Roseland Music Society




The December concert featured two brilliant musicians, flautist Rosanna Ter-Berg accompanied by pianist Leo Nicholson.


The pre interval music featured three French 20th composers, Ibert, Poulenc and Jolivet.

The first half concluded with a stunning piece – Zoom Tube – by Contemporary Flautist/Composer Ian Clarke who in recent years has established a reputation as one of the UK's most innovative flautists with a particular interest in contemporary works and techniques.

To quote Judith Baylis, Committee Member and flautist herself;

‘The Zoom Tube by Ian Clarke was hugely innovative. Rosanna played this piece unaccompanied.

The audience were mesmerized as she produced the most amazing sounds by the slightest alteration of her embouchure. Using her cheeks, tongue, and lips, in creating the most unusual sounds .Clarkes composition makes use of extended techniques, producing jet whistles and trills.

The piece was appreciated, and enthusiastically applauded’.


The interval was followed by music of the 20th century by Italian composer and virtuoso pianist Alfredo Casella. To finish there was a return to the Romantic era and a Sonata by Cesar Franck


Judith also attended the workshops together with Co-ordinator Chris Williams. Members are already aware of the invaluable contribution of Roseland Youth Music to which many generously contribute. Since inception over 5,500 students have benefitted from visits from our first class visiting artists. This time it was the turn of St Mawes and Tregony Primary Schools.

Again in the words of Judith;

‘Two outstanding workshops at St Mawes and Veryan schools were a triumph.

The two musicians, Rosanna Ter-Berg Flute, and Leo Nicholson Piano, were an inspiration.

They engaged with the pupils, explaining their instruments in an historical but meaningful way.

The children were introduced to rhythm, melody, timing and pitch.

They composed songs, singing them in the round,

They were encouraged to listen carefully, deciding on appropriate animals represented by the music.

The hour passed with joy and learning, even holding the attention of the youngest children.’



The November concert featured Bulgarian born cellist Yoanna Prodanova and British pianist Rosie Richardson who complemented each other superbly.


The programme commenced with the Adagio and Allegro for piano and cello by von Weber who is considered one of the first significant Romantic composers. This proved an excellent introduction to both the lyricism, delicate touch and shading expertise of Yoanna during gentle playing followed by her exciting brilliance, control and balance ‘at speed’.


Next was a contrast from the 20th century, Britten’s Sonata for cello and piano. The Scherzo is particularly fascinating with the cello played pizzicato throughout.


Schuman was widely considered one of the finest pianists of his time but following a hand injury he concentrated on composing becoming one of the greatest of the Romantic period. We were again treated to a dreamy, tuneful Reverie on the cello contrasted by sheer virtuosity and intensity in the Allegro.


The second part of the recital was devoted to Chopin, another favourite Romantic era virtuoso pianist and composer. Preceded by a Polish song (op 74 no 13 of 17), the recital concluded with the sonata for cello and piano - one of only nine works of Chopin published during his lifetime that were written for instruments other than piano (although the piano still appears in every work he wrote). The cello sonata (1846) was the last of Chopin's works to be published in his lifetime. The brilliance of the pianist is particularly demonstrated as dialogue proceeds equally with the cello. So often the word ‘accompanist’ understates the crucial contribution and skill of the pianist in recitals.


The Largo is particularly beautiful and was repeated as an encore following prolonged applause.


On Friday December 1st we look forward to welcoming flautist Rosanna Ter-Berg and accompanist Leo Nicholson. Hailed as “supercharged” with “unstinting virtuosity and personality”, Rosanna has forged an outstanding career in chamber music, recitals and the media.


Leo is an outstanding pianist. He is an accomplished chamber musician and much sought-after accompanist.


The programme should not be missed and will be exciting and stimulating. It is a wonderful opportunity to enjoy the music of well known composers from the Romantic era and 20th Century, and also an interesting piece by the contemporary British composer Ian Clarke.



The September concert heralded the start of the new season of seven concerts for 2017-2018. It was preceded by the Annual General Meeting at which it was reported the Society had a ‘breakeven’ year remaining financially stable.


Last year’s members received copies of the Chairman’s Report with their Agenda. Further help is essential to augment the small numbers of loyal ‘outworkers’ and Committee members, together with a stable/increasing membership and attendance at concerts. The fine calibre of artists and close empathy with the audience is unique and the value for money exceptional. We must preserve this jewel, together with Roseland Youth Music which to date has enabled professional musicians to visit local schools benefitting 5,500 pupils since the inception 15 years ago.


Peter Louth was re-elected Chairman.


Janet Axworthy retired as Secretary after 18 years in post. She was hugely thanked for her loyal and unstinting efforts over such a remarkable time span. A founder member of the Society in 1998 she became Secretary in 1999. Janet is remaining a Committee member to assist where she can. We welcome Julie Saunders who was elected Secretary and thank her for agreeing to assume this important Office.


Gerry Mcleod retired as Treasurer and from the Committee. A vote of thanks was also warmly endorsed for his enormous contribution. His detailed monthly Financial Reports, Analysis of Results, Budgeting and Wise Financial Guidance proved invaluable for managing the Society’s affairs and future planning. Peter Cunningham has been shadowing Gerry for some months and was elected Treasurer. We are fortunate to have found such a qualified person to follow on and confident that our Finances remain in good hands.


We are grateful that last year’s serving Committee members agreed to continue and they were re-elected ‘en bloc’.


Space does not allow a fuller appraisal of the memorable Piano Recital by Hiroaki Takenouchi, an immensely popular artist at his previous visits. His return after 7 years and virtuoso performance in all respects of power and delicacy had the audience spellbound and was received with sustained applause.


Cellists have proved popular with Members and for our second concert of the season on Friday November 10th we welcome the highly regarded Bulgarian born cellist Yoanna Prodanova and her acclaimed and much in demand accompanist Rosie Richardson. Their exciting programme includes well known composers from the Romantic era and 20th Century.




The final concert of the 2016/17 season in June was in the hands of the exceptionally gifted Russian pianist Maria Razumovskaya. This was a return visit following her captivating performance two years previously when she became an immediate favourite with her relaxed dialogue with the audience and her powerful, emotional and lyrical playing.


The concert opened with a virtuoso display of the popular Beethoven’s Pathetique Piano sonata with its passions and emotions beautifully expressed. This was followed by a more gentle and relaxing Nocturne by Debussy and Prelude by Chopin.


The second half was devoted to the fiendishly difficult Mussorgsky, Pictures at an Exhibition, written in memory of an artist friend and featuring ten of his paintings on display and linked by a promenade theme as he progressed between them. This is written for piano but has been subject to orchestral arrangements by several composers.


Maria certainly brought the best out of the piano and her slender physique belied the power of her playing!




May saw a return visit by the Jacka Jazz Quintet. Ever popular locally it was great to welcome Mike Hitchings ‘home’. He was on our Committee for many years and he and Jeanne remain members regularly attending the concerts.


The audience, seated in ‘café style’, thoroughly enjoyed the evening’s selection of music lead by Mike in his usual inimitable style.



April featured the third visit of firm favourites, Piatti String Quartet. Widely acclaimed as a leading Quartet of their generation the audience was rewarded with an exciting and virtuoso performance. Earlier pupils at two local schools were thrilled with scintillating Workshops.


Music of the classical era predominated, opening with a Hayden Quartet ‘The Bird’, written in 1781, one of 68 String Quartets he composed. He is noted as the ‘Father of the String Quartet’ and lauded as principal developer of the classical style composing 104 Symphonies and a phenomenal number of further works including Chamber Music for varying ensembles, Piano Sonatas, Operas, Masses and Oratorios!

Austrian born in 1732 into a humble background Haydn’s early life was tough. In 1761 he was retained by the wealthy and influential Esterházy family, first as assistant conductor, then in 1766 as musical director. He remained in their service until his death in 1809.

During the 1760s Haydn’s fame began to spread throughout Europe. He frequently visited Vienna in the prince’s retinue, and a close friendship developed with Mozart.

In 1790 on the way via Germany to the first of his two London interludes he met the young Beethoven. Recognising his enormous potential a move to Vienna was arranged to receive instruction from Haydn.

Beethoven was a crucial figure during the transition between the Classical and Romantic eras and one of the most famous and influential of all composers. After the interval the concert was devoted to the remarkable Beethoven String Quartet Opus 130 written in 1825 when he was deaf and nearing death (in 1827). The original challenging last movement was misunderstood by critics being fiendishly difficult to play and an epic in its ‘tormented’ content. He wrote another more traditional finale, and the original – Grosse Fuge - was later published separately as Opus 133. It was accepted subsequently as a remarkable contemporary composition of its time – in the words of Stravinsky ‘an absolutely contemporary piece of music that will be contemporary forever’. The Quartet was played on this occasion with the original finale - breathtaking.


A restful composition by Spaniard Turina in 1925 – The Bullfighters Prayer – was also included in the programme.


March concert featured the highly rated Piano 4 Hands. The combined talents of Joseph Tong and Waka Hasegawa certainly tested our piano! This duo first visited us in 2006 impressing their skills and empathy. They then had been playing together for 4 years and were already hailed as a leading piano duo. Now 11 years later they have consolidated their position in the top echelon.


Early compositions in the main were written for ‘drawing room’ recitals in the large dwellings of rich patrons. Dedicated compositions for four hands are not plentiful with arrangements often featuring from works written with other instruments in mind. On this occasion all the pieces were written for 4 hands, and included five well known composers from the Classical and Romantic periods.


Mozart and Schubert were icons of the Classical period both sadly dying in their early 30’s. Compositions by both featured in the first half of the programme and set the scene demonstrating the enormous skills and interweaving of hands required for this special combination of performance.


Following the interval 6 ‘Pictures from the East’ by Schumann featured. Schumann had been assured of a great career as a virtuoso pianist but a hand injury prevented this maturing causing him to concentrate on composing. His career spanned into the early Romantic period and amongst his many compositions he produced memorable and lyrical pieces for the piano.


Proceeding with the Romantic period two pieces composed by Brahms were played – his Homage to Schumann followed by four expressive and spectacular Hungarian Dances.


As an encore En Bateau from Impressionist Debussy’s Petit Suite for 4 hands – was a calming and sensitive influence after the excitement of the preceding Dances!


February featured a return visit of local multi skilled artist Paul Drayton. His interesting talks and musical illustrations are ever popular – a chance to enjoy a blend of educational commentary with virtuoso piano playing. This time his theme was “Singing with Hammers – a Brief History of the Piano”.


In the Renaissance and Baroque periods, the harpsichord and clavichord were representative of the two major types of keyboard instruments requiring vibrating strings to produce sound. One major difference existed: the harpsichord plucked the string, producing a rich tone but fixed volume, whereas the clavichord ‘hammered’ the strings, offering more dynamic control from the performer but with less overall tone. Circa 1700 these two varied styles were combined by a harpsichord builder in Italy, Bartolomeo Cristofori, who began to experiment with a keyboard mechanism that would strike the strings with leather covered hammers which were able to move away even if the key was still depressed, thus allowing the strings to vibrate for a longer period. This single change was a remarkable achievement creating a new musical instrument known as the pianoforte from which the modern piano developed progressively.


Changes since the Cristofori ‘invention’ include the typical smaller keyboards of Elizabethan instruments with circa 40 keys increasing to the present usual standard of 88. Hammers are covered with felt. Pedals have been introduced. Frames are strengthened using metal instead of wood to accommodate the much greater string tensions required for the sound to fill large concert halls.


Late 18th/early 19th century French instrument maker Erard was a major influence (both piano and harp) virtually all of whose innovations are retained in modern piano design. John Broadwood started work in 1761. Other famous brands include Bosendorfer (1825) and Steinway 1828. A top of the range Steinway can now cost £180,000! Bechstein and Bluthner both date from 1853


The range of music illustrations played by Paul were thoroughly enjoyed and included some incredibly fast pieces displaying the highest skills of performance.