The Rotherhurst Ensemble
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Elizabeth Cox (violin) studied at the Guildhall School of Music and Drama with Detlef Hann, gaining her LGSM and GGSM. She was a member of the Brittan Pears Orchestra and the Young London Philharmonic Orchestra and worked as an extra for the Bournemouth Symphony Orchestra. Elizabeth now leads the Dolce String Quartet, which is quartet in residence at Holy Trinity Church, Gosport. She plays for many orchestras in Hampshire including Solent Symphony Orchestra, Havant Chamber Orchestra, Fareham Philharmonic, Arun Sinfonia, Portsmouth Festival Orchestra and Winchester Cathedral Orchestra.
Susan Bint (violin) grew up in Llanfyllin, led the Powys Youth Orchestra and was a member of the National Youth Orchestra of Wales for five years. She was awarded the Montgomeryshire Society Music Prize and studied at the Royal Northern College of Music gaining her GMusRNCM (Hons). In 2009 she was awarded MA (Distinction) from Roehampton University. Susan leads Basingstoke Symphony Orchestra, is a member of the Dolce String Quartet, and is an examiner for the Associated Board of the Royal Schools of Music.
Janis Moore (viola) read Music at Lancaster University studying violin with Paul Robertson and viola with Paul Silverthorne of the Medici String Quartet. Postgraduate studies with Sidney Griller followed. Janis teaches violin and viola for Hampshire Music Service and plays with the Basingstoke and Solent Symphony Orchestras, Havant Chamber Orchestra, and South Downs Camerata. Janis is busily involved in regular engagements with Celebration Quartet.
Philippa Bint (viola) was a member of the National Youth Orchestra of Great Britain and studies at the Royal College of Music with Jonathan Barritt. She is violist of the Banks Quartet, who recently won the Helen Just and Susan Connell first prize in the RCM String Quartet Competition. The quartet has performed at prestigious venues including King’s Place, Cadogan Hall, and the Great Hall, Swansea University in the presence of HRH the Prince of Wales. Philippa has worked with eminent conductors including Vladimir Jurowski, Vasily Petrenko, and Vladimir Ashkenazy, and has performed in masterclasses with Garth Knox, Jennifer Stumm and Lawrence Power.
Wendy Lowe (cello) gained a scholarship to study with Prudence Ashbee and was a member of the National Youth Orchestra of Wales. She read Music at Cardiff University studying cello with Sharon McKinley and played with the Welsh Sinfonia. Wendy teaches cello at Alton Sixth Form College, Alton Convent, Churcher’s College Junior School, St Edmund’s School, Hindhead, and for Hampshire Music Service. She plays with the Solent Symphony Orchestra and South Downs Camerata, as well as regular engagements with Celebration Quartet.
Emma Lowe (double bass) has just completed ‘A’ levels at Alton College, Hampshire. She is currently principal bass with Hampshire Youth Orchestra and Chamber Orchestra, and has been a member of HCYO for six years. She recently played solo bass in Hampshire Music Service's production of Britten’s Noye's Fludde in Winchester Cathedral. Emma was guest bass player for the Stoneleigh Youth Orchestra’s tours of Italy and Malta. She plans to study Marine Biology at university next year and hopes to keep up her bass playing in university ensembles.
Graham Bint (organ) studied at the Royal College of Music with Nicholas Danby, where he was awarded the Geoffrey Tankard prize and gained his GRSM and ARCM. He undertook postgraduate studies at the Royal Northern College of Music with Ronald Frost and Dame Gillian Weir (organ), and David Lloyd (accompaniment) gaining his Postgraduate Diploma in Performance and ARCO. He was awarded the Sawyer and Durrant prizes by the Royal College of Organists and he plays regularly at St Mary’s, Bramshott.
Programme by The Rotherhurst Ensemble
St. Silin’s Church
2.00pm. Wednesday 17th August 2016
Mozart (1756-1791) String Quartet in D major, K.499
Mozart wrote this quartet in 1786 in Vienna. It was published by, and may well have been written for, his friend Franz Anton Hoffmeister (1754-1812), hence its nickname. The quartet is often polyphonic in a way uncharacteristic of the earlier part of the classical era. The menuetto and its trio give good examples of this in brief, with the irregular near-canon between first violin and viola in the second half of the minuet, and the double imitations (between the violins, and between the viola and cello) in the trio. In an advertisement for the quartet Hoffmeister wrote that it was written ‘with that fire of the imagination and that correctness which long since won for Herr M. the reputation of one of the best composers in Germany’. He added that even the minuet was ‘composed with an ingenuity…that one not infrequently finds wanting in other such compositions.
S.S. Wesley (1810 – 1876) Choral Song and Fugue
Graham Bint organ
Samuel Sebastian was the grandson of Charles Wesley. His middle name derived from his father's lifelong admiration for the music of Bach. After singing in the choir of the Chapel Royal as a boy, Samuel Sebastian embarked on a career as a musician, and was appointed organist at Hereford Cathedral in 1832, moving to Exeter Cathedral three years later. He subsequently held appointments at Leeds Parish Church (1842), Winchester Cathedral (1849) and Gloucester Cathedral (1865-1876). In 1839 he received his BMus and a Doctorate of Music degree from Oxford. He was Organ Professor at the Royal Academy of Music from 1850. Samuel Sebastian died in Gloucester, April 1876 and is buried next to his daughter in St. Bartholomew's Cemetery, Exeter. Famous in his lifetime as one of his country's leading organists and choirmasters, he composed almost exclusively for the Church of England, which continues to cherish his memory.
Dafydd y Garreg Wen, arr. W. Lowe
Dafydd y Garreg Wen is a traditional Welsh air and folk song. David Owen, the harpist and composer, who lived near Porthmadog in the first half of
the 18th century, was known locally as Dafydd y Garreg Wen. The epithet Y Garreg Wen was the name of the farm near Morfa Bychan in which he lived.
W.A. Mozart (1756-1791) Church Sonata No. 17 in C major, K. 336
Mozart wrote seventeen Church Sonatas (Sonata di Chiesa) between 1772 and 1780. These were intended for performance between the Epistle and Gospel readings of the Mass, hence the name Epistle Sonatas by which they are sometimes known. Each is in one movement, an allegro in concise sonata-form. Three of the sonatas, include oboes, horns, trumpets and timpani. The rest are scored for organ and strings (no violas, two violins and basso continuo). In sonatas Nos 1-6, 11, 12 and16, the organ accompanies along with the figured bass, whereas in the others (including No. 17) the organ has a more prominent role with an obbligato solo part and short cadenza.
Handel (1685 – 1759) Organ Concerto in F major HWV. 292 (Op. 4 No. 4) Allegro – Andante – Adagio - Allegro
Whilst many of the movements of the four organ concertos HWV. 290 – 293 are re-workings of previous compositions, HWV. 292, contains mostly new material, although the ritornello of the first movement is borrowed from his opera, Alcina. HWV. 292 completed March 1735, featured as an interlude in the April performances of Athalia in the newly opened theatre of John Rich in Covent Garden. The small English chamber organs at Handel's disposal, with single keyboard and no pedals, produced a softer sound that could be integrated with a small orchestra, making a unique form of concerto close to chamber music. The precise reasons why Handel introduced this new form, the concerto for chamber organ and orchestra, have been discussed by Cummings (2007). He concludes that Handel, faced by financial difficulties in mounting Italian opera, decided to showcase himself as a virtuoso composer-performer, thus providing a rival attraction to the celebrated castrato Farinelli, the glittering star of his competitors.
Grateful thanks to all who have helped in any way with today’s concert.