Grieg and Mussorgsky with the Royal Holloway Symphony Orchestra - 4 December 2024 - Event Programme
Grieg and Mussorgsky with the Royal Holloway Symphony Orchestra
International Concert Series 2024-25
Wednesday, 4th December 2024 Windsor Building, Windsor Auditorium
with Rebecca Miller Principal Conductor Harvey Lok Assistant Conductor
Amiri Harewood Piano
The Royal Holloway Symphony Orchestra
EVENT PROGRAMME
José Pablo Moncayo (1912 – 1958) Huapango
Edvard Grieg (1843 – 1907) Piano Concerto in A minor, Op.16
Modest Mussorgsky (1839 – 1881) Picture at an Exhibition (arr. Maurice Ravel)
Estimated finish time: 9 30pm
Please no flash photography or visual/audio recording throughout the event.
For news about our future events, please visit royalholloway.ac.uk/music/events
PROGRAMME
NOTES
José Pablo Moncayo (1912 – 1958) Huapango
A percussionist who worked mainly as a conductor, José Moncayo wrote a couple of symphonies, an opera, and a ballet, among a relatively modest output. In 1941, Carlos Chávez asked Moncayo to write a piece based on the popular music of the Veracruz area on the Gulf of Mexico for the Symphony Orchestra of Mexico, in which Moncayo had played as a percussionist since it was founded in 1932.
“Blas Galindo [a fellow composer and colleague] and I went to Alvarado, one of the places where folkloric music is preserved in its most pure form; we were collecting melodies, rhythms, and instrumentations for several days,” Moncayo recalled for one of his students. “The transcription of it was very difficult because the huapangueros never sang the same melody twice in the same way. When I came back, I showed the collected material to Candelario Huízar, who gave me a piece of advice that I will always be grateful for: ‘Introduce the material first in the same way you heard it and develop it later according to your own ideas.’ And I did it, and the result is almost satisfactory for me.”
Moncayo incorporated three traditional Veracruz huapangos – “Siqui-Siri,” “Balajú,” and “El Gavilán” – into his orchestral masterpiece. Colorfully orchestrated with an emphasis on instruments typical of the Veracruz style (trumpet, harp, and violins) and driven by the distinctive huapango rhythm, Huapango has become an enduring classic. Chávez premiered it in August 1941 at the Palacio de Bellas Artes in Mexico City.
Edvard Grieg (1843 – 1907)
Piano Concerto in A minor, Op.16
I. Allegro molto moderato
II. Adagio
III. Allegro moderato molto e marcato – Quasi presto –Andante maestoso
A generation prior to Sibelius, Edvard Grieg tackled the problem of creating a style that united personal and communal identity. He was motivated first by his associations with violinist Ole Bull and composer Rikard Nordraak. “It was as if the scales fell from my eyes,” recalled Grieg. “From Nordraak I learned for the first time what the Norwegian folk song was, and learned to know my own nature.” In most of his music, however, he avoided direct quotation from folk sources, preferring, as in the Piano Concerto, to work for less obvious ways to evoke melodic contours suggestive of Norway (“I am sure my music has a taste of codfish,” he once quipped).
Grieg was only 25 at the work’s 1869 premiere, which might lead you to think that the piece would be superficial – and there is no dearth of surface here: catchy tunes, brilliant timbres, flashy virtuoso exhibitions. Yet the young composer had a feel for the way this surface could serve those elements of music that emerge in longer terms: long-range formal structures, subtle relationships between parts, and the like. Also appropriate to his youth is Grieg’s emphasis on mood-painting; what he has managed to do here is create a tone poem – or series of tone poems – for piano and orchestra, with a distinctive Norwegian feel created by the use of characteristic melodic patterns and rhythms. Thus the work retains a certain youthful naiveté even while sweeping the listener along in a coherent aesthetic vision.
The arresting gesture that opens the Concerto – a downward cascade that outlines an A-minor chord – demonstrates the play between surface brilliance and deeper significance. By firmly establishing the harmony of A minor, it allows for exploration of further harmonic regions without disrupting the stability of the movement. It also allows the listener to follow a plethora of thematic material without losing a basic point of reference. The second movement reminds us that Grieg was more at home in the smaller lyric genres; here we are drawn into an intimate scene using the colors of muted strings and woodwind solos. The soloist does not
enter until well into the movement, first as a decorative touch, then gradually integrated into the principal thematic material. The last movement is dominated by the soloist’s robust foot-stomping theme, which steps back briefly for a serene interlude introduced by a flute solo (that foreshadows Grieg’s equally deft use of the instrument in Peer Gynt) and featuring lyrical, improvisatory passages from the piano. Soon the dance takes over again, pushing the piece to its dramatic conclusion.
Programme Notes by Susan Key
Modest Mussorgsky (1839 – 1881)
Picture at an Exhibition
(arr. Maurice Ravel)
Promenade
1. The Gnome Promenade (2nd)
2. The Old Castle Promenade (3rd)
3. Tuileries (Children’s Quarrel after Games)
4. Polish Oxcart Promenade (4th)
5. Ballet of Unhatched Chicks
6. “Samuel” Goldenberg and “Schmuÿle” Promenade (5th)
7. Limoges The Market (The Great News)
8. Catacombs (Roman Tomb) –With the Dead in a Dead Language
9. The Hut on Hen’s Legs (Baba Yaga)
10.The Bogatyr Gates (In the Capital in Kyiv)
Although anxious to pursue the study of music, Modest Mussorgsky was trained for government
service, and had to forage around as best he could for a musical education. Considering his limitations an insecure grasp of musical form, of traditional harmony, and of orchestration it is no wonder he suffered from profound insecurity. A victim of alcoholism, he died at 46 but left a remarkably rich legacy authentic, bold, earthy, and intensely vivid Russian music.
Pictures at an Exhibition proved to be a welcome rarity in Mussorgsky’s anguished experience a composition born quickly and virtually painlessly. Reporting to his friend Vladimir Stasov about the progress of the original piano suite, Mussorgsky exulted: “Ideas, melodies, come to me of their own accord. Like roast pigeons in the story, I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” The fevered inspiration was activated by a posthumous exhibit in 1874 of watercolours’ and drawings by the composer’s dear friend Victor Hartmann, who had died suddenly the previous year at the age of 39. Mussorgsky’s enthusiastic and reverent homage to Hartmann takes form as a series of musical depictions of 10 of the artist’s canvases, all of which hang as vividly in aural space as their visual progenitors occupied physical space.
As heard most often in present-day performances, Pictures wears the opulent apparel designed by Maurice Ravel, who was urged by conductor Serge Koussevitzky to make an orchestral transcription of the piano set, which he did in 1922. The results do honour to both composers: The elegant Frenchman did not deprive the music of its realistic muscle, bizarre imagery, or intensity, but heightened them through the use of marvellously apt instrumentation.
Pictures begins with, and several of its sections are preceded by, a striding promenade theme Russian in its irregular rhythm and modal inflection which portrays the composer walking, rather heavily, through the gallery.
Promenade: Trumpets alone present the theme, after which the full orchestra joins for the most extended statement of its many appearances.
Gnomus (‘The Gnome’): Hartmann’s sketch portrays a wooden nutcracker in the form of a wizened gnome. The music lurches, twitches, and snaps grotesquely.
Promenade: Horn initiates the theme in a gentle mood and the wind choir follows suit.
Il vecchio castello (‘The Old Castle’): Bassoons evoke a lonely scene in Hartmann’s Italian castle. A troubadour (English horn) sings a sad song, at first to a lute-like accompaniment in violas and cellos.
Promenade: Trumpet and trombones are accompanied by full orchestra.
Tuileries (Dispute d’enfants après jeux) (‘Tuileries (Children’s Quarrel after Games)’): Taunting wind chords and sassy string figures set the scene, and then Mussorgsky’s children prank, quarrel, and frolic spiritedly in the famous Parisian gardens.
Bydło (‘Polish Oxcart’): A Polish peasant drives an oxcart whose wheels lumber along steadily (with rhythmic regularity) and painfully (heavy-laden melody in brass).
Promenade: Winds, beginning with flutes, then in turn oboes and bassoons, do the walking, this time with tranquil steps.
Balet nevylupivshikhsya ptentsov (‘Ballet of the Unhatched Chicks’): Mussorgsky, with disarming ease, moves from oxcart to fowl yard, where Hartmann’s chicks are ballet dancers in eggshell costumes.
Samuel Goldenberg and Schmuÿle: The names of the two men were later additions to the title of this section The composer satirizes the pair through haughty pronouncements from the patriarch (winds and strings) and nervous subservience from the beggar (stuttering trumpets).
Limoges. Le marché (La grande nouvelle) (‘Limoges. The Market (The Great News)’): The bustle and excitement of peasant women in the French city’s market are brilliantly depicted.
Catacombae (Sepulcrum romanum) (‘Catacombs (Roman Tomb)’): The music trudges through the ancient catacombs on the way to a mournful, minor-key statement of the promenade theme.
Cum mortuis in lingua mortua (‘With the Dead in a Dead Language’): In this eerie iteration of the promenade theme, which translates to “with the dead in a dead language,” Mussorgsky envisioned the skulls of the catacombs set aglow through Hartmann’s creative spirit.
Izbushka na kuryikh nozhkakh (Baba-Yaga) (‘The Hut on Fowl’s Legs (Baba Yaga)’): Baba Yaga, a witch who lives in a hut supported by chicken legs,
rides through the air demonically with Mussorgsky’s best Bald Mountain pictorialism.
Bogatyrskiye vorota (V stolnom gorode vo Kiyeve) (‘The Great Gate of Kyiv’): Ceremonial grandeur, priestly chanting, the clanging of bells, and the promenade theme create a singularly majestic canvas that is as conspicuously Russian to the ear as Hartmann’s fanciful picture of the Gate is to the eye.
Programme notes by Orrin Howard
TONIGHT’S PERFORMERS
The Royal Holloway Symphony Orchestra
Violin 1
Lingling Bao-Smith *
Clarise Chong *
Nicole Yuen *
Johanna Pickert
Aideen Toal
James Perrin
Bella Morgan
Luca Parr
Terry Chen
Paul Kam
Hannah Lam
Tristan Hail
Alannah Harbach
Violin 2
Phedra Low *
Christopher Bacon *
Rachel Pankhurst
Millie Shurmer
Angel Katsenza
Winston Ung
Amelia Tamblyn
Maggie Ip
Lily Thompson
Solveiga Urbanaviciute
Andreas Karapanagiotidis
Viola
Laura Field *
Elizaveta Rnic
Maisie Pearce
Frederik Simmen
Phoebe Canell
Isobel Wroe
Cello
Oliver Grimes *
Naoki Aso *
Kian Jan-Dickens
Claudia Buchanan
Evelyn Pong
Jasmine Akibo-Betts
Isabella Hughes
Niamh Sherwood
Jocelyn Hails
Thomas Homer
Double Bass
Owen Morgan
Owen Ward
Flute
Evelina Venslovaite *
Gwendolyn Schneider *
Klara Sweeney
Thomas Boyle
Eunice Chan
BoeTalbot
Rachel Li
Piccolo
Ruby Dodd
Iris-Amelia Davies
Oboe
Lucy Griffiths
Joseph Stapleton
Clarinet
Ben Hall *
Josephine Edwards
Sam Pollacco
Billy White
Bass Clarinet
Izzy Reid
Bassoon
Luke Passmore *
Rosina Murray Horn
Josephine Palmer *
Hana Benlalam
Saxophones
Pippa Brown
Elijah Olukoya
Jimmy Davies
Trumpet
James McPherson *
Peter So
Oskar Warren
Percussion
Reece Walker
Luke Gore
Joshua Li
Ellen Gao
Will Bishop
Sophia Wilhelmi
Harp
Victoria Lee
Piano
Thomas Mansfield
Senior Assistant Conductor
Harvey Lok
Junior Assistant Conductor
Conrad Ho Committee
Clarise Chong Orchestral Manager
Klara Sweeney Socials and Events Manager
Gwendolyn Schneider
Assistant Orchestral and Socials Manager
Ben Hall Tour Manager
Luke Passmore Stage Manager
Nicole Yuen
Hannah Lam
Assistant Stage Manager
Assistant Stage Manager, Librarian
Phedra Low Librarian
Rebecca Miller Conductor
California-born conductor Rebecca Miller has earned an international reputation for her compelling, insightful, and energetic presence on the podium and for her ability to communicate with audiences of all ages. Recent guest-conducting includes the Kuopio Symphony Orchestra, Västerås Sinfonietta, DalaSinfoniettan, Buffalo Philharmonic Orchestra, New Haven Symphony Orchestra, Gävle Symphony Orchestra, Orchestra of the Swan, The Orchestra Now, The Bard Music Festival, BBC National Orchestra of Wales, Orchestra of the Age of Enlightenment, London Mozart Players, London Philharmonic Orchestra, BBC Concert Orchestra, BBC Scottish Symphony Orchestra, Royal Northern Sinfonia, City of London Sinfonia, National Youth Orchestra of Scotland, Orquesta Sinfonica Nacional de Mexico, and at the BBC Proms in the Royal Albert Hall. Following her debut with the Uppsala Chamber Orchestra in Sweden, she was immediately re-invited and appointed Chief Conductor, a post which she held from 2019-2023.
In previous seasons, Rebecca has guestconducted the Houston Symphony, Louisiana Philharmonic Orchestra, Reno Philharmonic, Bakersfield Symphony, Santa Cruz Symphony, Chicago College of the Performing Arts, Huntsville Symphony, Williamsport Symphony, and Musiqa
Houston, and with the Jerusalem Symphony Orchestra in Israel. Firstprize winner in the Eduardo Mata International Conducting Competition, she has conducted throughout Mexico, including repeated engagements with the Orquesta Sinfonica Nacional and Orquesta Filarmonica del UNAM, and the state orchestras of Yucatan, Aguascalientes, and Sinaloa. In 2017, Rebecca was also featured in the Bruno Walter National Conductors Preview with the Nashville Symphony.
Rebecca’s discography includes CDs with the Orchestra of the Age of Enlightenment (CPE Bach Symphonies / Signum Records, which made the final shortlist for a 2014 Gramophone Award), with the BBC Concert Orchestra (Henry Hadley Orchestral works / Dutton Epoch), with the BBC Scottish Symphony (piano concertos by Amy Beach, Dorothy Howell, Cecil Chaminade / Hyperion Records), and three CDs with the Royal Northern Sinfonia (Haydn Symphonies / Signum Records; George Frederick Bristow’s ‘Jullien Symphony’ / New World Records; Concertos by Aaron Jay Kernis / Signum Records).
Rebecca is passionate about her work with young musicians – she has recently started regular partnerships with the National Children's Orchestra and the with the London Symphony Orchestra Discovery, and previously worked with the National Youth Orchestras of Scotland, NYO Wales, and NYOGB, with the Chicago College of the Performing Arts, and with the National Youth Orchestra of Venezuela (Teresa Carreño), much to the acclaim of its late founder José Antonio Abreu. She was conductor at the Royal Academy of Music’s Junior Department for many years, where she formed the ground-breaking and unique JA Classical Orchestra, and works regularly with the
Southbank Sinfonia in London, where she was Associate Conductor for three years.
As Director of Orchestras at Royal Holloway University of London, she has been widely acclaimed for building the orchestral programme to new heights – starting an orchestral scholarship programme, initiating a side-by-side programme with the London Mozart Players, securing high-profile engagements (including ‘Magna Carta 800 at Runnymede’ a project with the London Philharmonic Orchestra and Temple Church Choir, performed in the presence of HM Queen Elizabeth II and 4000 dignitaries and honoured guests), and establishing a new initiative called ‘Music +’, which aims to build bridges through music with interdepartmental projects and interdisciplinary research.
Previously, Rebecca served as Resident Conductor of the Louisiana Philharmonic Orchestra and American Conducting Fellow of The Houston Symphony, and Assistant Conductor of the Jerusalem Symphony Orchestra. She holds a B.Mus. in Piano Performance from Oberlin Conservatory, an M.Mus in Orchestral Conducting from Northwestern University, and for two years was the Paul Woodhouse Junior Fellow in Orchestral Conducting at London’s Royal College of Music.
Harvey Lok
Assistant Conductor
Harvey is a finalist Music and English student at Royal Holloway interested in exploring the intricate relationship between music and literature. He has toured to Australia, Estonia, France, the Netherlands, Vienna, etc. with various ensembles and performed in prestigious venues including the Musikverein and Temppeliauko Church. He is currently the cofounder and conductor of vocal ensemble Hemiola, with notable project highlights such
as Parry’s ‘Songs of Farewell’ with Lady Clare’s Consort and curating programmes responding to the Book of Job and Sara Teasdale’s poem ‘Love and Death’.
Harvey credits his musical roots to the Hong Kong Children’s Choir, where he initially sung in their Concert Choir as a treble. Growing up, he has been a student conductor for various groups, including The Illumino Singers, Diocesan Boys’ School Music Department, and the Hong Kong Children’s Choir. He was previously a bass choral scholar with the Choir of Royal Holloway, where he contributed to several album recordings and had the opportunity to conduct nearly fifty works, including the UK premiere of Cecilia McDowall’s ‘Music of the Stars’. He also joined Royal Holloway’s New Voices Consort as their assistant director.
In recognition of his musical achievements, Harvey has been awarded prizes and scholarships by Royal Holloway, Youth Arch Foundation, Diocesan Boys’ School, and the Hong Kong Children’s Choir. Harvey was also fortunate to take part in multiple conducting masterclasses by David Hill, Fred Sjöberg, Gábor Hollerung, Joseph Bastian, Sanders Lau, and Stuart Overington.
This year, Harvey will take on the position of Senior Assistant Conductor for the Royal Holloway Symphony Orchestra and serve as a guest coach for Royal Holloway’s Conductor Collective.
Amiri Harewood Pianist
Currently continuing his studies at the Royal College of Music under the tutelage of Danny Driver as a postgraduate, Amiri previously studied at Trinity Music Academy under Richard Evans.
Amiri regularly performs across the UK and abroad. Previous engagements include solo recitals at prestigious venues including Steinway Hall, St Martin-in-theFields, Institut Francais, Bishopsgate’s Institute, the Royal Albert Hall (as part of the Steinway Young Artist series), and an appearance performing on BBC Radio London.
His appearances abroad include recitals at the Conservatorio in Venice, and the Mozart Music Festival in Forli, Italy. Amiri has also had the privilege of working with renowned musicians including Inon Barnatan, Vanessa Latarche and Trio Shaham-Erez-Wallfisch.
Amiri’s Royal Festival Hall concerto debut with Chineke! Orchestra was universally acclaimed, described as a “Royal Festival Hall debut of considerable panache” (Geoff Brown, The Times) as he brought “confidence and a touch of grandiloquence to Grieg’s Piano Concerto.” (Richard Fairman, The Financial Times).
He was also selected as one of the first Tabor Piano Ambassadors for the prestigious Leeds International Piano Competition, representing the Royal College of Music. He continues to work with the competition to deliver education and outreach initiatives.
Amiri uses his versatile music experiences to inspire his playing. Until age 14 he sang as a treble with the renowned Trinity Boys Choir, performing in opera productions at Glyndebourne, Royal Opera House, Garsington, and English National Opera. He also performed at the Aldeburgh Festival and Amina Mundi Festival in Pisa alongside the Monteverdi Choir and Sir John Eliot Gardiner, as well as touring Japan in 2015.
Feeling thirsty? Need a sweet (or savoury) treat?
Pop by our booths just outside the auditorium for a drink or a snack!
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All proceeds will go towards fundraising for our upcoming tour in the summer!
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