“Most people don’t care who’s on charge so long as someone is”, wrote author Tanya Huff in her book of heroic fantasy stories. That could not be said about George 1st – King of England in the early 18th century. German-speaking, uncharismatic and not especially intelligent, George I was unpopular, and opposition politicians flocked to support his eldest son, the future George II. His response was to stage a grand royal event on a barge on the River Thames as a publicity-boosting spectacle, designed to impress Londoners and steal the spotlight from the prince, as well as to convey a message to him as to who is in charge. For that event the king commissioned Handel to compose music for the occasion, - giving us what we know today as “The Water Music”.
Not so forthcoming was Johannes Brahms. For some years, uncertain in his work and his life and his income, Brahms retreated into a kind of musical wilderness. But out of this wilderness experience came his “Serenade No. 2 for Orchestra”. Tuneful and largely cheerful, the work was well received publicly which did much to restore his self-confidence, paving the way for the greater things which were to come from his hand.
Fascist dictator Benito Mussolini was a great admirer of the composer Respighi’s music, prompting some to call into the question Respighi’s own political affiliations and sympathies. Respighi, however, was a man deeply attuned to the immense richness of his nation’s historical and artistic heritage. That's one reason why Respighi, a proud Bolognese, was attracted to the Italian capital as a source of cultural inspiration. He moved to Rome in in his mid-thirties to teach composition at the Conservatorio di Santa Cecilia and from this, among other similar compositions, came his “Fountains of Rome” – describing aesthetic impression made on him, the ‘sentiments and visions’ inspired, as he put it, by four exquisitely sculpted Roman fountains, ‘contemplated at the hour in which their character is most in harmony with the surrounding landscape, or their beauty appears most impressive to the observer’.
The final session for the year was given over to the anticipation of the coming Christmas season. A smorgasbord of music for the season - works by Corelli, Berlioz, Charpentier, Praetorious, and a few in lighter vein, rounded off an enjoyable musical year. The details (notes and recordings) are posted below.
Many thanks to all who have showed appreciation and support in the presentation of programmes throughout the year.
Not so forthcoming was Johannes Brahms. For some years, uncertain in his work and his life and his income, Brahms retreated into a kind of musical wilderness. But out of this wilderness experience came his “Serenade No. 2 for Orchestra”. Tuneful and largely cheerful, the work was well received publicly which did much to restore his self-confidence, paving the way for the greater things which were to come from his hand.
Fascist dictator Benito Mussolini was a great admirer of the composer Respighi’s music, prompting some to call into the question Respighi’s own political affiliations and sympathies. Respighi, however, was a man deeply attuned to the immense richness of his nation’s historical and artistic heritage. That's one reason why Respighi, a proud Bolognese, was attracted to the Italian capital as a source of cultural inspiration. He moved to Rome in in his mid-thirties to teach composition at the Conservatorio di Santa Cecilia and from this, among other similar compositions, came his “Fountains of Rome” – describing aesthetic impression made on him, the ‘sentiments and visions’ inspired, as he put it, by four exquisitely sculpted Roman fountains, ‘contemplated at the hour in which their character is most in harmony with the surrounding landscape, or their beauty appears most impressive to the observer’.
The final session for the year was given over to the anticipation of the coming Christmas season. A smorgasbord of music for the season - works by Corelli, Berlioz, Charpentier, Praetorious, and a few in lighter vein, rounded off an enjoyable musical year. The details (notes and recordings) are posted below.
Many thanks to all who have showed appreciation and support in the presentation of programmes throughout the year.
I look forward to the company of any and all who wish to be part of our musical adventures in 2026.
Bill Squire.
Session Notes 14th November
Handel Water Music - Suite No.2
Brahms - Serenade NO. 2]
Respighi - Fountains of Rome
Bach - Keyboard Concerto No.2
Session Notes 28th November
Hess - Christmas Overture
Corelli - A Christmas Concerto
Berlioz - Herod's Aria
Berlioz - Shepherds' Farewell
Berlioz - Trio for Harp and Flutes
Charpentier- Noels sur les Instruments
Praetorious - In Dulce Jubilo
Poston - Jesus Christ the Apple Tree
Vaughan Williams (Collection) - The Gloucester Wassail
Figgy Pudding Song
Bill Squire.
Session Notes 14th November
Handel Water Music - Suite No.2
Brahms - Serenade NO. 2]
Respighi - Fountains of Rome
Bach - Keyboard Concerto No.2
Session Notes 28th November
Hess - Christmas Overture
Corelli - A Christmas Concerto
Berlioz - Herod's Aria
Berlioz - Shepherds' Farewell
Berlioz - Trio for Harp and Flutes
Charpentier- Noels sur les Instruments
Praetorious - In Dulce Jubilo
Poston - Jesus Christ the Apple Tree
Vaughan Williams (Collection) - The Gloucester Wassail
Figgy Pudding Song
