Oldham Golden Anniversary Concert
- 16 Nov 2013, 7:30 p.m.
Oldham Hulme Grammar School, Chamber Road, Oldham OL8 4BX
By car: From the M60: Exit at Junction 22 and join the A62 Manchester Rd (signposted Oldham). Travel for just over a mile and turn right into Chamber Road. Proceed uphill for a further mile, cross Frederick Street (B6192) and the schools' main buildings are immediately on the right.
From the A627(M): Leave the motorway by the slip road signed Oldham at the roundabout take the second exit on to Chadderton Way A627. Remain on the A627 across the next roundabout to the following intersection and leave by the slip road. At the roundabout turn right to join the A62 Manchester Street. Travel for approximately half a mile and turn left into Frederick Street (B6192). Travel for a further half a mile and turn left into Chamber Road. The schools' main buildings are immediately on the right.
Parking is available at the school.
By bus: The school is served by the following bus routes: (pdf timetables linked)
- Richard Waldock
Oldham's 50th anniversary concert also marks the 123rd concert and 329th piece for our cofounder and principal clarinettist, Tom Whittaker.
Just like OSO, our first piece contains legendary and instantly recognisable clarinet work. George Gershwin's breakthrough composition is a fusion of classical and jazz ideas, and is probably the most well-known and popular work by any American composer. We're following it up with Mahler's first symphony. This piece starts with the sounds of nature, works its way through folk songs and tone poems, and ends with massive, triumphant brass: in other words, a little of everything that Mahler was famous for.
David Daniels began playing the piano in his teens, recreating tunes he had heard and teaching himself to play by ear. David started serious piano study at the age of 16, when given a place at Chetham's School of Music in Manchester. At Chetham's, David studied under Nigel Pitceathly - the then Head of Keyboard - a working relationship which is still kept to this day. David now plays concerts across the North West, such as recently opening the Halifax Festival with fellow pianist Ben Smith. David is also a qualified piano tuner and restorer, and works on some of the finest instruments at the North-West's most prestigious venues.
When not tuning or playing pianos, David can usually be found in his garage tinkering with a classic car (another passion of his). Currently, he is in the process of rebuilding a 1965 Volkswagen Beetle.
Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects.
Commissioned by a bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofé several times, including the original 1924 scoring, "theater orchestra" setting published in 1926, and the symphony orchestra scoring published in 1942, though completed earlier. The piece received its premiere in the concert, An Experiment in Modern Music, which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band with Gershwin playing the piano. The editors of the Cambridge Music Handbooks opined thatThe Rhapsody in Blue (1924) established Gershwin's reputation as a serious composer and has since become one of the most popular of all American concert works.
The Symphony No. 1 in D major by Gustav Mahler was mainly composed between late 1887 and March 1888, though it incorporates music Mahler had composed for previous works. It was composed while Mahler was second conductor at the Leipzig Opera, Germany. Although in his letters Mahler almost always referred to the work as a symphony, the first two performances described it as a symphonic poem or tone poem. The work was premièred at the Vigadó Concert Hall, Budapest in 1889, but was not well received. Mahler made some major revisions for the second performance, given at Hamburg in October 1893; further alterations were made in the years prior to the first publication, in late 1898. Some modern performances and recordings give the work the title Titan, despite the fact that Mahler only used this label for two early performances, and never after the work had reached its definitive four-movement form in 1896.