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John Mills The
Point, Eastleigh
- Sat 4th Feb 2012 - 8pm
John Mills has been performing concerts for around 45 years. He is the ultimate classical guitarist. He studied with John Williams, Julian Bream and Andres Segovia. The latter described John even back in those days as having "a purity of technique and musical sensitivity". He is universally accepted as "one of England's finest guitarists" (though we would say that should be a global accolade rather than merely a national one). SCGS has enjoyed many superb performances from John Mills over the years. Some of you may remember his Segovia Tribute Concert at The Point in February 2001 - white tails and 3 'halves' (following this concert he graciously accepted the position of Honorary Life President of SCGS); in 2002 we celebrated our 30th anniversary at a packed Romsey Abbey at which John performed with his wife, Cobie Smit, and the Wykeham Chamber Orchestra. This concert kicks off a whole year of celebrations to mark our 40th Anniversary as one of the leading classical guitar societies in the country. John's programme will include some of the favourite pieces he has played in his long and illustrious career. Tickets: We have twice sold out in the past when John Mills has been playing for us. Don't leave it too late to reserve yours. Ticket prices are still unchanged after several years at £12 (£10 for usual concessions and just £8 for members - maybe you'd like to join?). You can buy online here or call the box office on 023 8065 2333. If you can help publicise the concert please download/print a poster here and display prominently. Many thanks if you do! (Programme notes Concert Review) Alexandre Tansman (Poland, 1897-1986) ~ Entree - Gaillarde - Kolysanka - Oberek
Federico Moreno Torroba (Spain, 1891-1982) ~ Romance de los Pinos
& Nocturno [Encore]: If you wish to view the actual concert programme you can download it here. Using Adobe Acrobat you can print it 'as a booklet'. This recital contains music from the Classical period through to the mid/late 20th century, featuring both original guitar compositions as well as several transcriptions, the latter having been a feature of guitar recitals for many decades. The four pieces by Alexandre Tansman are taken from a larger suite, and date from the early 1960s. However, the inspiration for these goes back perhaps a century or two, being written in the style of traditional Polish dances and folk melodies. After the initial introductory Entree, we have two dances, Gaillarde and Oberek separated by a charming Kolysanka (lullaby). Moreno Torroba was one of the first composers to write for the guitar in the 20th century, and his pieces have a characteristic charm, no more so than in the Romance de los Pinos (Romance of the Pines), which later became part of a suite entitled Castles of Spain. The Nocturno is a rather more adventurous piece, several short contrasting sections which follow each other without a break. The repeated notes suggest perhaps the noises of nature in the evening and the passing hours are stated three times in this impressionistic view of a warm Spanish night. Fernando Sor was a hugely important figure in the guitar world at the beginning of the 19th century, and this lovely Andante Largo is taken from the set of short pieces Opus 5. This miniature was often found in recitals by the legendary Spanish maestro Andres Segovia, as was indeed the following Minuet of Haydn, with its two contrasting sections, the first rather more formal whilst the second has distinct rustic qualities. Although the majority of guitar music by Antonio Lauro reflects his home country of Venezuela, this charming set of Variations on a Children's Song is written in a Classical style and is a homage to the guitarists of the 19th century. Lauro was a celebrated composer and teacher in Caracas, and his many lyrical and beautiful Venezuelan Waltzes are frequently found in recitals. The first half concludes with two transcriptions of Spanish piano pieces. The lovely Capricho Catalan of Albeniz is inspired by the many ancient and much-loved Catalan folk melodies. This arrangement is by Michael Lorimer, and was the one used by Segovia in hundreds of recitals. Another favourite is the celebrated Danza Espanola No. 5 from the famous set of 12 dances composed by Granados. Its sweeping melodic line, contrasting brief rhythmic outbursts and magical slow central section have made this a favourite with concert audiences. Part two of this recital begins with music from France. Debussy's famous La Fille aux Cheveux de Lin (The Girl with the Flaxen Hair), has been arranged for many instruments over the years, and it is therefore appropriate that it appears several times in transcriptions for guitar where the range of tone colours may be employed. The short piece entitled Segovia is a tribute to Andres Segovia, and was composed in the mid 1920s for the maestro to include in a Paris recital. The somewhat heavy waltz-like first and third parts contrast with the slower middle section conveying a feeling of Spanish colour and atmosphere. The beautiful collection of over 140 poems Platero y Yo (Platero and I) by the Spanish author Juan Ramon Jimenez have inspired several composers. First published in 1916, they tell the story of a small silver-grey donkey (Platero) and his owner, the poet, their travels and day-to-day experiences. Here we have six movements in the version by the composer and teacher Eduardo Sainz de la Maza. The first depicts Platero himself, soft but strong, steel and moonsilver at the same time. El Loco is The Crazy Man. As the poet rides Platero out of town to the vineyard, they are followed by a small of small gypsy children who viewing this perhaps rather curious figure on a donkey call after him "El Loco!". La Azotea (The Roof Garden) is somewhere where one can see life going on - the chair-maker, the painter, the barrel-maker, a window with a small dark girl combing her hair and Platero drinking at the fountain. Paseo (Walk): Platero and the poet walk along the warm paths of summer, and eventually come to the fountain where Platero buries his head in the liquid snow. La Muerte (The Death): Platero was found lying in his stable. He had eaten something in the grass, and the vet says there was no hope. By noon Platero was dead. A small three-coloured butterfly flies in and out of the bright ray of sunshine from the window. A Platero en su Tierra (For Platero on his Ground): many years have passed, and the poet is going to join Platero in death. "You Platero are alive and I with you... I come alone." Manuel Ponce was the founder of the Modern School of Mexican Music. As with Moreno Torroba heard earlier, he was one of the first to compose for Segovia, this Sonata Mexicana being the first of four such works written in the 1920s and 1930s. The smallest of the four, this work is imbued with the colours and atmosphere of Mexico and the movements all have subtitles; I Little Dance of the Long Scarf; II Dream of the Ahuehuete (A tree which longs not to grow old); III Interlude of native tap-dancing; IV Aztec rhythms and melodies. It's 4pm on the day of the concert and my phone rings. "Hi Wayne, John Mills here. What the weather like down your way? There's an absolute blizzard here. Snow coming sideways". A cold sweat breaks out as I imagine no guitarist, ticket refunds, insurance claims and disappointed audience members. I assure him that our forecast is for a little snow/sleet followed by rain. We agree it's worth going ahead and John sets off on the 90 minute journey. He arrives safely in plenty of time. Phew! My next worry was how much of an adverse affect would the weather have on the audience size. As it turned out, not too bad. There were less sales on the night than we might have hoped for but most had bought their tickets in advance and nearly all of those turned up. Around 150 were seated in the warm auditorium as John Mills arrived on stage and began to play the set of four pieces from a suite by Tansman. The lullaby was especially moving. We knew straight away we were in for exactly the sort of treat you expect with his playing. As that finished my wife, a non musician, turned to me and whispered, "He just lets every note breathe". Very astute of her I thought.
Welcoming the audience and thanking them for venturing out on a cold night, John explained that Segovia often started his concerts with the little Andante Largo by Sor and thought it went very well with the Haydn Minuet. It certainly did. Both were played with such a lightness of touch and the minimum of movement in the right hand that at times you were left wondering what was actually plucking the strings. Next came the Lauro, which might seem like an odd choice to follow the previous pieces but, as John explains in his programme notes (above), Variations on a Children's Song his is not a typical Venezuelan folk song but much more classical in feel. Concluding the first half were two favourites of the guitar repertoire, although written originally for the piano. Albeniz' Capricho Catalan was followed by the classic Danza Espanola by Granados. After the interval, John returned to play two more favourite pieces. The Girl With The Flaxen Hair is quite often played but never quite as prettily as this. Albert Roussel's tribute to Segovia Op. 29 is less frequently played. I'm not sure why. I've never looked at the music but suspect it is not that easy. We were then treated to what was, for me anyway, one of the highlights of the evening. I've always liked Platero y Yo by Eduardo Sainz de la Maza.but if not perfectly played and, indeed, well introduced to the unfamiliar audience, it can drag a bit. No fear of that tonight. Eloquently explained and expertly executed, one could just sit and enjoy the pleasant, gentle and very Spanish scenes of an old man and his donkey at a time when life moved more slowly. Fantastic. The programme ended with a piece I thought I knew but it turned out to be a complete surprise. Sonata Mexicana was the first of 5 written by Manuel Ponce. The whole thing was a joy and one can easily see why Segovia was such a fan and friend of the Mexican's compositions. What a wonderful piece this was. John was called back for an encore and, as he often does, he pulled out a little gem to finish the evening and send everyone home whispering, "What was that encore?". It was in fact Nana and Intermezzo, two miniatures by Spanish pianist Maria Esteban de la Valera transcribed for guitar by Segovia himself. I saw the music afterwards. Just a single page covered both pieces. As always John looked totally relaxed and in control. I know he was struggling to get his hands warm before the concert and - probably - he had some nerves but neither showed. In fact, even though he has been playing professionally for longer than this socity has existed, he beamed with a teenager as he showed off his new Paul Fischer guitar, one of only 10 made to mark the maker's 50th year. It certainly sounded beautiful. An exquisite tool in the hands of a true master. It seems he can - and does - conjure up any sound he chooses for the guitar just by 'thinking it'. Of course, 'thinking it' that well is a result of a lifetime's dedication not just to the instrument but to extracting every single ounce/gram of beauty from every note. His style is very understated. As each piece ends he smiles. To himself. To his guitar or perhaps to memories of concerts past? I don't know, but as well as signaling to the audience the end of the piece it also signals to them that he has enjoyed it and he hopes we have to. We certainly have! Ayt around 10:30pm I bid John and his wife, fellow guitarist Cobie Smit, a safe journey home as the sleet began to settle again. Thanks John for a great evening. Thanks too to the audience for braving the weather, which turned out to be slightly less than had been forecast. I'm sure they will agree it was worth it. And so to the next one. The Modern Guitar Trio on Saturday May 19th at The Point. That should be a fair bit warmer. © Wayne Lines 5th February 2012 Audience reviews/comments: SCGS member, Malcolm Hebron (who also took the above photograph) writes about last night's concert in his blog. |
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