Category: Music

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Re-grouped and refreshed, McFly are ready to rock York Racecourse gig on Saturday

McFly: McFlying out of the starting stalls at York Racecourse on Saturday

THE glorious summer weather may be on the downturn by the weekend, but McFly’s Danny Jones will be hoping for more clement conditions than on one past visit to North Yorkshire.

“When we played Dalby Forest [June 26 2009], if I remember right, there was a huge, thick fog all around us that night, and people at the back could hardly see a thing,” recalls the re-grouped London band’s lead guitarist and co-lead vocalist, ahead of Saturday’s post-racing concert at York Racecourse: their first show in 18 months.

McFly, the boy band formed in 2003 by Bolton-born Jones, Tom Fletcher, Dougie Poynter and Harry Judd, returned last year with album number six, Young Dumb Thrills, after a ten-year gap and a detour into boy-band supergroup McBusted.

Why “Young Dumb Thrills” when Danny, for example, is 35? “I think it’s partly about reminiscing, but you know what, we always say ‘what do we want to do, where do we want to go with our music’, just as we did when I was 17 when I moved down to London, and Dougie was 15, and we thought we knew it all,” he says.

“But when we-reformed and we were making the album, I said, ‘Guys, we’re still young; we could still be a young band starting out’.”

McFly’s Tom Fletcher and Danny Jones performing at the York Racecourse Music Showcase Weekend concert in July 2012

Danny never doubted McFly would return one day from their hiatus that began in 2016. “I knew it was never going to stop. We just needed a holiday; after 13 years you need a break, after 13 years of carnage, you really do, but this way we can come back for 15 more years,” he says.

In the boy-band 2000s, McFly flew to the pop peaks regularly, making chart history as the youngest ever band to have a debut album go straight to number one in the UK, when July 2004’s Room On The 3rd Floor beat The Beatles’ long-standing record, set with Please Please Me in March 1963.

They have chalked up seven number one singles and ten million album sales, and their high-energy York Racecourse set could parade 5 Colours In Their Hair, Obviously, That Girl, All About You, You’ve Got A Friend, I’ll Be OK, I Wanna Hold You, Don’t Stop Me Now, Please, Please, Star Girl, Baby’s Coming Back, Transylvania and One For The Radio.

Saturday’s set definitely will combine past and present, after their 2020 renaissance with the singles Happiness, Tonight Is The Night and You’re Not Special from the number two-charting album Young Dumb Thrills.

They are busy recording again. “Young Dumb Thrills was more ‘one song is this, one song is that’ stylistically; it wasn’t sonically together, but now I’m finding the new album we’re working on is more collective sonically,” says Danny.

Bridegroom Danny Jones leaves St Mary’s Priory Church, Old Malton, on his wedding day after marrying Malton model Georgia Horsley in August 2014

“It’s still in the really early stages. We’ve built this amazing studio in West London, where we used to rehearse downstairs, and after the business run by the guy who owned the building didn’t survive, we’ve taken over the rehearsal room to make a recording studio down there with a hang-out space upstairs.

“We’re working with friends and new people to find our new identity for the new record, and it’s kind of ’70s and ‘80s’ rock.”

Why draw on ’70s and ’80s rock, Danny? “We’re working on that line of ‘where do guitars belong in the pop world now?’, and we thought we should be influenced by pop bands who do ‘rock’ really well, like The Who and Oasis, because though we all have such different musical influences, we can agree to pull on Springsteen, Bryan Adams and Van Halen,” he says.

McFly, who had to forego playing Scarborough Open Air Theatre last July in the first Covid-crocked summer, will be returning to York Racecourse after their previous Music Showcase Weekend show in July 2012, having played York Barbican already that April.

Lancastrian Jones is no stranger to the Broad Acres of Yorkshire. “My sister Vicky lives in Leeds and my in-laws are in Malton,” he says.

Rick Astley: Opening the York Racecourse Music Showcase Weekend tomorrow evening post-racing

Should you need reminding, he is married to Malton model Georgia Horsley, a former Miss England, their wedding ceremony having been held at St Mary’s Priory Church, Old Malton, on August 2 2014.

Malton, of course, is synonymous with racing or, more precisely, racing stables. “Behind my in-laws’ house are the stables of a really well-known Irish trainer [although the name escaped Danny’s recollection,” he says. “I’d never seen a racehorse before or seen the veins on a horse close up. Amazing!”

Don’t bet on Danny having a bet on Saturday afternoon. “I’m just not a fan of losing!” he says, but McFly fans will be on to a winner. “You give them what they want. We’re not self-indulgent. If they’re not having a good time, we’re not having a good time, and vice versa.”

That rules out any colts bolting out from the latest studio sessions but guarantees plenty of favourites coming home triumphantly.

Rick Astley plays York Racecourse Music Showcase Weekend tomorrow evening post-racing; McFly, Saturday late-afternoon, post-racing.

Tickets for these combined racing-and-concert events are on sale at yorkracecourse.co.uk. As well as free car parking, no booking fees apply, but please note, admission is not available on a concert-only basis; the gates will be closed at the time of the last race.

UPDATE: 24/7/2021 McFly arrive at York Racecourse, ready to play to more than 30,000 racegoers after the Saturday race card.

Copyright of The Press, York

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REVIEW: Martin Dreyer’s verdict on Albion String Band/Hannah Roberts, Ryedale Festival, 19/7/2021

Albion String Quartet: Five concerts in one long weekend at 2021 Ryedale Festival

Ryedale Festival: Albion String Quartet/Hannah Roberts, St Olave’s Church, York, July 19

THE Albions spent a long weekend in residence for the festival’s opening, giving no less than five concerts. Three of these involved Schubert’s String Quintet in C, the last of them a mid-morning event marking the festival’s only venture into York this year.

They could hardly have chosen a better second cellist than Hannah Roberts: she blended superbly right from the start, while making her presence felt, the perfect combination. The proof here lay in the way all five voices jointly swelled and subsided, as if breathing together.

For many, this extraordinary work is a pinnacle of western music. What makes it additionally remarkable is that it came from the pen of a man who knew his end was near. So many of its apparently unruffled surfaces crack under the strain of this knowledge. It rarely settles – and is unsettling for the listener despite its many charms. For a performance to succeed, it needs to be uncomfortable.

Second cellist Hannah Roberts: “Blended superbly right from the start”

The heart of the work is its Adagio. Its outer sections hover, as the three central voices barely move and the outer two offer plucked comments; these at first lacked definition. After the bleak diversion into the minor key, first violin and second cello were much more distinct in their wanderings and we were transported into another world. It was a telling moment.

The first movement had gained urgency on the repeat of the exposition, and this was nicely sustained throughout the development. The attacks in the Scherzo gave it delightfully rustic implications, heightening the contrast with its ghostly Trio.

In the finale, all bright and cheery on the surface, we were made aware of the sinister implications of the last two notes. Indeed, the whole performance struck a superb balance between the light and the dark that pervades this incomparable score: a rewarding experience.

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on Carolyn Sampson & Joseph Middleton, Ryedale Festival, 17/7/2021

Carolyn Sampson: Ryedale Festival concert was “Elysium indeed, however you define it”. Picture: Marco Borggeve

Ryedale Festival: Carolyn Sampson & Joseph Middleton, St Peter and St Paul Church, Pickering, July 17

THE name Elysium covers a multitude of … well, pleasures. To the ancient Greeks, it was where the blessed, especially heroes, decamped after death. For the rest of us, it means paradise, with a small or large ‘p’.

Either way, it was the umbrella for soprano Carolyn Sampson’s late-night Schubert recital; she had also given it in the afternoon. Joseph Middleton was her piano partner, a top-notch combination. How typical of artistic director Christopher Glynn to bring in big names right at the start of the festival.

Schubert had a Damoclean sword of disease hanging over the last third of his life, so thoughts of the afterlife cannot have been far from his mind. Perhaps, like the young nun, he looked forward to peace after life’s storms, exquisitely encapsulated in Sampson’s pianissimo Alleluias at the end of Die Junge Nonne, without vibrato.

There again, Elysium is doubtless a place of endless melody, prefigured by Goethe’s Ganymede, where little tunes keep bursting out as he soars upward and we felt his excitement at what lay ahead.

Romantic poets often use moon and stars as stand-ins for heavenly realms. The opening of Beethoven’s Moonlight sonata colours the setting of Holty’s first An Den Mond (To The Moon). There is melancholy, too, in Goethe’s poem of the same name. Both here conveyed the idea of the voice as the reflection of the soul.

The brisker dactyls of Die Sterne (The Stars) showed a happier side to starlight, contrasting with the wonderful stillness this duo delivered in Nacht Und Träume’ (Night And Dreams) where moonlight gleams gently. There was a wonderful delicacy in Sampson’s tone for Der Liebliche Stern (The Lovely Star), tinged with sadness as the star contemplated its own reflection.

There was sunlight in the programme too. In Auf Dem Wasser Zu Singen (To Be Sung On The Water), it glinted on the waters of Middleton’s piano, eventually evoking escape from the passage of time.

A thrillingly rapid account of Der Musensohn (The Son Of The Muses) really danced with glee. In total contrast, Du Bist Die Ruh (You Are Peace) was consummately sustained by Sampson. Similarly, Middleton had tinted in little details of the nightingale’s twitterings with delicacy.

So to Schubert’s setting of Schiller’s Elysium, virtually a cantata, where rapid changes of mood require a chameleon-like approach. This duo was more than equal to its demands: light and shade, sun and storm and eventually an endless wedding feast, a heaven to die for, certainly.

Even more of a rarity was Schubert’s only song as a melodrama, Abschied Von Der Erde (Farewell To The World), given as an encore – pure delight, and filled with the reconciliation the composer undoubtedly achieved near his end. Elysium indeed, however you define it.

Review by Martin Dreyer

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Miles and his band are so glad to be back on the Chain Gang for Fulford Arms concert

Ganging up again: Miles And The Chain Gang return to the concert platform next week in York. Picture: Jim Poyner

AFTER an 18-month hiatus, Miles Salter’s York band are back on the Chain Gang, tooled up with new material to play The Fulford Arms, York, on July 29.

In the line-up are singer, songwriter, storyteller, published poet and radio presenter Salter, on guitar and vocals; Billy Hickling, from the hit show Stomp!, on drums and percussion; The Bogus Brothers and Goosehorns’ stalwart, Tim Bruce, on bass, and Alan Dawson, on lead guitar, augmented for this gig by Fay Donaldson’s flute and saxophone and Bernard Scarcliffe’s keyboards.

Miles And The Chain Gang have been working on a debut album since September 2019, recording first with Hairul Hasnan at University of York Studio, then with Jonny Hooker at Young Thugs Studios, in Ovington Terrace, York. “It’s not quite finished yet, but it’s sounding great,” says Miles. 

“We were just about to start a run of gigs in the spring of 2020 when Covid struck. Instead, we focused on recording and making videos, releasing three well-received download singles across 18 months.”

The latest was All Of Our Lives, a cover of a late-1990s’ Syd Egan song, recorded by the band in January and February, when Sam Pirt and Karl Mullen added accordion and piano respectively.

“We’ve had lots of airplay over the last year or so, on Jorvik Radio and YO1 Radio; it’s been great to hear our songs on these stations. We’ve done well, under the circumstances, but after a really long time away from playing, it’s great to get back to live sets again,” says Miles. “We’d love to see you, so do come along if you can. We have new songs and a new band member in the very talented Fay Donaldson.

“Support will come from North Yorkshire’s purveyors of hillbilly, King Courgette, who featured at our last show, way back in December 2019.” 

Tickets for next Thursday’s 8pm concert cost £7 at thefulfordarms.co.uk or £8 on the door. 

No time for vegetating: King Courgette are back in action as special guests at the July 29 gig
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Cato! Watch out for The Trials Of Cato at Primrose Wood Acoustics on August 5

The Trials Of Cato’s Tomos Williams and Robin Jones with new addition Polly Bolton

BBC Radio 2 Folk Award winners The Trials Of Cato will headline the third Primrose Wood Acoustics session in Pocklington on August 5.

Organised by Pocklington Arts Centre (PAC), the outdoor concert series will complete its summer hattrick by popular demand after sold-out sylvan shows on July 1 and 8.

Scunthorpe-born virtuoso guitarist, singer and songwriter Martin Simpson and East Yorkshire singer-songwriter Katie Spencer played the first night; Leeds indie-folk/Americana band The Dunwells and York singer-songwriter Rachel Croft, the second.

The third 7pm event will once again “fuse nature’s soundtrack, background birdsong and transcendent live music under a natural canopy of trees to create a truly enchanting open-air experience for audiences”.

PAC director Janet Farmer says: “Primrose Wood Acoustics is a new concept for Pocklington Arts Centre, with this being the first time we have taken live music not only outdoors but also into a woodland setting.

The Dunwells performing at the second Primrose Wood Acoustics in Pocklington on July 8

“Our first two events have proved so popular, selling out on both occasions and attracting such positive, uplifting feedback, that we just had to do another one.

“This time we have The Trials Of Cato headlining, which is a perfect fit for such a charming woodland setting. When nature and live music collide something really wonderful happens and we know this is going to be no exception.”

Hailed by Mark Radcliffe, The Folk Show host on BBC Radio 2, as “one of the real discoveries on the folk circuit in recent times”, The Trials Of Cato won Best Album at the 2019 BBC Radio 2 Folk Awards for their debut, Hide And Hair.

Formed in Beirut, when Tomos Williams, Will Addison and Robin Jones were working in Lebanon as English teachers, the trio had returned to Britain in 2016, Here, they set about performing tirelessly up and down the country with their stomping tunes and captivating stories that paid homage to the tradition while twisting old bones into something more febrile and modern.

Bolton wanderer: Polly Bolton, solo singer-songwriter, member of The Magpies and now part of the folk trio The Trials Of Cato

Hide And Hair’s release in November 2018 was greeted with airplay on BBC 6 Music and Radio 2 and thumbs-up coverage in national publications, while mastering engineer John Davis, who worked with Jimmy Page on the Led Zeppelin remasters, memorably dubbed them “The Sex Pistols of folk”.

After a year of wall-to-wall touring across the UK, Europe and North America, however, the band’s march was halted by the stultifying silence of the global pandemic, but now they are emerging anew from their transformative chrysalis.

“The Trials continue,” they say, but this time, after Addison’s departure, Williams and Jones are joined by Leamington Spa multi-instrumentalist and singer Polly Bolton, from The Magpies, for their hotly anticipated second album.

Set for release later this year (precise date yet to be confirmed), Gog Magog is named both after the mythical giant of Arthurian legend and the Cambridgeshire hilltop, where the new album was birthed over lockdown.

The support act for August 5 will be announced shortly. Tickets cost £14 on 01759 301547 or at pocklingtonartscentre.co.uk.

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When “pingdemic” rules out Rachel Podger, up steps Bojan Cicic at three hours’ notice… to perform exactly the same repertoire!

Rachel Podger: Had to self-isolate after being pinged

QUICK thinking by York Early Music Festival director Delma Tomlin saved the day when violinist Rachel Podger fell victim to the dreaded “pingdemic”.

Rachel had to self-isolate at the last minute, foregoing her 9.15pm live performance of The Violinist Speaks at St Lawrence’s Church, Hull Road, on July 13.

In a flash, Delma asked Croatian-born Baroque violinist Bojan Cicic to step into the breach, as he had arrived in York already to perform with Florilegium at the National Centre for Early Music the following night.

Bojan Cicic: Took over solo concert programme at three hours’ notice

Not only did he say ‘Yes’ at only three hours’ notice, but also he played the very same repertoire that Rachel had selected: JS Bach’s Cello Suite No. 1 in G major; Giuseppe Tartini’s Sonata in B minor; Heinrich Ignaz Franz Biber’s Passacaglia in G minor, for solo violin, and Bach’s Partita No. 2 in D minor, for solo violin.

Nothing was announced on social media beforehand by the festival organisers; only the audience was alerted of the late change by email, whereupon Bojan duly “wowed” his socially distanced crowd.

Rachel subsequently recorded The Violinist Speaks without an audience at the NCEM for a digital livestream premiere at 7.30pm last Saturday. Her online concert is now available on demand until August 13; on sale until August 9 at:  ncem.co.uk/events/rachel-podger-online/ncem.co.uk

Quick thinking: York Early Music Festival director Delma Tomlin
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What can the arts learn from England at Euro 2020? We’re not talking tactics…

CHALMERS & Hutch apply Southgate’s template for an all-inclusive future in the latest Two Big Egos In A Small Car podcast.

Under discussion too are Nadine Shah and the streaming dilemma; Alan Ayckbourn vs Harold Pinter; why British avant-garde novelists fall behind their progressive counterparts, and the future of York’s Pop Up Piccadilly artists.

To listen, head to: https://www.buzzsprout.com/1187561/8875394

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After 496 days of darkness, York Barbican to reopen with Van Morrison at the double

Freedom fighter Van Morrison marks liberation from Covid restrictions with full-capacity, sold-out gigs at York Barbican tomorrow night and on Wednesday.

YORK Barbican will reopen tomorrow when outspoken pandemic libertarian Van Morrison plays the first of two concerts this week, 496 days since the last show by jazz pianist Jamie Cullum.

Today’s Step 4 of lockdown easement facilitates the Northern Irish veteran performing Tuesday and Wednesday’s 8pm gigs to sold-out, full-capacity audiences.

The shows had to be moved from May 25 and 26 under prevailing Covid restrictions, when social distancing was still in place, and by happenstance the dates of July 20 and 21 were chosen, well before the “Freedom Day” delay from June 21 to July 19 was announced.

In May, Morrison, 75, released his 42nd studio album, Latest Record Project: Volume 1, a 28-track delve into his ongoing love of blues, R&B, jazz and soul, on Exile/BMG.

Born in Pottinger, Belfast, on August 31 1945, Van Morrison – or Sir George Ivan Morrison OBE, as a formal envelope would now read – was inspired early in life by his shipyard worker father’s collection of blues, country and gospel records.

Feeding off Hank Williams, Jimmie Rodgers and Muddy Waters in particular, Morrison became a travelling musician at 13, performing in several bands before forming Them in 1964.

Making their name at Belfast’s Maritime Club, Them soon established Morrison as a major force in the British R&B scene, initially with Here Comes The Night and Gloria, still his staple concert-closing number.

Brown Eyed Girl and the November 1968 album Astral Weeks announced a solo song-writing spirit still going strong, as affirmed latterly by a burst of five albums in three years. In 2017, he released Roll With The Punches and Versatile; in 2018, You’re Driving Me Crazy, with Joey DeFrancesco, and The Prophet Speaks; in 2019, Three Chords & The Truth.

Over the years, Morrison has accumulated a knighthood; a BRIT; an OBE; an Ivor Novello award; six Grammys; honorary doctorates from Queen’s University, Belfast, and the University of Ulster; entry into the Rock & Roll Hall of Fame and the French Ordres Des Artes Et Des Lettres…and a number 20 hit duet with Cliff Richard in 1989, Whenever God Shines His Light.

Sceptic Morrison has said – and sung – his two penneth on Coronavirus, decrying what he calls the “crooked facts” and “pseudo-science”. Last August, he called for “fellow singers, musicians, writers, producers, promoters and others in the industry to fight with me on this. Come forward, stand up, fight the pseudo-science and speak up”.

Ironically, a quick-thinking company promptly launched a set of face masks of iconic Morrison album covers.

From September 25, Morrison launched a series of three protest songs, one every two weeks, railing against safety measures to prevent the spread of Covid-19: Born To Be Free, As I Walked Out and No More Lockdown.

“No more lockdown / No more government overreach / No more fascist bullies / Disturbing our peace …,” he urged on the latter.

“No more taking of our freedom / And our God-given rights / Pretending it’s for our safety / When it’s really to enslave …”

Not without irony, that song condemned “celebrities telling us what we’re supposed to feel”. Issuing an explanatory statement amid condemnation from voices in Irish authority, he said: “I’m not telling people what to do or think. The government is doing a great job of that already. It’s about freedom of choice. I believe people should have the right to think for themselves.”

Last September too, he announced a series of socially distanced concerts, again with a covering note: “This is not a sign of compliance or acceptance of the current state of affairs,” it read. “This is to get my band up and running and out of the doldrums.”

Now, here come the nights at York Barbican: an umpteenth return to a venue where Van The Man has performed in his predictably unpredictable, sometimes gruff, sometimes prickly, yet oft-times sublimely soulful manner on myriad mystical nights.

Alas, CharlesHutchPress will not be reviewing York Barbican’s reopening night as no press tickets have been made available for Van Morrison’s brace of shows. 

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Michael Flatley to mark 25th anniversary of Lord Of The Dance with York Barbican run

Spring in his step: Michael Flatley to mark 25th anniversary of Lord Of The Dance with four shows at York Barbican next April

THE 25th anniversary tour of Michael Flatley’s Lord Of The Dance will leap into York Barbican from April 11 to 14 on its 2022 British tour.

Billed as “the most successful touring show in entertainment history”, Flatley’s Irish dance extravaganza has visited 1,000 venues worldwide and been watched by 60 million people in 60 different countries on every continent.

Riverdance innovator Flatley will revive and update the original Lord Of The Dance for new generations of fans in a show with more than 150,000 taps per performance as it “transports the audience to a mythical time and place, capturing hearts in a swirl of movement, precision dancing, artistic lighting and pyrotechnics.”

“I’m so excited to bring the original Lord of the Dance back to UK Theatres in 2022,” says the American dancer and choreographer of Irish ancestry, who turned 63 on July 16. “I feel like this is the most vital tour in our 25-year history. The return of the arts is so incredibly important. I hope the tour will help renew spirits and put a smile back on everyone’s faces.”

The journey to Lord Of The Dance began with Chicago-born Flatley’s dream to create the greatest Irish dance show in the world, first catching the eye with a performance at the 1994 Eurovision Song Contest at The Point Dublin. “Nothing is impossible. Follow your dreams,” he vowed.

Flatley’s Lord Of The Dance combines high-energy Irish dancing and original music with storytelling and sensuality, “transcending culture and language as it soars into the soul on astounding aerial moves, unparalleled precision dancing and state-of-the art theatrical effects”.

For the 25th anniversary tour, Flatley is promising new choreography, staging and costumes and new music by Gerard Fahy, plus cutting-edge technology for special-effects lighting, as he directs 40 young performers. In a nutshell, the best of tradition meets the excitement of new music and dance.

Tickets for the four 8pm performances are on sale at yorkbarbican.co.uk. 

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‘We don’t make music for an audience; we make music with the audience,” says Ryedale Festival director Christopher Glynn

South African cellist Abel Selaocoe: Playing Ryedale Festival on two days

HOW does a festival reinvent itself for the Covid-confused summer of 2021? 

At Ryedale, celebrating its 40th year, although not in the way it had planned, the answer is a one-off, late-announced, open-ended, can-do-spirited programme of summer events that brings inspiring performers to play together in beautiful Ryedale places from this weekend to July 31 .

Presenting 40 live concerts to celebrate its 40 years, Ryedale Festival welcomes performers such as Jess Gillam, Abel Selaocoe, Carolyn Sampson, Isata Kanneh-Mason, Lara Melda, Milos, the Orchestra Of The Age Of Enlightenment, BBC Big Band, Kathryn Tickell and Tenebrae, as well as Poet Laureate Simon Armitage – and many more besides.

The Festival will be popping up in Pickering Parish Church; All Saints’, Kirkbymoorside; Hovingham Hall; St Olave’s Church, York; Birdsall House and Church; St Peter’s Church, Norton; Duncombe Park; the Milton Rooms, Malton, and Ampleforth Abbey.

Events will be around one hour long, with no intervals and reduced capacity to prioritise audience safety, but multiple performances to enable as many people as possible to attend.

Ryedale Festival artistic director Christopher Glynn. Picture: Gerard Collett

Artistic director Christopher Glynn says: “We’ve brought together a wonderful programme of British-based artists that is both vibrant and diverse. The formats of our concerts have changed but the core elements are what they have always been: great music, beautiful Ryedale locations, and audiences.

“Because, for performers like me, after the experience of the past year, one thing seems clearer than ever before: we don’t make music for an audience; we make music with the audience.” 

The festival’s two weeks of summer music opened last night (17/7/2021) with the Albion String Quartet’s programme of Haydn and Shostakovich at St Mary’s Priory Church, Old Malton, and soprano Carolyn Sampson and pianist Joseph Middleton’s all-Schubert recital, themed around Elysium, the ancient Greek concept of afterlife, in St Peter and St Paul’s Church, Pickering.

Today, cellist Hannah Roberts joined the Albion String Quartet for Schubert’s String Quintet at All Saints’ Church, Kirkbymoorside, at 5pm and St Michael’s Church, Malton, at 9pm, followed by a third performance tomorrow at 11am at St Olave’s Church, York.

Birdsall House and Church is the scene for a double concert tomorrow from 5pm. Fresh from her Proms debut, British/Turkish pianist Lara Melda plays Rachmaninov and Chopin’s epic third sonata in the house, while classical guitarist Miloš plays Villa Lobos, Bach and Albeniz, among others, at the church.

Poet Laureate Simon Armitage: Marsden poems

The format of the double concert encompasses a two-hour interval, when the audience is invited to picnic in the grounds of Birdsall House between the two performances.

Poet Simon Armitage grew up among the hills of West Yorkshire and always associated his early poetic experiences with the night-time view from his bedroom window. Now Poet Laureate, he visits the Milton Rooms, Malton, on Tuesday to read from Magnetic Field: The Marsden Poems, his compendium of poems about the village where he grew up. The 40-minute 11am and 3pm readings and question-and-answer sessions each will be followed by a book signing.

On Wednesday, in Cubaroque at 11am and 9pm at All Saints’ Church, Hovingham, tenor Nicolas Mulroy and guitarist and theorbo player Toby Carr perform a rare combination of music from two golden ages, as songs of love, sorrow and faith by baroque composers Purcell, Monteverdi and Strozzi speak across the oceans and centuries to modern Latin-American standards by Silvio Rodríguez, Caetano Veloso, Pablo Milanés and Victor Jara, who gave voice to a continent emerging from years of suppression.

At the Palladian-style Hovingham Hall on Wednesday at 3pm and 6pm, Orchestra Of The Age Of Enlightenment violin soloists present music written for violins alone, highlighting the contrasts, textures and colours of an instrument that is usually on top of the sound-world of string instruments.

The programme takes in solos by master composer-performers, programmatic duets, profoundly beautiful trios, concertos for four violins and new arrangements.

Tina May: Singing with the BBC Big Band

On Thursday at 3pm and 6pm, trailblazing Jess Gillam leads her ensemble in an electrifying programme at St Peter’s Church, Norton, designed to inspire you to reflect, dance and smile with the aid of compositions by Meredith Monk, Philip Glass, Björk, Thom Yorke, Will Gregory, Ryuichi Sakamoto and Piazzolla.

South African cellist Abel Selaocoe is joined by pianist Benjamin Powell on Thursday at 11am and 9pm at Birdsall House, Birdsall, as he highlights the links between Western and non-Western musical traditions in a programme that complements his own work Nagula with compositions by Debussy, James Macmillan, Ravel and Schedrin.  

Selaocoe returns on Friday at 3pm and 6pm with Sirocco, his energetic, joyful collaboration with Manchester Collective and Chesaba, at the Milton Rooms, Malton. Their great storm of music celebrates the warmth and diversity of folk traditions from across the globe, from Purcell to Stravinsky, original African folk to Danish folk songs.

The BBC Big Band and jazz chanteuse Tina May perform timeless feel-good numbers from the classic era of swing, all arranged and curated by leader Barry Forgie, on Saturday at 5pm and 8pm at the Scarborough Spa Grand Hall. Expect Duke Ellington, Count Basie and Benny Goodman works, plus a few surprises along the way.

On Sunday, July 25, pianist Isata Kanneh-Mason performs a wide-ranging programme of contrasting sonatas by Mozart, Beethoven, Chopin and Gubaidulina at Duncombe Park at 3pm and 5.30pm.

Amy Thatcher and Kathryn Tickell: Playing the Milton Rooms, Malton

The festival’s second week opens with speaker Lucy Beckett discussing Rievaulx and Mount Grace: Contrasting Histories on July 27 at 11am and 3pm at St Michael’s Church, Malton. Twelve miles apart, both mediaeval monasteries were abolished by Henry VIII, but their glory days were nearly four centuries apart, and the difference in their histories makes for a gripping tale.

Fresh sounds merge with ancient influences when Kathryn Tickell, British folk scene luminary and Northumbrian piper, and her close collaborator, accordionist and clog dancer Amy Thatcher, of The Monster Ceilidh Band, perform at the Milton Rooms, Malton, on July 27 at 5pm and 8pm.

Coco Tomita, winner of the strings category in this year’s BBC Young Musician competition, joins pianist Simon Callaghan to play Mozart, Tchaikovsky and Poulenc’s Violin Sonata at Duncombe Park on July 28 at 11am and 3pm.

Directed by Nigel Short, Tenebrae sing Renaissance Glories, music from the Golden Age of Spanish art, on July 29 at the Benedictine monastery of Ampleforth Abbey at 7.30pm. The closing piece will be Tomás Luis de Victoria’s luminous Requiem Mass of 1605, full of humanity and beauty.

All Saints’ Church, in Hovingham, plays host to two Young Artist Day concerts on July 30.  The first, at 11am and 6pm, promises a wide-ranging programme from pianist Mishka Rushdie Momen, who journeys from Bach to Ligeti to Schubert’s most virtuosic work for solo piano, Wanderer-Fantasy.

York artist Jake Attree: Ryedale Festival exhibition at Helmsley Arts Centre

In the second, two fast-rising artists, violinist Charlotte Saluste-Bridoux and pianist Ljubica Stojanovic, present works by Biber, Schubert and Brahms (“Rain” Sonata) at 3pm and 9pm.

The final concert, by Solem Quartet and Friends at Hovingham Hall on July 31 at 3pm and 6pm, is filled with music of optimism and friendship, led off by Florence Price’s tribute to her extraordinary friend, the jazz musician and singer Memry Midgett, Summer Moon, and her arrangement of the folk song Drink To Me Only With Thine Eyes. Schubert’s Octet, a work of dazzling invention and uplifting lyricism, is the finale.

Throughout July and August at Helmsley Arts Centre, York-born artist Jake Attree presents The Spirit Of The North, an exhibition inspired by time spent in and around Ryedale, dedicated to the memory of Dr Richard Shephard, York composer and headmaster.

“I want the paintings, oil pastels and drawings to have a sense of the places that inspired them, whether York, the landscape around Welburn, the River Derwent at Malton, or a view across the Howardian Hills from Pickering Castle,” says Jake, whose studio is at Dean Clough, Halifax.

“Completely dependent on the subject while simultaneously independent of it, these works are a celebration of Paul Cézanne’s idea that art is ‘a harmony that runs parallel to nature’ and full of a sense of what it feels like to spend time in North Yorkshire.” 

The full programme and ticket details can be found at ryedalefestival.com.