State of grace: Rachel Sermanni on stage at St Margaret’s Church, home of the National Centre for Early Music, in Walmgate, York. Picture: Paul Rhodes
BEING born gloriously Scottish is simply the luck of the draw. What the performers at the NCEM on Tuesday chose to do with those lovely accents is anything but arbitrary.
Rachel Sermanni’s upbringing in the Cairngorms must have contributed to her distinctive personality, and certainly can be heard ringing through her wonderful singing voice.
Sermanni has only just turned 30. It’s almost a decade since she opened up for Jesca Hoop at one of Tony Fothergill’s much-missed House Concerts. Then, she had the charisma but not the songs, but now an adult, she is much further down that (never ending) road.
Her 75-minute set was richly textured – high praise as she was playing solo – and drew on songs from across her career. As a performer she naturally draws you in, and her habit of holding your gaze is quite disarming. While sometimes on record her material lacks heft, live and buoyed by her stage craft, it made for a really enjoyable evening.
Singer-songwriter Gary Stewart (who also fronts a Paul Simon tribute show built around the Graceland album, by the way)
Things had got off to a promising start with a charming support set from Gary Stewart. Comparisons with Paul Simon were inescapable, even down to the tank top, but then is there any higher benchmark for a singer-songwriter?
Born in Perthshire, we are lucky to have Stewart live near York, and he performed a set of songs from his home-recorded lockdown record, Lost, Then Found. His lilting, airy voice and dextrous finger picking were a treat.
While it was a shame he didn’t play his dainty Sadder Day Song – where laying on the grass in York’s Museum Gardens finally makes it into song – there was still much to enjoy. Pick of the set was Sailors And Tailors, which wittily and tunefully brought back to life the romance of his Scottish ancestors.
Kudos to Please Please You promoter Joe Coates’s attuned ears for matching these two performers.
Rachel Sermanni: “Her habit of holding your gaze is quite disarming,” says reviewer Paul Rhodes
Sermanni’s songs took the evening up another level. While she professed to be rusty, the occasional ‘alternative’ note added rather than detracted, making it feel much more human and real – more in keeping with her organic persona.
She wove in a mix of happy songs, with the audience stirred into voice for Dream A Little Dream Of Me (made popular by Doris Day), bitter (the curiously titled Tractor and searching and sad (Everything Changes, a standout from 2014).
Her most recent EP focused on her response to giving birth, Swallow Me sharing the stage with its darker brethren, Travelled. It makes her a highly relatable artist. What Can I Do sparkled, with our Covid powerlessness adding extra layers of meaning to her powerful cry.
Her fascinating introduction to discovering that Semisonic’s late-1990s’ hit, Closing Time, was actually a song in disguise about fatherhood almost made up for Sleeping, which was less hidden, rather winking, in plain sight. It was one of very few weaker moments.
In contrast, her pre-encore set finished with Lay My Heart. Easily her most memorable number, or at least the most anthemic, this enraptured song of being in a state of grace was stunning. Written under the influence of the aurora borealis, it might have been better to leave the audience in that condition.
Custom and good manners demanded an encore, which didn’t reach the same heights but such was the warmth in the room that we could have looked on into the early hours, like Sermanni under those dancing Canadian skies, whisky full until frost grew from our noses.
Sophie Hammond’s Jovie and Damien Poole’s Buddy go green for York Stage Musicals’ Elf
AFTER The Flint Street Nativity and last winter’s debut pantomime Jack And The Beanstalk, York Stage Musicals are serving up Christmas cheer again with Elf The Musical.
Such is the anticipation for this show that the Grand Opera House run from today until December 3 has all but sold out already. “Out of the 11 performances, we have around only ten tickets left for each show,” says delighted artistic director Nik Briggs.
York Stage Musicals are presenting the York premiere of Matthew Sklar, Chad Beguelin, Thomas Meehan and Bob Martin’s musical, based on the 2003 film, the one with a goofing Will Ferrell.
Should Elf somehow have eluded you, the story follows orphan child Buddy as he mistakenly crawls into Santa Claus’s bag and ends up being transported to his North Pole abode.
Once there, unaware he is human, and not an elf, his enormous size and poor toy-making abilities cause him to face the truth.
Given Santa’s permission, Buddy (played by Damien Poole) must head to New York City to find his birth father, discover his true identity and help the Big Apple to remember the true meaning of Christmas.
“We love bringing big Broadway and West End musicals to York: we’ve done Priscilla, Queen Of The Desert and Shrek The Musical, and I knew Elf would be perfect for the cast we have: high energy and full of fun,” says Nik.
Elf The Musical director Nik Briggs, left, choreographer Emily Taylor and lead actors Sophie Hammond and Damien Poole at York Stage Musicals’ press launch at Sotano, Little Stonegate, York
“With The Flint Street Nativity and our musical panto, Jack And The Beanstalk, we’ve started bringing alternative Christmas shows to York and Elf perfectly fits that bill.”
How does the musical differ from the film? “The songs, obviously! It’s got a stellar songbook to go will all the comedy that people love from the movie,” says Nik. “The beautiful score is accompanied by a big, brassy band: a 16-piece orchestra directed by the wonderful Stephen Hackshaw. It sounds amazing.”
As affirmed by the ticket sales, Elf has winter winner written all over it. “People love the film; it’s a title they know, and after the past 18 months we’ve all had, it’s the perfect show too see. Pure joy!” says Nik.
“Just as Buddy helps New York to find its Christmas spirit, so Damien and the cast will be helping York to do the same.”
Enthusing over his two leads, Damien Poole, as Buddy and Sophie Hammond, as Buddy’s love interest, Jovie, Nik says: “Damien IS Buddy! He loves Christmas, he’s so full of joy, so energetic, and with his ten years of West End credentials in such shows as Grease and Groundhog Day, he can sustain that throughout the run.
“Sophie is just the most beautiful performer. I remember when she first walked in to audition for Footloose, more than ten years ago, I was just blown away, casting her as Ariel, the preacher’s daughter with the looks and rebellious attitude of a bad girl. She really takes the audience on a journey when she performs.”
After mounting Jack And The Beanstalk at Theatre@41, Monkgate, last Christmas with the requirement for social bubbles, a compact cast and the constant uncertainty over whether the show would have to be called off (only the finale was lost in the end), Nik is once more producing a show under the Covid cloud.
“After the past 18 months we’ve all had, Elf is the perfect show too see. Pure joy!” says director Nik Briggs
“We’ve kept our numbers to what would be the cast size for a tour – around 20 – and we’ve never stopped learning from the shows we’ve done since the pandemic forced changes, starting with the outdoor concerts at Rowntree Park in late-summer 2020 and the panto,” he says, as he attends to the Elf and safety requirements.
“That’s put us in a really good position to run a show like this, with all the requirements for Lateral Flow Tests and wearing masks when necessary.”
After the hit run of Shrek The Musical, directed and choreographed by Damien Poole after his return to Boston Spa from his West End work, York Stage Musicals are thrilled to be back at the Grand Opera House for Elf. “We love working with the team here, and we love the technical possibilities the stage affords us,” says Nik, who has done the set design on top of his directing duties.
“We’ve had the set built by companies and builders around the country for a brand new set design that works perfectly with the space, inspired by New York and Radio City Music Hall, in Midtown Manhattan, which I visited in 2019, shortly before Covid arrived.”
Looking ahead, York Stage Musicals will be returning to the Grand Opera House from April 22 to 30 next year for the York premiere of Gary Barlow and Tim Firth’s Calendar Girls: The Musical. Write that one down on your 2022 calendar and be sure to book early.
York Stage Musicals in Elf The Musical, Grand Opera House, York, tonight (25/11/2021) until December 3. Box office: hurry, hurry to atgtickets.com/York or ring 0844 871 7615.
Copyright of The Press, York
Damien Poole and Sophie Hammond: Actors, teachers and stars of York Stage Musicals’ Elf The Musical
SOPHIE Hammond is completing a full circle as she returns to the Grand Opera House stage in York tonight in York Stage Musicals’ Elf The Musical.
“This is my first time back in a York Stage show since playing Ariel in 2010 in Footloose. I was blonde at the time,” recalls Sophie, her hair now darker, as she takes the role of Buddy’s love interest, Jovie, in Elf.
“That was my first show with York Stage Musicals, as after Footloose I went off to London to train in musical theatre at the American Musical Theatre Academy, where I managed to get myself an agent and went into performing jobs.”
Four years into the profession, Sophie made a career change. “I decided I wanted to teach performing arts at secondary school, and I’ve been teaching at Beckfoot School, in Bradford, for three years, which have whizzed by,” she says.
Sophie performed in the second of York Stage Musicals’ outdoor concerts in Rowntree Park in Summer 2020 and now she is treading the boards once more at the Grand Opera House. “It feels like it’s a nice circle being completed, being back there after 11 years,” she says.
LIKE Sophie Hammond, Damien Poole has left London behind to make a new start.
“I’d lived there for 15 years, working in the West End, but four years ago I decided to set up my theatre school, Damien Poole Theatre Arts, which I run in Harrogate, and I also work at the Leeds Conservatoire music school, working with musical theatre degree students,” he says.
After directing and choreographing York Stage Musicals’ September 2019 production of Shrek The Musical – “an amazing experience,” he says – Damien now faces the challenge of balancing his teaching duties with playing the lead character of Buddy in YSM’s Elf.
“I try to make time by changing my times at the theatre school and Leeds, so I can rehearse on Wednesdays and Sundays and have Thursdays off,” he says.
He is relishing taking on the role synonymous with Will Farrell. “Obviously I’m not going to be able to create what Will Farrell did in creating Buddy’s character in the film, but I get to sing and dance, and you get to see more layers to Buddy in the musical,” says Damien.
ONLY a handful of tickets are left for December 2’s gig by “the Welsh Springsteen”, Martyn Joseph, at Pocklington Arts Centre.
The Welsh folk singer-songwriter, now 61, will be showcasing his 23rd studio album, 1960, a “coming of age” record with a difference, released on Pipe Records last Friday.
Last year, amid the isolation of the pandemic, Penarth-born Joseph turned 60 on July 15, a landmark birthday, a time of self-reflection, that shaped his songs of despair and sadness, gratitude and wonder, and gave the album its title.
“The road ahead is shorter than the one behind,” he ponders. “I found myself asking what I’ve made of this life – and what I might have done differently.
“The answer doesn’t matter,” he decides. “It’s about love and the quality of your days on this earth.”
What emerged is a track listing of: Born Too Late; Felt So Much; House; Down To The Well; We Are Made Of Stars; Trying To Grow; Under Every Smile; In Your Arms; Shadow Boxing; There Is A Field and the seven-minute finale This Light Is Ours.
Looking forward to hosting a gig postponed by the third Covid lockdown from its original date of January 16, but now benefiting from the timely release of 1960, Pocklington Arts Centre director Janet Farmer says: “Martyn Joseph is an incredible artist, a truly unique talent who is going to blow us away when he steps onto our stage.
“He has had such an impressive career to date and his latest album is without doubt one of his best. We’ve had it playing on repeat at the venue, so what a fantastic opportunity this will be to hear it live within the intimate setting of our auditorium.”
Tickets for Joseph’s 8pm performance cost £18 at pocklingtonartscentre.co.uk or on 01759 301547.
Did you know? MARTYN Joseph was honoured with a Spirit of Folk Award by Folk Alliance International in Kansas, USA, in 2018 and awarded a Wales Folk Award in 2019 for Here Come The Young, the title track of his last studio album.
The Proclaimers’ tour poster for their 2022 travels
SCOTTISH twin brothers The Proclaimers will return to York Barbican on October 19 on their 35-date British and Irish tour next autumn.
In doing so, Craig and Charlie Reid, 59, will complete a hattrick of October gigs at the Barbican after shows there on October 25 2015 and October 17 2018 – their last York gig – on their Angry Cyclist Tour.
The 2022 itinerary will take in further Yorkshire concerts at Bradford S George’s Hall on October 13 and Sheffield City Hall on October 20.
Next year will see The Proclaimers heading into the recording studio to record their 12th studio album, followed by festival appearances in the summer and an opening spot at Paul Heaton and Jacqui Abbott’s outdoor concert at Doncaster Keepmoat Stadium on July 23.
The bespectacled Reid brothers emerged 35 years ago with their debut album This Is The Story and top three single Letter From America, since when their songs of poignancy, emotional honesty, political fire and wit have become staples at weddings, funerals and everything in between.
Carving out a niche in the netherworld where pop, folk, new wave and punk collide, The Proclaimers have enjoyed gold and platinum singles and albums in Britain, the United States, Canada, Australia and New Zealand.
When David Tennant picked The Proclaimers for his opening song on BBC Radio 4’s Desert Island Discs in 2009, the Reids’ fellow Scotsman said: “I could have chosen any and every track from this band, probably my favourite band of all time. They write the most spectacular songs, big hearted, uncynical passionate songs.” He selected Over And Done With, from This Is The Story, should you be wondering.
York tickets go on sale on Friday (26/11/2021) at 10am at yorkbarbican.co.uk; Doncaster, Friday, 9.30am, at gigsandtours.com and ticketmaster.co.uk.
Consone Quartet: Partners in the NCEM Young Composers Award 2022
COMPOSERS aged 25 and under are invited to write a new work for string quartet for the NCEM Young Composers Award 2022.
Each year, the award is presented by the National Centre for Early Music, in York, in association with BBC Radio 3. For 2022, they are delighted to welcome the Consone Quartet, the BBC New Generation Artists, as creative partners, as announced on BBC Radio 3’s Early Music Show on November 21.
Composers are asked to write a new piece – three to four minutes in length – for string quartet, working alongside the Consone Quartet’s Agata Daraškaite, Magdalena Loth-Hill, Elitsa Bogdanova and George Ross, who play ‘period’ instruments using gut strings.
For next year’s award entries, they invite young composers to learn about the musical sound world of one of their favourite composers, Fanny Mendelssohn, a talented pianist who wrote 400 works but never enjoyed the acclaim that brother Felix received. “This is the opportunity to create a new piece which explores this fascinating time in musical history,” they say.
Shortlisted composers will be invited to the Award Day at the NCEM, at St Margaret’s Church, Walmgate, when the shortlisted compositions will be presented by the Consone Quartet in a workshop led by composer Professor Christopher Fox. In the evening, the Consone Quartet will perform each of the pieces for a panel of judges.
The two winning pieces, one from each age category (see below), will be premiered by the Consone Quartet at Stour Music Festival on June 26 2022, when the performance will be recorded for future broadcast on BBC Radio 3’s Early Music Show.
This major national annual award is open to young composers up to the age of 25, resident in the UK, and is divided into two categories: 18 and under and 19 to 25.
NCEM director Delma Tomlin says: “The Young Composers Award is one of the most important dates in the NCEM’s calendar and gives us a vital opportunity to work with the wider community. Last year, we received an astonishing number of applications from all over the UK and we’re sure that enthusiasm to take part will just keep on growing.
NCEM director Delma Tomlin: “Thrilled to be working with the Consone Quartet”
“For 2022, we’re thrilled to be working with the Consone Quartet, who will be guiding the shortlisted composers and performing their pieces. They’ll be joined in York by composer Professor Christopher Fox to host a day of workshops with the shortlisted candidates before the public performance in the evening.
“This year, the compositions will be performed at the prestigious Stour Music Festival and, of course, broadcast on BBC Radio 3’s Early Music Show – a brilliant beginning for any young composer.”
Alan Davey, controller of BBC Radio 3 and classical music, says: “As Covid restrictions lift and we are able to celebrate the return of live music to UK stages, BBC Radio 3 believes it is vital to give appreciation and encouragement to young composers and performers who represent the future of music in this country.
“That is why we are so proud to partner with the National Centre for Early Music’s 2022 Young Composer Award. Each year, it enables us to help audiences at home discover the brightest talents in Early Music practice, broadcasting their works on our Early Music Show.”
Consone Quartet are “thrilled to be joining forces” with the NCEM for the Young Composers Award. “Having competed in the NCEM’s International Young Artists Competition, we appreciate how much these sorts of opportunities can help to kickstart a young musician’s career,” they say. “We cannot wait to hear what the shortlisted composers have written, to work in more detail with them and eventually to perform their works.”
The Young Composers Award is an integral part of the NCEM’s work, with comments from the 2021 awards illustrating the impact and importance of the experience. Witness: “I have gained confidence in myself. Hearing my piece come to life was an incredible experience,” said one. “Great contacts and lots of fun!” said another. “Christopher Fox’s insightful comments, always thinking outside the box,” enthused a third.
The deadline for registration is 12 noon on Friday, February 18 2022; the deadline for submission of scores is 12 noon, Friday, March 18. Shortlisted candidates will be informed by April 8 and will be invited to attend the Award Day in York on May 19.
L’Apothéose in the grounds of the National Centre for Early Music, St Margaret’s Church, York, after winning the York International Young Artists Competition in 2019. Picture: Jim Poyner
YOUNG ENSEMBLES SOUGHT FOR YORK INTERNATIONAL YOUNG ARTISTS COMPETITION 2022
CALLING young ensembles of the world: the deadline for applications for next year’s York International Young Artists Competition is January 14 2022.
This prestigious longstanding competition for young ensembles will take place on Saturday, July 16 at the National Centre for Early Music as part of next summer’s York Early Music Festival.
The first prize includes a recording contract from Linn Records: a £1,000 prize; opportunities to work with BBC Radio 3 and a concert at the 2023 York Early Music Festival.
Other prizes include: the Friends of York Early Music Festival Prize; the Cambridge Early Music Prize and a prize for The Most Promising Young Artist/s endowed by the EUBO Development Trust.
The competition is open to Early Music ensembles with a minimum of three members; ensembles must have an average age of 33 years or under, with a maximum age of 37 years for individuals.
The ensembles must demonstrate historically informed performance practice and play repertory from any period, spanning the Middle Ages to the 19th century, on period instruments.
Sollazzo Ensemble: “Winning the competition was a turning point in our career”
The competition is recognised as a major international platform for emerging talent in the world of early music. Attracting musicians from all over the globe, it offers a boost to young professional careers with opportunities for performance, recording and broadcasting and international exposure.
NCEM director Delma Tomlin says: “We are so pleased to be staging the 2022 competition, which brings together young musicians of the highest calibre from the UK and all over the world.
“This is one of highlights of the York Early Music Festival and we are always overwhelmed by the superb quality of the performances from these fantastically talented young artists. The competition provides a joyous, optimistic finale to our festival and we are delighted to be able give these rising stars many exciting future opportunities.”
2019 winners L’Apothéose say: “Winning the York competition was an extremely important and prestigious recognition of our career, and taking part was an immensely joyful experience.”
Fellow former winners Sollazzo Ensemble enthuse: “Winning the competition was a turning point in our career, bringing us to the attention of both a wider audience and professionals throughout Europe.”
Details of how to apply can be found at yorkcomp.ncem.co.uk; alternatively, send an email to yorkcomp@ncem.co.uk.
Orchestra Of The Age Of Enlightenment: Opening the 2021 York Early Music Christmas Festival with two sold-out concerts on December 3
YORK Early Music Christmas Festival will be back in full swing this season, combining live concerts with a later online programme of festive music.
Running from December 3 to 11, then on demand from December 17 to January 14, the festival promises Christmas carols, candlelight, Vivaldi, Corelli, Bach, Handel, Purcell, Schubert, mulled wine, mince pies and Mexican melodies.
In the medieval St Margaret’s Church, in Walmgate, this celebration of Advent and the festive season will go ahead with Covid safety measures in place: seating will be socially distanced and proof of two Covid vaccinations or a negative Lateral Flow Test will be required. “No proof, no admission,” will be the strict policy, and the wearing of masks will be actively encouraged too.
To adapt to the prevailing circumstances and smaller capacities, five of the festive programmes will be performed twice, at 5.30pm and the more conventional 7.45pm.
“The philosophy is short concerts, no interval, and still selling to a limited capacity, so that people feel more comfortable because there’s more room and they don’t have to spend too much time together indoors in winter,” says festival director Delma Tomlin.
“In dark December, earlier evening concerts will appeal to a certain demographic, who can get home in good time for supper. It’s all about understanding people’s wishes as we return to going to concerts, and it’s much more practical to do two concerts in an evening, as we don’t have the same level of visitors for afternoon concerts.”
La Palatine: French songs of love, betrayal, disenchantment and loss on December 4
Looking forward to a festival with plenty of concerts sold out already, Delma says: “Christmas in most circles is a time for celebrations, a time of fanfare, ceremony and feasting. At the heart of the celebrations is a very human story which is often so beautifully illustrated through music, and we invite you to find peace, serenity, alongside mince pies and mulled wine at this busy time – and to enjoy some really fabulous music too!
“There is 500 years’ worth of glorious Advent, Christmas and winter music to go at, and frankly we all need a bit of cheering up right now.”
Opening festival proceedings will be an ever innovative, entertaining and engaging British ensemble, the Orchestra Of The Age Of Enlightenment, whose 5.30pm and 7.45pm performances of A Baroque Christmas on December 3 have both sold out. Concertos by Corelli, Manfredini, Torelli and Vivaldi will be complemented by Handel’s Pastorelle from Messiah and works by D Scarlatti and JS Bach.
Replacing Ensemble Caladrius’s O Magum Mysterium in the festival’s first NCEM Platform Artists’ concert on December 4 at 12.15pm will be French ensemble La Palatine, presenting Il n’y a pas d’amour heureux.
The raw emotions of love, betrayal, disenchantment and loss infuse the songs and opera arias of the early baroque in Italy, as explored by Marie Theoleyre, soprano, Noemie Lenhof, viola da gamba, Jeremy Nastasi, theorbo and baroque guitar, and Guillaume Haldenwang, harpsichord, in the works of Tarquinio Merula of Cremona, Domenico Mazzocchi in Rome and Claudio Moneteverdi’s Lamento d’Arianna.
Travelling further afield, the festival takes a Mexican theme with Siglo de Oro’s Christmas In Puebla, a sold-out 6.30pm concert on December 4 that evokes the spirit of the warm breezes of South America, on Christmas Eve in Puebla Cathedral, blending dance-infused villancicos with traditional 17th century carols under the direction of Patrick Allies.
Siglo de Oro: Mexican melodies
“This will be Siglo de Oro’s York debut,” says Delma. “Somewhat delayed, though, because they were supposed to be here two years ago.”
York favourites The Gesualdo Six return to the NCEM once more, this time with In Winter’s House, on December 5 at 5.30pm (sold out) and 7.45pm (tickets still available). Director Owain Park’s programme of music evokes a sense of mystery and joy, from works of the Tudor church to the 21st century by Judith Bingham, Joanna Marsh and Sally Beamish. “They will be wallowing in the deliciousness of both old and new music,” says Delma
The second NCEM Platform Artists’ concert, supported by the NCEM’s Creative Europe-funded programme EEEmerging, will be given by Prisma, a German ensemble comprising Franciska Anna Hadju, violin, Elisabeth Champolion, recorder, Alon Sariel, lute, and David Budai, viola da gamba, on December 7 at 5.30pm and 7.45pm. “They’re so much fun, so cheerful, and a very delightful group to welcome at Christmas,” says Delma.
Their programme, A Baroque Christmas, will be wrapped around baroque trio sonatas and dances, inviting the audience to rediscover Christmas songs by Castello and Fantana in fresh arrangements laced with joie de vivre.
Pocket Sinfonia’s Mozart And A Miracle concert, on December 9 at 5.30pm and 7.45pm, aims to re-create the atmosphere of 19th century living-room parties, where the intimacy of a chamber music performance was applied to orchestral-scale pieces.
Rosie Bowker, flute, Eleanor Corr, violin, Thomas Isaac, cello, and Emil Duncumb, piano and fortepiano, will be taking a journey through the dark wintery nights of Mozart’s Piano Concerto No. 24 in C minor, onwards to the Christmas cheer of Mozart’s Sleigh Ride, in a new Pocket Sinfonia transcription, and Haydn’s Miracle Symphony No. 102 in B flat.
Pocket Sinfonia: Dark journey through wintery nights
“Two members of the ensemble are from Norway, with dual nationality, and they’ll be making their debut here after I saw them on Zoom in a showcase they did in Brussels last year, and booked them on the strength of that,” says Delma.
Tenor James Gilchrist and lutenist Matthew Wadsworth reflect on love, passion and loss in Divine Love And Earthly Passions on December 10 at 5.30pm and 7.45pm, as they open with Purcell’s Evening Hymn and close with Dowland’s In Darkness Let Me Dwell on their thoughtful, sometimes melancholic, always engaging journey, with a sprinkling of Schubert and Praetorius as a taster of the festivities to come.
In A Contest Of Equals, on December 11 at 1pm, Bojan Cicic, violin, Gawain Glenton, cornetto, and Silas Wellston, organ, celebrate the late-16th and 17th century rivalry between the violin, the irreverent newcomer, and the cornetto, the older, aristocratic instrument, with music from Italy, Germany and Spain. Who will emerge victorious? Let Battaglia! commence.
The 2021 live festival concludes on December 11 with Yorkshire Bach Choir’s 7pm to 10pm performance of J S Bach’s Mass in B minor with the Yorkshire Baroque Soloists under conductor Peter Seymour. On solo duty will be Bethany Seymour, soprano, Helen Charlston, alto, Matthew Long, tenor, and Johnny Herford, bass.
“It’s a wonderful opportunity to hear the Yorkshire Bach Choir again at the festival after two years, and especially to hear them doing the Bach mass,” says Delma. “It’s such a cracking piece.”
Joglaresa: Carols, lullabies, dance tunes and wassails
In addition, but separate from the festival, Joglaresa will be presenting Lullay Myn Lykynge, a stand-alone concert on Monday, December 6 at 5.30pm and 7.45pm, complemented by a live-streaming of the second performance.
Their programme will offer encouragement to celebrate Yule effervescently and chase out the chill from the Celtic fringes of Europe with traditional carols, lullabies, dance tunes and wassails from Ireland, Scotland, England and Wales. Armed with fidel, harp, bells, bagpipes and voices, Joglaresa will be ringing in Christmas and the New Year.
Tickets remain available for concerts unless stated otherwise at ncem.co.uk/york-early-music-christmas-festival/ and on 01904 658338.
IN the York Christmas Box Set, seven concerts from the 2021 York Early Music Christmas Festival will be available to watch online throughout the festive season.
Billed as “the perfect festive gift for music lovers” by the National Centre for Early Music, the £40 filmed concert package can be viewed on demand from 10am on December 17 to Friday, January 14.
First prompted by pandemic restrictions, the NCEM continues to share many of its festival highlights online, reaching ever-growing audiences from as far away as Japan and Australia.
The seven festival highlights in the box set are:
Orchestra Of The Age Of Enlightenment, performing A Baroque Christmas;
Siglo de Oro, celebrating Christmas with dance-infused 17th century Mexican music;
The Gesualdo Six, returning to York after sold-out summer concerts to present In Winter’s House, Christmas music spanning many decades;
Prisma: Baroque joy in the York Christmas Box Set
EEEmerging artistsPrisma, bringing Baroque joy with fresh arrangements of Christmas music;
Pocket Sinfonia, conjuring up the atmosphere of 19th century living-room parties with Mozart and more;
Festival favourites James Gilchrist & Matthew Wadsworth, performing Divine Love And Earthly Passions, featuring music by Purcell, Schubert and Dowland;
Battaglia, the combative trio of Bojan Čičić, Gawain Glenton and Silas Wollston, staging an exuberant musical battle between the violin and cornetto, once considered rival instruments.
Festival director Delma Tomlin says: “We’re delighted to be able to bring you this fabulous array of concerts online with this wonderful Christmas Box Set, filmed at our home of St Margaret’s Church during this year York Early Music Christmas Festival.
“We’re continuing to share our music online, so those of you who aren’t able to join us in York will be able to enjoy this fabulous feast of music in the comfort of your own homes – and it’s the perfect gift to share with family and friends.
“We hope that our online friends will enjoy seeing the beautiful surroundings of our medieval home and we hope to welcome them in person in the future.”
For tickets and more information, go to: ncem.co.uk/events/york-christmas-at-home-festival-pass/
“Financial help from the ARG Fund ensures that we can stage the annual York Early Music Christmas Festival,” says director Delma Tomlin
THE National Centre for Early Music, York, has received a “generous grant” from the City of York Council’s Additional Restrictions Grant fund to help with the cost of staging this year’s York Early Music Christmas Festival.
This discretionary scheme supports York businesses affected by the lockdowns but not eligible for Lockdown Restrictions Grant and the Local Restrictions Support Grant (Closed Businesses) payments, thereby helping businesses that, while not legally required to close, were still severely impacted by Covid-19 restrictions.
In keeping with other arts organisations, the NCEM was forced to close its doors for several months but it continued to stage concerts and festivals digitally, sharing specially commissioned concerts all over the world, reaching audiences from as far away as Australia, Japan and the United States.
The return of a week-long York Early Music Christmas Festival from December 3 is one of the NCEM’S most important and high-profile events, attracting not only York residents but also audiences from all over Britain and beyond.
The NCEM, at St Margaret’s Church, Walmgate, is fully open once more, staging its year-round programme of concerts, not only Early Music, but jazz, folk and world music too.
NCEM director Delma Tomlin says: “We’re delighted to receive this generous grant from the City of York Council. Financial help from the ARG Fund ensures that we can stage the annual York Early Music Christmas Festival, a week of music celebration featuring a line-up of world-class performers.
“The festival is hugely popular with residents and attracts visitors from all over the UK, who make it part of their Christmas calendar. It’s wonderful to see the city coming back to life and we’re very proud to be able to be part of its fabulous programme of events celebrating the festive season. We can’t wait to welcome audiences back to our beautiful home of St Margaret’s Church.”
Councillor Derek Smalley, executive member for culture, leisure and communities, says: “York’s live music scene is a crucial and vibrant part of the city’s cultural offer. We recognise the ongoing challenges venues are facing as we ease out of the national restrictions and people get used to a new ‘normal’.
“We are committed to working with the sector to provide all possible support, including promoting the great experiences on our doorstep thanks to the many brilliant live music venues across our city.”
L’Apothéose in the grounds of the National Centre for Early Music, St Margaret’s Church, York, in 2019. Picture: Jim Poyner
CALLING young ensembles of the world: the deadline for applications for next year’s York International Young Artists Competition is January 14 2022.
This prestigious longstanding competition for young ensembles will take place on Saturday, July 16 at the National Centre for Early Music as part of next summer’s York Early Music Festival.
The first prize includes a recording contract from Linn Records: a £1,000 prize; opportunities to work with BBC Radio 3 and a concert at the 2023 York Early Music Festival.
Other prizes include: the Friends of York Early Music Festival Prize; the Cambridge Early Music Prize and a prize for The Most Promising Young Artist/s endowed by the EUBO Development Trust.
The competition is open to Early Music ensembles with a minimum of three members; ensembles must have an average age of 33 years or under, with a maximum age of 37 years for individuals.
The ensembles must demonstrate historically informed performance practice and play repertory from any period, spanning the Middle Ages to the 19th century, on period instruments.
The competition is recognised as a major international platform for emerging talent in the world of early music. Attracting musicians from all over the globe, it offers a boost to young professional careers with opportunities for performance, recording and broadcasting and international exposure.
NCEM director Delma Tomlin says: “We are so pleased to be staging the 2022 competition, which brings together young musicians of the highest calibre from the UK and all over the world.
“This is one of highlights of the York Early Music Festival and we are always overwhelmed by the superb quality of the performances from these fantastically talented young artists. The competition provides a joyous, optimistic finale to our festival and we are delighted to be able give these rising stars many exciting future opportunities.”
2019 winners L’Apothéose say: “Winning the York competition was an extremely important and prestigious recognition of our career, and taking part was an immensely joyful experience.”
Fellow former winners Sollazzo Ensemble enthuse: “Winning the competition was a turning point in our career, bringing us to the attention of both a wider audience and professionals throughout Europe.”
Details of how to apply can be found at yorkcomp.ncem.co.uk; alternatively, send an email to yorkcomp@ncem.co.uk.
FOLK big band Bellowhead are to reunite next year for a tenth anniversary tour of their Broadside album.
Among the 18 dates will be Yorkshire concerts at Harrogate Convention Centre on November 25 2022 and Sheffield City Hall two nights later.
During lockdown in 2020, the 11 members first re-connected online to record New York Girls – At Home remotely, prompting Bellowhead to reconvene in person for a one-off performance, streamed to mark the tenth anniversary of 2010’s Hedonism.
Thousands of fans watched one of the biggest online streams of 2020, confirming contemporary prog-folk act Bellowhead still to be in big demand despite not performing their traditional dance tunes, folk songs and shanties live since 2016.
The stream led to pleas for more and now the stars have aligned for Jon Biden, John Spiers, Sam Sweeney and co to assemble once more next autumn to toast fourth album Broadside’s tenth birthday.
Sam Sweeney: Playing with Bellowhead and providing the tour support with his own band. Picture: Elly Lucas
Produced by John Leckie for release on October 15 2012, Broadside gave Bellowhead their first Top 20 entry in the UK Official Album Charts and features the BBC Radio 2-playlisted singles Roll The Woodpile Down and 10,000 Miles Away.
Bellowhead say: “The reaction to the online concert was overwhelming and we really did enjoy playing together again. The tenth anniversary of Broadside presented an opportunity for us to take things one step further and get back out on the road. We couldn’t say no! It’s going to be lots of fun. Hope you’ll join us for the party.”
Support on all dates will come from Sam Sweeney and his band. Stroud fiddler Sweeney is not only a Bellowhead “veteran” (serving from 2008 to 2016 and now back on the front line) but also former artistic director of the National Folk Youth Ensemble.
Last year, Sweeney released his second solo album, Unearth Repeat; last Friday, he played a sold-out gig at the National Centre for Early Music, York, with Jack Rutter, acoustic guitar, Louis Campbell, electric guitar, and Ben Nicholls, double bass.
Bellowhead formed in 2004; played to thousands of people at festivals and on tour; recorded five studio albums, selling more than 250,000 copies; received two silver discs and won eight BBC Radio 2 Folk Awards before parting ways in 2016. Next autumn’s reunion itinerary is being billed as a “special one-off tour”.
Tickets go on general sale on Friday (26/22/2021) at 10am at gigst.rs/bellowhead.
Avalanche Party: Party night at Young Thugs Studio in York. Picture: Jason Ferdinando
YOUNG Thugs Studio is marking the refurbishment of its recording studios in South Bank Social Club, Olvington Terrace, York, with a Saturday launch party from 7pm to 11pm.
This celebration of “some of the best music our region has to offer” will feature feral North York Moors garage-punk psych rock band Avalanche Party and Hull’s fast-emerging Low Hummer.
Formed in 2014, Avalanche Party revel in an “intense and immediate sound, so new yet so familiar, brimming with an urgency that explodes off the stage like the front lines of a war you didn’t even realise was being fought”.
Every note is played through white knuckles, every word spat through gritted teeth, as heard on 2019’s debut album, 24 Carat Diamond Trephine.
Low Hummer’s “woozy indie pop with a beautiful world view” was last heard in York when they opened for Manic Street Preachers at York Barbican on October 4.
Saturday’s gig will be preceded by a formal opening, conducted by the Lord Mayor of York, the Reverend Councillor Chris Cullwick, at 10am that morning.
“It’s going to be wonderfully inspiring when people can go and see bands again. I can’t wait,” says Simply Red’s Mick Hucknall
SIMPLY Red will head back to Scarborough Open Air Theatre next summer for the first time since 2016.
Mick Hucknall’s pop-soul band will play on the East Coast on July 22, with tickets going on sale on Friday at 9am at scarboroughopenairtheatre.com.
Looking forward to his stage return, Hucknall, 61, says: “I’ve spent most of my life going out and singing for people, so it feels strange not to have that. I miss being able to express myself. It’s going to be wonderfully inspiring when people can go and see bands again. I can’t wait.”
Simply Red have notched up more than a billion hits on You Tube and sold more than 60 million albums worldwide, five of them going to number one in the UK: A New Flame in 1989, Stars in 1991, Life in 1995, Greatest Hits in 1996 and Blue in 1998 .
All 12 Simply Red studio albums since 1985 debut Picture Book have made the British top ten; the latest, 2019’s Blue Eyed Soul, peaking at number six.
1991’s Stars was the best-selling album for two years running in Britain and Europe; Holding Back The Years and If You Don’t Know Me By Now both topped the US Billboard singles chart.
Simply Red: Mick Hucknall has retained the same line-up since 2003
Manchester-born Hucknall has been the songwriter and bandleader since Simply Red formed in 1985, working with the present line-up since 2003.
Simply Red join the ever-expanding diary of headliners at Scarborough OAT in 2022: Lionel Richie, Lewis Capaldi, Bryan Adams, Crowded House and Frankie Valli and The Four Seasons.
Peter Taylor, of venue programmers Cuffe and Taylor, says: “We’re delighted to be welcoming Simply Red back to Scarborough Open Air Theatre.
“Mick Hucknall is a music legend and he and his band sound as relevant and as fresh today as they did when Simply Red first burst into the public consciousness almost 40 years ago.
“We’ve had so many requests for them to return, so we are delighted to oblige and reveal they will be back at this special venue next summer.”
Forty years on: ABBA’s voyage back to the recording studio
NOW, even podcaster Graham Chalmers has bought into ABBA’s return after 40 years, buying comeback album Voyage.
Hear his verdict in Episode 65 of Two Big Egos In A Small Car, under questioning from Charles Hutchinson. Together they then recommend 2022 releases that could just be fabber than Abba.
Under discussion too are next January’s relaunch of bespoke Charm gigs in Harrogate; seeing/not seeing Soft Cell’s home-coming 40th anniversary show in Leeds…and Colin Firth’s hair in Eva Husson’s new upstairs/downstairs film Mothering Sunday.
