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The New Romantics

Saturday 1 February, 7.30pm
High Storrs School, Sheffield

Fanny Hensel - Overture in C
Louise Farrenc – Symphony in G minor

-- INTERVAL --

Robert Schumann – Symphony no.3 "Rhenish"

Jon Malaxetxebarria – Conductor

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Next concert:

Dance!

Saturday 22 March, 7.30pm
Victoria Hall, Sheffield

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Overture in C

Fanny Hensel (née Mendelssohn)

Fanny Hensel’s Overture in C Major is her only purely orchestral work, showcasing her exceptional skill as a composer. In just under ten minutes, Hensel takes the listener on a journey through virtuosic, dramatic writing and dazzling orchestral textures.


The piece begins with an andante tempo, gently leading us into a world of rich orchestral colours and evolving harmonic landscapes. This calm introduction gives way to an allegro di molto section, bursting with life and energy as the music surges forward with fiery flourishes. Hensel explores the full range of the orchestra, from soaring, lyrical melodies in the higher registers to dramatic surges rising from the depths of the lower instruments. The balance of lyricism and vigour is striking, as the music sweeps through both familiar and surprising territories.


Hensel’s expert use of dynamic and harmonic contrasts elevates the overture beyond a standard Romantic work, imbuing it with depth and emotional resonance as well as, frankly, a lot of fun. The piece builds to a thrilling conclusion with the final tempo marking, più presto e sempre accelerando ("faster and always accelerating"), driving the music to a breathless, exhilarating finish.


Written in the heart of the Romantic era, this overture reflects the spirit of its time while demonstrating Hensel’s remarkable mastery of her craft. Though her music is still gaining the recognition it deserves, the Overture in C Major stands as a majestic gem in the orchestral repertoire—a work that demands its rightful place among the great compositions of the period.


Notes by Benjamin Jackson

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Symphony no. 3 in G minor

Louise Farrenc

1. Adagio – Allegro 
2. Adagio Cantabile
3. Scherzo. Vivace
4. Finale. Allegro

Louise Farrenc (1804–1875) was a remarkable composer, pianist, and teacher whose talents earned her widespread respect in her lifetime, though her work was often overshadowed by her male contemporaries. Born in Paris, she trained at the prestigious Paris Conservatoire, later becoming its first female professor of piano—a position she held for over 30 years. Her compositions include chamber music, piano works, and three symphonies, all characterized by their craftsmanship, expressive power, and originality. Farrenc’s Symphony No. 3 in G minor, completed in 1847, stands as her symphonic masterpiece and highlights her skill in handling the large-scale form.

The Symphony No. 3 is an ambitious and dynamic work, opening (after a very short introduction) with a gripping Allegro, immediately commanding attention with its stormy energy and memorable themes. Farrenc expertly balances tension and release, crafting a movement filled with contrasts and orchestral colour.

The second movement, Adagio cantabile, is the emotional heart of the symphony. Its soaring melodies, delicate orchestration, and serene atmosphere invite the listener into a space of quiet reflection in an almost Beethovenian manner. This movement showcases Farrenc’s deep understanding of how to evoke emotion through music, revealing her gift for crafting memorable, song-like lines.

The Scherzo, marked Vivace, is a playful and rhythmically vibrant third movement, reminiscent of the scherzo’s of Farrenc’s contemporary Felix Mendelssohn. Its lively character, driving rhythms, and interplay between sections of the orchestra create a sense of perpetual motion, providing a delightful contrast to the preceding Adagio. The trio section offers a more relaxed, lyrical interlude showcasing the woodwind accompanied by pizzicato violins, before the scherzo returns.

Farrenc concludes her symphony with a spirited Allegro, a movement full of energy and triumphant resolve. The themes are bold and dynamic, and the music builds to an exhilarating finale, leaving listeners with a sense of joy and vitality. This closing movement reinforces Farrenc’s mastery of orchestral writing, with its compelling structure and dramatic flair.

Although Louise Farrenc’s music faded from public awareness after her death, her third symphony has enjoyed a recent resurgence, captivating modern audiences with its brilliance and emotional depth. This symphony is a testament to her extraordinary talent and stands as one of the great symphonic works of the 19th century, deserving its rightful place in the concert hall.

Notes by Jeremy Dawson
 

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Symphony no.3 "Rhenish" 

Robert Schunmann

1. Lebhaft

2. Scherzo: Sehr mäßig
3. Nicht schnell
4. Feierlich
5. Lebhaft

In September 1850, Robert Schumann moved with his wife Clara and their seven children to Düsseldorf, where he assumed the role of Music Director. This marked a fresh start after previous struggles, including a psychological breakdown during their 1845 relocation to Dresden. Initially, Schumann was enthusiastic about life in Düsseldorf, finding the Rhinelanders outgoing and prosperous compared to the reserved Saxons of his homeland. However, the Schumanns’ urban apartment, with its relentless noise, quickly became a source of stress for the composer.

Shortly after their arrival, the family visited Cologne, where Schumann was profoundly moved by the newly completed cathedral. He memorialized its grandeur in the fourth movement of his “Rhenish” Symphony, composed just weeks later. Schumann began the Symphony in November 1850, completing it in a mere five weeks. The work reflects his euphoric response to the Rhineland, combining formal rigor with rhythmic and melodic vitality.

The Symphony’s unusual five-movement structure echoes Beethoven’s “Pastoral.” Its opening movement bursts with majestic energy, featuring sweeping horn lines and robust orchestral interplay. The second movement, originally titled “Morning on the Rhine,” offers a serene scherzo, while the third provides a lyrical intermezzo, showcasing Schumann’s skill as a songwriter. The fourth movement, inspired by Cologne Cathedral, conveys solemn grandeur through rich brass and wind textures, culminating in a majestic fanfare. The lively finale revisits the energy of the opening, with crisp rhythms and light articulation driving the Symphony to an exhilarating close.

The Symphony premiered in Düsseldorf on February 6, 1851, to great acclaim, with a repeat performance the following month. Despite this triumph, Schumann struggled in his new role. The relaxed, convivial atmosphere of Düsseldorf’s musical life clashed with his idealism, and the small, unreliable orchestra added to his frustrations. Clara also faced challenges, including disputes over unpaid fees for her performances. Under mounting pressure, Schumann’s physical and mental health deteriorated. In 1854, overwhelmed by hallucinations and delusions, he attempted suicide by jumping into the Rhine and spent his final years in an asylum, passing away in 1856.

An abbreviated form of notes by John Mangum, courtesy of the Los Angeles Philharmonic Orchestra.

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Jon Malaxetxebarria

Conductor

Born in Gernika in the Basque Country of Spain, Jon Malax conducts regularly in both Spain and the United Kingdom. In Spain he has conducted many ensembles such as the Orquesta Radio Televisión Española, the Basque Country Symphony Orchestra, Bilbao Symphony Orchestra, Navarra Symphony Orchestra, Oviedo Filarmonía, Orquesta Sinfónica de Extremadura, the Orfeón Pamplonés, Bilbao Municipal Band and the Malaga Philharmonic. Jon has been the assistant conductor at the two main opera houses in Spain: Teatro Real (Madrid) and Liceu (Barcelona).

 

From 2016-2021 he was Music Director of the Basque Youth Orchestra. He is currently Head of Conducting studies at Musikene Music Conservatory in San Sebastian.


In the UK he has conducted Manchester Camerata, Liverpool Mozart Orchestra, Crosby Symphony Orchestra, Sheffield Philharmonic Orchestra, North Staffordshire Symphony Orchestra and the Derbyshire City & County Youth Orchestra amongst others. He was Music Director of Solihull Symphony
Orchestra from 2013-2023.


As a keen advocate of new music, Jon performed the world premiere of Simon Dobson’s Trombone Concerto with Peter Moore and the RNCM Brass Band, broadcast on BBC Radio 2.


Following his studies with Dale Clevenger at Roosevelt University in Chicago, Jon moved to Manchester in 2010 to study orchestral conducting at the Royal Northern College of Music (RNCM). Upon completion of his studies he was awarded the Mortimer-Furber Prize in Conducting, and in 2011 he was appointed as a conductor of the Junior RNCM. Jon has been Senior Lecturer in Conducting at Leeds Conservatoire since 2014. As a guest conducting tutor, Jon has taught at the RAF, RNCM (both undergraduate courses and international short conducting courses) and at the University of Manchester. 

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Hallam Sinfonia

 

Violin 1

Hannah Thompson-Smith, Paul Adam, Katy Silverman, John Cooper, Mary Dougherty, Holly Chambers, Deborah Blewitt, Richard Allen, Anton Nikolaev, David Milsom

Violin 2

Kate Fehler, Catherine Pugh, Catherine Bowman, Jack Czauderna, Rachael Evans, Katie Palmer, Jennifer Hogg, Holly Ormrod-Stebbings

Viola

Helen Mather, Kiri Smith, Sue Adam, Charlotte Malikson, Leo Smith

Cello

Benjamin Jackson, Nat Blakesley, Jeremy Dawson, Matthew Moore, Sue Dumpleton, Joy Paul, Charlie Hardwick, Dominic Smith

Bass

David Shearn, Wendy Willis, Tom Davies

Flute

Judith Ennis, Kathryn Hathaway

Oboes

Vicky Holmes, Helen Jenkinson

Clarinet

Karen Burland-Clark, Catherine Murray

Bassoon

Dawn Allenby, David Gillot

Horns

Rachel Wilkes, Rachel Melland, Frank Edenborough, Jo Towler-Wareham, Gill Hillier

Trumpets

Matthew Redfearn, George Breakwell

Trombones

Ken Ng, Nick Hart, Matt Doubleday

Percussion

Mick Godber

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