| symphony no. 3 eroica |

First Violins

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Louise Watson* (Leader)

Vivien Flynn

Jane Green

Jane Halnan*                

Susan Hibbert*               

Anna Howard*        

Sally Kingsley*

Hannah Knowles          

John List*                  

Richard Milner            

Sarah Milner

Robert Morris*               

Helen Taylor* 

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2nd Violins

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Steph Acaster

Nigel Ball*                  

Marcus Bousfield

Sarah Claxton      

Nicola Dawson*

Elanor Kitchen                                      

Sue Lawrence*            

Rachel McWalter                 

Tanya Pawson*           

Gordon Taylor*          

Rachel Taylor                 

Dorothy Wilson*               

Emily Wilson* 

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Violas

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Joanna Ainsley*            

Ralph Bateman                         

Angela Harrison

Elizabeth Inglis*       

Paul Kerswill

Amanda Kirby*               

Francis Loftus*        

Mary Luker*

Sarah Reece*

Hank de Vries 

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Cellos

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Matthew Allan

Jenny Fortmann*

Nino Grillo

John Hutton

Michael Lindsay*

Sarah McEvoy

Claire Marvell

Margaret Moorhouse*

Julie Parker

Pauline Reibel

Ted Schofield

Judith Spindler*

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Double Bass

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Sarah Bridle                  

Ben McWalter

Rosie Morris*          

Christian Topman*        

Wendy Willis

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Flutes

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Emily Atkinson

Melanie Dvorak

Clare Haskell*

Julie Harris*

Anna Palako

Gail Shuttleworth

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Oboes

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John Hayward*

Rosie Lynch*

Alex Nightingale

Helen Whalley

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Clarinets

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Caz Crosbie

Zoe Harding

Morgan Hollis*

Jonathan Sage*

Lucy Wadsley

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Bassoons

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Neville Barker

Kate Galloway

Deborah Welch*

Simon Whalley*

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Horns

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Oliver Balm*

Elizabeth Dixon

Janette Norris*

Mike Palako*               

Mike Reeder*

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Trumpets

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Andrew Dalby*

Cameron McArthur*

Paul McArthur*

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Timpani

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Tony Norris*

Eddy Sparrow

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Conductor

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John Atkin

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Musical Theatre Band

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Keyboards: John Atkin, Nigel Ball, Gill Boler

Reeds: Morgan Hollis, Jonathan Sage

Trumpet: Cameron McArthur

Trombone: Martin Farmery

Guitars: Paul McArthur

Bass: Christian Topman

Percussion: Andy Jennings

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Beethoven Symphony No3 in Eb (Eroica) op36.

1803 Dedicated to Prince Lobkowitz

 

I. Allegro con brio

 

II. Marcia funebre. Adagio assai

 

III. Scherzo. Allegro vivace

 

IV. Finale. Allegro molto – Poco andante – Presto

 

 

Two of the most famous chords in classical music propel us into this revolutionary and remarkable symphony. At the time of composition (1803), the Eroica symphony was the longest symphony ever written it was probably also the loudest symphony ever written!  It delved into emotions that symphonies had avoided in the past. Simply put, it changed the musical world. So how and why did Beethoven conceive of such a huge work and what is it’s connection to Napolean Bonaparte ?

Beethoven initially intended to dedicate the symphony to Napoleon Bonaparte, his secretary had seen the dedication to Bonaparte at the top of the Manuscript but Beethoven famously became disenchanted when he heard that Napoleon had declared himself as Emperor in 1804 . . . . . whereupon he broke into a rage and exclaimed, "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of Man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!" Beethoven went to the table, seized the top of the title-page, tore it in half and threw it on the floor.  He later titled the work Sinfonia eroica (Heroic symphony) instead.  The subtitle of the published score simply said, “composed to celebrate the remembrance of a great man.”  

Beethoven started to compose the symphony shortly after he wrote the Heiligenstadt Testament, a document in which he reveals deep dismay at his increasing deafness and contemplation of suicide.  At about the same time, Beethoven reportedly declared to his friend Krumpholz that he was contemplating a new compositional direction.  Many have argued that Beethoven’s “heroic” style from the Third Symphony forward was a musical manifestation of his triumph over the personal afflictions laid out in the Testament. 

In the Eroica, Beethoven expanded the symphonic form, altering the expectations of what a four-movement symphony would be in the next two centuries.  Consider the symphonic composers before and after Beethoven: Mozart wrote over 40 symphonies, and Haydn over 100; after Beethoven, most composers typically wrote no more than nine or ten.  Beethoven’s’ expansionist tendencies continued throughout his entire Symphonic Cycle climaxing with his 9th composed 20 years later.

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About John Atkin  

With over 45 years' conducting experience John has Directed more than 160 Orchestral concerts & Theatre Productions ranging from Sondheim to Sibelius.   John’s association with Music making in Yorkshire goes back to the 1950’s when his mother was a regular performing member with “The Amateurs” in York and his most recent highlights have been The Last 5 years, Chitty Chitty Bang Bang, La Traviata, Calendar Girls and The Selby Abbey Proms.  

 

Born and bred in York, John studied Music in Leeds, Harrogate & Bath with his first work being as the Off-Stage Bass Trombone in Puccini’s Turandot at York Theatre Royal.  After graduating, John was based in the Southwest for 9 years and worked for Bath Theatre Royal, Bristol Hippodrome, Bath Society for Young Musicians, The BBC, The National Trust, Bath Spa University and as a soloist with The Amadeus Orchestra in 1992.   

 

Since returning to York, John has worked with many local Theatre companies, Orchestras & other ensembles including in the past year York Musical Theatre Company, RAOS Musical Theatre Company, White Rose Theatre, 1812 Theatre Company, Darlington Operatic, Billingham Operatic, York Stage, York Philharmonic Male Voice Choir, York Music Education, and Be Amazing Arts.      He has previously been Conductor of a number of Ensembles including York light Orchestra, York Opera, PQA, Bristol Light Opera, Keynsham Orchestra and Ebor Brass.   As a Pianist John has worked regularly with Echo42 Big Band as well as The John Miller Big Band, The Michael Da costa Singing Academy and York Philharmonic Male Voice Choir.   He has also worked as accompanist in Concert or Workshop for ENO and OperaNorth Soprano Sarah Redgwick, ALW’s Musical Supervisor John Rigby and Broadway Performers Natalie Weiss and Danielle Steers. 

 

Alongside his performance work John worked for a leading examinations board for 22 years, is a Trustee for The Joseph Rowntree Theatre, a member of York Musical Society and most recently worked as Assistant Musical Director and Consultant in Musical Theatre for SLP College, Leeds.   

Plans for the next 12 months include Beethoven Symphonies No 4, 5 & 6 in The York Beethoven Project, Durufle & Verdi’s Requiem, Avenue Q, Sister Act and Annie.