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

Portsmouth Chamber Music Series new dates

I confirm that our February and March concerts also will not go ahead as planned.

However the Guildhall is now hoping to reopen in April. On that basis I have two new dates for you. The Doric Quartet (originally on 22 Feb.) will now come on Wednesday 12 May, and Ensemble 360 (originally on 25 Jan.) will come on Monday 14 June. The Arcadia Quartet is more difficult because they are from Romania and March was going to be part of a UK tour, but I am in discussions with them as to whether we can find a summer date or have to postpone until next year.

Any tickets for the Jan. and Feb. concerts will automatically be valid on the new dates. I would be very grateful if those who have purchased tickets for the March concert or season tickets could hold on for now until the situation is more certain. If this is a problem, however, please let me know and I will sort out.

Why live-streaming will never beat live performance…

Chichester Chamber Concerts should have been starting the New Year with a visit from The Bach Players on Thursday 28 January.

Inevitably, it’s not happening – which is hardly the best possible start to The Bach Players’ 25th anniversary year.

But leader Nicolette Moonen (violin) is looking on the bright side. The concert has been provisionally rescheduled to take place on 1 July.

Read more at the link below.

Chichester Chamber Concerts are now being livestreamed from its own Youtube channel

We now have our own Youtube Channel where you can find the video of Ariel Lanyi’s piano recital on 3rd December. The forthcoming concerts by The Bach Players on 28th January and the Armida Quartet on 25th February will also be available there. In addition, if you have bought a streaming ticket from Chichester Festival Theatre, or if you write to Kevin Maynard at to register your interest, we will send you the link to a specific concert in advance.

If you are looking for classical music in Chichester look no further than The Assembly Room in the Chichester Council House in North Street, where you will find a rich variety of music from Bach to Stravinsky performed by world-class musicians.

Chichester Chamber Concerts is the name of the society which organises these concerts in October, November, December, January, February and March each year.

Founded in 2006 by Michael Nott this series of classical chamber music concerts has gone from strength to strength and has become a popular feature of the musical life of Chichester. String quartets were Michael’s particular love and the Skampa, Danish, Arcadia, Doric, Sacconi, Allegri and Heath Quartets have all appeared in CCC seasons.

Preview: Chichester Music Society: “Continuum” presents an Evening of J S Bach and Sons

Concert postponed to January 2022.

We are delighted that Continuum is returning to the University of Chichester. Since they last performed here, Continuum have been busy performing what had become an annual St Cecilia Day concert in Wells Cathedral, and they sorely missed performing there in November 2020. However, their last concert before lockdown was in February 2020 for the Totnes Early Music Society in Devon, where they performed an all J. S. Bach programme to a large and particularly appreciative audience.

Continuum are Elizabeth Walker – baroque flute, Rachel Beckett – baroque flute and recorder, Sebastian Comberti – baroque violoncello, Michael Overbury – harpsichord. In this evenings concert devoted to the Music of J S Bach and his sons, they present a programme that includes two new arrangements by Elizabeth Walker of J. S. Bach’s Organ Trio Sonatas BWV 525 and 529, together with one of the most reliably attributed Trio Sonatas by J.S. Bach for two flutes and continuo, BWV 1039.

Elizabeth writes “we also include the beautiful smaller Trio Sonata, BWV 1038, also likely to have been composed in Leipzig in 1729, for a series of 500 concerts or more that Bach composed for at this time, and in which his pupils and his sons would have performed as soloists.

The six sonatas for organ “à Clav. E Pedal” are extremely beautiful but challenging to play for any organist. It is believed these sonatas were also compiled around 1720, written out by his son, Wilhelm Friedemann Bach and his stepmother, Anna Magdalena.

Johann Nikolaus Forkel (22 February 1749 – 20 March 1818), Bach’s biographer, commented:
“Six sonatas or trios for two keyboards with obbligato pedal. Bach composed them for his eldest son, Willhelm Friedemann, who, by practising them, prepared himself to be the great organist he later became. It is impossible to say enough about their beauty. They were written when the composer was in his full maturity and can be considered his principal work of this kind”.

It is not known exactly when Wilhelm Friedemann Bach wrote his youthful flute duets, but we do know that Quantz would have had them before 1741, because they appear in his book of ‘Solfeggi’ which Quantz compiled for Frederick the Great. Scholars have looked at the manuscripts and detected from the handwriting, that W. F. Bach could have written the first two duets as early as 1724, when he was still in Leipzig with his father.

Carl Philipp Emanuel Bach was the fifth child and second (surviving) son of J S Bach. He became an extremely influential composer working at a time of transition between his father’s Baroque style and the classical and romantic styles that followed. His personal approach, an expressive and often turbulent one known as empfindsamer Stil applied the principles of rhetoric and drama to musical structures. The manuscript Notebook was presented by J S Bach to his second wife in 1725, so C P E Bach was no more than 11 years of age when he composed these Two Marches and Two Polonaises. Simple, but well characterised, they shed an interesting light on domestic music-making in the Bach household.”

The Portsmouth Chamber Series is back!

I am finally able to confirm full programme and booking details for our delayed 2020-21 season – please see the listings in the link below.

The concerts won’t look the same because while the distancing requirements remain in place we have to seat you in the main auditorium. At the point of booking, seating will be unreserved as usual, to allow the flexibility to seat twos, threes, fours etc together, but prior to the concert seating will be allocated by Guildhall staff to ensure we keep to the rules. I have already been to an event at the Guildhall and was very impressed both with how careful they are being, and by how smoothly things went despite being different from usual. They have various procedures in place to help ensure everyone is safe – please see the details below.

The concerts won’t look the same, but they will sound every bit as good! We open with an exciting programme by our ‘resident’ Ensemble 360, containing some less familiar repertoire which I think you will really enjoy. Then we have the Doric Quartet who last played in 2015.

The Arcadia Quartet is new to Portsmouth, but they won the Wigmore competition back in 2012, and I was bowled over by their recent recording of the Bartok quartets. Martin Roscoe needs no introduction, but this is one of the concerts we had to cancel six months ago.

Ensemble Perpetuo is a collective based in London and as such is not a usual candidate for our series except that these particular musicians are of the very highest calibre, and have performed together many times under this umbrella name. I was really attracted by the programme, put together by Fenella Humphreys, who last played here in 2012, the first time we had the Lawson Trio.

We have decided not to do a brochure this year, so I hope you will help me to spread the word, and look forward to resuming ‘live’ music.

Here are the Guildhall procedures:

– Your temperature will be checked on arrival. Should this be 37.8 degrees or higher, you will not be permitted entry.
– Masks will be mandatory to be worn for the duration of the time in the venue.
– If you are showing any symptoms of Covid-19 (high temperature, loss of taste/smell or a new continuous cough), we ask that you refrain from attending.
– There is a maximum of 6 tickets per booking.
– Name and contact details will be collected for Track and Trace on arrival.
– To keep you safe in the venue, further information is available here:

The Doric Quartet set to open 2020-21 Chichester Chamber Concerts

The Doric Quartet open the 2020-21 Chichester Chamber Concerts series which will go ahead in extraordinary times (Thursday, Oct 1, 7.30pm).

Concerts will be once a month until March in the Assembly Room, but seats will be limited to approximately 40 (against a usual capacity of around 170), with tickets available from Chichester Festival Theatre. But to help accommodate the usual demand, the concerts will also be live-streamed on YouTube, with online viewers asked to make a donation.

Read more at the link below.

Profile: Cathy Mathews, violinist

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

My parents were refugees from Hitler. My mother was Austrian and my father was German. My mother, a violinist, had played in a piano trio with her father and brother since early childhood. My father played the cello. They met in a string quartet which was arranged with the express purpose of matchmaking. It worked!

I wanted to play the violin as soon as I knew of its existence.

I was a member of the National Youth Orchestra which was great, except that there were very strict rules about socialising. If you went for a walk alone with a boy you were thrown out. Perhaps that has changed now!

My parents wanted me to try for Oxbridge but I rebelled, left school and got a place at the Royal Manchester College of Music. I studied with, among others, Yossi Zivoni.

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

I spent about thirty years playing full-time in various orchestras, including Bournemouth Sinfonietta, Royal Liverpool Philharmonic, Welsh National Opera, BBC Radio Orchestra and BBC Concert Orchestra. I loved every minute of it, but it was not an enormous challenge. As a string player you are simply part of a very slick team. In a good professional orchestra, on the whole everything just works. The biggest challenges were getting the positions in the first place! And you do have to become very good at sight reading. Also you can’t really have a normal home or social life because there is so much travel.

I will now drop a name! During the Bournemouth Sinfonietta years, I lived in the same road as Simon Rattle, who was nineteen years old and had just won the John Player Competition. We became friends and he would sometimes invite me to his flat and cook me Rattletouille!

In Liverpool I was a sub-principal 1st violin and sometimes co-led. That was something of a challenge.

In WNO I grew to love the excitement and drama of the combined forces of singers and players. You are a small cog in a massive and thrilling wheel.

In the BBC Radio Orchestra we accompanied the BBC Big Band at Maida Vale and I developed a love and some understanding of jazz.

In more recent years I went twice to Fiddle Frenzy on Shetland and enjoyed learning about folk fiddle.

I also love improvising and did a lot of this when I belonged to a free, evangelical church.

Both from a musical and technical perspective, my greatest challenge now is playing chamber music, including sonatas, piano trios and playing in my string quartet, Speranza.

And teaching, of course, is always a challenge!

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

Relationships can be an issue. You spend a lot of time playing with the same people. On the whole if you are being paid you put up with more! In an amateur setting, it is easier to feel irritated by each other’s quirks. Music is a language. It is a way to connect with others. We are doing it for the love of it. It is more fulfilling if we all get on. But in the end, the music brings us together.

I have played much chamber music with very good local musicians. It is a joy and a privilege.

My greatest pleasure at the moment is playing string quartets because I have found a group of people who appreciate each other, both musically and on a personal level. That is not so easy to find. It should not be taken for granted.

Which works/performances are you most proud of?

I am not proud, as such, of anything. It has been great to play so much symphonic and chamber music. I have appreciated the opportunity to play the solo violin parts in, for example, Scheherazade and Don Juan with Havant Symphony Orchestra. In recent years, one interesting group to which I belonged for a while was a mixed wind and string octet called Pieces of Eight. The Schubert Octet was a highlight. Also it was a privilege playing the Bach Double Violin Concerto with the Havant Chamber Orchestra and the late Brian Howells. Brian gave me my first job in the Bournemouth Sinfonietta.

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

I enjoy playing music by most composers. I don’t always enjoy playing works by lesser-known ones just in order to give them a chance to be heard. Usually there is a reason they are not famous!

I feel a degree of affinity with Haydn, Mozart, Schubert and Beethoven.

Which works do you think you perform best? Why?

I am perhaps most comfortable with the Austro-German classical repertoire, as above, because of their structure, scale, humour, grace and poignancy. Also there is a link with my heritage. I used to listen to my grandfather playing a lot of this music on the piano, especially Schubert lieder.

What is your most memorable concert experience?

There are too many to pick one out, but if I had to, then playing the opera Pelleas and Melisande in Paris with Pierre Boulez conducting must be in the running. His beat was tiny, just caressing the air with his fingers, yet crystal clear and so expressive,

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

Only do it if you can’t bear the thought of doing anything else.

How would you define success as a musician?

There are many ways success could be defined. In the end I came up with this. If a discerning audience appreciates your performance then you must be doing something right.

Keeping sane under lockdown

There is an assumption here that one was sane before lockdown. However, the antidote to over-exposure to teaching on Zoom and Facetime is teaching in the back garden. Unless the neighbours are mowing their lawn.

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.

Peter Cropper’s A–Z of chamber music

In this article, first published at ChamberStudio in 2015, the late and much-missed first violinist of the Lindsay String Quartet pulled no punches with his views about music.


Martin Lovett – one of the best quartet players ever – said that it’s very easy to play chamber music. He explained that you sing the tune when you play the accompaniment and you sing the accompaniment when you play the tune. He said that by doing that he could make someone play exactly as he wanted them to. He’s absolutely right.

Read more at the link below.

Reproduced with permission of Elbow Music and ChamberStudio.

Privacy notice | Site design copyright ©2021 Music In Portsmouth. Logos and images of participating performers may subject to additional copyright restrictions. Please be courteous and ask before using.