Conversation Piece
Composer’s Notes
Conversation Piece was adapted by the English author and critic, Caryl Brahms, from a short curtain-raiser by the French dramatist, Foydeau. It was written for an English chamber ensemble in 1974.
Henriette, a young widow, and her debutante sister are preparing for a ball. Each has a secret lover whom she is eagerly awaiting. Unfortunately, it turns out that the same young man is courting both of them. At first they are angry, then disconsolate; but the strains of a waltz from the ball-room soon raise their spirits, and Henriette makes a discovery which convinces her that their hopes for romance may not be thwarted after all.
John Addison
Derived from a work of Feydeau, Conversation Piece concerns two sisters in confiding mood before a party. Dora is a debutante; Henriette a widow, enjoying the fruits of experience and the material benefits of marriage, without its encumbrances.
As they talk, each admits to a lover. But delight gives way to despair when, after recounting the virtues of their respective men, they learn that they are one and the same person.
Thus betrayed, their grief is further compounded when, in the social column of a newspaper, they read the announcement of his engagement to yet another girl. Henriette, however, finds reassurance in the notice, for it mentions the amount of the dowry which he is to receive. Clearly the marriage is to be one of policy rather than of passion.
Henriette advises her inexperienced sister of the significance of the situation, for fin-de-siècle Paris would not be unduly censorious in the face of their future flirt-energy in the time to come.
Original Score for “Conversation Piece”
Original Programme for “Conversation Piece”
Original Programme for “Conversation Piece” in June 1958
Trio for Flute, Oboe and Piano
Press Notices
“A work which impresses immediately by reason of the brilliance and fluency of the writing, and its perfect identification with the medium. There are three movements, Allegro, Lento con moto and Scherzo; the whole taking thirteen minutes, approximately in performance.” - Musical Opinion, London, March 1952.
“John Addison’s charming and vivacious work, lasting thirteen minutes, can be confidently recommended. Great fluency and continuity of thought are combined with an harmonic and rhythmic piquancy well suited to the light-weight instrumental combination. The general similarity of flute and oboe parts - treated as a group contrasted with the piano - precludes the exploitation of individual characteristics of either instrument, apart from the general lightness of effect and the obvious tonal contrasts, but full scope is given for the composer’s very expert manipulation of the musical material in true chamber style. Skilful playing is required.” - Music and Letters, London, September 1952
Original Programme for “Trio for Flute, Oboe and Piano”
Wind Trio Nº2 for Oboe, Clarinet & Bassoon
Original Score for “Wind Trio Nº2 for Oboe, Clarinet & Bassoon”
Trio for Oboe, Cello and Harpsichord
Original score for “Trio For Oboe, Cello and Harpsichord”
Partita for Strings
The first performance of this work was on April 30, 1961 by the Hirsch Chamber Players, a string orchestra conducted by Leonard Hirsch.
Press Notices
“Mr. Addison’s work is a quite serious essay in string writing and at times brilliant… His music is often witty and always effective and forms a welcome contrast to the faded charms of Tchaikovsky.” - Strad, London, June 1961
Original Score for “Partita for Strings”
Celebrations for Oboe, Cor Anglais, Bassoon and Harpsichord
Original Score for “Celebrations for Oboe, Cor Anglais, Bassoon and Harpsichord”
Divertimento Op.9 for Brass Quartet
“John Addison wrote his Divertimento for me in 1951. We studied together at the Royal College of Music where he won a composition prize with his trumpet concerto. This encouraged me to ask him for a Brass Quartet. The resulting work, consisting of five sharply contrasting miniatures, has remained a favorite in our repertoire ever since.” - Philip Jones, 1975
Original programme for “Divertimento for Brass Quartet Opus 9”
Serenade for Wind Quintet and Harp
“Serenade for Wind Quintet and Harp” was commissioned by the BBC and first performed at the Cheltenham Festival on 15 July 1957, by the Virtuoso Chamber Ensemble. The Musical Times described it as “a most attractive serenade in six movements, none of which overstayed its welcome, but each of which had individuality and charm”.
This work is in six fairly short movements, since the composer felt that lengthier movements would have been less appropriate to this particular combination.
Invention, leading to
Intermezzo
Toccata
Elegy
Passacaglia al Minuetto
Finale
Nos. 1, 3 and 6 are thematically connected: No. 4 is scored for Clarinet, Bassoon, Horn, and Harp: No. 5 for Oboe, Flute, Horn and Harp. throughout John Addison has attempted to write music that observes very specifically the characteristics and sonorities which the instruments in question, and only these instruments, can provide. The work is dedicated to his father.
Press Notices
“John’s Addison “Serenade for Wind Quintet and Harp” revealed a brevity and wit so characteristic of the British mind which was notably lacking in much of the preceding music. This prolific film composer presented a distinct personality in this music, and the lovely “Elegy” followed by a “pasacaglia al menuetto” combined the two forms with originality and flowed into an invigorating finale. Nancy Allen and the Boehm Wind Quintet gave it a rousing performance.” - Audrey LeLash
“John Addison’s “Serenade for Wind Quintet and Harp” provided an end-concert soufflé at the London Woodwind Quintet.” - Richard Maylan, The Times London. January 1973
“A most attractive serenade in six movements, none of which overstayed its welcome, but each of which had individuality and charm.” - The Musical times 1958
Inventions for Oboe and Piano
It all begins with an idea.
Press Notices
“I recently received a copy of “Inventions and Oboe”along with a nice letter from the composer, John Addison, calling my attention to the fact that there are few if any copies currently available from the publisher, Oxford University Press. A few years ago two or three movements were published separately when used as examination pieces by the Associated Board of Royal Schools of Music in England and Scotland. I was at that time fortunate to secure “Prologue and Rhapsody” and have played them several times. But it seems that these are no longer in print. The “Inventions” consist of five movements: Prologue, Rhapsody, caprice, Waltz and Finale with Epilogue. I find the writing crisp, straight-forward and melodically beautiful (especially the slow waltz movement). They are still as fresh sounding today as when they were performed in 1958. The range is rather conservative, according to today’s demand, exceeding high D on only one occasion for a high E-flat. Articulation is challenging and tempos brisk (especially Caprice and Finale). The entire set seem to fit the oboe very well indeed. I feel they are interesting and challenging enough to be performed on public recitals along with the best in the repertoire. I would hope that sufficient interest could be shown by the membership such that the publisher might entertain the thought of reprinting these fine pieces. It would be a shame for future players to not have access to them.” - The Double Reed by James Lakin, December 1980
“We see all too few new works from the pen of this composer, probably because film producers keep him so busy. the Inventions are characterized by freshness and directness of idea, and I am delighted to see that although the idiom is “modern”, Mr. Addison does not despise common chords or attractive phrases.” - Musical Opinion, London, May 1959
Sextet for Wood Wind
Original Score for “Sextet for Wood Wind”
Press Notices
“The six movements of the new Serenade confirm his reputation as a specialist in wind-writing and a stylist whose patent French sympathies neither obscure nor prejudice his own musical personality.
An affinity with Ravel was certainly manifest in the slow episode of the finale and the combination of harp and wind inevitably recalled the Introduction and Allegro which has already appeared in the programme. But Addisons’s grouping of his chosen sonorities, his characteristic figuration and rhythms are entirely his own.
He diversified the work by varying the weight and texture from movement to movement, giving some a predominantly tutti character and making others virtually solo quartets.
The highly skilled treatment of the individual instruments and a thematic connection between the movements make this work, despite the unpretentious character of its material, a rare example of serious chamber music which is also immediately accessible to the ordinary listener.” - The Daily Telegraph, London
Programme for first performance of “Sextet for Wood Wind”, Opus 3
John Addison’s Original Score for Flute from “Sextet for Wood Wind”
Announcement of “Sextet for Wood Wind”
Brochure from the International Musikfest of Frankfurt
Trio for Oboe, Clarinet and Bassoon
It all begins with an idea.
Programme for a performance of Trio for Oboe, Clarinet and Bassoon, April 17th, 1950
