FLUTE

Lizzie Briggs

Bethany Clare

Sarah Cook

Nicola Garnham

Ellen Gibson

Libby Gibson

Una Gordon

Cathy Goss

Lynn Percival

Catherine Marsh

DOUBLE BASS

Jonathan Hirst

PLAYERS

Lisa Melhuish

Clare Plasom-Scott

Maisie Satchwell-Hirst

Rachel Singleton

Helen Tansey

Judy Tremeer

Anne Thompson

Katie Woods

Jacqui Wright

DRUMKIT

Robert Singer

www.flutesandco.org.uk.

ALL THE THINGS YOU ARE (1939) Jerome Kern arr Trevor Wye A romantic, warm-hearted song, this is a combination of harmonious lyrics and lush, intricate music. Zinsser calls it ‘...the most perfectly constructed of all popular standards” and further says, ‘Kern effortlessly moves his Bach-like tune through five keys in 36 bars - the textbook illustration of how songwriters achieve freshness within the form’s tight limits.’ This is a deceptively simple composition, the harmonic progression in the first five measures is identical to that of (the latter written) ‘Fly Me To The Moon.’

LULLABY OF BIRDLAND (1952) George Shearing arr Trevor Wye Birdland was a famous jazz club in New York City, it had previously been the Clique Club where pianist George Shearing first played in 1949 with clarinet-tist Buddy De Franco. Later that year the owner renamed the club Birdland in honour of Charlie ‘Bird’ Parker.

Forthcoming concerts

Tues 26th July 8pm - Music for a Summer Evening - Hawkshead Parish Church

November 2011 date tbc - Concert in aid of NSPCC - Levens venue tbc

Cartmel Priory, Grange

21st May 2011

Musical Director - Suzanne de Lozey

Programme

ORCHESTRAL SUITE NO.2 in B minor (c.1738) J.S.Bach arr Rob Rainford Overture (Grave, Allegro, Lentement) - Rondeau (Gavotte) - Sarabande - Bouree I, II - Polo-naise, Double - Minuet - Badinerie

This is Bach’s most important work for flute and orchestra: it is the second of 4 french-style orchestral suites and the best-known of the set. Its powerful overture is followed by a series of movements based on popular dance forms: an elegant rondo, an intense sarabande, an energetic pair of bourees, a formal polonaise with a variation (double), a delicate minuet and a fleet badinerie that has became a fa-vourite encore piece for solo flautists. Unlike the solo concerto, where the soloist is constantly in the limelight, here Bach treats the solo flute with discretion. Much of the time it simply adds colour to the melody line which it share with the strings (in this case, the other flutes!). It blossoms only in the contrasting dance move-ments - the Bouree II, the Double and most effectively in the final joyous Badinerie.

THE SHADOW OF YOUR SMILE (1965) Johnny Mandel arr Trevor Wye One of Mandel’s most notable film scores was The Sandpiper (with Elizabeth Taylor and Charles Bronson in the lead roles), and its love theme The Shadow of Your Smile won the 1965 Academy Award for Best Song and the Grammy Award for Song of the Year in 1966. The central semiquaver section of this arrangement uses material from Bach’s Partita in A minor for solo flute.

AUTUMN LEAVES (1947) Joseph Kosma arr Trevor Wye Originally named Les Feuilles Mortes (The Dead Leaves) but in 1949 Johnny Mer-cer wrote English lyrics for the tune changing the French title to Autumn Leaves. The song was introduced into the 1946 film Les Portes De La Nuit, a gloomy urban drama set in post World War II Paris. It took nearly 10 years to catch on as a jazz number but since then it has been recorded by many jazz artists. The central sec-tion uses material from the 1st movement of Bach’s B minor flute sonata.

THREE MADRIGALS (c.1580) Orlande de Lassus arr John Davies S’io ti vedess’ una sol - O occhi manza mia - Ich wais mir ein Meidlein hubsch und fein

(Ah could my Eyes Behold thee - O Lady Fair - I know a Young Maiden)

These 3 short madrigals originally for SATB voices, exemplify the transition be-tween late renaissance and early baroque musical style, combining forward-looking homophonic textures with 16th century harmonies and cadence figures.

CHARLESTON MEDLEY Black & Johnson arr P.Buttall A dance probably of African origin, its original athletic side -kicks and syncopated steps soon gave way to the more manageable quickstep and it became a popular dance of the 1920’s. This arrangement of the Charleston and Black Bottom Dances has a honky-tonk sound to it and a music-hall feel about the last reprise.

~ INTERVAL ~

WEDDING DAY at TROLDHAUGEN (1896) Grieg arr Claude Bisset Grieg composed this joyful work for his wife Nina, in honour of their 25th wedding anniversary. He performed it for her and over 100 guests at the an-niversary celebration at Troldhaugen, their home near Bergen, Norway. The piece was published as No.6 in Volume 8 of Grieg’s Lyric Pieces. It opens with the main theme, recalling a village wedding procession. There is a gently ro-mantic section in the middle of the work, with the main theme returning at the end.

ADAGIETTO from the 5th Symphony (1902) Mahler arr Andy Findon

Written for harp and strings (here the harp part is played by a solo flute), this is arguably Mahler's best-known single movement. Used for the film Death in Venice (1971) it melds both love and death: the elusiveness of one, the inevi-tability of the other. Written in a small interlude of happiness between 1901-02 when he met and married his young wife, the Adagietto shows how the same few notes can convey love and loss, commitment and retraction, life and death.

SMOKE GETS IN YOUR EYES (1933) Jerome Kern arr Trevor Wye

Written by Kern as a tap dance number to be performed between scene changes during his Broadway hit Showboat. Originally up-tempo and based on a radio commercial, Kern turned it into a ballad at the request of the pro-ducer. Otto Harbach added the lyrics which were based upon the Russian proverb, “When your heart’s on fire, smoke gets in your eyes.” The song was an instant hit.

TEA FOR TWO (1924) Vincent Youman arr Trevor Wye The lyric’s hook phrase “Tea for Two,” was originally an 18th Century English street cry. A vendor wanting to attract business would lower the price of a pot of tea from thruppence to tuppence by shouting, tea for two. Later of course, in the 19th century, when Victorian gentry would meet in the after-noon for tea, the order of tea for two was often an early sign of courting……

JUBILATE DEO (1597) Giovanni Gabrieli arr Rob Rainford-This motet Jubilate Deo omnis terra for 8 voices was written at the end of his life and displays the synthesis of styles he achieved, having had lessons from both Orlande de Lassus and his uncle Andrea Gabrieli. Full of ‘choral antiph-ony’ between the 8 contrapuntal parts, with sections of close imitation con-trasting with rich chordal writing. Its jubilant nature ideal for a Christmas morning (a May evening would be good as well). PTO