Notice board

Handel, Holst, Telemann and Beethoven this week.

Corelli, Arcangelo / Concerto grosso in F major, Opus 6 No.2 (flutes to play the soli violin parts and Jane to play both the cello parts at the same time)

Fux, JJ / Ouverture K.355 (that’s the Ouverture folk, not the other one!) 

Tallis, Thomas / Archbishop Parker’s Psalter

Zehar, Farrio / Divertimento for Oboe  (first movement only)

Simon, Paul Austin / The Stenna Suite Quartets no’s 9, 10 and 11

A curious mix of instruments this week, mainly violas and flutes. Fortunately there appears to be a suitable repertoire and we will play excerpts (easy bits) from the following:

Trois Trios d’enfants: F Andersen

Terzetto Opus 74: A Dvorak

Drobnosti Opus 75a: A Dvorak

Bomoco Suite: L Corini

Sakuru: Trad. Japanese

and in a nod towards it being Palm Sunday we may play a trio by JC Bach.

OK I take that last bit back, but we’ll still play the trio.

Haydn London Symphony – can’t remember which one, the music’s in the car and it’s raining. (No printing required)

Boccherini’s Flute Quintet in Eb Major

Holst’s Brook Green Suite

All music in the music library.

Haydn: Symphony No. 94 in G major (music supplied)

Simon Paul Austin: Stena Suite (no.6-8)

Roberts Schumann: Scenes d’Enfants

Elgar never had more than rudimentary lessons on the violin or piano: a natural talent instead began to emerge that was ‘at home’ in the world of practical music-making. Nothing demonstrates this better than the music he wrote – from April 1878 until 1881 – for himself and a number of friends to play on Sunday afternoons. For most of the time the ensemble was a woodwind quintet consisting of two flutes, oboe, clarinet and bassoon, all played by amateurs of differing abilities: Elgar’s brother Frank (oboe – clearly an outstanding player), Hubert and William Leicester(flute and clarinet), Frank Exton (flute) and Edward Elgar on bassoon.

Because the ensemble was an unusual one there was no existing repertoire available to play, so Elgar composed or arranged all of it. The ensemble (which later included a violin and cello – Elgar playing the latter) met every Sunday afternoon in a shed behind Elgar Brothers’ music shop, and they called themselves “The Brothers Wind” or “The Sunday Band” and serenaded many locals at rural events. More particularly, Elgar called the music “shed music” and marked the seven volumes with the designations “Shed 1”, Shed 2”, etc. Several of the longer compositions he called “Harmony Music” – an Anglicization of the German “Harmoniemusik”, a serenade for wind instruments. The Shed books were in fact preserved by Hubert Leicester and are now in the British Library.

Elgar, Edward W:  Harmony Music No.7 (Shed)

Foreshaw, Richard: Mhairi’s Wedding (music supplied – no printing required)

Haydn, Joe:  London Trios (1 and 2)

Gerson, George: Waltzer G.21

and ……

This is what Mr Handel wanted me to play this afternoon –

… this is what I played –

but neither sounds anything like this young lady in a mermaid costume.

This week we will play with varying degrees of success, the following

Modest Mussorgsky’s The Great Gate of Kiev

Handel’s Concerto Grosso in G Major HWV 314

Mozart’s Divertimento in D major K251

Stenna Suite String Quartets by Paul Austin starting with The Travelling Twitcher