Venue Great Hall
Running time 60 minutes
Ticket packages available:
FULL DAY PASS: book all 7 concerts for £50
FLEXIBLE PASS: any 4 concerts for £35
DAY PASS: both concerts on one day £20
Individual lunchtime concerts: £10 | £8 Concessions
Individual early evening concerts: £15 | £13 Concessions
Students and accompanied children under 18 are free
Next date 19th September 12:00 pm
Book online below
About this event
Faure: La Bonne Chanson op 61
Ravel: Quartet in F
La Bonne Chanson (the good song), Op. 61, by Gabriel Fauré, is a song cycle of nine mélodies for voice and piano. He composed it during 1892–94 and four years later created the version for voice, piano and string quintet that we are hearing today. The cycle is based on nine of the poems from the collection of the same name by Paul Verlaine.
Much of the cycle was composed in the summers of 1892 and 1893 while Fauré was the guest of the banker Sigismond Bardac and his wife, the soprano Emma Bardac. Fauré was in love with her (although she later married Claude Debussy). He wrote later that the cycle was his most spontaneous creation, with Bardac singing the newly composed material for him each day.
The poems are:
Une sainte en son aureole (A saint in her halo)
Puisque l’aube grandit (Since dawn is growing)
La lune blanche luit dans les bois (The white moon glows in the woods)
J’allais par des chemins perfidies (I was going by treacherous ways)
J’ai presque peur, en verité (In truth, I’m almost scared)
Avant que tu ne t’en ailles (Before you go)
Donc, ce sera par un clair jour d’été (So it will be, on a clear summer day)
N’est-ce pas? (Is it not?)
L’hiver a cessé (Winter has ended)
Linking directly to La Bonne Chanson, Fauré was Ravel’s teacher to whom his String Quartet in F was dedicated in 1903 when he wrote it at the age of 28. It is modelled in structure on Debussy’s String Quartet written 10 years earlier and it is known that Debussy admired Ravel’s work, whilst Faure was rather less enthusiastic. Ravel was becoming outstanding French composer of his generation, as so often not accepted by the establishment, but ploughing his own creative path. In the quartet he followed a direction he described as opposite to that of Debussy’s symbolism, abandoning the vagueness and formlessness of the early French impressionists in favour of a return to classic standards.
The quartet has four movements
Allegro moderato – très doux
Assez vif – très rythmé
Vif et agité
The Callino Quartet, back in Dartington for their fourth annual Autumn chamber music festival, is widely considered to be one of the finest young ensembles to have emerged in Europe in recent years. They made their professional debut at the West Cork Chamber Music Festival in 1999 since when then they have impressed audiences and critics both at home and abroad with their fresh and insightful performances.
Based now in London, the Quartet has won several international prizes for their concerts and recordings. Their performances have been variously described in the press as “warm, expressive and risky” (Classics Online) and “tender, polished and dramatic” (Irish Times).
Tom Poster is one of the UK’s most outstanding young musicians whose skills and passions extend well beyond the conventional role of the concert pianist. He has been described as “a marvel, [who] can play anything in any style” (The Herald), “mercurially brilliant” (The Strad), and as having “a beautiful tone that you can sink into like a pile of cushions” (BBC Music).
Sasha Calin graduated with First Class Honours from the Royal Academy of Music and continued her studies in Leipzig with Christian Wetzel where she played with the Leipzig Gewandhaus orchestra. She went on to play regularly with Welsh National Opera and the London Symphony Orchestra and now plays first oboe with the Mozarteum Orchestra in Salzburg, Austria.
American-Dutch soprano Katharine Dain brings insatiable musical curiosity and expressive force to performances on both sides of the Atlantic. She sings music of many centuries and genres in both intimate and grand venues; recently she has become particularly known for assured, deeply-felt performances of contemporary scores and of the Germanic lyric repertoire from Mozart to Strauss.
Thursday 19th September
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