Tuesday 6 September 3.00 pm
A true voyage of discovery for this genial young musician with an insatiable curiosity and love of music.From a superb Hammerklavier and Diabelli in the past few years to the glittering honky tonk of that maverick Percy Grainger.
Mosolov had us searching in the archives to know about this futurist composer as opposed to ‘old school’Rachmaninov.
As Julian says things may change but the essential character is always the same.
From a French composer who could write the most honest picture of Spain,to a Spanish composer inspired by pictures of a Spanish artist.
After a deliciously Viennese sonata movement by Schubert – written in the last year of his short life Julian just entreated us,like in yoga,to carry on practicing but just release your mind.
Well we did not need much enticing with Grainger’s arrangement of songs from the first ever Afro American musical to touch Broadway where glissandi and much else abound
But is was the sumptuous sense of colour and true voyage of discovery that was so extraordinary .
To see the evolution of a sixteen year old outsider who won top prize in one of the most prestigious International competitions.To his literally letting his hair down as he entered Oxford only to leave early to go to find true freedom in Paris .
Every so often he comes back to this Mecca in Perivale to open up our ears and enrich our spirit as this true renaissance boy turns into a genial young artist of great stature.
An astonishing recital and cannot wait to hear what the next visit brings us.
Debussy: ‘Poissons d’Or’ from Images Book 2
Mosolov Sonata in B minor ‘From old notebooks’ Op 4 – 1st movt
Alexander Vasilyevich Mosolov 29 July] 1900 – 11 July 1973 was a composer of the early Soviet era, known best for his early futurist piano sonatas orchestral episodes, and vocal music.He studied at the Moscow Conservatory and achieved his greatest fame in the Soviet Union and around the world for his 1926 composition,Iron Foundry.Later conflicts with Soviet authorities led to his expulsion from the Composers’ Union in 1936 and imprisonment in the Gulag in 1937.Born in Kiev in 1900, but moved with his family to Moscow three years later. When he was five, his father died, but his widowed mother, a professional singer who worked at the Bolshoi Theatre until 1905, was left comfortably well off. After her husband’s death, she married the painter and designer Michael W. Leblan (1875-1940). She cultivated a cosmopolitan outlook, and the young Alexander was brought up speaking French and German in addition to Russian. The family regularly visited the cultural capitals of western Europe, especially Paris, Berlin and London. During the October Revolution he volunteered to serve in the Red Army, but in 1921 he was medically discharged, suffering from what we would now call post-traumatic stress disorder. He then entered the Moscow Conservatoire and studied composition with Glière and Myaskovsky. In 1927 Prokofiev, who was then living in the West, returned for a concert tour of the Soviet Union. He became acquainted with the music of Mosolov, whom he praised as the most interesting of Russia’s new talents.
Rachmaninov Prelude in B minor Op 32 no 10
Rachmaninov Prelude in D major Op 23 no 4
Debussy: ‘La Soirée dans Grenade’ from Estampes
Granados: ‘The Maiden and the Nightingale’ from Goyescas
Schubert: Sonata in A major D 959 – 1st movt
Schumann: Romance in F sharp major Op 28 no 2
Grainger: In Dahomey
In Dahomey (Cakewalk Smasher) was inspired by tunes from an all-Negro musical comedy of the same name starring Bert Williams and George Walker, noted exponents of the cakewalk. The only known London performance of this comedy with music by Will Marion Cook occurred at the Shaftesbury Theatre on 16 May 1903 and one must assume that both Grainger and Rathbone were in the audience. Grainger’s jazzy romp quotes from the chorus of Cook’s Brown Skin Baby Mine and to this Grainger mixes a cakewalk piece by Arthur Pryor (a trombone soloist with Sousa’s band). It occupied Grainger for six years, with the final two notes being added in Aden harbour in June 1909. It is a concert rag of huge dimensions which ranges in character from gentle impressionism to wild abandon. Pryor was noted for his trombone glissandi or ‘licks’, here translated into their pianistic equivalents by a cataclysm of virtuosic tricks including glissandi of every known type. The inevitable combination of both tunes has been described as ‘a page of nearly Ivesian dissonance’; ‘encountering this work for the first time is like entering a time machine!’ Grainger conjures up the sounds of banjo, brass band and other instrumental colours of the period. He dedicated this ‘smasher’ to Rathbone with the enigmatic words: ‘For you have always been so good to it.’ The work remained in manuscript and was never seemingly offered for publication during Grainger’s lifetime. It was eventually published in 1987 some seventy-eight years after completion. A full history of the genesis of this piece can be found in the published edition (C F Peters, New York).
Julian Trevelyan is a British musician. In 2021 he won the Second, Audience and Mozart prizes at the Concours Géza Anda. In 2015 at the age of 16, he was the top prize winner, and youngest ever laureate at the Concours Marguerite Long. He has also won laureates at the CFRPM, Ile de France, Dudley, Dumortier and Kissinger competitions. He has studied at the École Normale Alfred Cortot with Rena Shereshevskaya, sponsored by Patrick Masure. From 2021 he is Rena’s assistant, and replaces her in lessons. He also studied composition there, and is composer in residence with Ensemble Dynamique. He is an Alumnus of the Lieven International Piano Foundation. He has also studied with Christopher Elton, Elizabeth Altman and Rita Wagner. He studied musicology at Oxford University, and has a degree in Geology. He leads a string quartet, plays historical instruments and is part of a mandarin a capella choir. In his spare time, he enjoys reading, cooking and sports. He currently lives in Paris and speaks four languages.