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26 March 2015, 7.30pm

20th Century Theatre 291 Westbourne Grove , London W11 2QA 

Vsevolod Dvorkin piano   Alexander Bedenko clarinet 

Timothy Rundle oboe  Geremia Iezzi horn

Jasmine Choi flute
  Laura Vincent bassoon

Illustrated talk by Richard Wigmore


price includes wine and refreshemnts 


Mozart Quintet in E flat major for piano and winds, K452

Rimsky-Korsakov Quintet in B flat major

Poulenc Sextet for piano and wind quintet, Op. 100

Three masterpieces of the chamber wind repertoire by three epoch-making composers. Mozart’s sublime Quintet, K452, in his own opinion ‘… the best work I ever composed’, combines the essence of Viennese Classicism with the composer’s distinctive operatic magnificence. Rimsky-Korsakov, ‘chief architect’ of St Petersburg’s ‘Mighty Handful’, brought his experience as an Inspector of Russia’s naval bands to bear on his writing for winds and brass. His exuberant and brilliantly colourful Quintet in B flat is all too rarely heard. The concert ends with Poulenc, leading member of ‘Les Six’, the unconventional group of composers active in 1920s Paris. All his flamboyant wit and wistful poetry is captured in the Sextet, Op. 100. 

25 April 2015, 7.30pm

Leighton House 12 Holland Park Rd , London W14 8LZ 

Iakov Zats viola 

Vsevolod Dvorkin piano   

Illustrated talk by Stephen Johnson 


price includes wine and refreshemnts 


Liszt Années de pèlerinage. Première année: Suisse

Berlioz, arr. Liszt Harold en Italie

The Romantic Age was a good time to be a sensitive, lonely misfit. After the success of Goethe and Byron’s writings, young men – and occasionally young women – dreamed of cutting their ties with cosy bourgeois security and wandering freely, searching for some kind of spiritual truth that might give purpose to their being. Not all of them found it: for some, the truth lying in wait was only painful disillusionment. Others, however, realised that, as Marianne Moore put it, ‘the cure for loneliness is solitude’. Franz Liszt’s first set of Années de pèlerinage  (Years of Pilgrimage) records what he found on his travels in Switzerland, the ‘images’ that ‘stirred deep emotions in my soul’. Berlioz’s symphony Harold in Italy  (arranged for solo piano by Liszt) shows Berlioz following in Harold’s footsteps, to the point where he could say, with Byron, ‘I live not in myself, but I become portion of that around me’.  

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