A few months ago we were contacted by the Robin Milford Trust, which organised a festival of music by the composer (I remember playing his Sonatina for Treble Recorder). We've been asked to post the following on our website, which we are glad to do in support of British music generally:
The Robin Milford Trust and Victoria College of Music and Drama
The Milford Trust is proud to announce that, since January of this year, a strong bond and working relationship has developed between the Milford Trust and the Victoria College of Music and Drama (Dr Martin Ellerby, Director), all stemming from the determined promotion of Milford and, indeed, all areas of British Music.
So far, the VCM has arranged the following for the Trust:
To facilitate this work, and the promotion of other lesser-known composers, Stewart Thompson has created the J J Lewis British Composer Archive on the London Music Press Website (www.londonmusicpress.com). Stewart is an authority on Cecil Rootham and has worked extensively in this area.
Work on the J J Lewis British Composer Archive will be on-going and anyone interested in contributing to this fine work should contact Stewart at the Victoria College. Access to the Lewis Archive is through the London Music Press Website, clicking on ‘J H Lewis British Composer Archive’, then ‘Composers’, and scrolling down to the appropriate composer.
All queries regarding Robin Milford should still be addressed to Peter Hunter at email@example.com
Read about this lovely project, and watch a video, on Jessica Duchen's blogspot - The Nutcracker and I is a groundbreaking multimedia performance by pianist Alexandra Dariescu and ballerina Desiree Ballantyne, accompanied by digital animation.
Clitheroe Concerts are presenting the show at The Grand, Clitheroe on Tuesday 17 July, 7.30pm
Jessica says "Alexandra Dariescu's virtual-reality piano recital ballet marvel The Nutcracker and I is off on a world tour soon, taking in China, Romania, Belgium, Germany, Austria (four performances in Vienna's Konzerthaus), Sweden, Australia and the UK (including, among others, the London Piano Festival and the Ryedale Festival). Above, the Trepak, with Alex at the piano and ballerina Amy Drew meeting some rather special friends. Full tour dates here.
Last year Alex decided to record a CD of the complete music - some of the arrangements have been specially commissioned for the project - with a souvenir booklet, targeted at the young audience she hopes will be attracted to experience a piano recital for the first time. But you can't put virtual reality into audio or print...so she needed a text version of the story. I was more than thrilled when she asked me to oblige. The script, recorded by Blue Peter presenter Lindsey Russell, has been very cleverly woven into the music (it works even better than I'd imagined) and the CD was released yesterday on the Signum label. You can get hold of it here."
‘Fower Sovereygnes Reygnes’ - The Music of Thomas Tallis
St Georges Church, Kendal.
Sat 10th March 2018
Levens Choir and Marian Consort
Director: Rory McCleery
I might have stayed at home in the company of Father Brown, had I not been lured out by the combined forces of Levens Choir and the Marian Consort singing the music of Thomas Tallis. And what a rewarding experience it was, complete with its own musicological detective story.
Tallis composed at a time of religious turmoil, during the reigns of Henry 8th, Edward 6th, Mary 1st and Elizabeth 1st. He rolled with the tide, writing music to suit the latest religious and political outlook: for Catholic worship; the new Protestant Church; the English Prayer Book; the Catholics again, and finally, new Anglicanism. So, we were taken on a sublime musical journey as we listened to compositions which reflected these changes in style. Throughout, we were grateful to the erudition of Director Rory McCleery. His brief introductions were delightfully apposite, his programme notes masterly in charting our tour.
This was a memorable evening, the singing lovely throughout the richly varied concert, larger choral items being interspersed with works for the Consort alone. Levens Choir, each section strengthened by the soloists of the Marian Consort, produced a glowing, seemingly effortless tone, throughout the vocal range. The blending and balancing of voices was excellent too, even in the works for more than four parts, as for example in the magnificently sung Gaude Gloriosa, the highlight of my evening. The full sections in this work allow little let-up for the singers, with rests few and far between, but energy levels never faltered. The solo sections shone. Indeed, the eight voices of the Consort shone all evening, whatever they sang.
I struggled to find shortcomings. I might have wished for greater dynamic range on occasion or clearer diction on another? Did I detect some uncertainty at the opening of Sacrum Convivium? Perhaps this was the reason that when the audience demanded an encore, we were treated to a beautiful repeat performance, one which summed up the whole evening. A sacred banquet indeed!
Last year we offered a pair of tickets to a Chamber Music Plus concert for new subscribers to our mailing list; for 2017/18 we are asking for reviews of any of the CMP concerts. There's still time to enter! Please send your entries to firstname.lastname@example.org
Christopher Morley, Chief Music Critic of the Birmingham Post, recently asked us a few questions about Chamber Music Plus and this article appeared in the Post in November 2017:
I went to a lunchtime guitar recital at the Barber Concert Hall, Birmingham University on Friday 24 November to hear a recital by Sean Shibe. The Concert Hall was full, including a class of school children but he silenced us all with the sound his guitar produced. He was outstanding, shaping each note. He was able to sustain a melody note while executing passing harmony elsewhere.
He played Lute Suite no 4 in E major by J S Bach, and several Etudes and Preludes by H Villa-Lobos. But for me the best was 4 little pieces which were extra to those printed on the programme. He said that they were from early Scottish manuscripts and they were lilting folk tunes with fantastic harmonics which filled the Concert Hall.
Sean Shibe is a classical guitarist from Edinburgh, Scotland, UK. He is of both Scottish and Japanese ancestry. He studied at the Royal Conservatoire of Scotland and with Italian guitarist Paolo Pegoraro.
Last week we sent out the 2017 Spring Newsletter to all our postal subscribers - together with a galaxy of information regarding forthcoming concerts. If you'd like to join this mailing list please contact us and we will add you and send you a copy.
The envelope included details of Leamington Music Festival Weekend, the Worcestershire Early Music Festival (and Pride & Prejudice Ball), the second season of Old Chapel Court Concerts in Tewkesbury, Tewkesbury Abbey's festival of music in the liturgy Musica Deo Sacra, and Longborough Opera's season (Tristan und Isolde, Fidelio, The Magic Flute, Orfeo ed Euridice)...
...plus a flyer for an additional concert presented this season by Malvern Concert Club on Friday 7 April at 2.30pm with pianist Clare Hammond.
If you've been to Birmingham Symphony Hall you have probably seen this painting - I've just come across the latest entry in the artist Norman Perryman's blog: "A few weeks ago, with over two thousand others, I was shuffling towards the exit of Birmingham's Symphony Hall, slightly dazed, the sounds of Mahler 1 still going through my whole being. Mirga Gražinyté-Tyla had just conducted the CBSO in another fabulous concert. They brought the house down! We pass by my painting The Mahler Experience - Symphony Hall. "Look", a woman in front of me says to her group, "I think that may be Mahler 2, with Simon Rattle". "That's right", I mutter. "Are you sure?" "Yeah, I painted it". The crowd comes to a standstill. "You painted it! Hey, he painted it!" Handshakes all round. I find this reaction rather amusing, but it happens every time I'm in Birmingham. A group of teenagers is hanging around. I try not to feel prejudiced about their demeanour. One of them eventually approaches me and says: "Sir, I just have to tell you: that painting changed my life. I now love classical music"."
Norman Perryman is an "English artist born in Birmingham, living in Amsterdam. Painted many great musicians. Forty years ago started painting kinetic visuals live in concert, with major orchestras. 1993 BBC Television documentary with Sir Simon Rattle. “A musician who makes music with his paintbrush” (Yehudi Menuhin)."
Stile Antico first came to my attention when they won the audience prize at the York Early Music Festival Young Artists Competition back in 2005 - they're now recognised as one of the world's finest vocal groups, with many critically acclaimed recordings under their collective belts. There's an opportunity to hear them at Malvern Concert Club on Thursday 24 November, in a programme celebrating Shakespeare's 400th anniversary. In my opinion, a concert not to be missed!
Reviews of a similar programme they performed at this year's BBC Proms said "Stile Antico brings a fresh, intelligent and collaborative approach to vocal polyphony...The beauty of the tone was exceptional,...stunning vocal selections" (Classical Source) and "Robert Ramsey’s ‘Sleep, fleshly birth’...was stunning. Ramsey, director of music at Trinity College Cambridge, is probably a name less familiar to us than that of Morley, Byrd, Tomkins et al: his dramatic madrigal in six movement, Dialogues of Sorrow upon the Death of the Late Prince Henry, is only partially extant, but ‘Sleep, fleshly birth’ is almost certainly a tribute to the Prince. Stile Antico milked the chromatic piquancy for all it was worth, without the slightest hint of mannerism, and this performance has sent me scurrying to find recordings of Ramsey." (Opera Today)
To mark the performance by the 12 Ensemble in Birmingham University's Bramall Hall on 16 November, Christopher Morley has interviewed Alessandro Ruisi, Max Ruisi and Roberto Ruisi for the Birmingham Post about their Birmingham roots: "The remarkable thing is that there is no previous history of musical talent in the Ruisi family, yet the brothers have already achieved so much. Max has a busy career both in chamber music (in which he also coaches student ensembles) and orchestral music, performing with a range of major professional orchestras; Alessandro has developed an enviable reputation in both chamber and orchestral music, and is co-leader of the European Chamber Orchestra as well as Ensemble 12, and Roberto’s lift-off has been truly dazzling, from being appointed the youngest concertmaster in the history of the National Youth Orchestra of Great Britain, through taking a year off his studies to play as a member of the hand-picked John Wilson Orchestra, to guest-leading as concertmaster of both the Orchestre National Bordeaux Aquitaine, and the RTÉ Concert Orchestra in Dublin."
The Ruisi Quartet play for Wye Valley Music on 27 November, and for Ludlow Music Society on 1 April.
Blog written by Jill Davies, who runs the Severn Muses project as well as Chamber Music Plus.
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