NYLON
Saturday
27th June, 2009
Worcester Arts Workshop,
21 Sansome St.
WORCESTER. WR1 1UH
wcgs109
NYLON: the WCGS Summer Concert 2009
The classical nylon-strung guitar is one of those timeless instruments that can cross all borders and musical styles... so much so that the word “classical” barely does it justice! In this concert, the members of the Worcester Classical Guitar Society offer up a glorious feast of guitar music.
Exquisite arrangements such as Brouwer’s ‘Un Dia de Noviembre’ and Jenkins’ ‘Palladio’ are assembled alongside pieces especially written for the instrument; works like the ‘Four Points of the Compass’ by the French composer Francis Kleynjans and Barrios’s ‘Julia Florida’. Not only these, but for the first time in its history, the orchestra will also be playing two works inspired by the ragas of Northern Indian classical music which, make a surprisingly effective transfer to the guitar.
Classical, contemporary, ancient and modern, eastern, western and every point of the compass in-between ... there is only one word to describe this cultural banquet for the ears and the heart: nylon.
Stephen Begley, May 2009
Programme
| » Rãgã y bulería | José-Luis Narváez |
| » Un Dia de Noviembre | Leo Brouwer |
| » Julia Florida | Agustin Barrios Mangoré |
| » Les 4 Points Cardinaux, opus 139 | Francis Kleynjans |
| » Zoetrope | Tim Phillips |
| » La Rossignol | Anon |
| » My Lord Willoughby's Welcome Home | John Dowland |
| » Mr Wrigley's Lullaby | Steve Marsh |
| » Palladio | Karl Jenkins |
| » Fairy Queen Suite | Henry Purcell |
| » Orangutango | Tim Phillips |
| » Nada | Carlo Domeniconi |
| » Quatre Esquisses | Jean Gauffriau |
| » Irish Hoanane | Roland Chadwick |
Worcester Classical Guitar Orchestra
Brian Abraham, Steven Andrews, Paul Benson, Roger Blears, Stephen Bridgwater, Anne Brindley, Jake Brooks, Janet Evans, John Gow, Joan Harrison, Tim Phillips, Claire Rawlinson, Tim Roberts, Laura Templeton, Paul Worrall.
Conductor: Stephen Begley
| Rãgã y bulería (Raga and Bulería) | José-Luis Narváez (1953 - ) |
| Misterioso; Alãpã; Jõd; Jhãlã; Bulería |
We very often associate flamenco music with its Arabic roots but it is unusual for the Indian influence to be so closely allied with the traditional Spanish forms much less married to them within the same piece. José-Luis explains:
'I wanted nothing other than to make a personal classical vision of Indian music. But apart from the Buléria which respects the compass, the three others are composed "in the style of Indian forms" rather than on any strict traditional form or rhythmic plan of Indian forms.'
After a short introductory passage marked ‘Misterioso’, players are asked to perform a semi-improvised melody of great feeling in the style of the rhythm-less ‘alap’, considered a free introduction to the rag. This flows seamlessly into the ‘Jõd’ or ‘Jor’ characterised by a sinuous developing melody and forecasting the arrival of the buleria with a new rhythmic phrase 12 beats long.
The buleria rhythm is built out of five beat groups (3+3+2+2+2) and traditionally has accents on beats 3, 6, 8, 10 and 12. In the ‘Jhala’ a form traditionally reserved for the end of a concert this twelve beat phrase is converted into a synthesis of Indian and Spanish styles; the long accelerando taking us through a clever metrical conversion, culminating in the buleria in which the 12 beats and modal scales of the melodies are fully developed and finally resolved.
» Programme
Paul Benson
| Un Dia de Noviembre | Leo Brouwer (1939 - ) |
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Leo Brouwer
‘Un Dia de Noviembre’ (One day in November) by the Cuban composer Leo Brouwer, was commissioned for the 1972 Cuban film of the same name directed by Humberto Solás.
The original instrumentation was for guitar, flute, bass, and percussionn. It was later transcribed for solo guitar by the composer. This is one of Brouwer’s more tonal pieces and very simple in structure but achingly melodic.
» Programme
| Julia Florida | Agustin Barrios Mangoré (1885 – 1944) |
‘Julia Florida’ (Julia Blossoming) has the subtitle of ‘barcarola’- a traditional form, reminiscent of the slow, undulating rhythm of a Venetian gondola ride. Beautiful and romantic, with a masterful harmonic treatment, it is said to have been dedicated to a student, Julia Martinez.
Composer and guitarist Agustin Barrios was a colourful character: for a period of several years during the 1930’s he declared his Paraguayan heritage by styling himself “Nitsuga Mangoré” after a famous Guarani Indian chief and appearing on stage in full tribal regalia. He would later adopt the name Agustin Barrios Mangoré.
» Programme
Worcester Guitar Quartet
Stephen Bridgwater, Tim Phillips, Tim Roberts, Laura Templeton.
| Les 4 Points Cardinaux, opus 139 | Francis Kleynjans (1951 - ) |
| 1. Nord (Melodie Scandinave) |
| 2. Sud (Habanera) |
| 3. East (Valse Viennoise) |
| 4. Ouest (Ragtime) |
Parisian guitarist and composer, Francis Kleynjans begun guitar studies at 14 with Alexandre Lagoya and Alirio Diaz. In addition to guitar he has also studied jazz and arrangement.
Kleynjans has received several awards as the conductor of the Munich Guitar Orchestra, given concerts throughout Europe and performed on various French radio stations. He is a very prolific composer with close to 300 compositions for the guitar. He currently lives and works in Munich.
» Programme
| Zoetrope | Tim Phillips (1947 - ) |
‘A zoetrope is a device that produces an illusion of action from a rapid succession of static pictures. The term zoetrope is from the Greek words zoe "life" and trope, "turn". It may be taken to mean "wheel of life" or "living wheel". For sheer entertainment value, the zoetrope routinely provided hours and hours more fun than an average Hollywood movie. On the other hand, the back story and character development was generally rather shallow.’
Wikipedia
» Programme
Andrew Filer and Claire Rawlinson
| La Rossignol | Anon |
‘La Rossignol’ is a charming 16th century lute duet, this one is arranged from a version in Jane Pickering’s Lute Book. ‘La Rossignol’ translates as “The Nightingale” and there are imitations of birdcalls included in the dialogue between the two guitars during this piece.
» Programme
My Lord Willoughby's Welcome Home
|
John Dowland (1562 – 1626) Arr. Tom Jeffers |
John Dowland was a distinguished lute player and composer of lute songs, over 80 of these being secular songs and popular tunes of his time – his best known of the period probably being ‘Flow my Tears’.
The melody for ‘My Lord Willoughby’s Welcome Home’ is thought by some scholars to have originally been known as ‘Rowland’ and was derived from comic jigs related to clown-like characters named Rowland and Sexton. It became known as ‘My Lord Willoughby’s Welcome Home’ after Lord Willoughby de Eresby (Peregrine Bertie) returned to England in 1589, having commanded the English army during campaigns against the Spanish.
His exploits were celebrated in verse:
My Lord Willoughby’s Welcome Home
The fifteenth day of July, with glist'ning speare & shield,
A famous fight in Flanders was foughten in the field:
The most couragious officers were the English captains three,
But the bravest in the Battel was brave Lord Willoughby.
The next was Captain Norris a valiant man was he;
The other Captain Turner, that from field would never flee;
With fifteen hundred fighting men, alas, there was no more,
They fought with forty thousand then, upon that bloody shore.
Stand to it, noble Pike-men, and look you round about;
And shoot you right, you Bow-men, and we will keep them out;
You Musquet and Calliver men, do you prove true to me,
I'le be the foremost man in fight, says brave Lord Willoughby.
And then the bloody enemy they fiercely did assail,
They fought it out most furiously not doubting to prevail,
The wounded men on both sides fell most piteous for to see,
Yet nothing could the courage quell of brave Lord Willoughby.
For seven hours in all mens view the fight endured sore,
Until our men so feeeble grew that they could fight no more,
And them upon dead horses full savourly they eat
And drank the puddle water, they could no better get.
And when they fed so freely, they kneeled on the ground,
And praised God devoutely for the courage they had found,
And beating up their colours the fight they did renew,
And turning toward the Spanyards, a thousand more they slew.
The sharp steel-pointed Arrows and Bullets thick did flye;
Then did our valiant Souldiers charge on most furiously,
Which made the Spaniards waver, they thought it best to flee,
They fear'd the stout behaviour of brave Lord Willoughby.
Then quoth the Spanish general, Come let us march away,
I fear we shall be spoiled all, if that we longer stay,
For yonder comes Lord Willoughby, with courage fierce and fell:
He will not give one inch of way for all the Devils in Hell.
And then the fearful enemy was quickly put to flight,
Our men pursued courageously and rout their forces quite,
And at last they gave a shout, which echoed through the sky,
God and St. George for England! the conquerors did cry.
This news was brought to England will all the speed might be,
And then our gracious Queen was told of this same victory,
Oh, this is brave Lord Willoughby my love that ever won,
Of all the Lord of honour, tis he great deed hath done.
For souldiers that were maimed and wounded in the fray,
Our Queen allowed a pension of fifteen pence a day,
Besides all costs and charges she quit and set them free,
And this she did all for the sake of brave Lord Willoughby.
Then courage, noble English men, and never be dismaid,
If that we be but one to ten we will not be afraid
To fight with forraign Enemies, and set our Country free,
And thus I end the bloody bout of brave Lord Willoughby.
Percy's Reliquairies of English Poetry
» Programme
| Mr Wrigley's Lullaby | Steve Marsh (1949 - ) |
Born in the Derbyshire market town of Chesterfield, Steve Marsh is a professional guitarist and teacher. He began composing his own material in the early 1980’s and has written and arranged over 300 pieces for various combinations of instrumentation.
‘Mr. Wrigley’s Lullaby’ began life as a guitar solo and was inspired by the guitar playing of one of Britain’s best loved folk singers, Bernard Wrigley. This arrangement is dedicated to the guitar duo Vincea McClelland and Raymond Coute. Steve Marsh and Gary Spalding play together as a duo.
» Programme
Palladio
|
Karl Jenkins (1944 - ) |
Karl Jenkins
Karl Jenkins the Welsh musician and composer trained at Cardiff University and the Royal Academy of Music London. He is the composer of the million selling album ‘Adiemus: Songs of Sanctuary’. He had also created music for television and advertising, one of the most familiar being the theme for the De Beers diamond merchants and their famous ad campaign. This eventually became the first movement of the three movement, ‘Palladio’, originally composed for string orchestra in the concerto grosso style.
This arrangement is by Gary Spolding, who began his studies with Steve Marsh in Derbyshire. He then studied at the Birmingham University and the Royal College of music, London, and now teaches and performs.
» Programme
Worcester Guitar Quartet
| Fairy Queen Suite
|
Henry Purcell (1659 – 1695) Arr. Ray Burley |
| Prelude |
| Rondeau |
| Jig |
| Entry Dance |
| Air |
| Dance for the Fairies |
| Hornpipe |
‘The Fairy Queen’ is a masque or semi-opera and was described as a "Restoration spectacular". The libretto is an anonymous adaptation of Shakespeare's comedy ‘A Midsummer Night's Dream’.
The piece was first performed on 2nd May, 1692 at the Queen's Theatre, London by the United Theatre company. Purcell didn't set any of Shakespeare’s text to music, but he composed music for short masques in every act but the first.
» Programme
| Orangutango | Tim Phillips (1947 - ) |
The second and final offering from resident composer, Tim Phillips. Tim has had a long and colourful career in music (which we hope he will talk about one day) but he is cheerfully modest about his own achievements:
‘As far as the pieces go, there is nothing much to say about them, they are just fairly short, hopefully reasonably entertaining bits of music for guitar quartet.’
Tim bears the unique distinction of having served as the music director of the WCGS not once, but twice.
» Programme
Worcester Classical Guitar Orchestra
| Nada | Carlo Domeniconi (1947 - ) |
Nada was commissioned for the Paderborn Guitar Festival in 2005. Nada in Sanskrit means "sound", describing the style of this piece in its simplest, purest form.
The model for this music is one of Northern Indian classical music (Hindusthani sangeet) which broadly speaking has twelve notes in the octave, similar to the western scale of "equal temperament". Listening to the rhythms, you may hear the typical phrases of the Indian ragas, but cast in a smaller form.
Carlo Domeniconi is an Italian guitarist and composer known as a concert artist in both the classical and jazz idioms. A teacher of great renown who moved to Turkey after 20 years of teaching in West Berlin, he started the department for guitar studies at the conservatory in Istanbul and developed a compositional style that reflected the regional folk influence.
Perhaps his most famous piece is the ‘Koyunbaba’ of 1985 – a virtuoso piece of great beauty and originality in altered tuning that Monika Týmlová will be playing for us in a concert later this year.
» Programme
| Quatre Esquisses (Four Sketches) | Jean Gauffriau (1931 - ) |
|
| 2. Blues |
| 3. Venitienne (Venetian) |
| 4. Tzigane (gypsy) |
‘The guitar is rightly regarded as the soul of Spanish popular music. Its great expressivity however, allows it to adapt to diverse genres beyond geographical borders.
‘Contributing to the original repertory for four guitars, these short sketches are presented in the form of audio postcards evoking the atmospheres of Andalusia, Southern United States, Venice and Central Europe in the imagination.’
Jean Gauffriau
Jean Gauffriau has composed various choral, orchestral and chamber music pieces as well as two miniature opera-cantatas for children: ‘The Ugly Little Duck’ adapted from the original work of Andersen and ‘The Three Feathers’ from Grimm. He held the positions of Professor at the State School of Music at Saint-Nazaire and State Pedagogic Adviser in Musical Education until he retired recently.
» Programme
| Irish Hoanane | Roland Chadwick (1957 - ) |
|
| Twilight on Fernhill |
| Dublin Downe |
The word ‘Hoanane’ has no direct translation in Gaelic but we fondly think of it as a gentle bastardisation of “Hootenanny”: a 20C American word with connotations of debauched and quite possibly illegal musical entertainment - wine, women and song in every sense! ‘Greenwood’ is a reel-like dance, with its persistent beat and pipe-like drones. ‘Twilight on Fernhill’, meanwhile, is a plaintive lament – if Irish men ever wax lyrical about the “Old Country” this is where we imagine they would want to do it! The finale, ‘Dublin Downe’ is a mercurial jig in which the mood picks up again for a “foot-stomping” musical showdown between players.
Roland Chadwick -"Tickety Boo!"
Roland Chadwick is a composer, guitarist and internationally acclaimed recording artist who since 2001 has been performing in the Modern Guitar Trio alongside Vincent Lindsey Clark and Roland Gallery.
Regular concert goers may remember the concert the trio gave for us back in October 2008: which goes down on record as one of the longest concerts we have ever produced, clocking in close to three hours.
Roland is a gifted storyteller whether his medium is words or in music; funny and profound in turns. Australia’s answer to Frank Zappa who asked the infamous question: ‘Does humour belong in music?’ Apparently it does: according to Roland, Billy Connolly (a little known Scottish comedian) is repeatedly being asked, ‘Are you Roland Chadwick the guitarist?’
» Programme