NORTHERN LIGHTS MINI-FEST 2020 - A showcase of outstanding Irish/Northern Irish artists - Belfast Music Society
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1921 2021
C E N T E N A RY C E L E B R AT I O N S
100 YEARS OF CHAMBER MUSIC
NORTHERN LIGHTS
MINI-FEST 2020
A showcase of outstanding
Irish/Northern Irish artists
SCHOOL OF
ARTS, ENGLISH
AND LANGUAGES
www.belfastmusicsociety.org
Chair’s introduction
‘…Like water in a desert…’ – the Meanwhile, our sincere thanks are due to:
perceptive words of the Rev. Richard Coles, • The Arts Council of Northern
one of the BBC guest presenters privileged Ireland, for their annual BMS
to be sitting in a very empty Royal Albert funding and, in particular, valuable
Hall at the recent Last Night of the Proms. emergency funding this year.
He was reacting warmly to the experience • Our long-standing partners –
of hearing ‘real’ musicians performing Belfast International Arts Festival
together ‘in the flesh’. Of course, all of and Queen’s University Belfast.
us at BMS would turn ourselves inside • QUB School of English, Arts
out to be able to have ‘live’ audiences and Languages, for much-
in front of our Mini-Fest concerts this appreciated technical support
year – particularly with such an amazing for this year’s Mini-Fest.
line-up of programmes and artists – but • Star Instruments, for their sponsorship
alas, for the moment, this is not possible. of our centenary season.
But I sincerely hope that you really enjoy • The Ulster Orchestra, for their kind
your streaming experiences, whether ‘live’ contribution to this year’s programme.
or deferred to another day. They are free
to access, but please be kind enough to Last, but not least, grateful thanks go to
consider a donation if you possibly can! our Concerts Manager, Pamela Smith,
who has steered us so well through a
challenging year – and thanks also to my
faithful crew: each and every one of the
BMS Board for their ongoing support!
John Harmar-Smith
(Chair)
3
Kim Vaughan cello Les Goûts réunis - Follies and Finery
Philip Higham cello
From the new genre of opera, at the Reunited – a set of ten suites published
beginning of the 17th century, emerged two in 1724 and also known as Nouveaux
FIRST BROADCAST: ideas that would be critical in the history (New) Concerts, following on from the
FRIDAY 16 OCTOBER 2020, 6.00 PM of music. One was the development of earlier set of four Concerts Royaux. His
instrumental music as a genre in its own contemporaries remained unconvinced,
right, and with that, the understanding but he did manage to preserve the
that instruments were individuals, each characteristics of French music – flowing
Les Goûts Réunis - Follies and Finery with their own characteristics, not merely melodies, expressive harmonies and a
high/low or loud/soft. The other was general simplicity, while introducing aspects
D. GABRIELLI the emergence of le nuove musiche, and of Italian music – a more idiomatic, even
Canon for two cellos specifically the basso continuo. A melodic virtuosic instrumental style and a more
line was composed with an accompaniment; disciplined interest in style and structure.
JACCHINI at its simplest this was a bass line, more
Sonata for Cello and Basso Continuo Op. 3 No. 10 often than not played on the cello. Jean-Baptiste Lully (1632–1687) was,
Grave – Presto e Spiritoso : Adagio : Aria francese : Allegro : Minuet in fact, an Italian, born Giovanni Batista
The credit for the cello’s emancipation Lulli in Florence, and brought to France at
COUPERIN and its acceptance as a melody instrument the age of 13½ to help a certain Mlle de
Treizième Concert from ‘Les Goûts-Réunis ou Nouveaux Concerts’ must, in a large part, go to two Italian Montpensier with her language studies. He
Prélude (Vivement) : Air (Agréablement) : Sarabande (Tendrement) : Chaconne (Légère) composers, Domenico Gabrielli became an accomplished guitarist, violinist
(c.1651–1690, not to be confused with the and dancer; he appeared alongside the
RAMEAU better-known Gabrielis – one ‘l’) and his 14-year-old Louis XIV in a ballet, and shortly
Selection from Les Gentils Airs pupil Giuseppe Jacchini (1667–1727). afterwards he was appointed the king’s
Gabrielli was one of the earliest cello official ‘composer of instrumental music’.
LULLY virtuosi, astounding his contemporaries Thereafter he became a more and more
Aria: ‘Bois epais’, from Amadis with his exploits on the instrument. important – and powerful – figure in French
Jacchini studied with him in Bologna; music. His life came to a painful end after
SAINTE-COLUMBE much of his music involves the cello, he stabbed himself in the foot with a stick
Les Pleurs (The Tears) including the op. 3 set, published in 1697. with which he had been beating time. Lully’s
tragédie lyrique, Amadis, was premiered
VIVALDI This recital is an exploration of music of at the Paris Opéra on 18 January 1684.
Sonata in B flat major for cello and bass continuo RV.45 the Baroque era from France and Italy.
Largo : Allegro : Largo : Allegro There were clear differences in the cultures The greatest French composer of the late
and social lives of the two countries, and Baroque was Jean-Philippe Rameau
CORELLI these were reflected in the music their (1683–1764). Like Lully, he composed
‘La folia’ from Violin Sonata Op. 5 No. 12, arr. for two cellos composers produced. This is not to say, of many dances for the ballet (ballets of
course, that there wasn’t a flow of musical the time were not stand-alone works
inspiration between the two countries. in the modern sense, but were closely
Recorded in St Mary’s Cathedral Song School, Edinburgh François Couperin (1668–1733), who connected to opera). He composed much
Sound/video recording by Nikita Naumov may be considered the most important keyboard and other instrumental music. Les
figure in French music between Lully Gentils Airs ou Airs Connus, a collection of
and Rameau, was enthusiastic about original pieces by Rameau plus traditional
Italian music and believed the two idioms airs and dances, scored for two cellos,
could be brought together. Hence his was published in Paris around 1730.
4 collection Les Goûts Réunis – The Tastes 5
Les Goûts réunis - Follies and Finery Piatti Quartet
with Janina Fialkowska piano
Jean de Sainte-Colombe
(c.1640–c.1700) was one of the leading
French performers on, and composers for, FIRST BROADCAST:
the cello’s cousin, the viola da gamba. He SUNDAY 18 OCTOBER 2020, 5.30 PM
performed regularly in the Paris salons,
often with his two daughters and his
students, the most celebrated of whom
was Marin Marais (the most important Michael Trainor violin
performer of the following generation). Henry Chandler violin
The 1991 film Tous les matins du monde Tetsuumi Nagata viola
is based on an imagined account of the Jessie Ann Richardson cello
relationship of teacher and pupil; its
soundtrack features music by both.
BEETHOVEN
Vivaldi’s (1678–1741) set of six sonatas Piano Concerto No. 3 in C minor, op. 37
for cello and basso continuo was written in (arr. for piano quintet by Vinzenz Lachner)
the 1720s, but had to wait until 1740 before
it was published in Paris. ‘La folia’ (The Piano Concerto No. 4 in G major, op. 58
Follies) is one of the traditional basslines (arr. for piano quintet by Vinzenz Lachner)
upon which composers liked to build sets
of variations. Its origins are lost in the
mists of time, but it may have originated in
Spain/Portugal, or possibly in Italy. Perhaps
the best-known (and influential) set is by
Corelli (1653–1713). It makes up the final
movement of the last of his set of twelve
sonatas for violin and continuo, published
as op. 5 in 1700. There are 23 variations.
© Alec Macdonald
Recorded in the Harty Room, QUB
Sound/video recording by Craig Jackson
6 7
Ludwig van Beethoven (1770–1827) Ludwig van Beethoven (1770–1827)
Piano Concerto No. 3 in C minor, op. 37 end of one of the invisible passages, and my the lamps from the music stand of the
arr. for piano quintet by Vinzenz scarcely concealed anxiety not to miss the piano. The audience laughed…Beethoven
Lachner (1811–1893) decisive moment amused him greatly…’ stopped the orchestra and made them
Allegro con brio : Largo : Rondo (Allegro) start again. Seyfried…took the precaution
The piano has a long wait for its first of ordering two choirboys to stand next
Piano Concerto No. 4 in G major, op. 58 entry, the ‘orchestra’, as was customary, to Beethoven and hold the lamps…One
arr. for piano quintet by Vinzenz Lachner being given the stage to itself to present of them innocently stepped closer and
Allegro moderato : Andante con the concerto’s main themes (this is why followed the music from the piano part. (At
moto : Rondo (Vivace) the fourth concerto, where the piano is the same point in the concerto) the poor
heard first, was so revolutionary). The boy received from Beethoven’s right hand
chief theme of the movement is made such a slap in the face that he dropped
Chamber versions of orchestral works up of three elements, a three-note rising the lamp. The other succeeded in avoiding
were particularly popular in the late 18th figure, a descending scale figure and a the blow by ducking in time. The audience
and early 19th centuries, whether prepared drum-like motif. It is these fragments that, indulged in a truly bacchanalian riot…’
by the composers themselves or more separately or together, provide much of the
commonly by others (not necessarily with material on which the movement is built. The opening of the concerto – the piano
the composers’ blessing!). Vinzenz Lachner The slow movement is in the unexpected, on its own, marked piano e dolce – is
was a member of an important family of but much warmer key of E major. The unprecedented. Only after it has had its
musicians in Vienna. Devotees of Schubert lively rondo finale is again in the minor, say does the expected ‘orchestral’ tutti
may have come across his brother Franz, until the coda, where Beethoven springs begin. Much of the mood of this opening
who was a close friend to the composer a surprise – the theme is presented movement is gentle, with rich harmonies.
in his final years and did much to promote in C major (not totally unexpected), In sharp contrast, the short E minor slow
his music after his untimely death. but now in a galloping 6/8 metre. movement brings stark dotted rhythms
from the strings, answered each time by
The creation of the third piano concerto The benefit concert at which the concerto chorale-like passages on the piano. This
seems to have been a long-drawn-out was first heard was a great success uneasy dialogue continues until the closing
affair. Beethoven seems to have been financially for its composer. Critical reviews bars, when some sort of rapprochement is
contemplating it before 1800, and it was of the evening were rather less positive! achieved. Once peace is restored, the last
originally intended for performance at movement tiptoes in, but soon develops
his benefit concert in April of that year. It was another, and more famous benefit into the expected lively rondo finale.
In the event, the new work wasn’t ready, concert, on 22 December 1808, that saw
and he had to perform one of the earlier the first public performance of Beethoven’s © Alec Macdonald
concertos. He worked off and on at the fourth concerto. It was part of a marathon
C minor concerto, but it wasn’t until four-hour production that included the
April 1803 that it was ready for its first fifth and sixth symphonies and the newly
performance. And only just ready – composed Choral Fantasy. Despite the
Beethoven had still not fully written out his length of the concert and the temperature
solo part, as his long-suffering page-turner of the hall, it also seems to have been
recalled: ‘I saw almost nothing but empty a success. Not everything went to plan,
leaves; at the most, on one page or the however: ‘At the first tutti, forgetting that
other, a few Egyptian hieroglyphs scribbled he was the soloist, Beethoven jumped up
down to serve as clues for him…He gave and began to conduct. He threw out his
me a secret glance whenever he was at the arms so wide that he knocked over both
8 9
Ben McAteer baritone Ralph Vaughan Williams (1872–1958)
Iain Burnside piano
Songs of Travel Or let Autumn fall on me
Where afield I linger,
FIRST BROADCAST: Robert Louis Stevenson’s collection of Silencing the bird on tree,
THURSDAY 22 OCTOBER 2020, 6.00 PM poems, Songs of Travel, was published Biting the blue finger;
posthumously in 1896. The poems were White as meal the frosty field –
composed at intervals over a number Warm the fireside haven –
of years, and Vaughan Williams’ settings Not to Autumn will I yield,
of a selection of them were similarly Not to winter even!
VAUGHAN WILLIAMS widely spaced. He began with ‘Whither
Songs of Travel must I wander’ in 1902, adding further Let the blow fall soon or late,
settings in 1905 and 1907. His setting Let what will be o’er me;
BOYLE of ‘I have trod the upward and the Give the face of earth around,
Three Songs by Walter de la Mare downward slope’ appropriately quotes And the road before me.
Easter Snow from some of the earlier songs and was Wealth I ask not, hope, nor love,
Poem by W.M. Letts clearly intended as an epilogue. For some Nor a friend to know me;
reason, however, Vaughan Williams never .
ELAINE AGNEW published this song and the complete All I ask, the heaven above
Eesti cycle, as he planned it, was not heard And the road below me.
(commissioned by BMS with funding from the Arts Council of Northern Ireland) until Hervey Alan and Frederick Stone
performed it on the BBC in 1960. Let beauty awake
HARTY
My Lagan Love The vagabond Let Beauty awake in the morn
from beautiful dreams,
HUGHES Give to me the life I love, Beauty awake from rest!
Down by the Salley Gardens Let the lave go by me, Let Beauty awake
The Star of the County Down Give the jolly heaven above For Beauty’s sake
And the byway nigh me. In the hour when the birds
Bed in the bush with stars to see, awake in the brake
Bread I dip in the river – And the stars are bright in the west!
There’s the life for a man like me,
There’s the life for ever. Let Beauty awake in the eve
from the slumber of day,
Let the blow fall soon or late, Awake in the crimson eve!
Let what will be o’er me; In the day’s dusk end
Give the face of earth around When the shades ascend,
And the road before me. Let her wake to the kiss of a tender friend,
Wealth I seek not, hope nor love, To render again and receive!
Nor a friend to know me;
Recorded in the Harty Room, QUB All I see, the heavens above
Sound/video recording by Craig Jackson And the road below me.
10 11
Ralph Vaughan Williams (1872–1958) Ralph Vaughan Williams (1872–1958)
The roadside fire In dreams Whither must I wander? house with open door;
Birds come and cry there and
I will make you brooches and In dreams unhappy, I behold you stand Home no more home to me, twitter in the chimney –
toys for your delight As heretofore: whither must I wander? But I go for ever and come again no more.
Of bird-song at morning and The unremember’d tokens in your hand Hunger my driver, I go where I must.
star-shine at night, Avail no more. Cold blows the winter wind Bright is the ring of words
I will make a palace fit for you and me over hill and heather:
Of green days in forests, No more the morning glow, Thick drives the rain and Bright is the ring of words
and blue days at sea. no more the grace, my roof is in the dust. When the right man rings them,
Enshrines, endears. Loved of wise men was the Fair the fall of songs
I will make my kitchen, and you Cold beats the light of time upon your face shade of my roof-tree, When the singer sings them,
shall keep your room, And shows your tears. The true word of welcome Still they are carolled and said –
Where white flows the river and was spoken in the door – On wings they are carried –
bright blows the broom; He came and went. Perchance Dear days of old with the After the singer is dead
And you shall wash your linen you wept awhile faces in the firelight, And the maker buried.
and keep your body white And then forgot. Kind folks of old, you come again no more.
In rainfall at morning and dewfall at night Ah me! but he that left you with a smile Low as the singer lies
Forgets you not. Home was home then, my In the field of heather,
And this shall be for music dear, full of kindly faces, Songs of his fashion bring
when no-one else is near, The infinite shining heavens Home was home then, my The swains together.
The fine song for singing, the dear, happy for the child. And when the west is red
rare song to hear! The infinite shining heavens Fire and the windows bright With the sunset embers,
That only I remember, that only you admire Rose, and I saw in the night glittered on the moorland; The lover lingers and sings
Of the broad road that stretches Uncountable angel stars Song, tuneful song, built a palace in the wild. And the maid remembers.
and the roadside fire. Showering sorrow and light. Now when day dawns on the
brow of the moorland, I have trod the upward and
Youth and love I saw them distant as heaven, Lone stands the house, and the the downward slope
Dumb and shining and dead, chimney-stone is cold. I have trod the upward and
O the heart of youth, the And the idle stars of the night Lone let it stand, now the the downward slope;
world is a highway side. Were dearer to me than bread. friends are all departed, I have endured and done in days before;
Passing for ever, he fares; The kind hearts, the true hearts, I have longed for all, and
and on either hand, Night after night in my sorrow that loved the place of old. bid farewell to hope;
Deep in the gardens golden pavilions hide, The stars looked over the sea, And I have lived and loved,
Nestle in orchard bloom, and Till lo! I looked in the dusk Spring shall come, come again, and closed the door.
far on the level land And a star had come down to me. calling up the moorfowl,
Call him with lighted lamp in the eventide. Spring shall bring the sun and rain,
bring the bees and flowers;
Thick as stars at night when Red shall the heather bloom
the moon is down, over hill and valley,
Pleasures assail him. He to his nobler fate Soft flow the stream through
Fares; and but waves a hand as he passes on, the even-flowing hours.
Cries but a wayside word to Fair the day shine as it shone
her at the garden gate, on my childhood –
12 Sings but a boyish stave and his face is gone. Fair shine the day on the 13
Ina Boyle (1889–1967) Ina Boyle (1889–1967)
Three Songs by Walter de la Mare Moon, Reeds, Rushes
(poem title ‘Why?’)
Song of the Mad Prince
Ever, ever
Who said, “Peacock Pie”? Stir and shiver
The old King to the sparrow: The reeds and rushes
Who said, “Crops are ripe”? By the river:
Rust to the harrow: Ever, ever,
Who said, “Where sleeps she now? As if in dream,
Where rests she now her head, The lone moon’s silver
Bathed in eve’s loveliness”? — Sleeks the stream.
That’s what I said. What old sorrow,
What lost love,
Who said, “Ay, mum’s the word”? Moon, reeds, rushes,
Sexton to willow: Dream you of?
Who said, “Green dusk for dreams,
Moss for a pillow”?
Who said, “All Time’s delight Easter Snow
Hath she for narrow bed; Poem by W.M. Letts
Life’s troubled bubble broken”? —
That’s what I said. My jewel of the world, she sleeps so fast,
She will not hear you, Spring wind, if you blow;
The Pigs and the Charcoal-burner So let you shake the blossoms of the thorn
Till her bed is hidden deep in Easter snow.
The old Pig said to the little pigs,
“In the forest is truffles and mast, Bright jewel of my heart, she sleeps at last,
Follow me then, all ye little pigs, O kind earth, wrap her round in your brown shawl.
Follow me fast!” Sing soft to her and rock her in your arms
So she’ll not be lonesome after me at all.
The Charcoal-burner sat in the shade
With his chin on his thumb, I hear the childher laugh as they run past,
And saw the big Pig and the little pigs They see their mother watching at the door;
Chuffling come. It’s long I’ll wait beside the lonely hearth,
For there’s sorra child of mine will cross the floor.
He watched ‘neath a green and giant
And the pigs in the ground O thorn trees round her grave, now let you cast
Made a wonderful grizzling and gruzzling Your snow upon the place she takes her rest.
And greedy sound. The while I stay and cheat my heart with dreams
That I’m holding her again upon my breast.
And when, full-fed they were gone, and Night
Walked her starry ways,
He stared with his cheeks in his hands
14 At his sullen blaze. 15
Elaine Agnew Elaine Agnew
Eesti Eesti
Four songs for baritone and piano I wandered homesick-lonely through that Saturday of
silent Tallinn
The Falling Leaves : All In All Out : It’s Called Needles : Eesti When a carillon impinged a thousand raining quavers
on my ear, tumbling
The four poems that I selected for this commission from the Belfast Music Society
show Ciaran Carson’s remarkable control of form and rhythm. The first three short Dimly from immeasurable heights into imaginary brazen
songs are taken from his collection On the Night Watch. Each poem has 14 short gong-space, trembling
lines written in couplet form with rarely more than two or three words per line. Dimpled in their puddled, rain-drop halo-pools,
concentrically assembling.
In the final longer song ‘Eesti’, a visit to Estonia and hearing church bells in Tallinn
lead the poet into the ‘bronze-Dark, shrines and niches’ and a memory of going to I glimpsed the far-off, weeping onion-domes. I was
first Mass with his father: inveigled towards the church
Through an aural labyrinth of streets until I sheltered
‘This red-letter day would not be written, had I not in its porch.
wandered through the land of Eesti.
I asked my father how he thought it went. He said to I thumbed the warm brass worn thumb-scoop of the latch.
me in Irish, Listen: Éist.’ Tock. I entered into bronze-
Dark, shrines and niches lit by beeswax tapers and
the sheen of ikons.
The Falling Leaves All In All Out It’s Called Needles
Their eyes and the holes in their hands were nailed into
fall on knitting needle you play it my gaze, quod erat demonstrandum:
the fallen leaves click clack when it’s just been Digits poised and pointed towards their hearts. They
are beautiful Panjandrums
the rain beats skipping rope raining &
on the rain cut the slack there are Invoked by murmuring and incense, hymns that father
passes on to father
noise beats razor blade black patches The patina of faces under painted faces. They evoke
on noise close shave where it’s still wet another
two men shout iron poker & white patches Time, where I am going with you, father, to first Mass.
& beat in the fire where it’s dry We walked
The starry frozen pavement, holding hands to stop
each other watch my face & you jump from ourselves from falling. There was no talk,
on the street not the clock one black patch
No need for it. Our incense-breath was words enough
noise beats on thread the needle to another as we approached the Gothic,
noise close one eye & if you step Shivering in top-coats, on the verge of sliding off
the metronomic
as you lie pierce my heart on a white patch
sleeping & hope to die you die Azure-gradual dawn, as nave and transept summoned us
16 with beaded, thumbed 17
Elaine Agnew Hamilton Harty (1879–1941)
And fingered whispering. Silk-tasselled missals. My Lagan Love
Rosaries. Statues striken dumb
Where Lagan stream sings lullaby Where Lagan stream sings lullaby
Beneath their rustling purple shrouds, as candles There blows a lily fair There blows a lily fair
wavered in the holy smoke. The twilight gleam is in her eye The twilight gleam is in her eye
The mosaic chapel echoed with a clinking, chinking The night is on her hair The night is on her hair
censer-music. And like a love-sick lennan-shee And like a love-sick lennan-shee
She has my heart in thrall She has my heart in thrall
This red-letter day would not be written, had I not Nor life I owe nor liberty Nor life I owe nor liberty
wandered through the land of Eesti. For love is lord of all. For love is lord of all.
I asked my father how he thought it went. He said to
me in Irish, Listen: Éist. Her father sails a running-barge
‘Twixt Leamh-beag and The Druim;
And on the lonely river-marge
‘The Falling Leaves’, ‘All In All Out’ and It’s Called Needles’ by Ciaran Carson from On the Night She clears his hearth for him.
Watch (2009) reproduced by kind permission of the author’s Estate and The Gallery Press. When she was only fairy-high
Her gentle mother died;
www.gallerypress.com But dew-Love keeps her memory
Green on the Lagan side.
‘Eesti’ by Ciaran Carson from Opera Et Cetera (1996) reproduced by kind
permission of the author’s Estate and The Gallery Press. And often when the beetle’s horn
Hath lulled the eve to sleep
www.gallerypress.com I steal unto her shieling lorn
And thru the dooring peep.
There on the cricket’s singing stone,
She spares the bogwood fire,
And hums in sad sweet undertone
The songs of heart’s desire
Her welcome, like her love for me,
Is from her heart within:
Her warm kiss is felicity
That knows no taint of sin.
And, when I stir my foot to go,
‘Tis leaving Love and light
To feel the wind of longing blow
From out the dark of night.
18 19Herbert Hughes (1882–1937) John O’Conor piano
Down by the Salley Gardens As she onward sped I scratched my head
And I gazed with a feelin’ quare.
Down by the Salley Gardens There I said, says I, to a passer-by, FIRST BROADCAST:
my love and I did meet; “Who’s the maid with the nut-brown hair?” MONDAY 26 OCTOBER 2020, 6.00 PM
She passed the Salley Gardens
with little snow-white feet. Oh! he smiled at me and with pride says he,
She bid me take love easy, as the “That’s the gem of Ireland’s crown.
leaves grow on the tree; Young Rosie McCann from
But I, being young and foolish, the banks of the Bann, BEETHOVEN
with her did not agree. She’s the star of the County Down. Piano Sonata No. 25 in G major, op. 79
Piano Sonata No. 17 in D minor, op. 31 no. 2 (‘Tempest’)
In a field by the river my From Bantry Bay up to Derry Quay, Piano Sonata No. 21 in C major, op. 53 (‘Waldstein’)
love and I did stand, And from Galway to Dublin town,
And on my leaning shoulder she No maid I’ve seen like the brown colleen
laid her snow-white hand. That I met in the County Down.
She bid me take life easy, as the
grass grows on the weirs; At the Harvest Fair she’ll be surely there,
But I was young and foolish, So I’ll dress in my Sunday clothes.
and now am full of tears. And I’ll try sheep’s eyes and deludtherin lies
On the heart of the nut-brown Rose.
Star of the County Down
No pipe I’ll smoke, no horse I’ll yoke,
Near to Banbridge town in Tho’ my plough with rust turn brown,
the County Down Till a smiling bride by my own fireside
On a morning in July, Sits the star of the County Down.
Down a boreen green came a sweet colleen
And she smiled as she passed me by. O from Bantry Bay up to Derry Quay,
And from Galway to Dublin town,
O she looked so neat from No maid I’ve seen like the brown colleen
her two white feet That I met in the County Down.
To the sheen of her nut-brown hair.
Such a coaxin’ elf, I’d to shake myself Recorded in the Harty Room, QUB
To make sure I was really there. Sound/video recording by Craig Jackson
O from Bantry Bay up to Derry Quay, Generously supported by an anonymous donor.
And from Galway to Dublin town,
No maid I’ve seen like the brown colleen
That I met in the County Down. Part of IN-visible ID-entities 2, an on-going Belfast International Arts Festival initiative encouraging
cultural collaboration across the island and supported by the Government of Ireland’s Department
of Foreign Affairs.
20 21Ludwig van Beethoven (1770–1827) Ludwig van Beethoven (1770–1827)
Sonata No. 25 in G major, op. 79 Sonata No. 17 in D minor, op. 31 no. 2 Sonata No. 21 in C major, op. 53 (‘Waldstein’) range, which allowed him to write higher
(‘Tempest’) notes than before. It also encouraged him
Presto alla tedesca : Andante : Vivace Allegro con brio : Introduzione (Adagio molto) : to make unprecedented use of dramatic
Largo – Allegro : Adagio : Allegretto Rondo (Allegretto moderato – Prestissimo) contrasts of pitch and dynamics (a surprising
The Italian-born composer and pianist number of bars are marked pianissimo).
Muzio Clementi had settled in London, In April 1802, Beethoven, on the advice In the second half of 1803, Beethoven,
where he set up a piano manufacturing of his doctor, moved from Vienna to the having more or less completed his ‘Eroica’ Between the two outer movements
business, as well as a music publishing nearby village of Heiligenstadt. The peace of symphony, but feeling that opera was a Beethoven had at first planned a large-scale
firm. While visiting Vienna in 1807 he the countryside allowed him to relax, but it more commercially promising genre, began slow movement, but he came to consider
had negotiated a deal with Beethoven also allowed him to brood on his increasing work on a setting of a libretto by Emanuel it too long and complex, and removed it,
to publish several of his major works. deafness. He became increasingly depressed, Schikaneder (who had provided Mozart publishing it separately as ‘Andante favori’. In
He also commissioned three works and this state of mind led to his penning, with The Magic Flute). But The Vestal Flame its place he composed a brief and dramatic
for piano – a fantasia and two sonatas. in October, the famous Heiligenstadt failed to ignite Beethoven’s inspiration and 28-bar slow ‘Introduction’ to the finale. This
Beethoven finally got round to composing Testament. However, the positive outcome he soon abandoned it. While searching for last movement has been described as ‘one of
these in the autumn of 1809. The G major of his sojourn there was the composition of a new operatic project, he sat down and the most sublimely radiant pieces Beethoven
sonata is built on a much smaller scale a number of original piano works, including composed the piano sonata that would bear ever penned’. In fact, an earlier nickname
than either of the other two sonatas in the ‘Prometheus’ variations, and before that, a dedication to his friend and patron, Count for the sonata was ‘L’Aurore’ (Dawn).
this programme. In fact it has often been a set of three sonatas, op. 31, requested Waldstein. The impetus for the sonata may Any leisurely mistiness is, however, finally
termed a ‘sonatina’, though the composer by the Swiss firm of Nägeli, for inclusion well have been the arrival of a new Erard dispelled by the brilliant prestissimo final bars.
never called it so. Superficially, it might seem in their ‘Répertoire des Clavecinistes’. piano, sent to him from their factory in
to be paying homage to Clementi’s own Paris. The piano had an extended upper © Alec Macdonald
piano idiom, though closer analysis reveals The D minor sonata acquired its nickname
the hand of the composer in every bar. after the exasperated composer, harassed
CHAMBER
by his (gullible) friend and (often unreliable)
The opening alla tedesca – ‘in the German biographer, Schindler, told him to go and
£7.99
JUST
style’ – is a (very energetic!) ländler. The read Shakespeare’s Tempest if he wanted
dance’s characteristic off-beat accents
are clear in the development section.
to know what the sonata ‘meant’. The first
movement opens, unexpectedly, with a
BABIES
Unusually, Beethoven asks that both this pianissimo ‘arpeggiando’ (spread) chord
section and the following recapitulation in the dominant (A major). What seems CLASSICAL MUSIC FOR
should be repeated, before the witty coda. like merely a brief introduction turns LITTLE LISTENERS
The simple slow movement, in G minor, is out to be a key structural part of the
a barcarolle, with the character of one of movement. Listen out for the remarkable
the composer’s bagatelles. The brief rondo use Beethoven makes of it at the start of AVAILABLE ON AMAZON
finale is dominated by the galloping rhythm the movement’s closing section, a passage
of its opening theme. There are two that has been described as ‘voices from the
contrasting episodes, after which the final vault’. The slow movement is, by contrast,
return of the galloping theme is brought to largely lyrical and peaceful, though there
a conclusion with just two quiet chords. are sinister drumbeats. The tempestuous
atmosphere returns in the finale. The CHAMBER BABIES
CLASSICAL MUSIC FOR LITTLE LISTENERS
descending D minor arpeggio at the sonata’s
conclusion answers the ascending A major
one with which the work had opened. CHAMBER BABIES
22 CLASSICAL MUSIC
FOR LITTLE LISTENERS
CD Cover.indd
1
16/11/2015 14:24Ulster Orchestra Chamber Ensembles W. A. MOZART (1756–1791) RICHARD STRAUSS (1864–1949)
Symphony No. 10 in G, K.74 String Sextet (Capriccio)
(chamber version)
Strauss’ one-act opera Capriccio (which he
Allegro – Andante : Allegro subtitled ‘A conversation piece for music’)
was composed in 1940 and 1941. It was
FIRST BROADCAST: The manuscript of this symphony was staged for the first time at the National
TUESDAY 27 OCTOBER 2020, 8.00 PM written on the paper than Mozart used Theatre in Munich at the end of October
on his journey to Rome in April 1770, part 1942. This single movement for string
of a series of three Italian journeys which sextet is heard in the opening scene of the
lasted intermittently from 1769 until 1773. opera, which takes place in the château of
The symphony is typical of the many the Countess Madeleine. Her musicians are
young composer penned at this time, in its rehearsing this piece which, we learn, has
attractive melodic charm. We must not, of been composed by one of the two rival
course, expect any of the profundities of suitors for her hand, the composer Flamand.
the mature composer. K74 is actually one
of the briefest of his symphonic utterances, MANUEL DE FALLA (1876–1946)
having only three tiny movements.
Dances from The Three-Cornered Hat
MAURICE RAVEL (1875–1937)
Introduction : Dance of the Miller’s
Introduction and Allegro wife (Fandango) : The Neighbour’s
Dance (Seguidillas) : The Miller’s Dance
Ravel’s Septet ‘for harp, flute and clarinet, (Farruca) : Final Dance (Jota)
MOZART with accompaniment of string quartet’
Symphony No. 10 in G major K.74 (chamber version) was composed in ‘eight days of solid work When Serge Diaghilev heard Falla’s Nights
and three sleepless nights’ in 1905. It was in the Gardens of Spain (for piano and
RAVEL commissioned by the firm of Erard, who orchestra, 1916), he immediately tried
Introduction and Allegro wanted to promote the attractions of their to persuade the composer to allow him
new double-action, cross-string pedal harp. to adapt it for his Ballets Russes. Falla,
GLAZUNOV It was thus intended as a response to the however, had a better idea; he offered to
In modo religioso, op. 38 Danses that Debussy had composed the take his recently composed El Corregidor
previous year for the rival firm of Pleyel, y la Molinera, relating the humorous folk-
STRAUSS to launch their new pedal-less instrument. inspired tale of the magistrate and the
Capriccio, op. 85 Ravel’s work is inspired, like a number miller’s wife, and turn it into a full-scale
of his pieces, by the spirit of the waltz. ballet. The result was El sombrero de
DE FALLA tres picos – the three-cornered hat of
Selection of Spanish Dances from The Three-Cornered Hat (chamber version) ALEXANDER GLAZUNOV the title being the magistrate’s badge of
(1865–1936) office. The ballet was first performed in
London in 1919, with choreography by
In modo religioso, op. 38 Massine and sets by Picasso. The dances
from the ballet are often extracted and
Recorded in the Waterfront Hall, Belfast Glazunov’s short and expressive movement performed in two concert suites.
Sound/video recording by LSFX for brass, In modo religioso, was written
in 1892. It is scored for a quartet of © Alec Macdonald
horn, trumpet and two trombones.
24 25Artist Biographies Artist Biographies
Thomas Bloch, and recently performed repertoire, he especially relishes Classical
with Eric le Sage and Helmut Deutsch and German Romantic music, in which
in a live broadcast for Arte television. he is frequently and happily immersed as
principal cellist of the Scottish Chamber
Whilst at the RNCM she was a founding Orchestra. He has appeared frequently in
member of the Benyounes String Quartet. recital at Wigmore Hall – including a notable
They were awarded the Royal Philharmonic performance of the six Bach suites there
Society’s Julius Isserlis Scholarship, which in 2017 – and at other prominent venues
enabled them to continue their studies at and festivals both at home and abroad, and
the Geneva Conservatoire under Gabor is regularly broadcast on BBC Radio 3.
Takacs-Nagy. On graduating they were
awarded the conservatoire’s highest mark His two solo recordings for Delphian
of distinction, the prix d’excellence. 2nd Records, of the Britten and Bach solo
prize winners of the International Sandor Suites, have received considerable
KIM VAUGHAN Vegh String Quartet Competition in praise, the Britten chosen as PIATTI QUARTET
Budapest and Semi Finalists of the Geneva ‘Instrumental disc of the month’ in
Kim Vaughan began playing the cello in International String Quartet competition, the Gramophone Magazine during 2013. The Piatti Quartet are one of the most
1994, taking lessons in Derry and Dublin quartet perform widely across the UK and distinguished quartets of their generation.
before eventually studying at the RNCM. Europe including appearances at Aldeburgh, He enjoys collaborations with pianists Prize winners at the 2015 Wigmore Hall
In 2000 she was awarded the Northern Verbier, Aix en Provence, Bellerive, Alasdair Beatson and Susan Tomes, International String Quartet Competition,
Ireland Young Musician of the Year award Dartington and West Cork music festivals. violinists Erich Höbarth and Alexander they have performed in all the major venues
and later that year received a scholarship to Janiczek, the Navarra and Benyounes and festivals around the UK and given
study at the Applehill Center for Chamber Kim plays an English cello made string quartets, Hebrides Ensemble, and, concerts throughout the world, with national
Music, USA. A keen chamber musician, by Thomas Smith in 1760. as concerto soloist, with Royal Northern broadcasts on BBC Radio, ABC (Australia),
she attended the International Chamber Sinfonia, the Philharmonia, the Hallé, RTÉ (Ireland) and France Musique (France).
Music Course for Young String Players, Bournemouth Symphony Orchestra
Pra Catinat, Italy, under the direction of and Scottish Chamber Orchestra. The Piattis are renowned for their
Hugh Maguire and Mstislav Rostropovich, diverse programming and for passionate
and was invited to participate in the Born in Edinburgh, he studied at St Mary’s interpretations across the spectrum of
Brodsky Quartet’s celebration of the 150th Music School with Ruth Beauchamp and quartet writing. The Piattis are particularly
anniversary of Beethoven’s op.18 quartets. subsequently at the RNCM with Emma known for expanding the quartet genre
Ferrand and Ralph Kirshbaum. He also through their collaborations with leading
In 2009 she was awarded the Arts Council enjoyed mentoring from Steven Isserlis, British composers. In 2020 the Piatti will
of Northern Ireland’s Young Musician’s and was represented by YCAT between record a new disc of works by Mark-
Platform, which led to a performance 2009 and 2014. In 2008 he became the Anthony Turnage (Delphian), featuring three
of Saint-Saëns Cello Concerto with the first UK cellist to win 1st prize at the world premiere recordings. They will also
Ulster Orchestra and a performance at International Bach Competition in Leipzig, perform a new string quartet by Emily
Belfast Festival at Queens, both recorded and followed it with major prizes in the Howard at the Amsterdam Concertgebouw
for BBC Radio Ulster. As a soloist Kim 2009 Lutoslawski Competition and the in April 2021 (a Concertgebouw co-
has appeared with the Codetta chamber PHILIP HIGHAM Grand Prix Emmanuel Feuermann 2010. commission). Other current commissions
choir and in recital with pianists Ruth and recent premieres include new works
McGinley, Duncan Glenday and Kamilla Philip Higham enjoys a richly varied musical Philip plays a cello by Carlo Giuseppe by Darren Bloom, Simon Holt, Freya
Arku. She has collaborated with artists life: a passionate chamber musician, equally at Testore, made in 1697. He is grateful for Waley-Cohen and Jacques Cohen.
26 such as Trio Dali, Jeremy Young and home in concerto, duo and unaccompanied continued support from Harriet’s Trust. 27Artist Biographies Artist Biographies
In 2019, the Piattis continued their Philharmonic Orchestra, Tenerife Symphony a musical career he studied Chemistry
connection to Mark-Anthony Turnage Orchestra, and the Vancouver Symphony. at the University of St Andrews.
with the world premiere of his fourth
string quartet, Winters Edge, at the Ms Fialkowska will be celebrating her 70th Recent and future operatic highlights
Klarafestival, Brussels. The Quartet birthday in 2021 with the release of her include Frank/Fritz Die Tote Stadt with
previously commissioned Joseph Phibbs’ final Chopin recital disc. In her most recent the RTE National Symphony Orchestra,
String Quartet No.1 and a recently disc ‘Les sons et les parfums...’, “Fialkowska Eisenstein Die Fledermaus for Northern
released disc for the Champs Hill label brings to bear an extraordinary variety of Ireland Opera, Astrologer/Abbot The
features this work alongside the premiere touch, producing sounds that seem tailored Burning Fiery Furnace at Southrepps Music
recording of Turnage’s Twisted Blues with to their respective pieces...There’s simply Festival, Hansel & Gretel at Regent’s Park
Twisted Ballad, with classics by Britten no one quite like her” (Gramophone), and Open Air Theatre, Count Almaviva in Irish
and Bridge. The Quartet’s other lauded her ‘Chopin Recital 3’ was awarded the National Opera’s production of Le Nozze di
recordings have been released on the Linn 2018 Juno Award for Best Classical Album Figaro, Marcello La Bohème for Lyric Opera
Records, NMC and Champs Hill labels. of the Year, Solo or Chamber. Throughout Ireland, Calchas La Belle Hélène Blackheath
JANINA FIALKOWSKA her career, Janaina Fialkowska has been Opera and Pangloss & Voltaire in Leonard
Recent seasons have included debuts nominated for this award seven times. Bernstein’s Candide with the Xi’an Symphony
in Rotterdam, Istanbul, and Barcelona, Beloved the world over for her Further discography includes CDs with Orchestra and also for West Green Opera.
and at the Aldeburgh Festival. At the exquisite pianism, Janina Fialkowska several solo albums featuring music by While in residence at Scottish Opera, Ben
2015 Wigmore Hall International has enchanted audiences for almost Chopin, Liszt, Schubert and Szymanowski. created the role of James in the world
String Quartet Competition, the Piatti forty years with her glorious lyrical première of The Devil Inside, for which he
Quartet won 2nd Prize as well as the sound, her sterling musicianship and her Ms Fialkowska and her husband, won Outstanding Performance in an Opera
St. Lawrence SQ prize and the Sidney profound sense of musical integrity. cultural manager Harry Oesterle, at the My Theatre Awards in Toronto.
Griller Award for the best performance reside in Bavaria, Germany.
of Mark-Anthony Turnage’s Contusion. Celebrated for her interpretations of the Other notable roles include the title role
classical and romantic repertoire, she is in Le Nozze di Figaro with Scottish Opera,
The Piattis are keen to pass on their passion particularly distinguished as one of the Marullo Rigoletto and Papageno The Magic
to future generations and regularly coach great interpreters of the piano works of Flute for Northern Ireland Opera, Falke
chamber music at the Purcell School, Chopin and Mozart. She has also won Die Fledermaus and Goryanchikov From
Trinity Laban Conservatoire and the Royal acclaim as a champion of the music of Franz the House of the Dead for Welsh National
Academy of Music. The Quartet would Liszt, as well as of twentieth-century Polish Opera, Sharpless Madama Butterfly at
like to thank the Britten Pears Foundation, composers, both in concert and on disc. Opera Holland Park, Des Grieux Le Portrait
the Ralph Vaughan Williams Trust, the de Manon and Mr Webb in the European
Hattori Foundation, the Razumovsky During recent seasons Ms Fialkowska première of Ned Rorem’s Our Town.
Trust, the Cavatina Chamber Music Trust, was heard in concert in London at
and the Fidelio Trust for their support. the Barbican and the Wigmore Hall, An avid performer of the works of Gilbert
as well as in performances in New & Sullivan, Ben received critical acclaim as
The Piatti Quartet takes its name from York City, Houston, Montreal, Toronto, the Earl of Mountararat in English National
the great 19th-century cellist Alfredo Berlin, Bremen and Dusseldorf amongst Opera’s Iolanthe and Pish-Tush in The Mikado
Piatti, who was a leading professor others. She also regularly tours Canada, BEN MCATEER for Scottish Opera. He looks forward to
and exponent of chamber music at USA and Europe. Orchestral highlights playing The Grand Inquisitor The Gondoliers
the Royal Academy of Music. include concertos with Regina Symphony, Northern Irish baritone Ben McAteer is and King Paramount Utopia, Limited with
Berner Symphonieirchester, London an alumnus of the National Opera Studio Scottish Opera next year. He has also
Sinfonia, Winnipeg Symphony Orchestra, in London and the Guildhall School of recently recorded the role of Jesus in Arthur
28 BBC Symphony Orchestra, the Royal Music & Drama. Before embarking on Sullivan’s oratorio The Light of the World and 29Artist Biographies Artist Biographies
Rupert Vernon in his operetta Haddon Hall, His recordings straddle an exuberantly is currently commissioned by New Dublin
both with the BBC Concert Orchestra. eclectic repertoire ranging from Beethoven Voices, UCD Choral Scholars and Maiden
and Schubert to the cutting edge, as in Voyage Dance. Paper Boat, a new opera
His extensive concert repertoire includes the Gramophone Award-winning NMC commissioned by Music for Galway,
Handel Messiah and Samson, Beethoven Songbook. Recent recordings include the celebrates 700 years of the city’s St Nicholas’
Symphony No. 9, Bach St John Passion, complete Rachmaninov songs (Delphian) Collegiate Church as part of Galway 2020.
Christmas Oratorio and Mass in B Minor, with seven outstanding Russian artists (“the
Elgar The Apostles and The Kingdom, Mealor results are electrifying” Daily Telegraph). Highly experienced in enthusing
Crucifixus, Adams The Wound-Dresser, Burnside’s passion for English Song is participation of all ages in collective
Stravinsky Pulcinella and Requiem masses by reflected in acclaimed CDs of Britten, Finzi, music-making, Elaine is much in
Brahms‚ Duruflé‚ Fauré and Mozart. Other Ireland, Butterworth and Vaughan Williams, demand for her creative and innovative
concert performances include the world many with baritone Roderick Williams. facilitation. In 2006 she became the
première of Turnage’s At Sixes & Sevens with Artistic Advisor of Music Network’s
the LSO, Carmina Burana at the Barbican, and Away from the piano Burnside is active as ELAINE AGNEW Professional Development Programme,
performances of Vaughan Williams’ Fantasia a writer and broadcaster. As presenter of providing training for musicians to work
on Christmas Carols and Copland’s Old BBC R3’s Voices he won a Sony Radio Award. County Antrim composer Elaine Agnew in a variety of outreach settings.
American Songs with the Ulster Orchestra. For Guildhall School of Music & Drama studied music at Queen’s University
Burnside has devised a number of singular and followed with postgraduate
theatre pieces. A Soldier and a Maker, based studies in composition at the Royal
on the life of Ivor Gurney, was performed Conservatoire of Scotland.
at the Barbican Centre and the Cheltenham
Festival, and later broadcast by BBC R3 on Her many works have been commissioned
Armistice Day. His new project Swansong and performed worldwide by artists
has been premiered at the Kilkenny Festival such as the Škampa Quartet, Ulster and
and will play in Milton Court in November. Ulster Youth Orchestras, RTÉ NSO, Irish
Chamber Orchestra, Hard Rain Ensemble,
Other highlights include performances soloists Sir James Galway, Finghin Collins
of the three Schubert song cycles with and Angela Hewitt and have featured at
Roderick Williams at Wigmore Hall. major festivals including the BBC London
A Delphian release of songs by Nikolai Proms, Slovenian Unicom and London
Medtner launched a major series of BMIC Cutting Edge Festivals, New Music
Russian Song in the 2018 Wigmore Hall Dublin and in many world-class venues: JOHN O’CONOR
season. Other forthcoming projects feature the Carnegie, Wigmore and Royal Albert
Ailish Tynan, Rosa Feola, Andrew Watts, Halls and the Konzerthaus Berlin. The Irish pianist John O’Conor has been
IAIN BURNSIDE Robin Tritschler and Benjamin Appl. gathering wonderful reviews for his
Elaine was appointed as the first RTÉ masterly playing for over forty years. Having
Iain Burnside is a pianist who has Iain Burnside is Artistic Director of the lyric fm Composer-in-Residence in 2008 studied in his native Dublin, in Vienna
appeared in recital with many of the Ludlow English Song Weekend and Artistic and her commissioned Christmas carols with Dieter Weber and been tutored
world’s leading singers (“pretty much Consultant to Grange Park Opera. have been released on lyric’s Choirs for by the legendary Wilhelm Kempff, his
ideal” BBC Music Magazine). He is Christmas CD and published by Boosey & unanimous 1st Prize at the International
also an insightful programmer with an Hawkes and Cailíno Music Publishers. Beethoven Piano Competition in Vienna
instinct for the telling juxtaposition. in 1973 opened the door to a career that
A member of Aosdána, Ireland’s state- has brought him all around the world.
30 sponsored body of creative artists, Elaine 31Artist Biographies
He has performed with many of the world’s For his services to music he has been
leading orchestras and has given concerts awarded honorary doctorates by the
in many of the world’s most famous halls. National University of Ireland, by Trinity
He enjoys collaborating in Lieder recitals College Dublin, by the Dublin Institute of
and performing chamber music with many Technology and by Shenandoah University,
instrumentalists and ensembles such as the title “Officier de l’Ordre des Arts et des
the Cleveland, Tokyo,Vanbrugh,Vermeer, Lettres” by the French Government, the
Takacs,Vogler and Ying Quartets. “Ehrenkreuz für Wissenschaft und Kunst”
by the Austrian Government, the Order of
John O’Conor first gained widespread the Rising Sun by the Emperor of Japan, and
attention in the USA in 1986 with the release has received many other awards. In 2015
INTERNATIONAL
of his first volume of Beethoven Sonatas on he was made an Honorary Life Member
the Telarc label. Mr. O’Conor has made more of the Royal Dublin Society. In October
FESTIVAL OF
than 20 recordings for Telarc, including the he was made an Honorary Fellow of the
complete Beethoven Sonatas, the complete Royal College of Physicians in Ireland and
Bagatelles, and the complete Mozart in November 2017 he was presented with
Concertos with Sir Charles Mackerras and the Lifetime Achievement Award of the
the Scottish Chamber Orchestra. He has also
recorded the complete Nocturnes, Sonatas
National Concert Hall in Dublin by the
President of Ireland, Michael D. Higgins. CHAMBER
MUSIC 2021
and Concertos of the Irish composer John
Field. In 2007 and 2008 he recorded the John O’Conor is a Steinway Artist.
complete Piano Concertos of Beethoven with
the London Symphony Orchestra conducted ULSTER ORCHESTRA
by Andreas Delfs and these have been greeted CHAMBER ENSEMBLES
with great acclaim. In the past year he has
released two new CDs on the Steinway Ulster Orchestra On Your Doorstep was
label, one of Beethoven’s Diabelli Variations founded in the 2016/17 season (the
and the other of five Haydn Sonatas. Orchestra’s 50th anniversary season), and
it sees the orchestra play in as diverse
Prof. O’Conor is regarded as one of the a range of venues as possible across
most important piano teachers in the Northern Ireland, sending everything Marmen String Quartet
world today. He is Distinguished Artist in from small ensembles and chamber music
Residence, Professor of Music and Chair concerts, right up to the full symphony Marie-Ange Nguci (piano)
of the Piano Division at Shenandoah orchestra, far and wide across the region.
Conservatory in Virginia, Professor of Camerata Ireland Young Artists
Piano at the Glenn Gould School of the In recognition of Belfast Music Society’s
Royal Conservatory of Music in Toronto,
International Visiting Artist at the Royal Irish
100th anniversary, the orchestra has put
together a programme that presents
Jennifer Johnston and Joseph Middleton
Academy of Music and Visiting Professor orchestral music in a chamber context and
at Showa University in Japan. His students chamber music in an orchestral context. It’s
have won many international prizes and a showcase of the orchestra’s versatility in
he is in great demand for masterclasses
and as a juror at the most prestigious
chamber combinations, and a celebration
of chamber music in all its forms.
5–7 MARCH 2021
32 international piano competitions worldwide.President Patron Now, more than ever, we are very grateful for the regular support
Elizabeth Bicker MBE Sean Rafferty of the BMS Friends, whose financial contributions help to underpin
BMS’s work in uncertain times.
Board of Management Concerts Manager
John Harmar-Smith (Chair) Pamela Smith In the past, BMS Friends’ donations helped to launch the Northern
Anthony Kirby (Vice-Chair) Lights Mini-Fest and to produce the Chamber Babies CD, among
other initiatives.
Kathy Gordon
For further information, including details of the Silver and Gold
Members-elect Friends membership schemes, visit:
Ian Lindsay (Treasurer) www.belfastmusicsociety.org/support-us/friends/
Robert McNair (Secretary)
Colin Armstrong
Beverley McGeown
Support Us!
You don’t have to be a BMS Friend to support BMS and contribute
to the future of chamber music in Belfast. There are other ways
to help, from the smallest one-off donation to the lasting legacy of
including BMS in your will. Every donation makes a real difference.
Find out more on the ‘Support Us’ pages of our website,
www.belfastmusicsociety.org/support-us
www.belfastmusicsociety.org
www.belfastmusicsociety.org
34 35www.darraghneely.com
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