Aylesbury Lunchtime Music presents

Iridescence Ensemble

23 October 2025

Starts: 12:45pm, Doors: 12:15pm

Duration: 1 hour (approx.)

£7 adults on the door (<18s & carers free)

Iridescence Ensemble

Programme

Heritage Sounds is an exploration of English chamber music from the 20th century to our days. Combining well known pieces and hidden gems of the repertoire, the aim of this project is to explore the dialogues between them and bring the musical English heritage to a wider audience, hence the idea to repeat the same programme in different locations.

  • 1886-1979

    Prelude, Allegro and Pastorale (Clarke)

    i Prelude, ii Allegro, iii Pastorale

    Composed in 1941 while Clarke was in the US, she wrote this of the piece: “The whole thing is very unpretentious: a short unassuming little prelude, an Allegro which I originally thought of calling a Toccata – as it gives both the players plenty of chance to show what they can do… The subject is more or less ‘mirror-writing’ and in the coda the instruments are, in addition, continually crossing one another. There is a long fugato section in the middle of the movement, after a second subject in pizzicato chords on the viola. The whole of the second movement should sound very spirited, and is, I think, quite effectively written for both parts. The third movement Pastorale is rather melancholy and nostalgic, ending in a very subdued way.”

  • 1929-1988

    Fantasy on an American Hymn Tune, Op.70 (Leighton)

    This work was composed during the summer of 1974 and commissioned by Gervase de Peyer, William Pleeth and Peter Wallfisch with funds provided by the Arts Council of Great Britain. The famous and emotive hymn At the River was composed (both words and music) in 1865 by the Rev. Robert Lowry and it plays an important part in Symphony No. 2 Op. 69. It has attracted the attention of a number of composers and is one of the most perfect examples of the union of words and music. The tune revolves for the most part round the mediant, and it is only at the very end on the word “God” that it descends to the tonic. Thus this fantasy begins and ends with the tonic chord (here the chord of C major) and at various other points the music resolves on to the same chord.

  • 1879-1941

    Phantasie Trio in C minor ‘Piano Trio No 1’ (Bridge)

    i Allegro moderato ma con fuoco, ii Andante con molta espressione, iii Allegro scherzoso, iv Andante, v Allegro moderato, vi Con anima

    The significance of Bridge’s continued Cobbett Competition success (his Quartet had won second prize in the 1905 competition) in terms of his stylistic development and the growth of his reputation, should not be underestimated. The 1907 Phantasie for piano trio (his Piano Trio No 1) established him as one of the leading chamber-music composers of the younger generation.

  • Court Studies from ‘The Tempest’ (Adès)

    From the composer: For this series of Court Studies I have extracted six solo numbers for members of the Court of Naples from my and Meredith Oakes’s opera The Tempest and transcribed them freely for four instruments (violin, clarinet, cello and piano). The first three form a sequence in the opera: Antonio: ‘Sir, I saw him in the water/Striking bravely for the land’; Sebastian: ‘Milan, your vanity, your self-promotion/Have brought us to this godforsaken shore’; and the King of Naples: ‘Oh Prince of Naples and Milan/What fish has made its meal on you?’. Ariel’s ventriloquistic interjections are omitted here, so the argument between Antonio and Sebastian is purely human and musical in origin. The next two numbers are presented out of sequence: Antonio: ‘You’ll forgive at no cost/You’ve won I’ve lost’ is this last of the court arias, from near the end of the opera; whereas Gonzalo: ‘Sir, be cheerful/This is remarkable/Please don’t weep/Your Majesty’ is the first, sung when they’ve only just come onto the shore. The final number – The King of Naples: ‘The sea mocks/Our search on land/He’s lost/Whom we strain to find/Vain/He’s gone’) – was composed, coincidentally, in a room on the front at Aldeburgh.

Performers

  • Iridescence Ensemble

    Piano Quartet

    Iridescence Ensemble is a piano quartet consisting of a versatile combination of clarinet, violin/viola, cello and piano. They formed in February 2025 and are passionate about creating new music.
    Read More

Key information for concert goers

When

Every Thursday at 12:45pm (except August & over Christmas). Performances last around 60 minutes. Please enter quietly as there is a noon service in the Lady Chapel.

How much?

Entry is £7 per adult (card or cash), under 18s and carers are free. The price includes a programme. Donations are welcomed to subsidise the larger ensembles.

Where?

Performances are at St Mary’s Church in the heart of Aylesbury Old Town. See directions for further details.

Do I need to book?

No, just turn up. Doors open at 12:15 pm. Make sure you arrive in good time to get a seat.

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