PRESS RELEASE: Beethoven Explored Concert Series

What Makes a Musical Genius?

Piano Explored – Finzi: Eclogue Op. 10 & Mozart: Sinfonia concertante for violin and viola

London Mozart Players

Piano and Director: Howard Shelley

Simon Blendis: Violin

Judith Busbridge: Viola

 

FINZI Eclogue Op.10

MOZART Sinfonia Concertante for Violin and Viola, K364

The latest in LMP’s Piano Explored lunchtime series, this year with a twist! In their 70th anniversary season, musicians from LMP join Conductor Laureate and soloist Howard Shelley in works that feature multiple soloists.

Finzi’s Eclogue was originally designed to be the slow movement of a Concerto for Piano and Strings. Instead, Finzi decided to publish the piece on its own. It contains a brilliant balance between a flowing and searching piano part, and a simple yet rich string accompaniment. In both, the melody is the stand out feature, primarily for its beauty and moments of drama, which are resolved by the peaceful ending in its home key of F major. Howard Shelley leads from the piano accompanied by the string sections of the London Mozart Players in this beautiful and popular piece.

The ravishing Sinfonia Concertante is a favourite for many Mozart lovers. Although an excellent violinist himself, Mozart actually preferred to play the viola when playing chamber music and he may have composed the viola part in the Sinfonia Concertante for himself. He brightens the viola’s darker tone with a scordatura tuning – writing the part in D major, with the strings tuned up a semitone. This brings the resonant open strings into play. LMP Leader Simon Blendis and Principal Viola Judith Busbridge take on the challenge of this glorious duet.

 

Piano Explored is the perfect lunch break for Londoners, commuters, day-trippers and holiday-makers! In one whistle-stop hour, pianist/conductor Howard Shelley and the London Mozart Players whisk you through an exciting deconstruction of some of classical music’s most celebrated works.

 

Tickets (£15) on sale 9 July – student tickets only £5

Piano Explored – Haydn: Piano concerto in D major & Shostakovich: Concerto No 1 for piano, trumpet and strings

London Mozart Players

Piano and Director: Howard Shelley

Paul Archibald: Trumpet

 

HAYDN: Piano Concerto in D major, Hob XVIII:11

SHOSTAKOVICH: Concerto No. 1 in C minor for Piano, Trumpet and Strings, Op. 35

The latest in LMP’s Piano Explored lunchtime series, this year with a twist! In their 70th anniversary season, musicians from LMP join Conductor Laureate and soloist Howard Shelley in works that feature multiple soloists.

Haydn’s exhilarating Piano Concerto in D is perhaps his most popular work for keyboard. A piece that comes nearest to Mozart in style, it ends with an exuberant Hungarian rondo finale that requires a virtuosic display from the pianist.

Shostakovich’s delightful concerto for Piano, Trumpet and strings combines wit, energy and lyricism in a mix of styles that the young composer had become known for. Full of light-hearted musical jokes parodying themes from Beethoven, Haydn and Mahler, this brilliant piece is also characterized by expressive melodies, with the dramatic alternating styles designed to show off Shostakovich’s skill as a pianist and delight performers and audience alike. Principal Trumpet Paul Archibald joins Howard Shelley in this humorous and musical tour de force.

Piano Explored is the perfect lunch break for Londoners, commuters, day-trippers and holiday-makers! In one whistle-stop hour, pianist/conductor Howard Shelley and the London Mozart Players whisk you through an exciting deconstruction of some of classical music’s most celebrated works.

 

Tickets (£15) on sale 9 July – student tickets only £5

Piano Explored – Beethoven: Concerto for Violin, Cello and Piano

London Mozart Players

Piano and Director: Howard Shelley

Ruth Rogers: Violin

Sebastian Comberti: Cello

 

BEETHOVEN: Concerto for Violin, Cello, and Piano in C major Op. 56

LMP returns to St John’s Smith Square for a brand new Piano Explored lunchtime series – with a twist! In their 70th anniversary season, musicians from within the orchestra join Conductor Laureate and soloist Howard Shelley in works that feature multiple soloists.

Beethoven’s genius for composition is on display in his Triple Concerto for piano, violin and cello – the only concerto Beethoven completed for more than one solo instrument. The potential balance problem of the piano (being the largest instrument) overpowering this ensemble – particularly the cello (being the lowest in pitch) is overcome by Beethoven’s solution of giving the piano a lighter part and awarding the cello the starring role, using its powerful top register. The result is a work of great beauty and ingenuity that combines lyricism with the scale of a grand concerto. Leader Ruth Rogers and Principal Cellist Sebastian Comberti join Howard Shelley in Beethoven’s somewhat underrated work which is usually seen as the ‘younger sibling’ of his more imposing works written about the same time – Fidelio, the Fourth Piano Concerto, the Violin Concerto, and the Fourth Symphony.

Piano Explored is the perfect lunch break for Londoners, commuters, day-trippers and holiday-makers! In one whistle-stop hour, pianist/conductor Howard Shelley and the London Mozart Players whisk you through an exciting deconstruction of some of classical music’s most celebrated works.

 

Tickets (£15) on sale 9 July – student tickets just £5

East Finchley Arts Festival

London Mozart Players
London Ripieno Singers
Charlotte King mezzo‐soprano
Matthew Bernstein baritone
Ignas Maknickas piano
Geoffrey Simon conductor

 

DEBUSSY Trois Chansons

MOZART Piano Concerto No 23 in A, K488

HANSON Death be not Proud

The LMP returns for their regular appearance at the East Finchley Arts Festival. Over the years the LMP has premièred several works by the Festival Director, Geoffrey Hanson, and this concert will include his new work Death be not Proud.

This new work, a large‐scale composition for vocal soloists, chorus, organ and orchestra, draws together visionary poetry on the subject of life, death and the afterlife, concluding with a setting of John Donne’s transcendental ‘Death be not Proud’.
It also includes poems by Shelley, Keats, Tagore, Prudentius and Tennyson.

Young prizewinning Lithuanian pianist Ignas Maknickas will perform Mozart’s Piano Concerto No.23 in A major, and the concert opens with Debussy’s settings for a cappella chorus of texts by Charles d’Orleans, performed by the London Ripieno Singers.

 

Tickets: £25 / £20 / £12
Box Office opens Tuesday 28 August

 

70th Birthday Season Launch

London Mozart Players, directed by Ruth Rogers
Radu Kis, violin
St Christopher’s Community Choir + Open Door Choir
Percussionists of Trinity Laban

Richard Brown/Shaniqua Benjamin – Anthem for Peace
Rossini – Overture ‘The Italian Girl in Algiers’
Mozart – Violin Concerto No.5 in A K.219
Bizet/Waxman – Carmen Fantasy
Mendelssohn – Symphony No.4 in A ‘Italian’

EARLY BIRD TICKETS AVAILABLE UNTIL 1st SEPTEMBER

TICKETS

It has already become an annual tradition that the Armel Opera Festival awardee join the London Mozart Players on stage for the opening concert of their St John’s Upper Norwood series. For the
70th birthday season launch, Croydon’s resident orchestra will be joined by talented violinist Radu Kis, the teenage finalist of Hungary’s prestigious Virtuosos 2017 classical music competition.

Relive the summer as we perform our specially commissioned Anthem for Peace with St Christopher’s Community and Open Door Choirs, before we take you on a musical journey around the Mediterranean. Rossini’s delightful and surprising overture to his opera The Italian Girl in Algiers kicks off the evening followed by Mozart’s electrifying Violin Concerto in A – also known as the ‘Turkish’ because of the frenzied Allegro in the final movement.

Thoughts of sultry Seville will be evoked in the Carmen Fantasy, a veritable tour de force for the violin and featuring the talented percussionists of Trinity Laban. Mendelssohn’s delightful ‘Italian’ Symphony which the composer himself called ‘the jolliest piece I have ever done’ provides the suiting finale for what will be a memorable evening showcasing new young talent destined for the world’s stage.

Grayshott Concerts: Shostakovich Piano Concerto No.2

SCHUBERT ‘Unfinished’ Symphony No 8 in B minor D.759
SHOSTAKOVICH Piano Concerto No.2
DVORAK Symphony No 8 in G major Op.88

Howard Shelley piano/director

Shostakovich Piano Concerto No.2 is one of the most unexpectedly popular, lyrical, sublime but fun works on Classic Fm. Soloist Howard Shelley shows how it’s done, and leads the orchestra through Dvorak’s joyous 8th Symphony, and Schubert’s Unfinished 8th Symphony.

LMP at Ripon International Festival

Janusz Piotrowicz conducts Mozart’s intensely emotional Symphony no 40 ‘The Great G minor’ and Beethoven’s radiant and explosive 2nd Symphony. ‘so profoundly does he know the music that he almost seems to embody it … this man is a gift to any orchestra’

D & S Times

MOZART                  Overture: The Marriage of Figaro
MOZART                  Symphony No 40 in G minor
MENDELSSOHN      Overture: The Hebrides
BEETHOVEN            Symphony No 2 in D major

Janusz Piotrowicz conductor

Two great symphonies and popular overtures in the magnificent setting of Ripon Cathedral. With the mesmerizing conductor, Janusz Piotrowicz, at the helm, the audience can expect ‘a powerful listening experience … a searing excitement’  Music Web International

 

Website www.riponinternationalfestival.com

LMP at Hastings Literary Festival

Boccherini Quintet for two cellos in C Major op 30, No.5 G275
WA Mozart String Quintet No.4 in G minor, K.516
Tchaikovsky ‘Souvenir de Florence’

Luigi Boccherini was a highly successful composer, enjoying the patronage of Don Luis, the brother of King Charles III of Spain who employed his own string quartet, augmented by Boccherini as the second cellist for this quintet. His enduringly popular quintet No. 5 dates from 1771.

In 1787 Mozart was suffering from a lack of patronage and wanting to create a more robust tone by the addition of a second viola to the quartet line-up. The sunny quintet No. 3 (K515) and its dark pairing, K516 are widely regarded as two of his greatest compositions. Tchaikovsky wrote of the second, “No one has ever known as well how to interpret so exquisitely in music the sense of resigned and inconsolable sorrow.”

Tchaikovsky’s own string sextet, titled ‘Souvenir de Florence’ because one of its principal themes was composed on a visit to Florence, employs both the extra cello of Boccherini and the additional viola of Mozart. It has a traditional four movement form, despite the century that separates it from the Mozart and Boccherini compositions.

The Magic of Mozart

London Mozart Players
Director: Simon Blendis
Harp: Anne Denholm
Flute: Emma Halnan

Mozart Eine kleine Nachtmusik K.525
Mozart Concerto for flute and harp in C K.299
Mozart Divertimento in D K.136
Mozart Symphony No.29 in A K.219

London Mozart Players do what they do best – performing Mozart in London! The orchestra play four of Mozart’s greatest works in the stunning surroundings of Baroque masterpiece and iconic London church, St Martin-in-the-Fields.

Acclaimed soloists Anne Denholm (Official Harpist to HRH The Prince of Wales) and Emma Halnan (winner Sir Karl Jenkins/Arts Club Classical Music Award 2016, in association with Classic FM, and woodwind category winner of BBC Young Musician 2010) sprinkle a touch of magic with the much-loved flute and harp concerto, one of Mozart’s most adored works.

Tickets: £24/£20/£16/£13/£9

Church Stretton Festival: Mozart, Schoenberg, Tchaikovsky

London Mozart Players return to the Shropshire hills!

Mozart Divertimento in D K.136
Schoenberg Verklarte Nacht
Tchaikovsky Souvenir de Florence

Mozart demonstrated time and again that music as entertainment can go along with the most original, enlightening, even profound ideas. Divertimento in D K.136  belongs firmly in the Austrian divertimento tradition – music that entertains through a lively interplay of ideas, melodic distinctiveness and an element of instrumental virtuosity.

Verklärte Nacht (‘Transfigured Night’) is based on a poem by Richard Dehmel. Two lovers are walking in the moonlight; she confesses that she is pregnant by another man, but so great is his love for her that he agrees to bring the child up as his own. Schoenberg’s work closely follows the poem – the couple’s hesitant steps through the wood, her confession, his declaration of selfless devotion.

Souvenir de Florence is not a tonal picture of the city or country. Rather, its name derives from one melody, the main theme of the slow movement which Tchaikovsky had heard and noted down during a visit to Florence in 1887. In all other respects the musical idiom is Russian rather than Italian, in particular in the third movement with its Russian dance theme, and the opening music of the lively finale.

Sarah Butcher: How a creative collaboration demonstrated how the world should operate

SLiDE <Insert Title Here> Dance Project April-June 2018

Performances

Croydonites Festival Saturday 12th May, Braithwaite Hall, Croydon
Overground Festival Sunday 17th June, St John the Evangelist, Upper Norwood

It was the 7th December 2017 when the email came into my inbox from Jenny Brady (Creative Learning and Participation Manager). Would I be ‘interested in exploring a project with a group that provide dance provision for people with learning disabilities? They would like to collaborate with an LMP cellist on a new original work. It will probably involve a few days intensive work and a couple of performances at the end. Everything, including the music will be devised in the workshop process.’

And then the final telling line;

‘All you’d need is your cello, and the flexibility to improvise and freedom to go with the flow.’

Sounds intriguing I thought and so I emailed straight back to say yes I would be interested. I had no idea what I was letting myself in for but there were the words ‘improvise’ and ‘go with the flow’ in the email, ways of playing which we don’t usually get to explore in ‘normal’ orchestral concerts.

After an initial wait for the successful application to ACE for funding our first meeting was on Thursday 29th March at Croydon Youth Theatre, in a wonderful airy and light dance studio. A three hour get-to-know-you session for the main devisers and professional dancers for the project.

A few days before the first meeting another email came into my inbox from SLiDE’s co-founder Gemma Coldicott. And again there was one standout line;

‘I wonder if you will be comfortable moving/dancing with us?’

Well, I haven’t done that before, the best I can manage is a bit of boogying (in my youth) at the local disco, but in for a penny, in for a pound. The Dancing Cellist anyone?

So the first meeting brought together our main collaborators – Co-founder Gemma, Dramaturg and Director Louise Katarega, Dancers Vicky Malin and Takeshi Matsumoto. Also joining us a young graduate dancer Sorrel De Paula Hanika. Before the first meeting lots of organising of rehearsals and times, many more rehearsals than we normally get because this was to be a 40-45 minute piece created from scratch called <Insert Title Here>. This was one of the things I valued about the project, the amount of time we had to create and devise. Normally for an orchestral concert we get a 3 hour rehearsal and then we have to perform the concert. Just time to play through the notes a couple of times, rehearse a few corners and then perform. So this, for me, was rehearsal luxury. Although creating, rehearsing and memorising a 40-45 minute original piece with music and dance is still a tall order.

In the first meeting I don’t remember playing my cello at all! We did some movement warmups and then talked a lot about how we envisaged the project being created. Louise and Gemma have great experience in this area, having done this before, but not such a long piece and not with a live musician. So it was pretty new to all of us. We talked about what we each could bring to the project; what we found inspiring, moving or challenging, strengths and weaknesses. It was, if you like, an exploration of each other. I particularly loved this aspect of the project. Everyone had a say and all ideas were laid out for everyone to think about. No one was ignored and everyone mattered. That was the way the decision-making unfolded for the whole project which was important for incorporating the members with learning difficulties.

Now to introduce the SLiDE company dancers; Kumi, Jack, James, Isobel, Izzy, Kirsty, Fifi and Noelle. Age ranges from 18 to 62. Varying special needs but all mobile and lively characters who’ve been dancing with SLiDE for some time. The trust and respect between the members of the company was inspiring to see. There was so much support and everyone was given all the space they needed to express themselves. Some people need more time than others…

The pattern of each rehearsal always started with our warm up dance which was led by Louise. By the end we knew it pretty well, but took time to learn, moving our bodies in ways which were unfamiliar to some (especially me!). ‘Hand in back pocket to R, look in the mirror to L, comb your hair to R, sweep to the green dancer, sweep to the red door, turn on the spot and repeat’. It was very liberating for me to be moving like this surrounded by others doing the same.

Once warm ups had finished we then got onto our workshops, hoping to forge scenarios to build the piece. Multiple ideas emerged. Each of us created a movement based on our names, one of the main building blocks of the piece. Gemma asked people to bring holiday snaps from somewhere where they had felt very happy. From these, smaller groups working on dance fragments based on these memories. The results yielded embryonic material for inclusion – dancing with friends, boys building and selfies from New York. Vicky worked a lot on contact between people; starting with just looking then using touch, finally leaning and balancing using weight and resistance. Gemma had brought cardboard stools which you could sit, stand on and carry. These were included in nearly every part of the dance. I actually sat on one to play without a spike so I could move around the space which I did a lot as the piece evolved. And I started playing, at first just improvising and mirroring the moves I saw before me, but then later adding some music of my own and also fragments of music by Walton, Britten, Bach and a well-known song from The Wizard of Oz! We inserted a music workshop session where we talked about music form and decided that our piece would be in sonata form with a first and second idea, a development section and then a repeat of the first and second idea with a possible coda. Graphic scores were drawn while I played. Takeshi, who was also great at warmups, taught us all a Japanese folk dance with very complicated movements. We all decided it should be included. Somewhere near the beginning of the process we decided the piece should be performed in the round. Gemma wrote poetry inspired by our work and those were added in the mix, recorded by Sorrel. Louise did a fantastic job of corralling and ordering our ideas, constantly asking questions about everything, challenging us to explain and justify – how did we feel this fitted in? Where should we position it? How did you feel that went? Was the music suitable? The first 3 consecutive days of rehearsal were so rich and fulfilling, I looked forward to absolutely every day. A big roll of paper with our plan on it rapidly became covered in coloured stickies as ideas poured out from everywhere. By the end of those 3 days we had already created 20 minutes of <Insert Title Here>.

Let me explain about the title. Anna Arthur (Director of Croydonites Festival where we did our first performance) and Gemma wanted to include the audience in our piece so Gemma suggested it would be a nice idea to get the audience to name our piece after they had seen it. Answers on a postcard kind of thing. This then morphed into naming sections of the piece throughout, prompted by playing the music from Tony Hart’s Take Hart gallery music. Remember?

Each further day of rehearsal and more building blocks were put in place with more fine tuning of each little section; focussing everyone’s mind into the piece to create spectacle, variation and interest in each moment. There were solos from James and Kirsty and Isobel led what we called Dynamic Mass Shape. A new section in the middle featured a septet of Vicky, Sorrel, Takeshi, Kumi, Kirsty, Fifi and me. Jack moved offstage using the cardboard stools like stepping stones. A disco breakout in the middle provided a moment of freedom for us all. Especially Izzy who joined in with Michael Jackson at the top of her voice! I put my cello down and from the floor was rolled across the space back to my cello with great intent and precision by Fifi. Sorrel and Takeshi danced to a Bach suite.

There were challenges along the way. The fragile health of some meant missed time, and venue changes (from our rehearsal space at Croydon Youth Theatre to Braithwaite Hall, Croydon) caused consternation for some who prefer routine. Also some people needed more space to express themselves which occasionally meant decisions were made in more of a hurry than was comfortable. But every challenge was met with compassion and care, everyone was made as comfortable as they could be, no one got left behind. It really was a blueprint for how the whole world should work.

Two other people I must mention; Jess Hodge was our evaluator on the project and Sophie Standford came and took some fantastic photos for the Flickr page if you want to access it please go here;

https://www.flickr.com/photos/99875694@N03/

The day of evaluation was also a revelation, I had no idea reporting on a project could be so enjoyable and inspiring. It was our chance to say how much we LOVED being part of the project.

Finally the two performances. Performance number one in the extraordinary oak-panelled, book-lined Braithwaite Hall for the Croydonites Festival. A fantastic sold out audience of about 80-90 people sitting entirely around us. We performed, the audience watched. Through the twittering huddle of the beginning, through the dynamic mass shapes, Sorrel and Noelle’s duet, the septet, the disco, boys’ building to the final Japanese folk dance. I could see people really concentrating and watching each little section, wondering what they were making of it. The ‘insert title’ sections were very popular; each person writing their suggestion and each being read out. It was incredibly moving to see the concentration and creativity of each performer and when we had finished I felt so proud of what we had all achieved. There was a massive sense of joy within the group which communicated itself to the audience.

The title we chose from the many suggested from the first performance was Ships and Walls: Where Old Memories Fall.

The second performance (at St John’s Upper Norwood) was over a month later so we had a few sessions to remind ourselves of the piece. Gemma’s one little suggestion during those rehearsals was ‘take your time with everything’. It made such an amazing difference to the performance and there was a greater depth and even more space and time for reflection. Louise loved that the arches and high ceilings of the church framed sections of the dance like a picture. Both spaces affected the performance in different ways.

The second title suggested from the myriad postcards was Held: The Ways We Can Be Together.

 

This was one of the most inspirational and moving projects I have been involved in. The care and compassion expressed between the members of the group was ever present. Everyone mattered. All ideas were valid, everyone listened and watched, learned and took note. Mums, Dads, partners and support workers who came to rehearsals commented on the wonderful atmosphere surrounding the project and said how valuable it was for the dancers to be involved in something this creatively important. I was honoured to be part of it.

 

I leave the last word to Gemma in the final poem from <Insert Title Here>;

 

Let’s dance on our chairs, around them and on them.

Fly on them and put them up our jumpers.

Let’s laugh and cry together, feel joy and sadness.

But repair and rebuild each other, nurture and take care.

Caretakers.

Let’s be anxious together but know that we have to do this.

There is no other choice.

The only option is this.

Let’s dance.

 

And so we did…

© Vipul Sangoi

“I would describe the piece as ‘destination happiness’, an inspirational way of being. It was very moving.” Audience member, Croydonites Theatre Festival

 

“That was a beautiful performance. What a gift for a Sunday. Great audience, serene setting and the work was mesmerising, romantic, peaceful, affirming and joyous. Congratulations to all involved.”

Ray Oudkerk, Assistant Principal, The Brit School

 

“Having been part of the audience for SliDE’s production ‘Insert Title Here’, I can honestly say that it was one of the most uplifting and moving performances I have seen in a long time. It was clear that the performers were totally immersed in presenting the work, with a level of authentic engagement often bereft in established dance companies. The production was highly professional and innovatively interactive. As an audience member I was totally engaged from the first movement to the last not, as was everyone else who had the privilege of experiencing such a motivational performance.”

Michelle Groves, Artistic Director of the Royal Academy of Dance

LMP on the Move – Centrale takeover

LMP are on the move again – this time to the Centrale shopping centres in Croydon where we would be delighted to meet musicians of all ages and abilities.  Our programme of events has been especially designed for families to join in and, most importantly, have fun!  No experience necessary.

10.30am: Hit It! An interactive percussion workshop – perfect for the very youngest musicians.  Bang a drum, tinkle a triangle or shake your maracas.

1.00pm: Conduct Us! We’ll supply the orchestra and the baton – just take to the stand and give us a beat. Your chance to take the spotlight – white tie and tails optional.

3.00pm: Mozart in the Mall….  The LMP and young local pianists will play movements of some of Mozart’s piano concertos, featuring the centre’s fabulous Yamaha piano.

All events will take place opposite Debenhams in the Centrale Centre

LMP on the Move – Arjun at the Croydon Mela

Arjun, with the London Mozart Players, orchestrated by Fiona Brice

Arjun is an award winning British Sri Lankan singer, songwriter, producer and actor who has built a huge following all around the world.  Known for his fusion of contemporary Western and Eastern sounds, combining R&B with elements of South Asian music, he will be collaborating with the LMP to perform his greatest hits and tracks from his new album.

The Croydon Mela celebrates the culture of Croydon’s Asian communities and is a symbol of our diverse city, showcasing a combination of muscial talent, dance and street theatre.  There are also activities for children and a food market.   The Mela will open at 1pm and close at 8pm.

 

Jam on the Marsh

London Mozart Players
Mousai Singers
Daniel Cook, conductor

In the 2016 festival these two ensembles, under Daniel Cook, collaborated for the first time to perform Paul Mealor’s hauntingly beautiful The Shadows of War. It was a truly memorable concert, blending some of the finest singers and players into one.

This year they return to finish our four year commemoration of WW1 – Bairstow (Blessed city, heavenly Salem) and Duruflé (Quatre Motets sur des thèmes grégoriens) both lived through the Great War and Mantas’ Serenade for Strings is dedicated to it.

We complete the programme with Fauré’s ever-popular Requiem. This is a rare opportunity for this exquisite piece to be performed on the Marsh by professional singers and orchestra.

City of London Choir: Flowers of the Field

London Mozart Players
City of London Choir
Ruth Rogers, violin
Roderick Williams, baritone
Hilary Davan Wetton, conductor

Warlock Capriol Suite
Butterworth Songs from ‘A Shropshire Lad’
Hawes I Know the Music
Butterworth Banks of Green Willow
Elgar Chanson de Matin Op.15 No.2
Vaughan Williams The Lark Ascending
Finzi Requiem da Camera

A programme of music poignantly harking back to a pastoral age devastated by the outbreak of the First World War, combined with settings of haunting war poetry. Includes the Shropshire Lad song cycle and The Banks of Green Willow by George Butterworth (killed at the Somme, 1916), Patrick Hawes’ moving setting of Wilfred Owen’s poem ‘I Know the Music’, and Vaughan Williams’ evergreen ‘The Lark Ascending’ of 1914. The festival closes with Gerald Finzi’s affecting Requiem da Camera, written in memory of friends and colleagues lost in the trenches, and expressing the grief of a nation.

 

Tickets: £20 (including glass of wine)

Wotton Concerts: Summer Concert

Mozart – Posthorn Serenade K 320 Adagio Maestoso, Allegro con Spirito
Beethoven – Violin Concerto in D major Op 61
Beethoven – Symphony no 6 in F major Op 68

The London Mozart Players
Benedict Hoffnung Conductor / Júlia Pusker Violin

Based in the picturesque Cotswold town of Wotton-under-Edge the Wotton Concert Series brings a range of world class orchestral, choral and chamber music to South Gloucestershire.

The Series adds to the cultural life of the region and enables gifted young performers to share a platform with established artists of international standing.

LMP’s Anthem for Peace at the Peace and Wellbeing Festival

LMP’s brand new Anthem for Peace highlights the role of music as a force for good and the perfect way to bring people together. This modern-day anthem, composed by children’s composer Richard Brown with lyrics by Thornton Heath poet Shaniqua Benjamin, can be played, rapped, sung, remixed or sampled by musicians of all abilities, ages, genres and backgrounds.

The first public UK performance of the anthem will take place this summer in Croydon’s first Festival of Peace and we’d love you to be involved! Join players from the LMP and Ecclesbourne school choir to learn and sing the anthem for the first time together on Saturday 16 June at Wandle Park,  and then join in the performance at the end of the Festival on Saturday 23rd June alongside local choirs, schools, music groups and artists, at large community performances.

Opening Event – 16th June, 3-4pm at Summer of Love Festival at Wandle Park
There will be a week-long programme of arts activities – more info coming very soon….

Closing Event – 23rd June, 3-4pm at Peace & Wellbeing Festival, Park Hill Park
There will be a finale Peace Parade and performance of the anthem with LMP and local brass players and a special dance commission by Anusha Subramanyam of Beeja Dance featuring local dance groups.

City of London Choir: Parisian Summer Nights

Magical French music for a midsummer’s evening. Saint-Saëns’ irrepressible Danse macabre depicts Death himself playing his violin for the dance of the skeletons, setting a spirited tone for Ravel’s colourful Piano Concerto in G. Infused with 1920s jazz syncopations, Ravel’s masterpiece is by turns witty and tender, and always lyrical.

These lively pieces are juxtaposed with Elysian reverie in Fauré‘s pastoral miniature, Pavane, and his ethereal Requiem. First performed shortly after the death of the composer’s mother, the Fauré Requiem is justly one of the most consoling and cherished pieces in choral repertoire.

FAURÉ Pavane
SAINT-SAËNS Danse macabre
RAVEL Piano Concerto in G
FAURÉ Requiem

City of London Choir;
London Mozart Players
Vitaly Pisarenko, piano
Cecilia Osmond, soprano
Thomas Humphreys, baritone
Hilary Davan Wetton, conductor.