2022 will be a landmark year in the rich and remarkable history of Chichester Cathedral Choir.
Read more at the link below.
Home » News
2022 will be a landmark year in the rich and remarkable history of Chichester Cathedral Choir.
Read more at the link below.
Please see University of Chichester Conservatoire ShowCase Spring 22 (16 MB).
The Showcase brochure details all of the University’s theatre, music and art events. Details of a selection of the events described in ShowCase will appear on these pages soon.
Covid may have put an abrupt halt to cultural life but the response shows the sector is part of national recovery.
In March 2020, live classical music and much of cultural life worldwide came to an abrupt halt overnight. Since then, we have seen the gradual reopening of concert halls in all four nations of the UK, as organisers, orchestras and musicians struggle to recover a loss of income, talent and confidence on an unprecedented scale.
As we enter 2022, it’s far from life as usual. Most institutions report that only around 65% of pre-pandemic capacity had been reached before the emergence of the Omicron variant. Undoubtedly, more government intervention is needed if the sector is not to be diminished further. Music is the soundtrack to our lives and classical musicians are major contributors to the UK’s reputation for cultural innovation and excellence.
However, for all of its darkness, the pandemic has allowed us to reimagine what our musical world could look like if we start from scratch.
Read more at the link below.
(c) 2022 Guardian News & Media Limited.
Welcome to the Bournemouth Symphony Orchestra Winter/Spring 2022 Season from Portsmouth Guildhall. Download: BSO_Winter_Spring-2022_PORTSMOUTH
It is with great pride that we launch the second half of our 2021/22 Season of concerts. It has been such a joy to have audiences back in the hall alongside our livestream viewers. Your ecstatic response to the playing of the BSO with our guest artists has reminded us once again of the power of live music, and the dear place this Orchestra holds in everyone’s hearts.
Alongside Kirill, we are delighted to welcome an array of International artists, including conductors Karl-Heinz Steffens, Alexander Shelley and our new Principal Guest Conductor Mark Wigglesworth, as well as esteemed pianist Dame Imogen Cooper and violinist Nikita BorisoGlebsky. With performances of four great symphonies by Tchaikovsky, Beethoven, Schubert and Rachmaninov we hope you enjoy a spring of glorious symphonic music brought to you by your BSO.
Thank you as always for your incredible support during these challenging times, your support means so much to us – see you soon!
Thu, 20 Jan 7:30pm Glorious Rachmaninov, Prokofiev and Rachmaninov
Thu, 17 Feb 7:30pm John Williams, The Master
Thu, 3 Mar 7:30pm Schubert’s Great
Thu, 31 Mar 7:30pm Back to the Future
Thu, 28 Apr 7:30pm Shostakovich’s Mighty Concerto
Chichester Music Society is putting live music back on the agenda as it looks ahead to a fine array of concerts in 2022.
The 2022 season offers: January 12 – Continuum Baroque Quartet; February 9 – The Ensemble Reza String Sextet; March 9 – Chris Beaumont, xylophone with Derek Garden (piano); April 13 – University of Chichester Student Showcase Concert; May 11 – Margaret Fingerhut (piano) and Bradley Creswick (violin) in memory of Chris Coote, former CMS treasurer; June 9 – Summer Buffet Concert – Julia Bishop (violin); September 14 – Paul Guinery (piano) – English Light Music; October 12 – Rosamunde Trio; November 9 – Chichester University Chamber Orchestra; and December 14 – CMS Bursary Holders Concert.
Club chairman Chris Hough said: “It is so lovely to see live music again. There just is not any substitute. You can listen on the best HiFi. But you just miss the real spark of the music, the real sense of live performance, the fact that it’s happening now. There is a lot more that is going on that you are not aware of if you are just listening on a HiFi, things that you have to be there to actually see and appreciate. You can get great sound at home, but it just cannot be the same. But it is also that great shared experience with other people in the same room at the same time and also the great relationship that the whole thing creates between the audience and the artist. It is something that is happening in the room and that you are all sharing together, and that’s what makes it so special – whether you are listening to Schumann or you are lucky enough to be listening to Bruce Springsteen! There is just something about being together that creates such a thrill.”
Read more at the link below.
The beauties and benefits of the natural world are things we are all striving to preserve and nurture at the present time. The seasons, weather, animals, birds, flowers and trees have all inspired classical composers over the centuries in numerous different ways.
On this 10-week course, we shall explore many of these pieces of music and the composers who were inspired to write them, with the help of music videos, PowerPoint slides and demonstrations at the piano.
Works to include: Vaughan Williams ‘The Lark Ascending’; Beethoven ‘Pastoral’ Symphony; Stravinsky ‘Rite of Spring’; Janacek ‘On an Overgrown Path’, and many more.
Last year, Angela’s courses were suspended due to the pandemic. But she is now back, teaching in-person again and doing what she is passionate about – helping to make classical music accessible to everyone.
“At a time when all of us are aware of climate change and its effects on the natural world, I wanted my new course to highlight the numerous and varied ways in which classical composers have been inspired by the seasons, the weather, wildlife, trees and flowers.
“With the help of video recordings, PowerPoint slides and demonstrations at the piano, we shall be exploring different themes in nature and the ways in which composers have expressed these themes in music over the centuries.
“Such popular classics as Beethoven’s Pastoral Symphony and Vaughan Williams’ The Lark Ascending will be balanced with works by less familiar composers from different eras.”
There are two options: either in-person or on Zoom.
Tuesdays 10 am – 12 pm Starting 11th January 2022. Course Fee: £120
January 11th, 18th, 25th, February 1st, 8th, 15th; March 1st, 15th, 22nd, 29th
Mondays 4 pm – 5.30/5.45 pm Starting 10th January 2022. Course Fee: £100
January 10th, 17th, 24th 31st; February 7th, 14th, 28th; March 14th, 21st, 28th
The image shown is for the in-person course.
Our new 2022 Programme has been announced. Time to renew your membership or join us! Download the Chichester Music Society brochure 2021-22 (4 MB).
Through the Robert Headley Fund, we continue to work closely with Chichester University for the benefit of its music students, providing financial assistance through bursaries and the purchase of musical instruments. Becoming a member of CMS is the best way of supporting this, although we are delighted to welcome visitors on the night to our events (payment at the door, entry usually from 7 pm).
I do hope that you will renew your membership of the society or decide to join us and look forward to welcoming you back to Chichester Music Society for our new season!
Click here for our latest Newsletter with details of the varied and exciting concerts planned for next March!
The Newsletter also reports on:
A review of the September choral workshop
Taking part in the choral concerts – combined rehearsal dates and details
How you can support the Festival
Forthcoming concerts by local groups
In its 60th anniversary year, the Solent Male Voice Choir is delighted to resume its live concerts in 2021 – it started with a joint concert with Basingstoke MVC on 14 October.
Chairman David McVittie says “Sixty years is worth celebrating. We shall be holding a celebratory dinner in January when we hope to have many past members joining us. Our concerts too will reflect our origins, music the Choir has been singing over the past 60 years, including some in Welsh! All in the name of fun.”
The Choir has members from all over Hampshire and West Sussex and is now led by musical director Huw Thomas. Huw gained his diploma as Associate of the Royal College of Music and was the former director of music at Bishop Luffa School in Chichester before his retirement.
The musical repertoire is wide and varied, with music chosen to suit the range of voices in the choir and encompasses both classics and more contemporary music. As well as some Welsh classics such as Myfanwy and Gwahodiad ballads such as Portrait of My Love and I Dreamed a Dream from Les Mis are all in the choir’s music folders. Male Voice classics such as An American Trilogy and Morte Criste are always popular and as Christmas approaches we will be adding some lighter seasonal songs.
Its origins go back to a Portsmouth post office in 1961 when two postmen enjoyed singing so much while sorting letters they decided to form a choir. In the early years the choir was led by Eddie Faro, an assistant inspector in charge of the sorting team and, in the 70’s, by Bunny Hare, a former Army officer and regimental band M.D. In those days choir practice was in a series of rooms above several Portsmouth pubs.
Choir practice is now every Tuesday evening at The Pallant Centre in Havant (from 7.30 pm to 9.30 pm) and new members who enjoy singing for fun will be warmly welcomed. Huw is happy for potential members to go along for a few weeks to try them out. He says “Enthusiasm is key and there is no need to be able to read music. We’re a really friendly choir, support each other and have quite a few laughs at practice (with an occasional visit to the pub afterwards)!”
Concerts scheduled for the remainder of 2021 are:
Tickets and further details are available via SMVC’s website: solentmalevoicechoir.org.
Solent Male Voice Choir is mourning the man who became its heartbeat after joining as a teenager more than 50 years ago.
When his wife Maureen died in September last year, Charles “Mac” McAndrew, chairman of the choir, decided he needed time to mourn the woman who had been by his side for 56 years and the choir needed a leader who could concentrate on the job. Until then, as chairman, when speeches had to be made, he made them and his voice was so good he often took solo spots, too. Baritone David McVittie took over as chairman and Mac was able to give full attention to his singing.
Now though, life was quieter, as he enjoyed a new freedom… just singing, with the tenors. And missing Maureen, whom he met in the Sixties when both sang with the Drayton Choral Society. Over the years his daytime career had been hectic, running a successful joinery company called Solutions in Wood, based at Farlington. They’d enjoyed contracts all over the country, in Westminster and with local builders.
His daughter Kate reckons he was a country boy at heart – “He grew up in Denmead like a real farmer’s boy and if times had been different, might have been a farmer. Nonetheless, he was a skilled craftsman and enjoyed doing all sorts of contracts. I remember, for example, him getting one from a council for 600 doors!”
She recalls concert duets featuring her dad and another lead singer Colin Newman – “I can still hear The Pearl Fishers and Morte Christe being practised in our house when l was growing up.”
Mac had a heart attack a fortnight ago and was rushed to QA Hospital. Doctors and nurses fought, as always, but were unable to save him.
Solent MVC will sing at his funeral at St.Faith’s Church, where he was a chorister, on Tuesday, November 2, 2021 at 2.45 pm.
Mac’s daughters have chosen two charities for donations in his memory:
Nordoff Robbins : www.justgiving.com/fundraising/charlesmcandrewnordofftobbins – the largest independent music therapy charity in the UK.
Do you enjoy creating your own music? If so, enter this year’s Festival of Young Composers, which is both a celebration of our local young composers and a competition with prizes for the winning entries.
Entries are invited in three age classes: 14 and under, 16 and under and 19 and under.
Applications are now invited for the Festival of Young Composers Competition 2021-2022.
This year entrants may present their music either through a live performance or as a digital recording. In either case, entrants must submit a written or printed score by the closing date and attend the Performance and Adjudication Day (6 February 2022) when their composition will be played. The closing date for entries is 6 December 2021.
Read more at the link below.
Image: Thomas Baynes
South Downs Soloists are a new and exciting professional vocal ensemble based in the South of England, directed by George Haynes, with a focus on full-voiced ensemble singing.
South Downs Soloists are a new and exciting professional vocal ensemble based in the South of England, directed by George Haynes, who is currently a countertenor Lay Vicar at Chichester Cathedral. With performances focussing on full-voiced ensemble singing, bringing well-known and more obscure repertoire to beautiful venues across the area.
Most of the eight singers have strong connections with the South Downs, including associations with Chichester and Winchester Cathedrals, as well as experiences from further afield in Cambridge and London.
Their debut recital, ‘Sing Joyfully’, will take place in St Mary’s Church, Petworth, on 22nd October 2021, and will feature vibrant music of singing and praise. Works such as ‘Singet dem Herrn’ by J.S. Bach, ‘Laudibus in sanctis’ by William Byrd and ‘Hymn to St Cecilia’ by Britten feature alongside innovative pieces by Copland, Gabriel Jackson and more. They look forward to bringing regular performances in their own interpretative style to the South Downs and beyond in the future!
The Barbican Quartet launch the 2021-2022 Chichester Chamber Concerts series with a new freshness and eagerness they are determined to make last.
Read more at the link below.
During ‘lockdown’ Portsmouth Choral Union continued to rehearse and keep in touch with one another in a variety of different ways. Zoom rehearsals were enlivened by, amongst other events, quiz nights and online wine tasting. There was a brief return to near-normal rehearsals during lockdowns one and two, and latterly outdoor practices in an open-sided barn on Hayling Island.
Now, with enthusiasm undiminished, we are delighted to be returning to full practices. We have held three practices so far, with attendance increasing each time, and we have also been very pleased to welcome several new members. Our rehearsals are currently being held in St Mary’s Church, though we hope to return to our regular rehearsal venue of The Portsmouth Academy in the New Year.
Our programme for the remainder of 2021 will include a November concert featuring Faure’s Requiem alongside works for string orchestra and this will be followed by a performance of Bach’s Christmas Oratorio in December. Further details of both concerts, to be held in St Mary’s Church, will be available shortly on the Choir’s website, www.pcuchoir.org.
Chichester Chamber Concerts have announced a full programme for this autumn and winter, with tickets on sale from Chichester Festival Theatre.
Concerts will be in at the Assembly Room, Chichester, with the 17th season running from October 2021 to March 2022.
Coming up are Thursday, October 7, Barbican Quartet; Thursday, November 4; Northern Chords Ensemble; Thursday, December 2, Le Consort; Thursday, January 27, Van Baerle Trio; Thursday, February 24, Chiaroscuro Quartet; and Thursday, March 10, Matthew Hunt clarinet, Alec Frank Gemmill horn, Chiaroscuro Quartet and Friends. See CCC concerts page.
Tickets for six concerts £84; four concerts £58; single concert £18.
Read more at the link below.
Concert pianist and music lecturer Angela Zanders continues her courses on music appreciation, starting on 20 September. “They are open to anyone who enjoys classical music and is interested in learning more about the subject”, she said.
This time she will be exploring the background to popular works of classical music.
How often do we recognise a piece of classical music only to realise that we don’t know who composed it, when or why it was composed or how it became so popular?
This course answers all those questions and more, aiming to take a fresh look at some of our most popular pieces of classical music, helping us listen to them with new ears and enhanced enjoyment.
There are two options: you can attend the course of eight sessions either online on Monday afternoons from 4 pm to 5.30 pm, or in-person on Tuesdays from 10 am -12 pm.
The Monday online course runs from 20 September: Angela Zanders Music Favourites starting 20 Sept
The Tuesday face-to-face course at the studio in the New Park Centre, Chichester runs from 21 September: Angela Zanders Music Favourites starting 21 Sept
To reserve your space, or for any further information about the course, contact Angela on 07582 537123 or email firstname.lastname@example.org.
In 2021 the Portsmouth Chamber Music Series is in its eighteenth season, bringing world-class musicians to the city. In partnership with Music in the Round and the Guildhall Trust, we present the finest music in informal surroundings where you are never more than a few metres from the performers.
Our programme includes a wide variety of music by a wide variety of composers from the 18th century to the present day. A 20% discount is available to those who book the whole series.
Download: Portsmouth Chamber Music 21-22 (1 MB).
We feature six concerts which I hope you will enjoy. The dates are all on Mondays at 7.30 pm:
11 Oct, 1 Nov, 31 Jan, 21 Feb, 21 March, 9 May.
Tickets are now on sale. Ticketmaster is no longer operating a phone ‘service’, but you are encouraged to purchase tickets online where possible (see link below). It is a bit clunky and for example doesn’t allow you to purchase a season ticket together with single tickets in a single transaction. It also separates out the various fees, but if you add them up, the end result is as per our advertised prices which have remained the same for three years now (£18/£16 conc, with a 20% discount if you book a season ticket), with the addition of a £1.75 handling fee. Postage is only charged if you don’t want an e-ticket or to pick up from the box office on the night.
Those who still wish to book by phone can do so Mon-Thur 10am-3pm via the Guildhall Box Office on 023 9387 0200, and of course personal callers are also welcome.
Please visit the St Peter’s performer’s page to find out more.
This month’s edition discusses:
• Our next event with The Champagne Quartet will be going ahead as planned on 15th September. A wonderful way to celebrate the start of our Autumn season!
• The additional event with Ashworth & Rattenbury Guitars will be going ahead on 22nd September.
• The Autumn programme is confirmed. The subscription for this series is £40, for members re-joining and new members. See the CMS website for full details.
Our Autumn season gets off to a strong start on 15th September with The Champagne Quartet and on 22nd September with the postponed lecture/recital from Ashworth & Rattenbury Guitars. Non-members can subscribe for these and the October and November concerts at a special rate of £40. As was the case last year, members will receive full credit for any cancelled events against the cost of next year’s renewal.
The AGM was held on 9th June, preceding the concert with Tanya Ursova and Anna Gorbachyova. The Report and Accounts for 2020 were distributed to members during April. The accounts have now been examined by the Society’s Independent Examiner and some small changes made, the deficit has been reduced by £211 to £9504 for the year. A copy of the final accounts is available here.
Whilst we hope to be back to normal in the autumn with a full audience and interval refreshments, given the ongoing situation our programme may be subject to disruption and we will continue to live stream all our events.
This has been a very difficult year for our Society but fortunately, due to the support of members and generosity of donors, our financial position is secure. The Committee has developed an excellent programme for 2022 including some new faces as well as established friends. Full details will be published soon.
I look forward to seeing you all again on 15th September!
The BSO announces its new Autumn Season and will once again be touring in person, bringing live symphonic music to communities across the South West.
The new, ambitious season includes many notable moments including a triptych of new works written by women, including Carmen Ho, Elizabeth Ogonek and Franghiz Al-Zadeh as well as horn player Felix Klieser beginning his tenure as the Orchestra’s Artist-in Residence, in what will be his UK concerto debut. Chief Conductor, Kirill Karabits, opens the season, returning with four programmes this autumn.
Concerts in Portsmouth Guildhall:
Beethoven with Sunwook – 21 October
Wigglesworth conducts Mahler, Shostakovich and Sibelius – 11 November
Read more at the link below.
Image: BSO Chief Conductor Kirill Karabits (c)Mark Allan
On the eve of their much anticipated first live practice for many months, Portsmouth Choral Union fell foul of the sudden change to government guidelines concerning choirs, singing and rehearsal numbers.
With enthusiasm undiminished, it was decided that the weekly ‘Zoom’ rehearsal schedule would continue, with singers being encouraged to get together in groups of six wherever possible. However, several members of the ever-resourceful PCU committee soon came up with an alternative solution to the live rehearsal issue, whilst still remaining within the Covid restrictions.
A large ‘open sided’ barn, that allowed an appropriately socially distanced live rehearsal, was made available for the choir’s use. And so for the final three practices of the summer, surrounded by bales of hay and a cornucopia of farmyard animals, conductor David Gostick shepherded his singers through choruses from Haydn’s Creation and a selection of familiar and unfamiliar anthems by, amongst others, Mozart, Bruckner, Rossini and Rachmaninoff – though with cattle ‘lowing’ in the distance, not performing ‘Away in a Manger’ was possibly a missed opportunity.
Members of the choir are now looking forward to being able to resume regular, full practices in September.
Organisers of the 2021 Petworth Festival are pinning their hopes on the lifting of all restrictions on July 19.
The festival will go ahead either way, but without full lifting, it will certainly take a hit.
Stewart Collins, Petworth Festival’s artistic director, has put together an exciting programme on a scale similar to the programme he would have been offering in a normal year.
The problem, of course, is that this is not a normal year.
Read more at the link below.
Events will run between July 14 and 31.
The wide-ranging line-up of leading musicians and performers includes:
· Classical star-of-the-moment, saxophonist Jess Gillam, who appears with her new ensemble as part of their debut tour
· Multi-million selling author, comedian and former NHS doctor Adam Kay who brings his West End hit show This is Going to Hurt
· Living legends on the blues circuit, The Blues Band, fronted by Paul Jones who perform in the atmospheric Stable Yard of Petworth House
· Theatre-cabaret show Radio Live! a romp through 50 years of BBC Radio with Alistair McGowan, The Rev Richard Coles, Garry (‘here’s Garry with the sport’) Richardson, Charlotte Green and special guest Joe Stilgoe
· The Petworth Festival Summer Weekend, two days of free family theatre, hands-on participatory workshops, street acts and live music staged in the Pleasure Garden of Petworth House by permission of the National Trust
The box office is online 24/7 at www.petworthfestival.org.uk or on 01798 344576 Tues-Sat, 10am-1pm.
We love choral singing. We want future generations to enjoy it too. For this reason, we run an annual bursary scheme for young singers.
Our choral bursary scheme is ideal for aspiring young singers wishing to develop their choral singing within a small, highly accomplished chamber choir.
Two bursaries are awarded each September and last for one year, although an application can be renewed for one consecutive year. Auditions are held in July and August.
These bursaries are open to people aged from 18 to 25 who live within a 25-mile radius of Emsworth, Hampshire.
Read more at the link below.
Hello people – at long last my latest CD – number 14 ! – the one I made in Lviv, Ukraine, with the Ukrainian Festival Orchestra under Grammy-winning conductor John McLaughlin Williams, and in a recording studio in Paris – just over 2 years ago, has finally been released.
It’s delay has been caused by Covid issues along the way – but has now received its first international review.
Its title is ‘Boissier; Two Piano Concertos and a Sonata’.
The first in-depth and fantastic review has appeared online at Music Web International. The review is mostly an analysis of the music; and of the composer himself.
Here are some edited extracts relevant to the actual recordings.
“I clicked on the first of the available samples out of interest, but literally couldn’t believe my ears. The start was exactly like hearing the ‘Warsaw Concerto’ all over again, and as I then avidly played through the remaining samples, I quickly realised that the musical content of the disc was something quite different from what I’d initially imagined it to be.… ”.
“The highly-committed performances from the Ukrainian Festival Orchestra are very much at one with the composer’s intentions, with inspired American conductor, John McLaughlin Williams, constantly keeping them on their toes, and extracting the maximum pizazz from each section.”
“In Bulgarian pianist Valentina Seferinova, Boissier has a fine exponent to deal with the powerful style of writing, which frequently leans more towards the massive chordal writing in Brahms’s Second Piano Concerto, ………”
“The absolutely first-rate recordings are most vivid and additionally add to the Boissier’s total credibility and overall appeal of his works.”
“You could become instantly smitten by what you hear ….”—Philip R Buttall, MusicWeb International
Elsewhere it’s apparently receiving plenty of airtime in the USA and across Europe (where someone says “just luxuriate in it!”)
Suggest you seek out samples of each track – widely available across the internet – including on the ‘Latest News’ page of my website then make up your own mind! before making your final decision.
The Chichester Music Society had their first 2021 Concert that finally had a live audience, and as usual the Society met at the University of Chichester, where 30 members and guests attended on 9 June. The artists were Anna Gorbachyova-Ogilvie [soprano – right in photo] and Tanya Ursova [piano].
The programme was a fascinating mixture of Russian, German and French songs, involving music by well-known composers such as Tchaikovsky and Rachmaninov, Richard Strauss and Poulenc. Interestingly they also included music by other lesser-known composers such as Henri Duparc, and Anna chose his Chanson Triste to open this concert. Immediately the audience was captivated by her confident and dramatic conviction, her volume, which, when needed, was impressive, and her ability to temper this appropriately according to the demands of the music.
Another particularly interesting choice was In the Autumn, a piece which was written by Georgy Sviridov who only died in 1998. Much of his career had been spent working in the Soviet era, but this piece was part of the New Folk Wave, and Anna and Tanya together created a memorable performance which demanded both sensitivity and emotional musical scene painting.
Anna sang throughout with both technical fluidity and produced some highly polished singing with a voice full of emotional intensity, which was particularly noticeable in her rendition of Richard Strauss’ Three Songs of Ophelia from Shakespeare’s Hamlet Opus 67.
Tanya Ursova’s accompaniment was fluid and at times fiery, at times breathtakingly haunting, always anticipating the mood of each piece, and she was a perfect instrumental companion. She also played a piano solo by Rachmaninov that was well chosen to demonstrate her ability to articulate both poignant, moving music, as well as light-hearted crescendos and more melodic themes.
The concert programme ended with a sensitive performance of Poulenc’s Fiancailles pour Rire where much of the music was anxious and wistful. The Duo ended the concert with an encore by Gershwin that certainly lightened the mood.
This concert was a prime example of what the Chichester Music Society does best, which is to introduce our members to new music, as well as reminding them of old favourites. Chairman, Chris Hough, thanked the two musicians “for giving the Society a wonderful evening of marvellous music”, also thanking Tanya Ursova for her valuable work on the detailed programme notes and translations which greatly added to the audiences understanding & enjoyment of the music.
Considering the awful year or so we have all experienced, I am in the enviable position of needing to book musicians for our recital and concert programmes for 2022; also, owing to last minute changes, for our August recital on Monday 16th August 2021 and tea-time concert on Sunday 5th September.
Do please let me know if you are interested in taking part in our concert or recital programme and if you are available for dates this year or next.
Two terrific new pieces for you this time.
Phos Hilaron – A song of the light – Robert Fielding (pictured)
This is a setting of O gladdening light for unaccompanied SSATB, as sung by the RSCM Millennium Youth Choir and broadcast on the BBC’s Choral Evensong programme from Romsey Abbey. The text is the oldest hymn still in use, and was considered ‘old’ by St Basil the Great, who himself died in 379AD.
This whirlwind of a piece has a wonderfully exciting rhythmical drive, and harmonic colours derived from the text.
View the score and have a listen at http://chichestermusicpress.co.uk/phoshilaron
I say unto you which hear – Martyn Noble
For SATB and organ.
Text from St Luke’s Gospel, containing the vivid passage “And if ye lend to them of whom ye hope to receive, what thank have ye? for sinners also lend to sinners, to receive as much again.
But love ye your enemies, and do good, and lend, hoping for nothing again”. The music contrasts the distinction between good and evil by varying tempo, volume and dissonance.
View the score and have a listen at http://chichestermusicpress.co.uk/isayuntoyouwhichhear
Bournemouth Symphony Orchestra (BSO) continues its pioneering livestream broadcasts with a further series of five concerts from Lighthouse, Poole. The series of popular classics runs from Thursday 10 June to Saturday 12 August, featuring everything from Tchaikovsky and Mozart to Hollywood favourites.
Read more at the link below.
Please read the letter that I am sending to my MP today.
Making Music has just published details of its own campaign, and parliamentary question with notes.
Sign the petition at Change.org – Let Choirs Start Singing Again: Singing Will Rebuild National Well-Being
You may be aware of the Stage 3 guidance issued by the Department of Culture, Media and Sport (DCMS) this week concerning the specific restrictions on non-professional choral singing. I feel that such activity has been singled out for harsh treatment.
All the industry organisations (for example Making Music) had been briefed by DCMS that the restrictions would be the same as they were from July to November 2020, namely that non-professional choral singing would be permitted, within constraints such as bubbles.
Accordingly, just about every choir in the country made arrangements to resume in-person singing this week in subgroups of 30 or so. Please note that there are over 2,000,000 choral singers in the UK.
Instead, we have suddenly been informed by DCMS that non-professional singing is only allowed for up to six people, irrespective of the size or nature of the space, the arrangements in place or the demographic involved. The choir I sing with had elaborate safety plans and risk assessments all ready to go. This has all been for nothing.
Since the initial scapegoating of singing as the villain of the Covid disaster, there has been solid research carried out under the auspices of Public Health England about the risks and how they can be managed. Singing groups have responded to this research wholeheartedly.
For the restrictions to be more stringent than they were last November does not make sense. Case numbers have fallen, asymptomatic testing is well established, and given the demographic of the vast majority of UK choirs, where membership is predominantly in the 50+ age range, only a very small minority remains unvaccinated.
There’s no logic to all this. It’s legal to sing in a crowd at football matches. You can go to a pub and sing. Anyone can sing in the street – but not if you’re in a choir. It is not logical for choral singing, in a well ventilated, controlled space with 2m social distancing, to be considered to be riskier than going to the pub or a gym. Brass bands can get together but amateur singers can’t. And Public Health England hasn’t stated that singing should be banned.
I would be obliged if you could take my concerns to the relevant minister (Caroline Dinenage) directly, and also consider asking a parliamentary question. It would be great if you could let me know whether you can support me in this respect.
Parliamentary question: see Making Music’s briefing on this
Caroline Dinenage is the Minister of State for Digital and Culture
Having made the best of 2020 when presenting a part live, part streamed ‘special edition’ festival last October/November, the momentum behind the ever-ambitious Petworth Festival looks set to continue this coming summer. Read the Petworth-Festival-Brochure-Summer-2021-Lo-Res.
Events will run between Wednesday 14 and Saturday 31 July, the wide-ranging line-up of leading musicians and performers includes:
Read At-A-Glance-2021 which lists all events.
Acknowledging and being sensitive to the realities of emerging from the pandemic, a series of measures will be introduced to ensure the maximum audience comfort and safety:
Other names to conjure with in the line-up include top drawer classical artists Emma Johnson and Adrian Brendel, pianists Imogen Cooper and Isata Kanneh-Mason, leading British singers Mark Padmore and Susan Bullock and an ensemble from the UK’s first majority-Black and ethnically diverse orchestra Chineke!
Jazz comes in the shape of Si Cranstoun and the Dynamo Quartet, both of whom star in the annual Jazz in the Stables extravaganza; powerhouse chanteuse Liane Carroll and her Trio will also feature as will The Dominic Alldis Trio who present their tribute to the great French jazz innovator, Jacques Loussier.
The third Petworth House Stables event sees a two-part celebration of The Music of Paul Simon, the songs of Simon & Garfunkel being performed by the duo Bookends, and the seminal Graceland album performed by Gary Stewart and his exciting seven-piece ensemble.
The festival celebrates a sixth year in association with London’s Royal Academy of Music, with specially selected musicians appearing as part of an extensive lunchtime and morning Coffee Concert series.
‘There’s no doubt that the lack of live performance has been one of the huge downsides of the last 18 months’ says Stewart Collins, the Petworth Festival’s Artistic Director, ‘but I’m proud to say that we’ve held our nerve and come up with a programme that really should both inspire and entertain come July given its quality, variety and novelty. Every effort will be made to ensure that our audiences feel comfortable back in our venues, but otherwise it is not just ‘business as usual’ – more like ‘business unusual!’ Our aim is always to prove just how powerful and life-affirming live performance can be, and with our series of highly contrasting events I really think our audiences will realise immediately what we have all been missing’.
The Petworth Festival gratefully acknowledges the support of the many private and corporate sponsors of the festival who helped the organisation survive 2020 and who have come back strongly in 2021.
The Box Office opens on Tuesday 15 June (priority booking period for Sponsors, Patrons and Friends from 18 May). From 15 June Book Online 24/7 at www.petworthfestival.org.uk or from 15 June call the Box Office on 01798 344576 Tues – Sat, 10am – 1pm.
The Havant Music Festival is returning for a 4th season this June, hosting a 3-day event for music aficionados who want to experience live music once again after a challenging year in lockdown.
Its 2021 line-up this year, all being well with the government’s roadmap, will feature a series of Acoustic Jazz and Classical Music concerts performed at venues across the Borough of Havant and a Live Stream Music Concert for local artists, singers, and musicians to promote and share their music with a wider audience.
Further information about the events and ticketing will be available on the HMF website soon.
June 2021 line-up
• Friday 25 June from 7-9pm – Live Facebook Music Concert for local artists across the Borough’s music scene to showcase their talents in collaboration with ChartHouse Music Studio and Websitesforyou Group.
• Saturday 26 June from 3:15-5pm – Classical concert with Peter Rogers (guitar) & Beryl Francis (piano) at St James Church in Emsworth.
• Saturday 26 June from 7:30-9:15pm – An evening of Acoustic Jazz with Astrid M Music at The Spring Arts & Heritage Centre in Havant.
• Sunday 27 June at 3:15-5pm – The Lost Harp Music of Victorian England by Elizabeth-Jane Baldry at St James Church in Emsworth.
• Sunday 27 June evening concert still to be announced.
Faith Ponsonby, Festival Chairperson said: “Many of us are desperate for live music & performing arts to return to the stage and really chase away the blues of COVID. So, Havant Music Festival is back at last after over 2 years of waiting, to give you a taster of much more to come in the future.
“This June, we will be live streaming some short performances of some talented local people on Friday evening, 25th June, and putting on two concerts on Saturday 26th June, there will be live performances of a classical music recital on piano and guitar from Beryl and Peter, and a performance from Astrid M Music, with Astrid’s unique repertoire of soulful acoustic jazz and pop to entertain you in the evening.
“On Sunday 27th June, Elizabeth-Jane Baldry will delight us once again with her magical harp, and then we hope our own Urban Vocal Group, who were the inspiration for the Festival nearly 5 years ago, will end the mini-series of concerts on Sunday 27th June with uplifting songs that will utterly amaze you. So come and enjoy real music once again at the end of June and watch this space for our exciting plans for this Autumn and Spring 2022.”
The Chantry Quire is a small Chamber Choir of 24 voices, based in Sussex and directed by Peter Allwood. We perform a wide repertoire, from early music to contemporary works. You can find out more about us on our website.
We are very much looking forward to singing live again this summer. We are currently seeking to recruit two basses to join us for this new season, in time for our summer concert on 3rd July in St Mary’s Church, Horsham. Ideally you will have experience in singing in a small choir environment, and will either have good sight-reading skills or be a quick learner. Applications from other voices are, of course, always welcome.
If you are interested in joining us, then follow this link: https://www.chantryquire.org.uk/request-audition. You will be invited by our musical director to submit an online audition. We normally rehearse at the Cathedral Centre in Arundel at 7.30 pm on Tuesdays; the postcode is BN18 9AY.
The Solent Male Voice Choir seeks an accompanist for regular Tuesday evening practices and six to eight concerts per year.
We are a choir of around 24 voices singing a wide repertoire of music for male voice choirs.
Working closely with our Music Director Huw Thomas, as well as accompanying the choir, there will be opportunities to lead the choir.
There is a small remuneration for practices and for concerts. We practice in The Pallant Centre, Havant Tuesday evenings, 7.30pm to 9.30pm.
More information about the SMVC is available on our website www.solentmalevoicechoir.org
Please contact David McVittie, email@example.com
Finally, my 14th CD has at long last been released for worldwide distribution – itself having been delayed by the Covid pandemic. It’s the one I recorded in Lviv, Ukraine and Paris – some 2 years ago. Today, finally, CDs have arrived from Naxos in Germany!!
The gorgeous Corentin Boissier’s Piano Concertos were recorded with the wonderful Ukrainian Festival Orchestra conducted by the brilliant and most amazing John Mclaughlin Williams. The dramatic and passionate Piano Sonata Appassionata – CD, released on the Toccata label…
Absolutely thrilled – holding it in my hands! Now proudly taking space on one of the shelves in my music room.
Available in multi formats (CD, MP3, FLAC, HD WAV) on the ToccataClassics label.
You can hear a sample of every track if you go to my website ‘Latest News’ page – a scroll down a little bit.
It is already attracting very encouraging comments, with the owner of another record company saying, “I have just listened to the excerpt – sent shivers down my spine – gorgeous playing as always.”
The original Recording Engineer’s comments on the post-recording processing and mastering – “the sound has a vinyl-like quality” (a high compliment!.)
A fantastic range of events will go sale on Saturday 8 May as the Festival of Chichester opens its box office for business.
Dame Penelope Keith, Kate Mosse and Loyd Grossman, the Castalian Quartet, pianist Young-Choon Park, guitarists Linda Kelsall-Barnett and Rob Johnson, the Charlotte Glasson Jazz Trio, the Rude Mechanical Theatre Company, a virtual Summer Feel Good Show from CAOS, poet Vicki Feaver and Chichester Art Society will all be taking part.
The 2021 festival will run from Saturday, June 12 to Sunday, July 11.
The virtual box office launch will be from 1830 to 1900 on Friday, May 7. This event will be held on Zoom. Anyone wishing to attend should contact firstname.lastname@example.org.
Read more at the link below.
Our Passiontide video was viewed 775 times during the month it was online. There were lots of lovely comments, and over £1000 was raised for the Aldingbourne Trust. Thanks to all our generous donors. While the full video is no longer publicly available (due to contractual commitments to our soloists), the four motets are all still available on our YouTube channel.
Making a video from our own homes was a new experience, and quite challenging; however, we were all delighted with the results. But we are eagerly awaiting getting back to live singing, and we have several concerts planned:
• 3rd July, St Mary’s Church, Horsham: ‘There is Sweet Music’ – a programme of madrigals, motets and partsongs
• 27th November, St Mary’s Church, Petworth: Brahms’ German Requiem (performed in memory of all those who have died in the pandemic)
• 8th January, St Mary’s Church, Slindon: A programme for Epiphany.
We hope to see you there!
It is with real regret that I have to inform you that we are not able to proceed with our Student Showcase concert on Tuesday 20th May. Unfortunately, the committee has had a very low number of candidates and we do not feel that it is possible to proceed with the competition this year.
The continuing Covid crisis has made life very difficult for students at the university. Students are finding that it is difficult to rehearse with accompanists and prepare for their concerts and additionally the university has had to work remotely with its students for many weeks. Whilst we have had a number of auditions using video, there are simply not enough of them to make a proper event.
This is very disappointing news for all of us, especially as the situation created by the pandemic is at last improving for many of us in the UK and the rules relating to indoor public performance are being relaxed (although is was unlikely that we would be able to have a live audience for this event in any case). My apologies to all members and friends.
Dear Concert Supporters,
A year after the first coronavirus lockdown, the people at St Peter’s Church are preparing plans to re-start the much-loved concert programme in the church.
Many of you will have heard the sad news of the death of David Francombe in 2020, to whom we owe a massive debt of gratitude for setting up the concert series and working tirelessly over the years to bring so much music to the town. A new team, led by Brenda James, is starting work on the continuation of his marvellous project.
You will be delighted to know that Mark Dancer has agreed to perform a special organ recital on Tuesday 17th July 2021 at 2.30pm. His programme will include a mixture of old favourites and feature music by two important composers with significant anniversaries this year: Sweelinck, a baroque virtuoso who died in 1621 and Saint-Saens, he of Carnival of the Animals and the Organ Symphony fame, who died a hundred years ago in 1921. A truly wonderful way to kickstart our concert programme. This is currently allowed under the Church of England’s Covid regulations.
In anticipation of the lifting of coronavirus restrictions in the summer, we are working on plans for a number of concerts in the autumn, and a full programme for 2022 and we would like to keep you informed about what’s coming up.
We look forward to offering you lots more musical delights in the near future!
The Renaissance Choir is currently on the lookout for new members in all voice parts.
If you’re looking to join an accomplished chamber choir that performs in beautiful venues across the UK and Europe, then the Renaissance Choir could be for you!
We are a friendly and enthusiastic chamber choir that seeks to achieve high standards. New members are always welcome, so if you can read music, hold your own musical line, and would be prepared to sing the occasional solo or sing in a semi-chorus, please do get in touch to find out more.
We aim to perform around five concerts a year as a choir. We rehearse on the day of the concert (generally a Saturday) and on Fridays for around seven or eight weeks before the performance. Rehearsals run from 7.30 to 9.30 pm at Emsworth Community Association, PO10 7DF, a two-minute walk from Emsworth train station and on the 700 bus route. We often round off rehearsals with a few drinks at a nearby pub.
Do you enjoy singing classical music? Are you looking for a friendly group to share your love of singing? Ever thought about joining PCU? If the answer is yes, then read on!
If you have some experience of singing in a group and reading music, then you are welcome.
At the moment we are continuing to meet each Tuesday evening via a Zoom video link at 7.30 p.m. for about 1 hour or so.
No need to worry about other people hearing you, as singers are muted during the sessions!
The evening includes a fun vocal warm-up; a chance to enjoy singing well known classical music repertoire works e.g., Verdi’s Requiem, and even some time to work on identifying and pitching musical intervals, finding notes in chords and other elements of music to help with sight-reading.
Feeling daunted? Relax, the PCU registrar is here to help. She is happy to answer all your questions and ensure you feel very welcome. Email: PCURegistrar@gmail.com
The Hanover Band writes:
We are also delighted to be back at the University of Chichester this week. After having to cancel our course in February, it has been great to be working with the students again. We’ve been working hard on Beethoven’s 6th Symphony and you can click the link above to watch.
This course is particularly exciting as the whole brass section will be playing on authentic instruments! Jess, 1st horn, was inspired by our course with Gavin in her first year and is now in her masters year and performing part of her final performance on hand horn! The trumpets have been getting to grips with the natural trumpets that were gifted to the university by the Chichester Music Society last year and thanks to Adrian France, our bass trombone player, we have been able to borrow some classical trombones for the trombone students to experience playing.
This is the second year of our collaborative module with the university and the students will be working hard on planning their end of year assessments and picking our musicians brains. Indeed, in this past lockdown, our clarinettist Margaret Archibald has been busy working with the clarinet students online, let’s hope all their hard work pays off this week.
Click the link below to view.
Havant Symphony Orchestra’s viola player Vincent Iyengar practised slightly more than he usually does during lockdown. “It gave me a chance to revise playing solo viola works that I’d studied at college. I also tried my hand at the ‘cello for a few months”, he says.
Gerda Wilcox has a flute and piano music studio in North Baddesley. She is also principal flute with the Havant Symphony Orchestra. “My practising went well during lockdown, possibly out of boredom. By way of Facebook’s Flute Etude of the Week community, I discovered a great book of studies by Sarpay Ozcagatay. It’s incorporated a little jazz into my practise diet.” she confides.
“I also learned a bit of videography too and started a YouTube channel which gave me a goal to focus on”, says Gerda enthusiastically. I took a look at Gerda’s channel. She performs a beautiful rendition of that plaintive Northern Irish air Carrickfergus while harmonising with herself on flute. As they say in the Emerald Isle, it’s enough to bring tears to a glass eye.
Cath Hutchins, one of the HSO’s first violins, has had little time to practise because she’s been heavily involved with the Cosham Community Larder. The Larder was set up and run by volunteers from St Philip’s Church.
“It’s a food store in a renovated bowling club in Cosham Park. For a £1 registration fee, members from Cosham, Wymering and Paulsgrove can choose ten food items for £3.” Cath says.
“We buy supplies from FareShare who collect surplus goods from supermarkets which are coming up to their ‘best before’ date. Even with sensible social distancing in force, some mornings are very busy. The shelves are depleted by the afternoon,” explains Cath.
“We are also very grateful to the Highbury Champions for their help in distributing food and those members who offer vegetables directly from their gardens” public-spirited Cath says.
Peter Best, violinist with the Four Strings Quartet, bought a dog during lockdown. “Affectionately known as ‘the pandemic pup’ Monty is a lovely Border terrier,” says Peter. “It really makes sense to have a companion on my daily exercise walks.”
“I’ve taken him to puppy and junior training sessions and he’s done really well. Some bits are online; others are face-to-face but Monty’s passed with flying colours.”
“The Four Strings Quartet is really popular for weddings and other special occasions but our last gig was in March 2020. Before that our diary was full. None the less people are booking us for future dates when lockdown is lifted”, Pete says.
The UK government must act now to put arrangements in place to enable musicians and other performing artists and their support teams to travel within the EU without crippling costs and excessive paperwork. Pianist Sophia Rahman, with violinist Catherine Martin, explains what this means in practical terms.
‘A glance through my own accounts for the year ending April 2020 shows that well over two-thirds of my income was either earned within the EU (Austria, Estonia, etc.) or within the UK but with one or more collaborators from the EU. As well as producing foreign earnings, UK musicians touring abroad are a showcase for our country’s rich cultural heritage. When foreign musicians come to the UK to collaborate with us, they are not ‘taking work away’ from British musicians but generating an exchange of ideas which stimulates both sides and offers a chance for unique work to be created. Artistic standards are driven up by such interaction as each party benefits from the opportunity to learn from and inspire the other. The government apparently refused to agree a visa-waiver scheme offered by the EU as it was regarded as opening the door to free movement. Touring is emphatically NOT an immigration issue, as we all wish to return to our home bases after creative interaction; it is an issue of healing and well-being and has huge cultural and economic value.
Because of Covid travel restrictions I have given only two live performances within the EU since March 2020. I am extremely concerned that when these restrictions are eventually lifted the practical difficulties (red tape and associated costs) of touring post-Brexit will spell the permanent loss of a significant part of my income. The performing arts are now struggling with the absence of workable post-Brexit arrangements. When, as directed by the Department of Culture, Media and Sport, I go on gov.uk and ask a Brexit-related work question I get a Covid answer. Despite considerable media attention, there is still no sign of any government initiative to solve the potentially much longer-lasting problems that the absence of a visa waiver agreement creates for artists and their touring support network.
As things stand the (non)deal for artists would render my formerly viable performing career unsustainable. The same goes for many other musicians. As the violinist Catherine Martin explains:
“I’ve been doing some maths with regard to what I earned, and where, in the year March 2019 to March 2020. I spent just over a third of my time (37%) rehearsing in the EU for concerts abroad. This includes my teaching abroad and reflects the work that I did for groups based in the EU. I spent just over a third of my time (35%) rehearsing in the UK for concerts in the UK. This includes my teaching in the UK. I spent the rest of the time (28%) doing concerts in the EU but rehearsing in the UK. So, this is the time I spend with UK groups who perform abroad. If I were to lose my work in the EU I’d probably lose half of my income. I am established and successful. I shudder to think how anyone is going to be able to earn a decent income who is just starting out.”
The situation is even more disastrous when you consider the double-whammy that has already hit performers. Work at home has been so limited during the past year due to Covid restrictions, with still no prospect of a return to anything like normal service in the foreseeable future. Moreover, the streaming which the public has relied upon to comfort and ease them through successive lockdowns is not adequately remunerated. To put this last point into perspective, violinist Tasmin Little speaking recently on BBC Radio 5 stated that a year ago from her (then) 700,000 listeners she had garnered a total of £12.34 over a six-month period.
Performing artists and their support crews have been incredibly hard hit by the Covid restrictions. Many of us have not benefited at all from the cultural recovery fund, and many have been excluded from government assistance, though those who have benefited are grateful. Now we urgently need the government to return to the negotiating table and forge a solution to the pressing problem of being denied work in the EU through a Brexit deal that utterly failed to acknowledge the needs of our industry. We have to be able to travel in order to simply do our jobs, to start on a level playing field with our fellow players within the EU and with our co-workers from all fields at home.
Whichever way readers may have voted in the Referendum they certainly would not have intended Britain’s creative industry, the second fastest growing sector of the economy pre-lockdown, to wither in this way. Nobody likes to see businesses go to the wall but imagine if the delicate ecosystem of the arts world, which provided so much solace to people during the extreme times of the pandemic, were to collapse through political mismanagement. If you value access to the performing arts, if you value creativity and the vast support network that sustains it and helps to make life worth living, then support us in the fight for a solution.’
Sophia Rahman made the first UK recording of Florence Price’s piano concerto with the BBC National Orchestra of Wales, broadcast on BBC Radio 3. She has recorded Shostakovich’s piano concerto Op. 35 with the Scottish Ensemble for Linn Records and over thirty chamber music discs for a host of international labels including (German) CPO, (Swiss) Guild, Resonus, Dutton/Epoch, Naxos, ASV and Champs Hill. Sophia teaches on the String Masters programme run by the Irish Chamber Orchestra at the University of Limerick’s Irish World Academy of Music and Dance and has also coached at the University of Malta, junior chamber music at the Sibelius Academy, Finland and Lilla Akademien, Sweden, and on a course she designed at the Arvo Pärt Centre, Estonia, especially for young Estonian chamber musicians. She is Artistic Director of the annual Whittington International Chamber Music Festival which brings together distinguished artists from across the globe to play chamber music together in rural Shropshire. After early schooling in the Chichester area, she attended the Yehudi Menuhin School where both student and staff membership was truly international. This created a unique environment for the highest artistic standards to flourish, which developed into a career founded on international exchange of ideas and freedom of artistic expression across borders.
Catherine Martin has been leader of the Gabrieli Consort and Players since 2005, appearing on many award-winning recordings. From 2010 to 2020, Catherine also led Die Kölner Akademie in Germany. From the inception of the Valletta Baroque Festival in 2003, Catherine has had a continual relationship with the Valletta International Baroque Ensemble, going to Malta three times a year to direct concerts with Maltese musicians and give masterclasses. She is a frequent guest leader of Barokkanerne, a baroque orchestra based in Oslo. Catherine has previously taught at the Norwegian Academy of Music, and currently teaches historical violin at the Royal College of Music.
Read their stories at: https://bit.ly/3wUvz2O.
What diverse and interesting people we musicians are. Hobbled and restrained by lockdown, stopped from playing together, there seems to be no end of things we have turned our hands to.
The Meon Valley Orchestra’s bass clarinettist John Elder grew tired of learning for the sake of learning by Zoom. “I kept up my weekly clarinet lessons on Zoom but I got interested in Jazz. I also recorded harmonising multi-tracks of myself playing Grundman’s Caprice for Clarinets”.
“I’m a keen walker too and I wore out three pairs of trainers covering nearly 2,000 miles over the period,” says John. An enthusiastic astronomer, John has also taken some amazing photographs of nebulae in the night sky.
“My real salvation has been working part-time in a brewery,” explains John. “I also enrolled for the General Certificate of Brewing and I’m studying for the exam which I will sit in May”, he adds.
MVO flautist, Jaqueline Cope, says that she disciplined herself to practice for an hour every day, extending her ability by tackling works by French composers like Fauré, Poulenc, Saint-Saëns and Meunier.
“During the pandemic I also finished writing a book entitled “Drifting Away”, says Jaqueline. “It narrates my epic, seven-year voyage on an old Nicholson yacht across the Atlantic, through the Caribbean and the South Pacific to far flung-islands like Tonga, French Polynesia, the Cook Islands and the Marquesas. It’s now on sale via Amazon for £5.99 for the Kindle or it’s available as a paperback,” she states.
Havant Symphony Orchestra’s percussionist Sarah Woods has been busy too. She’s been playing more piano, accompanying her Baritone-singing husband and uploading material on YouTube.
“During Advent, with my husband, Kevin we uploaded a carol every day. We’ve also provided pre-recorded music for online worship at our church,” explains Sarah.
Lockdown has not deterred Carla Goodyear, the leader of the HSO’s second violins and an accomplished pianist. “I’ve had the luxury of playing chamber music with friends from all over Europe twice a week using Jamulus, which is free from the latency problems of Zoom or Skype. The group has included various string combinations, oboes and even harpsichord”, she enthuses.
“I’m a former school teacher, so I’ve given my granddaughter Maths lessons. I’ve practised daily Yoga and Pilates, been hiking, gardening and growing Tromboncino courgettes and pumpkins. I’ve also been brushing up my Dutch, the first language of my mother,” relates Carla.
“Having supposedly retired but working one day per week working as a consultant at Queen Alexandra Hospital, I was asked to increase my hours,” says MVO baritone sax player Penny Jordan. “Now working four days per week I’ve taken on the leadership of the non-Covid department specialising in breast cancer.”
“I’ve been doing Skype lessons with my teacher Ric Woods. He’s also organised sax quartets on Zoom.
“Ric uses software to mix the two sopranos and alto with me on bari. It’s great fun.” she confides.
Former Royal Marines bandsman and musical director of the Portsmouth Light Orchestra, Ed McDermott, can’t wait to get back to conducting again. “I’ve been practicing my flute for two and a half hours per day and revising music that I haven’t seen for ages. I’m looking forward to getting to grips with new music” he says.
Ed is also a valued member of the Meon Valley Orchestra.
Saxophonist, founder member of the MVO and former GP, Annabel Armstrong is now busy doing anti-Covid vaccinations. Even so, she has kept up playing on her second instrument, the violin.
“Laura Riley, who lives next door, has been giving me lessons. I’ve got to about Grade 4 so I feel that definite progress has been made,” Annabel says.
Initially well-motivated, Lorna Allery, an MVO violinist, lost the impetus and got bored with playing the same things over without anything to work towards.
“Fortunately, because the piano is my first instrument, I’ve enjoyed the opportunity of going back to old pieces and working on them,” she says. “I also recorded a violin part for my church which, when added to other parts and singers for Sunday Service, produced lots of favourable comments,” adds Lorna. “I also knitted Teddy nurses for the NHS and jumpers for the grandchildren,” she says proudly.
Alan Fitch, a violinist from the Charity Symphony Orchestra, continues to do computer work from home but he still found time to build a portable pipe organ. He bought it in kit form from the Early Music Shop in 2014.
“I shied away from starting such a complicated Medieval instrument. Its proper name is a portative organ and it’s got leather bellows. I finally plucked up courage in 2020 to build it. I just did it bit by bit during my lunch hours. I assembled a knee harp from a kit as well,” he says.
Another CSO violinist, Mary Hyde, was out on a limb when the school at which she taught closed. “I decided to become semi-retired and got another post as a teaching assistant at a primary school,” she explains. “I was also given responsibility for a special needs pupil. I’m really enjoying it and I still find time to play with other musicians at safe distances in my garden,” says Mary.
My own lockdown story is rather different. After months of purposeful, daily violin practice I found my driving force ebbing away. Struggling with repetitive, hard graft etudes and scales by Sevcvik and Hrimaly gave me no pleasure at all. My sixth position playing on the G-string sounded more like Banshee wailing than actual music. I found myself putting off my practice periods till later in the day.
Something had to be done. So I bought a book of Kayser’s intermediate and progressive studies which I remembered playing as a teenager sixty six years ago. Coupled with playing old favourite etudes like those of Kreutzer, Wohlfahrt and Mazas, that did the trick. I also discovered material by Jakob Dont; challenging, but not too much so. Hopefully, I’m now back on track.
Ending on a completely different note, during lockdown I got hooked on woodwork on YouTube. From my little, newly-created, joiner’s shop in my house, all manner of useful items are emerging, like garden seats, display shelving for the kitchen, upholstered footstools, storage boxes with dovetail joints, music stands for desks, wooden mallets, frame saws and so forth. I love it and it keeps me busy but it’s still not as good as ensemble playing.
Stuart Reed in his workshop
“We are all very anxious to get back to singing”, says SMVC chairman David McVittie. “We have been meeting on Zoom, singing along to tracks played by our MD. but it is not so effective when you cannot actually hear your fellow choristers”.
Solent Male Voice Choir is hoping to resume practices in late June at the Pallant Centre, Havant on Tuesday evenings. It will be great to get back together – singing does so much to lift the spirits and assures us of good mental health.
We are hoping to increase the size of the choir from its present twenty members and newcomers can be sure of receiving a warm welcome. Further information can be gained by contacting our secretary through our website.
Autumn/winter concerts have been arranged for October 30 (St Georges Church, Waterlooville), November 27 (Portchester Methodist Church) and December 14 (the Pallant Centre, Havant).
This is the last of our 2011-2019 retrospectives. We hope you’ve enjoyed revisiting some of the Festival’s activities over the past decade.
Thank you for your interest and support and we look forward to welcoming you to Festival events in the future.
All being well, we shall be announcing a choral workshop for Saturday 25 September and a full-scale Festival in March 2022.
Click on the year below to open our last email of the series with articles, anecdotes, reviews, photographs and links to websites about the Festival’s music and performers.
In this issue:
George Dyson: The Canterbury Pilgrims
Claire Martin and Ray Gelato with the Dave Newton Trio
Trumpeter Jonathan Mitra, pianist Rosie Sheppard and saxophonist Victoria Puttock
Petersfield Orchestra: Rachmaninov’s Symphony no. 2.
Please click on the link below to read more.
AChoired Taste / Hampshire Guitar Orchestra
The Rio Grande and Carmina Burana
Festival of Young Composers
2015-16 saw the fourth biennial Festival of Young Composers, run in conjunction with the Festival’s Michael Hurd Memorial Fund.
Composers are invited to submit scores, which they perform to a panel of three adjudicators and other listeners. The adjudicating panel in January 2016 comprised Festival president, Jonathan Willcocks, the noted composer Roxanna Panufnik and Festival chairman, Philip Young.
A cross between a celebration and a competition, the event has three age classes, with prizes for the winners and runners-up to spend on furthering their musical development. The outstanding compositions of the year were played again at the Youth Concerts in March: ‘Stormy Seas’ by Shoshana Yugin-Power, aged only nine, ‘Love Passing By’, by singer and guitarist Bethany Magennis-Prior, and ’See You Soon’ by Joel Knee, an A level student who brought an eight-piece jazz band to play his complex and beautifully scored piece.
Shoshana returned to the Youth Concerts in 2019 with her piece ’Three Little Pigs’, for narrator and ensemble. In October last year, she was one of 15 young composers to win the BBC ’30- second Composition Challenge’ as part of the ‘Proms at Home’ season.
Trombonist Joel went on to study at the Royal Academy of Music and to become a member of the National Youth Jazz Orchestra.
The theme for the choral items in the Youth Concerts 2016 was Shakespeare’s quatercentenary – interpreted broadly enough to include sixteenth-century songs, conducted by Ben Harlan, choruses from West Side Story conducted by Hamish Newport, and 60s rock and roll from Return to the Forbidden Planet! conducted by Edward Williamson with an instrumental ensemble led by Darren Reeves.
Lunchtime Recital with Sara Deborah and Richard Pearce
Mendelssohn, Schubert and Weber
If the Festival’s first choral concert shook things up, the second brought us back to the familiar home territory of the early Romantics.
A workshop a couple of years earlier had introduced the choirs to Mendelssohn’s beautiful Verleih’ uns Frieden and reminded them that his ‘Hear my Prayer’ is more than ‘O for the wings of a Dove’ – beautifully sung in the concert, as in the workshop, by the young soprano and Petersfield resident Olivia Brett.
Weber’s Mass in E flat is not often performed, and ‘one can perhaps see why’, wrote David Francombe, confessing himself ‘strangely underwhelmed’ as a whole, in spite of some excellent choral singing by Fernhurst and Petersfield choral societies and Midhurst Music Society.
The heart of the programme, as it turned out, was Schubert’s ‘Unfinished’ Symphony, in which Paul Spicer relished the opportunity to work with the musicians of Southern Pro Musica. His meticulous direction, wrote David, ‘lovingly shaped and crafted this much-loved piece’.
Weber’s penchant for operatic drama and instrumental brilliance were on show – rather more than they were in the Mass – in his Concertino for Clarinet in E flat, played by Keir Rowe with every nuance from magical pianissimo to brilliant virtuosity.
Please click on the link below to read more.
Froxfield Choir – African Sanctus
Under their founding director, Elizabeth Gotto (who retired from the Festival Committee last year after many years as Soloists’ Secretary) Froxfield Choir took part in the Festival’s choral concerts between 1997 and 2004.
Conducted by Elizabeth’s successor, Richard Smith, the choir gave a series of ambitious and memorable concerts in High Cross and Privett, including a spectacular performance of David Fanshawe’s African Sanctus in Privett Church in 2011. The Festival invited the choir to bring its performance to the Festival Hall to open the 2013 Festival. Joined by Churcher’s College Junior Chamber Choir, accompanied by the brilliant Backbeat Percussion Quartet, and with technical support from Jane Fanshawe, the choir gave its packed audience an evening of unforgettable colour and excitement, enhanced by the lighting effects of Simon Auty and the Green “A” Team.
Benjamin Britten’s Centenary – Britten: St Nicholas
Both of the 2013 Festival’s Saturday concerts commemorated the centenary of Britten’s birth on St Cecilia’s Day, 22 November 1913.
On the first Saturday, the choirs coupled Britten’s St Nicolas with the Ode on St Cecilia’s Day (1692) by Britten’s great forbear and inspiration, Henry Purcell. Britten achieved in St Nicolas a combination of accessibility and expressive power that is rare among twentieth-century choral works and which has made it a lasting favourite of choral societies.
The performance under Paul Spicer’s direction in 2013 was the third in Petersfield; the Festival performed it first in 1973 under Richard Seal and again in 1987 with Mark Deller conducting.
Britten: Four Sea Interludes from Peter Grimes
Basingstoke Symphony Orchestra’s association with the Festival began with an all-Beethoven concert in 2008, followed by Mozart’s Requiem in 2009 and Vaughan Williams’ A Sea Symphony in 2011. Alongside the choral music, the programmes have included a variety of orchestral works conducted by the orchestra’s permanent conductor, Stephen Scotchmer – including Stephen’s own Fantasy for Orchestra.
What a programme! Petersfield Orchestra‘s Rachmaninov’s Piano Concerto no. 2 was of course enough to fill the hall with devotees who had heard it many times. But Piers Burton-Page’s programme note reminded us to listen to it afresh, quoting Hans Keller’s dictum that ‘there are no such things as hackneyed works, but only tired ears’.
The concert opened with a beautiful but less familiar work, the warmly coloured Symphonic Variations by Dvořák.
Young Musicians – Youth and Lunchtime concerts
The 2013 Youth Concerts opened with a selection from Jonathan Willcocks’ Musical Pie. The children enjoyed these snappy songs with their sound effects and question and answer exchanges. However, a group of songs from the very popular show Wicked proved unexpectedly challenging to learn. TPS and Churcher’s College filled the stage with their combined wind band and swing band, and the concert ended with Churcher’s College orchestra playing the Finale of SaintSaëns Organ Symphony and (enthusiastically joined by the choir) Beethoven’s Ode to Joy.
John Tams and Barry Coope
The Festival has not often programmed a full evening of folk music, but in booking John Tams and Barry Coope in 2013 they went straight to the top!
John Tams’ work has spanned five decades in every performance medium. He is a recognised authority on vernacular music and a seven-times winner of the BBC Radio 2 Folk Awards. At the National Theatre he has worked as an actor and musical director/composer on over 30 productions including Lark Rise to Candleford.
Please click on the link below to read more.
Bach: St John Passion
Mozart Requiem with Hampshire County Youth Chamber Orchestra
Kit and McConnel
Please click on the link below to read more.
Richard, Andrew, Angie and Carolyn have all worked extremely hard over the past year to keep the singing going and ensure that we have choirs to go back to eventually. It’s a sad fact that many choirs have folded, some never to return. While we can all appreciate the hard work they do, do any of us really realise exactly what the work of an MD entails, and how it has changed during lockdown?
A friend – ex-journalist and now MD of several choirs up in the Liverpool area – wrote an account of her lockdown choir experience which she has very kindly allowed me to share with you. I think it will make you appreciate our “gang of four” even more! I don’t think it’s very far removed from Richard and Andrew’s experiences at least, for sure!
“Live, full-length concert: prepare score thoroughly, plan rehearsals, rehearse lots, practice on own, perform, enjoy the subsequent adrenaline rush and audience and choir reaction. Relax with a glass of wine or a cup of tea.
Recorded three-minute piece for a virtual choir performance: prepare score thoroughly, record every part (multiple times, with cutting and pasting to correct any bits that are incorrect as you’re not used to singing tenor), record soprano again as levels need tweaking, transpose bass and tenor down an octave, set volume so one part is prominent and export to create rehearsal track, repeat for all other parts, record video of you conducting the piece (multiple takes until you get it spot on, because conducting to an invisible choir is harder), transfer all files to location accessible by whole choir, plan rehearsal, set up all audiovisual equipment, send Zoom link, do rehearsal with all choir on mute, write comprehensive instructions on how to record, watch YouTube tutorials on new video editing software, learn how to use software, receive tracks and videos from choir members, edit together audio, edit together video, make it look pretty, wait three centuries for it to render, wait another three centuries for it to upload to the cloud, then set about making sure the person who needs it has it. Collapse on floor with exhaustion. Tea gone cold due to neglect.
I mean, I’ve learnt lots of new skills, but I will be a happy chappy when I can go back to conducting singers in person..!“
Several members of LCSVirtual belong to the national choral charity organisation Sing for Pleasure. In “normal life” SfP run singing courses and events, plus conductor training, in different parts of the country throughout the year, including a very successful and popular summer school at Keele University in Staffordshire over the course of a week each August. Over the past 12 months they have made the shift to the online world and have run a succession of short series of webinars on a wide range of subjects, in addition to a Virtual Summer School last August. They are now beginning to gear up again for real live events and will soon have some dates on their calendar.
Organ recital with Carlo Curley
Petersfield Orchestra seized the chance of using the Allen organ to programme Saint-Saëns glorious ‘Organ Symphony’, with Richard Barnes as the organ soloist and Hiroko Banks and David Groves playing the piano duet.
Reviewing the concert, Elizabeth Gotto wrote that the orchestra ‘launched into the first item (Dvořák’s overture Carnival) with strength and enthusiasm, giving the concert a rousing start, led by their leader, Helen Purchase’.
In Tchaikovsky’s Swan Lake suite, Elizabeth noted that the young Lucy Humphris (now a fine professional trumpeter) ’played with confidence and panache in the ‘Neapolitan Dance’’. ‘Strong strings, wind, brass and percussion’, Elizabeth wrote, ‘all joined together to make the Saint-Saëns symphony an unforgettable experience. The Adagio, with its organ part, gave a feeling of spiritual peace and serenity’.
Supporting young players and composers Petersfield Orchestra welcomes talented young players into its ranks, providing invaluable experience of the excitement and discipline of rehearsing and performing with a full orchestra.
As well as Lucy Humphris, several other young musicians over the past decade have benefited from having this opportunity on their doorstep, including composer George Venner, who has been a regular attender at rehearsals.
Some years ago, recalls conductor Robin Browning, the orchestra ran two workshop rehearsals with some of George’s early orchestrations. Between the rehearsals, George revised his score in the light of the issues the first session had brought to light, and on the second occasion ‘we were adeptly able to turn it into orchestral sound right off the bat’.
George’s Three Paronomasias for two clarinets and piano four hands were recorded last year by Rob Blanken (principal clarinet of Petersfield Orchestra) and Emma Alexandra, with pianists Nic Saunders and Matthew Cooke.
Helen Purchase has been leader of Petersfield Orchestra since 2002.
Helen studied at Colchester Institute and Middlesex university before taking up a post at Churcher’s College, initially as a teacher in charge of strings.
She became Director of Music there in 2012, and Head of Performing Arts in 2016. Festival week is always a busy time for Helen, since as well as leading the orchestra in its Thursday concert she coordinates the College’s contribution to the Youth Concerts and conducts the combined jazz bands of Churcher’s and TPS in the two performances.
Outside music, as the orchestra’s website tells us, Helen keeps fit with climbing (Mont Blanc), long distance running, skiing and more.
Mass for Chorus, Brass and Organ for the Queen’s Diamond Jubilee with Petersfield Chamber Choir
Ann Pinhey (read a 2020 profile of her on Music in Portsmouth)
Cabaret Evening with Michael Mates and William Godfree
Verdi Requiem – open workshop day led by conductor Paul Spicer
Youth Concerts celebrated the Olympics
Please click on the link below to read more.
Jonathan Willcocks: A Great and Glorious Victory
In October 2012 Jonathan Willcocks led an inspiring Festival workshop on his choral work A Great and Glorious Victory, timed to coincide with preparations for singers from several UK choirs to join an international choir in Carnegie Hall, New York, in early 2013.
The Festival’s own performance of A Great and Glorious Victory, conducted by Paul Spicer with Peter Aisher as soloist, followed in 2015. The work both inspired and challenged the combined Fernhurst and Petersfield choral societies and Midhurst Music Society, with its complex rhythms, explosive depictions of battle and storm, and powerful emotional range from conflict to resolution.
Trafalgar was not the only battle being fought – David Francombe described the drama of the chorus ‘battling valiantly against a huge volume of sound from the orchestra’.
The work memorably involves the audience singing the great hymns ‘Eternal Father, strong to save‘ and, in conclusion, ‘The day Thou gavest, Lord is ended’. The closing bars, said David, with the offstage soloist singing the word ‘Victory!, Victory!’ were ‘pure magic!’
Also: Hampshire Police Male Voice Choir with Quintessential Brass
National celebrations of the 800th anniversary of Magna Carta – new short cantata with words and music by Philip Young
The Parnassian Ensemble – Their programme for the Festival, subtitled ‘Cross-currents’, included twentieth-century music by Bohuslav Martinù and Ryohei Hirose as well as one of their own commissions, Flourishes and Dances by Steve Marshall, who was in the audience. ‘I hope he was delighted with tonight’s engaging performance, full of jazz rhythms and occasional dissonances,’ wrote Ann Pinhey. Of the whole programme, Ann wrote, ‘Everything was elegant, polished and performed with virtuosity and assurance. Wonderful!’
Petersfield Orchestra – Beethoven’s ‘Egmont’ overture received ‘an impressive performance, full of warmth and drama’, wrote Ann Pinhey. In Bizet’s Symphony in C, ‘Robin Browning galvanised his players, giving a polished, energetic reading.
Gerald Finzi: Intimations of Immortality is a big and challenging work, so who better to prepare a performance than Paul Spicer, a trustee of the Finzi Society and foremost exponent of the British choral music of the period, who named his own chamber choir the Finzi Singers?
Please click on the link below to read more.
This month’s edition discusses:
• The Covid crisis continues to have a major impact on our programme schedule with The Student Showcase delayed until May. Further details below.
• Our event with Ashworth & Rattenbury Guitars has had to be postponed until an additional date in September. Hopefully by that time live audiences should be able to enjoy their programme! See full details of our revised programme below.
• The AGM will be delayed this year until 9th June. The Annual Report and Accounts will be emailed to members next month. See Chairman’s Blog.
The Student Showcase Competition, where six selected undergraduates compete for the £1500 Prize Fund (First prize £600) will now take place on Thursday 20th May in the University Chapel.
Auditions will be taking place during April and further details will be published in our next Newsletter.
Our programme for the beginning of the year continues to be badly affected by the continuing Covid crisis and lockdown, Performers are finding that it is impossible to rehearse in groups and prepare for their concerts and additionally in our case until recently the University has had to work remotely with its students with no visitors allowed on campus.
The Student Showcase has now been rescheduled to 20th May and the event with Ashworth & Rattenbury Guitars is being rearranged for later in September. As was the case last year, members will receive full credit for the postponed events against the cost of next year’s renewal. We are hoping that our summer concert will go ahead as planned on 9th June although we will probably not be able to provide the full interval buffet as usual.
Our AGM has been postponed until 9th June, preceding the concert with Tanya Ursova and Anna Gorbachyova. Members will receive the Report and Accounts for 2020 during April. This has been a very difficult year for our Society but fortunately due to the support of members and generosity of donors, our financial position is secure. The Committee has developed an excellent programme for 2022 including some new faces as well as established friends. Full details will be circulated soon.
The untimely death of our Treasurer, Chris Coote, last September was a real loss and we are currently seeking someone to replace him. If any member is able to help the Committee in this way, I should be delighted to hear from them.
The Committee would like to thank members for their support over this very difficult period. I know how much we all want to get back to normal and enjoy our live music and socialising once again. Do take care and look after yourselves. I look forward to seeing you all again soon!
Programme for the year
Thursday 20th May University of Chichester Student Showcase Concert
Six selected undergraduates compete for the £1500 Prize Fund (First Prize £600)
9th June Summer Concert
Tanya Ursova (piano) & Anna Gorbachyova (soprano) perform a programme of Russian music for our summer event. Tanya last performed for the society in 2017 when she presented a lecture recital on the Muses behind the Russian composers. Tonight Tanya returns with her friend Anna Gorbachyova (soprano) with a programme songs for a summer evening. This event will be preceded by the AGM from 7.15pm.
15th September Erin Alexander & the Champagne Quartet
The Quartet will perform a reduced version of one of the great operas, small in scale but including all the best bits!
September (date tbc) Ashworth & Rattenbury Guitars
The guitar duo present ‘A Shared Resonance’, a lecture/recital featuring duets performed on three types of instrument: the Baroque guitar, the Early Romantic guitar, and the modern classical guitar. Each of the guitars has it’s own distinctive sound, and original music that was written for it, or in this case for two guitars. The duo will perform music by some of the major guitarists and composers of the last three centuries to tell the story of how the guitar duet developed and changed, and is still changing
13th October Emma Abbate & the Sacconi Quartet
CMS are delighted to present the highly talented pianist Emma Abbate with the award-winning Sacconi Quartet. The Quartet are recognised for their integrated and compelling ensemble, consistently communicating with a fresh and imaginative approach. Performing with style and commitment and are known throughout the world for their creativity and integrity of interpretation. The Ensemble will play music for piano quintet including Shostakovitch’s brilliant Op. 57 Piano Quintet
10th November Martino Tirimo & Atsuko Kawakami
The brilliant duo return with a programme of music for two pianos
8th December CMS Bursary Holders Concert
This is a special benefit event for Christmas and features some of our recent bursary holders. A retiring collection will be made at the end of the concert and all proceeds will go to CMS charities for the benefit of future bursary award winners and the purchase of musical instruments.
Full programme details will be circulated nearer the time. Wine & mince pies will be served during the interval.
Edward Thomas Centenary Concert
From time to time the Festival puts on a ‘Petersfield special’ – a unique concert relating to the music and community in this part of the world, such as the gala concert of Petersfield Musicians and Composers at the Festival’s centenary in 2001, the memorial concert for Michael Hurd in 2007 and the Rogate Choral Society centenary concert in 2008.
The latest in this series, and the broadest in scope, was the 2017 Edward Thomas Centenary Concert. In order to represent the nature of Thomas’s association with the area, and with Steep in particular, the Festival invited Petersfield Photographic Society to mount an exhibition of photographs inspired by the poetry. Petersfield Museum was also invited to put on a display drawing on the substantial collection of Edward Thomas material held there. The Museum’s trustees and staff, who include members of the Edward Thomas Fellowship, provided invaluable advice and support. The programme of choral and solo vocal and instrumental music was researched and devised by members of the Festival committee and performed by a variety of groups and individuals with local connections, to a capacity audience that included the Lord Lieutenant of Hampshire, Nigel Atkinson, and East Hampshire MP Damian Hinds.
The first half of the concert focused on Thomas’s family, friends and literary contacts, with music he wrote about and settings of poems by his contemporaries. The second half introduced settings of Thomas’s own poetry – many of them little known, but strongly evocative in the context of his life and work, described by Philip Young in a linking narrative.
Most of the choral works were sung by Vox Cantab, the professional chamber choir set up by former Churcher’s College student Louisa Denby, conducted by Jonathan Willcocks and accompanied by Richard Pearce.
A Romantic Choral Feast
Johnny Mansfield’s Elftet
Sara Deborah Timossi
Sara Deborah Timossi first performed in Petersfield, as Sara Deborah Struntz, with Petersfield Orchestra in 2009, when she gave a memorable performance of Mendelssohn’s Violin Concerto. Her biography for that concert already hinted at her breadth of interests and sympathies: “Aware that every talent bears a responsibility, Sara Deborah strives to bring music’s message and beauty to life to reach her listeners’ hearts; therefore she also performs in hospitals, prisons and care homes.”
In October 2017, she won the First Prize and Audience Prize at the International Baroque Violin Competition Premio Bonporti in Rovereto, Italy, awarded for only the second time since 2003.
Since moving to Liss, Sara Deborah has combined her artistic career with family life and involvement as an environmental activist. She founded the string orchestra SouthDowns Camerata to promote classical music to wide audiences and to support young string players, and leads the Spirit of Music Festival in Liss and Petersfield.
With pianist Richard Pearce, Sara Deborah gave an acclaimed lunchtime recital at the 2016 Festival. She was due to return wearing two hats in 2020 – with SouthDowns Camerata in a concert of eighteenth century choral music, and with the SOS Choir, who were preparing to perform Dorry Macaulay’s song ’SOS from the Kids’ with the combined schools choir at the Youth Concerts. The SOS Choir went on to reach the semi-finals of Britain’s Got Talent in September last year.
Please click on the link below to read more.