For the latest amateur classical music listings in and around Portsmouth, including Fareham, Petersfield, Chichester, Havant and Hayling Island

Chichester Music Society: livestream of Pavlos Carvalho playing Bach Cello Suites on 9 September

Please see a previous news item about this concert.

Arrangements have been made to live stream our concert with Pavlos Carvalho on Wednesday 9th September at 7.30pm in the University Chapel.

On this occasion the live stream will be carried by the University’s in-house system, ‘Chiplayer’. Click on the link below and it will take you straight to the livestream. If you click into the link before the live stream starts you will be taken to the site and it will say “this page will refresh when the webcast starts”. The concert will begin at 7.30 pm and once you have linked onto the site, no further action is required.

I do hope that you will enjoy this live-streamed event. This will be the first time we have attempted to live stream our events so it will be a bit of a learning process all round, please bear with us!

Live music returns to West Meon

While the ongoing Covid-19 crisis has forced the Primrose Piano Quartet to scale back on its plans for the 10th Anniversary West Meon Music Festival in September, the quartet is now going ahead with its alternative “mini-festival”.

West Meon Church is happy to host a socially-distanced audience of up to 65 for three concerts on 11th and 12th September, and with Government confirmation that indoor concerts can take place from 15 August, this means that – barring a sudden spike in Covid-19 cases and an ad hoc lockdown – live chamber music will be heard again in the district.

“Like all self-employed musicians we have seen every one of our scheduled concerts cancelled since lockdown began in March,” says Andrew Fuller, the quartet’s cellist and festival musical director. “We’ve missed performing just as much as our audiences have missed listening to live music.”

The three short concerts (no intervals to avoid unnecessary social contact among the audience) on Friday evening, Saturday afternoon and Saturday evening will include such favourites as Mozart’s Piano Quartet in E-flat and Beethoven’s String Trio in G major. Saturday afternoon’s concert is a tribute to the plight of the musician in lockdown with each member of the quartet performing their favourite solo works – including a Bach cello suite and chaconne for violin, one of Brahms’ piano intermezzo and Stravinsky’s Elegy for Viola. There will also be a distinct French flavour to the programmes with works by Fauré and Chausson reflecting the quartet’s next planned CD to be released in 2021.

Full details of the concert programmes can be found on the festival website (click the link below) with online booking now available for tickets at £15 for main aisle seats and £12 for side aisles. Given the limited number of seats available, early booking is recommended and concert-goers will need to indicate whether they are booking tickets for a single household or bubble to meet track and trace guidelines and allow seats to be pre-allocated. If you are unable to book online then please contact the box office on 01489 891055 for alternative options.

For those looking further ahead the planned “10th-anniversary” festival will now be held from 9-12 September 2021 when guests will include clarinettist Michael Collins, guitarist Laura Snowden and BBC Young Musician Strings winner 2018, cellist Maxim Calver.

The Primrose Piano Quartet is one the country’s leading ensembles and its acclaimed discography includes classical favourites as well as many unjustly neglected works by early 20th century British composers such as Dunhill, Quilter, Bax and Frank Bridge. Their major commissions include piano quartets written for them by Sir Peter Maxwell Davies and Anthony Payne. The quartet appears regularly in London at King’s Place and the Conway Hall and has recently toured Denmark, Germany and Bulgaria.

Named after the great Scottish violist William Primrose, who himself played in the Festival Piano Quartet, the Primrose has been selected for the Making Music Concert Promoters’ Network in 2004/5, 2011/2012, 2014/2015 and 2017/18. Its latest recording of the complete Brahms piano quartets, made in Vienna on authentic pianos of the period, has been highly recommended on Radio 3’s “Record Review”.

Susanne Stanzeleit – Violin
Dorothea Vogel – Viola
Andrew Fuller – Cello
John Thwaites – Piano

Chichester Chamber Concerts series update

We are delighted to announce that our new season of concerts will take place in the Assembly Room starting on 1st October. The concerts will also be live-streamed by MD Music Production, directors David Greenlees and Mark Mawson.

Seats in the Assembly Room will be limited to approx. 40, so hurry to get one from Chichester Festival Theatre via – tickets can be ordered online or by post (Chichester Festival Theatre, Oaklands Park, Chichester, PO19 6AP); no telephone or in-person bookings at the moment.

We will be live-streaming a rescheduled concert on 10th September by the Trinity Ensemble (seats in the hall sold out) – see CCC website for programme details – live stream tickets £9:

We are thrilled to be welcoming our audience back to hear wonderful musicians live in the Assembly Room, and to welcome the musicians themselves who have been deprived of their livelihood and the joy of sharing great music with their audience.

We look forward to the day when restrictions will be lifted and we can welcome everyone back to the Assembly Room.


Profile: Stella Scott, cellist

Who have been the main influencers on your decision to spend plenty of time in musical activity?

I don’t have a career in music. I have on occasion been paid to play on a freelance basis and I did teach the cello for a while but I don’t have music college training so have always had other paid employment and done music as a sideline.

I began learning the cello at the age of 7 and have played in youth and amateur orchestras for getting on for 50 years. I don’t think there was ever a decision to spend a lot of time doing it – it simply never occurred to me not to!

I studied philosophy at university, but I have had good cello teachers and gained my LTCL in performance at the age of 39! The most inspirational teacher I had was Christopher Bunting and his influence still resonates. Because I didn’t go to music college so didn’t have teachers there, inspiration has often come from watching conductors and soloists. The effect George Hurst can have on a summer school orchestra, for example, is unforgettable.

I have also had transformative experiences just playing chamber music with exceptional players and this sort of learning continues throughout your life!

What have been the greatest challenges of your musical career so far?

The greatest challenge I’ve had relating to music has not really been to do with playing. The last 7 years of being involved with running the Havant and District Orchestral Society (HADOS) as well as playing in both the Havant Symphony Orchestra and the Havant Chamber Orchestra have been very challenging. The amount of work that needs to be done to put on a series of 3 or 4 concerts per year for each of the two orchestras has been an eye-opener for me.

The need to be looking several months ahead all the time, whilst also keeping on top of the detail for something happening in the next week is hugely demanding. The committee and other helpers are fantastically hard-working and have done a superb job keeping the orchestras going since Peter and Sandra Craddock had to stop.

We have also been hugely supported by our season ticket holders. Their existence is testament to the amount of work put in over the first 50 years of the orchestras by Peter and Sandra, but they have very generously stood by us and continued to come to our concerts in the ‘new era’ which is wonderful.

What for you are the particular pleasures and challenges of collaborating with other musicians?

I think the pleasure is that it’s just wonderful to be able to find a group of people, whether a quartet or a full symphony orchestra, who can basically sit down and play (at some level!) the writing of a great composer. To be able to actually play through a Beethoven Quartet or a Sibelius Symphony rather than just listening to other people playing it is the most amazing privilege. The challenge is that other musicians are people!

Which works or performances are you most proud of?

In years gone by I’ve done some good continuo in, for example, Vivaldi’s Gloria, and I was particularly pleased with my second opportunity to play the solo in the slow movement of the Brahms Piano Concerto no. 2 a few years back. Also I played Bruch’s Kol Nidrei at Hayling with HSO and people liked it.

Are there any composers with whom you feel a particular affinity?

It varies, but the one I usually come back to is Brahms. If you listen to his Piano Intermezzo opus 118 no. 2 in A major, that feels quite close to something that’s a very central part of me. Maybe it just hits upon some sort of universal truth. Try listening to Murray Perahia’s performance here.

Which works do you think you perform best?

I think I perform best any piece that I feel I have a really good understanding of. Whatever piece I am going to perform I try to get inside and understand something about it. I guess as an amateur I do that more on an emotional level than a technical one.

What is your most memorable concert experience?

There are so many! In 2018 I went to Berlin to take part in an amateur orchestra of people from all over the world, conducted by Sir Simon Rattle – that was definitely memorable! But just as impressive in other ways were recent concerts such as our Peter Craddock celebration concert with Mark Wigglesworth, Stefano Boccacci, Richard Harwood and Duncan Riddell, our family concert earlier this year with Jonathan Butcher narrating and Avi Taler conducting Paddington Bear’s First Concert, and our most recent HCO concert with Robin Browning conducting and the amazing Mikhail Lezdkan playing Tchaikovsky.

What advice would you give to those who are considering a career in music?

I think it’s worth bearing in mind that a career in music is not just about playing all the time: unless you are very lucky, you will be a freelancer, which requires a lot of additional skills and is a very precarious position to be in, as has been demonstrated recently. Having said that, if you have the opportunity to go to music college, go. Develop your talent as much as you can while you are young.

How would you define success as a musician?

I guess being able to earn a living being a musician, if that’s your choice. Otherwise, being able to give audiences an experience they value – that could be making them feel very happy, or provoking some other emotion, or sometimes impressing them with your technical skill. Whatever creates a feeling of satisfaction and a desire to come back for more.

How are you keeping yourself usefully occupied and sane under lockdown?

Luckily, I can do my part-time job from home (I work in NHS medical libraries), but on top of that I am growing vegetables, watching art programmes on TV and researching my family history. Plus all the domestic stuff, as we (my husband, Jonathan, and I) have both our grown-up children here with us at the moment. Oh, and playing the cello a bit!

Please support HADOS

HADOS have currently suspended planning concerts, but we will be back as soon as it is practical and safe! Keep an eye on our website.

Stella Scott grew up in Coventry, studied philosophy at the University of Kent and then went on to a postgraduate librarianship course in Birmingham. Having started learning the cello at the age of 7, playing in youth and amateur orchestras soon became an important part of her life. She took on the role of Administrator of the Havant and District Orchestral Society (HADOS) in 2013.

Stella lives in Chandlers Ford with her husband, Jonathan, whom she met at a music summer school in 1992. He has been Chairman of HADOS since 2013 and is an amateur pianist and violinist with a ‘day job’ at IBM. They both joined Havant Symphony Orchestra in 1994 and have been driving up and down the M27 on a regular basis ever since!

Profile: Lynden Cranham, cellist

Who have been the main influencers on your decision to pursue a career in music?

There is a long tradition of music-making on both sides of my family (there have been numbers of organists, pianists and singers). Indeed, music was such an integral part of my home life that I seem to have inherited these influencers and their traditions: I can’t actually remember ever making a decision to become a musician.

Some of my earliest memories are of my grandmother and great aunt playing the piano or singing (they’d both studied at the Royal College of Music), and of my father playing the piano. He took me when I was very young to organ recitals at Westminster Cathedral (the sounds, seeming to come down from the darkened upper part of the building, were so atmospheric), and my great aunt and I went to Sir Malcolm Sargent’s Messiah performances at the Royal Albert Hall.

I sang a lot as a child and started piano lessons around the age of 5, so might well have followed in that family tradition; but on one of our daily family afternoons in Richmond Park we met, quite by chance, a lady called Julia Pringle. She offered to teach me the cello and I became her first pupil. I owe a great deal to this kind and nurturing musician. Had this meeting not occurred I doubt that I would have started to play the instrument that has defined my musical life; and then, sometime later, had I not played the cello, I would certainly not have met the musician friend who introduced me to my future husband; our children and grandchildren would not have existed!

Later on I was lucky to study with further inspirational teachers: Jennifer Ward Clarke at the Junior Royal College; Milly Stanfield at the International Cello Centre (established to propagate the teachings of Pablo Casals); Douglas Cameron at the Royal Academy of Music; and Maurice Eisenberg at the Cello Centre, in Portugal and in New York.

I’ve always loved playing chamber music, and after my studies at the Royal Academy was a member of the Burnell Piano Trio, which broadcast and gave a large number of concerts in Britain and Europe. During this time I also played in the London Mozart Players and made numbers of commercial recordings.

I increasingly became influenced by colleagues who were switching from “modern” to “historical” performance practice. I found that playing music of the eighteenth century and earlier in this fashion was musically and intellectually satisfying. Just after I made this switch I moved to the US with my husband and very young children, and we lived in Ithaca, New York. I taught at Cornell University and was a member of the Accordo Perfetto Piano Quartet, which toured the US and New Zealand. But I also continued to play baroque cello there, with colleagues such as Sonia Monosoff and Malcolm Bilson, and frequently came back to England to record and tour with Christopher Hogwood and the Academy of Ancient Music.

Chris Hogwood was one of the people who were influencing this whole revolution in music-making, and on my return to live in England I worked regularly with him and others, such as John Eliot Gardiner and his three ensembles, and Frans Brüggen, William Christie, Simon Rattle and many others with the Orchestra of the Age of Enlightenment. With these and other period instrument ensembles, I’ve made many recordings and toured many parts of the world.

What have been the greatest challenges on your musical career of far?

As a cellist I have found that rather than the greatest challenges being musical, some of the biggest issues have been practical ones – travelling around, basically carrying another person with you and often a suitcase as well.

Rush-hour trains speak for themselves (I’ve frequently had to stand from Waterloo to Petersfield, with a book balanced on top the cello case), but some of my worst experiences have involved aircraft. Different airlines have different rules for the accommodation of cellos. Even though a seat will have been bought for the instrument the people at the check-in desks often seem not to know their company’s rules.

On an Academy of Ancient Music tour of the US one of the other cellists and I were, literally, put off a flight with our instruments as the plane was about to start taxiing. Passengers had refused to move from what were considered “safe” seats for the cellos, and we were left in the airport in New York as the rest of the orchestra and our luggage flew off to Miami. On another US tour, with the Orchestra of the Age of Enlightenment, the cellos were travelling in “laundry baskets” in the hold. As we waited at the airport in Chicago it became clear that the cellos had not been put onto the flight from New York with us. The baskets were eventually found and the cellos arrived in time for the next evening’s concert!

What for you are the particular pleasures and challenges of collaborating with other musicians?

Playing in large international concert spaces is of course exciting; but such spaces can inevitably feel impersonal. As a baroque cellist I particularly enjoy music-making with small groups and in more intimate venues. Collaborating with other musicians can be such an intense experience. You rehearse and travel together, and trust is built up. The results will always have an element of risk, but it is especially rewarding when the group empathy is such that a player can do something unrehearsed, on the spur of the moment, and the whole ensemble and piece stay together!

Locally I’ve given numbers of recitals with keyboard player Richard Barnes; I also play with the Parnassian Ensemble (consisting of two recorders, baroque cello and harpsichord) and the Consort of Twelve (a period instrument orchestra). As well as being continuo cellist for the Consort, I’m an active member of the committee, the orchestral librarian, and also book the players who will direct each of the concerts.

It’s a particular pleasure for me to ask old friends/colleagues such as Kati Debretzeni, Cat Mackintosh, Elizabeth Wallfisch and Julia Bishop to come down and direct. It’s also hugely satisfying to help organise and put on a concert. When we get to the concert night all the hard work is forgotten, we look out at familiar faces in the audience and it becomes a hugely enjoyable experience.

Which works/performances are you most proud of?

Like many professional musicians, although I can enjoy the act of performance and sometimes feel that it has gone well, I’m also intensely self-critical: so I tend to remember the things that I’d like to have gone better. Anyway, it’s always better to look forward.

Are there any composers with whom you feel a particular affinity?

If I’m playing “modern” cello I really enjoy playing the romantic repertoire, perhaps in particular the Brahms and Rachmaninov sonatas. On period instruments it’s been amazing to play Mahler symphonies with Roger Norrington, and again on period instruments it was marvellous to do Verdi and Berlioz with John Eliot Gardiner. On baroque instruments I love the complexities and rhythmic drive of Bach, but I think that Handel’s bass lines are wonderful. They manage to give the harmonic structure but can also seem so melodious.

Which works do you think you perform best?

Perhaps you should ask other people’s opinion of that, but I really enjoy playing continuo, whether it’s accompanying a singer or other instrumentalists.

What is your most memorable concert experience as a performer?

Every concert is memorable for so many reasons, but two quite dramatic experiences immediately come to mind. My C string broke once during the first act of an opera at Glyndebourne. I had to keep playing (although I obviously couldn’t play on that string) and the unravelled pieces kept clattering and buzzing against the body of the cello through what remained of the act, also resonating with the strings of the other cellists. I got a round of applause and lots of fascinated questions from the front row of the audience as I stood up for the dinner interval.

Another incident has stayed in my mind, especially because of the repertoire that we were performing. I took part in a number of the concerts in John Eliot Gardiner’s Bach Cantata Pilgrimage. On one occasion we arrived in St George’s Church, Eisenach, and a large wooden platform had been constructed for us. I had to play with my feet against a large font. Afterwards I discovered that it was the font in which Bach had been baptised.

What advice would you give to those who are considering a career in music?

Try to find a teacher you have a rapport with and who will be really honest with you. Be prepared to spend lots of time on your own, practising – if you’re a bit of a perfectionist you won’t notice the time passing. You probably won’t earn much money, but if you really love music it is a wonderful career.

How would you define success as a musician?

Every time I was about to give a performance, my first cello teacher, Julia Pringle, would always say to me, “If you enjoy yourself the audience will enjoy themselves”. When I play I feel I’ve succeeded if I’ve put the music across as well as I can, if I’ve managed to create a sense of communication between myself and the audience, and if they’ve enjoyed themselves.

How are you keeping yourself usefully occupied and sane under lockdown?

a. Along with the other concerts that have had to be cancelled, I would have been giving a recital of Bach Cello Suites on the Isle of Wight in June. I’m practising the Suites anyway: they’re amazing music and endlessly challenging.

b. A few years ago I did a PhD at Birkbeck (about music in C19 London), and I joined a C19 literature book group made up of fellow students. I would have been presenting Anthony Trollope’s “Barchester Towers” in June, so I thought I’d read the whole cycle of six Barchester Chronicles.

c. I’m teaching our 4-year-old granddaughter to read via Zoom.

d. My husband and I have been repairing the ravaged garden left by a recent building project; I mostly try to stop him mowing/chopping everything else down!

Come to a concert

The three planned Consort of Twelve concerts for 2020 have, of course, had to be cancelled. Luckily we’ve managed to reschedule these for 2021 and we will also be doing a fourth concert, which will be during the Festival of Chichester. For those who’d like to get an idea of the work of the directors of the rescheduled orchestral concerts (Simon Standage and Julia Bishop) there are numerous online examples.

13 March 2021: St Matthew Passion with the Portsmouth Choral Union, conducted by David Gostick. At 6.30pm (to be confirmed), St Mary’s Church, Portsea, PO1 5PA.
23 May 2021: Concert directed by violinist Simon Standage, entitled Two Composer Priests – Vivaldi and Bonporti. At 6.00pm, Holy Trinity Church, Bosham, PO18 8HX.
11 July 2021: In the Festival of Chichester. Israel in Egypt with the Portsmouth Baroque Choir, conducted by Malcolm Keeler. At 6.00pm, St Paul’s Church, Churchside, Chichester, PO19 6FT.
19 September 2021: Concert directed by violinist Julia Bishop, entitled Beyond the Seasons. At 6.00pm, St John’s Chapel, St John’s Street, Chichester, PO19 1UR.

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