E<\/a>STHER ABRAMI @ THE MOUNT WITHOUT<\/a><\/h2>\n<\/div>\n\n9TH MARCH 2023 at 7:30 PM<\/div>\n<\/div>\n\nTHE MOUNT WITHOUT, UPPER CHURCH LANE, BRISTOL BS2 8FN<\/div>\n<\/div>\n<\/div>\nMUSIC @ OXFORD<\/h2>\n
Friday March 10th at 7:30 PM
\nSheldonian Theatre Oxford<\/p>\n<\/div>\n<\/div>\n<\/div>\n
\n\n\n![\"\"](\"https:\/\/eso.co.uk\/wp-content\/uploads\/9c78d7_4d84b70aa77f4315a9486259b846e38c_mv2.webp\" "\\"ESO-30Jul20-AboveCamera1\\"")
<\/span><\/div>\n<\/div>\n\n\n\nPROGRAMME<\/h4>\n
\u200bMendelssohn\u00a0The Hebrides, op.26<\/em>\u00a0(Fingal\u2019s Cave) (10\u2032)
\nBruch\u00a0Scottish Fantasy, op.46<\/em>\u00a0(30\u2032)
\nINTERVAL (20\u2032)
\nMendelssohn\u00a0Symphony No.3, op.56, A minor<\/em>\u00a0(Scottish) (40\u2032)<\/p>\n<\/div>\n<\/div>\n\n\nARTISTS<\/h4>\n
English Symphony Orchestra<\/p><\/div>\n<\/div>\n
\nConductor: Kenneth Woods<\/div>\n<\/div>\n\nSoloists: Esther Abrami (Violin)<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\nIn 1829, the twenty-year-old Felix Mendelssohn <\/strong>was already a major international figure. As a teenager his precocity had far exceeded even that of Mozart. He had already completed a collection of works that were staggering in their originality and maturity, including the\u00a0First Symphony, written when he was just 15, the Octet for Strings, completed at age 16 and the Overture to A Midsummer Night\u2019s Dream, finished a year later. Early in 1829, his twentieth year, he famously revived the music of J. S. Bach, organizing and conducting a history changing\u00a0performance of the St Matthew Passion in Berlin- the first time the complete work had been heard since Bach\u2019s death over sixty years earlier.<\/p>\nThat summer, Mendelssohn made the first of many trips to the United Kingdom, conducting a performance of his First Symphony with the London Philharmonic Society, and performing extensively as a solo pianist (his performance of Beethoven\u2019s \u201cEmperor\u201d Concerto was the\u00a0first time London audiences had seen a pianist perform it by memory). After such a busy and successful year, Mendelssohn stayed on in the UK for some sightseeing and relaxation. He made his way to Edinburgh, a city he quickly came to love:<\/p>\n
\u201cEverything here looks so stern and robust, half enveloped in a\u00a0haze of smoke or fog. Many Highlanders came in costume from\u00a0church victoriously leading their sweethearts in their Sunday attire and casting magnificent and important looks over the world; with\u00a0long, red beards, tartan plaids, bonnets and feathers and naked knees\u00a0and their bagpipes in their hands, they passed along by the half-ruined gray castle on the meadow where Mary Stuart lived.\u00a0in splendour.\u201d<\/p>\n
After another day of sightseeing at Holyrood Chapel on the 30th of July, 1829, he wrote this famous letter:<\/p>\n
\u201cIn the evening twilight we went today to the palace where Mary\u00a0lived and loved. A little room is shown there with a winding staircase\u00a0leading up to the door. This is the staircase the murderers ascended,\u00a0and, finding Rizzio [Mary\u2019s Italian advisor and, probably, lover, whom\u00a0the Scots mistrusted] .. drew him out; about three chambers away is\u00a0a small corner where they killed him. The chapel close to it is\u00a0now roofless, grass and ivy grow there, and at the broken altar\u00a0Mary was crowned Queen of England. Everything around is broken\u00a0and moldering and the bright sky shines in. I believe I have found\u00a0today in that old chapel the beginning of my Scottish symphony.\u201d<\/p>\n
Later that day, he sketched out sixteen measures of music that were to\u00a0become the introductory melody of the Third Symphony. The work he\u00a0began that evening would take a further thirteen years to reach its final\u00a0form.<\/p>\n
Meanwhile, just a week later Mendelssohn made his way north to Fingal\u2019s Cave, where there followed another short sketch. Soon after, work began in earnest on what now known as the \u201cHebrides\u201d Overture. Mendelssohn originally called the piece \u201cThe Lonely Island,\u201d adopting the title we know now when he revised the work in 1832. The \u201cHebrides\u201d is more of a tone-poem than an \u201coverture\u201d in the traditional sense. Rather than preparing the listener for a performance of an opera or play, it paints a vivid musical portrait of the remote cave, the stormy seas that surround it and the tone poet\u2019s sense of loneliness and solitude.<\/p>\n
Mendelssohn\u2019s Scottish overture was complete, but what of the symphony he had begun a week earlier? By 1831, it seemed as if inspiration was fading, Mendelssohn reporting to a friend that he could not \u201cfind his way back into the Scottish fog mood,\u201d and the idea receded farther and farther from the forefront of his mind. A decade passed before he returned to work on his A minor symphony, a decade in which he completed his three other symphonies, two piano\u00a0concertos and four string quartets.<\/p>\n
Finally, in 1841, he began work in earnest on the A minor \u201cScottish Symphony,\u201d returning to that sketch made in 1829. By September he had completed the first two movements and was hard at work on the Adagio. Mendelssohn completed the work on the 20th of January, 1842,\u00a0and conducted the first performance at the Gewandhaus in Leipzig on the 3rd of March. The work was rapturously received, but Mendelssohn had concerns about the piece, and made major and radical revisions before the second performance just two weeks later, on 17 March\u00a0in Berlin. In June, he conducted the work in London. The success of this performance emboldened Mendelssohn to ask Queen Victoria\u2019s permission to dedicate the work to her. Permission was duly granted, and Mendelssohn became her favourite composer for life.<\/p>\n
Although the work had been a success in each of these early performances, Mendelssohn made one final round of major cuts and revisions before the work was published by Breitkopf in the fall of 1842.The final version of this work was published as his \u201cThird Symphony,\u201d but it was actually the last of his five symphonies, and many consider it his greatest. It is in many ways the most serious in tone, and his most sophisticated in construction, with the whole symphony evolving organically from the possibilities of that sixteen-bar sketch written in 1829. Critics and musicians have argued at length about just how \u201cScottish\u201d the work is: although Mendelssohn regularly referred to the A minor Symphony as his \u201cScottish,\u201d he conspicuously omitted\u00a0any reference to Scotland from the published score. Some have found numerous references to Scottish folk themes in the score (there is a famous instance of the so-called \u201cScottish snap\u201d rhythm in the Scherzo), but Mendelssohn himself was no fan of folk music. \u201cNo national music\u00a0for me!\u201d he proclaimed. \u201cInfamous, vulgar, out-of-tune trash…. It is distracting and has given me a toothache already,\u201d he wrote. Even before his visit in 1829, Mendelssohn had hoped that the trip would inspire a Scottish piece or two \u201csince I greatly love the sea from the\u00a0mainland and even want to use it in a symphony with Scottish bagpipes.\u201d<\/p>\n
After his visit, however, his enthusiasm for the pipes had decidedly waned, writing that \u201cScottish bagpipes, Swiss cow-horns, Welsh harps, all playing the Huntsmen\u2019s Chorus with hideously improvised variations then their beautiful singing in the hall, altogether their music is beyond conception.\u201d<\/p>\n
What did make its way into the score was a deeply felt impression of the mystery and darkness of that visit to Holyrood; \u201c\u201cIt is in pictures, ruins and natural surroundings that I find the most music.\u201d Mendelssohn specified in the first edition of the score that the four movements of the piece, all of which are thematically interconnected, must be played without pause. The prevailing mood of the first movement is dark indeed, from the slow opening in which the divided violas state the \u201cHolyrood\u201d theme into the main Allegro, which begins broodingly and then becomes decidedly stormy and violent. Mendelssohn placed the Scherzo second in this symphony, rather than in the traditional spot before the Finale. It is in this movement that\u00a0one is most likely to find hints of folk music. Unlike most scherzos and minuets, it\u2019s in duple rather than triple meter, and is in sonata allegro form rather than structured as a dance. This helps make the movement feel more like a hopeful answer to the tragedies of the first\u00a0movement, rather than a mere diversion. The Adagio which follows it is one of Mendelssohn\u2019s greatest creations, and certainly one of the great symphonic slow movements. Although written in A major, the overall mood is deeply serious and often tragic, with a climactic central funeral march perhaps harkening back to the example of the Marcia funebre<\/em> of Beethoven\u2019s Eroica<\/em> Symphony. Mendelssohn had originally labelled the final Allegro vicacissimo<\/em> as Allegro guerriero<\/em> and it is decidedly warlike in character.<\/p>\n\u00a9 2013 Kenneth woods<\/p>\n
MUSIC @ OXFORD<\/h2>\n
Friday March 10th at 7:30 PM
\nSheldonian Theatre Oxford<\/p>\n<\/div>\n<\/div>\n<\/div>\n
<\/span><\/div>\n<\/div>\nPROGRAMME<\/h4>\n
\u200bMendelssohn\u00a0The Hebrides, op.26<\/em>\u00a0(Fingal\u2019s Cave) (10\u2032) English Symphony Orchestra<\/p><\/div>\n<\/div>\n In 1829, the twenty-year-old Felix Mendelssohn <\/strong>was already a major international figure. As a teenager his precocity had far exceeded even that of Mozart. He had already completed a collection of works that were staggering in their originality and maturity, including the\u00a0First Symphony, written when he was just 15, the Octet for Strings, completed at age 16 and the Overture to A Midsummer Night\u2019s Dream, finished a year later. Early in 1829, his twentieth year, he famously revived the music of J. S. Bach, organizing and conducting a history changing\u00a0performance of the St Matthew Passion in Berlin- the first time the complete work had been heard since Bach\u2019s death over sixty years earlier.<\/p>\n That summer, Mendelssohn made the first of many trips to the United Kingdom, conducting a performance of his First Symphony with the London Philharmonic Society, and performing extensively as a solo pianist (his performance of Beethoven\u2019s \u201cEmperor\u201d Concerto was the\u00a0first time London audiences had seen a pianist perform it by memory). After such a busy and successful year, Mendelssohn stayed on in the UK for some sightseeing and relaxation. He made his way to Edinburgh, a city he quickly came to love:<\/p>\n \u201cEverything here looks so stern and robust, half enveloped in a\u00a0haze of smoke or fog. Many Highlanders came in costume from\u00a0church victoriously leading their sweethearts in their Sunday attire and casting magnificent and important looks over the world; with\u00a0long, red beards, tartan plaids, bonnets and feathers and naked knees\u00a0and their bagpipes in their hands, they passed along by the half-ruined gray castle on the meadow where Mary Stuart lived.\u00a0in splendour.\u201d<\/p>\n After another day of sightseeing at Holyrood Chapel on the 30th of July, 1829, he wrote this famous letter:<\/p>\n \u201cIn the evening twilight we went today to the palace where Mary\u00a0lived and loved. A little room is shown there with a winding staircase\u00a0leading up to the door. This is the staircase the murderers ascended,\u00a0and, finding Rizzio [Mary\u2019s Italian advisor and, probably, lover, whom\u00a0the Scots mistrusted] .. drew him out; about three chambers away is\u00a0a small corner where they killed him. The chapel close to it is\u00a0now roofless, grass and ivy grow there, and at the broken altar\u00a0Mary was crowned Queen of England. Everything around is broken\u00a0and moldering and the bright sky shines in. I believe I have found\u00a0today in that old chapel the beginning of my Scottish symphony.\u201d<\/p>\n Later that day, he sketched out sixteen measures of music that were to\u00a0become the introductory melody of the Third Symphony. The work he\u00a0began that evening would take a further thirteen years to reach its final\u00a0form.<\/p>\n Meanwhile, just a week later Mendelssohn made his way north to Fingal\u2019s Cave, where there followed another short sketch. Soon after, work began in earnest on what now known as the \u201cHebrides\u201d Overture. Mendelssohn originally called the piece \u201cThe Lonely Island,\u201d adopting the title we know now when he revised the work in 1832. The \u201cHebrides\u201d is more of a tone-poem than an \u201coverture\u201d in the traditional sense. Rather than preparing the listener for a performance of an opera or play, it paints a vivid musical portrait of the remote cave, the stormy seas that surround it and the tone poet\u2019s sense of loneliness and solitude.<\/p>\n Mendelssohn\u2019s Scottish overture was complete, but what of the symphony he had begun a week earlier? By 1831, it seemed as if inspiration was fading, Mendelssohn reporting to a friend that he could not \u201cfind his way back into the Scottish fog mood,\u201d and the idea receded farther and farther from the forefront of his mind. A decade passed before he returned to work on his A minor symphony, a decade in which he completed his three other symphonies, two piano\u00a0concertos and four string quartets.<\/p>\n Finally, in 1841, he began work in earnest on the A minor \u201cScottish Symphony,\u201d returning to that sketch made in 1829. By September he had completed the first two movements and was hard at work on the Adagio. Mendelssohn completed the work on the 20th of January, 1842,\u00a0and conducted the first performance at the Gewandhaus in Leipzig on the 3rd of March. The work was rapturously received, but Mendelssohn had concerns about the piece, and made major and radical revisions before the second performance just two weeks later, on 17 March\u00a0in Berlin. In June, he conducted the work in London. The success of this performance emboldened Mendelssohn to ask Queen Victoria\u2019s permission to dedicate the work to her. Permission was duly granted, and Mendelssohn became her favourite composer for life.<\/p>\n Although the work had been a success in each of these early performances, Mendelssohn made one final round of major cuts and revisions before the work was published by Breitkopf in the fall of 1842.The final version of this work was published as his \u201cThird Symphony,\u201d but it was actually the last of his five symphonies, and many consider it his greatest. It is in many ways the most serious in tone, and his most sophisticated in construction, with the whole symphony evolving organically from the possibilities of that sixteen-bar sketch written in 1829. Critics and musicians have argued at length about just how \u201cScottish\u201d the work is: although Mendelssohn regularly referred to the A minor Symphony as his \u201cScottish,\u201d he conspicuously omitted\u00a0any reference to Scotland from the published score. Some have found numerous references to Scottish folk themes in the score (there is a famous instance of the so-called \u201cScottish snap\u201d rhythm in the Scherzo), but Mendelssohn himself was no fan of folk music. \u201cNo national music\u00a0for me!\u201d he proclaimed. \u201cInfamous, vulgar, out-of-tune trash…. It is distracting and has given me a toothache already,\u201d he wrote. Even before his visit in 1829, Mendelssohn had hoped that the trip would inspire a Scottish piece or two \u201csince I greatly love the sea from the\u00a0mainland and even want to use it in a symphony with Scottish bagpipes.\u201d<\/p>\n After his visit, however, his enthusiasm for the pipes had decidedly waned, writing that \u201cScottish bagpipes, Swiss cow-horns, Welsh harps, all playing the Huntsmen\u2019s Chorus with hideously improvised variations then their beautiful singing in the hall, altogether their music is beyond conception.\u201d<\/p>\n What did make its way into the score was a deeply felt impression of the mystery and darkness of that visit to Holyrood; \u201c\u201cIt is in pictures, ruins and natural surroundings that I find the most music.\u201d Mendelssohn specified in the first edition of the score that the four movements of the piece, all of which are thematically interconnected, must be played without pause. The prevailing mood of the first movement is dark indeed, from the slow opening in which the divided violas state the \u201cHolyrood\u201d theme into the main Allegro, which begins broodingly and then becomes decidedly stormy and violent. Mendelssohn placed the Scherzo second in this symphony, rather than in the traditional spot before the Finale. It is in this movement that\u00a0one is most likely to find hints of folk music. Unlike most scherzos and minuets, it\u2019s in duple rather than triple meter, and is in sonata allegro form rather than structured as a dance. This helps make the movement feel more like a hopeful answer to the tragedies of the first\u00a0movement, rather than a mere diversion. The Adagio which follows it is one of Mendelssohn\u2019s greatest creations, and certainly one of the great symphonic slow movements. Although written in A major, the overall mood is deeply serious and often tragic, with a climactic central funeral march perhaps harkening back to the example of the Marcia funebre<\/em> of Beethoven\u2019s Eroica<\/em> Symphony. Mendelssohn had originally labelled the final Allegro vicacissimo<\/em> as Allegro guerriero<\/em> and it is decidedly warlike in character.<\/p>\n \u00a9 2013 Kenneth woods<\/p>\n
\nBruch\u00a0Scottish Fantasy, op.46<\/em>\u00a0(30\u2032)
\nINTERVAL (20\u2032)
\nMendelssohn\u00a0Symphony No.3, op.56, A minor<\/em>\u00a0(Scottish) (40\u2032)<\/p>\n<\/div>\n<\/div>\nARTISTS<\/h4>\n