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Peter Bassano

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A Musical Pilgrimage
Four concerts:-

7.30 Saturday 19th November 2011
Central Theatre Chatham
City of Rochester Symphony Orchestra
Prokofiev: Lt Kiji Suite
Dvořák: ‘cello Concerto Frederique Legrand
Tchaikovsky: Overture to Romeo and Juliet
Tchaikovsky: Nutcracker Suite

7.30 Saturday 26th November 2011
Wesley Memorial Chapel, Oxford
Oxford University Brass Band
Berlioz: arr Keith Wilkinson Beatrice & Benedict                         
Holst: Moorside Suite                               
Chris Batchelor: Weasel Words & Winning Ways 
for Jazz Trumpet and Jazz Trombone with Russell Bennett and Jon Stokes
Robin Holloway: Men Marching                         
John Ireland: Elegy                                   
Philip Sparke: Cornet Solo Song and Dance
Tim Souster: Echoes for Band and Live Electronic


7.30 Monday 28th November 2011
Holywell Music Room, Oxford
Oxford University Sinfonietta
Rameau: Overture, Contredanse et rondeau from Les Boréades
Vivaldi: Concerto in D minor Il Gran Mogol for solo flute and
strings
Gordon Crosee: Ariadne for solo oboe and 12 instruments
Thomas Ades: Chamber Symphony
Respighi: Gli uccelli
Britta Byström: Rebellion in Greenery - UK Premiere
Revueltas: Homenaje a García Lorca


7.30 Saturday 3rd December 2011
St Mary’s Church, Wendover
Wendover Choral Society
Brook Street Band
Bach: Cantata 4 Christ lag in todesbunden
Bach: Brandenburg Concerto No. 4
Bach: Mass in A major
Handel: Eternal Source of Light Divine
trumpet soloist:Crispian Steele-Perkins

City of Rochester Symphony Orchestra
Music Director Peter Bassano

2011/12 season includes performances by three stunning young soloists:-

Frederique Legrand, Dvořák’s ‘cello Concerto

Frederique Legrand, Dvořák’s ‘cello Concerto

Tamsin Waley-Cohen, violin in Vaughan William’s Lark Ascending and Gerald Finzi’s rarely
performed Introit


Tamsin Waley-Cohen, violin in Vaughan William’s Lark Ascending and Gerald Finzi’s rarely


Jerome Sadler, piano Beethoven’s Emperor Concerto

Peter Bassano takes over as new Music Director of the City of Rochester Symphony Orchestra from the start of next season. The CRSO was formed in 1969 and under the baton of the world-famous French Horn player, Michael Thompson and has over the last six years developed into the foremost amateur orchestra in the Medway/North Kent area giving high quality performances at the Central Theatre in Chatham.

Peter Bassano as music director of Rochester Symphony

2009/10 Season

The season features three outstanding soloists: all prize-winning performers. Jeanine Thorpe will be playing Walton’s beguiling Violin Concerto along with Britten’s well-loved Young Person’s Guide to the Orchestra and Elgar’s 1st Symphony at the Orchestra’s 40th Birthday Concert on 21 November 2009. 

On 6th March Alice Neary will perform Elgar’s ‘cello Concerto contrasted with Beethoven’s Leonore No. 2 Overture and Dvořák’s New World Symphony.

A very popular programme to finish the season on 15th May: Rossini’s William Tell Overture, Grieg’s  Piano Concerto with Jerome Sadler and Tchaikovsky’s Symphony No. 4.


Leopold de Rothschild’s acceptance of Bassano’s invitation marks a ‘homecoming’ as new President of the Wendover Choral Society 

The performance of Haydn’s Creation by the Wendover Choral Society  at St George’s Church RAF Halton on May 2nd will be something of an historic occasion. 2009 marks the bicentenary of the death of Haydn and the birth of Charles Darwin who in his Origin of the Species turned  on its head the Old Testament account of the creation of the world in seven days set by Haydn. None-the-less Haydn’s fundamentalist stance loses none of its dramatic impact and charm

Lionel Abel-Smith, Lord of the Manor of Wendover who has been President of the Wendover Choral Society for many decades and has been a loyal and generous supporter. Mr Abel-Smith, who is now advancing in years and lives on the south coast feels that the travel to and from concerts is now just a bit too much and so has reluctantly stepped down. The Choral Society are very sorry to see Mr Abel-Smith go because finding a replacement was going to be a difficult task.

Recognising the strong local connection in Buckinghamshire with the Rothschild Family, Music Director, Peter Bassano and Patron, Sir Thomas Allen agreed on approaching Leopold de Rothschild, the  British financier, musician, and philanthropist - who is renowned for his support of music - to see if he would be willing to become President. We are all delighted that his answer was “yes”.

Leopold is the youngest child of  Lionel Nathan de Rothschild who served as Conservative MP for Aylesbury. From childhood he had a fondness for music and became an accomplished pianist and violinist. He sang with The Bach Choir of London for many years and later served as its President. After two years in the Royal Navy he worked for a number of city banks before becoming a partner of his family's bank N M Rothschild & Sons in 1956.

The Wendover Choral Society give one of their biannual concerts at St George’s Church RAF Halton which is built on the original parkland of old Halton House. 

In 1853 the Halton estate was sold to Baron Lionel de Rothschild, who was expanding his estate at Tring. The old house was uninhabited and became derelict, and was finally completely demolished. Lionel gave the 1,500 acre estate to his son Alfred de Rothschild, by which time it was without a house of any significant size and so Alfred (a bachelor and confirmed city dweller) decided to build a country house purely for weekend entertaining. 

William Cubbitt and Company were commissioned to build and oversee the project in 1880 which took three years to complete and included impressive - apparently mature - gardens which had been stocked with full-grown trees and shrubs. The style of the house, although smaller, is similar to Waddesdon Manor, the then home of Baron Ferdinand de Rothschild, Alfred’s brother-in law. 

Alfred earned a reputation as a superb host whose aim was to give pleasure to others, from lowly domestic servants to British and foreign royalty. Halton's weekend parties lasted less than three decades. The last party was in 1914 at the outbreak World War I. Devastated by the mindless brutality  of the war, Alfred's health began to fail and he died in 1918. Alfred bequeathed the Halton estate to his nephew Lionel Nathan de Rothschild, Leopold’s father. Shortly afterwards Lionel sold the complete estate to the Royal Air Force at the knockdown price of £115,000. The house built by Leopold’s great uncle now serves as the Officers’ Mess and as such has returned to the glittering life so much enjoyed by Alfred.  

Bassano commissioned to write a book on the Trombone for the Menuhin Series of Orchestral Instruments

Review of NYWO Concert from Seen and Heard

Prokofiev, Arutunian and Janáček: Philip Cobb (trumpet), National Youth Wind Orchestra of Great Britain, Peter Bassano (conductor) St John’s Smith Square London 6.4.2008 (CR)

The National Youth Wind Orchestra of Great Britain is formed of some 60 young musicians from around the country, with ages ranging from 13 to 21. The orchestra meets for two residential courses a year, covering a range of works from arrangements of well-known pieces to contemporary repertoire. It was clear from the outset that these young performers had been well trained by conductor Peter Bassano on this Easter’s course. The players presented themselves with professionalism and disciplined concentration. Of this evening’s performers, 39 of them were new members at the beginning of the course, and that they should be able to create a concert of this standard in just ten days is remarkable.

The concert began with two works by Prokofiev, Spartakiade from Opus 69 and four movements from the Romeo and Juliet Ballet Suite. Spartakiade provided an excellent overture, demonstrating the orchestra’s warm sound and youthful character. The lower brass was a particular strength, with its wonderful rich tone providing a solid foundation for the ensemble as a whole. The woodwinds added a bright shimmer to the upper range of the sound, with some lovely piccolo playing contributing extra sparkle.  The playing was rhythmic with a driving sense of pulse, and very well controlled.  The movements from Romeo and Juliet, heard in an arrangement by Johan De Meij, showed the varying aspects of an ensemble such as this, from highly effective loud dissonant chords to chamber-music like individual lines. There were some well-performed solos by trumpet player Jason Evans and second flute Clare Hutton, and some excellent brass playing throughout.

This was followed by David Bedford’s Sun Paints Rainbows. This is a minimalist-influenced work, reminiscent, in its use of percussion, of Steve Reich. Individual notes patterns from different instruments come together to create phrases, which build in intensity throughout each section. The percussion writing adds an array of colour to the sound, with frequent use of marimbas, xylophones, glockenspiels and glass bottles, played with precision and evenness by NYWO’s very able percussion section. The instrumental sounds are used antiphonally, creating a rich tapestry of sound across the ensemble as a whole.  There were some particularly well played moments by the tuba and saxophone sections. Later moments of the piece reminded me a little of Khachaturian, somewhat fittingly for this otherwise Russian-themed first half.

For me, the most impressive performance of the evening was young soloist Philip Cobb’s rendition of the Arutunian Trumpet Concerto. Cobb’s sound is beautiful, enhanced with subtle use of tone colours and an instinctive sense of musicianship. This was a breathtaking performance, full of youthful energy and a driving commitment to the music. Technically perfect and polished, one would be forgiven for imagining that a seasoned international soloist was performing. The muted slow movement was atmospheric and wonderfully phrased, showing that Cobb has a dazzling career ahead of him. The orchestra accompanied with sensitivity and a good understanding of the style. With young performers such as this (Cobb is still a student at the Guildhall School of Music and Drama), the future of classical music is in safe hands.

In the second half, we were treated to an engaging performance of Janàček’s Sinfonietta, in the arrangement for wind orchestra by Michael Round.  This was a powerful rendition, once again displaying the strength of the brass section, with prominent moments for the very young-looking trombone and tuba sections. A bank of trumpets stood at the back of the orchestra, making a wonderful sound in the fanfare moments. This is an exciting work, and NYWO was more than capable of achieving the dynamic range it requires. Their playing was highly convincing throughout, and it was easy to forget when hearing them play that they are ‘just’ a youth orchestra.

The performers, managers and staff of NYWO deserve to be rightfully proud of their work over the last few days to produce playing of this quality. Wind Orchestra music in this country is alive and well, and what better an ambassador than young players with this level of dedication and commitment? Don’t miss the orchestra’s 40th Anniversary concert on 10th August this year at St John’s Smith Square, conducted by James Gourlay.

Carla Rees
 

Three Concerts

Saturday November 17 at 7.30, Little St Mary’s Church Cambridge
City of Cambridge Band, Patron: James MacMillan
Peter Bassano - conductor, Mike Lovatt - trumpet, Gordon Campbell - trombone (BBC Radio Big Band), Gareth Stuart and Julio d'Escrivan - electronics

Wednesday November 28 at 7.30, Jacqueline du Pré Concert Hall, Oxford
Oxford University Sinfonietta, Patron: Esa-Pekka Salonen
Peter Bassano - conductor, Gabriella Swallow - 'cello

Saturday December 1 at 7.30, St Mary’s Church, Wendover
Wendover Choral Society, Patron: Sir Thomas Allen
Peter Bassano - conductor, Brass 10, Claire Jones - harp (HRH Prince of Wales Harpist), Nicholas Chalmers - organ (Westminster Abbey), Kate Thomas and Amy Wood - sopranos, Alexandra Tiffin - mezzo

Esa-Pekka Salonen accepts Patronage of Oxford University Sinfonietta

The Oxford University Music Society is delighted to announe that Esa-Pekka Salonen has accepted the invitation of Peter Bassano (Music Director, OUS) to become Patron of the Orchestra. This is a particularly appropriate appointment since Salonen's own musical ideals compliment those of the OUS.

Salonen (born Finland 1958) studied horn, conducting and composing at the conservatory in Helsinki during the 1970s. He initially considered himself to be a conducting composer, until in 1983 he undertook a performance of Mahler's third symphony with the Philharmonia Orchestra in London at short notice and became a composing conductor virtually overnight. Some twenty years later, alongside his international conducting career, he has preserved his individual voice as a composer and each new work is eagerly awaited.

Principal conductor of the Swedish Radio Symphony Orchestra from 1984-1995 and music director of the Los Angeles Philharmonic orchestra since 1992, Salonen is renowned for his dedication to performing and recording contemporary music. His 1985 world premiere recording of Witold Lutoslawski's Symphony No. 3 won the 1985 Gramophone Award for Best Contemporary Recording. Salonen conducted the première of Lutoslawski's Symphony No. 4 in Los Angeles.

Using a small number of the very best players in the University, the Oxford University Sinfonietta performs small-scale and chamber orchestra repertoire. Aiming to mix Classical and contemporary repertoire, recent Sinfonietta concerts included music by Adams, Britten, Gluck, Haydn, Lutoslawski, Martin, Messiaen, Maxwell Davies, MacMillan, Mozart, Purcell, Stravinsky and Tippett for ensembles of ten to thirty players. A number of the performances have been Oxford or England premières. OU Sinfonietta's last concert was on Saturday 3rd March, 8pm in the Wesley Memorial Church with piano soloist Jessica Chan conducted by Peter Bassano in a programme of Revueltas: Homage to Lorca; Janacek: Capriccio; Mozart: Symphony no. 39 in E flat major, K543 and Rautavaara (Salonen's Finnish composition teacher): Cantus Arcticus: Concerto for Birds and Orchestra.
 

James MacMillan to become Patron of the City of Cambridge Band

The City of Cambridge Band is delighted to announce that James MacMillan, the eminent Scottish composer has accepted the Band's invitation to become its Patron.

Mr MacMillan was approached about the position by Peter Bassano, the Band's Musical Director who was appointed in the spring since which time the Band has pursued a more serious artistic policy than that normally associated with bands. The Band has quickly set up over the next year, a series of eleven church concerts throughout Cambridgeshire with programmes which are weightier than usual but so far have proved to be highly appreciated by the audiences.

The Band is particularly keen to promote concerts of good contemporary band music much of which remains rarely, if ever performed in concert. Cambridge is an obvious place where this music, carefully programmed might resurface and still attract a respectable audience. Along with retaining the Band's core audience for lighter music, Peter Bassano is anxious that the Band should quickly become identified with the more profound side of the repertoire and believes that James Macmillan's patronage will go a long way to help achieve that.

Peter Bassano, a former Head of Brass at the Royal College of Music comments:

"Some twenty five years ago when I was trombone player with the newly formed brass quintet Equale Brass we asked Sir David Willcocks to become the quintet's Patron. There were two reasons for asking Sir David, I knew him well because he was Director of the Royal College of Music where I was a professor and secondly because both of our trumpet players - John Wallace and John Miller - had been undergraduates at King's College when Sir David was organist and choir master there. We discovered that having a well known patron gave a respectability to an otherwise unknown ensemble and helped to be taken seriously in more elevated musical circles.

When I started conducting a few years later, as a conductor of Besses' o' th' Barn Band I asked Simon Rattle to become Besses' Patron, which he did, (as far as I know, he still is); as a result several festival engagements came our way and I was able to commission new works from Tim Souster, Joe Horovitz, and Andrew Powell. When I was at the RCM further commissions for band were provided by Chris Batchelor, Simon Dobson and Gabriela Swallow. More recently, Sir Thomas Allen, an old friend became Patron of my Wendover Choral Society, having his name associated with WCS has helped enormously with raising the Choir's artistic profile and, I believe fund-raising too. In the case of Sir Thomas he has helped in a practical way too by last year singing the role of Don Giovanni at a WCS concert.

I couldn't be more thrilled by James' acceptance of the Band's offer to become Patron. As a composer and conductor I hold him in the highest esteem. I have worked with him on many occasions, the first time at the Edinburgh Festival when he conducted my old orchestra, the Philharmonia in his formidible Confession of Isobel Gowdie during the same Festival I heard concert of choral music - a retrospective of his output from student days, all most impressive.

James was appointed Director of the Music of Today series of pre-Royal Festival Hall contemporary concerts designed to whet the appetite of a conventional symphony orchestra audience for modern music. Last year I collaborated with him for concerts as part of the Aldburgh Easter Festival in works by Debussy, Britten, Mozart - MacMillan's Seven Last Words From The Cross and the brass work Adam's Rib. As well as Adam's Rib James has already written a number of works for brass including early brass band work Festival Fanfares I hope that he might eventually find time to revisit the medium."