About the Repertoire - 2021 Concert Season
with guest artists:
Margaret Connolly – violin
Wayne Brennan – violin
Nicholas Tomkin – viola
Daniel Curro - cello
This program continues our ensemble’s exploration of vocal chamber music with repertoire that includes both strings and piano. These rarely heard works are full of ravishing textures and atmospheric touches that bring added poignancy to some fine English and French poetry. Vaughan Williams’ embodiment of the English landscape and rural culture is nowhere more evident than in his ‘On Wenlock Edge’, which was composed after his studies with Ravel in 1908. The newly honed clarity that emerged in this work was already evident in composers such as Chausson from around the turn of the century. The French school of the fin de siècle also inspired composers across the Atlantic.
Amy Beach was the first major American composer whose training did not include a European sojourn, but her works demonstrate that she was fully conversant with contemporary idioms. Her songs show deep insights and imagination in the combination of solo strings with piano and voice, including some settings of French poetry. Similarly, Samuel Barber was fully a product of his homeland, but his outlook was equally cosmopolitan. When Vaughan Williams heard ‘Dover Beach’ in 1932 before its public première the following year, he generously pronounced that the younger composer had ‘really got it’ in his setting of the early Victorian poem. This program is framed by vocal ensemble works by Georges Hüe, a contemporary of Chausson and Ravel, and ‘Under the willow tree’ from Barber’s opera ‘Vanessa’.
Repertoire:
Ralph Vaughan Williams On Wenlock Edge (1909)
Song cycle for tenor, string quartet and piano on texts from Housman’s ‘A Shropshire lad’
Maurice Ravel Chanson ecossaise (1909)
Setting of a Scottish folksong for voice and piano
Georges Hüe L’Éternelle sérénade (1906)
For vocal quartet and piano
Ernest Chausson Chanson perpétuelle (1898) Op.37
Mélodie for soprano, string quartet and piano on a text by Charles Cros
Amy Beach Selected songs including Chanson d’amour (1899) Op.21 No.1
Samuel Barber Dover Beach (1931) Op.3
Setting of Matthew Arnold’s poem for baritone and string quartet
Barber ‘Under the willow tree’ from the opera ‘Vanessa’
Arranged by the composer for vocal ensemble and piano
Friday 3rd September & Sunday 5th September 2021 - ‘South Brisbane's Heritage in Song' at The Chambers, Somerville House, 17 Graham Street South Brisbane
This varied program celebrates the musical heritage of South Brisbane and its public venues. Until the formation of the Greater Brisbane City Council in 1925, South Brisbane had the status of an independent municipality, as signified by its Municipal Chambers. Similarly, the nearby South Brisbane Technical College, which later functioned as a library and auditorium, hosted many civic and social events and performances. The Chambers was built in the early 1890s, but it only became a concert hall when the Queensland Conservatorium opened there in 1957. Situated just one mile away near the Victoria Bridge was the Cremorne Theatre, which after opening in 1911 became a hugely popular venue for vaudeville and other entertainments. Local churches such as St Andrew’s Anglican Church also had a fine musical tradition.
Our program features music once heard in each of these venues, from Victorian and Edwardian salon songs to music by local composers. Popular numbers by Billy Maloney, one of Brisbane’s most successful entertainers, epitomise the ‘roaring 20s’. We also present vocal selections from a 1933 concert by alumni of the Brisbane High School for Girls, renamed at the time of its relocation to South Brisbane as Somerville House. In recognition of the wartime presence of the American armed forces, which commandeered the school campus and The Chambers, we feature some songs by Johnny Nauer, a young GI who was posted here. Finally, we honour the Queensland Conservatorium’s founding with a work by its first director William Lovelock, and other piano and vocal music performed in the late 1950s by distinguished staff and students.
In all, a celebration of the rich musical and architectural heritage of South Brisbane, presented with the support of Somerville House in the elegant setting of The Chambers - a building with a fascinating history.
Repertoire:
Songs by local composers:
Australian anthem – Richard Thomas Jefferies
The fisher boy – William Arthur Caflisch
The absent-minded beggar – Esther Lewin
Salon songs from the Victorian and Edwardian eras:
A summer night – Arthur Goring Thomas
Let me love thee – Luigi Arditi
Beloved, it is morn – Florence Aylward
The swallows – Frederic Hymen Cowen
Opera excerpts, Lieder and artsong:
Flühlingsgefühl (Spring feelings) – Anton Rubinstein
One spring morning - Ethelbert Nevin
Il faut partir (I must depart) from La fille du regiment – Gaetano Donizetti
The Starling – Liza Lehmann
Music hall songs heard at the original Cremorne Theatre:
When the Prince of Wales arrives in town – Billy Maloney
Calling Cooee – an Australian fox-trot by Harold Middleton
In-doo-roo-pilly – a tongue-twisting waltz-song by Billy Maloney
American songs from World War Two:
The Aussies and the Yanks are here – Johnny Nauer
Say a prayer - Nauer
I found a Princess in Queensland – Nauer
Songs and partsongs performed during the Queensland Conservatorium’s early years:
The blackbird – partsong by William Lovelock
Gruss (Greeting) – duet by Felix Mendelssohn
To the evening star – Nigel Butterley
Go not, happy day – Frank Bridge
Selections from Eight new nursery rhymes – Henry Walford Davies
*Map of The Chambers Location*
Friday 16th April & Sunday 18th April 2021 - ‘Songs of Nature, Love and Mystery' at Old Government House
This program of French and German vocal music is imbued with vivid nature imagery as well as themes of romance and mystery. For his third and final song-drama ‘Minnespiel’, Robert Schumann chose some of the finest poetry by his great contemporary, Friedrich Rückert, in which the loose romantic narrative is shared between the solo voices, duets and quartets. Carl Loewe’s songs are not often performed, but his atmospheric settings of some well-known poetry are without equal. Both ‘Erlkönig’and ‘Tom der Reimer’ depict a journey on horseback by a human protagonist who falls victim to dangerously alluring figures from the spirit-world, while the ‘Gesang der Geister’ is an uplifting setting in which the soul of man is likened to water which rises to and falls from the heavens.
French musicians were similarly inspired by natural world of lakes, fields, streams, flowers and birds, as seen the bracket of vocal duets by a distinguished group of composers from the fin de siècle. Saint-Saëns, Gounod and Massenet are better known for their operas, Chausson and Duparc are renowned for their chansons, but all of them produced fine vocal ensembles as well. An interesting addition to this list is Jean-Baptiste Fauré, who was one of the leading operatic baritones of the day. Some of these settings also use the imagery of night as a backdrop for romance, while more explicit allusions to springtime feature in the partsong cyle by Massenet. The ‘Chansons de Bois d’Amaranthe’ is a beautifully varied set of duets, trios and quartets with a brilliant finale, ‘Chantez!’ With some familiar composers and others who are lesser known, this program continues our exploration of the rich treasure of nineteenth-century vocal music with piano.
Repertoire:
Minnespiel (Love drama) Op.101 – Robert Schumann
Song-drama for four voices and piano to poems by Friedrich Rückert
Vocal duets by the French romantics:
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Pastorale – Camille Saint-Saëns
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Sur le lac d’argent (On the silver lake) – Jean-Baptiste Fauré
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La siesta – Charles Gounod
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Réveil (Awakening) - Ernest Chausson
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Les fleurs (Flowers) – Jules Massenet
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La fuite (The escape) – Henri Duparc
Idylle from ‘Pièces pittoresques’ for solo piano – Emmanuel Chabrier
Ballads and a quartet by Carl Loewe:
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Gesang der Geister (Song of the spirits) Op.88
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Erlkönig (The erl-king) Op.1 No.3
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Tom der Reimer (Thomas the rhymer) Op.135
Chansons des Bois d’Amaranthe (Songs of the Aramanth woods) – Jules Massenet
Partsong cycle for four voices and piano to poems by Marc Legrand