To An Artist by Anna Akhmatova

Your work that my inward sight still comes,

Fruit of your graced labours:

The gold of always-autumnal limes,

The blue of today-created water-

 

Simply to think of it, the faintest drowse

Already has led me into your parks

Where, fearful of everything turning, I lose

Consciousness in a trance, seeking your tracks.

 

Shall I go under this vault, transfigured by

The movement of your hand into a sky,

To cool my shameful heat?

 

There shall I become forever blessed,

There my burning eyelids will find rest,

And I’ll regain a gift I’ve lost-to weep.

 

by Анна Ахматова (Anna Akhmatova) (1924)

from Тростник (Reed) / Из шести книг (From the Six Books)

translation by D. M. Thomas

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Muse by Anna Akhmatova

When at night I wait for her to come,

Life, it seems, hangs by a single strand.

What are glory, youth, freedom, in comparison

With the dear welcome guest, a flute in hand?

 

She enters now. Pushing her veil aside,

She stares through me with her attentiveness.

I question her: ‘And were you Dante’s guide,

Dictating the Inferno?’ She answers: ‘Yes.’

 

by Анна Ахматова (Anna Akhmatova) (1924)

from Тростник (Cane) / Из шести книг (From the Six Books)

translation by D. M. Thomas

 

Landscapes III. Usk by T. S. Eliot

Do not suddenly break the branch, or

Hope to find

The white hart behind the white well.

Glance aside, not for lance, do not spell

Old enchantments. Let them sleep.

‘Gently dip, but not too deep’,

Lift your eyes

Where the roads dip and where the roads rise

Seek only there

Where the grey light meets the green air

The hermit’s chapel, the pilgrim’s prayer.

 

by T. S. Eliot

from Minor Poems

Landscapes II. Virginia by T. S. Eliot

Red river, red river,

Slow flow heat is silence

No will is still as a river

Still. Will heat move

Only through the mocking-bird

Heard once? Still hills

Wait. Gates wait. Purple trees,

White trees, wait, wait,

Delay, decay. Living, living,

Never moving. Ever moving

Iron thoughts came with me

And go with me:

Red river, river, river.

 

by T. S. Eliot

from Minor Poems

Landscapes I. New Hampshire by T. S. Eliot

Children’s voices in the orchard

Between the blossom- and the fruit-time:

Golden head, crimson head.

Between the green tip and the root.

Black wing, brown wing, hover over;

Today grieves, tomorrow grieves,

Cover me over, light-in-leaves;

Golden head, black wing,

Cling, swing,

Spring, sing,

Swing up into the apple-tree.

 

by T. S. Eliot

from Minor Poems

The River by R. S. Thomas

And the cobbled water

Of the stream with the trout’s indelible

Shadows that winter

Has not erased – I walk it

Again under a clean

Sky with the fish, speckled like thrushes,

Silently singing among the weed’s

Branches.

I bring the heart

Not the mind to the interpretation

Of their music, letting the stream

Comb me, feeling it fresh

In my veins, revisiting the sources

That are as near now

As on the morning I set out from them.

 

by R. S. Thomas

from H’m (1972)

The Prince Regent’s Band: Russian Revolutions

A virtuoso brass ensemble that uses 19th century instruments to get as close as possible to the sounds of another era? That’s the Prince Regent’s Band – and today, as Wales commemorates the centenary of the Russian Revolution this extraordinary period-instrument group explores the brass music of Imperial Russia: a lost world of romance, melancholy, and glittering splendour.

Tuesday 7 November 1.15pm
Pre-performance talk by RWCMD musician in the Foyle Room has been cancelled.

Venue: Dora Stoutzker Hall, Royal Welsh College of Music and Drama

Tickets: £6 in advance, £8 on the day. Get your concert ticket, cake and a cuppa for only £9 in advance. Get 25% off any main meal or buy a soup and a sandwich for just £4.99 with a valid lunchtime concert ticket. Valid on the day of the concert only.

I got the ticket from the reception desk in the foyer, which also serves as a cafe and entrance area to wait around in, and saw there was a small stall with a giant Fabergé egg behind it. They were selling the CDs of the band there before and after the show.

I went into the hall and sat in the second row while many of the other attendees sat more centrally. The front row is right next to the foot of the stage but that is to be expected as this is a music performance venue more so than one for staging plays where the front row would definitely be far too close to the front leading you to be looking directly up at the performers. There was a wide mix of ages present in the audience; some students, some office workers coming to a lunchtime concert, OAPs and some other people.

DSC_0112 leafletaaaaDSC_0113 leaflet

It’s all pine wood in  the Dora Stoutzker hall and made to have the best acoustics possible I imagine. They record music in here. If you’ve ever seen the BBC hall in the Wales Millennium Centre then you know what to expect. Pine is very ‘now’ in modern Welsh architecture…

When they came on they did the first piece then discussed how brass wind instruments were popular with the royal (Romanov) family during that era and they themselves played such instruments. This of course being part of the R17 events running throughout October/November in celebration of the centenary of the Russian Revolution they performed pieces from the era. Between each piece they emptied their spit valves a lot onto the floor of the stage. It was quite gross. I have to assume in orchestras they have a cloth to do that into but you could see it spilling out in quite some volume from where I was sat. Most people were sat in the centre of the seating here and now I realise why.

The band have a YouTube channel discussing instruments of the era as well as the Dustin family whose music they made a recording of and discuss in a number of videos. I found it quite interesting and the videos are short. The only issue, ironically for musicians, is the acoustics of the rooms they filmed in: ( https://www.youtube.com/channel/UCopIHhNUDG0Kk460EIKq6uw ).

They performed:

Ewald – Brass Quintet No.1, Op.5

Bohme – Prelude and Fugues, No.1, Op.28

Glazunov – Brass Quintet, Op.38 ”In Modo Religioso”

Ewald – Brass Quintet No.2, Op.6

Apparently they had made a request to the St Petersburg Philharmonic’s Library to look in their archives for the long-lost quintet pieces by Ewald. Surprisingly the staff suddenly just found the works, out of the blue, as if they hadn’t been long-lost musical pieces! I imagine they were lost during the upheaval during the Soviet era or hidden away like many works by persecuted artists and since then no one had actually made a request until now when they could finally be revealed to exist again. That’s why it tends to be better to go look yourself and not rely on the filing system in libraries and such as they’re prone to inaccuracies if someone makes a mistake or gets lazy. Anneke jokingly asked the audience if anyone knew where No.3 and No.4 were to tell them too.

It was an hour-long concert i.e. a lunchtime concert.

I got the two CDs the band had made and have really enjoyed them both so recommend them if you want to hear music performed as period accurate as possible.

They dressed all in black though Anneke wore a dress with boots and red tights. Not that it matters but just in case you were wondering. The standard ‘smart but casual’ look of musicians when not performing at an evening event.

Review: It was very good and they gave informative little lectures between each piece. Of course that allowed the other members time to empty their spit valves but it was a nice addition to hearing the musical pieces – some of which were being performed in their original composition with the original mix of instrumentation rather than the more popular versions. I would go see them perform again though personally I find this sort of thing is better done as part of a more varied evening with other instruments involved.

The small, informative, talks between each piece were the highlight, as it put the pieces in historical context in an easily followed manner, while seeing the massive amounts of spit being spilled on the stage was definitely the low… just use a cloth or something… so if you come see them don’t sit close to the stage obviously. I didn’t get hit with anything but it was unnecessary.

Do support them as it’s important we don’t lose the variant compositions they used and it helps you appreciate the evolution of music and instrumentation over the passage of time. I think a concert with them accompanied by performers using other instruments throughout history would be a spectacular event but this alone might be a bit too narrow a niche for a more general audience to enjoy. Definitely if you are at all curious about them I highly recommend seeing themselves for yourself as it will be an enriching experience and you’ll leave with a greater appreciation of the evolutionary development of brass instruments and their compositions over the past century and beyond.