Waldegrave ensemble Chamber Orchestra Concert Programme
TH E WAL D E G RAVE EN SEMB L E After debuting in 2009, the Waldegrave Ensemble has continued to give recitals in and around London, playing works from Baroque and Classical through to 21st Century and Jazz. The ensemble features woodwind, brass, strings, piano, harp and percussion, which allows them to perform a wide variety of works for different instrumental combinations. Aside from performing, the players are passionate about outreach work and promote musical development within schools, through workshops and educational recitals. The Waldegrave Ensemble are also enthusiastic about exploring new works and welcome interest from composers wishing to write for any combination of instruments.
2012 RECITAL S E RIE S 22nd April, St. Andrew’s, Surbiton - Five Live Brass Quintet Recital 12th May, Bourne Hall, Ewell - Flute, Clarinet, Strings and Harp Recital Ravel Introduction et Allegro 19th May, St. Mary’s, Stoke d’Abernon - Five Live Brass Quintet Recital 27th May, St. Andrew’s, Surbiton - Flute, Clarinet, Strings and Harp Recital Ravel Introduction et Allegro 11th June, St Peter’s, Notting Hill - Piano & Winds Lunchtime Recital Poulenc Sextet for wind quintet and piano 24th June, St. Andrew’s, Surbiton - Piano & Winds Recital Poulenc Sextet for wind quintet and piano TBC June, Sutton Grammar School - Children’s Orchestral Concert Prokofiev Peter and the Wolf Saint-Saens Carnival of the Animals 21st July, Bourne Hall, Ewell - Wind Dectet Recital Françaix Neuf Pièces Charactéristiques
22nd July, St. Andrew’s, Surbiton - String Sextet Recital Tchaikovsky Souvenir de Florence 22nd September, Bourne Hall, Ewell - Winds & Strings Recital Beethoven Septet 30th September, St. Andrew’s, Surbiton - Winds & Strings Recital Beethoven Septet TBC, September, London - Summer Orchestral Concert Weber Bassoon Concerto 8th October, St. Peter’s, Notting Hill - Winds & Strings Lunchtime Recital Beethoven Septet 28th October, St. Andrew’s, Surbiton - An Afternoon at the Opera A selection of great operatic solos 25th November, St. Andrew’s, Surbiton - Winds, Brass and Strings Martinů Revue de Cuisine 10th December, St. Peter’s, Notting Hill - Winds, Brass and Strings Lunctime Recital Martinů Revue de Cuisine
ME E T THE O RCHE STRA Damian Penfold (Conductor) Born in West Sussex, Damian’s professional career began in 1998 with his appointment as the first Associate Conductor of the English Symphony Orchestra at the age of only twenty-three. The distinguished conductor Kenneth Alwyn provided Damian with his earliest conducting tuition, and following his studies at Manchester University, he went on to study conducting at the Saint Petersburg Conservatory with Ilya Musin and Leonid Korchmar. Damian has been a participant in the Nicolai Malko and Sibelius international conducting competitions, and in the Leeds conducting competition. For two years he was assistant conductor of the Opera National Du Rhin, where he also worked with the Strasbourg Philharmonic and the orchestra of the Strasbourg Conservatoire. He is a regular conductor of the Nairobi Orchestra in Kenya, where he was invited to conduct a gala concert celebrating their sixtieth anniversary in 2008. Other orchestras he has conducted and worked with include the BBC Philharmonic, the Royal Liverpool Philharmonic, the Orchestra Sinfonica Sicilia the Finnish Radio Symphony, the Redhill Sinfonia, Dorking Chamber Orchestra, and he was music director of the Wyre Forest Symphony for two years.
Luis Parés (Soloist) Venezuelan/Italian pianist Luis Parés’ busy international career has taken him to many countries such as the USA, Venezuela, UK, Spain, Italy, Switzerland, Oman, Israel and China. He has appeared at the most prestigious British venues including the Queen Elizabeth Hall, Wigmore Hall, Cadogan Hall, Conway Hall and St John’s Smith Square in London, the Bridgewater Hall in Manchester and the Sheldonian Theatre in Oxford. He has performed with distinguished orchestras in Europe and South America and made numerous broadcasts for BBC Radio 3 and Spanish radio. He is sought-after as a chamber musician and accompanist, he is a faculty member at Keshet Eilon International Violin Mastercourse in Israel, he is Executive Director of New Virtuosi International Violin Mastercourse and he is Head of Keyboard at Repton School. Luis studied at the Royal College of Music with Gordon Fergus-Thompson and Andrew Ball and he also held the 2007/08 Mills Williams Junior Fellowship at the RCM. He won many national and international competitions including First Prize at the XI Ricard Viñes International Piano Competition (Lerida, Spain), the 2006 Making Music Young Concert Artists Awards and he was a YCAT finalist in 2007.
Julia Loucks (Leader) Canadian violinist Julia Loucks is currently pursuing her postgraduate degree at the Royal College of Music as a Frederick Johnston Scholar supported by an Astor Award. Having completed her undergraduate performance degree at McGill University (Montreal, Canada) as a student of Jonathan Crow, she now happily resides in London as a student of Itzhak Rashkovksy and Laura Samuel. As a performer, she has recently appeared in the Wye Valley, Spitalfields, Burford, and Windrush Chamber Music festivals. She has been a member of numerous youth orchestra and performance programs in Europe, Canada and the United States, such as the Schleswig Holstein Festival Orchestra (Christopher Eschenbach, Director), Domaine Forget Chamber Music, New Virtuosi, Bowdoin Music Festival, and the National Youth Orchestra of Canada. She has received generous support from the Williamson Foundation, as well as the Afternoon Music Club of Phoenixville and Matt Bailey Memorial Scholarships, both of which are awarded to a student pursuing music performance at a major university or conservatory. She gratefully acknowledges the Royal College of Music for the loan of the 1716 Andreas Gisalberti violin. Julia is a founding member of Chamber Music Without Borders, a music outreach program based in Montreal.
TH E REST OF T H E ORC H E S T RA Violin
Julia Loucks (leader)
Siwan Mair Rhys
Frederic Taylor Julia Flint Elaine Ambridge Francina Moll Salord Viola Dora Maria Emily Hester Cello Lily Thornton Katy Whittle Bass Siret Lust
Oboe Marissa Pueschel Fiona Dyne Clarinet Elliott DeVivo Helen Bennett Bassoon Emily Kate Blake Hayley Last Horn David Horwich Paul Cott
Luis ParĂŠs (Soloist)
C ON C ERT PRO GRAMME NO TE S Mozart: Serenade No.11 in E flat major K375 Allegro maestoso | Menuetto I | Adagio | Menuetto II | Finale: Allegro Completed in Vienna in mid-October 1781 for St Theresa’s Day, Mozart’s Serenade No.11 in E flat K375 is one of the composer’s three great works for wind ensemble. The serenade was written, as the composer explained in a letter to his father, for the sister-in-law of the court painter Joseph Heckel (and indeed the first performance was given in his home on the 15th). In actual fact, the true reason for composing the work, as Mozart later admitted, was to try and win the approval of Heckel’s friend Herr von Strack – valet and musical confidant to the Emperor. The only serenade to remain faithful to the tonic in each of its five movements, the work begins with an ‘Allegro maestoso’ that is followed by the first of two Menuettos. At the heart of the work lies the ‘Adagio’, whose Romantic murmuring justifies the term ‘night music’ (which is how Mozart translated ‘serenade’) and whose opening bars are a touch reminiscent of the ‘Porgi amor’ aria from The Marriage of Figaro. The second Menuetto follows before the work concludes with a final exuberant ‘Allegro’.
Mozart: Piano Concerto No.23 in A K488 Allegro | Adagio | Allegro assai It was under Mozart’s hand that the piano concerto reached new heights of expression during the Classical period, and No.23 K488 is no exception. Completed close to the premiere of Le Nozze di Figaro in 1786, the work is one of the most famous in the genre and was undoubtedly performed on occasion by the composer himself – to a select audience at private musical gatherings, where his work could be fully appreciated. For Mozart, the key and emotional mood of a composition often went in tandem, with the choice of A major for this concerto perfectly mirroring its tender and principally cheerful nature. Instead of opening with an imposing, curtain-raising motif, the work begins with a gentle melody that sets the scene for a movement dominated by quiet serenity. Occasional touches of wistfulness can also be felt, and these are brought to the fore in the ensuing middle movement which functions as the emotional high-point of the composition. Cast in F sharp minor – a key rarely used in the composer’s output – it is dominated by expressive wide leaps and chromatic colouring that presage Romanticism. These details eventually give way to a playful romp in the form of a Rondo finale which, containing a multitude of spirited melodies, provides a vivacious conclusion to one of the composer’s most widely-loved works.
Gershwin: Lullaby for strings Originally written for string quartet, this soothing work was written in 1919 as an exercise in harmony while Gershwin was studying orchestration under Edward Kilenyi. It’s a relatively early piece in the composer’s output; dating from the same period as his breakthrough hit-song ‘Swanee’, the short composition contains occasional touches of jazz that hint at Gershwin’s popular leanings as well as solo passages which nod to its original form. Often performed by friends of the composer at musical gatherings, the string quartet version was never promoted by Gershwin, who later turned it into the aria ‘Has One of You seen Joe?’ from his 1922 opera Blue Monday. Only in 1967 was the work first publically performed by the Juilliard Quartet, thereafter achieving widespread popularity.
Copland: Appalachian Spring Suite First performed in 1944, Appalachian Spring was written in response to a commission by the doyenne of American dance, choreographer and performer Martha Graham. Scored for a 13-member chamber orchestra and premiered with Graham in the leading role, the work was subsequently arranged as a concert suite for full-size orchestra. It was in this form that it received the Pulitzer Prize in Music and the New York Music Critic’s Circle Award in 1945. Copland was among the earliest of an important line of composers to tap the musical pulse of America, establishing a unique sound that is particularly apparent in the first two of his ballet triumphs, Billy the Kid and Rodeo. Appalachian Spring, however, represents the apex of his ‘Americana’ dance series; set in 1830 Pennsylvania and based on springtime celebrations relating to the completion of a farmhouse built for a young couple planning to wed, its score remains unsurpassed in evoking an ideal America, one of open fields and endless possibilities. A masterpiece of expression, the work ranks among the composer’s most popular creations.
B E CO M E A F R I E N D If you would like to be kept informed about the Waldegrave Ensemble’s future concerts and projects then send an email to email@example.com to join the mailing list or invest in the ensemble by visiting the ‘Friend’s Scheme’ webpage online.
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