BRISTOL ENSEMBLE – THE ORCHESTRA FOR THE WEST OF ENGLAND
Since its foundation in 1994, by violinist and Chief Executive Roger Huckle, the Bristol Ensemble has been at the forefront of musical life in Bristol and the Southwest. You can read more about the Ensemble on their website www.bristolensemble.com
The players tonight are:
Violins: Simon Kodurand, Joanne Green, Paul Barrett,
Viola: Carl Hill
Cello: Harriet Wiltshire
Harpsichord: Paul Israel
Concerto for Strings in A major, RV 158
Antonio Vivaldi (1678–1741)
Vivaldi’s Concerto for Strings in A major, RV 158 is a perfect example of his mastery over string writing. Composed in the early 18th century, this concise yet energetic work demonstrates Vivaldi’s knack for balancing elegance with dramatic flair. Unlike his more famous violin concertos, which feature soloists, this piece is purely for string ensemble, allowing the group to work together as a tight-knit unit, with each section of the orchestra sharing the spotlight.
The concerto’s opening *Allegro* bursts to life with rhythmic vitality and playful exchanges between the violins and lower strings, typical of Vivaldi’s signature style. The slow *Andante molto* movement offers a moment of calm, with a graceful melody that gives the music a sense of introspection. The lively final *Presto* picks up the energy again, sweeping the listener to an exhilarating finish.
What makes Vivaldi’s string concertos like *RV 158* special is their ability to highlight the strengths of a small ensemble. There’s an almost chamber-music-like intimacy in the way the parts weave together, yet the music still retains the boldness and dynamism for which Vivaldi is known.
Fun fact: Vivaldi’s music went through a period of decline after his death, and much of his work, including string concertos like RV 158, was forgotten until the 20th century. In fact, many of his manuscripts were nearly lost when they were sold off by his family. It wasn’t until the 1920s, when a large collection of Vivaldi’s works was rediscovered in a monastery in Piedmont, Italy, that scholars and musicians began reviving his music. This discovery sparked a Vivaldi revival, bringing pieces like Concerto for Strings in A major back into the spotlight after nearly two centuries of obscurity!
Air on the G String (from Orchestral Suite No. 3 in D major, BWV 1068)
Johann Sebastian Bach (1685–1750)
Johann Sebastian Bach composed his Third Orchestral Suite in D major in the early 18th century, likely between 1717 and 1723. The suite opens with a grand French Overture, typical of the Baroque period, and is followed by a series of dance-inspired movements, of which the second movement, Air, stands out for its lyrical beauty. Unlike the other movements, which feature the full complement of trumpets, timpani, oboes, strings, and basso continuo, the Air is scored solely for strings and continuo, giving it a more intimate, serene quality.
The nickname "Air on the G String" originates not from Bach’s original, but from a later arrangement made in 1871 by the German violinist August Wilhelmj. Wilhelmj transposed the piece from D major to C major and arranged it for violin solo with string, piano, or organ accompaniment. He added the note "auf der G-Saite" ("on the G string") above the solo part, indicating that the melody should be played entirely on the violin's lowest string, which lent the arrangement its now-famous title. Though this Romantic interpretation is seldom performed today, the name has become inseparable from the piece.
Tonight, we will be performing the Air in its original form, in the key of D major.
Fun fact: In the 1977 James Bond film The Spy Who Loved Me, this piece is memorably used during a scene in which the villain Karl Stromberg feeds his assistant to a shark.
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Canon and Gigue in D major
Johann Pachelbel (1653–1706)
If there’s one piece of Baroque music that everyone seems to know—whether they realize it or not—it’s Pachelbel’s Canon in D. Composed in the late 17th century, it lay largely forgotten until it was rediscovered in the 20th century, quickly becoming a favourite at weddings, commercials, and almost anywhere you need a dose of beauty and calm. But there’s more to this piece than its modern-day reputation.
Pachelbel’s Canon is built on a repeating bass line, over which the violins enter one by one, layering the same melody on top of each other in a sort of musical “round.” This creates a rich tapestry of sound that slowly blossoms as the piece progresses. It’s simple, yet absolutely hypnotic. The repetition is soothing, while the interweaving melodies give it a sense of gentle motion and grace.
The Canon is paired with a lively Gigue, a dance in triple time that adds a touch of festive energy after the calm of the Canon. Though less famous, the Gigue gives the piece a joyful finish, reminding us that Baroque music wasn’t always about stately grandeur—it was also about dancing and celebration.
Fun fact: The Canon's timeless progression has found its way into modern pop music. Songs like Go West by the Pet Shop Boys and Basket Case by Green Day actually use chord progressions based on Pachelbel’s Canon. So, if you find yourself humming along to something that sounds oddly familiar, you might just be hearing a Baroque echo from the 17th century.
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Musica Notturna delle Strade di Madrid
Luigi Boccherini (1743–1805)
If there’s ever been a piece of classical music that transports you straight to a specific place and time, it’s Boccherini’s ‘Musica Notturna delle Strade di Madrid’. Written in 1780, this delightful work is a musical snapshot of night-time street life in Madrid, complete with bustling crowds, street singers, and the lively rhythms of the city’s nocturnal world.
Boccherini, though Italian, spent much of his career in Spain, and this piece is his love letter to the vibrant streets of Madrid. It’s structured like a series of vignettes, with each movement capturing a different aspect of the night. You’ll hear everything from the distant sounds of church bells and evening prayers to the joyful chaos of a Spanish military parade. There’s even a section called "The Drunken Beggars," where the music stumbles along as if slightly tipsy!
Unlike much of the classical music of its time, ‘Musica Notturna’ is intimate and playful, filled with Boccherini’s affection for Spanish culture. The piece is also a wonderful example of his ability to blend classical elegance with folk-like charm, making it one of his most imaginative works.
Fun fact: Boccherini’s Musica Notturna delle Strade di Madrid was famously used in the soundtrack of the 1995 film ‘Master and Commander: The Far Side of the World’. The piece plays during a calm and reflective moment, creating a perfect atmosphere for the film’s portrayal of naval life in the 19th century. This use of Boccherini’s music has brought the piece new attention in modern times.
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‘The Four Seasons’
Antonio Vivaldi (1678–1741)
Soloist: Simon Kodurand​
When Vivaldi wrote *The Four Seasons* in 1723, he wasn't just composing music—he was crafting an immersive experience that was revolutionary for its time. While we might take for granted today the idea that music can paint vivid pictures or tell a story, in Vivaldi’s day, this was nothing short of ground-breaking. Each of the four concertos isn’t just a celebration of the seasons but a deeply expressive journey into the heart of nature itself.
But beyond the musical flourishes and poetic charm, there’s something uniquely Venetian about *The Four Seasons*. Living in Venice, Vivaldi was surrounded by a city of extremes—blazing summers, icy winters, and floods that were as unpredictable as his own violin improvisations. His ‘Four Seasons’ may not just be a general portrayal of the passing year, but a personal reflection of what he experienced in his home city. The dramatic thunderstorms in ‘Summer’, the frozen stillness of ‘Winter’ and the playful breezes of ‘Spring’ could have all been inspired by Vivaldi’s daily life in this mysterious lagoon city.
Even more fascinating is Vivaldi’s role as a violin virtuoso. These concertos were written to showcase his own technical wizardry, with their rapid-fire passages and bold shifts in mood. When he performed them, audiences would have been left amazed by not only the music but by Vivaldi’s daring, almost theatrical playing style. His *Four Seasons* is not just a set of beautiful concertos—it’s Vivaldi showing off his full range as both composer and performer.
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Fun fact: Vivaldi’s *The Four Seasons* was rediscovered in the 20th century thanks to a recording made by violinist Louis Kaufman in 1947. Kaufman’s pioneering interpretation brought the piece back into the public eye after it had fallen into relative obscurity for nearly 200 years. Without that recording, *The Four Seasons* might never have reached the iconic status it enjoys today.
Concerto No. 1 in E major, Op. 8, RV 269, "Spring" (La primavera)
I. Allegro (in E major)
II. Largo e pianissimo sempre (in C♯ minor)
III. Allegro pastorale (in E major)
· Concerto No. 2 in G minor, Op. 8, RV 315, "Summer" (L'estate)
I. Allegro non molto (in G minor)
II. Adagio e piano – Presto e forte (in G minor)
III. Presto (in G minor)
· Concerto No. 3 in F major, Op. 8, RV 293, "Autumn" (L'autunno)
I. Allegro (in F major)
II. Adagio molto (in D minor)
III. Allegro (in F major)
· Concerto No. 4 in F minor, Op. 8, RV 297, "Winter" (L'inverno)
I. Allegro non molto (in F minor)
II. Largo (in Eâ™ major)
III. Allegro (in F minor)