London Mozart Players 080421

ORCHESTRAS LIVE

PROGRAMME

Monday 21 April 2008, 7.30pm Holy Trinity Church, Oswestry

LONDON MOZART PLAYERS
TASMIN LITTLE - violin and director

Marriage of Figaro Overture - Mozart
Serenade in C for Strings, Op.48 - Tchaikovsky
Violin Concerto in D, Op.61 - Beethoven

In association with Oswestry Recital Series

The final concert in the Oswestry School Recital Series on Wed 4 June is a real end-of-Season celebration. 'Red Priest' is a brilliant quartet of musicians whose inspiration is the music of Vivaldi, and his contemporaries. The group's interpretations of this baroque music - on violin, cello, recorders and harpsichord, aim not just to reveal all the musical energy and excitement contained therein but to realise it in a truly visual and pictorial manner. Come prepared for fireworks : we shall experience the appropriately dressed quartet performing their show 'Pirates of the Baroque.'

1st Violins
Tasmin Little
David Juritz
Susanna Candlin
Miranda Playfair
Nicoline Kraamwinkel
Catherine Van de Geest
Yuri Kaints

2nd Violins
David Angel
Andrew Roberts
Helena Smart
Jeremy Melcalfe
Adrian Dunn
Anna Morris

Violas
Catherine Mucker
Michael Posner
Ian Rathbone
Graham McKean

Cellos
Julia Desbruslais
Sarah Butcher
Martin Thomas
Lucy Wilding

Basses
Cathy Elliot
Claire Whitson

Flutes
Michael Cox
Eliza Marshall

Oboes
Owen Dennis
Katie Clemmow

Clarinets
Angela Malsbury
Margaret Archibald

Bassoons
Gavin McNaughtie
Robert Porter

Marriage of Figaro Overture, K492 -- Mozart (1756-1791)

Marriage of Figaro, written in early 1786, was the first of a trio of so-called opera buffa that Mozart would compose to a libretto by poet Lorenzo Da Ponte, the other two being Don Giovanni and Cosi fan tutte. Da Ponte had come to Vienna from Venice and, after an unsuccessful collaboration with Salieri was asked by Mozart to adapt for the operatic stage Beaumarchais's play Le Marriage de Figaro, which had been produced in Vienna in 1 784. Mozart's operatic version made its first appearance barely two years after the play's Paris premiere

The opera was well received, but was not successful enough to alleviate Mozart's impecunious circumstances; but in January 1787 Mozart visited Prague to enjoy what proved to be a far greater reception of his Figaro with that city's public. On the 15 January he wrote to his father that "the one subject of conversation here is - Figaro; nothing is played, sung or whistled but - Figaro; nobody goes to any opera but - Figaro; everlastingly Figaro!" Four days later he introduced his Symphony in D major (No. 38, K. 504, known as the Prague Symphony), and before he left for home he received the commission for the opera that turned out to be Don Giovanni.

Figaro is a quick-witted servant to Count Almaviva. His bride-to-be, Susanna is maid to the Countess. The Count, to the chagrin of the Countess, is behaving far too unwisely in his bid to seduce Susanna. Significant cameos contribute to the convolution of the plot and to beautiful ensemble moments. The relationships are eventually sorted out, following a plethora of disparaging comments, overheard remarks mistakenly interpreted, disguises and mistaken identities. A double wedding ensues, between Figaro and Susanna, and Marcellina (sometime housekeeper to the Count) and Dr Bartolo, and the Count renounces his feudal rights.

The Marriage of Figaro remains one of the greatest of all operas, and its overture is appropriately a perfect little gem. The vivacious Overture contains none of the thematic material from the opera itself, but captures the essence of the work superbly. Mozart is said to have intended to insert a slow interlude, in the old Italian tradition, just before the recapitulation, and to have omitted it only because he had no time to write it down; but evidently he recognized the perfection of this peerless curtain-raiser as it stands, for he never made any gesture towards amending it in any way.

Serenade in C for Strings, Op. 48 -- Tchaikovsky (1840-1893)
Pezzo in forma di Sonatina (Andante non troppo - Allegro moderato); Valse (Moderato, Tempo di Valse); Elegia (Larghetto elegiaco); Finale: Tema Russo (Andante - Allegro con spirito)

Tchaikovsky's life has been the subject of much discussion and speculation -particularly the circumstances of his death, whether it was from a form of cholera (as long believed), or perhaps suicide. His final years were undoubtedly tormented, which is reflected in some of the most impassioned orchestral music ever written.

This Serenade was written at a relatively calm period of Tchaikovsky's life when he was being assisted by Madam Nadezhda von Meek, the wealthy patron who sent him money for many years - on the condition that they never met! Tchaikovsky wrote to Madam von Meek in October 1880: 'You can imagine, dear friend, that recently my Muse has been very kind, when I tell you that I have written two works very quickly: a Festival Overture [the '1812' Overture]...and a Serenade in four movements for string orchestra...! composed the serenade ... from inner conviction. It is a heartfelt piece and so, I dare to think, is not lacking in real qualities.'

Tchaikovsky was not being unduly modest - the Serenade certainly does not lack real qualities, and is one of his most popular works today. It is full of wonderful melodies, in particular the second movement Valse, which is often performed on its own and was given an encore at the first performance.

The opening movement starts with a slow introduction, the music of which returns both at the end of the first movement and at the very end of the piece. Following the Valse is the Elegia, which is a quietly melancholic movement of a theme (first stated by the violins over a pizzicato [plucked] accompaniment) and variations.

The Finale uses two Russian folk tunes for its material (not just the one implied by the title), the first in the slow introduction and the second as the main theme of the Allegro.

Violin Concerto in D, Op. 61 -- Beethoven (1770-1827)
Allegro ma non troppo; Larghetto; Rondo: allegro

Beethoven wrote his Violin Concerto in 1806, and a year later arranged it for piano and orchestra, following a commission from Franz Clement, Director and first violin of the Theater an der Wien. However, the relationship between Clement and Beethoven was not a happy one, particularly when the violinist chose to insert his own virtuosic showpieces between the movements of Beethoven's work at its first performance!

This concerto is one of Beethoven's most serene works, written at a time of relative personal happiness for its composer. Beethoven's relationships with his friends, both male and female, were always tempestuous, but at this time he was in love with Therese von Brunswick, a young widow, and he felt that he might at last have found someone he could marry and live with happily (in the event it did not come to this).

The work is scored for a classical orchestra, including trumpets and timpani, but no trombones and only one flute. It is the timpani that opens the first movement, with five quiet notes - a rhythmic pattern that is to assume increasing importance throughout the movement. They herald a lovely melody that sets the tone for the whole of this expansive Allegro ma non troppo - lasting nearly 30 minutes. Another featured instrument in the orchestra is the bassoon (one of Beethoven's favourites), which has a lovely duet with the soloist in the final section of this movement.

The Larghetto middle movement is also predominantly gentle in atmosphere, with some notable writing for the woodwind in duet with the soloist. The movement takes the form of a theme with variations, in either G minor or major - significantly, Beethoven chooses the key of G rather than the more obvious A for this movement, preferring the darker colours this gives to the orchestral sound. After two such movements the finale necessarily provides much contrast, being a rumbustuous dance with a rustic feel, bringing to mind the Pastoral Symphony that Beethoven completed a year later in 1808. The first bassoon again has a prominent role, and the orchestra and soloist end up as near equals - although the soloist always retains the more joyous ornamentation in its melodic writing.

LONDON MOZART PLAYERS

Founded by Harry Blech in 1949 as the UK's first chamber orchestra, the London Mozart Players (LMP) is regarded as one of the finest ensembles, bringing together outstanding musicians from the UK and abroad to perform music of the highest quality. Internationally renowned for its live performances and CD recordings and particularly known for its definitive performances of the core Classical repertoire, it also has an innovative approach to music-making and gives many world premieres, especially of British composers.

The LMP has performed with many distinguished conductors, including Sir John Barbirolli, Mark Elder, Sir John Eliot Gardiner, Sir Charles Mackerras, Sir Roger Norrington and Sir Georg Solti. Former Music Directors of the LMP include Andrew Parrott, an acknowledged expert in the field of early music, Matthias Bamert, Jane Glover and Harry Blech himself. The orchestra has an on-going relationship with Sir James Gal-way and the actor Simon Callow. David Juritz has been Leader of the LMP since 1991.

Supported by Crcydon Council, the LMP has been Resident Orchestra of Fairfield and the London Borough of Croydon since 1989, performing a series of concerts at Fairfield and undertaking many education and community activities throughout the borough. The LMP has regularly performed at the South Bank Centre and the Barbican and has current relationships with Cadogan Hall and St John's, Smith Square.

Touring is a major part of the orchestra's schedule, appearing in festivals and concert series throughout the UK and abroad. It is Orchestra in Association of The Anvil, Basingstoke, Turner Sims Concert Hall, Southampton, and Portsmouth Grammar School. Overseas, the LMP has recently visited Germany, Spain, Belgium, Holland and Ireland, and in the summer of 2006 performed at the Salzburg and Dubrovnik festivals and Festspiele Mecklenburg-Vorpommem. Tours in the current season include visits to France, Belgium and Spain.

The 2007/08 season sees the culmination of an exciting and critically-acclaimed Beethoven Cycle with Stephen Kovacevich, performing all his symphonies and piano concertos at Cadogan Hall as well as touring the concerts to venues around the UK.

The LMP has developed an extensive and highly regarded education, community and audience development programme. With the support of Arts Council England, the LMP is committed to developing new audiences in outer London boroughs and more rural locations nationally. The orchestra has just completed a second three-year residency with this aim with East Lindsey District Council, Lincolnshire, following a very successful first three years. This residency has generated a huge following for live classical music in the Lincolnshire community and has seen a work especially written for the residency by Lynne Plowman being performed and recorded for release on CD. Recently developed associations with Royal Holloway University of London and The Yehudi Menu-bin School in Surrey, working with students in master-classes and education work, add to the established relationships with Portsmouth Grammar School, Wimbledon College and Whitgift School, Croydon. In 2007 the LMP was nominated for an RPS Award for its 'Orchestra in a Village' project in Swavesey, Cambridgeshire.

Recording has played a major part in the orchestra's life for many years. Past projects include piano concert! by Hummel and Mozart with Howard Shelley for Chandos and Mozart symphonies for ASV with Jane Glover. Currently the LMP is recording its acclaimed Contemporaries of Mozart series with Matthias Bamert for Chandos, numbering over 20 CDs to date. Recent releases from Chandos include symphonies by John Marsh and Franz Xaver Richter as well as ballet music by Hummel,

Full details of forthcoming concerts and more information on the orchestra's activities are available on the LMP website: www.lmp.org

TASMIN LITTLE

In addition to a flourishing career as violin soloist which has taken her to every continent of the world, Tasmin Little has further established her reputation as Artistic Director of two Festivals: in 2006 her hugely successful Delius Inspired Festival was broadcast for a week on BBC Radio 3 in July. An exciting range of events, ranging from orchestral concerts and chamber music to films and exhibitions, also reached 800 school children in an ambitious programme designed to widen interest in classical music for young people. In 2008 she begins her first year as Artistic Director of the annual Orchestra of the Swan Spring Sounds Festival, which this year will feature two world premieres alongside firm favourites in the English and American repertoire.

As a concerto player, Tasmin's performances in the 2006/07 season took her on a major tour to South East Asia and Australia playing Elgar's violin concerto celebrating the 150th anniversary of the composer's birth as well as playing other repertoire in Norway, Denmark, Sweden, Singapore, Ireland and throughout England. She now play/directs orchestras such as Norwegian Chamber, London Mozart Players, Royal Philharmonic, European Union Chamber Orchestra and Britten Sinfonia. In 2007/08 she joins the London Mozart Players as a soloist and director in a tour of the UK which will also feature her UK conducting debut. She also performs with the Royal Philharmonic, RTE National Symphony Orchestra Dublin, Slovenian Philharmonic, Bournemouth Symphony, EUCO, City of Birmingham Symphony and BBC Philharmonic Orchestras as well as playing the Elgar Concerto with Deutsches Symphonie-Orchester Berlin and Leonard Slatkin at her re-engagement at the prestigious Philharmonie.

In 2006, Tasmin made her fourteenth appearance at the BBC Promenade concerts in a performance of the rarely heard Glasunov concerto. She continues to champion seldom-performed repertoire and during the 2006/7 season she played Bruch's second violin concerto with the London Philharmonic, the Korngold concerto in Symphony Hall Birmingham and is one of the few violinists who have tackled Ligeti's challenging violin concerto. Her 2003 tour with the Berlin Philharmonic and Sir Simon Rattle, during which she performed the concerto at the Proms, Berlin, the Salzburg Festival, New York's Carnegie Hall and Philadelphia, received unanimous critical acclaim ('the technical command was glorious' - The Guardian; 'very beautiful' - Berliner Morgenpost; 'a major violin talent' - Philadelphia Inquirer; 'a formidable soloist' - New York Times), In 2007 she returned to the work with the Goteborg Symphony and at the Concertgebouw, Amsterdam.

Her twenty-three recordings, with repertoire ranging from Bruch and Brahms to Karlowicz and Arvo Part have received great critical acclaim. In 2008 she continues her campaign to bring classical music to a wider audience with her ambitious project The Naked Violin.

This latest recording features works by Bach, Ysaye and Patterson and was released exclusively for download on her website in January 2008. The recording created an extraordinary volume of media interest in newspapers, on television, radio and on the internet, and within only days there were over 6,000 international websites linked to Tasmin's site, all talking about the pioneering aspect of the download. In the first month, Tasmin's site received nearly 200,000 hits and more than 2 terabytes of download requests. In addition to continuing her normal concerto and recital engagements both here and abroad in 2008/09, Tasmin will also be undertaking a tour of The Naked Violin, with concerts in halls as well as in the wider community.

Tasmin plays a 1757 Guadagnini violin and has, on kind loan from the Royal Academy of Music, the 'Regent' Stradivarius.