Welcome to GeoffreyDancer.com
The Geoffrey Dancer Memorial Fund
The fund has been set up by Geoff's family with Emanuel School, Wandsworth in memory of his musical life. Geoff taught at the school for many years and we hope to raise funds through charitable donations on an annual basis and award the Geoffrey Dancer Prize to a young talented pianist each year.
The first Geoffrey Dancer Music Prize will be awarded to a very talented young female pianist at Emanuel School who is currently in year 11. She has already won the overall prize in the school's instrumental competition and achieved Grade 8 piano, Grade 4 organ, Grade 7 violin and singing grade 8. A worthy recipient of the award for 2009-2010.
With current funds we will be able to send the winner on a music summer school at Dartington Hall and afford similar prizes for many years to come.
Sincere thanks to everyone who has made a donation to the fund so far."
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If you wish to make a donation you may do so in two ways:
On Line: Go to www.emanuel.org.uk, follow the links to 'Support Us' and on the 'Donate Now' form select 'Geoffrey Dancer Prize' in the pop up menu in 'Additional Details'. Debit and Credit payment are accepted. Gift Aid is automatically claimed if you declare you are a taxpayer.
By Cheque: Please make your cheque payable to Emanuel School and send to Sarah Fisher at Emanuel School, Battersea Rise, London SW11 1HS.
Gift Aid: If you are a tax payer the school can reclaim tax on your gift, therefore in your covering letter, please write that you wish your gift to be donated to the Geoffrey Dancer Prize. Use the words: 'I declare that I am a UK taxpayer and I wish the school to treat, as Gift Aid, all my contributions to the Emanuel School Fund held by United Westminster Schools Charitable Foundation, charity No. 309267.'
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Following Geoff's death in December 2008, his business interests, and work in progress, have been passed to:
Derek Love
Piano Workshop
46b Albert Road North
Reigate
Surrey RH2 9EL
Tel 01737 242174
Website www.pianoworkshop.co.uk
Email info@pianoworkshop.co.uk
Please contact Derek with any enquiries you might have.
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This webpage is a repository of photos, videos, music and reminiscences of Geoff. The copy from Geoff's business website is here, which explains his approach to pianos and their restoration.
If you would like something posted on this page, do please send it to us by email.
30th January 2009
Concert 15th November 2001
An example of Geoff’s programme notes. Always revealing of his approach to his playing and repertoire on more than one level, though Geoff was generally dismissive of them.
Frederic Chopin (1810 –1849)Prelude in C sharp minor op.45
Nocturne in B major op.62
Mazurka in B minor op.33 no.4
Mazurka in C sharp minor op.40 no.4
Mazurka in B flat major op.6 no.1
Fantasie in F minor op.49
The Prelude, written separately from the more celebrated collection of 24, was dedicated to Princess Tchernischov, daughter of the Russian Minister of War, and a pupil of Chopin. Hauntingly expressive, this work smoothly demonstrates that key aspect of Chopin’s art - chameleon like in effect, and yet seemingly natural – of juxtaposed harmonic shadings of a refinement unheard until now. The Nocturne is a perfect example of what Charles Rosen has called ‘a private meditation’ – wonderful mature example of the composer’s idiosyncratic free melodic style. Bel Canto inspired, the classical lines imbued with a lurking Morbidezza – a trait which gave trouble to many of his contemporaries. The return of the theme is uniquely bathed in trills before taking a calm leave. The Mazurkas are highly artificial creations of the most varying kind – cheerful or melancholic, introverted or irascible, impressive in their complexity of expression or captivating in their simplicity. These creative experiments have little to do with the historical Polish country dance from the Mazovia region although the B flat major is closest to the recognisable dotted rhythm reminiscent of the ballet class. This particular Mazurka nevertheless displays an episode where ‘folk’ elements based on Eastern scales add a somewhat exotic touch. The opening phrase of the B minor appears no less than ten times – a challenge for the player – and creates an almost obsessive bleakness punctuated with angry outbursts of recalled dotted mazurka rhythm resolving finally into a melodic release of intense poignancy after which a joyous working of the dotted rhythm is recalled. All ends bleakly however. The mazurka rhythm is, in the opening of op. 30, in mopingly alluded to and an atmosphere of intense nostalgia and longing for Polish culture pervades the whole Mazurka. The Fantaisie was written in 1841 whilst at George Sand’s estate at Nohant. The work opens with a slow march-like theme of serene gravity that never returns, but prefaces a whole sequence of ideas. The main body of the work is interrupted by a reflective central chorale-like episode in B major. This is alluded to triumphantly in the closing bars of the work.
Franz Schubert (1792 – 1828)
Sonata in D major D.850 (1825)
Allegro - Con moto - Scherzo & Trio:allegro vivace - Rondo: allegro moderato
Sonata first movement forms and constructions for Schubert were created with the formidable legacy of Beethoven (still alive and living in Vienna) ever present in his mind. As a gesture towards his mentor, Schubert takes the breezy opening idea through wrongly related keys within the space of 15 bars flinging us back to base for a more extended passage leading to the second theme – happy-go-lucky but soon skidding to a stop – a stuck chord searching for a way out. Exit is found, the second theme re-instated and the first half ends confidently, but arriving on the wrong chord. A passage ensues – a sort of ‘call to arms’ – and Schubert proceeds to tighten the repetition of the material. The recap is reached and the opening argument is repeated, ending in a coda at faster pace, breathlessly racing to the end. The lengthy second movement is based on the opening male chorus–like theme which takes many directions juxtaposed with a more poignant horn-like theme, again taking many directions. A blatant heralding of a recap of the first idea ushers in the idea itself decorated from above with one of the most discreet figurings in all of Schubert. The Scherzo is a robust German dance, confident and cocky, with lighter waltz-like passages bowing to the Trio – seemingly calm but never far from anguish. The Scherzo returns and the waltz idea trips into oblivion.
The final movement begins above opening chords – deceptively naïve in character or knowingly resigned? Semiquaver movement infiltrates evermore and passages of Beethoven-like writing ensue. The theme returns varied and is followed by a clearly gemutlich slower section, lyrical in character – repeated chords supporting the melody on top. Back comes our theme again but this time subsumed by constantly running semiquavers, quietly joyous, running out of steam to the very end where an empty canvas takes our leave.
