Music Appreciation Class Notes - May 10 2019
If you would like to review the session on 10 May, or are following Bill Squire's Music Appreciation class notes notes and recommended Youtube clips on line, here are Bill's latest class notes for your edification!
Music Appreciation Class Notes - May 10 2019
The early romantic period - more or less the first half of the 19th century - saw the birth of numerous composers whose works still feature prominently in the experience of today’s music listening generation.
In music, Romanticism contributed to a status shift in the role of the composer. While composers of the previous (classical) period were more likely to be in the employ of the wealthy (eg. Bach and Mozart), the Romantic movement saw composers become artists in their own right.
If the composers of the classical period held the belief of logical order and clarity, the Romantics believed in allowing their imagination and passion to soar spontaneously and interpret it through their works.
April saw us explore the music of Schubert and Chopin - two such composers whose lives occupied the same period of time (save for about five years), yet whose music was widely different in its expression.
Franz Schubert wrote about 600 lieder (German songs) as well as instrumental and choral music, whereas Frederic Chopin is best known for his beautiful character pieces for solo piano.
Why not explore, then, as we did, the compositions of these two music greats and visit the links to the class notes at the end of this report. There you will find a potted history of Schubert and Chopin, a few details of what lay behind some of their music and Youtube links to the music we enjoyed.
Music Appreciation Class Notes - 10th April
Music Appreciation Class Notes - 24th April
Bill could not attend this week’s music session so I picked the music we were to listen to.
I have long been interested in the contradiction between popular versus excellence in music. Popular does not always equal excellence but sometimes excellent can be popular. Style and substance can come together and when it does it is exceptionally satisfying. I picked music that I felt fell into this category.
As such we listened to music by Johann Strauss Jnr, Antonio Vivaldi, Ludwig Van Beethoven, George Frederick Handel, Dimitri Shostakovich and Lennon and McCartney.
I tried to pick music that in any circumstance would be called genius.
From Bach who took the high baroque to its absolute height, and was probably the most astonishing technical composer of all time, to Mozart who wrote prolifically and perfectly on a level that’s never been rivalled, whose “genius” was so manifest as to dwarf every other composer of his time, to Beethoven who by comparison had to struggle for his craft more than either of the above.
This has been our musical journey so far this year.
Although he wrote far less music than many of his contemporaries and predecessors, it is argued that Beethoven produced music that was somehow richer: richer, simply because in ‘struggling for every note on the page” as one critic put it, he “transcended form and reinvented small forms and blew up the symphony forever thereafter”.
Beethoven as the bridge between the “classical and the “romantic ” periods of composition was the subject of this morning’s musical exploration. Bookending the programme with the overture to and the finale of “Fidelio” – the only opera Beethoven produced (and 10 years nearly in the making at that) – we traced his work sequentially from early to later by opus numbers including excerpts from the range of instruments and genres for which he composed.
A number of ‘significant’ compositions were deliberately omitted from this morning’s session with a mind to a larger celebration of Beethoven’s contribution to music around the time of the 250th anniversary of his birth next year.
From solo to septet and sonata to symphony, you can view our morning’s presentation, complete with Youtube links to the various performances, on the Music Appreciation page of the U3A website.
Would you like to read the class notes for this session?
Ludwig Van Beethoven - Music Appreciation Class notes Friday March 8
A bright start to this year’s music with an appreciation of the life and music of J S Bach - the composer of some of the most famous works of the classical repertoire, and who has influenced perhaps more composers than any other figure in music.
Better known during his lifetime primarily as an outstanding organ player and technician, the youngest of eight children born to musical parents, Johann Sebastian was destined to become a great musician.
Bach’s use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style still amaze musicians today. Many consider him the greatest composer of all time.
Because of the vast number of compositions (1100 or so catalogued – goodness knows how many there are in total) time allowed only for a sampling of his musical output. Hence we named it “A Dégustation of Bach” and framed our selection of his music around the instruments he composed for and some choral work.
Our second programme in February saw us move down the years (just a little) from the “Baroque” period of Bach to the “Classical” era and the music of Mozart. Another prolific composer - but with only a little more than half the catalogued works of Bach - so again it was “smorgasbord” of Mozart music across the various genres he composed for, although with not quite the same volume of music to choose from, we were able to lengthen the time a little for our listening experience of the items presented.
Full programme notes of each of the two sessions together with links to the appropriate “Youtube” site for the music presented in February:
Here are the class notes from Music Appreciation's December's session - 'Christmas Music'. These wonderful notes prepared by convenor Bill Squires could be dipped into each year before Christmas.
The arrangement of 'In Dulci Jubilo' by Michael Praetorius 1571 -1621 featured during the session. You might like to listen to this beautiful version on You Tube.
Friday 9th November
Our presentation here was an overview of the Strauss dynasty – Johann I, Johann II (Son of Johann I), the sons of Johann II (Edward I & Josef), Johann III (son of Edward 1) and Edward II (grandson of Edward I)
Musically our programme for this session was mostly about Johann II - we devoted the first half to his works and divided the second among works by the other members of the family. The selections chosen for our listening were mostly compositions that had some historical significance more so than plain popularity, although our morning’s programme did conclude with the time-honoured tradition of the Viennese New Years Day Concerts with the older Strauss’ “Radetzky March”.
Programme Notes for 9th November 'The Strauss Family'
Friday 23rd November
Our most recent session saw us delve into the life and music of Percy Grainger. Incredibly eccentric in his behaviour, dress, and many of his views (he claimed to be the world’s ninth best composer - below Delius but above Mozart and Tchaikovsky), he was absolutely brilliant and wide ranging in musical ability, and ahead of his time in the technological side of musical presentation (he was the first to use a phonograph to record folk songs, tried unsuccessfully to develop a synthesiser, but jumped on the duo-art pianola bandwagon soon after they were invented so that he could arrange for music (his and other composers’) to be transcribed on to pianola rolls). With a lifelong aim to see himself remembered as Australia’s foremost composer Grainger established and endowed the Grainger Museum in Melbourne which is still in operation today.
Programme notes for 23rd November on Percy Grainger and his music together with the music presented 'Salute to Grainger'
NOTE: The final Music Appreciation session for this year will be on Friday 14th December at 10am
Leonard Bernstein at 100
Music of all the Arts stands in a special region unlit by any star except its own, and utterly without any meaning …… except its own.
As composers go, Leonard Bernstein probably attracted more divided opinion during his lifetime than any other. His music, his sexuality, his politics, his outspokenness; they all attracted comment. Despite this, was an amazing energetic man who remains a commanding figure in twentieth-century classical music.
Leonard Bernstein was originally named Louis – but he changed his name when he was 16 years old. Shy and sickly as a child – probably why he was introduced to the piano at the age of five – he was born in Lawrence, Massachusetts to Russian/Jewish immigrants.
He died only five days after retiring; the cause was emphysema (difficulty breathing) after a lifetime of heavy smoking.
Famously quoted as saying, ‘I’m not interested in having an orchestra sound like itself. I want it to sound like the composer’. I guess, that was how ‘he’ thought the composer wanted it to sound?
Bernstein was married in 1951, and his detractors have suggested that the marriage, to Brazilian actress Felicia Cohn Montealegre (after they’d originally been engaged, then split up before she had a long relationship with Broadway actor, Richard Hart – before getting back together again), was to dispel rumours about his sexuality. In the 1950’s the orchestral governing boards were famously conservative, and so it might have been a sensible move to protect his professional reputation. Whatever, they had three children and clearly loved each other before she died of lung cancer in 1978.
Bernstein went public with his bi-sexuality in 1976 when he left his wife to move in with Tom Cotham, a radio station musical director. However, with the onset of his wife’s lung cancer, he returned home to care for her until she died.
In 2013 the book, ‘The Leonard Bernstein Letters’, a letter written by his wife to him said the following; ‘you are a homosexual and may never change – you don’t admit the possibility of a double life, but if your peace of mind, your whole nervous system depends on a certain sexual pattern, what can you do?’ A close friend of his, Shirley Rhoades Perle once said about Bernstein, ‘he required men sexually and women emotionally’.
In a concert of Brahms‘ Piano Concerto No. 1, where he famously argued with the pianist, Glenn Gould, in rehearsal – Gould wanted a slower tempo – Bernstein made an announcement to the audience before they began. ‘Don’t be frightened. Mr Gould is here….in a concerto, who is the boss….the soloist or the conductor? The answer is, of course, sometimes one and sometimes the other, depending on the people involved’. Ever the entertainer, who waited for the applause between each line of his address, Bernstein was later criticised for either attacking Gould (he could hardly reply!) or simply abdicating responsibility for the performance that was to ensue.
Perhaps his best-known work is the Broadway musical, West Side Story; inspired by Shakespeare’s, Romeo and Juliet and with lyrics by Stephen Sondheim, the musical explored rivalries between two 1950’s New York gangs (the Jets and the Sharks). The 1961 musical film version won ten academy awards. Originally it was going to be about an Irish Catholic family and a Jewish family living on the lower east side of Manhattan – but this idea was discarded for the Puerto Rican vs Whites story that we now know. Phew!
Despite the controversies, Bernstein was one of the most acclaimed and ‘in demand’ conductors in the world; almost undoubtedly because of the energy and passion he gave to every performance.
Bernstein was one of the first classical musicians to ‘master’ TV. The Young People’s Concerts have existed in the US since 1924, but Leonard Bernstein brought them to a new audience in 1958 with the first televised concert of its type. Then, in 1962, the Young People’s Concerts became a TV series and Bernstein conducted 53 of them with his usual brand of enthusiasm and energy.
Politically, Bernstein and his wife seemed to do their best to put their toes in the hottest of waters; his wife, Felicia, help to found an anti-war effort to promote the education women against the war in Vietnam, which lasted from 1955 to 1975. This doesn’t now sound to be such a bad thing now, but in 1967 it was considered very ‘anti-American’. Likewise, Leonard and his wife hosting a party for the extreme African-American Group, the Black Panthers in the 1970’s didn’t go down too well.
It wasn’t because of these activities – because they occurred much later – but Leonard and his wife were named in the anti-communist report, Red Channels; the report of Communist Influence in Radio and Television written in 1950 by the right-wing group Counterattack. The fact that they were named with such luminaries as Aaron Copland, Lena Horne, Pete Seegar and Artie Shaw, certainly didn’t do them any harm in the long term. Leonard was also closely monitored by President Hoovers FBI as a potential ‘red’.
'Opus 1 Works'
Just as in the first of this month’s programmes we listened to the final works of a number of well-known composers, so in the second we listened to the “Opus 1” works of the same composers. These are not by any means their first compositions but more or less their first works to be published. “More or less” because in some cases a composer might “sit” on piece of music for a number of years before offering it for publication, and again not everything a composer wrote made it to publication. Or again, an early work not submitted may not come to light until after the composer’s death. Confusion is magnified because publication numbering might depend on who the publisher was, give that a composer might hand his composition to more than one publisher.
Also, before the music publishing industry really got into overdrive, some composers eg: Mozart, would have only published a handful of their works, so even referring to them by their opus number is not all that helpful in determining chronological order. While some more well known composers have had their works catalogued, and may more often than not be referred to by their catalogue number, these numbers serve only to identify the piece of music and not necessarily the order of composition.
Nevertheless an enjoyable listening experience of music comprised of excerpts from the following composers’ works recorded as their “opus 1”:
Wagner Sonata in B flat
Mozart Violin Sonata in D major K 306
Hadyn String quartet in B flat major
R Strauss Festmarsch
Chopin Rondo in C minor
Beethoven Piano Trio in E flat major
Dvorak String Quintet in A minor
Grieg Four Piano Pieces
Mendelssohn Piano quartet in C minor
Liszt 24 Etudes in C major
Tchaikovsky Scherzo à la Russe
JS Bach 6 Partitas BWV 825 -830.
This morning we listened to a selection of last works. As all composers by this stage of their lives had reached a certain level of expertise all works were extremely competent and pleasurable to listen to.
The composers last words do not always relate to their work.
Richard Wagner Last Work Parsifal
Last Words “I feel Lousy”
W A Mozart Last Work Requiem
Last Words “The taste of death is upon my lips”
Joseph Hayden Last Work Emperor String Quartet Op 76
Last Words “Children be comforted, I am well”
Franz Schubert Last Work Piano Sonata in D flat major
Last Words “Here, here is my end”
Richard Strauss Last Work Four Last Songs
Last Words “I would have given anything to have written Mozarts Clarinet Concerto”
Frederic Chopin Last Work Sonata for Cello and Piano
Last Words “Now is my final agony. No more”
Ludwig van Beethoven Last Work New Finale to String Quartet in B flat major
Last Words “Pity. Pity, too late” (This referred to a late wine delivery)
Antonin Dvorak Last Work The Opera Armida
Last Words “I feel a bit dizzy. I think I’ll go and lie down”
Edvard Greig Last Work Four Psalms Op 74
Last Words “Well if it must be so”
Felix Mendelssohn Last Work Songs without words
Last Words “Weary weary weary”
Franz Liszt Last Work Bagatelle sand Tonalite
Last Words “Tristan”
Johann Sebastian Bach Last Work Before They Throne I stand
Last Words “Don't cry for me for I go to where music is born”
From notes provided by Bill Squires. From now on, Bill Squires will be the Convenor of the Music Appreciation Group.
At our first session in September we listened to Russian Music selected by Bill. In the last half of the 19th Century a Nationalist Russian music trend became established. Composers tried to infuse their work with Russian Themes and to challenge the popularity of music from Western Europe. In time in the 20th Century these works have been taken up by the west and are now included in the classical repertoire.
We listened to works by Balakirev, Cui, Borodin, Mussorgsky and Rimsky-Korsakov. It was both educational and enjoyable to listen to works by these men.
Bill was expansive in his knowledge of these Russian Artists and we thank him for the copious notes he provided provided for our pleasure.
At our second session for the month we listened to Beethoven, Chopin and Mozart.
We recognised the Beethoven and Chopin but the Mozart was not known because the music we listened to was by Mozart's sonFranz Xaver Mozart.
A video of an orchestra playing Franz Xaver Wolfgang Mozart's Piano Concerto in C Op 14
was unavailable. This is an orchestra playing other concerto by Franz Xaver.
Franz Xaver Wolfgang Mozart, also known as Wolfgang Amadeus Mozart, Jr., was the youngest child of six born to Wolfgang Amadeus Mozart and his wife Constanze. He was the younger of his parents' two surviving children.
Franz Xaver Wolfgang Mozart was only four months old when his father died. He received his early musical education from the Mozart student Johann Nepomuk Hummel, and from Georg Friedrich Albrechtsberger, who had taught Haydn and Beethoven. Antonio Salieri suggested, “the boy has a rare talent for music, and his future might not be inferior to that of his celebrated father.”
It was always going to be slightly difficult to fill his father’s musical shoes. Franz Xaver was certainly a gifted pianist who toured extensively through the German speaking parts of Europe, but also in Denmark, Russia and Italy, and then spent most of his life as a private music tutor in the Ukraine. He also remained unmarried and had no children, so that particular musical lineage sadly disappeared. In terms of personality, Franz Xaver was very unlike his father. He was introverted, constantly underrated his own talent and feared that whatever he composed would be compared to the compositions of his father, and of course, it was. His father’s shadow even followed him after his death. On his tombstone we can read, “May the name of his father be his epitaph, as his veneration for him was the essence of his life.”
Franz Xaver composed about 30 compositions, assorted Sonatas, some chamber music and 2 piano concertos, with his music remaining stylistically firmly in the mature musical style of his father. Franz Xaver was never going to be able to escape the shadow of his father, but both composers were born with exceptional musical talent and aptitude into a fertile environment that recognized, encouraged and nurtured that particular talent.
This week we welcomed back John Avery into our group.
The year 2018 has been denoted the Year of the Bassoon. Today we listened to four selections of Bassoon Music. We listened to:
Fantasia by Paul Doukas
Beethovens Trio in E Flat Major. Opus 38
Selections from Richard Strauss
Selections from Michail Glinka
The Bassoon is an instrument that has developed over the centuries and is not an easy instrument to master. Consequently, there is not a large repertoire of music available or players to play it. What music is available is in high demand and very enjoyable to listen to. As we did this morning.
John Avery was unable to attend because of illness. We wish John a speedy recovery. We were also able to welcome a new attendee.
This week we listened to the 4 movements of Liszt's Piano Concerto No. 1 in E Flat Major.
This is a very melodic piece full of rhythmic themes. It is considered a difficult piece to play but this does not lessen the enjoyment it produces.
We also listened to music by Erich Korngold. Korngold was a refugee from Europe who came to America in 1934 and wrote music for Hollywood. His music has had a good shelf life and is very enjoyable to listen to. Some of his classical pieces were included in his Hollywood themes and are sometimes recognisable to people who remember old movies.
In the second hour we listened to selections from classic operas finishing up with four selections from Mozart.
Friday 25th May
During this session we listened to some 16th and 17th Century church music from South America.
Hanaq Pachap Kusikuynin
Los Coflades De La Esteyla
Kyrie (Missa San Ignacio)
Gloria (Missa San Ignacio)
Convidando esta las noche.
This was slightly martial, proselytizing but nevertheless happy music advertising the power of the church. It was brought to us by an Englishman Jeffrey Skidmore, whose passion has been to revive the choral repertoire and make it accessible to as many people as possible.
This music was happy optimistic music and not ostensibly South American – a fusion of music from the heart of Europe set in the Spanish colonies.
In the second hour we listened to The Nutcracker Suite by Tchaikovsky and Mozarts Piano Concerto No 21. Both are fantastic pieces of music. Mozart’s 21st Concerto was written for one of his subscription concerts. It was written to be played in public and to be listened to by the public. By any standard it has withstood the test of time.
Friday 8th June 2018
We listened at length to Gershwin's Rhapsody In Blue during this session. This was the first commercial classical example of Jazz Music and this symphony essentially made Jazz acceptable to established Music. Endlessly repetitive and always melodic it bounces along from movement to movement. It is made even more intriguing by often going from instrument to instrument. One leading to another – one melody leading to another. Very American in style it is an example of good 20th century music.
Friday 22nd June.
A session in which we listened to a selection of Opera Arias from Wagner, Verdi Mozart and Beethoven. All extremely enjoyable. Superb Music from Master Music makers. It is always invigorating to listen to the work of geniuses.
In our second hour we watched several YouTube films of the work of Maria Callas. Maria Callas was both a magnificent singer and a magnificent actor. Entirely believable in her many roles – especially Tosca – such was her greatness audiences watched in breathless silence until it was time to applaud and then they had to be stopped applauding.
This week’s unknown composer was Carl Filtsch. Filtsch was a child prodigy who was compared to Mozart. A genuine boy wonder who was admired by Lizst and was a pupil of Chopin. He was influenced by Chopin to the point where it was not possible to distinguish between the two.
Unfortunately Filtsch died when he was only 14 years old and his surviving music gives an indication of just how talented he was. He published various piano and string music and we were fortunate to listen to a selection.
We then compared the two composers music by listening to Chopin's Sonata for Cello and Piano in C Minor Opus 63 and Chopin's Polonaise Brilliant in C Major.
After this we listened to various more popular pieces:
We finished up listening to the first 15 minutes of The Marriage of Figaro.
13th April - Because of the continuing problems our group has had with both faulty equipment and interruption from the main hall at the Senior Citizens this week’s Music Appreciation was held at the home of John Avery. This week John presented work from Polish Composer Karol Mikuli. This man was a devotee of Frederick Chopin who gained acceptance in his lifetime as a concert pianist. We listened to music that was not as melodic or romantic as Chopin but was sweet and balanced and well worth listening to. Mikuli has been completely ignored since his death and is unfortunately currently not listed in any repertoire. We listened to this on John’s sound system.
We then listened to the complete Bach Sonata in E Minor BWV 1023 for Violin and Basso in 3 movements. This is a lesser known work of Bach's. But as Bach wrote such a substantial body of work some of his music is not played as much as some of his more popular work is and, as a consequence, is not so well known. But never the less well worth the listen. This work was played on a Bose Wave Music System and showed how miraculous some music systems can be. Such rich sound out of such small a system.
27th April - Our unknown composer today was Thomas Dyke Ackland Tellefsen. This Norwegian was another pupil of Chopin who became a teacher himself as well as a virtuoso piano player. We listened to his Violin Sonata No 1 in G Minor. This had lots of violin music in it as well as piano music. If he was a pupil of Chopin he was not influenced much by him in this instance. The music was clean and melodic.
We then listened to Mahlers 5th Symphony. Its a while before you get to the Adagietto but its worth the wait. Lots of unresolved chords blending from one into another which is the Mahler trademark. This music was used as the soundtrack in Visconti's Death In Venice and is perfect to have in the background while experiencing Venice. Seems to sum the place up perfectly.
We experimented with playing parts of Mahler on the Bose sound system as well as a sound bar. Hopefully we now have all our technical problems sorted out.
In late February our lesser known composer was Jean-Marie Leclair. An obviously talented man, he was born into a lace making family and this was his first profession. By some miracle in his twenties he became a ballet dancer and from there he progressed to music where he was both musician and composer. He was able to present music that was clear, harmonic, balanced and rational - all things that sum up the enlightenment. He was also influential in developing techniques for playing the violin. All in all a very impressive man and we greatly enjoyed the presentation John brought to us.
We also heard selections from the Czech composer Dvorák. Dvorák is generally considered to be the great composer of Eastern Europe and the selections we heard certainly had an Eastern European sound to it. He was able to bring a folk music influence and a peasant dance sound into his works and the selections we heard were examples of this.
We finished up listening to all 3 movements of Beethoven's Piano Concerto No 4. This is an example of Beethoven's early work and who could not be thrilled by it.
On Mar 9th we began by listening to two pieces of violin music by Karol Lipinski (1790-1861 both titled Three Capriccious. Op 10 and Op 27.
The talented child of a Polish Court musician both Lipinski and his fathers’ careers were cut short by the partition of Poland in 1795 when the court was virtually disbanded. In adolescence Lipiski took up the violin and became a virtuoso to the point where Paganini became an admirer and played his music. Paganini remained an admirer so much so that when he died he left Lipinski one of his violins.
We then listened to all 4 parts of Sibelius Symphony No 2 in D Major. Op 43
Sibelius is considered to be the classic Finish Composer although he became popular in Europe and especially in England. His music has a softly softly feel to it and it is felt promotes Finnish myths and legends and excites Finnish patriotism. The music is melodic with seemingly unresolved chordal structures and incorporates elements of Mahler and Wagner.
At the end of the meeting it was resolved to approach the executive with a request for more equipment
On Friday Feb 9 we listened to a varied selection of music picked by John Avery. In keeping with John’s policy of bringing lesser known composers to our attention we listened to several dances and some marching music by Mikhail Mikhailovich Ippolitov-Ivanov.
Mikhail studied in Moscow but then spent some time in Georgia and his music contains influences from this area of the world. He was also able to incorporate Turkish sounds into his music. He returned to Moscow in 1905 and stayed there until he died in 1935. His music has a stirring aspect to it and was very enjoyable to listen to.
From a lesser known composer, we then moved to a very well-known composer - Wolfgang Mozart - and we enjoyed listening to Quintet in A Major for Clarinet and Strings. K581. In this case the clarinettist was Benedict Goodman - better known as Jazz musician Benny Goodman. This was recorded on 25 April 1938 and caused a little controversy in its day. Can a Jazz musician play classical music? Should a Jazz musician play classical music?
We finished up by listening to the exquisite Violin Concerto in D Major Op61 by Beethoven. This is one of the great pieces of music and was the perfect way to finish the morning even though there were complaints about the noise.
It was also disappointing that we were not able to get all the equipment to work.
Sound recordings of Benny playing Mozart's Quintet in A Major for Clarinet and Strings. K581 on You Tube but a live in concert couldn't be located, Copland's poignant Clarinet Concerto is featured above, along with a wonderful concert of Benny's virtuoso clarinet playing in the jazz genre he became so well known for. .
Missing from photo- John Avery; Les Rodgers; Bev Lee
Bill commenced the session with the following:
• Mendelssohn’s Flute Concerto with the Orchestra Royal de Chamber
• Wagner’s Tannhauser Overture played by the Berliner Philharmoniker
• Bach’s Cantata BWV 140 by Kings College Choir, Cambridge University
Neville presented Mozart’s Clarinet Concerto with the Berliner Philharmoniker. Sabine Meyer was the Clarinetist.
Bill concluded the session with Handel’s Hallelujah from The Messiah. Most appropriate for our last session for 2017 before Christmas.
This is the performance of the Messiah by Collegium 1704 & Collegium Vocale 1704, the Prague baroque orchestra and vocal ensemble, recommended by Bill during class today.
Collegium 1704 is a Czech early music orchestra and choir which specializes in Baroque music, particularly that of Zelenka, Bach and Handel.
27 October 2017
Bill commenced the session with Richard Strauss’ ‘Four Last Songs’ (a swan song of sublime beauty), Soprano – Jessie Norman
John presented Beethoven’s Violin Concerto in D Major, Violinist – Arthur Grumiaux and Beethoven’s Romance for Violin and Orchestra Nos 1 and 2.
Bill concluded the session with a DVD of Act One of The Mikado performed by the English National Opera Company. Act Two will be played later.
10 November 2017
Doug commenced the session with the following:
Bill concluded the second session as follows:
22 September 2017
John is still on a break. He anticipates being back with us next session.
Les presented a DVD featuring Martha Argerich, pianist, playing Sergei Prokofiev, Piano Concerto No.3 conducted by Andre Previn with the London Symphony Orchestra.
Neville played the following selections:
13 October 2017
We welcomed John’s return. We played a selection of music as follows:
25 August 2017
In John’s absence the programme was organized by the members present, as follows:
Les played a CD entitled ‘Transcription of Pictures at an Exhibition’ by Mussorgsky from the piano version to organ by John Victor Arthur Guillou. Juag played the Organ at the Touhalle Concert Hall in Zurich.
Joan’s offering was Tchaikovsky’s Romeo and Juliet played by the Cleveland Symphony Orchestra.
Neville then selected from ‘you tube’ the following:
8 September 2017
John is still indisposed – we wish him a speedy recovery. In his absence the group presented various music segments.
To conclude the session, Joan presented a short selection of Chopin’s favourites played by Vladimir Ashkenazy.
28 July 2017
In John’s absence, Les presented the first session, as follows:
Rachmaninov Piano Concerto No 3
Pictured: Joan Visvader and Les Rodgers, presenters on 28 July
11 August 2017
John presented the session with music from the following composers:
This Youtube video follows the music score with different choral parts - perhaps you would like to follow and perhaps sing the words.
23 June, 2017
John presented the session commencing with Aurelio Magnani (1856 - 1921), composer, clarinettist and pianist. We played
14 July, 2017
John presented a session of American music. The composers are:
About Music Appreciation
Should you enjoy listening to and discussing classical music in a relaxed atmosphere this might be the group for you. Each session we explore the life and music of at least one composer. We listen to their great works, discuss their musical style and approach, and learn about their life story. Notes relating to the composers and their music are provided to assist your listening and learning experience. If you would like to know more about and enjoy some of the music that has helped shape our world then you would like this group. We would welcome you joining us.
2nd and 4th Friday
10 am to 12 noon.
U3A Meeting Room, Fawckner Drive
Convenor and Contact Details
Bill Squire 5762 6334
Music at BPACC
Melbourne Chamber Orchestra, September 9, 2014.