Sat 8 Jun, Jacqueline du Pré Music Building
The venue plays host to a wide range of concerts with a repertoire ranging from medieval music to avant garde jazz. The buildings versatility in terms of adjustable acoustic and seating configurations has enabled it to become the home for numerous local groups who have made it their first choice for regular performances. The building now also promote their own concert series, under the patronage of cellist Steven Isserlis, which provides both new and established artists from Britain and abroad.
Facilities: Toilets, Bar, Rehearsal rooms
Pay and display parking may be available in St Clements public car park, and there are a limited number of spaces sometimes available in Magdalen College School car park directly opposite the main entrance to St Hilda'ss. Disabled parking is available - please call to reserve a space.
Walking: approx. 15 mins
By car: approx. 10 mins
By Bus: approx. 20 mins, Gloucester Green Bus Station (Bay 3), X90 to London every 15 mins, St Clements Street (Stop A).
St Aldates (Stop G4), BROOKESbus U5X to JR every 4 mins, The Plain Stop
Westgate (Stop E1), 3 or 3A to Rose Hill, The Plain Stop
St Hilda's College, Cowley Place,
Telephone: 01865 286 660
Part of 'Alexander Goehr & Martyn Harry: A Mini-Festival'
1:15pm Lunchtime Recital with Jonathan Powell
Goehr: Nonomiya Op. 27 (1973)
Harry: Bletchley Bedford Sandy (2014-19)
Goehr: …In Real Time Op. 50 (1988)
These two concerts interleave piano works and string quartets by one of Britain’s greatest living composers, Alexander Goehr, with the music of one of his former students, Martyn Harry, who is professor of composition at Oxford University’s Faculty of Music and the lecturer of music here at St Hilda’s College. The second concert juxtaposes two new works composed for the Villiers Quartet, including Goehr’s Fifth Quartet, which was commissioned by the Swaledale Festival.
Our festival surveys Goehr’s music from different parts of his career, tracing his journey from one of the UK’s leading representatives of the avant-garde to a composer whose work suggests a strong critical engagement with the music of the past. There are rare opportunities to hear live performances of the large-scale piano cycle ‘…In Real Time’, whose sonority and temporal structure is a fascinating development of Messaien’s music, and the Clarinet Quintet, which is based on a mass by Josquin.
Whereas our perception of time is arguably a key concern for Goehr, Martyn Harry’s works employ maps to represent physical space in music, reflecting on ideas taken from landscape studies and social geography. ‘Bletchley Bedford Sandy’ is the second of his largescale cycle of piano pieces, ‘48’, and is dedicated to Alexander Goehr, drawing its inspiration from the names of the nine stations on the now-defunct ‘Varsity Line’ that ran from Oxford to Cambridge before its closure in 1967. Harry’s powerful new ‘Borderline’ for string quartet presents a topological representation of the border between Ireland and Northern Ireland in sound.