idioms, Gershwin, Cole Porter and the sunny style of Arthur Benjamin. Having heard the calypso in London, she responded with her own Caribbean Dance and West Indian Dance, for piano’. Overall, Dring concentrated on short pieces and diversified the media she used. She composed instrumental and vocal music, wrote pieces for the theatre, drama and television, as well as musical revues, ballet and opera.

Lotte Betts-Dean mezzo soprano, Marianna Shirinyan piano

Henriëtte Bosmans Sonata for Violoncello & Piano

Allegro maestoso

Un poco allegretto

Adagio

Allegro molto e con fuoco

This Sonata for Violoncello & Piano was written by Bosmans in 1919, when she was just 24 years old. The sonata has four movements, perhaps as an affirmation of Bosmans’ affinity with the German-Romantic style.

Henriëtte Hilda Bosmans (1895-1952) was a Dutch composer and pianist. She was born in Amsterdam where she also gained her musical education, and became a piano teacher herself at the age of 17. She enjoyed considerable success prior to the outbreak of the Second World War.

That war put her career on hold. Bosmans refused to become a member of the Nazi’s Chamber of Culture and could perform only secretly. During the war, she developed a friendship with the reciter Charlotte Köhler. After a lengthy period in which Bosmans regularly performed but did not compose (because of the premature death of Francis Koene in 1935 and the war), she wrote the Doodenmarsch (Death March) in 1945, to text by Clara Eggink. Marius Flothuis regards this as one of her best works.

At the age of seventeen Clara Josephine Schuman née Wieck; (1819-1896) wrote this modest and charming brief Mazurka in the form akin to that of theme and variations.

She was a German pianist, composer, and piano teacher. Indeed, she was highly regarded by some as one of the most distinguished pianists of the Romantic era. During the length of 61 years of concert career she is said to have exerted her influence considerably - changing the format and repertoire of the piano recital by lessening the importance of purely virtuosic works. She also composed solo piano pieces, a piano concerto (her Op. 7), chamber music, choral pieces, and songs. Her marriage to Robert Schuman is known to have been a central theme of her emotional life.

Natalie Clein cello, Marianna Shirinyan piano with live painting of the composer’s portrait by Katharina Ziemke

Clara Schumann Mazurka in G minor Op. 6 no.3

Marianna Shirinyan piano

Younghi Pagh-Paan Fanfarella for Solo Violin

Younghi Pagh-Paan was born in 1945 in South Korea. Pagh-Paan composed this short, intense and expressive statement in 2018, and dedicated it to Egidius Streiff. She studied music at the Seoul National University from 1965 to 1971. In 1974 she received a DAAD scholarship to study in Germany and entered the Freiburg Musikhochschule, where she studied composition with Klaus Huber, analysis with Brian Ferneyhough, music theory with Peter Förtig and piano with Edith Picht-Axenfeld.

After completing her studies, she took guest professorships at Graz in 1991 and Karlsruhe in 1992–93. In 1994 she became a professor of composition at the University of the Arts Bremen. She founded and still serves as director of Atelier Neue Musik.

CONVERSATIONS BETWEEN OURSELVES

Friday | 8 September | 11am

St Nicholas’ Church, Studland

CONVERSATIONS BETWEEN OURSELVES

Hans Krasa Tanec Dance for String Trio

Nurit Hirsh Mit farmakhte oygn (With Closed Eyes)

Béla Bartók Selection from 44 Duos for Two Violins Sz. 98 BB 104

Anon Yiddish Popular Song: Shtil, die nacht is ojgesternt

Oliver Greif Selected excerpts from The Battle of Agincourt for Two Cellos

Movement 3, based on ‘Shtil, die nacht is ojgesternt’

No interval, concert ends c.12.00pm

Introduction

Allegro

Lento Espressivo Presto

Allegro con brio

The score of this piano trio was composed in 1938, when the composer was 71 years old. Its mature style is freer and more tonally ambiguous than her first works. Amy Marcy Cheney Beach (1867-1944) was an American composer and pianist. She was part of the Second New England School, also known as the 'Boston Six' - a group that served as a pivotal point for American classical music in its separation and distinction from the European tradition. Indeed, in the third movement – ‘Lento Espressivo Presto’, you will hear an allusion to Inuit sonorities (the aborigines of Alaska). In addition, the main theme of the final movement ‘Allegro con Brio’, is a common ragtime syncopated rhythm used in cakewalks - a dance that originated in black slave plantations of the USA.

Beach was the first successful American female composer of largescale art music. Her “Gaelic” Symphony, premiered by the Boston Symphony Orchestra in 1896, was the first symphony composed and published by an American woman. She was also one of the first American composers to succeed without the benefit of European training, and one of the most respected and acclaimed American composers of her era.

It is difficult to avoid seeing this performance also as a musical memorial. This piece was written by a composer while he was interned at the Theresienstadt concentration camp. Krasa (1899-1944) was a Czech - born and bred in Prague to a Czech father and a Jewish mother. His first composition was performed to public acclaim when he was only 22 years old, and quite a number of these followed. In August 1942 he was arrested by the Nazis and taken to that camp where he helped to develop cultural activities for the imprisoned. In October 1944, together with two other Jewish composers, he was taken to Auschwitz and murdered there. The Tanec; a form of dance, was written in that year –not long before he was killed. An exciting opening is followed by a section of broad lines combined with rhythmic punctuations provided by the cello. The music develops into a rather hectic mix of protest and pleading - ending with an assertive exclamation.

Nurit Stark violin, Vlad Bogdanas viola, Natalie Clein cello

Nurit Stark violin

Amy Beach Piano Trio Op. 150

Nurit Stark violin, Natalie Clein cello, Marianna Shirinyan piano

Hans Krasa Tanec Dance for String Trio

Nurit Hirsh Mit farmakhte Oygen (With Closed Eyes), Yiddish song to text by Itzik

Manger

Vivi Lachs, who is performing this Yiddish song, sees it as ‘a song of praise for those who refused to be bystanders’ during the Second World War. Yiddish is a language developed by Jews in Europe where Germanic expressions are combined with Hebrew and even Aramaic ones. Vivi Lachs will say more about it herself.

Mit farmakhte oygn (With Closed Eyes)

English Translation by Vivi Lachs

With closed eyes the sea sounds closer, With feverish fingers the rhyme is felt more easily. You recognise the Golden Peacock in flight. And the yearning is stronger when it is from elsewhere Tiredness becomes more acute at the threshold of a house. When you kneel, you feel more keenly that God is great God is almighty - as much today as everNot because of the thundering in the heavens, but for the sobbing in the valleys. Praised are those who hear the sobbing

You were destined to hear it. And a tear, falling on your body

With wound and with wonder, blossoms into your song.

Nurit Hirsh (born 1942, Israel) is an Israeli composer, arranger and conductor who has written over a thousand Hebrew songs. Quite a number of these songs became very well known. She studied at the Academy of Music in Tel Aviv, majoring in piano, and also various specialised musical topics with leading Israeli musicians.

Itzik Manger (1901-1969) was born in Czernowitz, then Austrian-Hungarian Empire. He was a popular Yiddish poet and playwright, a self-proclaimed folk bard, visionary, and ‘master tailor’ of the written word. He escaped to London in 1940 and lived there for around a decade, where he wrote this poem. He later lived in New York, Montreal, and finally Israel.

Vivi Lachs singer, Natalie Clein cello

Open

Breakfast: 8:15am-11:30am

Dining Room: 12:00am-2:30pm

Bar Menu: 11:30am-4:30pm Bar ‘till Dusk

Evening Dining: Friday & Saturday 6-8pm Smart Casual

Béla Bartók Selection from the 44 Duos for Two Violins

Sz. 98 BB 104

Just fun for kids? Well, we know that Béla Bartók (1881-1945) did not intend this series of 44 duets to be performed in public concerts. Rather, he saw these as materials for teaching music to children. Completed in 1931, these songs and dances are based on folk music from various Eastern European countries. Needless to say, this distinguished Hungarian composer exercised considerable degree of artistic freedom with regard to the harmonic and rhythmic patterns employed.

Overall, this work is specially well known for its rhythms, its dissonances, its canons and its inversions, as well as the diverse ways of resorting to the whole gamut of sounds available to the violin.

The particular selection of items for this concert will be introduced by the performers.

Shtil di nakht iz

oysgeshternt

Yiddish song to text by Hirsh Glick

The lyrics for this Yiddish song were written in the summer of 1942 by Hirsh Glick, a young Jewish inmate of the Vilna Ghetto. He set the texts to a Russian folk melody. Starting as a love song with conventional phrases about a quiet night and skies full of stars, the narrative quickly turns to the realities of war. The singer is addressing a beautiful woman who succeeded in ambushing a Nazi convoy. Indeed, this song was written to celebrate Vitka Kempner, a Jewish partisan, and her successful attack, an act of sabotage, on a German train, loaded with ammunition, in the Vilnius region.

Vivi Lachs singer, Nurit Stark violin, Vlad Bogdanas viola, Natalie Clein cello

Silent stars are shining o’er you

In the frost your hands are numb

Remember, sweet comrade, how I taught you

How a soldier holds a gun

A woman, a fur coat and a beret

Holding a pistol in her hand

A woman’s velvet face in concentration

Watches for the German caravan

She aims her trusty little weapon

Breathes, and pulls the trigger back

A transport full of ammunition

One shot stops it in its tracks

At dawn, she crawls out of the forest

With garlands of snow all in her hair

Inspired by this small victory for freedom

For a new generation brave and free

English Translation by Vivi Lachs and Dan Kahn

Oliver Greif Selected excerpts from The Battle of Agincourt for Two Cellos

Movement 3, based on a Yiddish folk song ‘Shtil, die nacht iz oysgesternt’

This movement is part of a four movement sonata Op. 308 by the French composer Olivier Greif (1950-2000) who wrote it in 1996. Greif explained that this four-movement composition was a single ‘meditation on war and death’. The third movement is based on the song just performed by Vivi Lachs in this concert. Indeed, the Yiddish title of the movement, ‘Shtil, di nacht iz oysgesternt’, is the same. It can be translated also as ‘Hush, the night is crowded with stars’. Greif’s Jewish father survived the Auschwitz concentration camp. As noted in relation to the previous piece, the song is grounded in the history of the partisans’ struggle against the occupying Nazis. Perhaps this movement is also Greif’s rather personal meditation - a fitting memorial to his father.

COULD YOU BE AN ANGEL?

Purbeck International Chamber Music Festival

Head to page 42 for more details

Marc Danel violin, Nurit Stark violin

Natalie Clein cello, Yovan Markovitch cello

BOOK LAUNCH

Friday | 8 September | 5pm

Dorset Museum, Dorchester

Vivi Lachs London Yiddishtown

London Yiddishtown is a book of the translated stories of three London Yiddish writers. Katie Brown’s hilarious sketches tell of generational tensions as children support their parents and reject Jewish culture. Arnold Kaizer satirical tales engage with community foibles of competing cantors and disaffected barmitzvah boys. Summer Lisky’s earnest stories describe the tension wrought by ideological battles and anti-fascist activism in London. Vivi will put it into context and read with her signature vivacity. No Yiddish knowledge necessary.

London Yiddishtown will be on sale at a 30% discount

Exclusive late opening of the Dorset Museum from 4pm

THE VOICE OF THE SOUL

Friday | 8 September | 7pm

Dorset Museum, Dorchester

THE VOICE OF THE SOUL

Ernest Chausson Chanson Perpétuelle Op. 37

Ernest Bloch Three scenes from Jewish Life – Prayer, Supplication, Song

Yiddish Popular Songs:

Vivi Lachs London Bay Nakht

Vivi Lachs Azoy geyt dos gelt avek

Arn Nager Viktorye Park

Ernest Bloch ‘Nigun’, from Baal Shem: 3 pictures of Hassidic life, for violin & piano

Interval. Drinks available at the bar

Franz Schubert Meeres Stille

Franz Schubert String Quintet in C Major D956

Concert ends c.9.00pm

Ernest Chausson Chanson Perpétuelle Op. 37

‘….like the bruised heart abandoned by the beloved who sinks into the abyss of despair.’ – just a few powerful words, chosen by L. Lauwers to convey the nature of this song. The French composer Ernest Chausson (1855-1899), wrote this elegy in 1899 – six months before being killed in a cycling accident. The text comes from a poem by Charles Cros, describing the suffering of an abandoned woman.

Lawes adds that ‘The Chanson perpétuelle shows Chausson’s stylistic evolution towards a subtle harmonic language with great clarity of expression’somewhere between Wagner and Debussy?

Kate Royal soprano, Danel Quartet, Marianna Shirinyan piano

For more information about our performers please go to page 33

Ernest Bloch Three scenes from Jewish Life –Prayer, Supplication, Song

This ‘Jewish Song’ is the final part of a trilogy called Three Scenes from Jewish Life – the first two being ‘Prayer’ and ‘Supplication’. Ernst Bloch (18801959) grew up in Switzerland but, as an adult, settled in the USA. On the face of it, this piece, written in 1924 in the USA, is grounded in mainstream harmonies accepted by many. Yet, listen more closely and you hear Jewish modes taken from liturgical singing in synagogues of various parts of Eastern Europe. Quarter tones were borrowed from practices of various cantors, and syncopations from Chassidic dances. Is the sombre and sometimes sad atmosphere of the music related to some form of longing - connecting with a world that had to be left behind?

Vivi Lachs London Bay Nakht (London at Night)

Written by Morris Winchevsky, termed the zeyde (grandfather) of Jewish socialism in 1884, this satirical poem uses the images of streetlights to expose the poverty, unemployment and inequality in London’s East End in the 1880s and the lack of support by the local authorities. The music was composed by Vivi Lachs who also provided the commentary.

London Bay Nakht English Translation by Vivi Lachs

Chorus

The streetlights are burning

Lighting up every house;

Whatever they see or hear

They do not reveal it.

1. Have they seen a young man

Hungry and faint

Walking around

The whole long night

Searching for a corner

A door, a step in the street

To lie down and rest?

It’s terribly cold in the street

2. Have they seen at the hospital

A girl by the door?

With her red eyes, weeping

“Oh woe, oh woe is me!”

Her father is lying inside dying

Five children crying: “bread!”

Her mother has been long gone

She is already three years dead.

3. Have they seen an immigrant Jew

Wandering about alone?

No relative, no saviour

And lonely as a stone?

The rich “Can’t do anything”

They have daughters, sons… For the London “committee members” He’s too new an immigrant.

4. The streetlamps are burning, that is why they are there; But you won’t find out from them what’s happening in the world. They are like Committee members who shine

Without seeing, without knowing whose shoe pinches.

Natalie Clein cello, Marianna Shirinyan piano

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Proud principle drinks partner for the the Purbeck International Chamber Purbeck International Chamber Music Festival

Azoy geyt dos gelt avek

English Translation by Vivi Lachs

Un azoy geyt dos gelt avek, un dernokh dreyt zikh der moyekh. Azoy geyt dos gelt avek

vayl ikh leb groys ibern koyekh. Men fort in kristl peles shpatsirn, men hulyet az es iz a shrek, men lebt zikh gants fayn un oykh nit alayn azoy geyt dos gelt avek.

And so the money drains away Making your head spin. And the money drains away

Because I live way over my means. We go on a trip to Crystal Palace, and party so much it’s amazing. We live it up so well And not on our own, But the money just drains away.

Arn Nager Viktorya Park (Victoria Park)

A music-hall, bouncy, all-join-in romp from the late 1890s turns East London’s Victoria Park into a Jewish ghetto with its rough lads, respectable couples, unemployed men searching for work, prostitutes, and canoodling couples.

Viktorya Park

English Translation by Vivi Lachs

London is strongly praised, Victoria Park, Victoria Park, Who’d have believed it, in Victoria Park?

A clearly arranged garden

A porter with a broad neck in Victoria Park.

Everyone is resting their bones

And falling on stones and losing their teeth. They lie and snore, their noses dripping And run breathless in Victoria Park.

Yudke’s going out with Rachel Tsvok

She with one shoe, he a sock in Victoria Park.

Nakhman Ber walks with his wife. People from the old country look for a job In Victoria Park.

There goes Khayite, a woman from Lithuania, She is the “third” and lives in the City. Red Benny, fatty Annie, Poxy Fanny are all in Victoria Park.

A girl gets dressed up to go out to Victoria Park, Her fiancé wants to see her in Victoria Park. He lies on the grass Stretched out like a hare in Victoria Park.

He begins to tease her, kiss and pet her, When will we get married? What does it matter? The groom is fat and she is a drunk And they get married in Victoria Park!

Michael Jameson explains that; ‘Ernest Bloch (1880-1959) composed his Baal Shem - Three Pictures from Chassidic Life in 1923, the year in which he received his American citizenship. The triptych ‘Baal Shem’ belongs to a distinctive and unmistakable genus of pieces. You can hear that Bloch’s personal voice was now powerfully established as being “Jewish” in utterance above all else’. Yet, the critic Erik Levi suggests that it is important to remember that; ‘Bloch’s Jewishness derived from an inner impulse, not through a conscious absorption of Hebraic folk elements.’ Bloch’s own assertion speaks for itself. He wrote: ‘it is neither my purpose nor desire to attempt a reconstruction of Jewish music, nor to base my work on more or less authentic melodies...I am not an archaeologist; for me the most important thing is to write good and sincere music.’

Erik Levi writes that; ‘Nigun is the most extrovert composition. Here, Bloch attempts to recreate the feeling of ecstatic religious chanting through a highly charged and ornate melodic line that rises to a fever pitch of spiritual intensity before dying away to a gentle close’. ‘Nigun’ is the middle section of the three movements:

Vidui (Contrition) – Un poco lento

Nigun (Prelude) – Adagio non troppo

Simchas Torah (Rejoicing) – Allegro giocoso

Nurit Stark violin, Marianna Shirinyan piano

Ernest Bloch ‘Nigun’, from Baal Shem: 3 pictures of Hassidic life, for violin & piano

Vivi Lachs Azoy geyt dos gelt avek

Vivi Lachs singer, Marianna Shirinyan piano

Franz Schubert Meeres Stille D216

Meeres Stille (Calm Sea) is a short song belonging to the series of Lieder Schubert wrote to poems by Goethe. This relatively short song relies heavily on the sounds of the original German words. The rhythms are very slow and uniform, the harmonies - subdued. The point seems to surface at the very end - the silence of still water.

Meeres Stille

English Translation by Pietro Lingola 2022

Calm sea.

Deep silence weighs on the water, Motionless the sea rests, And the fearful boatman sees A glassy surface all around.

No breeze from any quarter!

Fearful, deadly silence! In all that vast expanse Not a single ripple stirs.

Kate Royal soprano, Marianna Shirinyan piano

Franz Schubert String Quintet in C Major, D956

Allegro ma non troppo

Adagio

Scherzo. Presto – Trio. Andante sostenuto

Allegretto

‘Sublime’, ‘greatest quintet of all times’ - you flag it, and the accolades pour in. Written during the last months of Schubert’s short life (1797-1828), this quintet had quite a history. Nowadays it is rather hard to believe it: this jewel in the crown of chamber music had to wait for twenty two years just to be performed. At the time Schubert had been known to the public at large mainly for his songs. In this quintet Schubert ventured into the world of fast changing harmonies, hectic rhythms and painfully ecstatic tunes. Oh no - that was not what his publishers had expected, and so – they simply ignored it.

The first movement jumps into the deep end straight away: intense rhythms, abrupt changes of harmony and then an innocently delicate melodic line. And that is only the start. All shapes and forms of contrast and conflict erupt. This movement is an expansive presentation of the materials and ideas to be worked through the piece as a whole.

As if dumbfounded, the second movement begins so very simply. Rhythmic motifs give rise to daunting anticipation. Indeed, a storm bursts through. Havoc ensues as searing fragments of melodies lead to an outburst of anguish choked with exhaustion. And yet. In the midst of despair, tentatively at first, but slowly growing in confidence, something new seems to emerge. The end of this movement seems to hint at a realisation.

Indeed, but not yet. On the face of it, the third movement is a conventional scherzo with its expected A-B-A structure. However, this particular scherzo sounds more like protest than transient entertainment. Rhythmic thumping opens the scene, followed by anguished and swift shifts of harmonies in the middle. The ending section is sheer defiance. And yet. Yes, yet again –something of a surprise erupts at the very end. Is this the discovery hinted at the close of the second movement? The fourth movement rounds off the quintet with a celebration. Schubert chooses a mix of conventional forms here – the ‘sonata form’ is combined with that of the ‘rondo’. Throughout, we are taken through a whirlwind of sounds - colourfully throwing around bits and pieces of melodies and their variations; we are dancing. Freely. Imaginatively. What an end it is! Liberation at last? We shall never know.

SOLO

Saturday | 9 September | 11am

Saint Nicholas’ Church, Worth Matravers

Domenico Gabrielli Ricercari for Solo Cello

James Helgeson from Tierpark for Solo Cello

Béla Bartók Sonata for Solo Violin Sz. 117 BB 124

No interval, concert ends c.12.00pm

Domenico Gabrielli Ricercari for Solo Cello

The musical form of ‘Ricercare’ was employed widely during the sixteenth and seventeenth centuries. Usually written for a musical instrument (rather than a singer), it involved one or more themes that were developed in a variety of ways.

Danel Quartet, Natalie Clein cello

Domenico Gabrielli (1651-1690) wrote seven ricercari for solo cello in 1689, some of the earliest pieces of music composed for cello in history. Gabrielli was a highly accomplished cellist. So much so, that he was called ‘Mingain dal viulunzeel’ (‘Domenico of the Cello’).

Nowadays, the first entry of that set is included in the Royal College of Music level six cello repertoire, and the set as a whole has been completely or partially recorded by a number of cellists.

The selection chosen for this concert will be announced by the performer.

Natalie Clein cello

James Helgeson Selection from Tierpark for Solo Cello

1. Prelude

2. Snow leopard

4. Polar Bear

James Helgeson is a composer based in Berlin. His first degree was from the Curtis Institute of Music, followed by a bachelor’s degree at Oberlin College and Conservatory. He will soon complete a doctorate in Music Composition at Royal Holloway, University of London. His first PhD is from Princeton, where he worked on the subject of Renaissance theories of music and poetry. He has taught at Cambridge, Nottingham, and Columbia. Currently working at the intersections of music, literature and philosophy, he is a founding member of the AGOSTO / artist collective. The selection for this concert will be introduced by the performer.

PICMF

29 August–1 September 2024

ANTIPODES

Béla Bartók Sonata for Solo Violin Sz. 117 BB 124

Tempo di ciaccona

Fuga. Risoluto, non troppo vivo

Melodia. Adagio

Presto

Hungarian melodies welcome listeners to this sonata in its first movement. Although that movement retains the traditional ‘Sonata Form’, the following ‘Fuga’ loosens up tradition, as new materials are introduced into a fugue-like overall framework. Next, the ‘Melodia’ movement is, in a way, somewhat similar to the Early Music Ricercare just heard before. An opening theme is introduced and then developed in a variety of ways.

The final Presto movement ‘alternates between a very quiet, fast, bumblebeelike passage played with a mute, and a cheerful melody.’

‘This free style Solo Sonata by Béla Bartók (1881-1945) presents violinists with many difficulties and draws on the full gamut of violin techniques: several notes played simultaneously (multiple stops), artificial harmonics, lefthand pizzicato executed simultaneously with a melody played with the bow, and wide leaps between pitches’.

Commissioned by the violinist Yehudi Minuchin, this sonata was written by Bartok while he was undergoing treatment for Leukemia. It was dedicated to Minuchin who premiered it in 1944.

Natalie Clein cello

Nurit Stark violin

Purbeck International Chamber Music Festival

DECEPTION –A FILM AND A CONCERTO

Saturday | 9 September | 3.30pm

The REX Cinema, Wareham

Erich Wolfgang Korngold Cello Concerto in C Major Op. 37

DECEPTION (1946)

Starring Bette Davis, Paul Henreid, Claude Rains

Director Irving Rapper

Music by Erich Wolfgang Korngold

Event ends c.5.45pm

Erich Wolfgang Korngold Cello Concerto in C Major Op. 37

This relatively short one movement composition will be performed in its two versions. We shall hear it first as a duet for cello (with Natalie Clein) and piano (with Mariana Shirinyan). This is the version that Korngold (1897-1957) prepared for the film called ‘Deception’. Indeed, Korngold was a recognised composer, conductor and pianist, who concentrated on creating music for the upcoming medium of the film. ‘Deception’ is just one example, which we shall watch next. In this film, the composition is effectively “performed” on-screen by actor Paul Henreid, to a pre-recorded playback by Eleanor Aller. Only later on, was this score expanded into the full bodied concerto in C Major for cello and orchestra.

Produced in 1946, the narrative filmed is that of a ‘full-tilt’ Bette Davis melodrama about a musical love triangle between a pianist, a cellist and a composer. Some have commented that a key element of the goings-on is the process of composing music for devious ends – in this case, appealing to the cellist.

Far more can be found in Janet Hovarth’s offering at https://interlude.hk/ tag/korngold

Natalie Clein cello, Marianna Shirinyan piano

FORGOTTEN MEMORIES

Saturday | 9 September | 7.30pm

Priory Church of Lady St Mary, Wareham

FORGOTTEN MEMORIES

Kurt Weill Youkali, Je ne t’aime pas, Buddy on the Night Shift, One life to live

Josef Suk ‘Un poco triste. Andante espressivo’ Movement 3 from Four Pieces for Violin & Piano Op. 17

Rebecca Clarke Viola Sonata, cello & piano with live painting of her portrait by Katharina Ziemke

Interval. Drinks available at the bar

Antonín Dvořák Piano Quintet in A major Op. 81

Concert ends c.9.30pm

Kurt Weill

Youkali

Je ne t’aime pas Buddy on the night shift One Life to Live

Kurt Julian Weill (1900-1950) was a German-born composer, who was active from the 1920s in his native country, and in his later years in the United States. He was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work, The Threepenny Opera, which included the ballad ‘Mack the Knife’. Weill held the ideal of writing music that served a socially useful purpose, ‘Gebrauchsmusik’ in German. Yet, later on he parted company from Brecht, noting that he ‘could not set the Communist Manifesto to music’.

Weill also wrote several works for the concert hall and a number of works on Jewish themes. He became a United States citizen in 1943, and died in 1945.

Youkali

‘Youkali, subtitled a ‘Tango-habanera’, was originally an instrumental tango for Weill’s ill-fated French musical Marie Galante, which opened in Paris on 22 December 1934. In 1946 a version for voice and piano was published as Youkali.’ (Nigel Simeon)

Youkali

English translation © Michele Spadaro, 2000

C’est presque au bout du monde

Ma barque vagabonde

Errant au gré de l’onde

M’y conduisit un jour

L’île est toute petite

Mais la fée qui l’habite

Gentiment nous invite

À en faire le tour

Youkali, c’est le pays de nos désirs

Youkali, c’est le bonheur, c’est le plaisir

Youkali, c’est la terre où l’on quitte tous les soucis

C’est, dans notre nuit, comme une éclaircie

L’étoile qu’on suit, c’est Youkali

Youkali, c’est le respect de tous les vœux échangés

Youkali, c’est le pays des beaux amours partagés

C’est l’espérance qui est au cœur de tous les humains

La délivrance que nous attendons tous pour demain

Youkali, c’est le pays de nos désirs

Youkali, c’est le bonheur, c’est le plaisir

Mais c’est un rêve, une folie

Il n’y a pas de Youkali

Mais c’est un rêve, une folie

Il n’y a pas de Youkali

Et la vie nous entraîne

La sente quotidienne

Mais la pauvre âme humaine

Cherchant partout l’oubli

A, pour quitter la terre

Su trouver le mystère

Où nos rêves se terrent

En quelque Youkali

Lost at sea, afloat, My wandering little boat, Drifting with the waves, Led me to a place. A tiny scrap of island, But the girl that lived there smiled and Invited me to open My heart to Youkali.

Youkali, the land of our desire and dreams, Youkali, where everything is what it seems, Youkali, a place where one can leave all cares and regrets, A star in the night, A path shining bright, A hope that we might, find Youkali.

Youkali, it is the home of all we hold in our prayers, Youkali, it is the country of the love that we share, It’s the hope that lives inside the heart of all mankind, The answer that we wait for ‘til the end of time,

Youkali, the land of our desire and dreams, Youkali, where everything is what it seems, But it isn’t real, It’s just a dream, It isn’t there in Youkali...

We only see, What we want to see, Not really there in Youkali...

Only weariness survives Our cold and hardened lives, When hope has all but died, We still seek to forget, To leave our earthly sorrows, Find solace in tomorrows, The mystery that enthrals those Who search for youkali.

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Kirill Karabits, Seeta Patel Dance, Alexander Malofeev, Alina Ibragimova, Sunwook Kim and many more

Youkali, c’est le pays de nos désirs

Youkali, c’est le bonheur, c’est le plaisir

Youkali, c’est la terre où l’on quitte tous les soucis

C’est, dans notre nuit, comme une éclaircie

L’étoile qu’on suit, c’est Youkali

Youkali, c’est le respect de tous les voeux échangés

Youkali, c’est le pays des beaux amours partagés

C’est l’espérance qui est au cœur de tous les humains

La délivrance que nous attendons tous pour demain

Youkali, c’est le pays de nos désirs

Youkali, c’est le bonheur, c’est le plaisir

Mais c’est un rêve, une folie

Il n’y a pas de Youkali

Mais c’est un rêve, une folie

Il n’y a pas de Youkali

Youkali, the land of our desire and dreams, Youkali, where everything is what it seems, Youkali, a place where one can leave all cares and regrets, A star in the night, A path shining bright, A hope that we might, find Youkali.

Youkali, it is the home of all we hold in our prayers

Youkali, it is the country of the love that we share It’s the hope that lives inside the heart of all mankind, The answer that we wait for ‘til the end of time,

Youkali, the land of our desire and dreams, Youkali, where everything is what it seems, But it isn’t real, it’s just a dream, It isn’t there in Youkali...

But we only see what we want to see, It’s not really there in Youkali...

Je ne t’aime pas (I Don’t Love You)

Retire ta main, je ne t’aime pas Car tu l’as voulu, tu n’es qu’un ami. Pour d’autres sont faits le creux de tes bras Et ton cher baiser, ta tête endormie.

Draw your hand back, I don’t love you, because you wanted it, you’re only a friend. for others are the fold of your arms and your dear kiss, your sleeping head.

Buddy on the Nightshift

Hello there, buddy on the nightshift. I hope you slept all day

Until the moon came out and woke you up and sent you on your way.

Hello there, buddy on the nightshift. I hope you’re feeling fine. I left a lot of work for you to do on a long assembly line.

I wish I knew you better, but you never go my way, For when one of us goes on the job, the other hits the hay.

Goodbye now, buddy on the nightshift, and push those planes along, And when the sun comes out, I’ll take your place, all wide awake and strong. I’ll follow you, you’ll follow me, and how can we go wrong?

One Life to Live

Ne me parle pas, lorsque c’est le soir

Trop intimement, à voix basse même

Ne me donne pas surtout ton mouchoir : Il renferme trop le parfum que j’aime.

Dis-moi tes amours, je ne t’aime pas Quelle heure te fut la plus enivrante ?

Et si elle t’aimait bien, et si elle fut ingrate

En me le disant, ne sois pas charmant.

Don’t talk to me, when it’s the evening, too intimately, even with a hushed voice don’t give me your handkerchief: he smells too much the perfume I love.

Tell me your love affairs, I don’t love you, what hour was the most kind for you I don’t love you... and if she liked you well, and if she was ungrateful... when telling me, don’t be charming; I don’t love you...

1. There are many minds in circulation

Believing in reincarnation

In me you see One who doesn’t agree Challenging possible affronts

I believe I’ll only live once And I want to make the most of it

If there’s a party, I want to be the host of it

If there’s a haunted house, I want to be the ghost of it

If I’m in town, I want to be the toast of it

2. I say to me every morning You’ve only one life to live So why be done in? Let’s let the sun in And gloom can jump in the riv’ No use to beat on the doldrums

Let’s be imaginative Each day is numbered No good when slumbered With only one life to live

Je n’ai pas pleuré, je n’ai pas souffert

Ce n’était qu’un rêve et qu’une folie.

Il me suffira que tes yeux soient clairs Sans regret du soir, ni mélancolie.

Il me suffira de voir ton bonheur

Il me suffira de voir ton sourire.

Conte-moi comment elle a pris ton cœur

Et même dis-moi ce qu’on ne peut dire.

Non, tais-toi plutôt... Je suis à genoux

Le feu s’est éteint, la porte est fermée

Ne demande rien, je pleure... C’est tout.

Je ne t’aime pas, ô mon bien-aimé.

I did not cry, I did not suffer, It was only a dream and a folly; It’ll be enough that your eyes are clear, Without an evening regret, or melancholy

It’ll be enough to see your happiness, It’ll be enough to see your smile. Tell me how she took your heart, And tell me even what cannot be told...

No, be rather silent ... I am kneeling... The fire has died, the door is closed..

I don’t love you.

don’t ask anything, I’m crying... that’s all.

I don’t love you,

I don’t love you, oh my beloved, draw back your hand, I don’t love you...

I don’t love you

3. Why let the goblins upset you? One smile and see how they run And what does worrying net you? Nothing! The thing Is to have fun

4. All this may sound kind of hackneyed But it’s the best I can give Soon comes December So please remember You’ve only one life to live Just one life to live

Josef Suk ‘Un poco triste. Andante espressivo’, Movement 3 from Four Pieces for Violin and Piano, Op. 17

Josef Suk (1874-1935) was a Czech composer and violinist. He studied under Antonín Dvořák, whose daughter he married.

Margaret Godfrey has offered the following comments about these four pieces for violin and cello:

Kate Royal soprano, Marianna Shirinyan piano

Je ne t’aime pas was a song for voice and piano, based on a text by Maurice Magre, also composed in 1934 during Weill’s time in France’ (Nigel Simeon).

‘In the spring of 1900, the Czech Quartet (of whom Suk was a member) embarked on a concert tour to Russia and Western Europe. It was during this time that the four pieces for violin and piano, Op. 17, were written. The work is considered to be a major turning point in the development of the young composer. Inaugurating what would eventually become characteristic of Suk’s style as a whole, the work incorporates rapid mood shifts within each of the four pieces as well as from piece to piece. A wide spectrum of moods and shades is encompassed here, moving in turn from agitation to cheerfulness, followed by restlessness, and then contemplation. The work is considered by many to be Suk’s first truly mature chamber composition.’

While we listen only to the third movement (‘Un poco triste. Andante espressivo’), we may remember that the whole sequence includes the following four:

Quasi ballata. Andante sostenuto

Appassionato. Vivace Un poco triste. Andante espressivo

Burleska. Allegro vivace

Nurit Stark violin, Marianna Shirinyan piano

Rebecca Clarke Viola Sonata, cello & piano with live painting of her portrait by Katharina Ziemke

Impetuoso

Vivace Adagio

‘Poet, take up your lute; the wine of youth this night is fermenting in the veins of God’. How about this as an opening of a sonata composed in as early as 1919? Yes, by a woman. This is just a little quote offered by the composer, who took it from the poem La Nuit de mai (1835) by the French poet Alfred de Musset. Here it is translated from French to English. Rebecca Clarke (1886-1979) was an English classical composer; a violist; and one of the first female professional orchestral players. She herself recast the sonata for a cello and piano.

Wikipedia offers the following comments about this sonata: The first movement, marked ‘Impetuoso’, begins with a vibrant fanfare from the cello, before moving on into a melodic and harmonic language reminiscent of Achille-Claude Debussy and Ralph Vaughan Williamstwo important influences on Clarke’s music. Clarke’s language is at times

very chromatic, and shows the invention of Debussy in the use of modes and the whole-tone scale. The second movement, marked ‘Vivace’, makes use of many interesting ‘special effects’ like harmonics and pizzicato. The final movement, ‘Adagio’, is both pensive and sensual. However, Clarke works in a special surprise: seamlessly moving back into a restatement of themes from the first movement. The sonata ends in a lush and brilliant pyrotechnical display, showing off the full range of the cello, as well as the piano (whose part is of equal difficulty).

Antonín Dvořák Piano Quintet in A major Op. 81

Allegro, ma non tanto

Dumka: Andante con moto

Scherzo (Furiant): molto vivace

Finale: Allegro

Can the forms of classical music be enriched by folk music? Antonín Dvořák (1841-1904) belonged to the ‘Romantic Nationalists’ of the late nineteen century, who certainly believed so. A master of good tunes, he was never short of ones that he himself composed, but these were often inspired by Czech folk music, particularly that of Bohemia – his birth place.

To begin from the beginning: the first movement, ‘Allegro, ma non tanto’, bears the hallmark of Dvorak’s ‘Expressive Lyricism’ of the Romantic period. At the same time, it is not very difficult to hear the contours of the classical Sonata Form in this movement. Two somewhat contrasting themes are introduced, each is richly developed, and both end up in the final recapitulation. The second movement – ‘Dumka: Andante con moto’, seems to revolve around an ‘elegiac refrain’. When that refrain is marked as ‘A’, the whole scheme appears as A-B-A-C-A-B-A. Each time a new (B or C) motive is introduced, the initial one (A) is repeated. This idea – of repeating (in this case – the ‘A’) without making a purely mechanical repetition is, perhaps, the hall mark of the classical ‘Rondo’ too. The ‘elegiac’ nature of the leading motive is probably a good example of Dvorak’s longing for folk tunes from the past. The third movement, marked ‘Scherzo (Furiant): molto vivace’, seems to make this point more explicit: the ‘Furiant’ is a Bohemian folk dance. Following the fast-slow-fast (A-B-A) design, this movement may remind listeners also of the ‘Menuet-Trio-Menuet’ format - prevalent in the classical style. The final movement is marked ‘Finale: Allegro’. All’s well that ends well: the ‘old style’ of fugue is resurrected, a choral section marked ‘tranquillo’ surfaces, and a dazzling coda completes the whole journey cheerfully.

Natalie Clein cello, Marianna Shirinyan piano

Danel Quartet, Marianna Shirinyan piano

ENDURING VOICES

Sunday | 10 September | 11.30pm

St James’ Church, Kingston Coffee Concert

ENDURING VOICES

Erwin Schulhoff Duo for Violin & Cello

Dick Kattenburg String Trio

Mieczysław Weinberg String Quartet no.16 in A-flat Minor Op. 130

No interval, concert ends c.12.45pm

Erwin Schulhoff Duo for Violin & Cello

Moderato

Zingaresca. Allegro giocoso

Andantino

Moderato

Contrasts – of rhythm, of tempo, of melodic lines and of harmony; all flourish in this relatively short piece. Overall, this duo fluctuates between slow and fast movements – perhaps between the influences of lyrical singing and rhythmic dancing? No going back to soft harmonies or clear home keys is on offer. Indeed, the score bears no indication of a particular key: sharps and flats continuously jump all over its pages.

Erwin Schulhoff (1894-1942) was a Czech composer of Jewish German origin. With the outbreak of WWII he sought and was granted asylum in the Soviet Union. Alas, before he could get there he was arrested by the Germans and detained in a concentration camp where he died in 1942. This duo was written some years before all that - in 1925, when Schulhoff was only 31 years old. It was dedicated to the renowned Czech composer ‘Master Leoš Janácek in deep admiration’. That pledge was not merely a sign of personal respect. At the time, a battle was raging between two musical camps. One was that of Schoenberg’s followers. They favoured abstract adherence to the principles of twelve tones series, with no clear musical key (atonality), and no priority given to consonances over dissonances. The other, led by composers like Janácek and Bartok, found its inspiration in the ‘soil of native musical tongues’ – that of folk music, which was anchored in a particular

musical key (tonality). There is absolutely no doubt where Schulhoff himself stood, and for him - Jazz was a very valid source of inspiration too.

Nurit Stark violin, Natalie Clein cello

Dick Kattenburg String Trio

Dick Kattenburg (1919-1944) was a Dutch Jewish composer who was murdered at Auschwitz at the age of 24. His works have been recovered and recorded. The cover note for the Chicago Based Black Oak ensemble recording suggests that ‘Violinist Dick Kattenburg, then (in 1938) an advanced composition student of Hugo Godron, wrote the opening track (for a planned film), also titled Trio à cordes, an energetic six-minute miniature, at the age of 19. It premiered in 1938, just six years before his death. A local reviewer noted at the time that this was:

‘A fairly compact piece showing remarkable mastery and a very personal style.’’ A relatively short piece of a few minutes, its mood changes rapidly. We begin with protest, then drift into chatter; anger erupts; then lyrical calm surfaces, but rage re-surfaces, before an elegiac hiatus leads to a pensive end.

Nurit Stark violin, Vlad Bogdanas viola, Natalie Clein cello

Mieczysław Weinberg String Quartet no.16 in A-flat Minor Op. 130

Named first in the Polish manner, Mojsze Wajnberg (1919-1996) was born in Warsaw, Poland, but died in Moscow, Russia. This quartet was written in 1981 and was dedicated to his sister - Ester, who was killed during the Nazi invasion of Poland. Scholars describe the quartet as ‘Typical of his (Weinberg’s) later compositional style - the writing is more muscular, harmonically complex, and intense’. Weinberg declared himself to be a disciple of Shostakovich. His harmonic world as well as the melodic lines would confirm that.

The first movement, ‘Allegro Moderato’, is an exposition of intense working out of thematic motives. The second movement, ‘Allegro Andantino’, starts nervously, drifts into a lyrical sense of being lost, and then searches for a more assertive posture. The third movement, ‘Lento’, fully affirms the emphasis on lyricism; creating a sense of open large spaces. The final movement, ‘Moderato’, is perhaps the most complex. The tension between lyrical motifs and their punctuation by pizzicato interventions suggests a conflict of sorts. Yet, assertive exclamations arise – powerfully so. Then, and only then, does free exploration take over.

Lo and behold, now - as if from nowhere, a sense of simplicity and perhaps even clarity, grows gradually. There. It stays.

Danel Quartet

THE PERFOMERS Forgotten Voices

NATALIE CLEIN OBE

CELLO & ARTISTIC DIRECTOR

Described by the Times as ‘mesmerising’ and ‘soaringly passionate’, British cellist Natalie Clein has built a distinguished career, regularly performing at major venues and with orchestras worldwide.

She records regularly for Hyperion, including the two Cello Concertos by Camille Saint-Saëns as well as Bloch’s Schelomo and Bruch’s Kol Nidrei with the BBC Scottish Symphony Orchestra, as well as 3 discs for EMI. Her recordings have won awards such as a Clasiscal Brit, Gramophone and BBC record of the Month and a Diapason d’Or.

She has regularly been invited to work with major orchestra worldwide including Philharmonia, Hallé, Bournemouth Symphony, City of Birmingham Symphony, Montreal Symphony, Orchestre National de Lyon, New Zealand Symphony, Opole Philharmonic, St Petersburg Symphony, and Orquesta Filarmónica de Buenos Aires and has performed with conductors including Sir Mark Elder, Sir Roger Norrington, Gennady Rozhdestvensky, Leonard Slatkin, Heinrich Schiff and José Serebrier.

In recital she appears frequently with artists including Cedric Pescia, Marianna Shirinyan amd Julius Drake . She has also worked with Martha Argerich, Ian Bostridge, Simon Keenlyside, Imogen Cooper, Lars Vogt, Isabelle Faust, Nurit Stark, Ruby Hughes and Yeol Eum Son.

A strong advocate for new works she gave the world premieres of Sir John Tavener’s Flood of Beauty with the Britten Sinfonia and Charlotte Bray’s The Certainty of Tides with Aurora Orchestra and has previously commissioned Brian Elias and Thomas Larcher. She has also been involved in crossdisciplinary projects with the dancer Carlos Acosta, writer Jeanette Winterson and director Deborah Warner amongst others.

She is the Artistic Director of the Purbeck International Chamber Music Festival, Dorset, and has curated series for BBC Radio 3 at LSO St Luke’s and as part of King’s Place’s Cello Unwrapped. She was also Artist in Residence and Director of Musical Performance at Oxford University from 2015 – 2019 and since 2018 has been Professor of Cello at the Rostock Academy of Music in Germany. She is also Professor of Cello at the Royal College of Music.

Born in the United Kingdom, Natalie came to widespread attention when she won both the BBC Young Musician of the Year and the Eurovision Competition for Young Musicians in Warsaw. She studied at Royal College of Music in London and with Heinrich Schiff in Vienna. In 2021, Natalie was awarded an OBE for her services to music.

She plays the ‘Simpson’ Guadagnini cello of 1777.

Neda Navaee

LOTTE BETTS-DEAN

MEZZO SOPRANO

DANEL QUARTET

MARC DANEL GILLES MILLET VIOLINS

VLAD BOGDANAS VIOLA

YOVAN MARKOVITCH CELLO

Lotte Betts-Dean is an Australian mezzo soprano based in the UK with a wide ranging repertoire and a passion for curation and programming. Praised by The Guardian for her “irrepressible sense of drama and unmissable, urgent musicality”, Lotte is equally at home in chamber music, art song, early music, opera and narration, with a particular focus on new music, having premiered over 30 works. Lotte was elected as Associate (ARAM) of the Royal Academy of Music in 2022, after completing an MA with Distinction in 2016. She previously completed a BMus at Melbourne University Conservatorium.

Recent operatic engagements include Shlomowitz Electric Dreams (Grand Théâtre de Geneve/Ensemble Contrechamps) Handel Theodora (Muziekgebouw Amsterdam) and Dean Hamlet (State Opera of South Australia/Adelaide Festival), and upcoming engagements include Weinberg Die Passagierin (Bayerische Staatsoper) and recitals at Wigmore Hall, Oxford Song, Kühlhaus Berlin and CentroCentro Madrid.

Lotte has appeared at festivals across the UK, Europe and Australia, including Aldeburgh, St Magnus, Cheltenham, Buxton, Leeds Lieder, West Cork Chamber Music Festival, Musica Sacra Maastricht, Festspiele Mecklenburg-Vorpommern, Festival Musique en Ecrins, International Bach Festival Las Palmas, Australian Festival of Chamber Music and Dark Mofo.

Lotte was Associate Artist with Southbank Sinfonia and Ensemble x.y, and is a Young Artist

alumnus of Britten Pears Arts (2022), City Music Foundation (2017) Musicians Company (2018) and Oxford Lieder (2019). She is a regular collaborator with various chamber groups, including EXAUDI Vocal Ensemble, Explore Ensemble, Ligeti Quartet and Marsyas Trio. She is also a regular guest with the Choir of His Majesty’s Chapel Royal and has recorded several film and television soundtracks with London Voices. Awards include the 2020 ROSL Competition Overseas Prize, 2019 Oxford Lieder Young Artist Platform, the inaugural Musicians Company New Elizabethan Award (2018) and the 2017 Peter Hulsen Orchestral Song Prize.

Lotte’s most recent album, a collaboration with Scottish composer Stuart MacRae, was released on Delphian Records this July. She has also recorded for Naxos, BIS, Tall Poppies and Ensemble Q Live.

Lotte is an Ambassador for Donne, a collective of artists supporting women in music.

The Quatuor Danel was founded bij Marc Danel in 1991 and has been together in the current constellation since cellist Yovan Markovitch joined the group in 2014.

The packed concert diary takes them to all the important concert stages worldwide and over the past 30 years they have produced a row of ground breaking CD recordings. Some of their musical partners include great artists such as Leif Ove Andsnes, Alexander Melnikov, Clemens Hagen, Adrien La Marca, the Van Kuijk Quartet and Jean-Efflam Bavouzet. The group is famous for their bold, concentrated interpretations of the string quartet cycles of Beethoven, Schubert, Shostakovich, and Weinberg. Their lively and fresh vision on the traditional quartet repertoire has delivered them subsequent praise from public and press.

Russian composers have a special place in the Quatuor Danel’s repertoire. They have championed all quartets by Shostakovich and recorded the complete cycle for Fuga Libera The Danel were the first quartet to record the other great string quartet cycle of the twentieth century: the 17 quartets by Mieczysław Weinberg. Their performance in Manchester and Utrecht was the first time ever live interpretation of the complete Weinberg cycle worldwide.

Together with a double cycle in the Wigmore Hall starting in 2023 the Danel has performed the Weinberg and Shostakovich cycles in places like Philharmonie de Paris, Muziekgebouw

Amsterdam, Elbphilharmonie Hamburg, Phillips Collection Washington and in Japan and Taiwan.

Thew latest CD-release of the quartet included the Piano Quintet and String Quartet by Caesar Franck and a Tchaikovsky release with all three quartets and the Sextet ‘Souvenir the Florence’. Both CD’s came out with CPO. At the moment the Danel are working on the (re)release of the live recording of the complete Shostakovich cycle, recorded in the Gewandhaus Leipzig by label Accentus.

Marco Borggreve

VIVI LACHS SINGER & AUTHOR

KATE ROYAL SOPRANO

Vivi Lachs is a historian of the Jewish East End, a research fellow at Queen Mary, University of London, and a longstanding Yiddish performer. She is the author of Whitechapel Noise: Jewish Immigrant Life in Yiddish Song and Verse, London 1884-1914 (2018) and editor and translator of London Yiddishtown: East End Jewish Life in Yiddish Sketch and Story, 1930-1950. She co-runs the Great Yiddish Parade bringing Yiddish songs of union activism and protest from the 1890s back onto the streets of London with a marching band and chorus. She also co-runs the Yiddish Open Mic Café in London and online and leads musical historical tours of the old Yiddish East

End, placing the old songs in the locations they relate to. Vivi sings, records and composes music for Yiddish songs of the Cockney Yiddish music hall with the bands Klezmer Klub (Whitechapel, mayn vaytshepl) and Katsha’nes (Don’t Ask Silly Questions).

Born in London Kate Royal won the 2004 Kathleen Ferrier Award and 2007 Royal Philharmonic Society Young Artist Award.

Operatic roles include Pamina and Ades’ Miranda for Royal Opera, Micaela, Die Marschallin, Helena and Pamina for Glyndebourne, Micaela and Eurydice for the Met, Handel’s L’allegro and Pamina for Opera de Paris, Countess and Governess for Glyndebourne on Tour and Countess for Aix-en-Provence Festival. In concert Kate has appeared with many of the world’s leading orchestras including the Berliner Philharmoniker and Sir Simon Rattle, Cleveland Orchestra and Franz Welser-Möst, Rotterdam Philharmonic with Yannick Nézet-Séguin, New York Philharmonic and Alan Gilbert and London Symphony Orchestra and Daniel Harding. She sang the world premiere of Paul McCartney's Ecce Cor Meum at Carnegie Hall.

Much in demand on the concert and recital circuit Kate has appeared throughout Europe, North America and Asia. For EMI Classics she has recorded solo albums Kate Royal and Midsummer Night with Edward Gardner, A Lesson in Love with Malcolm Martineau, Schumann’s Liederkreis with Graham Johnson for Hyperion and Mahler’s Symphony No.2 with the Berliner Philharmoniker and Sir Simon Rattle. Kate also recorded Cecilia McDowall’s Da Vinci Requiem with the City of London Sinfonia (Signum).

Recent and future engagements include recitals with Julius Drake and Joseph Middleton for Middle Temple, Leeds Lieder, Oxford International Song Festival, Juan March Foundation in Madrid, Alice Ford Falstaff at Opera North, Countess Le Nozze di Figaro at Teatro Mayor, Maya Dalia at Garsington, Female Chorus The Rape of Lucretia in Potsdam. Kate also starred in the Korean/ British short film KUT 굿 for the BFI.

JASON JOYCE

MARIANNA SHIRINYAN PIANO

Armenian-born Marianna Shirinyan is one of the most creative and in sought after pianists in Europe today. Her vibrant and virtuos musicianship puts her in demand, both as soloist and as chamber musician. Shirinyan plays with great sensitivity, understanding, technical brilliance and beauty of tone, which allows her to offer a wide range of repertoire. Her love for the music and her joy in sharing it with a larger audience are apparent in her performances.

She has received Danish Broadcasting Corporation’s prestigious P2 award for her contribution to Danish music life and the critics prize of the association of Danish critics. She is a frequent guest at a string of international music festivals, among them the SchleswigHolstein Music Festival, Bodensee Festival, the Schwetzinger Festspiele, MDR Summer Music Festival, Festspillene in Bergen.

Marianna has garnered a reputation as a leading pianist of her generation through solo appearances with orchestras such as the Bavarian Radio Symphony Orchestra, Danish National Symphony Orchestra, Oslo, Helsinki and Copenhagen Philharmonic Orchestras, Potsdammer Kammerakademie, Göteborg Symphony Orchestra, Orchestre Philharmonique de Nice, among others. She enjoyed collaborations with conductors such as Lawrence Foster, Zoltan

NURIT STARK VIOLIN

Kocsis, Antonello Manacorda, Jun Märkl, Daniel Raiskin, Lan Shui, Thomas Søndergård, Krysztof Urbanski and Joshua Weilerstein.

Marianna Shirinyan has a bright discography. One of her later releases, the Fantasy for Piano and Orchestra by Louis Glass which she recorded together with the Rheinische Philharmonie Koblenz under the baton of Maestro Daniel Raiskin was awarded the P2 prize of the Danish radio.

Marianna’s latest release Rachmaninov Suits for two pianos together with her former student Dominik Wizjan, released on Orchid classics has been highly praised by the reviewers and listeners alike.

Marianna is a professor of piano at the Royal Danish Academy of Music in Copenhagen and guest professor at the Norwegian Academy of Music in Oslo, in addition to curating several chamber music festivals across Europe.

Born in Israel, violinist and violist Nurit Stark received her musical education in Tel Aviv, Berlin and Cologne with Ilan Gronich, Haim Taub and Alban Berg Quartet.

Since her first soloist appearance at 16 of Paganini’s first violin Concerto with the Israeli philharmonic Orchestra she went on performing worldwide with orchestras masterpieces of composers such as Bach, Beethoven, Berg, Britten and Bloch. As a chamber musician, she was formed by intensive corporations particularly with pianist Cédric Pescia, soprano Caroline Melzer with whom she appeared in festivals as Lockenhaus Kammermusikfest, Schleswig Holstein, Rheingau, Wien Modern, Donaueschinger Musiktage.

Nurit’s conviction of contemporary ideas led her to perform world premieres and to collaborate with composers such as Sofia Gubaidulina, György Kurtág, Viktor Suslin, Peter Eötvös, Carola Bauckholt, Jennifer Walshe, Younghi Pagh-Paan, Isabel Mundry and Georg Nussbaumer. Moreover, she participated in avant-garde stage projects combining music & theater (Burgtheater Vienna, Schaubühne & Volksbühne Berlin, Bobigny Paris)

and created together with visual artists Isabel Robson & Susanne Vincenz „Roundhouse Reverb“, a video installation to the music of G.Kurtág.

She was supported by the following foundations; Ernst von Siemens, Forberg-Schneider and Otto&Regine Heim and is a prizewinner in international competitions George Enescu, Leopold Mozart and Ibolyka Gyarfas. Nurit has recorded works by Feruccio Busoni, George Enescu, Clara & Robert Schumann for violin/viola and piano with Cédric Pescia, chamber works by Olivier Messiaen, Viktor Suslin and Sofia Gubaidulina and “Kafka Fragments” by György Kurtag with soprano Caroline Melzer which received the German Critic award.

Her debut solo recording came out in Spring 2022 and consists of solo works for violin/viola by Béla Bártok, György Ligeti, Sándor Veress and a world premiere performance of the “adventures of the dominant seventh chord” dedicated to Nurit by Peter Eötvös.

In 2019 she was appointed professor for violin in the Stuttgart State university for music and performing arts. She plays a P.Guarneri di Mantova Violin, 1710.

NIKOLAJ LUND

KATHARINA ZIEMKE ARTIST

Katharina Ziemke (Germany) studied fine arts at the Ecole Nationale Supérieure des Beaux-arts in Paris. Originally trained as a painter, she now works in a variety of forms of artistic expression, such as sculpture, theatre, performance and video art. Her work has been shown internationally, in venues in New York, London, Paris, Lyon, Copenhagen, Luxembourg, and Vilnius. Ziemke collaborates regularly with the Schaubühne Theatre and German director Thomas Ostermeier, for whom she creates wall drawings and live painting performances (for his productions, ‘An Enemy of the People, ‘The Seagull’, ‘Professor

Bernhardi’). In this context, she developed the idea of ‘performing’ watercolour paintings in public, filming their evolution.

Ziemke works on women who have been forgotten by historiography, bringing them back to life, as it were, in her art.

This spring, Ziemke was in Paris with the support of the Institut Français to work on a video piece about the first female scientist at the Museum national d'Histoire Naturelle.

BECOME A SUPPORTER OF PICMF

Purbeck International Chamber Music Festival

Purbeck International Chamber Music Festival #PICMF

Purbeck International Chamber Music Festival curated by founder and artistic director Natalie Clein takes place every year at the end of the summer in the beautiful friendly and historically interesting locations around Dorset, including the Isle of Purbeck.

We love to bring international artists and enthusiastic local audiences together in re-energised historic sites and areas of outstanding natural beauty.

We aim to reach as wide a community as we can by keeping ticket prices at an accessible level, especially for children, young people and anyone on low income.

To do so we have to rely on institutional as well individual support to complement the box office income that generates around 50% of the total running costs of the Festival.

As Friend, Angel, or Patron of PICMF, you will help us thrive, become part our close circle of supporters and receive benefits.

Your support will ensure that a vibrant, stimulating and world-class festival will continue to bring live music to rural areas of this special corner of Dorset.

We hope you choose to support us.

PICMF

MEMBERSHIP FORM

INDIVIDUAL MEMBERSHIP 2023

Please select your level of annual support:

FRIEND (£65 per annum) ANGEL (£155–£749 per annum) PATRON (£750–£1,449 per annum)

NAME(S) ................................................................ ................................................................................

ADDRESS

GIFT AID DECLARATION

If you pay tax, you can make your gift go further under the Gift Aid Scheme at no extra cost to you.

Purbeck International Chamber Music Festival will reclaim 25p for every £1 you donate.

MEMBERSHIP BENEFITS

FRIEND ANGEL

▪ Festival programme free of charge

▪ Priority booking

▪ Discounted Festival Pass Booking (£30 less than the general public one)

PATRON

▪ All of the Angels Benefits

▪ Ushered to your seat

▪ Invitation to post concert supper with the musicians (when possible)

▪ All of the Friends Benefits

▪ Reserved seating at concerts

▪ Invitation to special events and open rehearsals (when possible)

HOW TO PAY

CHEQUE I/we enclose a cheque payable to: Purbeck International Chamber Music Chamber Music Festival for £ ...............................

CARD We can take card payment during the festival. Please ask a team member.

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STANDING ORDER I/we have set up a [monthly/annual] Standing Order for £ ...............................

BANK DETAILS

Account Number 37106201

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Purbeck International Chamber

I declare that I pay an amount of Income Tax and/or Capital Gains tax that is at least equal to the tax claimed by all charities and community Amateur Sports Clubs (CASCs) from HMRC on my donation(s), in each tax year. I understand that taxes such as VAT and council tax do not qualify and should my circumstances or my home address change, I will notify Purbeck International Chamber Music Festival

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Please return this completed form to a member of our team or by email to info@picmf.org or post Purbeck International Chamber Music Festival, Harbour St Bride, Durlston Road Swanage, Dorset BH19 2HZ

We gratefully thank you for your support.

Founding Patron

Charles Good

Trustees

Bob Boas

Natalie Covell

Daisy Goodwin

Jason Price (chairman)

Artistic Director

Natalie Clein

Co-founder

Jernej Gregorič

General Manager

Aloïse Fiala–Murphy

Marketing & Social Media

Michelle Parish

Logistics & Multimedia

Thibault Blanchard (EuropikMusic)

Accommodation and Hospitality

Kate Kinkead

Education Coordinator

Dilys Thomas

Festival assistants

Lydia Bennett

Ben Richardson

Programme booklet text

Dr. Oded Manor

Design

Louise Leffler www.louiseleffler.com

TEAM FRIENDS, ANGELS AND PATRONS

Volunteers

Jay Buckle, Cathy and Paul Fisher, Peter Handy, Charlotte Heath, Joan Ingarfield, Mark Kinkead, Virginia Morris, Emma Ormond, Sandy & Jackie Porter, Anja Richardson, Jan Sayers, Amelia Seaman, Dilys Thomas, Douglas Tweddle.

Venues

James Weld DL and Lindsay Holt CEO, Lulworth Estate; Richard Earl, St George’s Church, Langton Matravers; Barbara Matthews, St Nicholas’ Church, Studland; Honora Barnett, Dorset Museum, Dorchester; Martin

Jardine, Swanage Folk Festival; Liz Hoad, St Nicholas’ Church, Worth Matravers; Trez Moretti, The REX, Wareham; Debs Barclay, Priory Church of Lady St Mary, Wareham; Robin Stringer, St James’s Church, Kingston.

The Steinway Grand Piano has been made available by The Dorset Musical Instruments Trust

Hospitality

Channa & Peter Clein

Stephen Dru-Drury

Kate & Mark Kinkead – Challow Farmhouse B&B

Virginia Morris – Littlecroft B&B

Peter & Sue Morrison-Wells

Beth & Andrew White

Catering

Challow Farmhouse

The Salt Pig TASTE

We want to thank the community spirit of the Isle of Purbeck residents. PICMF is generously supported and welcomed.

Friends

Douglas Addison

Jay Buckle

Mike Compton

Judith Haysom

Carol Jones

Dilys Thomas

Angels

Peter Davenport

M and R Eland

Stephen & Naomi Grant

Mary & David McArthur

Leigh Merrick

Steve & Gabrielle Peskin

Eric Stobart

Patrons

Bob Boas

David Emmerson

John and Sabine Fairhall

Rupert Gavin

Charles Good

Daisy Goodwin

Virginia Lynch

Caroline Michel

Pauline Monro

Jason Price

Colin Smithers

We would also like to extend our thanks to those who wish to remain anonymous

Sarah and Nicholas Ray

David and Linda Whitehouse

OUR SUPPORTERS

We want to express our gratitude to The Steel Charitable Trust and the Good Opportunities Trust for their commitment to support the festival’s core activities for the period 2022-2024.

GOOD O O DOPPORTUNITIES G

OUR PARTNERS

We are grateful to our new partner the Dorset Museum

Langham Wine is principal drinks partner for 2023

PICMF

7–10 September 2023

THURSDAY 7 SEPTEMBER

1 2 3 4 5 6 7 8

Forgotten Voices

Forgotten Genius

3pm St Mary’s Chapel, Lulworth Castle

She/Her/They

7.30pm St George’s Church, Langton Matravers

FRIDAY 8 SEPTEMBER

Conversations between ourselves 11am St Nicholas’ Church, Studland

Book launch London Yiddishtown

5pm Dorset Museum, Dorchester

The voice of the soul

7pm Dorset Museum, Dorchester

SATURDAY 9 SEPTEMBER

Free Family Concert at Swanage Folk Festival 10am Sandpit Field, Swanage

Solo

11am Saint Nicholas’ Church, Worth Matravers

Deception – a film and a concerto

3.30pm The REX Cinema, Wareham

Forgotten memories

7.30pm Priory Church of Lady St Mary, Wareham

SUNDAY 10 SEPTEMBER

Enduring voices

11.30am Coffee Concert, St James' Church, Kingston