Born in New York City to an artistic family, Jessie Montgomery began learning violin at a young age and progressed to a degree in violin performance at the prestigious Juilliard School. She is now a multi award-winning composer, violinist and educator who describes herself as 'an acute interpreter of 21st-century American sound and experience'. Montgomery is also heavily involved with creating opportunities for young musicians and as composer-in-residence to Chicago Symphony Orchestra until 2024 she launched an initiative supporting high school students in composition. This rhapsody is one of a set of six. Each is dedicated to a contemporary violinist (this one is Michi Wiancko) and inspired by a historical composer (Bartók).

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Glinka is regarded as the true father of Russian music. He was the first Russian composer to gain worldwide recognition and in doing so opened up possibilities for a whole generation of younger composers such as Rimsky-Korsakov, Mussorgsky and even the great Tchaikovsky. From a wealthy background and hopelessly spoilt as a child, Glinka spent much of his life travelling and socialising. His adventures and studies abroad then fed into his compositions. These variations were written in 1822 for piano. The music of Mozart was one of the first profound influences on Glinka and the format of taking a theme and making different variations (or versions) of it was one of the ways Glinka perfected his craft.

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Award-winning French accordionist Franck Angelis has helped to modernise and elevate his instrument by writing virtuosic, expressive and modern pieces for it. He is now highly sought-after as performer, composer and competition judge. This Fantasie uses the melody from Chiquilín de Bachín by Astor Piazzolla. It is one of Piazzolla’s more melancholic works and was inspired by a young boy called Pablo who Piazzolla watched selling flowers and trinkets to the patrons of his favourite restaurant. The title means ‘Bachin boy’ – Bachin being the name of the restaurant. Angelis’ piece begins sad and sorrowful before turning into an epic piece of musical storytelling.

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Ernst Sachse was a German trombonist and composer who worked with Liszt, Hummel and Wagner. Despite dating back to the 15th century, the trombone took quite a long time to take its place within the symphony orchestra. Until the mid-19th century it was often just regarded as a ‘special effect’ instrument used for scary moments in opera or reserved for outdoor events. Ernst Sachse was alive at exactly the same time as the instrument became popular. As well as performing principal trombone in many orchestral premieres, he wrote and performed several concertos for trombone and bass trombone that are still a central part of any trombonist’s repertoire.

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Bottesini is often described as the Paganini of the double bass. He began his studies as a violinist and switched (apparently achieving professional standard within weeks) when a double bass scholarship came available at his local conservatoire. He was great friends with Verdi and he frequently conducted his operas, jumping on-stage during the interval to play self-composed bass fantasies to entertain the audience. This piece was originally written in 1844 for two basses and orchestra and was premiered by Bottesini, who at that time was principal bass at the Teatro San Bendetto orchestra. The other part was played by his rival, principal bass at the Teatro La Fenice. Shortly afterwards he created the chamber arrangement we will hear today and it became his standard showpiece – he played it around the world with many famous violinists and to great acclaim.

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Thank you for joining us for this Friday Lunchtime Concert.

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