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Charles Good, Founding Patron purbeck-chambermusic.org.uk

Thursday 31sT auGusT - sunday 3rd sePTember 2017

5Th PurbeCk InTernaTIonal Chamber musIC FesTIval

natalie Clein Artistic Director

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The 5Th Purbeck inTernaTional chamber

music FesTival

31sT AUGUst - 3rd sePTember 2017

adrian brendel cello natalie clein cello

Per arne Glorvigen bandoneon Christian Ihle Hadland piano

lara st. John violinbarnabás kelemen violin

katalin kokas violinmarie-Pierre langlamet harp

natalia lomeiko violinolivia ray mezzo-soprano

Jesper svedberg cellolars anders Tomter viola

Yuri Zhislin violin and viola

With special appearances by: marcus du sautoy mathematician

rob rinder barrister, narrator and TV starJason Price fine instrument expert

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The ProGramme aT a Glance

ThursdaY 31sT auGusT 7:30 Pm dorseT counTY museum, The vicTorian GallerYP Grainger English Country Garden and Irish Tune from County Derry, b bartók Romanian folk dances, W a mozart piano concerto Nr. 12 in A major K414 arranged for harp and string quartet, A Dvořák String Sextet in A major op 48. see page 7

FridaY 1sT sePTember 12 Pm and 1:30 Pm lYTcheTT minsTer Parish churchA lecture with marcus du sautoy: The Song of Symmetry, J s bach Goldberg Variations for piano with Christian Ihle Hadland. see page 10

FridaY 1sT sePTember 7:30 Pm PriorY church oF ladY sT marY, Warehamh krása Tanec for string trio, P a Glorvigen Tango Musculoso, m kagel Pandora’s Box for solo bandoneon, J haydn Piano Trio no. 39 The Gypsy, J brahms Intermezzo in A major Op 118 No 2., A. Dvořák Piano Quintet No.2, Op.81. see page 11

saTurdaY 2nd sePTember 10:00 am The Parish church oF sainT nicholas, WorTh maTraversJ.s. bach flute sonata BWV 1020 played on harp and violin, a khachaturian Danse Orientaleet Toccata for solo harp, J s bach partita in D minor BWV 1004 for solo violin; with Lara St. John(violin) and Marie-Pierre Langlamet (harp). see page 15

saTurdaY 2nd sePTember 11:30 am Fine FoundaTion GallerY, durlsTon counTrY ParkMusical fun for families and children with moderator and mezzo-soprano Olivia Ray. see page 16

saTurdaY 2nd sePTember 3 Pm Fine FoundaTion GallerY, durlsTon counTrY Parkpre-talk at 2pm by Jason Price from Tarisio about the historical instruments performing at the Festival. d Gabrielli Canone a due violoncelli, J haydn Duo for violin and viola in B flat major, b bartók duos for violins/viola, maurice ravel Sonata for violin and cello see page 17

saTurdaY 2nd sePTember 7:30 PmsT GeorGe’s church, lanGTon maTraversA Dvořák Bagatelles for String Trio and Harmonium, brian elias Come Blessed Sleep (2003) for alto voice and harp, W a mozart piano concerto Nr. 12 in A major K414 arranged for harp and string quartet. a caplet Conte Fantastique for harp, string quartet and narrator, Á Piazzolla Histoire du Tango (selection) Guest narrator: robert rinder. see page 19

sundaY 3rd sePTember 11:30 am sT James’s church, kinGsTonh krása Passacaglia and Fugue (1944) for string trio, P a Glorvigen Very Early Morning Blues,A Dvořák String Sextet in A major Op. 48. see page 23

For programme information and booking tickets, please go topurbeck-chambermusic.org.uk or call 0333 666 3366

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a messaGe From The musical direcTor

Each year, the beauty of Purbeck and the energy and enthusiasm of our audiencesinspire me to come up with new repertoire and bring musicians that you may not haveheard perform live before. I am incredibly excited to be bringing for the first time toPurbeck some of the most outstanding musicians from around the world that I know, aswell as welcoming back four firm Purbeck favourites, Lara St. John, Jesper Svedberg, YuriZhislin and Katalin Kokas. Kati brings her husband Barnabás Kelemen whose virtuosityand musical imagination will inspire all who hear him and Yuri brings his wife, the phenomenal violinist Natalia Lomeiko. I am also personally very proud and happy tohave my most respected colleague, the cellist Adrian Brendel at the festival. Three of thegreatest Norwegian musicians, Christian Ihle Hadland, Lars Anders Tomter and Per ArneGlorvigen join us too and Per Arne will perform several of his highly original and effectivecompositions as well as performing a theatrical masterpiece by Kagel and of coursethe Argentinian Tango composer Astor Piazzolla. It is also a huge pleasure to welcomeMarie-Pierre Langlamet to Purbeck.

Indeed, the dance element in music inspired one of the strands for the programme of the festival, ranging from the dances of Bach and, through Haydn, Mozart, Dvořák, Hans Krása and Piazzolla to a modern day wild and very groovy Tango. And speaking of wild dances, Saturday evening will be a one off chance to witness the rarely performed masterpiece for string quartet, harp and narrator (Robert Rinder of ‘Judge Rinder’ and Strictly come Dancing stardom!) by the French composer André Caplet. The piece is inspired by a story by Edgar Allen Poe and is a musical and theatrical tour de force. That evening you will also hear the beautiful mezzo soprano Olivia Ray sing a song from Brian Elias’s three songs cycle (Christina Rossetti) for Alto and Harp. Brian will be there to introduce and discuss his intricate and visionary music himself.

As always, the spoken word is included with music in different ways and this year we also have the charismatic mathematician (yes they do exist) and music lover Marcus du Sautoy giving a fascinating lecture on the ‘Song of Symmetry’ in Bach’s Goldberg variations before Christian Ihle Hadland performs the variations on the piano.

I hope to see many of you at the lecture on Saturday at 2pm by Jason Price, the director of Tarisio and expert in stringed instruments, who will talk about the history and details of several of the instruments that are played by the string players. Our instruments have stories to tell (some dating back to the 16th century) and this will be an unmissable extra event.

Another programmatic strand running through the festival is the chamber music of Antonín Dvořák. I have always adored his music and I believe he is one of the only composers that one never tires of with his endlessly inventive and natural melodies. Brahms said melody runs through Dvořák like water. I’m sure after hearing the String Sextet, Bagatelles and beloved Piano Quintet op. 81 you will all agree!

Finally, please save the dates 30th August -2nd September 2018 for our next edition.

ThursdaY 31sT auGusT 7:30 PmdorseT counTY museum, The vicTorian GallerY 66 High West Street, Dorchester

TickeTs adults Price level 1 £25 Price level 2 £20 / students £2

barnabás kelemen and katalin kokas (violins), lars anders Tomter and Yuri Zhislin (violas), natalie clein, Jesper svedberg and adrian brendel (cellos), Christian Ihle hadland (piano).

PercY GrainGer English Country Garden and Irish Tune from County Derry for Solo Piano

Genuine love of British folk songs was the major force motivating Percy Grainger (1882-1961). The ‘English Country Garden’ is a tuneful festive elaboration of a melody by an unknown composer – probably derived from a mediaeval Morris Dance. The original piano version heard tonight was a birthday gift to Grainger’s mother. The ‘Irish Tune from County Derry’ is mellower, even perhaps nostalgic. The lyrics for which it is known now - ‘Oh Danny Boy’, or ‘Londonderry Air’ were written only in 1910, by a lawyer called Fredric Edward Weatherly. Far earlier, this Irish tune had been written down by Jane Ross of Limavady in County Derry. It was then included in the book called ‘The Ancient Music of Ireland’ published in 1855. In 1913 Grainger adapted it first to be played on the piano.

Percy Grainger was well-known arranger, composer and pianist. Born in Australia, he left at the age of thirteen to study music in Frankfurt, Germany. Between 1901 and 1914 he was based in London. Living there, he became a friend of composers such as Delius and Grieg who both drew inspiration from folk music.

béla barTók Romanian Folk Dances for piano, harp and violin Sc. 56

Stick DanceSash DanceIn One SpotDance BuciumeanaRomanian PolkaFast Dance

Natalie Clein

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Europe was already swept away by the First World War when, in 1915, this charming and very brief cascade of dances was written. Sharp contrasts open the scene in the ‘Stick Dance’, which continues through the dizzying ‘Sash Dance’. The sequence then moves on to the delicate ‘In One Spot’ and further opens up to broad lyrical lines of the ‘Dance Buciumeana’ (Dance from Buscum). Finally - rather wild rhythms of the ‘Romanian Polka’ build up to the glittering finale of the ‘Fast Dance’.

In a rather remote sense, perhaps Bartók (1881-1945) may be seen as the Hungarian Percy Grainger. There are many and rather obvious differences between the two. Yet, Bartók, together with many others in Europe at the time, shared the belief in the power of folk songs. He was troubled by people relying so much on machines and being corralled into large cities. Folk music, he thought, could provide the humane inspiration needed to counter the deleterious effects. Little did he expect that very music to be later exploited in ways that left him no choice but to migrate to the USA.

WolFGanG amadeus moZarT Piano Concerto in A Major K414 arranged for Harp and String Quartet by Marie-Pierre Langlament

Allegro Andante Allegretto

‘Very brilliant, pleasing to the ear, and natural, without being insipid’ – thus wrote the composer himself - describing this Concerto to his father in 1782. He also commented that this composition could be played by a small orchestra or as a ‘Quattro’: with two violins, viola and cello. Tonight we hear that latter option with the harp replacing the pianoforte. Written in 1782, the Concerto includes frequent use of ‘sequences’ – repeating the same pattern in different keys. Elegant and festive, the style seems to go back to the influence of the baroque period. That impression is reinforced when a historical perspective is added: concerto no. 12 was composed after the more exploratory concerto no. 9 – the so-called ‘Jeunehomme’. Perhaps a personal reason was involved. The middle movement of no. 12 includes a quotation of a theme from the overture to La calamita dei cuori by Johann Christian Bach (1735-1782).That son of JS Bach was a much loved mentor and teacher of Mozart. He had died earlier that year.

Intermission

Antonín Dvořák String Sextet in A Major Op. 48

Allegro. ModeratoDumka. Poco allegrettoFuriant. PrestoFinale. Tema con variazioni, Allegretto grazioso, quasi andantino

Who can refuse a good tune? Dvořák (1841-1904), that master of heartfelt melodies, provides some of his best here. It is tempting to describe this Sextet as ‘Slavonic’. This extensive composition was written between 1875 and 1879 when Dvořák received government grants to compose. Feeling indebted, he produced also the Slavonic Rhapsodies (Op. 45) and the Slavonic Dances (Op.46). Indeed, the two inner movements of this Sextet are grounded in Slavonic themes.

Based on the accepted sonata form, the first movement (Allegro. Moderato) begins with one of those tunes with which you would love to join in singing. The second theme is perhaps mellower but has a similar Slavonic feel. The ensuing development section focuses on the first theme. Following the repeat of the initial two (recapitulation), the movement ends on an expansive and affirmative note.

The second movement is a ‘Dumka’. This is a musical form prevalent in Slavonic communities of the time. Such a Dumka is expected to remain within the Slavonic harmonic character of folk music and be thoughtful - at times, even ‘melancholic’. Here, after the initial relatively free section, a lyrical wholehearted theme is heard. It is followed by an even more intense section of various motifs, but all end up softly. Then an intimate period is offered when musical fragments are shared among the various instruments. The initial theme returns to round off the movement as a whole.

A ‘Furiant’ comprises the third movement. This Slavonic musical form is a fast and fiery Bohemian dance of various rhythms. Dvořák used that form also in the Slavonic Dances and in his sixth symphony. In this sextet it is shaped within the well-known A-B-A formula. The movement starts with an agitated section, which is almost interrupted by lyrically flowing motifs. Yet, it all leads up to the return of that initial rather frantic start.Then - seemingly out of nowhere, a lovingly flowing tune opens the Finale. Another beautiful melody emerges just to evolve into a series of four variations of increasing gentleness. Indeed, the movement ends with a cheerfully playful coda.

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FridaY 1sT sePTember 12Pm and 1:30 PmlYTcheTT minsTer Parish church Lytchett Minster Parish Church BH16 6JE

TickeTs adults £20 (including the lecture) adults £15 (piano recital only)

/ students £2

a lecture with marcus du sautoy: “The Song of Symmetry”, 12pm

Goldberg Variations for Piano with Christian Ihle Hadland, 1:30pmJohann sebasTian bach Goldberg Variations BWV 988

Two years ago our Festival included this ‘iconic’ set of variations as originally written - for the harpsichord. Today we hear it on a modern piano. However, it is pretty certain that the full intentions of the original sponsor were not honoured then and will not be upheld now. Count Kaiserling commissioned this music to help him fall asleep. For many other people these thirty variations are anything but a sleeping pill. Volumes have been written about them and the recordings produced are legion. Indeed, the cycle has everything: virtuosity, mysterious meanderings, delicate tenderness, occasional wit and much more. As brilliantly explained by Prof. du Sautoy, the plan is elaborate. Yet, all thirty variations are based on one and the same sequence of chords.

FridaY 1sT sePTember 7:30 PmPriorY church oF ladY sT marY, Wareham3 Church Green, Wareham BH20 4ND

TickeTs adults Price level 1 £25 Price level 2 £20 / students £2

barnabás kelemen, natalia lomeiko, Yuri Zhislin and katalin kokas (violins), lars anders Tomter (viola), adrian brendel, natalie clein and Jesper svedberg (cellos), Per arne Glorvigen (bandoneon), Christian Ihle Hadland (piano)

hans krÁsa Tanec for string trio

It is difficult to avoid seeing this performance (as well as that on 3rd September) as a musical experience as well as a memorial. This piece was written while the composer was interned at the Theresienstadt concentration camp. Krása (1899-1944) was a Czech - born and brought up in Prague by a Czech father and a Jewish mother. His first composition was performed to public acclaim when he was only 22 year old, and quite a number of similar successes followed. In August 1942 he was arrested by the Nazis and taken to that camp where he helped develop cultural activities for those imprisoned there. In October 1944 he, together with two other Jewish composers, was taken to Auschwitz and murdered there. The Tanec, a form of dance, was written in 1944 - 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.

Per arne GlorviGen Tango Muscoloso for String Quartet and Bandoneo

Remember that accordion with buttons rather than keys? Yes, that is the bandoneon, elsewhere developed as the ‘concertina’. The ‘Tango Muscoloso’, played tonight, is the first movement of a three-part piece called ‘Violent Tenderness’. That whole piece is an exciting exploration of the Tango as music to listen to rather than for dancing. It stretches back to the sources of the Tango in the ‘Milonga’ – a structurally free semi-improvised musical form. The opening ‘muscular’ tango itself is a relatively short fanfare of tunes, rhythms and harmonies announcing the wealth of sounds to come. True to character, tonalities shift freely and the rhythms? Ah, prepare for a celebration.

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Per Arne Glorvigen (b.1963) is a Norwegian musician and composer who is involved in many forms of music: contemporary, the Tango, Jewish Klezmer, and Baroque too. His partnership with the violinist Gideon Kremer is very well established as is his record of performing with leading orchestras worldwide.

mauricio kaGel Pandora’s box for solo bandoneon

A musical hide and seek game is often what you would expect from Mauricio Kagel (1931-2008). He loved theatrical and whimsical interjections, and excelled in performing such pieces too. This composition was written in 1961 for the pianist David Tudor who did not play the bandoneon. Consequently, there are two scores: one for bandoneon players and the other for pianists. Kagel wrote only two pieces for the bandoneon itself. Perhaps it is worth noting that this instrument is actually a German invention and, for most of his life, Kagel lived in Cologne, rather than his native Buenos Aires. This is probably why he was not keen on himself, as well as the instrument, becoming Argentinian national icons.

Kagel was born in Argentina to Jewish parents who fled there from Russia in the 1920s. It was in Buenos Aires that Kagel received his initial musical education. Yet, in 1957, aged only 26, he continued his studies in Germany and settled in Cologne for the rest of his life. A prolific musical career followed – teaching, composing, performing and recording continuously. He is clearly remembered among audiences of contemporary music as a beloved performer of wit, imagination and charm.

JosePh haYdn Piano Trio no. 39 in G Major Hob. XV/25 (‘The Gypsy Trio’)

AndantePoco adagio, cantabileRondo a l’Ongarese: Presto

Listen to this: a classical piano Trio, inspired by devices used by Austrian Hussars, to recruit Hungarian peasants to the army? Indeed – not immediately obvious. Yet, when you follow this most famous of Haydn’s piano Trios to its end ….. that is where you end up. The Trio, which Haydn (1732-1809) wrote when he was 63, begins with no hint of its end. An elegant and festive opening is offered in the first movement (Andante). Throughout we gladly listen to an innocuous sequence of a theme and variations alternating between the major and minor scales. The second movement; Poco adagio, cantabile, has an air of

simplicity – even innocence. With the typically classic device of symmetric phrases often evident, the ‘cantabile’ in the title is elaborated by the singing nature of this movement.

Then, quite suddenly, we feel as if a hidden curtain is swiftly raised. A wealth of rhythmic tunes bursts to the surface. Allusions to stomping, produced by left-hand pizzicato, are used to startling effect. This ‘Rondo in the Hungarian Style’ is said to be reminiscent of the ‘verbunkos’ - recruiting dances played by Romany bands employed by Austrian Hussars. Their job was to entice Hungarian peasants to enrol for military service. As a result, the Trio earned the nickname ‘The Gypsy trio’. Surely, Haydn knew something about building up to, and then springing upon you, a most delightful surprise.

Intermission

Johannes brahms Intermezzo in A Major Op. 118 no. 2 for Piano Solo

An initial motif is introduced, other melodies follow, and the original motif returns after each melody is heard. Naturally – we may begin to think of the classical structure of a Rondo. Clearly, in this brief Intermezzo, there is no trace of those stormy sections you would find in other pieces by Johannes Brahms (1833-1897). Here he offers a little respite from that ‘sturm und drang’ of his time.

The Intermezzo is the second in a series of six pieces for solo piano. That sequence was completed in 1893 – rather late in Brahms’ life, and was the second to last of the pieces he wrote. Some consider Brahms a composer of the Classical style. Indeed, the structures he employed for his music, such as the Rondo, were often affiliated with Classical ones. Yet, the motifs and harmonies were often Romantic. Perhaps this dual affinity is the hallmark of this particular genius? Brahms himself did not say that it was. He merely dedicated the whole series to Clara Schuman.

Antonín Dvořák Piano Quintet in A Major Op. 81 no. 2

Allegro, ma non tantoDumka: andante con motoScherzo (Furiant): molto vivaceFinale: allegro

Dvořák (1841-1904), the great mixer of musical sources, is at his zenith in this piano quintet. Written in 1887, this is a rather weighty composition -

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encompassing a broad range of musical elements and moods. No wonder it has been accorded a recognizable place in European chamber music repertoire.

Following Smetana’s nationalist example, Dvořák too drew inspiration from folk music; particularly Moravian and Bohemian. But, and some would say, wisely - he mixed their rhythms with his own creation of heartfelt melodies that many still cherish.

The first movement, Allegro ma non tanto, may be heard as conveying struggles among equals. All the instruments sound equally important, while various links between pairs of instruments give rise to tensions and even occasional storms. Yet, these tense moments do not last for ever. Remarkably beautiful tunes surround them until an affirmative treatment of the initial theme leads this movement to its end.

The second movement is a ‘Dumka’ – a pensive, some even use the word ‘melancholic’, opening. As expected, the harmonies are inspired by Slavic folk songs. But the particular melody we hear is pure Dvořák: you just wish it never stopped. Well yes - it does stop; temporarily. A second theme appears and then fragments of the first are articulated. These fragments somehow develop into a new dance-like theme which retains the Slavic nature too. Yet, a middle point is formed – a sign-post which is never repeated. Soon, other fragments of the second theme re-assert themselves. These, by now familiar phrases, lead to a free section of delicate exchanges related to the first theme. Continuous exchanges lead the movement to an end of utmost simplicity.

The third movement, Scherzo, is marked as a ‘Furiant’; a fast Bohemian folk dance. The opening is tense - with the cello and the viola exchanging rhythmic pizzicati, while the first violin is promoting the main tune. The following slower section is reminiscent of a trio in a classical minuet. We hear the piano and the first violin entering a dialogue related to the first tune. A burst of another fast Bohemian folk dance disrupts that reverie, and leads up to the exclamatory ending.

The last movement, a Finale, is celebratory. The second violin plays a leading role now. Not before long it gives way to a fugue which carries us unto a peaceful ‘tranquillo’. That is not enough – we then descend further; into the quietness of a pianissimo. Yet, we are not left totally lost. Just before the end, the pace quickens and the whole quintet is rounded off by a confirmatory broken chord.Staging courtesy E. Hayes for Yarrells Prep School Upton, Poole Dorset.

saTurdaY 2nd sePTember 10 amThe Parish church oF sainT nicholas, WorTh maTraversWorth Matravers, Swanage BH19 3LQ

TickeTs adults £18 / students £2

Johann sebasTian bach Flute Sonata in G Minor BWV 1020 played on violin and harp

AllegroAdagioAllegro

Does pedigree matter? Scholars still argue who wrote this sonata – the great Johann Sebastian Bach (1685-1750) or his son Carl Philip Emmanuel (1714-1788)? And for which instrument: the flute or the violin? With harpsichord or its ‘smaller-toned cousin’, the clavichord?One thing is pretty clear: during the Baroque period ownership of compositions and exact specifications of their performance were not yet a legal matter. Borrowing themes, re-attributing the same piece to a different composer, changing the playing instruments – all were very common.In that spirit, we hear this sonata played on violin and harp in this concert. The authentically verified flute sonatas BWV1014 - BWV1019 have more movements, but does that in itself make the present piece inferior? Surprise entries, broad and moving lyrical lines, a jolly rhythmic ending – who on earth can complain?

aram il’Ych khachaTurian Danse Orientale et Toccata for solo harp

Political context is, at times, hard to ignore. From 1957 until the end of his life, Aram Khachaturian (1903-1978) served as the Secretary of the Union of Soviet Composers. Perhaps there is something ironically symbolic in his reputation as the author of the ‘Sabra Dance’ included in his ballet Gayane. Somehow Khachaturian managed to survive the strict control which the Stalinist communist party exercised over the arts. Only once, for a brief period in 1948, he, together with Prokofiev and Shostakovich, was declared a ‘formalist’, and his music condemned as being ‘anti-people’.

lara st. John (violin) and marie-Pierre langlamet (harp).

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saTurdaY 2nd sePTember 11.30 amFine FoundaTion GallerY, durlsTon counTrY ParkDurlston Castle, Lighthouse Rd, Swanage BH19 2JL

TickeTs adults £5. children are free but must be accompanied by at least

one adult.

saTurdaY 2nd sePTember 3 PmFine FoundaTion GallerY, durlsTon counTrY ParkDurlston Castle, Lighthouse Rd, Swanage BH19 2JL

TickeTs adults £20 / students £2

The concert includes a pre-talk at 2pm by Jason Price from Tarisio about the historical instruments performing at the Festival. He will lead a discussion on the often unsung co-stars of these concerts, the instruments played by this year’s musicians. With histories dating back to the 16th, 17th and 18th centuries, historical musical instruments tell fascinating stories.

Khachaturian was born in the capital of Georgia – Tbilisi, and grew up there receiving no musical education. He was fourteen when, in 1921, he moved to Moscow following the Sovietisation of the Caucuses. Only then did he enter a music college – the famous Genessin Musical Institute. Khachaturian himself often declared his roots to have always been the music of ‘the people’ of Georgia. Others characterized his vast output as distinguishable by its ‘colorful harmonies, captivating rhythms, virtuosity, improvisations, and sensuous melodies’. It is possible that all these aspects are reflected in the present Dance for the harp.

Johann sebasTian bach Partita in D Minor for solo violin BWV 1004

Allemande Courante Sarabande GigueChaconne

Here is Bach (1685-1750) as a musical curator. Four relatively short dances come first – was he trying to tease us? Alternatively - tune us in to greater complexity? Who knows? Clearly, the Chaconne that follows has remained a deeply admired and much loved set of theme and variations. Already in 1877 Brahms himself wrote to Clara Schuman that:

‘On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind.’

Musical fun for families and children with guest moderator and soprano Olivia Ray.

barnabás kelemen, natalia lomeiko and katalin kokas (violins), Yuri Zhislin (viola), natalie clein and adrian brendel (cellos)

domenico Gabrielli Canone a due violoncelli

This brief canon flags a Gabrielli not necessarily known to everyone. Domenico Gabrielli (1651-1690) was not a member of the well-known Venetian family of Andrea and Giovanni. He was born in Bologna where he held various musical positions, and towards the end of his life he served also at the court of Duke Francesco II d’Este of Modena – a nearby regional town today. The canon we hear is significant as an indication of this Gabrielli’s reputation. Nicknamed ‘Dominic of the cello’, he was renowned for being a performing cellist as well as one who wrote extensively for that instrument. The clarity of this festive canon, including its gentle ending, attests to his standing.

JosePh haYdn Duo for Violin and Viola in B Flat Major Hob VI:3

AndanteAdagioMinuet

‘Elegant’ and ‘reassuring’ are two words that may come to mind when listening to this Duo. The elegant flavour comes first – in the Andante, where a set of variations on a single theme just dazzle. The following Adagio moves us to a different key. Here some mellower time is experienced - possibly in between dancing and singing. The final movement is a Minuet which takes us back to the initial B flat major. This cheerful classical sequence of ‘Minuet-Trio-Minuet’ can be contentedly enjoyed by all. During the 1770s Haydn wrote a series of six such Duos. These came soon after he had completed his earlier and relatively simpler

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quartets. True to character, this Duo shows the previously accepted form - the viola is given only an accompanying role. Far more was still to come. Yet, Haydn’s charm and grace are already undeniable.

béla barTók Selection from the 44 Duos for Two Violins Sz 98, BB 104

Offering their students routine mechanical exercises is not good enough for some composers. Teachers like JS Bach made the effort to write musically inspiring short pieces instead – each with an educational aim in mind. Such is also Bartók’s series of forty four very short Duos. The selected pieces will be played today by a violin and viola. Béla Bartók (1881-1945) wrote this series in 1931, when he was already an established teacher. He divided it into four books which were ordered from easier to most difficult pieces. All are based on folk songs and dances the composer collected in various countries of Eastern Europe. However, the harmonies and rhythms included are distinctly Bartókian. His love of syncopated rhythms and his exploration of relatively more dissonant harmonies are evident.

maurice ravel Sonata for violin and cello M 73

Allegro Tres vif (very bright)Lent (slow)Vif, avec entrain (bright and cheerful)

Hungarian folk songs, dissonances, pizzicati, rhythmic verve - here we have the musical idioms of the period. Equality between the violin and the cello is perhaps part and parcel of that sense of innovation. Both instruments initiate themes in this large scale sonata. Ravel (1875-1937) began writing it in 1920 – two years after the end of World War I. He was still reeling from the experiences of that period and took two years to complete this work. Central to his canon of writing, this sonata is in four movements. The Allegro opens up a search that entails grappling with various musical possibilities. The second movement, entitled ‘Tres vif’ (very lively), erupts through contrasts of loud and soft sound (sforzandi). Suddenly a lyrical dialogue emerges, but alas – it is swept away by a violent burst. The ‘Lent’, slow movement, is devoted to exploratory episodes – looking around, discovering tension, looking around again, and ending on a peaceful note. Finally, the ‘Vif, avec entrain’ (literally, perhaps ‘lively and cheerful’) - seems to call for shedding complicated ideas. Instead, dancing joyfully with those bits and pieces that have survived is emphasised. Throughout, Ravel’s renowned mastery of musical colouring can only amaze – time and again.

saTurdaY 2nd sePTember 7.30 PmsT GeorGe’s church, lanGTon maTraversSt George’s Close, Langton Matravers, Swanage BH19 3HZ

TickeTs adults Price level 1 £25 Price level 2 £20 / students £2

lara st. John, barnabás kelemen, katalin kokas (violins), lars anders Tomter (viola), natalie clein, Jesper svedberg and adrian brendel (cellos), Per arne Glorvingen (bandoneon), marie-Pierre langlamet (harp), Christian ihle hadland (harmonium), robert rinder (narrator)

Antonín Dvořák Bagatelles for String Trio and Harmonium Op. 47

Allegretto scherzandoTempo di minuetto, GraziosoAllegretto scherzandoCanon, andante con motoPoco allegro

Bagatelles are brief ‘unpretentious’ instrumental pieces. Over a few days in 1878 the present set of five was written – apparently, for a private circle of friends with whom Dvořák (1841 – 1904) used to play. Unpretentious these bagatelles may be, but not trivial.

A warm and inviting theme opens the cycle as an Allegretto scherzando. Its tune was taken from a folk song developed by Dvořák into a series of variations. Then, in the Tempo di minuetto, various harmonic versions are explored while the theme is modulated. Yet, in the end, tensions resolve into a friendly pause. The connecting theme returns in the third bagatelle (another Allegretto scherzando). However, this time it seems to morph into a type of dance. The form of Canon is adopted for the following Andante con moto. We are invited to pause and reflect a little about various melodic possibilities until the connecting theme emerges yet again.

The whole cascade concludes with an elaborate Slavic dance (Poco allegro). Different melodic lines are tried out until a new one shines through, but it too is further modulated – reassuringly leading back to the initial folk song. Then the whole group bows out. Were we invited to join a private party? Enjoy.

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brian elias Come Blessed Sleep for Alto and Harp

This song is part of a set of three which Brian Elias (b.1948) completed in 2003. Tonight only the first will be performed, but the composer generously provided comments about all three to help us understand the context. He says this: ‘These three poems were written by Christina Rossetti (1830-1894) several years apart, yet they seem to express similar emotions and concerns. The first was written in 1853 when she was twenty-three, the second when she was in her late thirties and the third, written towards the end of her life may be the last poem she ever wrote.’ The text of the first song speaks for itself:

Come, blessed sleep, most full, most perfect, come; Come, sleep, if so I may forget the whole; Forget my body and forget my soul, Forget how long life is and troublesome. Come, happy sleep, to soothe my heart or numb, Arrest my weary spirit or control; Till light be dark to me from pole to pole, And winds and echoes and low songs be dumb. Come, sleep, and lap me into perfect calm, Lap me from the world and weariness: Come, secret sleep, with thine unuttered psalm, Come, heavy dreamless sleep, and close and press Upon mine eyes thy fingers dropping balm.

Brian Elias was born in Bombay, India, and when he arrived in England at the age of thirteen he had already written, or rather improvised, a number of musical pieces. In 1966 he entered the Royal College of Music but was particularly inspired by his association with Elisabeth Lutyens during that period. An extensive career has developed since, and in August 2017 the cello concerto he had written for Natalie Clein was performed by the BBC National Orchestra of Wales at the BBC Proms.

WolFGanG amadeus moZarT Piano Concerto in A Major K414 Arranged for Harp and String Quartet by Marie-Pierre Langlament

Allegro Andante Allegretto

‘Very brilliant, pleasing to the ear, and natural, without being insipid’ – thus wrote the composer himself - describing this concerto to his father in 1782. He also commented that this composition could be played by a small orchestra as well as a ‘quattro’: with two violins, viola and cello. Tonight we hear that latter option with the harp replacing the pianoforte.Written in 1782, the concerto includes frequent use of ‘sequences’ – repeating the same pattern in different keys. Elegant and festive, the style seems to go back to the influence of the baroque period. That impression is reinforced when a historical perspective is adopted: concerto no. 12 was composed after the more exploratory concerto no. 9 – the so-called ‘Jeunehomme’. Perhaps a personal reason was involved. The middle movement of no. 12 includes a quotation of a theme from the overture to La calamita dei cuori by Johann Christian Bach (1735-1782).That son of JS Bach was a much loved mentor and teacher of Mozart. He had died earlier that year.

Intermission

andré caPleT Conte Fantastique for Harp and String Quartet with a Narrator

Can a terrible ‘tale’ be told as it was? Many, including Shakespeare, did not think so. Instead, they created a scene that happened ‘far away and long ago’ - perhaps the ‘Fantastique‘ in the title? Already in 1909 the 31 year old Caplet (1878-1925) was inspired by Edgar Allan Poe’s short story ‘The Masque of the Red Death’ written in 1824. However, the music lay dormant for fifteen years until it was completed and published in 1924. In between, terrible things did happen. While serving in the military during World War I Caplet was gassed, and this resulted in the pleurisy of which he died a year after the publication of his ‘tale’. We do not know which parts

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Caplet composed before and which emerged after these fateful events. Yet, it is difficult to ignore the probable impact of Caplet’s pains and impending death on the piece as a whole.

The story opens with an exploration grounded in no clear musical key (atonal). Haunting virtuosity is displayed by the harp which engages us in contrasting sections. Lighter, lyrical lines then begin to crisscross space. These evolve into a period of very free use of rhythms and harmonies mixed with glissandi but with decreased dissonance. We are seduced into an almost joyous reverie with less and less dissonance heard until, all of a sudden, we are woken up. A threatening knock, produced by tapping the body of the harp, heralds the total destruction of the imagined order. The initial threatening arpeggios resurface with venom - ending up as exclamations of protest.

ÁsTor PiaZZolla Histoire du Tango (selection)

‘Programmatic’ is sometimes the name given to music using sound to evoke impressions of real life phenomena. In some way, this charming ‘history lesson’ probably deserves that tag. Astor Piazzolla (1933–1990) devoted his life to bringing the Tango into the classical concert hall. He wrote this sequence of four episodes in 1986 to demonstrate the development of this genre over time: ‘Bordello’ refers to the 1900s when Tango was dance music enjoyed in these institutions. ‘Café’ moves us on to the 1930s when listening over a drink or two replaced dancing. ‘Nightclub’ is set 30 years later – in the sixties, when audiences flocked to the nightclubs just to listen to emerging innovations. ‘Modern-day’ refers to the 1980s when quite a number of renowned composers drew on the Tango when writing their music for the concert hall.

Piazzolla’s engaging mix of Latin American rhythms and temperament with remnants of European Baroque and Classical styles has not ceased to delight audiences all over the world.

sundaY 3rd sePTember 11.30 amsT James’s church, kinGsTonSouth St, Kingston, Corfe Castle, Wareham, BH20 5LL

TickeTs adults £20 / students £2

Barista coffee served from 10:30am, church bells at 11 am, public entrance 11:15 am.

barnabás kelemen, katalin kokas and lara st. John (violins), lars anders Tomter and Yura Zhislin (violas), natalie clein, Jesper svedberg and adrian brendel (cellos), Per arne Glorvigen (bandoneon)

hans krÁsa Passacaglia and Fugue for String Trio

As already mentioned in the introduction to his Tanec, it is difficult to forget the circumstance in which the music we hear now was written. Krása (1899-1944) was a Czech - born and brought up in Prague by 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 Theresienstadt concentration camp. While interned Krása helped develop cultural activities for those imprisoned there and continued to compose. In October 1944 he, together with two other Jewish composers, was taken to Auschwitz and murdered there. This piece was composed in Theresienstadt during the period leading up to that event. Possibly defying expectations, this piece begins in a meditative mood which further develops into a sort of waltz. A rhythmic, dance-like section follows which erupts into a dramatic struggle. Yet, for a while, that tension settles for a more relaxed musical interchange. A sense of free space arises, and even a playful dialogue. For a while. The end is tense and abrupt.

Per arne GlorviGen Very Early Morning Blues for Bandoneon, Mouth Harmonica and Cello

The piece was written for a festival in 2013, revealing the composer’s long-standing passion for the Blues. It is the mouth harmonica which opens the scene with a ‘lamenting’ glissando imploring us to listen. Then the cello and bandoneon join in - both echoing the mouth harmonica. Together all three build up a foggy texture – perhaps an early morning haze, certainly painted with quarter tones. Soon various melodic motifs begin to rise, and fall, until a gentle dance in a triple-beat appears. However, various developments ensue. Before long, polite musical conversation is set aside and the certainty of a musical key recedes. We are unexpectedly in the realm of contemporary music. After a virtuosic cadence played by the cello, the piece ends up with ‘joyful and

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optimistic blues …. closing with glissandi from the opening bars’. The Norwegian Per Arne Glorvigen (born 1963) has established the position of the bandoneon on many concert platforms in various parts of the world. During his extensive musical career Glorvigen has crossed many boundaries: playing Baroque, Klezmer and contemporary music. A strong influence has been the Argentinian bandoneon ‘maestro’ Jos Mosalini and, of course, the Tango. All can be heard informing his compositions.

Antonín Dvořák String Sextet in A Major Op. 48

Allegro. ModeratoDumka. Poco allegrettoFuriant. PrestoFinale. Tema con variazioni, Allegretto grazioso, quasi andantino

Who can refuse a good tune? Dvořák (1841-1904), that master of heartfelt melodies, provides some of his best here. It is tempting to describe this sextet as ‘Slavonic’. This extensive composition was written between 1875 and 1879 when Dvořák received government grants to compose. Feeling indebted, he produced also the Slavonic Rhapsodies (Op. 45) and the Slavonic Dances (Op.46). Indeed, the two inner movements of this Sextet are grounded in Slavonic themes. Based on the accepted sonata form, the first movement (Allegro. Moderato) begins with one of those tunes with which you would love to sing. The second theme is perhaps mellower but has a similar Slavonic feel. The ensuing development section focuses on the first theme. Following the repeat of the initial two (recapitulation), the movement ends on an expansive and affirmative note. The second movement is a ‘Dumka’. This is a musical form prevalent in Slavonic communities of the time. Such a Dumka is expected to remain within the Slavonic harmonic character of folk music and be thoughtful - at times, even ‘melancholic’. Here, after the initial relatively free section, a lyrical wholehearted theme is heard. It is followed by an even more intense section of various motifs, but all end up softly. Then an intimate period is offered while musical fragments are shared among the instruments. The initial theme returns to round off the movement as a whole. A ‘Furiant’ comprises the third movement. This Slavonic musical form is a fast and fiery Bohemian dance of various beats. Dvořák used that form also in the Slavonic Dances and in his sixth symphony. In this Sextet it is shaped within the well-known A-B-A formula. The movement starts with an agitated section, which is almost interrupted by lyrical flowing motifs. Yet, all lead up to the return of that initial rather frantic start. Then, seemingly out of nowhere, a lovingly flowing tune opens the Finale. Another beautiful melody follows - evolving into a series of four variations of increasing gentleness. Indeed, the movement ends with a cheerfully playful coda.

Dr. Oded Manor

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naTalie clein Musical Director, cello

British cellist Natalie Clein has built a

distinguished career, regularly performing at major venues and with orchestras worldwide. Her playing has been praised for its “astonishing range of colours and ... wide variety of expressive styles” (Gramophone Magazine).

She is an exclusive recording artist for Hyperion and has recorded 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 to great critical acclaim. A solo disc with works by Bloch, Ligeti and Dallapiccola was released on 27 Janaury 2017. She has previously released 3 discs for EMI.

Her performances have taken Natalie Clein to orchestras including the Philharmonia, Hallé, Bournemouth Symphony, City of Birmingham Symphony, BBC National Orchestra of Wales, Montreal Symphony, Orchestre National de Lyon, New Zealand Symphony and Orquesta Filarmónica de Buenos Aires. She has performed with conductors including Sir Mark Elder, Sir Roger Norrington, Gennady Rozhdestvensky, Leonard Slatkin,

Stéphane Denève and Heinrich Schiff.

A keen recital and chamber performer, she has recently performed Bach’s Complete Cello Suites in London, Southampton and Oxford; and has curated a series of four concerts for BBC Radio 3 at LSO St Luke’s.

She regularly works with contemporary composers such as Thomas Larcher, Brian Elias and Dobrinka Tabakova and has also curated and been involved in cross-disciplinary projects with the dancer Carlos Acosta, writer Jeanette Winterson and director Deborah Warner amongst others.In 2015, Natalie Clein was appointed Artist in Residence and Director of Musical Performance at Oxford University for 4 years.

adrian brendelcello

One of the most versatile and original Cellists of his generation, Adrian Brendel has travelled the world as soloist, collaborator and teacher. Adrian first studied the cello with William Pleeth, with whom he developed a deep attachment to chamber music. He then went on to study with Alexander Baillie and Frans

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Helmerson in London and Cologne, also frequently attending the masterclasses of Gyorgy Kurtag, Ferenc Rados, members of the Alban Berg quartet and his father Alfred Brendel.

In great demand as a recitalistand soloist, Adrian works withAleksandar Madzar, Imogen Cooper, Till Fellner, Tim Horton and Kit Armstrong. His chamber music partners include Henning Kraggerud, Lisa Batiashvili, Lars-Anders Tomter, Andrej Bielow,Katharine Gowers and AlasdairBeatson to name a few. Over the last two years he has visited theAldeburgh, Cheltenham, Verbier,Ernen, Salzburg, Sonoro, Enescu,Schubertiade and Ruhr internationalfestivals, and is a frequent visitor to London’s Wigmore Hall, BerlinPhilharmonie, Vienna Musikverein,Amsterdam Concertgebouw and many other important venues in Europe. He has performedconcertos with the Academy of StMartin in the Fields, RSNO, SCO andmany orchestras across Germany and eastern Europe. His annualvisit to the International Musicians’Seminar in Prussia Cove, foundedby the late Sandor Vegh as a perfectenvironment for music-making, is of great personal and artisticimportance.

Adrian is artistic director of thePlush festival, held every summer in Plush, Dorset since 1995.

Per arne GlorviGen bandoneon and composer

Per Arne Glorvigen is among the foremost of today’s bandoneon players. His contact with this instrument began as late as the age of 25 when, after having finished the State Academy of Music in Oslo, he moved to Paris and met the Argentinian bandoneon maestro Juan José Mosalini.

After two years of studying with Mosalini and several stays in Buenos Aires, Glorvigen began his career as a professional bandoneonist.

In addition to playing tango, Glorvigen has expanded the repertoire of the bandoneon by playing everything from baroque, kletzmer and pop and last but not least; contemporary music. The young composers Willem Jeths (Holland), Bernd Franke (Germany), Henrik Hellstenius (Norway) and Luis Naon (Argentina / France) have all dedicated concertos to Glorvigen.

In 2003 he performed and recorded with the Alban Berg Quartet and together they commanded a new piece for bandoneon and string quartet by Austrian composer Kurt Schwertsik. Among Glorvigen’s musical partners we find artists

such as Giora Feidman (clarinet), Göran Sölscher (classical guitar), the ensemble Tango for 3, the Leipziger Streichquartett, Deutsche Kammerphilharmonie of Bremen, the BBC Symphony Orchestra, Orchestra Guiseppe Verdi Milano, Danish Radio Symphony Orchestra, the Oslo and the Gothenburg Philharmonic, the Russian National Orchestra, and the Soloists of the Orchestre de Paris.

Nevertheless, his most important colleague has been violonist Gidon Kremer with whom he has recorded 4 CDs and played nearly one hundred concerts worldwide.

Per Arne Glorvigen also works as an entertainer and comedian with language sketches as a speciality.

He is currently studying in Paris with Eric Tanguy (composing) and Guillaume Conesson (orchestration). Recordings for Auvidis, Nonesuch, Sony Classical, Teldec, EMI Classics and Deutsche Grammophon.

chrisTian ihle hadland piano

Christian came tointernational attention in 2011when he began a two-year stint as

a BBC New Generation Artist. As anNGA he performed with all five of

the BBC’s symphony orchestrasfrom London to Manchester andbroadcast solo and chamberrecitals for the Corporation inLondon. As a finale to his tenure,Christian was the soloist inBeethoven’s Second Piano Concertoat the BBC Proms with the OsloPhilharmonic under Vasily Petrenko;the concert was broadcast liveand Christian was praised byLondon critics for his ‘pearly’ and‘otherwordly’ sound. Christianmade his professional concertodebut with KORK, the NorwegianRadio Orchestra, aged 15. He hassince performed with all the majororchestras in Scandinavia includingthe Swedish Radio and DanishNational Symphony Orchestras, andthe Royal Stockholm, Helsinki andOslo Philharmonics and also theSwedish Chamber Orchestra. In theUK he has appeared as a concertosoloist with the Hallé Orchestra, theRoyal Scottish National Orchestra,the Scottish Chamber Orchestraand Manchester Camerata, inaddition to his work with the BBCorchestras. He embarked upona successful concert tour of theUK with the Bergen Philharmonicunder Andrew Litton in 2013.Christian is highly sought after asa chamber musician and has beenArtistic Director of the InternationalChamber Music Festival inStavanger, his hometown, since

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2010. He appears regularly at TheWigmore Hall and has also performed at the BBC Proms Chamber Music Series,where he collaborated with theSignum Quartet. In 2006,Christian performed with sopranoRenée Fleming at the Nobel PrizeAward Ceremony in Oslo. Christian was born in Stavanger in 1983 andreceived his first piano lessonsat the age of eight.

lara sT. Johnviolin

Canadian-bornviolinist Lara St. John has been described as “something of a

phenomenon” by The Strad and a “high-powered soloist” by the New York Times.

She has performed as soloist with the orchestras of Cleveland, Philadelphia, San Francisco, Seattle, Toronto, Montreal, Vancouver, and with the Boston Pops, the Royal Philharmonic Orchestra, NDR Symphony, Zurich Chamber Orchestra, Camerata Ireland, Amsterdam Symphony, Brazilian Symphony, Sao Paulo Symphony, China Philharmonic, Hong Kong Symphony, Tokyo Symphony, and the orchestras of Brisbane, Adelaide and Auckland among many others.

Lara created her own record label, Ancalagon, in 1999, and has recorded with the Royal Philharmonic, the Simon Bolivar Youth Orchestra of Venezuela and The Knights, with which she won the Juno award in 2011 for her Mozart album.

Lara began playing the violin when she was two years old. She made her first appearance as soloist with orchestra at age four, and her European debut with the Gulbenkian Orchestra in Lisbon when she was 10. She toured Spain, France, Portugal and Hungary at ages 12 and 13, entered the Curtis Institute at 13, and spent her first summer at Marlboro three years later. Her teachers have included Felix Galimir and Joey Corpus.

She performs on the 1779 “Salabue” Guadagnini thanks to an anonymous donor and Heinl and Co. of Toronto. barnabÁs kelemen violin

An artist of “innate musicality” with a technical execution that belongs “only to the greatest” (The Guardian), Hungarian violinist Barnabás Kelemen has captured the

attention of the music world. With a repertoire that ranges from classical to contemporary music, Kelemen gave the Hungarian premieres of the Ligeti and Schnittke Violin Concertos as well as the Hungarian premiere and world premiere of violin works by Gubaidulina and Kurtág.

Barnabás Kelemen collaborates with orchestras such as the BBC Symphony, Budapest Festival, Estonian National Symphony, Deutsche Radio Philharmonie Saarbrücken, Helsinki Philharmonic, Hong Kong Philharmonic, Hungarian National Philharmonic, Indianapolis Symphony, Iceland Symphony, London Philharmonic, Malaysian Philharmonic, NDR Radiophilharmonie Hannover, Netherlands Radio, Norwegian Chamber, Philharmonia Auckland, RTÉ National Symphony, Tapiola Sinfonietta and the Yomiuri Nippon Symphony.

Barnabás Kelemen works with renowned conductors such as Olari Elts, Iván Fischer, Jurjen Hempel, Pietari Inkinen, Vladimir Jurowski, Tonu Kajuste, Zoltán Kocsis, Hannu Lintu, Daniel Raiskin, Ola Rudner, Michael Sanderling, Alexander Shelley, Dmitri Slobodeniouk, Stefan Solyom, Masaaki Suzuki, Gábor Takács-Nagy, Krzysztof Urbánski and Ryan Wigglesworth. In play

and lead engagements he has appeared with the Budapest Festival Chamber Orchestra, Het Kamerorkest Brugge, Indianapolis Symphony, Norwegian Chamber Orchestra, Austrian-Hungarian Haydn Philharmonic and Royal Concertgebouw Chamber Orchestra.

He has performed with Zoltán Kocsis at the Concertgebouw in Amsterdam, Bozar in Brussels and Carnegie Hall in New York and regularly plays chamber music with Alexander Lonquich, José Gallardo and Nicolas Altstaedt. In 2010 he founded the Kelemen Quartet, which won the first prize at the Premio Paolo Borciani (Reggio Emilia) in 2014. The quartet also received a silver medal, audience prize and the Musica Viva Grand Prize at the Melbourne International Chamber Music Competition in 2011.

Highlights in the 2016/17 season include appearances as a soloist with Hessisches Staatsorchester and Zsolt Hamar, Lahti Symphony Orchestra and Huba Hollóköi, Nordwestdeutsche Philharmonie and Sören Nils Eichberg, Turku Philharmonic Orchestra and Christian Kluxen as well as with Augsburger Philharmoniker, Savaria Symphony, Sibelius Academy Chamber Orchestra and the Spectra ensemble.

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kaTalin kokas violin

Katalin Kokas was born in 1978 in Pécs, Hungary. She began

to play the violin at the age of 5. At the age of 11 she attanded the preliminary class of the Franz Liszt Music Academy in Budapest and studied with Ferenc Halász and Dénes Kovács. From the age 16 she was awarded full scholarship at the Toronto Royal Conservatory where she studied with Lóránd Fenyves. From 1997 she worked with Eszter Perényi at the Liszt Academy in Budapest where she got her honours degree. She attanded masterclasses of Ferenc Rados, György Kurtág, György Pauk, Dénes Zsigmondy, Igor Ozim, Tibor Varga, Endre Wolf, Jaime Laredo and Leon Fleischer.

After winning many national competitions she has won the First Prize at the Usti nad Orlice International Violin Competition in the Chech Republic in 1994. In 1996 she won the Concerto Competition in Toronto. She won the Bartók and the Martinu Competitions in Semmering-Austria in 1997-98. In 1999 Katalin Kokas has won the Carl Flesch International Violin Competition and in 2002 she has

won the First Prize at the prestigous Joseph Szigeti International Violin Competition in Hungary.

Katalin Kokas – as a violinist or violist – has collaborated with musicians such as Zoltán Kocsis, Miklós Perényi, Dénes Várjon, Philipp Cassard, Péter Nagy, Thorlief Thedeen, Michael Stern, the Chilingirian Quartet, János Rolla and the Franz Liszt Chamber Orchestra, and performed with simphonic orchestras of Poznan, Kosice, Bratislava, Johannesburg, Durban, Taiwan and most of the Hungarian orchestras.

She was awarded by the Ferenc Halász Prize and the Annie Fischer Scholarsip in 2004, 2005. Lately she played a tour in Taiwan with the Taiwan National Symphony, gave a recital in Stuttgart and played the very first violin concerto in the new National Concert Hall in Budapest with Zoltán Kocsis and the Hungarian National Symphony, the Sibelius Violin Concerto. Currently she is a violin professor at the Franz Liszt Music Academy in Budapest.

MArIe-PIerre lanGlameTharp

She first become acquainted and enchanted with the

harp from the children’s album Piccolo Saxo. Because Marie-Pierre Langlamet definitely wanted to learn a polyphonic instrument, and the piano class was full, she decided to take up the harp. She received her first musical training at the Nice Conservatoire with Elisabeth Fontan-Binoche, later participating in master classes given by Jacqueline Borot and Lily Laskine.

At the age of only 15, she attracted international attention when she won top prize at the Maria Korchinska International Harp Competition and first prize at the International Harp Competition of the Cité des Arts of Paris one year later. She was only 17 when she was engaged as principal harp in the Nice Opera Orchestra, but a year later she gave up this position to continue her studies in Philadelphia at the Curtis Institute. From 1988 until she joined the Berliner Philharmoniker five years later, she was deputy principal harpist of the Metropolitan Opera Orchestra in New York.

Marie-Pierre Langlamet performs worldwide as a soloist with renowned chamber music ensembles and orchestras such as the Berliner Philharmoniker, the Israel Philharmonic Orchestra and the Orchestre de la Suisse Romande, and she also gives numerous solo recitals. In June 2009, Marie-Pierre Langlamet was

made a Chevalier dans l’Ordre des Arts et des Lettres by the French Ministry of Culture for her contribution to French music. Since 1995 she has taught in the Orchestra Academy. What she enjoys most in her free time is riding, skiing and ice-skating with her children.

naTalia lomeikoviolin

Born into a familyof musicians in Novosibirsk, Russia, Natalia has established herselfinternationally as a versatileperforming artist. Having wonnumerous prizes in Tibor Varga,Tchaikovsky, Menuhin, StradivariInternational Violin competitions; in the year 2000 she received the Gold Medal and the 1st Prize in the Premio Paganini InternationalViolin Competition (Genoa, Italy)and the 1st prize in the Michael Hill International Violin Competition (Auckland, New Zealand) in 2003.

Natalia studied at the SpecialistMusic School in Novosibirsk with Prof. A. Gvozdev, at the Yehudi Menuhin School in England with Lord Menuhin and Prof. N. Boyarskaya, at the Royal College of Music and the Royal Academy of Music with Prof. Hu Kun and

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currently lives in London.Since her debut with the

Novosibirsk Symphony Orchestra at the age of seven, Natalia performed as a soloist with many outstanding orchestras. Natalia has collaborated with such distinguished conductors as the late Lord Menuhin, Lionel Bringuier, Werner Andreas Albert, Matthias Bamert, Arvo Volmer, Olari Elts, Sir William Southgate, Vladimir Verbitsky, Christian Knapp, Miguel Harth-Bedoya, Eckehard Stier, Mikhail Gerts, Valery Poliansky, Pavel Kogan and many others.

Natalia has performed extensively as a soloist and chamber musician in such prestigious venues as the Carnegie Hall, Wigmore Hall, thePurcell Room, the Kings Place,the Queen Elizabeth Hall, theBuckingham Palace, the Barbicanand the Royal Festival Hall. She has performed chamber music with such distinguished musicians as Gidon Kremer, Yuri Bashmet, the late Boris Pergamenschikov, Tabea Zimmerman, Dmitry Sitkovetsky, Schlomo Mintz, Daishin Kashimoto, Natalie Clein, Nicholas Daniel and many others. Natalia Lomeiko was appointed a Professor of Violin at the Royal College of Music in London in 2010.

olivia raY mezzo-soprano

Olivia Ray studied at the Royal Northern College of Music, the English National Opera’s The Knack, and the Guildhall School of Music & Drama, receiving a fellowship to Aspen, Colorado to study with Susanne Mentzer. She currently studies with Robert Dean.

Highlights of recent seasons include Flora La traviata, Enrichetta di Francia I puritani and Soeur Mathilde Dialogues des carmélites for Grange Park Opera, Elgar The Apostles in Gloucester Cathedral and Rossini Petite messe solennelle at the Three Choirs Festival.

Operatic roles include Alisa Lucia di Lammermoor, Curra La forza del destino, Mrs Fox Fantastic Mr Fox and Suzy / Lolette La rondine (all for Opera Holland Park); Juno Orpheus in the Underworld and Olga Eugene Onegin (Scottish Opera); Mrs Noye Noyes Fludde (London Philharmonic Orchestra); Rosina The Barber of Seville (Stanley Hall Opera); the title role in Offenbach’s La Périchole (Opera South); Angelina La Cenerentola (English Pocket Opera, Minotaur Productions, London Opera Productions); Maddalena in Rigoletto (Live Action Opera); Irene Theodora and Pulcheria Riccardo Primo (Opéra de Baugé);

Mother The Tales of Hoffmann and Esmeralda The Bartered Bride (Mid Wales Opera); the title role in Carmen (Pavilion Opera, Opera Brava, Mananan Arts Festival); Annina La traviata (Pavilion Opera); Smeraldina in Prokofiev’s The Love for Three Oranges (English Pocket Opera); Dido Dido and Aeneas (Minotaur Productions, Cannon Scholars); Mrs Kneebone Berkeley’s A Dinner Engagement (Opera East); Nadine, John Lunn’s workshop production of Tangier Tattoo (Glyndebourne) and Melanto Il ritorno d’Ulisse in patria (GSMD).

JesPer svedberG cello

Principle cellist of the Bournemouth Symphony Orchestra, Jesper Svedberg studied

cello with Frans Helmersson andwith Torleif Theden. In 1999, Jesper continued his studies with Louise Hopkins at London’s Guildhall School of Music and Drama and graduated in 2001 with a Masters degree in Chamber Music. As a soloist, Jesper has performed with orchestras including the Swedish Radio Orchestra, BBC Scottish Symphony, Copenhagen Philharmonic and the Dala Symfonietta. Jesper is a founding member of the Kungsbacka Piano

Trio, which took first prize in the 1999 Melbourne International Chamber Music Competition and was in 2000 selected for the BBC New Generation Artists Scheme. Jesper regularly works as guestprincipal cellist with the EnglishChamber Orchetsra. Since 2001,Jesper has been a member of theteaching staff at the GothenburgUniversity where he teacheschamber music. The KungsbackaPiano Trio has also been appointedAssociate Ensemble at the GuildhallSchool of Music and Drama.Jesper plays a rare 1699 Grancinocello, kindly loaned by the JärnåkerFoundation.

lars anders TomTerviola

Born at Hamar,Norway, Lars Anders Tomter studied violin and viola with professor Max Rostal and with Sándor Vegh. He was awarded a special prize for his interpretation of Bartók’s Viola Concerto at the International Viola Competition in Budapest in 1984 and then went on to win the Maurice Vieux International Competition in Lille in 1986. Lars Anders Tomter has distinguished himself byperforming new music

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extensively, including the world premiere of four concertos by Ragnar Söderlind, Erkki-Sven Tüür, Rolf Wallin and Anders Eliasson, which have all been written for him. Lars Anders Tomter’s appearances as an international viola soloist has been greeted with the highest public and critical acclaim throughout Europe and the United States. In addition, Lars Anders Tomter collaborates frequently with internationally renowned musicians in chamber music projects. He is a regular guest at important festivals such as BBC Proms, Lockenhaus and Verbier. In addition, he is joint artistic director of the Norwegian Risør Chamber Music Festival. Lars Anders Tomter is a Professor at the State Academy in Oslo, supervising a number of Norway’s most talented string players. In 2013 he was appointed assistant professor at the Royal Danish Music Academy, Copenhagen. He plays a Gasparo da Salo viola dated from 1590.

Yuri Zhislin violin and viola

Yuri has been recently described by The Strad as a “virtuoso with a truly Romantic temperament”.

Zhislin enjoys an active career on violin and viola. His performances have taken him to nearly 60 countries around the globe. Yuri entered the Royal College of Music in London in 1991, representing the College in several European cities. In 1993, Yuri became the BBC Radio 2 Young Musician of the Year. The orchestras that Yuri performed with as a soloist include the BBC Concert Orchestra, the London Mozart Players, the Lithuanian Symphony Orchestra, the Queensland Symphony and the Belgrade Philharmonic, to name a few. A keen chamber musician, Yuri is regularly invited to participate in international music festivals throughout the world. In 2014, he co-founded and became the Artistic Director of the Apollon International Chamber Music Festival in Cyprus. In 2004, Yuri formed the Russian Virtuosi of Europe, an ensemble comprising musicians with an enviable list of international awards and prizes. The ensemble recently completed successful tours to both South America and Russia. Yuri is a professor of violin and viola at the Royal College of Music in London and is in high demand as a visiting professor in Summer Academies across Europe.

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marcus du sauToY

Marcus du Sautoy is the Simonyi Professor for the Public Understanding of Science and

Professor of Mathematics at the University of Oxford and a Fellow of New College. In 2016 he was made a Fellow of the Royal Society.

He is author of five popular science books including his most recent books What We Cannot Know (2016) and How to Count to Infinity (2017). He has presented numerous radio and TV series including a four part landmark TV series for the BBC called The Story of Maths. He works extensively with a range of arts organisations bringing science alive for the public from The Royal Opera House to the Glastonbury Festival.

In 2009 he was awarded the Royal Society’s Faraday Prize, the UK’s premier award for excellence in communicating science. He received an OBE for services to science in the 2010 New Year’s Honours List.

rob rinder

Rob Rinder is a professional barrister, who gained a First Class Honours degree at the University of

Manchester in Politics and Modern History. He went onto specialize in international fraud, money laundering and other forms of financial crime.

In August 2014, Rob started filming with ITV. ‘Judge Rinder’ is a British reality court show, which sees real life cases adjudicated over in a studio courtroom, a format that is very similar to the America’s popular Judge Judy TV show. The show airs daily.He is an exceptional British barrister who has instructed some of the most high profile cases of recent years. In his show for ITV Daytime, Judge Rinder is bringing the action of a courtroom to television and bringing justice to those who’ve been wronged. He will adjudicate over real, small-claim cases in a studio courtroom. Judge Rinder has average peak audiences of 1.2 million.

Jason Price

Jason Price is the Founder, Director and Expert of Tarisio, a leading venue for fine instruments and bows. Responsible for Tarisio’s internationally renowned expertise, Jason frequently contributes to publications and has an unrivalled knowledge of the market.

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FesTival suPPorTers

Natalie Clein and the Purbeck International Chamber Music Festival are delighted to welcome back our regular supporters this year and to warmly welcome new ones.

Firstly, we are most grateful to the Family of Charles Good for their ongoing support of and interest in this wonderful little Festival in our beautiful corner of Dorset. Our Founding Patron is Charles Good and his encouragement and support from the festival’s inception and Natalie’s vision have together created a sumptuous feast of music and musicians for a most appreciative and ever-growing audience.

We are also delighted to be supported by the Tsukanov Family Foundation, a London based charitable fund for artistic endeavours in both Russia and the UK.

From outside Purbeck, we are extremely pleased to have Tarisio on board, the leading auction house of fine instruments and bows, based in New York and London.

The Isle of Purbeck Arts Club, the Purbeck Quire Fund are both helping to fund the Children’s Concerts.

PaTrons Charles Good (Founding Patron), Natasha and Igor Tsukanov, Jason Price, Steve Judson, Nicholas Snowman, David Emmerson, John and Sabine Fairhall, Christine Dipple

anGels Gavin and Sarah Bibra, Gerry and Sue O’Brien, Hugh and Lucy Cocke, Eric and Ginny Stobart, Leigh and Gilly Merrick, Dr. Pauline Monro, Steve and Naomi Grant, Mike and Rhiannon Eland

Friends Jan Sayers, Margaret Vince, Dilys and Howard Thomas, Mary Haysom, Charlotte Heath and Dr. Oded Manor, Joanne Shaw

hosPiTaliTY Channa and Peter Clein, Peter and Deborah Handy,

Dilys and Howard Thomas

PicmF 2017 Team and volunTeers Julie Bowerman, Jay Buckle, Margaret Brudett, Mary Sabben Clare, Peter and Channa Clein, Rhiannon and Michael Eland, Jernej Gregorič, Peter and Deborah Handy, Helen Hardy, Mary Haysom, Sue Haysom, Charlotte Heath, Joan Ingarfield, Dr. Oded Manor, Leigh Merrick, Emma Ormond, Benjamin Simonič, Dilys Thomas, Douglas Tweddle

ProGramme noTes Dr. Oded Manor

desiGn Hannah Barton

PhoToGraPher Tim Arnold

video ProducTion Hedone Records, www.hedonerecords.co.uk

sTaGinG courtesy of E. Hayes for Yarrells Prep School Upton, Poole Dorset

We gratefully acknowledge support from the following Friends and supportersof the Festival over the past year (including several who prefer to remainanonymous): Shannon Dugdale and Alistair Tuckey from the Durlston CountryPark; Kathy Tatar and David Suruki from the Purbeck Golf Club; Kevin Francois; Sam Hanson and Natalie Covell from Yarrells Prep School; Anna Butler, Peter Down and Roderick Knight from Dorset County Musuem; Dechert LLP Team; Kevin Hunt of Square and Compass; Sacha and Emily of Love Cake Catering; Elizabeth Rathbone from Lytchett Parish Church; Helen Stiles from Dorset Magazine; Liz Hoad from St Nicholas, Worth Matravers; Robin Stringer from St James’s, Kingston; Chris Meadows from St George’s, Langton Matravers; David Hollister from Harmans Cross Village Hall; Bob Day, Jack Haworth and Maurice Turner from St Mary’s Church in Wareham; Gina Marshall and Douglas Addison from Isle of Purbeck Arts Club; the Purbeck Quire Fund.

acknoWledGemenTs

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TiTle ....................... name ............................................................................................................................

address ..........................................................................................................................................................

................................................................................................................ PosTcode ......................................

Friend (£50 per annum)

AnGel (£125-£499 per annum)

PaTron (£500 - £999 donation per annum)

sPonsor (£1,000 or more per annum)

membershiP level (please select annual support level)

sTandinG order insTrucTion I would like to set up the following payment:

name oF bank ...............................................................................................................................................

branch address ...........................................................................................................................................

................................................................................................ PosTcode ......................................................

accounT number ................................................................ sorT code ..................................................

Please pay £ ............ (enter amount) annually, until further notice, to Purbeck International Chamber Music Festival, whose bank is Natwest, Account Number 37106201, Sort Code 54-30-03, IBAN: GB65NWBK54300337106201,

BIC: NWBKGB2L with the first payment on .............................. (insert date, allowing time for posting/processing)

siGnaTure.................................................................................... daTe ........................................................

cheque PaYmenT I enclose a cheque for £ ................. (enter amount) made payable to ‘Purbeck International Chamber Music Festival’

GiFT aid declaraTionIf you pay tax, you can make your girt 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.

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 addess change, I will notify Purbeck International Chamber Music Festival

siGnaTure.................................................................................... daTe ........................................................

Please return this completed form to: Purbeck International Chamber Music Festival, Harbour st Bride, Durlston rd

swanage, dorset bh19 2hZ. We will then forward it to your bank (if applicable) to process your payment instructions.

We will not share your details with any other third party. Thank you for your support.

I would like to become a Friend, Angel, Patron or Sponsor of Purbeck International Chamber Music Festival

www.purbeck-chambermusic.org.uk charity number 1172743

become a suPPorTer oF The PicmF

Your support will ensure that a vibrant, stimulating and world-class festival will continue and will enable us to develop our education work throughout the year with local schools while giving audiences, new and old, access to superlative concerts in this special corner of Dorset.We invite a minimum donation of £50 per year for individual membership as a Friend of PICMF. In return for your contribution you will get benefits that are exclusive to our supporters, and you will play a truly significant role in helping ensure that the Festival grows from year to year.

To give any amount simply donate online. If you would prefer to send a cheque by post or raise a Standing Order please fill in the Membership Form and then return it to us by post or email it to info@purbeck-chambermusic.org.uk.

level Friend

angel

Patrons

sponsor

donaTion

£50

£125

£500

£1,000

beneFiTs

Priority bookingnewsletterFree attendance at masterclassesFree concert programme

above plus:reserved seatingInvitation to special eventsopen rehearsalsvIP receptionstwo free tickets to one of the Festival concerts

above plus:ushered to free seats at concertslisted in programme and websitetwo free tickets per concert and priority seating

above plus:Prominent mention in programme and websitedialogue with trusteesFree tickets, on request and priority seatingInvitation to all PICMF events

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educaTion

masTerclasses 2017

masTerclasses 2017/2018

One of the Festival aims is to maintain contact with Purbeck schools through either workshops or masterclasses. This has captured the imagination of local supporters who have given generously to fund the events we have held each year so far. Natalie is an inspiring teacher with cello students both here in the UK and worldwide. Her love of the cello and her belief in the life-enhancing power of music-making are communicated instantly whenever she plays and also when she speaks.

This year, several masterclasses will take place during the festival with the festival musicians and talented young musicians in addition to the children’s concert on Saturday 11:30am at the Fine Foundation Gallery.

Harp Masterclass with Marie-Pierre Langlamet on Wednesday 30th August, 10:30am, Harman’s Cross Village Hall BH19 3EB

Violin Masterclass with Barnabás Kelemen on Wednesday 30th August, 12:15pm, St Mary’s Church Swanage BH19 1HU

Piano Masterclass with Christian Ihle Hadland on Saturday 2nd September 10am, St Mary’s Church Swanage BH19 1HU

Voice Class with Mezzo Soprano Olivia Ray on Sunday 3rd September at 3pm in St George’s Langton Matravers

Masterclasses are free for students participating but donations from families would be appreciated. Observers are welcome. £5 on the door.

Violin Masterclass with Rob Norman 1st October 2017Cello Masterclass with Natalie Clein, January 2018Location: Yarrells Prep School Upton, Poole Dorset

More information about masterclasses can be found on our website.

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For further information and to subscribe to our newsletter please visit purbeck-chambermusic.org.uk

daTes For nexT Year: 30Th AUGUst - 2nd sePTember 2018

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