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  St. Mary’s, Buriton

 
Tom Cooper's piano recital

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                           St Mary’s Church, Buriton

13th June 2010

 

Those present in St Mary’s church, Buriton, on Sunday afternoon were treated to a wonderful piano recital by Tom Cooper, a resident of the parish, in support of its Restoration Fund.  His programme had been cleverly devised to include music by those composers who influenced Chopin, whose 200th anniversary is being celebrated this year.

 

The concert began with two Bach Preludes and their parallels in two Studies by Chopin.  The Bach C major Prelude, which is based on broken chords, is similar to Chopin’s Study in C major, Op.10 No.1 with its brilliant arpeggios.  His Study in C minor Op.25 No.12 again uses arpeggios in both hands.  It is Bachian in its richness and texture.

 

The main quality of Hummel’s music is that it is studded with melismas and his Fantasie in B flat major contained an astonishing variety of ornamentation.  This use of filigree influenced Chopin in his early works.  Chopin’s admiration for the music of Bach and Mozart must have helped him to obtain that marvellous simplicity of line which is rarely obscured by even the most sophisticated harmonic progressions.

 

Mozart’s Fantasia in D minor, K.397 is a favourite amongst pianists.  It is written in the style of Bach’s Toccatas with its abrupt shifts of mood and tempo, and cadenza-like passages.  The work was played most sensitively .

 

Chopin’s early works combine clarity of texture with an intentional use of decorative patterns.  This was beautifully illustrated by the poetic playing of the 3 Op.9 Nocturnes.  John Field invented the Nocturne, a poetic mood picture in sound, and his influence on Chopin was quite considerable.  His Nocturne No.4 in A major demonstrated his flowing left hand accompaniments contrasting with the singing melodic lines of the right hand.

 

Chopin’s Ballade No.1 in G minor has a bold originality: it is a work of great fire and beauty, as is Andante spianato and Grande Polonaise Brillante, Op.22.  Both were played with affection.

 

Tom Cooper’s introductions to each item were most informative and fascinating and his playing explored the poetic content of all the music with unhurried tempos and eloquently shaped phrasing.  His next recital is on Sunday, 19 September at 3.00 in St Mary’s church, Buriton and will explore Chopin’s influence on other composers.  Don’t miss it!

 

Ann Pinhey

 

[Ann conducts The Petersfield Chamber Choir.  She is, she says, always on the look out for new young singers!  She teaches the piano and is a regular reviewer of local concerts.]

 

PROGRAMME

Bach Prelude in C major, BWV 846/1, The Well-Tempered Clavier Book 1

Chopin Study in C major, Op. 10 No. 1

Bach Prelude in C minor, BWV 847/1, The Well-Tempered Clavier Book I

Chopin Study in C minor, Op.25 No. 12

Hummel Fantasie in B flat major

Kalkbrenner Rondo in C major

Chopin Andante spianato and Grande Polonaise Brillante, Op.22

 

INTERVAL

 

Field Nocturne No.4 in A major

Chopin Nocturnes Op.9

Mozart Fantasie in D minor, K397

Chopin Ballade No. 1 in G minor, Op.23

NOTES

Johann Sebastian Bach (1685-1750) was born in Eisenach, where his father was a church musician. He was given musical training by his father and brother, but was largely self-taught as a composer. After several brief appointments as organist in various churches in Germany, he became court musician to the Duke of Weimar in 1708. In 1717 he moved to Cöthen, whose musical Prince, Bach's employer, became a personal friend. Bach wrote much of his keyboard music during this period. In 1723 he became Kantor of the Thomasschule in Leipzig, a post which he held until his death.

Johann Nepomuk Hummel (1778-1837) was a pupil of Mozart, in whose house in Vienna he lived for two years as a boarder. Hummel toured Europe as a child prodigy at the age of 9, during which period he stayed in London for a year. He had an extremely successful career as a travelling virtuoso and composer. He was renowned for his smooth, easy playing style, and had a remarkable gift for improvisation.

Friedrich Wilhelm Kalkbrenner (1785-1849) was born in a coach in Germany, while his parents were en route from Kassel to Berlin. Although almost completely unknown today, he had a very successful career as a pianist, teacher and composer, first making his name in Britain during a stay of some years between 1820-30. His performing career declined from 1836 and he rarely played in public after 1839, though he remained active as a teacher until his death.

John Field (1782-1837) was born in Dublin, the son of a theatrical violinist. He showed an early talent for the piano, making his debut aged 9. The following year his family moved to London where Field was apprenticed to Muzio Clementi, one of the most important international musical entrepreneurs of the period. Field worked for Clementi as a piano demonstrator, and in 1802 Clementi took Field with him on an extensive tour of European capitals. At St Petersburg Field left Clementi to start a career of his own as a fashionable pianist and teacher. Field wrote the majority of his compositions, the most important of which are the Nocturnes (of which form he was the originator), in the period up to 1823 after which increasing alcoholism began to mar his career_ Field toured Europe from 1831, ending up in a state of collapse in Naples, from where he was rescued by some Russian aristocrats and taken back to Moscow where he died.

Wolfgang Amadeus Mozart (175 6-179 1) was born in Salzburg, where his father Leopold was himself a court musician and teacher of exceptional ability. Like his elder sister, Maria Anna, Mozart showed an extraordinary talent at a very early age. He was playing pieces from his sister's book at four, and composing at five, when he also began to perform in public. His youth was spent in extensive tours of Europe organized by his father, appearing with his sister at most courts and cities of Germany and the Netherlands, also at Versailles and London. It seems likely that these journeys undermined his health. Later visits to Italy were intended to find Mozart an opening for opera composition, but these mostly came to nothing and no full-time posts materialised. His first job was as Konzertmeister to the Archbishop of Salzburg, an unsympathetic employer who looked with disfavour on the Mozart family. Mozart's frustration with his appointment in Salzburg led in 1780 to his dismissal. From this time he worked as a freelance musician in Vienna, and was increasingly often in debt.

Fryderyk Chopin (1810-1849) was born in Zelazowa Wola, near Warsaw, where his father, an emigré from France, later taught French at the high school. Chopin appears to have been largely self-taught at the piano, and began composing at the age of seven. He was an exceptionally gifted improviser and showed extraordinary originality at the keyboard, encapsulated in his Studies Op.10, the first of which were written in 1828; most of his subsequent works were for the piano. The following year he visited Vienna, where he made a spectacular debut. In 1830 he left Poland for good, ending up in Paris, which had become the European musical capital. Here Chopin had an almost instant success as a pianist and teacher. He gave very few public performances during his career, preferring more intimate gatherings of selected friends. He was acute, not to say ruthless, in his dealings with publishers and, as a result, made a very large amount of money from his compositions, many of which were ideally suited for the growing number of middle-class amateur pianists of the period. His health was seriously undermined when, in a disastrous winter visit to Majorca with the novelist George Sand and her children in 1838, Chopin had his first serious attack of tuberculosis. Even so, with Sand's devoted care he managed to complete the Preludes Op.28 among other important works. After their return to France, Chopin's life settled into one of an unvarying domestic routine of teaching in Paris in the winter and composing at Sand's country home, Nohant, in the summer. Here Chopin wrote most of his mature masterpieces. His break with Sand in 1847 heralded the final collapse of his health.

Tom Cooper