King Edward's Music

Music at King Edward's School, Birmingham

Tag: King Edward’s Music

Happy New Year!

Simon presents to Clef Club on Chinese Music.

Lunchtime Recital, 11 February 2021

Instrumental Evening – Piano and Voice

Christmas Concert Preparations

The Christmas Concert preparations are slightly different this year!


Recital at the Barber Institute, 20 November 2020

Lunchtime Recital, 5 November 2020

Lunchtime Recital, 15 October 2020

Shells’ Orchestra Debut

On Thursday, 8 October Shells’ Orchestra started rehearsing with the amazing Mrs Akehurst. We are looking forward to hearing some amazing results.

CBSO presentation for Shells

9 October 2020, Ruddock Hall

KES/KEHS Symphony Orchestra – Leaders past and present

Enoch Cheung, David Powis (1960), Renee Chang

Shells meet CBSO – 11 October 2019


Thank you to David Ash @ https://www.davidashphotography.org/.

You can find full gallery at: https://photos.app.goo.gl/4aeBdjx3MnxtmJ5D9

Exploring music through stories: the story of Peter and the Wolf

Once upon a time …

A video directed by Wai Ho Chui, a pupil of King Edward’s School.

Shells’ Recital in pictures

From Choral and Orchestral Concerts, 11 March 2019

Photography by David Ash @ https://www.davidashphotography.org/Galleries/King-Edwards/Music/Rachmaninovs-2nd-Symphony

From Choral and Orchestral Concerts, 11 March 2019

Huge thanks to David Ash @ https://www.davidashphotography.org/ for lovely memento of our spring concerts.

 

Charlotte Howdle on Sibelius

Jean Sibelius (1865 – 1957):  Violin concerto in D minor, op. 47

i. Allegro moderato 

ii. Adagio di molto 

iii. Allegro, ma non tanto 

 It was in 1903, with his successful second symphony behind him, that the Finnish composer, Sibelius, wrote his violin concerto. It was the only concerto he ever composed and had long been promised to Willy Burmester, a prominent soloist of the day. Sibelius was himself a violin virtuoso and described as a “genius” by one of his teachers in Helsinki. However, he appeared to have lost confidence and it was not without regret that he accepted his future as a composer rather than a violinist. This concerto was written during one of the most turbulent periods of his life where he was a heavy drinker and had mounting debts. His wife had regularly to  seek him out and take him from the fashionable clubs and bars of Helsinki to encourage him to work on the score. Once completed, he could not afford to fly Burmester to Finland to perform the piece and therefore he asked the Czech violinist Victor Nováček to play it. However, Nováček was not equal to the technical challenges of the work and the concerto met with incomprehension and disapproval; one critic of the time writing, “a red-faced and perspiring Nováček fought a losing battle with a solo part that bristled with … great difficulties.” After the lacklustre debut, Sibelius revised and condensed the work and Burmester again offered to play it, writing, “All of my twenty-five years’ stage experience, my artistry and insight will be at the service of this work … I shall play the concerto in Helsinki in such a way that the city will be at your feet.” However, Sibelius’ German publisher wanted Karl Halir, a violinist and the concertmaster in Berlin, to undertake the solo part and Sibelius agreed. Burmester was understandably outraged and vowed never to play the work, a promise which he kept. The revised version was heard in 1905, Richard Strauss conducting the Berlin Philharmonic.

Despite the frailties displayed by Sibelius in his personal life, there are no signs of weakness in the concerto. That said, there is certainly Nordic melancholy, and powerful emotions are expressed throughout. The concerto follows the classical tradition and retains the usual three-movement form. The soloist takes charge from the beginning of the expansive first movement with a long lyrical paragraph which is beautifully shaped over the tapestry of the accompanying divided violins. The second theme is impassioned, initially appearing in the orchestra, anticipated by the bassoons and clarinets, and taken up by the solo part.  This is followed by the orchestra’s introduction of a third thematic idea. Sibelius replaces the development section with a solo cadenza and this is followed by a recapitulation. An aching nostalgia is displayed in the three-part second movement, a woodwind introduction with a melody in thirds preparing for the broad, singing theme of the solo violin. The mood changes dramatically at the opening of the third and final movement which is a restless scherzo in rondo form. Over the rhythmic ostinato of the orchestra, the virtuosity of the violin is displayed most clearly, often in the violin’s highest range and the strong march-like tune passes back and forth between violin and orchestra. Its dance-like energy prompted the British musicologist, Donald Francis Tovey, to describe it as a “polonaise for polar bears.” However, this was clearly not intended to be derogatory as he went on: “In the … looser concerto forms invented by Mendelssohn and Schumann, I have not met a more original, a more masterly and a more exhilarating work than the Sibelius violin concerto”.

Charlotte Howdle, Upper Sixths