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UID:event_194592@studiosymphony.org.uk
DTSTART;TZID=Europe/London:20250531T200000
DTEND;TZID=Europe/London:20250531T220000
SUMMARY:Summer Concert in St. Comgall's Parish Hall\, Bangor on Saturday 31
 st May
DESCRIPTION:Join us on Saturday 31st May in St. Comgall's Parish Centre\, B
 angor as we celebrate Summer with a delightful programme of classical favo
 urites!\n\nProgramme:\nButterworth - A Shropshire Lad - Rhapsody\nMozart -
  Symphony No.35 in D major K385 "Haffner"\nKarlowicz - Violin Concerto (so
 loist - Zuzanna Edmonds)\nBrahms - Hungarian Dance No.5\n\nConductor - Tan
 ya Houghton\nLeader - Aisling Manning\n\nGeorge Butterworth (1885-1916) s
 et eleven of A. E. Housman’s A Shropshire Lad poems in two cycles in 1
 909-1911.  In 1911 he composed an orchestral rhapsody which he first call
 ed The Land of Lost Content and then The Cherry Tree before settling o
 n A Shropshire Lad.  It is an epilogue to his two sets of songs\, the in
 tention being ‘to express the homethoughts of the exiled Lad’. \n\nIt
  is now almost impossible to hear this potently nostalgic work without thi
 nking of ‘the lads that will die in their glory and never be old’\, li
 ke Butterworth himself.  He was awarded the Military Cross for his gal
 lantry during the fighting at Pozières in the First World War\, and di
 ed in the Battle of the Somme.\nIn July of 1782\, Leopold Mozart sent his
  son Wolfgang Amadeus Mozart (1756 - 1791) a letter asking him to write a 
 new symphony for their friend Sigmund Haffner\, a wealthy Salzburg merchan
 t and burgomeister.  Some years earlier\, Wolfgang had composed his Haffn
 er Serenade for the wedding of Sigmund's daughter.  Now Haffner's son\, a
 lso named Sigmund\, was to receive a title of nobility\, and a new symphon
 y was to be played at the celebration. \n\nIn a famous letter\, Mozart re
 plied to his father's request:  "Well\, I am up to my eyes in work\, for 
 by Sunday week I have to arrange my opera [The Abduction from the Seraglio
 ] for wind instruments . . . And now you ask me to write a new symphony! 
  How on earth can I do so? . . . Well\, I must just spend the night over i
 t\, for that is the only way\; and to you\, dearest father\, I sacrifice i
 t.  You may rely on having something from me by every post.  I shall wor
 k as fast as possible and\, as far as haste permits\, I shall turn out goo
 d work."\n\nThe symphony was completed and the last parts of it shipped of
 f by early August\, a time when Mozart was not only busy arranging his ope
 ra\, but was also occupied with preparations for his own wedding on August
  4.  He did not see the score again\, until his father returned it to him
  some months later\, so that he could use it in one of his concerts in Vie
 nna.  "My new Haffner Symphony has positively amazed me\," he wrote\, "fo
 r I had forgotten every single note of it.  It must surely produce a good
  effect."\n\n\nMieczysław Karłowicz (1876-1909) was one of the most outs
 tanding Polish composers of his generation.  He was born into a wealthy a
 cademic family in present-day Lithuania\, and initially trained as a violi
 nist.  Intending to further his performing career\, he moved to Berlin in
  1895.  Increasingly\, however\, he turned his attention to composition a
 nd he produced several sets of songs and piano pieces.\n\nThe Violin Conc
 erto was completed in December 1902 and received its first performance in
  Berlin on 21st March the following year. The work presents confident and 
 idiomatic solo writing alongside brilliant and bracing orchestration. A fu
 ll-blooded concerto in the Romantic tradition\, it features plenty of brav
 ura opportunities for the soloist\, and a richly resonant orchestration. 
  Seemingly modeled after Tchaikovsky and Bruch\, the concerto strikes a go
 od-natured and extroverted tone as all three movements are joined into a c
 ontinuous sequence.  In the wake of the First World War the concerto was 
 all but forgotten\, but has recently been rediscovered by a number of emin
 ent violinists.\n\n\nIn 1850 Johannes Brahms (1833 - 1897) met the Hungar
 ian violinist Ede Reményi and accompanied him in a number of recitals o
 ver the next few years. This was his introduction to "gypsy-style" music s
 uch as the csárdás\, which was later to prove the foundation of his mos
 t lucrative and popular compositions\, the two sets of Hungarian Dances 
 (published 1869 and 1880).  \n\nThe better-known Hungarian Dances includ
 e Nos. 1 and 5\, the latter of which was based on the csárdás "Bártfai
  emlék" (Memories of Bártfa) by Hungarian composer Béla Kéler\, whic
 h Brahms mistakenly thought was a traditional folksong.  Embodying the f
 ast and raucous Hungarian folk music that inspired this whole set of dance
 s\, No. 5 is perhaps the most famous of them all with the quick tempo and 
 memorable melodies coming together to create a truly thrilling dance. \n\
 n\nFor full event details\, visit: https://www.studiosymphony.org.uk/dbpag
 e.php?pg=view&dbase=events&id=194592
LOCATION:St. Comgall's Parish Centre\, 27 Brunswick Rd\, Bangor BT20 3DS
URL:https://www.studiosymphony.org.uk/dbpage.php?pg=view&dbase=events&id=19
 4592
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