After an amazing holiday in Greece, which kept me away from the first three rehearsals of this term it was good to be back at orchestra. New music is always interesting, and this evening’s promises much – not least because Wes has chosen something which will tax even him! Good to see some new faces too…
So there I was in bed, listening to Classic FM, when Max Bruch’s Kol Nidrei came on. Apart from marvelling at the majesty of the music, I couldn’t help but wonder at the beautiful tone of the cello, so set about looking it up. Here’s what I found out about Mischa Meisky and his Montagnana:
The story of how I acquired my cello has been greatly exaggerated over the years. I like to think that the story is interesting enough without all the hyperbole.
I left Russia with almost nothing. I did have a piece of wood that was cello-like, but I didn’t think of it as a real cello. Charles Beare, who was known for his generosity to young musicians, lent me a very nice Grancino cello, which I used in my 1973 Carnegie Hall debut with the Pittsburgh Symphony under William Steinberg, playing Rococo Variations. After everybody cleared out after the concert, a gentleman who had been waiting patiently backstage introduced himself and said that he had heard I didn”t own a cello. His uncle was an amateur cellist and apparently had a very beautiful cello that his uncle loved so much that he never wanted to part with it as long as he could play at least five minutes a day. But now his uncle was 94 years old, partially paralyzed and wheelchair-bound, and couldn’t play at all. His uncle didn’t want to sell it to a dealer, who would treat it as a mere business transaction, and he didn’t want to sell it to an orchestral musician. He wanted it to be played by a young and talented solo cellist who would perform in public so that others could enjoy the instrument.
The next day the man brought me to his uncle and I spent several hours playing for him and chatting. By the time I was ready to leave he had tears of joy streaming down his cheeks. He said, “Now I can die peacefully knowing that someone is going to play this cello and that people will hear it.” He would have given it to me as a present, but it was the only valuable thing he owned and he was a man of rather modest means. At age 75, his wife was a relative youngster and he had to leave her something when he died, but he knowingly offered it to me for less than thirty percent of its value.
I was still heavily in debt from when I had left Russian so I couldn’t afford to buy the cello myself. But I was lucky that a few nice Jewish people in New York raised some money through the America-Israel Cultural Foundation and the Foundation bought the cello for me, though the Foundation retained ownership. I fell in love with the cello and lived in constant fear that the Foundation would want to take it away from me. If my career went well, they might say that I could afford to buy my own cello and that it was time to give another young musician a chance to use it. If my career faltered, they might say that they had given me a shot at the big time and now it was somebody else’s turn. I loved the cello so much that I couldn’t imagine my life without it, so I eventually secured a loan from a German bank and bought it from the Foundation. I now own the cello outright.
My cello and I have gone through several stages in our relationship. I call it my “beautiful lady,” since the word for cello in Russian is feminine. In Italian and French it’s masculine and in English and German it’s neutral. My cello is therefore a “she.” Anyway, we fell in love at first sight. Then we had a wonderful love affair while she belonged to the Foundation. Then we became engaged when I bought it from the Foundation. Now that I’ve paid off the bank we are married for life. It’s been 34 years since we first met.
Another of these popular day long string worships will be held on 21st August. For details and booking form, click Folkestone Camerata
This year we were blessed with a beautifully warm evening, and some summer sun, for our Social Meeting and AGM in the Chairman’s garden. Food and drink were contributed by all the members, and we started with sparkling wine on the front lawn.
Our conductor made a late entry – ironic, really – and the AGM started before he arrived. Apologies were noted, at
tendance listed, and then there was a resume of the year’s activities by the Chairman. Several issues needing decisions were outlined. Upon the arrival of Wes, we had a short resume of the concerts we had played, largely successful, though the bandstand performance was a sharp learning curve – strings disappear in the open air!
The business of the day was successfully concluded, with a volunteer for secretary, and a decision that we would rather pay a little more than reduce playing time. It was also agreed that we should actively seek to recruit new members – partly to help finances, but more importantly to ensure that we have players for all parts. Concert dates and term dates were set for next year, and are constantly updated elsewhere in this blog.
Finally we wished Helen and Dick a long and happy retirement as they move away, and wished Susan all the best for her move to a new home. Helen was presented with a memento of her time with us in thanks for the work she has done as secretary, and Aly, our hostess, was presented with a bunch of flowers. The evening then moved on to eating drinking and gossiping, and finished as darkness finally descended!
On a beautiful Summer’s afternoon Ashford Sinfonia gathered for the final concert of the academic year in the lovely Chuch of St Mary the Virgin, Willesborough. The concert started with the March and Waltz from Benjamin Britten’s Matinées Musicales, which were competently presented and without noticeable glitches!
Members of the Sinfonia then gave a series of solos, accompanied by Wes Carroll, and commencing with Helen Venn playing Robert Schumann’s Romance No. 1 for oboe. Technically quite demanding, Helen gave an excellent performance, her swan song before moving on with her husband into retirement in the West.
Helen was followed by Mike Potter, playing Mussorgsky’s Castle from Pictures from an Exhibition on his saxophone. This was a lovely soulful sound in the rather special acoustics of the church. Next up was Lesley Currah, demonstrating the lyrical and amusing qualities of the tuba in Mrs Parkhurst’s Variations on a Temperance Theme. There were many grins round both orchestra and audience during the performance especially when Monte’s Czardas appeared, rather slower than usual!
The last solo was performed by Steph Batchelor, singing “Che Faro Senza Euridice” – more commonly known as “What is life, life without you”. A highly polished performance, sung beautifully, and without recourse to the score.
The orchestra rounded of with four movements from Britten’s Soirées Musicales, again well presented.
Coffee and cake were available throughout the rehearsal and performance, thanks to the team at the church. All in all a successful concert which, if repeated, deserves rather more advertising to attract a bigger audience!
Monday 18th at 7.00 p.m. at Yew Tree House, Ashford Road, Charing TN27 0EE. Hopefully it will be a sunny evening, and we will meet in the garden for a leisurely evening and our Annual General Meeting.
We will need to be making decisions on dates and venues for concerts, recruitment, finances and finding a new Secretary.
This is an opportunity to socialise and enjoy a beautiful English summer’s evening!
Please be sure to return all music at the Concert on Sunday, or at latest the meeting on Monday, as we only have a few days to return it to the Library.
Our Summer Concert will be at The Church of St Mary the Virgin, Willesborough on Sunday 17th July, meeting at 2.00 p.m. Several of the Sinfonia’s members will give performances, bracketed by a selection from Benjamin Britten’s settings of Rossini pieces – Matinées and Soirées Musicales.
Friends, families, guests and passers by all welcome! The café will be open.
Our esteemed librarian has negotiated one week’s grace on the return of “Soirées” and “Matinées” to the library, so that we are not charged for the loan. It is therefore really tight that we get the music in on the day of our concert, so if you will not be there please ensure that it is returned before the concert.
Likewise, all other music should be returned as soon as possible, and well before July 17th. Thanks everyone, in anticipation!
Roger
The Quartet I had in mind to play at our July concert date are having a break for the summer and will not be available. Plan B was to ask individuals or ensembles to perform on 17th July. So – please give it some thought, and expressions of interest when next we meet!
Ashford Sinfonia 