Noteworthy Voices presents
O Magnum Mysterium
A concert of sublime choral music
to celebrate Epiphany, including works by
LAURIDSEN, POULENC & VICTORIA
St John’s Church, Meads
Saturday 27th January 2018 at 7.45pm
Tickets £8 at the door
What better way is there to spend a chilly winter’s afternoon than by attending one of the Brighton Phil’s enjoyable Sunday afternoon concerts at Brighton Dome and being entertained and moved by wonderful music played by some very talented professional musicians. We are now half way through our current season (which runs from October to March) and thanks to a generous grant from the John Carewe Brighton Orchestra Trust, we are already planning our next season.
Over the next four concerts the orchestra will whisk Dome audiences away on a musical journey around the world and back and forth through the centuries with glorious music by the likes of Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Dvorák, Tchaikovsky, Glinka, Mussorgsky, Sibelius, Malcolm Arnold, Delibes and Saint-Saëns as well as less well-known composers such as Alexander Arutunian, an Armenian whose fabulous Trumpet Concerto (which we perform on 4 March) is a real show-stopper.
Our first concert of the New Year takes place on Sunday 28 January when we are joined by Michael Collins, one of the foremost clarinettists of his generation, as both conductor and soloist. Those of you with long memories may recall he won the woodwind prize in the very first Young Musician of the Year in 1978 at the tender age of 16.
The concert opens with one of Haydn’s London Symphonies, Symphony No.102, one of twelve symphonies written in 1794 on a visit to England. Rarely performed, it opens with stately grace and progresses to joyous vigour, and is regarded as one of his finest symphonies in both scope and scale.
Michael Collins is both soloist and conductor in Mozart’s Clarinet Concerto, a work of exquisite beauty that has become one of the most popular pieces in the repertoire. Completed just two months before Mozart’s death for his friend, the clarinettist Anton Stadler, its tender slow movement has featured in the soundtracks of films such as The King’s Speech and Out of Africa and often appears in the top 10 of Classic FM’s Hall of Fame.
Beethoven’s elegant and expansive Symphony No.1 which completes this concert is clearly influenced by the composer’s teachers, Haydn and Mozart. First performed in 1800 (in a concert he arranged himself) it impressed the Viennese public with Beethoven’s incredible talent. The form of the symphony pays homage to his teachers whilst at the same time pushing the boundaries of symphonic composition.
Tickets (from £12-£38) are available from Brighton Dome Ticket Office in Church Road, in person, by telephone (01273) 709709, or online at: www.brightondome.org
50% discount for students and under 18s.
A series of informal concerts by D’Arcy Trinkwon
Last Wednesday – every month @ 12 noon
January 31 February 28 March 21* April 25 May 30
FREE ADMISSION everyone welcome
We are used to new carols each Christmas but it is always good to find one which is not only locally sources but locally set.
In the early sixteenth century a monk in Battle Abbey wrote a Christmas carol on a leaf in his service book. It was recently rediscovered in the library of Trinity College, Cambridge, and, through the chairman of the Battle Historical Society, Stephen Page was commissioned to create a new setting for the text. It was given its premiere performance by Battle Community Singers at the society’s December meeting, where their MD Ailsa Vinson welcomed their accompanist Stephen Page to conduct the premiere.
The text had been tactfully transcribed into modern English by Charlotte Moore. Where the monk wrote sorrow increaseth, and envye is bold?/ When chereti is skantye and waxethe colde she changed the second line to When charity is scanty and does grow cold. She thought that if she had written waxes, people would not have understood as too often today waxing is something people do in beauty parlours.
Otherwise, the carol flows as its author intended. The monk’s topics seem surprisingly relevant. All fancy talk is not worth a straw?/ Where there’s no love which fulfills the law?/ Therefore in meeting where ye resort?/ Belie no man with false report. The chorus shows that the Christmas message itself hasn’t altered much in 500 years, Be merry all with one accord?/ And be ye followers of Christ’s word.
New Year’s Eve Viennese Gala concert at Brighton Dome
Soprano Rebecca Bottone is one of the most versatile performers on the operatic stage today. It has been said that she gets her charisma from her father, the tenor Bonaventura Bottone, but her chameleon ability is entirely her own. Her character roles have been highly acclaimed in performances at the Royal Opera House and with the Welsh National Opera. On New Year’s Eve she appears as herself when she joins the Brighton Philharmonic Orchestra at Brighton Dome for the second year running, to add glamour and sparkle to a very Viennese celebration. Her contributions will include “By Strauss” from An American in Paris, “The Waltz Song” from Tom Jones and the bewitching “Vilja” from The Merry Widow. When she sang here last New Year’s Eve The Argus reviewer wrote: “the charming Rebecca Bottone, a soprano who loves to show off in the nicest possible sense, seduced and dazzled with a display that showed not just vocal agility but a fine control of tone and soaring power. Her supreme talents were best shown in the melodious Vilja by Lehar, enhanced by shimmering strings.”
The orchestra will welcome in 2018 with a feast of popular orchestral favourites from that golden age of Viennese light music just before the First World War – a programme of lively and nostalgic music from the repertoire of the Strauss family and its contemporaries. Johann Strauss II captured the light-hearted approach to life favoured by the Viennese of his day more than anyone else. With gems such as the Emperor Waltz he established himself as “The Waltz King” and surely no such celebration of Viennese music is complete without that perennial favourite The Blue Danube Waltz.
Alongside the traditional foot-tapping Strauss waltzes, polkas and marches, conductor Barry Wordsworth has included favourite light music scores from some of our finest English composers: Ralph Vaughan Williams’ fabulous English folk tune Fantasia on Greensleeves, Malcolm Arnold’s gorgeous folk tune influenced English Country Dance No.8 and Richard Rodney Bennett’s “Waltz” from Murder on the Orient Express – a brilliant musical depiction of a train moving away from the station platform.
With such a varied and entertaining programme on offer, why not join the Brighton Philharmonic Orchestra on Sunday afternoon to welcome in the New Year with style and panache.
This concert, firmly established as part of the city’s festivities and generously sponsored by the John Carewe Brighton Orchestra Trust, nearly sold out last year, so do book early to avoid disappointment.
This will be a rare opportunity to hear Marcio da Silva sing counter-tenor.
featuring Emily Armour, soprano, Marcio da Silva countertenor, Petra Hajduchova on Harpsichord, violins Eleanor Harrison and Ellen Bundy, cello Philip Collingham. tickets £15/£12.50 concessions (Under 16 £5). https://www.musicglue.com