“I’m delighted to be joining this fabulous organisation as artistic adviser and working with this talented team in the beautiful city of York,” says Mark Seow
VIOLINIST, musicologist , writer and broadcaster Mark Seow is the new addition to York Early Music Festival’s team of artistic advisers.
He joins mezzo-soprano and BBC Radio 3 New Generation Artist Helen Charlston, music writer and producer Lindsay Kemp, University of York Emeritus Professor of Music and Yorkshire Baroque Soloists & Choir director Peter Seymour and University of Huddersfield Emeritus Professor of Music and Rose Consort of Viols member John Bryan.
“I’m delighted to be joining this fabulous organisation as artistic adviser and working with this talented team in the beautiful city of York,” says Mark. “I’ve always been a huge admirer of the world-class York Early Music Festival, which continues to go from strength to strength, attracting the finest musicians to the city.”
Festival director Dr Delma Tomlin says: “We’re very pleased to welcome Mark to York Early Music Festival’s talented team, whose input is so important to the development and profile of this hugely popular annual celebration of early music.
“I’m sure that Mark’s wealth of experience and enthusiasm will be invaluable assets and I’m sure he will enjoy his time in this beautiful city.”
After studying Baroque violin at the Royal Academy of Music in London, Seow received his doctorate in the music of Johann Sebastian Bach from the University of Cambridge.
He has performed at the Wigmore Hall (London), St Thomas Church (Leipzig), Philharmonie (Berlin) and Palais Garnier (Paris), working with directors such as John Eliot Gardiner, Masaaki Suzuki, Rachel Podger, Harry Bicket and Trevor Pinnock. He has even performed with the Orchestra Of The Age Of Enlightenment in the Royal Albert Hall and a pub!
Seow has been a broadcaster for BBC Radio 3 since 2021, presenting more than 50 editions of The Early Music News. His documentary for BBC Radio 4, Eastern Classical, was shortlisted for a Royal Philharmonic Society Award in 2024. He has worked for Decca Classics, Bach Network and Bärenreiter and has been a critic for Gramophone magazine since 2019.
He taught at the University of Cambridge, where in 2023 he was AHRC DTP Fellow in Music, and now holds a position in the University for Music and Performing Arts department of musicology in Vienna.
His recordings include Mozart’s Die Zauberflöte and Handel’s Messiah and he premiered the electronic-choral work Lark Ascending Remixed at London’s Southbank Centre.
The Delma Tomlin sculpture in the York Trailblazers trail of tansy beetle artworks
TRAILBLAZERS in beetle form, Georgian festivities, colliery band dramas, and riverside art take Charles Hutchinson in different directions in the week ahead.
Trail of the week: York Trailblazers, around York city centre, August 1 to September 30
FACT of the day: the river Ouse has the largest population of tansy beetles in the United Kingdom. Now sculptures of these insects form a new trail, York Trailblazers, a celebration of York’s unsung heroes mounted by York Civic Trust and Make It York with National Lottery Heritage Fund support.
Nominated by the public and community groups, the Trailblazers project highlights remarkable individuals who have made a difference to people’s lives either locally or globally.
Author Terry Deary: Introducing his new novel at the York Georgian Festival this evening
Festival of the week: York Georgian Festival, today to Sunday
THE second York Georgian Festival opens tomorrow, when Horrible Histories author Terry Deary’s 6pm showcase of his new novel, A History Of Britain In Ten Enemies, will be an early highlight.
Tours, talks and fascinating hidden Georgian gems will be at the heart of the festival. The first York Georgian Ball will be held at the Grand Assembly Rooms (now home to the ASK Italian restaurant) on Saturday at 7pm. Look out for Mad Alice’s Rogues Gallery Tour around the city at 4pm on Saturday and Sunday. For the full programme and tickets, head to: yorkgeorgianfestival.co.uk.
Brass band blues: A scene from Brassed Off at the Stephen Joseph Theatre, Scarborough
Play of the week outside York: Brassed Off, Stephen Joseph Theatre, Scarborough, tomorrow (2/8/2024) to August 31
ADAPTED for the stage by Paul Allen from the 1996 screenplay by York filmmaker Mark Herman, Brassed Off takes to the stage in a co-production by Keswick’s Theatre by the Lake, Scarborough’s Stephen Joseph Theatre and Bolton’s Octagon Theatre, directed by Liz Stevenson.
The setting is 1994, ten years after the miners’ strike, when the tight-knit mining community of Grimley, Yorkshire, is fighting to keep the colliery open. Once the uncertainty around the pit’s future becomes too much for the pit band members, loyalty is tested, pressure mounts and the community begins to break apart. Can the band find a way to play on? Box office: 01723 370541 or sjt.uk.com.
Yard Act: Leeds art rock band play in their backyard on Saturday. Picture: Phoebe Fox
Leeds gig of the week: Yard Act, Here’s Our Utopia, Leeds Millennium Square, August 3, doors 6pm; 10.30pm finish
LEEDS art rock band Yard Act play their biggest gig yet on home turf at Leeds Millennium Square this weekend in the wake of the March release of second album Where’s My Utopia?.
Co-produced by James Smith’s indie quartet and Gorillaz member Remi Kabaka Jr, the album peaked at number four, following the number two success and Mercury Prize shortlisting of 2022 debut The Overload. Support acts will be English Teacher, Fat Dog and Ultimate Thunder. Box office: 0113 376 0318 or millsqleeds.com/whatson-event/yard-act/.
Laura Joy’s poster design for the 2024 York River Art Market weekends. She will be participating in all six days. Check out her work at laurajoydesign.co.uk
York’s answer to the Left Bank in Paris: York River Art Market, August 3 and 4; August 10 and 10; August 17 and 18, 10am to 5pm
ORGANISED by jewellery designer and York College art tutor Charlotte Dawson, York River Art Market returns to the riverbank at Dame Judi Dench Walk for a ninth summer season from this weekend.
Up to 30 artists and makers per day will be exhibiting ceramics, jewellery, paintings, prints, photographs, clothing, candles, T-shirts, shaving products and more. “We care that each of the six events are never the same, so we host a different variety of creatives at each one,” says Charlotte. Admission is free.
Richard Hudson’s Unwind: On show at Thirsk Hall Sculpture Garden. Picture: Celestine Dubruel
Exhibition of the week: Thirsk Hall Sculpture Garden, Kirkgate, Thirsk, open Wednesdays to Saturdays, 11am to 5pm, last entry 4pm
THIRSK Hall Sculpture Garden showcases modern and contemporary sculptures in 20 acres of walled gardens and parkland at the grade II-listed town house, complemented by artwork in Gallery One and The Orangery.
Artists on show include Farnoush Amini, Kenneth Armitage, Tere Chad, Tim Ellis, Laura Ford, Richard Hudson, Jeff Lowe, Gerald Laing, Michael Lyons, Trory Menage, Zak Ové, Tim Pomeroy, William Tucker, Austin Wright and Emily Young. To find out more about the 2024 exhibition, visit willoughnygerrish.com. Tickets: thirskhall.com/sculpture-garden.
Chris Hagyard, pictured in Guys And Dolls mode, will sing in Bev Jones Music Company’s One Night Of Broadway Hits
Musical revue of the week: Steve Coates and Bev Jones Music Company present One Night Of Broadway Hits, Joseph Rowntree Theatre, York, August 3, 2.30pm and 7.30pm
BEV Jones Music Company performs hits from 26 musicals, including Guys And Dolls, in an unashamedly traditional fashion under the musical direction of James Rodgers.
His band is joined in this moving, lively and at times funny show by vocalists Chris Hagyard, Annabel Van Griethuysen, Anthony Pengelly, Ruth McNeil, Sally Lewis, Stephen Wilson, Geoff Walker and producer Lesley Jones, back on stage for this show, wearing a silver cat suit unseen since 2010, when she played Vera in Stepping Out. Box office: 01904 501395 or josephrowntreetheatre.co.uk.
Hurry up Harry: The Three Inch Fools cast for The Secret Diary Of Henry VIII at Helmsley Walled Garden
Ryedale play of the week: The Three Inch Fools in The Secret Diary Of Henry VIII, Helmsley Walled Garden, August 6, 7pm; gates 6pm
THE Three Inch Fools, founded by the Cumbrian Hyde brothers, producer James and writer, composer and director Stephen, present an essential guide on how to keep your head in the Tudor Court in a new comical take on Henry VIII and his six-pack of infamous wives.
Unexpectedly thrust into the limelight, Henry must navigate the ups and downs of courtly life, all while fighting the French yet again and re-writing religious doctrine. Bring chairs, blankets, picnics, but not umbrellas. Park in the Cleveland Way car park. Box office: 01439 771700, helmsleyarts.co.uk or threeinchfools.com.
Korn-ucopia of heavy metal hits at Scarborough Open Air Theatre on August 8
Coastal gig of the week: Korn, Scarborough Open Air Theatre, August 8, gates 6pm
FORMED in California in 1993, Korn continue to push the limits of alt. rock and heavy metal after 40 million album sales, two Grammy awards and countless tours. Expect to hear such anthems as Blind, Falling Away From Me, Here To Stay, Freak On A Leash, Twisted Transistor, Make Me Bad and Did My Time as their European tour arrives in Yorkshire. Support acts will be Wargasm and Loathe. Box office: scarboroughopenairtheatre.com/korn.
Riley Catherall: Playing Pig & Pastry, York, on a tour that takes the Australian singer-songwriter to Nayland, Kirton in Lindsay, High Wycombe and Stockholm, Uddevalla and Oland in Sweden
Introducing: Riley Catherall, Pig & Pastry, Bishopthorpe Road, York, August 8. Doors: 7.30pm for 8pm start
MELBOURNE singer-songwriter Riley Catherall’s graceful trajectory into the Australian alt-country world has not gone unnoticed. So much so that he will be playing in York on Thursday, promising songs of poetic sincerity from his June 14 sophomore album The Light, The Beautiful Liar and his 2021 debut When I Go, a record focused on leaving, losing love and finding somewhere to settle down. Box office: wegottickets.com/event/624233/.
Anastacia: Playing York Barbican next May on her Not That Kind 25th Anniversary Tour
Gig announcement of the week: Anastacia, Not That Kind 25th Anniversary Tour, York Barbican, May 4 2025
CHICAGO singer-songwriter Anastacia will play York Barbican as the only Yorkshire concert of the 13-date British and Irish leg of her Not That Kind tour next year, marking the 25th anniversary of her debut album.
“I didn’t get to do a tour for my first album, which makes this all the more special,” says Anastacia. “I can’t believe it’s been 25 years since Not That Kind; we will be sure to celebrate in true Anastacia style. It’ll be one big anniversary party. I can’t wait to see you all there !” Box office: yorkbarbican.co.uk/whats-on/anastacia-2025/.
In Focus:The Magpies Festival, Sutton Park, near York, August 9 and 10
Actress, vocalist and accordion player Natalia Tena fronts Molotov Jukebox at The Magpies Festival, backed by Balkan fiddle, Latin trumpet and a pounding rhythm section, on Friday
RUN by transatlantic folk band The Magpies, The Magpies Festival is rooted in the trio’s native Yorkshire, where they first met. Now in its fourth year, the 2024 event will be headlined on Friday on the main stage by bi-lingual six-piece Molotov Jukebox at 10pm, preceded by Chris While & Julie Matthews, 6pm, and Jim Moray, 8pm.
Friday’s Brass Castle Stage bill features Em Risley, 5pm; Taff Rapids Stringband, 7pm; The Turbans, 9pm, and Easingwold musician Gary Stewart’s Graceland, 11pm.
Saturday’s main stage bill will be topped by Sam Kelly & The Lost Boys at 10pm, preceded by Charm Of Finches, 12 noon, The Often Herd, 2pm, Jesca Hoop, 4pm, The Magpies, 6pm, and Nati (formerly known as Nati Dreddd), 8pm. Saturday’s Brass Castle Stage line-up comprises Painted Sky, 1pm; Suntou Susso, 3pm; Northern Resonance, 5pm; Awkward Family Portraits, 7pm, and Marvara, 9pm.
Festival organisers The Magpies
The all-female The Magpies – Bella Gaffney (singer, songwriter, guitarist and banjo player), fellow founder Holly Brandon (fiddle player and tunesmith) and Ellie Gowers (guitarist, singer and songwriter) – are set on championing gender equality in the music industry, achieving gender parity in both line-up and staff, as well as providing a safe and comfortable environment for female musicians and festival goers.
Festival director Holly Brandon says: “We are so excited to put on The Magpies Festival. We’ve been over the moon at the response to the festival, from the incredible performances from world-class folk musicians to the high-energy spirit that our attendees brought along. It’s felt like a whole new feel to a folk festival.”
Box office: themagpiesfestival.co.uk/tickets.
Sam Kellly & The Lost Boys: To be found at The Magpies Festival at Sutton Park on Saturday
Delma Tomlin in Tansy beetle sculptural form at Merchant Adventurers’ Hall,designed by HazardOne
YORK Trailblazers, the city-wide sculpture trail celebrating York’s unsung heroes, launches on Yorkshire Day, August 1.
Organised by York Civic Trust and Make It York, the trail is co-curated with organisations, community groups, schools and universities with £249,999 funding from the National Lottery Heritage Fund.
The Trailblazers project provides the opportunity to discover these lesser-known people who have made a difference to lives either locally or globally.
Members of the public and community groups nominated their trailblazers, whereupon a co-created final list of these stories was researched by partner organisations, highlighting each invaluable contribution.
To honour these remarkable individuals, artists worked with community groups to create the tansy beetle sculptures that represent them.
Why tansy beetles, you may well be asking. This beetle, an emblematic symbol of York, was chosen on account of its connection to the city, one of only two places where tansy beetles are found.
Faith Gray’s sculpture, designed by Martha Beaumont, at Grays Court Hotel, Chapter House Street, York
This vibrant and resilient beetle mirrors the spirit of the Trailblazers – each sculpture not only pays tribute to these changemakers but also brings their stories to life along the trail.
Andrew Morrison, chief executive officer of York Civic Trust, says: “The York Trailblazers project has revealed a fantastic range of people from York, many of whom we did not know of before. With Make It York, it has been fantastic to collaborate with so many local artists and communities. We hope that this is the first of many such celebrations.”
The sculpture trail has been designed to be as sustainable as possible. The materials used are recycled, repurposed or recyclable and the sculptures and the reused bases will be repurposed or recycled after the trail has ended.
Each sculpture has been produced by local artists and crafters working with local people to create “something unique and meaningful to them”. The choice of sustainable materials and artwork and the decoration of each sculpture has been developed by the partnership of artist and local community. This process of sustainable co-production is considered to be as important as the finished product.
Commissioned to create the beetle structure, Tom Springett Metalwork Creations drew on his experience of working in set construction, visual merchandising, architectural metalwork and art fabrication industries to create the metal works of art.
Mary Ward’s sculpture for York Trailblazers, designed by Jen Dring, in the Bar Convent Living Heritage Centre gardens. Picture: David Harrison
Some of the sculpture artwork may exist only for a few weeks but the beetle structure itself and an accessible digital record of the artwork will continue to celebrate York’s Trailblazers.
Seventeen sculptures will be placed throughout the city, each one reflecting a different trailblazer, designed to capture the legacy of these inspirational people,.
Among them will be The Luddites,a sculpture created collaboratively by a small group of people affected by homelessness with the Good Organisation. Rather than celebrate an individual ‘trailblazer,’ it serves to commemorate 64 Luddites who were tried in the court in York in 1813.
The Luddites were a group of early 19th-century workers who protested against the introduction of machinery that they believed threatened their jobs. The movement began in the textile industry, where mechanised looms and knitting frames were replacing traditional hand-weaving methods, leading to job losses and reduced wages for skilled workers.
Although the Luddite movement did not stop the process of industrialisation, it highlighted the social and economic challenges faced by workers during a period of unprecedented change, and many of their underlying concerns still resonate today with the rapid rise of AI and digital technology.
W H Auden’s sculpture, designed by Navigators Art and Performance, at West Offices, Station Rise, York
The Luddites sculpture at the Eye of York is designed by theatre and performance design graduate Alex Gray, an aspiring theatre designer now working as a stagehand at the Darlington Hippodrome.
The Delma Tomlin sculpture was researched by the Merchant Adventurers’ Hall and National Centre for Early Music. Dr Delma Tomlin MBE is a living trailblazer, who came to York in 1984 to administer the York Festival Mystery Plays and loved the city far too much to ever leave.
She championed the move to return the York Mystery Plays to the city streets and served as chief executive officer of the Millennium production in York Minster.
As the founder of the National Centre for Early Music, based in the medieval church of St Margaret’s in Walmgate, Delma has been a pivotal figure in music making, focusing her energies on supporting young professional musicians locally, nationally and internationally and flying the flag for York whenever possible.
A member of the York Merchant Adventurers Company, in 2022 Delma became the first woman to become Governor since the company’s inauguration more than 650 years ago in 1357. She does not plan to be the last.
The Delma Tomlin sculpture, sited at the Merchant Adventurers’ Hall, is designed by HazardOne, recognised by the Guardian as one of the top five female graffiti artists in the UK and named among the top 25 female street artists worldwide in the Huffington Post.
Alex Gray’s sculpture for The Luddites at the Eye of York
The York Young Carers sculpture, at the Principal York hotel, was researched by unpaid young adult carers aged 16-25 from the York Carers Centre, who worked with artist Zoe Phillips to represent unpaid carers in York, including both identified and hidden carers.
The group reflected that carers share similar experiences and circumstances, but have unique stories in their own right, and decided that it would be difficult to find one trailblazer to represent them all.
They felt the sculpture would be impactful if it enabled carers to recognise themselves as trailblazers for the roles they hold, sacrifices they make and difficulties they go through for the love of the person they care for.
They said the sculpture design “should be not what it appears – with lots going on underneath”. The group was struck by the grace of the tansy beetle’s exterior, along with the power and resilience of the driving legs and inner workings underneath the shell. They felt this was the perfect metaphor for a carer.
The York Young Carers’ sculpture designer, Zoe Phillips, is an inclusive mixed media artist who explores our connections with objects and the narratives they hold.
Gemma Wood’s tansy beetle mural on show at THOR’S Orangery, Parliament Street
Reflecting on her journey, Zoe says: “Working with the young adult carers group has been important to me both personally and professionally. Finding a way to share the identity and voice of this incredible group of individuals, for whom time and space for themselves may be sparse but they find a way to draw connections and share how important community is, was key.
“The beetle exposes all the hidden workings, those background details that are often overlooked or taken for granted but are so important to the running of things. With huge thanks to all those who shared their thoughts and experiences with me, you really are one-of-a-kind trailblazers!”
The trail will run from August 1 to September 30, opening on Yorkshire Day, whose celebrations, activities and events in the city will include a Yorkshire-themed market on Parliament Street.
Sarah Loftus, managing director of Make It York, says: “York Trailblazers is an inspiring tribute to the pioneers whose courage and vision paved the way for our community’s future. This project not only celebrates their legacy but also creatively highlights the humble tansy beetle, reflecting York’s ongoing commitment to its conservation in the city.”
Full details can be found at visityork.org/york-trailblazers, including Meet The Trailblazers and Meet The Artist. You can download the trail map and a cycle trail for exploring the trail by bike and learn how to minimisie your environmental footprint by using public transport.
Zoe Phillips’s sculpture for York Young Carers at the Principal York hotel
Did you know?
KNOWN as “the Jewel of York”, the endangered tansy beetle has been chosen as the emblem of the York Trailblazers project to reflect its special status as a York resident with its riverside habitat on the banks of the River Ouse.
The 17 sculpures
The Luddites
Location: Eye of York
Researched by: The Good Organisation.
Designed by: Alex Gray.
Rather than celebrate an individual ‘trailblazer,’ this sculpture serves to commemorate 64 Luddites who were tried in the court in York in 1813. This sculpture was collaboratively created by a small group of people affected by homelessness with the Good Organisation.
Coppergate Woman sculpture designer Sarah Schiewe at Thursday’s launch.York artist who hand-builds her stoneware pieces using coil and slab methods and decorate them with oxides, glazes, decals and mixed media. “Every individual is different, and we should celebrate these differences,” she says. “Each person has a set of values, feelings and memories unique to them. I take these impressions and turn them into a bespoke piece of ceramic art for that individual. The profits from my work fund free community art and sculpture workshops to help children develop confidence through creativity”
Coppergate Woman
Location: August 1 to 6: Parliament Street; August 6 onwards, Coppergate Walk
Researched by: University of York, Archaeology Department
Designed by: Sarah Schiewe
The Viking Age sometimes comes across as a world of rich and powerful men: kings, chieftains and raiders. This makes The Coppergate Woman, known affectionately by the research team and artists as Vigdis, an important Trailblazer: she tells us about her life as a migrant woman living with disabilities in York 1,000 years ago.
HazardOne: designer of Delma Tomlin sculpture. Combines rich colour palettes with illumination and modern-age glitch effects to create striking portraits using traditional free-hand graffiti techniques. From a seven-storey mural in St Paul’s, Bristol, to a community project on the Arizona-Mexico border, to the 79th floor of 3 World Trade Centre, New York, her work takes her all over the planet
Delma Tomlin
Location: Merchant Adventurers’ Hall
Researched by: Merchant Adventurers’ Hall and National Centre for Early Music, York
Designed by: HazardOne
Dr Delma Tomlin MBE is a living trailblazer. As the founder of the National Centre for Early Music, based in the medieval church of St Margaret’s in Walmgate, Delma has been a pivotal figure in music making – focusing her energies on supporting young professional musicians locally, nationally and internationally – and flying the flag for York whenever possible.
John Chesterman and Stuart Feather
Location: Spurriergate
Researched by: Queer Arts
Designed by: Jade Blood
John Chesterman and Stuart Feather, both from York, were instrumental in the Gay Liberation Front (GLF), organisers of the first ever Pride march in 1972.
Anne Lister
Location: Holy Trinity Church, Goodramgate
Researched by: York University and Churches Conservation Trust
Designed by: Shannon Reed
Anne Lister’s (1791-1840) life and diaries have blazed a trail for the LGBTQIA+ community today, helping people understand their history and embrace their identity.
Faith Gray
Location: Grays Court Hotel, Chapter House Street
Nominated by: York St John University
Designed by: Martha Beaumont
Faith Gray (1751-1826), born in York, dedicated her life to improving the conditions of girls and women in York. Her legacy of compassion and social progress endured beyond her death, paving the way for future generations of women reformers.
Mary Kitson Clark
Location: York Museum Gardens
Researched by: Yorkshire Philosophical Society
Designed by: Sian Ellis
Mary Kitson Clark (1905-2005) was one of the first female archaeologists to be recognised in a professional capacity in the UK for her significant contributions to the study and conservation of York’s archaeological heritage.
WH Auden
Location: West Offices, Station Rise
Researched and designed by: Navigators Art and Performance
Wystan Hugh Auden (1907-1973) was born in Bootham, York. Informed by science and engineering, his fascination with the world and its workings was expressed in a myriad of poetic forms, earning him the title “the Picasso of modern poetry”.
York Young Carers
Location: Principal York, Station Road
Researched by: York Young Carers
Designed by: Zoe Phillips – By Deckle and Hide
Unpaid young adult carers aged 16-25, from the York Carers Centre, worked with artist Zoe Phillips to represent unpaid carers in York, including both identified and hidden carers.
Jen Dring: designer of Mary Ward sculpture. York printmaker who creates linocut and collagraph prints. Her work is inspired by her faith, everyday experiences, moments in nature and places she loves. She takes on bespoke commissions, as well as using her teaching skills to offer linocut and tetra pak workshops
Mary Ward
Location: Bar Convent Living Heritage Centre, Blossom Street
Researched by: All Saints School and Bar Convent
Designed by: Jen Dring
Mary Ward (1585-1645) was a visionary Yorkshire woman who revolutionised education for girls in England. Despite societal and religious restrictions, Mary dedicated her life to providing equal education opportunities for girls, believing “there is no such difference between men and women that women may not do great things.”
Ivory Bangle Lady
Location: York Railway Station, Station Road
Researched by: University of York Archaeology Department
Designed by: York Anti-Racist Collective
The woman who has become known as the ‘Ivory Bangle Lady’ was buried at Sycamore Terrace, York, in the second half of the fourth century CE. As a trailblazer, the Lady has marked an important path in showing that ethnic and religious diversity and immigration is written in York’s history from its very beginning.
Annie Coultate
Location: Fishergate Primary School, Escrick Street
Researched by: Fishergate, Fulford and Heslington Local History Society
Designed by: Christine Joplin
Annie Coultate (1856 -1931), a dedicated suffragette, was instrumental in the women’s suffrage movement in York.
Anne Lister sculpture designer Shannon Reed.Part-time artist, full-time biology undergraduate, in York. Focuses on wildlife, paying particular attention to threatened native UK species. Her artwork is multi-media, ranging from pointillism portraits of endangered animals to oil paintings on recycled wood. Designed and decorated two wooden ducks for the University of York’s Long Boi-ology Art Trail to raise awareness of the threat that avian influenza and flooding poses to UK wildlife
Mary Tuke
Location: St Lawrence Parish Church, Lawrence Street
Researched by: Hempland Primary School
Designed by: Heather Dawe and Sarah Jackson
Mary Tuke was a pioneering woman who displayed remarkable ambition, resilience and courage. In 1725, as a Quaker in her thirties who had lost her family, Mary opened a grocer’s shop in Walmgate, York, defying societal norms.
Roma and Geoff
Location: Millennium Bridge Park, Hospital Fields Road
Researched by: The Tansy Beetle Action Group
Designed by: Cathy Simpson
The Tansy Beetle Action Group (TBAG) was established in 2008 by Geoff and Roma Oxford (University of York), following the designation of the rare and beautiful Tansy beetle as a UK conservation priority.
Mary Kitson Clark’s sculpture, designed by Sian Ellis, in York Museum Gardens
June Hargreaves
Location: Rowntree Park
Researched by: Herstory. York and Make Space for Girls
Designed by: Emma Feneley
The way historic cities such as York protected their heritage was transformed in the mid-1960s by a new law on ‘Conservation Areas’. This was the idea of June Hargreaves, a young York town planner, who became York’s senior planning officer in 1961.
Michael Rowntree
Location: Homestead Park, Water End
Researched by: The Rowntree Society
Designed by: Natalie McKeown
Michael Rowntree (1919-2007), from the globally renowned York confectionery family, held senior roles in Oxfam and was chairman from 1971 to 1977, during a time when the charity delivered its biggest ever aid package and set up the country’s first textile recycling plant.
Rosie Wall
Location: Sanderson Community House, Bramham Road, Acomb
Researched by: The Place at Sanderson Community House
Designed by: Leo Morey
Rosie Wall has dedicated herself to the Chapelfields community. She was instrumental in developing the Sanderson Court Community House (now The Place), and Crossroads, a safe space for young people, addressing significant anti-social behaviour in the area.
York Trailblazers: the back story
Geoff Oxford: Trailblazer, environmentalist and founder of the Tansy Beetle Action Group at the August 1 launch
YORK Trailblazers, the new city-wide sculpture trail, launched on August 1, kicking off the Yorkshire Day celebrations in York.
The sculpture trail celebrates York’s unsung heroes. Centred around the tansy beetle, each sculpture has a different design to capture the legacy of these inspirational people who have made a difference to people’s lives.
At the launch celebrations at THOR’s Orangery, artists and trailblazers gathered to enjoy the first day of the trail alongsidethe featured sculptures, Coppergate Woman.
Richard Kitchen, co-founder of Navigators Art and Performance, discussing York Trailblazer WH Auden at Thursday’s launch
Coppergate Woman depicts the life of a migrant woman living with disabilities in York 1,000 years ago. This sculpture will be on Parliament Street until August 6, then moving to Coppergate Centre, where she lay until she was discovered by archaeologists from the York Archaeological Trust in the late-1970s.
Discovered in a shallow pit by the river Foss, the remains of this unknown woman are displayed in a glass case in Jorvik Viking Centre. Her story was brought to life in Maureen Lennon’s play The Coppergate Woman, staged as a community production by York Theatre Royal from July 30 to August 7 2022.
A special mural was painted for the launch day by Gemma Wood. This will stay in place on THOR’S exterior until August 18.
Gemma Wood painting her tansy beetle mural at THOR’S Orangery on Thursday
Tansy Beetle facts:
The River Ouse has the largest population of tansy beetles in the UK, found on a 30km stretch of the river.
The iridescent green leaf-beetle, approximately 10 mm in length, has a smaller population at Woodwalton Fen, Cambridgeshire, where it was re-discovered in 2014.
Tansy beetles rarely fly; they find new food plants and habitats by walking. Finding a breeding partner is made more difficult by this resticted mobility. Most active in April and May, then August and September.
The tansy beetle is named after the Tansy plant, whose reduction in number has led to the beetle’s declining population too.
As an endangered species, tansy beetles are being monitored and bred in captivity to ensure that the populations do not disappear.
Trailblazers project facts:
National Lottery Heritage Fund Grant: £249,999.
More than 40 community groups have been involved.
York Trailblazer Rosie Wall’s tansy beetle sculpture, designed by Leo Morey, at Sanderson Community House, Bramham Road, Acomb
More than 1,000 schoolchildren participated in school workshops.
£30,000 of community grants were awarded to 23 York groups.
More than 150 workshops have been delivered.
39 York Trailblazers have been researched and celebrated.
17 Tansy Beetle Trailblazer Sculptures have been created.
What has the £249,999 support from the National Lottery Heritage delivered?
A COMMUNITY workshop programme to allow local communities and residents to research and uncover new trailblazers for York.
A community grants programme to enable heritage organisations, voluntary and community groups to contribute to the project, especially those groups who have not accessed heritage activities before.
A digital arts project to help celebrate York’s designation as a UNESCO Creative City of Media Arts.
A heritage trail around the city working with artists and communities, inspired by York’s lesser-known heritage stories.
A school workshop programme and resource packs providing opportunities for young people to learn more about their heritage and, in particular, the trailblazers that form the sculpture trail.
Sustainability
THE sculpture trail has been designed to be as sustainable as possible. The materials used are recycled, repurposed or recyclable and the sculptures and the reused bases will be repurposed or recycled after the trail has ended.
The choice of sustainable materials and artwork and the decoration of each sculpture has been developed by the partnership of artist and community. This process of sustainable co-production is as important as the finished product.
Tansy Beetle metalwork
COMMISSIONED to create the beetle structure, Tom Springett, Metalwork Creations drew on his experience of working in set construction, visual merchandising, architectural metalwork and art fabrication industries, to create these metal works.
Before the York Trailblazers metal works, a Tansy Beetle mural took shape in York…
ATM’s mural of a tansy beetle in Queen Street, York
STREET artist ATM, known for his depiction of endangered species, painted his mural of a tansy beetle on a brick wall on Queen Street, York, in 2019. Capturing the insect’s shimmering green hue, it is a bejewelled highlight of the walk from Micklegate to York Railway Station.
Ayres Extemporae: Picked by reviewer Steve Crowther and the judges alike for the first prize in the York Early Music International Young Artists Competition
THIS seriously prestigious biennial competition at the National Centre for Early Music showcased an outstanding concert of “emerging talent in the world of music”. Although having just quoted from the informative programme, the eight ensembles seemed pretty much “emerged” to my ears.
The first to perform were Trio Altizans (The Netherlands): Eriko Nagayama, violin; Antonio Pellegrino, violoncello; Agata Sorotokin, fortepiano.
THEIR programme, entitled Geister Medley, opened with the Largo Assai Ed Espressivo from Beethoven’s Piano Trio no. 5 in D major, op. 70 no. 1. The Trio captured the spooky, impressionistic tone of the movement. The work is nicknamed ‘the Ghost Trio’ (a response by Carl Czerny to this eerie middle movement).
Trio Altazans: “Performance was focused, lively and the knitting together of different themes worked well”
The performance reminded me how Gothic the music is – creepy bass tremolos in the piano etc. The fragmentary motifs, harmonies that had an instability – quite modern stuff really, but they made a convincing narrative throughout.
From Beethoven to Schubert and the last movement Allegro moderato from the great Piano Trio no. 2 in E flat major, D. 929. I thought the performance was focused, lively and the knitting together of different themes worked well, as did the closing triumphant ending. Not sure of the “early music” label here but I enjoyed it none the less.
Ensemble Bastion, from Switzerland
Ensemble Bastion (Switzerland): Maruša Brezavšček, recorder; Martin Jantzen, viola da gamba; Elias Conrad, theorbo; Mélanie Flores, harpsichord.
NOW this programme, entitled Les Goûts Réunis: The United Musical Tastes “takes its name from a collection of suites by François Couperin, reflecting the high-Baroque period’s rivalry between the musical centres of Italy and France” (programme note).
The programme opened with François Couperins Échos from his Concerts Royaux. I was impressed by the stylish ornamentation and the instinctive engagement between the players. The echoes, or echo effects, were charming.
Ensemble Bastion: “Stylish ornamentation and the instinctive engagement between the players”
Arcangelo Corelli’s Sonata IV in F major, op. 5 was originally ornament-free until composer Johan Helmich Roman (among others) had his say. This was indeed ornament-rich and a joy to listen to.
They closed with Georg Philipp Telemann’s Sonata a Flute Dolce, Dessus de Viole e Basse. This was joy too, the slow movement so gently teased out. But it was the clear canonic dialogue throughout that stayed with me.
[hanse]Pfeyfferey, from Germany. Picture: Vasilisa Gorbacheva
[hanse]Pfeyfferey (Germany): Laura Dümpelmann, shawms; Lilli Pätzold, cornetto; Alexandra Mikheeva, slide trumpet, trombone; Emily Saville, trombone.
WHO could object to an early music programme entitled: Party Like It’s 1524. Their programme note didn’t start promisingly: “In addition to our unwavering commitment to authentically merge musical practice with associated musicology and theory…”
But it perked up with “…we draw inspiration from the timeless human need to enjoy good company, food, drink and music”. Amen to that.
[hanse]Pfeyfferey: “Performers radiated energy playing the music”
I had never heard of the composer Ludwig Senfl so I did a bit of Google listening. I thought the conservative sacred music was quietly impressive, but it was the secular, humanist songs that we were treated to here.
These were full of life and the performers radiated energy playing the music. So too the Improvisations. The performances so seductive, so infectious and, in the case of Isaac’s Lala Höhö and Zwischen Berg Und Tiefe Tal genuinely touching.
P.S. Ludwig Senfl studied with the great Heinrich Isaac and lost a toe in a hunting exercise. Now there’s one for the pub quiz.
Apollo’s Cabinet
Apollo’s Cabinet (UK): Teresa Wrann, recorder; Thomas Pickering, harpsichord, traverso, recorder; David Lopez Ibanez, violin; Harry Buckoke, viola da gamba; Jonatan Bougt, theorbo, Baroque guitar; Daniel Watt, percussion.
THIS programme was entitled Musical Wanderlust: Charles Burney’s European Travels In Pursuit Of Harmony. Mercifully this concert was far more enjoyable than the turgid description would have had us believe. It was an attractive musical travelogue around pre-Brexit Europe through the eyes, ok the diaries, of Charles Burney.
Apollo’s Cabinet: “Attractive musical travelogue around pre-Brexit Europe”
I absolutely loved the whole set. It reminded me a little of Red Priest, who might just have been an influence. This was revisiting Vivaldi, Buxtehude and the holiest of spiritual grails, Bach’s Goldberg Variations, from another perspective; a completely bonkers one.
Of the four prizes on offer this early music band must surely be a contender for one of them. “The most fun-filled, brilliantly whacky prize goes to…”
A PROGRAMME entitled Warblings Of Paradise didn’t seem terribly inviting. Thankfully we had a note of explanation: “In Dante’s Paradise, music is the supreme joy of mankind. The pieces we are going to perform have both sacred and secular aspects and will give full rein to the sounds of heavenly instruments; harps, lutes, vielles and voice will alternate and blend to celebrate the harmony of souls.”
THE recital opened with Guiraut Riquier’s Aisi Com Es Sobronrada (from Chansonnier Provençal – La Vallière). This is intended to be a “declaration of love made to the Virgin”. And yet…tenor Matthieu Romanens was himself seductively serenaded by Aliénor Wolteche (medieval fiddle) and Mélina Perlein-Féliers (medieval harp) without, as far as I could see, much resistance. Mr Romanens has a lovely rich tenor voice with a particularly resonant lower register, which is rare.
Rubens Rosa: “A touching intimacy and a velvety richness in colour”
Following Rubens Rosa’s very engaging rustic dance, Estampie, we were back to Hail Mary, full of grace. There was a touching intimacy and a velvety richness in colour. Very enjoyable.
As indeed was Robert Morton’s instrumental N’aray Je Jamais Mieux Que J’ai, where the introduction of the viola d’arco (Elizabeth Summers) really enriched the tonal palette. Then back to Matthieu Romanens’ tenor voice in a dignified Fortuna Desperate (Anonymous). If you closed your eyes, his voice sounded more like a baritone than a tenor.
Their recital closed with a foot-tapping, rustic Laudato Sia Dio (Dindirindin). The call and response, the energy and rhythmic hemiola shifts (think Bernstein’s America) recharged the soul. Maybe.
Pseudonym, from Switzerland. Picture: Vivianne Caragea
Pseudonym (Switzerland): Liane Sadler Baroque, traverso; Maya Webne-Behrman, violin; Stephen Moran, viola da gamba; Gabriel Smallwood, harpsichord.
PROGRAMME entitled Broken Colours. The notes describe this theme as: “To showcase the wide range of colours and sonic possibilities of this instrumentation, Broken Colours draws on various collections from different composers published throughout the first decades of the seventeenth century. Together they represent a cohesive survey of the prevailing instrumental genres and compositional hallmarks of the time…”
The recital opened with Dario Castello’s Nona Sonata à Tre (from Sonate Concertate In Stil Moderno, Libro Primo, 1621). To be honest I know very little about Dario Castello’s music but what I have heard I liked immensely. As the description “moderno” suggests, his music is progressive, exploring “new formal structures and means of expression” (programme note). I think this freshness did come across; the performance was tight, stylish and full of energy.
Pseudonym: “An infectious, foot-tapping pleasure”
Other Baroque pioneer composers also featured in the recital. I thought the ensemble’s performance of Tarquinio Merula’s Ballo Detto Eccardo was extremely expressive and gave Liane Sadler (traverse flute) an opportunity to shine. Which she did. Biagio Marini’s La Foscarina, Sonata a 3, Con Il Tremolo was pretty amazing too. The players really caught the inventive, expressive nature of Marini’s writing, this time giving violinist Maya Webne-Behrman an opportunity to shine, and she duly did.
The recital closed with Andrea Falconieri’s rhythmically driven Ciaconna And Pseudonym clearly enjoyed playing it as much as we did listening to it. An infectious, foot-tapping pleasure. What a way to sign off.
Ayres Extemporae standing outside St Margaret’s Church, the home of the National Centre for Early Music
UP to this point, I had forgotten that this was a competition. That was until Ayres Extemporae walked on to the stage and opened their recital with an X-rated, blistering account of Heinrich Ignaz Biber’s Sonata for violin and continuo in E minor, C.142.
Xenia Gogu Mensenin’s violin playing – technically brilliant, musically utterly hypnotic and completely fearless – immediately demanded attention. To be sure, there was some respite to be had in the beautiful Aria but this couldn’t last and didn’t; Ms Mensenin got her second wind, the violin bursting free of the constraints of the song, then regained the narrative of “torment” and headed for the finish line with indecent haste.
This was beyond ‘redemption’, nevertheless this remarkable Trio gave it their best shot with Johann Sebastian Bach’s Erbarme Dich from Ich Armer Mensch ich Sündenknecht, BWV 55 (arr. for violoncello piccolo, violin and continuo).
This wonderful aria is (obviously) from the St Matthew Passion. Erbarme Dich (Have Mercy) represents Peter’s weeping and distress at having denied knowing Jesus three times. Here the violoncello piccolo ‘sings’ the tenor aria.
Ayres Extemporae: “Performance was so moving and soul searching”
The performance by Víctor García García was very persuasive: meditative, expressive and genuinely moving. Whether it was persuasive enough, however, was to be found along the “path to forgiveness”. Once again, the Trio turned to Bach, this time the Sonata for Viola da Gamba and Harpsichord in G major, BWV1027 (arr. for violoncello piccolo, violin and continuo).
In this version, “the cello piccolo takes the role of the viola da gamba, and the violin and the cello play respectively the right and left hand of the harpsichord part” (programme note).
The E minor Andante had a haunting quality. The violoncello (Teresa Madeira) gracefully weaving through the arpeggiated progressions. The performance was so moving and soul searching. The final Allegro moderato was a dance, a bourrée and fugal.
Thus, giving all three of these outstanding performers the chance to show how well they intuitively understood and communicated this music. A real joy and, to quote Tina Turner, Simply The Best?
Before I typed this review, I thought I knew who the winner might be. I just wished I had behaved like a true, blue-rinsed politician and popped out to place a bet before the coronation.
Friedrichs Nebelmeer Ensemble, from Switzerland
Friedrichs Nebelmeer Ensemble (Switzerland): Pablo Gigosos, flute; Mei Kamikawa, oboe; Claudia Reyes, clarinet; Andrés Sanchez, horn; Angel Alvarez, bassoon.
HAVING lived and breathed contemporary music for most of my adult life, I am not a great fan of the 20th-century Wind Quintet repertoire (Birtwistle and the tedious Schoenberg works spring to mind, and back out again). But this Baroque repertoire of Franz Danzi, Giuseppe Cambini and Anton Reicha played by the charmingly enthusiastic Friedrichs Nebelmeer Ensemble was just delightful.
We were told to “expect some fun after a seven-hour concert’”, and we did. The problem is, however, that zippy exchanges – the musical flair in, for example, the Finale: Allegretto of Reicha’s Wind Quintet in E flat major, op. 88 no. 2 – can mask the technical brilliance.
This closing movement is an energetic rondo and all of the performers embraced the solos on offer. I loved the intimacy of the sound the Ensemble generated.
The Larghetto Sostenuto Ma Con Moto from Giuseppe Cambini’s Wind Quintet no. 2 in D minor was so sweetly sung; it’s not often you hear a wind quintet blending as beautifully as this. Again, so intimate but this time with a velvety sensuous colouring.
Their recital actually opened with Franz Danzi’s Allegrettos no’s I and IV from his Wind Quintet in G minor, op. 56 no. 2, a work dedicated to Anton Reicha. Crisp staccato playing, perfect handovers of the musical motifs, lovely clear balance; and yes, it radiated enjoyment.
I do have critical observations and suggestions – not all the performances were uniform, at times not all the balance was quite as democratic as it might have been, and there were a few slips.
Glittering performance: [hanse]Pfeyffereyplaying at the NCEM
But given the quality of these Young Artists and the fact that they had two days of “informal recitals” with completely different programmes and in the company of Steven Devine, then discretion and humility are surely the order of the day.
But I will say that the programme notes, although informative and indeed often insightful, veered towards the academic, seldom a good thing, and a bit dull.
Not surprisingly the “tell us a bit about yourselves and your programme” bit was a distraction at best. To this end, I would suggest drawing from the “everyday” anecdote of Steven Devine himself.
Here Mr Devine took us through a typical York ginnel to the Three Legged Mare pub. There was a folk-blues band playing and he popped in for a pint. Through the window, he noticed some members of an ensemble looking in. He bought them a drink and left. When he returned one of the players had joined in.
One can take many things from this lovely account: that this could never, ever happen at a “classical” music concert; that this musical experience belongs to the working class, pop, rock, folk, blues culture, or that the beer in the Three Legged Mare is decidedly better than that on offer at the NCEM.
“It was wonderful to welcome these eight ensembles from the UK and Europe to what is always an enriching experience,” says York Early Music Festival administrative director Delma Tomlin
For me, it is about the love and importance of music and music making. And what an enriching experience this is. Bob Dylan and John Adams are both great composers, just different.
Anyway, back to the competition. A panel of experts in the field of Early Music, Bart Demuyt, Philip Hobbs, Elizabeth Kenny, Lionel Meunier and Emily Worthington judged that Ayres Extemporae were the winners of this prestigious York Early Music International Young Artists Competition.
Additional prizes went to: [Hanse]Pfeyfferey (Cambridge Early Music), Ensemble Bastion (EUBO Development Trust) and Apollo’s Cabinet (Friends of York Early Music Festival).
So, what a way to close this remarkable festival: with renewal. Talking of which, none of this could happen without the dedication, professionalism and creativity of Delma Tomlin MBE, director of the internationally acclaimed National Centre of Early Music (NCEM) and the York Early Music Festival.
Unfortunately, I am all out of superlatives, so how about “National Treasure”? Sorry Delma.
Belgian trio Ayres Extemporae win the 2024 York Early Music International Young Artists Competition
Winners Ayres Extemporae with the York Early Music International Young Artists Competition judging panel
AYRES Extemporae were awarded first prize at the York Early Music International Young Artists Competition last Saturday, against fierce competition from seven fellow international ensembles from across Europe.
The Belgian-based ensemble receives a professional recording contract from Linn Records, a £1,000 cash prize, a future paid engagement with the York Early Music Festival and recording opportunities with BBC Radio 3.
During the two days before the competition, each ensemble presented an informal recital at the National Centre for Early Music, Walmgate, with the aim of giving the musicians the opportunity to adapt to the performance space and become accustomed with festival audience members in advance of the final.
These groups were selected from a pool of 48 ensembles from across the world and were judged by an international jury of Bart Demuyt, director of AMUZ/Alamire; Philip Hobbs, from Linn Records; Elizabeth Kenny, internationally acclaimed lutenist; Lionel Meunier, director of Vox Luminis, and Emily Worthington, clarinettist and University of York lecturer.
The competition provided a spectacular finale to the ten-day festival, which connected old friends and new through concerts, recitals and workshops staged in a variety of historic venues around the city.
The recitals from this year’s final are available to watch on demand at ncem.co.uk and on the NCEM’s YouTube channel and edited highlights will be shared on BBC Radio 3’s Early Music Show on Sunday, November 3 2024.
Friends of York Early Music Festival Award winners Apollo’s Cabinet with festival administrative director Delma Tomlin, right
Ayres Extemporae are: Moldovan-Spanish violinist Xenia Gogu, Spanish cellist Víctor García García, playing on a five-string cello piccolo, and Portuguese cellist Teresa Madeira.
Apollo’s Cabinet, from the UK, scooped the Friends of York Early Music Festival Award, a cash prize of £1,000; Ensemble Bastion won a cash prize of £1,000, endowed by the EUBO Development Trust, for the Most Promising Young Artists specialising in the Baroque repertoire, and [hanse] Pfeyfferey scooped the Cambridge Early Music Prize, which includes a paid performance in Cambridge.
The 2024 finalists were: Apollo’s Cabinet (UK); Ayres Extemporae (Belgium); Ensemble Bastion (Switzerland); Friedrichs Nebelmeer Ensemble (Switzerland); [hanse] Pfeyfferey (Germany); Pseudonym (Switzerland); Rubens Rosa (Switzerland) and Trio Altizans (Netherlands).
The 2024 competition was presented by Steven Devine,harpsichordist, fortepianist, conductor and director of orchestral, choral and opera repertoire, and former artistic advisor to the York Early Music Festival.
At the end of the competition, Philip Hobbs, from Linn Records, who chaired the judging panel, said: “This competition is definitely one of the musical highlights of the year and Linn Records is very proud to continue this important relationship with the York Early Music Festival and with the National Centre for Early Music.
Pseudonym musiciansMaya Webne-Behrman, violin, and Liane Sadler Baroque, traverso, performing in the York Early Music International Young Artists Competition
“Today’s concert illustrated an array of extraordinarily inventive musical talent, and I would like to congratulate all eight ensembles who performed.”
Delma Tomlin, NCEM director and festival administrative director, said: “It was wonderful to welcome these eight ensembles from the UK and Europe to what is always an enriching experience and an amazing opportunity to share music and enhance their skills.
“I would like to thank everyone who appeared today, once again the standard of performance was of the highest calibre. I would also like to say a huge thank-you to our panel of judges for their hard work and support and also to Steven Devine for his expertise and invaluable help.”
Winners Ayres Extemporae said: “We’re absolutely delighted and honoured to receive this amazing prize and would like to thank everyone who has supported us – our time in York has been a wonderful experience and everyone has been super-friendly.
“We’d like to thank all the other ensembles for their encouragement, friendship and brilliant musicianship, it’s been a real pleasure spending time with the other musicians. We’re really looking forward to returning to York and recording with Linn Records.”
York Early Music Festival celebrates at York Mansion House
Utopia: Flanders musicians played at National Centre for Early Music, York
THE 2024 York Early Music Festival enjoyed not one, but two celebrations in the presence of the Lord Mayor of York, Councillor Margaret Wells, last week.
Young musicians from the United Kingdom, Switzerland, Germany, Belgium and even Mexico arrived in York to take part in the York Early Music International Young Artists Competition, held in the city every two years.
The musicians were welcomed with a drinks reception and enjoyed a tour of York Mansion House with the Lord Mayor, who revealed some of the resplendent Georgian building’s hidden secrets.
The next day, the Delegation of Flanders to the UK hosted a reception to mark Flanders Day – a major national holiday in the Belgian region – in celebration of a new partnership with the York Early Music Festival, in association with the Alamire Foundation and AMUZ, with support from the Flanders government.
Bart Brosius, General Representative of Flanders in the UK and Ireland, welcomed the delegation to York and Bart Demuyt, from the Alamire Foundation in Flanders, extended a warm thank-you to the National Centre for Early Music director Delma Tomlin for her continued hard work, giving aspiring young musicians from the UK and beyond the encouragement and recognition they deserve.
Guests included: York Central MP Rachael Maskell; Claire Douglas, Leader of City of York Council; Joan Concannon, University of York; Philip Nelson, Harrowells Solicitors; Adam Butterworth, Department for Business and Trade, and many other guests from the Flanders delegation.
Audiences enjoyed concerts by two ensembles from Flanders, Utopia at the National Centre for Early Music and Cappella Pratensis & I Fedeli at York Minster.
From Flanders with early music: Cappella Pratensis performed at York Minster
Utopia: Making their York Early Music Festival debut at the NCEM, at St Margaret’s Church, Walmgate, York
YORK Early Music Festival is launching a cultural partnership celebrating the musical heritage of Flanders at next month’s event.
Two world-class ensembles from northern Belgium, Utopia and Cappella Pratensis, will be performing in York as part of the new collaboration, organised in association with the Alamire Foundation, in Leuven, and AMUZ, a thriving arts centre in a disused baroque church and former Augustine monastery in Antwerp, with support from the Flanders government.
“The partnership celebrates the historic ties between York and Flanders from the medieval period, built on the trading of wool by enterprising merchants, through to the present day,” says festival director Dr Delma Tomlin, the first woman governor in the 660-year history of the Merchant Adventurers’ Hall.
“The York Early Music Festival has worked with our partners in Flanders for 25 years and we have a similar mind-set to supporting and developing Early Music ensembles, with a willingness to provide opportunities.
“We are particularly delighted to be part of this exciting new partnership, the beginning of a new collaboration with artists and colleagues based in Flanders in what is a considerable investment on their part. I would like to say a huge thank-you to the Almire Foundation, AMUZ and the Flanders Government for their support.
“This marks a very important moment in this city’s musical history and highlights York’s historical relationship with Flanders, giving us the opportunity to celebrate our cultural heritages. We look forward to building on this partnership in the future with the embassy to fly the flag for York and Flanders.”
Both concerts will take place on July 12, firstly Flemish vocal ensemble Utopia – “hot favourites in Antwerp,” according to Delma – making their York debut at the festival’s home, the National Centre for Early Music, in a 6pm programme entitled Salve Susato: Treasures from Antwerp’s Golden Age.
Cappella Pratensis: Returning to York for July 12 concert in the Quire of York Minster
“Utopia invite you to meet Tielman Susato, a composer known today mostly for his instrumental works but who flourished in 16th-century Antwerp as a publisher of vocal music by Josquin, Lassus, Gombert, Crecqillon, Clemens non Papa and Susato himself,” says Delma. “His Missa [mass] In Illo Tempore and motet Salve Quae Roseo will sit at the heart of this programme.”
At 9pm, in the Quire of York Minster, Cappella Pratensis and I Fideli will be directed by Stratton Bull in a hour-long programme of Jacob Obrecht and Jacobus Barbireau works.
“Obrecht and Barbireau were two prominent representatives of Franco-Flemish polyphony with connections to the Church of Our Lady – today’s Antwerp Cathedral – around 1500,” says Delma.
“In his masses and motets Obrecht was an innovative user of the cantus firmus technique in which polyphonic fabric weaves around an existing melody, as in his celebratory Missa, Sub Tuum Praesidium. Osculetur Me, Barbireau’s only surviving motet, will complete the programme.”
Delegates from Flanders will host a reception in York Mansion House to welcome the artists and celebrate this new partnership on July 11 – aptly Flanders National Day – in the presence of York’s Civic Party and representatives of York industries with links to Flanders.
Bart Brosius, General Representative of Flanders in the United Kingdom and Ireland, says: “Flanders and York share historical connections through several key aspects of their heritage and centuries of cultural and economic exchanges. We share bustling medieval markets, elegant Gothic architecture, entrepreneurship and academic excellence.
“We are celebrating this connection in York in July through Early Music. We are delighted to work with the local authorities, the University of York and the renowned York Early Music Festival. We also look forward to welcoming our friends from York later in the summer for the Flanders Festival Antwerp.”
“This marks a very important moment in this city’s musical history and highlights York’s historical relationship with Flanders,” says York Early Music Festival director Delma Tomlin
Established in 1977, York Early Music Festival celebrates music from the medieval to the baroque within an array of historic venues across the city, attracting an array of world-class artists and audiences from all over the world.
Among the 2024 highlights will be the festival climax on July 13, the York International Young Artists Competition, a groundbreaking event held every two years where young ensembles compete for a professional recording contract with Linn Records, a £1,000 cheque and opportunities to work with BBC Radio 3 and the National Centre for Early Music.
The competition also offers prizes supported by the Cambridge Early Music Festival, the European Union Baroque Orchestra Development Trust and Friends of York Early Music Festival.
Presented by keyboard musician Steven Devine at the NCEM from 10am to 5pm, the 2024 competition final will feature Rubens Rosa, Ensemble Bastion, (Hanse) Pfeyfferey; Ayres Extemporae; Apollo’s Cabinet; Pseudonum; Trio Altizans and Friedrichs Nebelmeer Ensemble.
Swiss-based ensemble Brezza also were selected for the final but have since had to withdraw from the competition.
The finalists will spend time in York performing informal concerts and learning from experts before the July 13 final, when festivalgoers will discover who will follow in the footsteps of such past winners as Protean Quartet, L’Apothéose, Barroco Toutand Sollazzo Ensemble.
The 2024 festival has the theme of Metamorfosi for eight days of concerts and illustrated talks focusing on the human voice and song, with The Gesualdo Six, Concerto Soave, Vox Luminis and The Sixteen among the vocal specialists taking part.
Among the sell-outs are Florilegium on July 7 and Orchestra of the Age of Enlightenment on July 8, both at the NCEM. BBC Radio 3 will be recording Florilegium, Cubaroque (July 7, NCEM), The Gesualdo Six (Chapter House, York Minster, July 9), Apotropaik (Holy Trinity, Micklegate, July 10) and the International Young Artists Competition for later broadcast. The competition final will be streamed live too.
For the full programme and ticket details, head to: ncem.co.uk.
National Centre for Early Music Young Composers Award winners Ryan Collis, left, and Charlotte Robertson, seated, at the NCEM
RYAN Collis and Charlotte Robertson are the winners of the 2024 National Centre for Early Music Young Composers Awards.
Ryan won the age 19 to 25 years category with Lux Divinae; Charlotte, the 18 years and under category with A Wonderous Mystery.
Presented in partnership with BBC Radio 3, the final of the 17th NCEM Young Composers Awards took place at the NCEM, St Margaret’s Church, Walmgate, York, on May 16.
This year, the NCEM and BBC Radio 3 invited aspiring young composers to create a new work for The Tallis Scholars. Composers were asked to write for unaccompanied voices, setting the 16th century text Mirabile Mysterium (A Wondrous Mystery) either in the original Latin or the English translation.
Composers were encouraged to create music that responds to the imagery of the words and, like the polyphonic vocal music of the European Renaissance, has a sense of melodic direction.
Compositions by the eight young finalists were workshopped during the day by composer Professor Christopher Fox, professional singers from York ensemble Ex Corde and their director Paul Gameson, in the presence of Peter Phillips, director of The Tallis Scholars.
In the evening, Ex Corde and Paul Gameson gave a public performance, live streamed to ensure that friends and families from across the United Kingdom were able to join in.
Thomas Shorthouse, Mirabile Mysterium;Tingshuo Yang, Mirabile Mysterium; Ryan Collis, Lux Divinae; Reese Carly Manglicmot, Mirabile Mysterium.
18 and under
Matty Oxtoby, Mirabile Mysterium; Charlotte Robertson, A Wondrous Mystery; Jamaal Kashim, Mutationem ac Stabilitatem; Selina Cetin, Nativitas Salvatoris Nostri.
“It was wonderful to welcome these talented young people to York for a day sharing music and ideas,” said NCEM director Delma Tomlin
The 2024 panel of judges were BBC Radio 3 producer Les Pratt, NCEM director Delma Tomlin and Tallis Scholars director Peter Phillips.
Ryan Collis and Charlotte Robertson’s winning works will be premiered by The Tallis Scholars in a public concert at Saffron Hall, Saffron Walden, on Sunday, October 20, when the performance will be recorded for later broadcast on BBC Radio 3’s Early Music Show.
Delma Tomlin said: “We are delighted to welcome back the internationally acclaimed vocal ensemble The Tallis Scholars, directed by our good friend Peter Phillips, as the partners for 2024.
“An annual event on the NCEM’s busy calendar, the Young Composers Award is becoming increasingly popular with aspiring young composers and recognised as an important landmark in their careers.
“It was wonderful to welcome these talented young people to York for a day sharing music and ideas at the NCEM’s home, St Margaret’s Church. I’d like to say a special thank-you to Dr Christopher Fox, Peter Phillips, Paul Gameson and Ex Corde, for their inspiration, hard work and invaluable support, and of course to my fellow judges.
“We’re looking forward to hearing the winning compositions performed by The Tallis Scholars in Saffron Walden in the autumn and broadcast on BBC Radio 3’s Early Music Show.”
Les Pratt said: “Radio 3 prides itself on being the home of classical music that is known to many, as well as a place where audiences can discover the latest trends and creations.
“Through our support for young composers, thanks to our partnership with NCEM, we are making sure that the art form is kept alive, and always looks to the future. That’s why we can’t wait to share these wonderful new compositions with listeners at home on the Early Music Show and on BBC Sounds.”
The Tallis Scholars said: “Commissioning and performing the works of living composers has been an important part of the long life of The Tallis Scholars, alongside our performances of Renaissance sacred polyphony. To be able to work with young composers is a great privilege and to see how they respond to ancient texts and renaissance settings of those texts is endlessly fascinating.”
Beverley & East Riding Early Music Festival director Delma Tomlin
THE 2024 Beverley & East Riding Early Music Festival opens on Friday with a 7.30pm concert by rising stars El Gran Teatro del Mundo, sponsored by the Embassy of Spain.
Based in Spain, this young instrumental group captivated audiences on their British tour last year and will be visiting Beverley for the first time to perform Life Is A Dream (La Vida Es Sueño) at St Mary’s Church.
Undertaking a magical musical journey through the night, these specialists in French music from the time of the Sun King bring to life the operas of the Grand Siècle with instrumental interpretations of scenes where darkness will be the best ally of love and sleep, death’s best friend.
The National Centre for Early Music (NCEM), the charitable York organisation behind the festival, welcomes the new sponsorship. Director Delma Tomlin said: “This is the first time we have received sponsorship from the Embassy of Spain, in London, and we are absolutely delighted to be working together to promote Spanish music through the ages.
“The Embassy’s generous financial support – supporting the travel costs from Spain – makes all the difference and we are thrilled to be able to welcome such fabulous musicians to perform here in the East Riding of Yorkshire.”
José María Robles Fraga, Minister Counsellor for Cultural and Scientific Affairs at the Embassy of Spain, said: “This newly stablished partnership provides a unique opportunity for Spanish musicians performing in the UK.
“We are very proud to support this initiative and we are confident that audiences at the Beverley Early Music Festival will enjoy the immense talent of this Spanish ensemble”.
Running from May 24 to 26, this year’s festival takes the theme of Threads of Gold, weaving together stories of Beverley’s remarkable history through music and song, combined with a distinctly Spanish twist.
El Grano Teatro del Mundo: Performing Life Is A Dream (La Vida Es Sueño) at St Mary’s Churchon Friday
“This year we are threading together music, history and song – designed to entertain, to engage and to intrigue,” says Delma. “There’s a wealth of music and drama in store and as always, there are plenty of opportunities to make music as well as enjoy it – so we hope to weave you a tapestry of delights for 2024.”
Further concerts with a Spanish theme include Nigel Short directing the award-winning choir Tenebrae in their acclaimed interpretation of Tomás Luis de Victoria’s Requiem Mass for six voices – a masterpiece of the Spanish Golden Age – at Beverley Minster on Saturday at 7.30pm.
In the festival finale on Sunday at 7.30pm at East Riding Theatre, Beverley, The Telling present their heart rend(er)ing music theatre show Into The Melting Pot.
Written by Clare Norburn and directed by Nicholas Renton, it tells the stories of the women of medieval Spain torn apart by religious intolerance, performed by actor Suzanne Ahmet as Blanca, Patience Tomlinsonas Queen Isabella (offstage voice),singersClare Norburn and Avital Raz, Emily Baines, recorders and doucaine,Giles Lewin, oud, and Jean Kelly, harp & percussion.
Music and theatre collide in this fully staged show that heads back to 1492 Spain for a story of migration, community and conflict. At twilight on her final night in Seville, a Jewish woman lights the lamps. She is being forced to leave Spain and set sail for an uncertain future.
Her tale echoes down the ages to the personal stories of people of all faiths and backgrounds affected by politics and war today, as she tunes into a community of stories told by Jewish, Christian and Muslim women, soundtracked by plaintive Sephardic songs and lively Spanish medieval music.
The newly appointed BBC Radio 3 New Generation Baroque Ensemble Augellettimake their sold-out Beverley festival debut with A Curious Mind at St Nicholas Church, Beverley, on Saturday at 10am.
Focusing their musical lens on an ever curious and well-connected York clergyman and musician, Edward Finch, Ensemble Augelletti tell his singular story and perform some of his compositions and arrangements alongside music by his friends Purcell, Handel and Geminiani.
On Saturday, harpsichordist Steven Devine returns to Beverley with virtuoso violinist Bojan Čičić in a 4pm programme of Handel Sonatas at Toll Gavel United Church, melding GF Handel’s violin sonatas with those of the Italian-born violinist and composer Giovanni Stefano Carbonelli.
Tenebrae: Performing Tomás Luis de Victoria’s Requiem Mass at Beverley Minster on Saturday. Picture: Sim Canetty-Clarke
In A World Of Inspiration at Toll Gavel United Church on Sunday, the London Handel Players present a 3pm programme of Baroque works from Baroque composers from Poland, Italy, Spain, Portugal, the Canary Islands, India and the British Isles.
The festival’s opening illustrated lecture by Dr John Jenkins at St Mary’s Church on Friday at 4pm has sold out. Under the title of “…and oil dripped from the golden tomb”, the University of York co-director of the Centre for Pilgrimage Studies and Fellow of the Royal Historical Society recalls a Medieval Pilgrimage to St John of Beverley.
From his death in 721, to the destruction of his golden shrine in Beverley Minster in 1541, John of Beverley was the most important saint in the East Riding, prompting pilgrims to flock to his golden and bejewelled shrine from near and far.
By the close of the Middle Ages, thanks to the miracles he worked for the kings of England, St John had become a saint of national importance on a par with St George. Dr Jenkins’s lecture reveals why pilgrims came, or in some cases were forced to come, to Beverley, and the unique and wonderous spectacle the Minster canons provided for medieval visitors.
In the festival’s second lecture, at Toll Gavel United Church Hall, on Sunday at 4.30pm, Professor Melanie Giles, from the University of Manchester, reveals more of the ancient history of the East Riding in Ancient Threads and Enchanted Garments: Stories of preserved textiles from Iron Age and Roman Yorkshire and Lincolnshire.
Ancient textiles, made of both vegetal and wool fibres, are rarely preserved in archaeological contexts because of their organic and fragile nature. In this talk, Prof Giles shares the story of some rare examples, ranging from the edge of Iron Age cloaks, bags and containers from Arras burials in East Yorkshire to threads and garments found with bog bodies dating to the early Roman period in North Yorkshire and Lincolnshire.
Instrumentalists are invited to The Birth Of The Orchestra, a day-long workshop led by members of El Gran Teatro del Mundo at Hexagan Music Centre, Beverley, on Saturday at 9.30m.
This workshop on Baroque orchestral performance practice, based on the writings of George Muffat with additional music by Corelli and Lully, will be directed by Julio Caballero in the company of fellow El Gran Teatro del Mundo musicians Miriam Jorde, oboe, Bruno Hurtadoviol, cello, and Andrés Murillo, violin.
Ensemble Augelletti: Making Beverley & East Riding Early Music Festival on Saturday morning
The workshop is open to players of Baroque oboe, traverso, bassoon, recorder and string players with Baroque instruments or modern instruments with gut strings and Baroque bows. Music will be provided and is available to download on the NCEM website, ncem.co.uk, for private practice before the event. Participants should be confident sight-readers.
Singers have two workshop options: festival debutants SongPath’s uplifting blend of walking, talking and music-making, setting off from Hengate Memorial Gardens on Saturday at 1.30pm to 3pm, followed by Tenebrae’s choral workshop, Music of the Spanish Golden Age, at Hexagan Music Centre on Sunday at 9.30am.
Contralto Jess Dandy, mezzo-soprano Joanne Harries and recorder player Olwen Foulkes lead a 90-minute singing walk around Beverley in Songpath, inviting participants to “immerse yourself in an outdoor experience that transcends conventional concerts, exploring mental well-being through the transformative power of music and nature”. Wear suitable clothing and footwear and bring a brolly, they advise.
Choral singers are invited to join Tenebrae’s experienced workshop leader Joseph Edwardsto work on some of the repertoire from Saturday’s n their programme. Music for the day includes Alfonso Lobo’s Versa est in Luctum and Tomás Luis de Victoria’s Taedet Anima and Astiterunt Reges Terrae.
The workshop is open to all voices with some sight-singing experience. The afternoon concludes with a short informal performance of music studied during the day, open to all, free of charge.
Beverley & East Riding Early Music Festival runs from May 24 to 26. Box office: 01904 658338, ncem.co.uk or in person from Beverley Tourist Information Centre, Customer Service Centre, Cross Street, Beverley. Full programme: ncem.co.uk/whats-on/bemf.
Beverley & East Riding Early Music Festival: the back story
ESTABLISHED in 1988 to celebrate Beverley’s historic association with musicians from medieval times.
Blessed by a wealth of ecclesiastical buildings and musical carvings in stone and wood in both Beverley Minster and St Mary’s Church, making it the “perfect place for a festival of early music”.
Supported by East Riding of Yorkshire Council and administered by National Centre for Early Music, York.
Annual festival combines concerts, illustrated lectures and associated workshops.
Beth Stones and Dan Murphy of Flutes & Frets: Heading out on Explore York library mini-tour
MUSICAL duo Flutes & Frets embark on a mini-tour of three York community libraries tomorrow (14/3/2024) in a National Centre for Early Music cultural wellbeing initiative.
Working in partnership with Explore York Libraries and Archives, flautist Beth Stones and frets player Dan Murphy are taking Baroque Around The Books to Tang Hall Explore Library at 11am tomorrow morning; Clifton Library at 3pm tomorrow afternoon, and Explore: Acomb Library Learning Centre at 11am on Friday. Pre-booking is advised for the Acomb performance at http://ncem.co.uk/baroque-around-the-books/
The tour will continue with an invitation-only concert for NCEM members tomorrow at 2.30pm at Fairfax House, to be recorded for online viewing on March 21 as part of the NCEM’s Early Music Day celebrations.
Tickets are free for these informal concerts under a new NCEM initiative in tandem with Explore York, supported by the Mayfield Valley Arts Trust, in a project that illustrates the NCEM’s ongoing commitment to support, encourage and nurture the skills of emerging artists in the UK and beyond.
To conclude the tour, Flutes & Frets will head to the NCEM, at St Margaret’s Church, Walmgate, later on Friday to work on Italian baroque repertoire with The Minster Minstrels, an ensemble that provides musical opportunities for children from across York, supported by the Mayfield Valley Arts Trust and York Music Hub in partnership with York Arts Education.
Delighted to invite Flutes & Frets to York for a residency, library tour and children’s NCEM workshops, NCEM director Delma Tomlin says: “We’re thrilled to be able to be working with the wonderful Flutes & Frets, who appeared in York last December at the York Early Music Christmas Festival.
“Baroque Around The Books will give the people of York the chance to enjoy these fabulous concerts completely free of charge, as we work to share the joy of music making with our partners at Explore York.”
Dave Fleming, Explore York’s innovation, creativity and learning service developer, says: “The initiative emerged from Explore York’s longstanding working relationship with the NCEM, which has been developed over many years. We’ve worked collaboratively with NCEM on successful projects and initiatives over the years, such as Cuppa And A Chorus and now this.”
Assessing the role of music in libraries, Dave says: “Music contributes to Explore York’s commitment of bringing high-quality cultural experiences into our libraries for York residents to enjoy within their communities and right on their doorstep.
“York’s network of community libraries are trusted spaces: safe, creative environments, welcoming to everyone. We have developed out network of libraries as cultural spaces in the heart of communities.”
Crucially too, Explore York is now a National Portfolio Organisation (NPOs), designated by Arts Council England. “NPO recognises Explore’s cultural contribution in creating and promoting artistic experiences, supporting artists, and engaging communities. Opportunities to bring musical experiences into our libraries contributes to what we are as an NPO,” he says.
“Bringing such experiences into libraries aligns with Explore York’s status as an NPO and enhances its cultural offerings. Therefore, the role of music in libraries is seen as integral to fulfilling Explore York’s mission and enriching the cultural experiences available to residents.”
Stone and Murphy’s repertoire spans the medieval to the contemporary, backed by a passion to use instruments from throughout history to create a story that both enthrals and educate. “The educational element of these concerts lies in the opportunity for the audience to experience high-quality classical music performed by internationally renowned musicians,” says Dave.
“In addition to the performances, the musicians will engage the audience by discussing the history and background of the music being played. This approach allows the audience to deepen their understanding and appreciation of classical music, turning the concert into an enriching educational experience.”
Beth and Dan say: “We’re always keen to educate and inform through our performances and so in this programme, we focus on taking the audience on a chronological journey of some of our favourite pieces: a chocolate-box selection of almost 500 years of music.”
Here Flutes & Frets’ Beth Stones and Dan Murphy discuss libraries, music and books with CharlesHutchPress.
“We’re always keen to educate and inform through our performances,” say Flutes & Frets’ Beth Stones and Dan Murphy
When did you form your partnership, where and why?
“Interestingly, Covid helped form the duo. We met while studying at the Royal College of Music, in London, and after collaborating on modern flute and guitar, we realised the potential that our specialisation in historical performance might bring our combination of instruments.
“Beth had been very keen to try playing with lute compared to harpsichord, and Covid brought out a renewed sense of need for chamber music.”
What was the highlight of your York Early Music Christmas Festival concert last December?
“The previous night to our 11am concert, we had a chaotic journey up to York due to train cancellations, meaning we arrived at the hotel at 4am, so to wake up to a cold, frosty morning but have a sold-out audience that had many warm comments to make afterwards made it all worthwhile!”
How did the Baroque Around The Books mini-tour come about?
“Delma has been incredibly supportive of us as an ensemble and believed that we would be appropriate for the intimate setting of libraries. We’re enthusiastic to make the most of our portability and enjoy performing in the types of venues that are harder to accommodate live music.”
Libraries are associated with silence, peace and calm! Does that add to the joy of making music there?
“Every venue has its charm. Libraries in particular tend to bring people that weren’t expecting to find music, especially children and families. As the Italian 15th century philosopher Marsilio Ficino wrote, music is ‘nothing but the decoration of silence’.”
How did you put together the programme for Baroque Around The Books?
“We’re always keen to educate and inform through our performances and so, in this programme, we focus on taking the audience on a chronological journey of some of our favourite pieces: a chocolate-box selection of almost 500 years of music.”
How have books had an impact on your musical selections?
“They haven’t had a direct impact on the programme we’re performing but musical treaties inform the way we play and so affect our approach to all our concerts.”
In what way is the concert educational?
“We encourage our audience to see a bigger picture and think about the changes that instruments and compositional styles have undergone throughout the history of music. Similarly to how a documentary might try to capture hundreds of years in a short space of time.”
The poster for Flutes & Frets’ Baroque Around The Books mini-tour of York libraries
Do you have a target audience?
“Not particularly! We appreciate the attention of anyone and everyone.”
What will Friday’s workshop session with The Minster Minstrels involve?
“We’ll be spending some time working with them on Italian baroque repertoire that they’re currently exploring and hopefully sharing some insight in how to approach and interpret early music.”
In a nutshell, what is the relationship between music and books?
“Both are expressions of thoughts, emotions, creativity and storytelling.”
If you could recommend one book each, what would it be?
Beth: “No book means more to me than the Bible, so that’s an easy choice.”
Dan: “It was The Name Of The Wind by Patrick Rothfuss that first inspired me to develop an interest in lute playing, so that’s always my first recommendation.”
When you arrive home, what do you reach for first: music or a book?!
Beth Stone and Daniel Murphy of Flutes & Frets: Sold-out opening concert today at York Early Music Christmas Festival 2023
MUSIC, Minstrels and Mystery is the theme of the York Early Music Christmas Festival 2023, running from tomorrow to December 9.
This annual celebration conjures up the spirit of Christmas past with an array of atmospheric music, primarily at the National Centre for Early Music, in the medieval St Margaret’s Church, Walmgate, complemented by concerts at Bedern Hall and the Sir Jack Lyons Concert Hall, University of York.
Opening at the beginning of Advent, the festival features a host of world-class artists from the Early Music world, celebrating the extraordinary wealth of music associated with Advent, Christmas and Epiphany, from the medieval to the baroque.
To complete the Christmas experience, many concerts take place by candlelight, with mince pies and mulled wine available at most events.
Already the festival has been previewed on BBC Radio 3’s In Tune on November 26, when festival artists the Gesualdo Six spoke to Katie Derham and performed a selection of their work.
Both immersive Gesualdo Six concerts with the Fretwork Viol Consort at 6pm and 8.30pm on Saturday have sold out. Marking composer William Byrd’s 400th anniversary, Secret Byrd will theatrically intersperse Byrd’s private mass for secret worship with his virtuosic music for strings.
Sold out too are Saturday’s opening concert, European Court and Salon Music, by Flutes & Frets (Beth Stone, flute, and Daniel Murphy, lute, theorbo, guitar) at Bedern Hall at 11am, backed by funding from the European Festival Fund for Emerging Artists, and December 9’s Bach Christmas Oratorio concert at 7pm by the Yorkshire Bach Choir and Yorkshire Baroque Soloists at the Sir Jack Lyons Concert Hall.
Festival director Delma Tomlin will host an introductory talk at Sunday’s 6.30pm concert, A Christmas Song – The “original” Messiah, by festival debutants The Harmonious Society of Tickle-Fiddle Gentlemen at the NCEM. The Harmonious Society’s 14 musicians and singers face a busy three days of travel, playing Canterbury on Saturday, York on Sunday and Durham on Monday.
Baroque In The North: Festive sweetmeats from Versailles to Rome on December 9 at the NCEM
Fiddlesticks, a new ensemble featuring former festival advisers Kati Debretzeni and Steven Devine, will make their festival debut too with Monday’s 7pm NCEM programme of European court music for three violins and continuo. Earlier that day, the NCEM’s youth instrumental ensemble, Minster Minstrels, will be working on Christmas repertory with Fiddlesticks in the afternoon.
Further festival highlights will be The Marian Consort, performing music written for the festive court, on Thursday and Ceruleo’s Love Restor’d, a theatrical Restoration England programme of Henry Purcell, John Blow and John Eccles works, on Friday, both at 7pm at the NCEM.
On December 9, Baroque In The North will play this festival for the first time, performing Panettone or Bûche de Noël?, Festive Sweetmeats, featuring works by Esprit-Philippe, Chédeville, Vivaldi and Corelli at the NCEM at 11am.
In addition, the Minster Minstrels will work with the Harmonious Society’s baroque trumpeter Will Russell on Sunday, while Owain Park, director of The Gesualdo Six, is inviting singers to join him for a choral workshop, designed to celebrate the music of Willam Byrd on Saturday and Sunday at Bedern Hall.
The York Early Music Festival Christmas Box Set, featuring a selection of recorded highlights from the festival, plus this year’s York Early Music Festival and Beverley & East Riding Early Music Festival, is on sale now and will be available to enjoy online from December 15 to the end of January 2024. Highlights include concerts by violinist Rachel Podger and the Dunedin Consort, the Scottish baroque ensemble. The box set costs £50 or concerts can be bought individually at ncem.co.uk.
Ahead of the week of festive music, NCEM director Delma Tomlin says: “Our Christmas festival is one of the highlights of the city’s Christmas calendar. This December we are delighted to present an array of atmospheric Christmas concerts featuring music from the medieval times, through the ages and ending with Bach’s glorious Christmas Oratorio.
“The concerts are the perfect way to celebrate Yuletide and we look forward to seeing old friends and welcoming new ones at the special time of year.”
Full programme details can be found at ncem.co.uk/yemcf/.Box office: 01904 658338 or ncem.co.uk.
The Marian Consort: Performing music composed for the festive Stuart court in For Delighting The People – A Jacobean Christmas on December 7
York Early Music Christmas Festival programme highlights
Saturday, 11am: Flutes & Frets, European Court and Salon Music, Bedern Hall, Bedern. SOLD OUT.
FLUTES, lutes, theorbo and guitar introducing music of European courts across the ages, performed by NCEM Platform Artists Beth Stone and Daniel Murphy, who received grant from European Festivals Fund for Emerging Artists, leading to concerts in Antwerp, Krakow and York. Final concert of tour for young duo selected for annual International Artist Presentation in Flanders. Flutes & Frets will return to York next spring for Baroque Around The Books library tour.
Saturday, 6pm and 8.30pm, The Gesualdo Six & Fretwork Viol Consort, Secret Byrd, National Centre for Early Music, St Margaret’s Church, Walmgate. Both SOLD OUT.
CREATED and directed by Bill Barclay, this 80-minute immersive experience marks the 400th anniversary of composer William Byrd with a mix of voices, viols and theatricality. A small number of audience members sit and stand among costumed musicians who gather by candlelight to worship in secret as Byrd’s setting of the Ordinary is mixed with his most probing instrumental works, played where the five Proper sections of the Mass would take place.
Sunday, 6.30pm, The Harmonious Society of Tickle-Fiddle Gentlemen, A Christmas Song – The “original” Messiah, NCEM.
PRESENTING the only surviving Nativity story in England set to music in the baroque era: the original Messiah and possibly the first oratorio in English. Full title: the anonymous Messiah. A Christ -Mass Song for Voices and Instruments, circa 1720. Complete with tuneful shepherd dialogues, the joyful song of the Virgin Mary, Three Wise Men arias and even a ‘halleluia’ chorus. Plus offertory by Prague composer Simon Brixi.
Monday, 7pm, Fiddlesticks, Three Parts on a Ground: European Court Music for three violins and continuo, NCEM
VIOLINISTS Huw Davies, Kati Debretzeni and Debbie Diamond are joined by harpsichordist Steven Devine for glorious programme of the Pachelbel Canon, a new arrangement of the Corelli ‘Christmas’ Concerto and Bach Concerto for three violins.
Thursday, 7pm, The Marian Consort, For Delighting The People – A Jacobean Christmas, NCEM
DIRECTED by Rory McCleery, one of the festival’s favourite vocal groups returns for a special seasonal programme from the Golden Age of English composers at their most unbuttoned and celebratory, featuring music written for the famously festive Stuart court. Plus more intimate, introspective sacred works by Byrd, Gibbons, Weelkes and Bull.
Friday, 7pm, Ceruleo, Love Restor’d, NCEM
IN the summer of 1660, London’s theatres are reopening after 18 long years of Puritan rule: time for one Henry Purcell – the “English Orpheus” – to make his entrance on the musical stage to lead a musical revolution and new English baroque music. Ceruleo’s programme runs the gamut of Restoration English music, encompassing some of Purcell’s most famous pieces, alongside his lesser-known works and those by John Blow and John Eccles, while also celebrating the first female stars of the English stage.
Saturday, December 9, 11am, Baroque In The North, Panettone or Bûche de Noël? Festive Sweetmeats, NCEM
THIS multi-instrumented programme by Amanda Babington (violin, recorder, musette), Clare Babington (cello) and David Francis (harpsichord) showcases their debut album, Music For French King. Be prepared to fly from Versailles to Rome with works by Esprit-Philippe and Nicholas Chédeville, Antonio Vivaldi and Arcangelo Corelli. Enjoy the Advent spirit too with a tempting set of “French Noëls”. Musette, you ask. 18th century French bagpipes.
Saturday, December 9, 7pm, Yorkshire Bach Choir & Yorkshire Baroque Soloists, Bach Christmas Oratorio, Sir Jack Lyons Concert Hall, University of York. SOLD OUT.
WRITTEN in 1734, Bach’s Christmas Oratorio is heard rarely in its complete form, encapsulating rituals of belief, the human spirit’s diversity and the ecstatic joy in the Christmas message. Enjoy all six cantatas written for the feast days of Christmas and New Year, works that demand the largest and most spectacular orchestral forces Bach ever required. Soloists will be soprano Bethany Seymour, countertenor Robin Blaize, tenor Jonathan Hanley and bass Frederick Long.
Green Matthews: Dickens of a festive good time in A Christmas Carol In Concert
Festive folk concerts at NCEM
YULETIDE celebrations at the NCEM will be bookended by three festive folk nights: St Agnes Fountain, tonight; The Furrow Collective on December 5 and Green Matthews, December 19, all at 7.30pm.
Presented by the Black Swan Folk Club, St Agnes Fountain lines up with Chris While on vocals, guitar, bodhran, dulcimer, darbuka and percussion; Julie Matthews on vocals, piano, guitar, accordion and gazouki, and Chris Leslie on fiddle, mandolin, tenor guitar, bouzouki, ukulele, banjo, oud, whistle, Native American flute and “anything else he can lay his hands on”.
Postponed from last year, The Furrow Collective perform We Know By The Moon with Lucy Farrell on viola, voice and saw; Emily Portman on banjo, concertina and voice and Alasdair Roberts on guitars and voice.
Playing the NCEM for the second Christmas season in a row, Green Matthews turn Dickensian for A Christmas Carol In Concert, performed by Sophie Matthews, voice and flute, Chris Green, voice, guitar, mandocello and piano, and Jude Rees, voice, oboe and melodeon. Box office: 01904 658338 or ncem.co.uk
Protean Quartet: Winners of the 2022 York International Young Artists Competition, pictured at the NCEM
APPLICATIONS from ensembles across the world are invited for next year’s York International Young Artists Competition. The closing date is January 15 2024.
This longstanding competition for young ensembles will take place from July 10 to 13 at the National Centre for Early Music, Walmgate, York, as part of York Early Music Festival 2024.
The final will take place on Saturday, July 13 with a day of public performances at the NCEM. 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 2025 York Early Music Festival.
Further prizes on offer include: the Friends of York Early Music Festival Prize, the Cambridge Early Music Prize and one for The Most Promising Young Artist/s, endorsed by the EUBO Development Trust.
The competition is open to early music ensembles with a minimum of three members and an average age of 32 years or under and a maximum age of 36 for individuals.
The ensembles must demonstrate historically informed performance practice and play repertory 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 major boost to young professional careers with opportunities for performance, recording and broadcasting, plus international exposure.
Festival director and NCEM founder Delma Tomlin says: “We’re delighted to be staging the Young Artists competition once again in 2024. One of the highlights of our festival, the competition takes place every two years and fills every corner of the NCEM with music and laughter.
“We believe it is extremely important to nurture and develop young talent, and the competition provides an important opportunity for young artists and musicians not just from the UK but from all over the world.”
Last year’s winners, Protean Quartet, say: “We were delighted and honoured to win the main prize in 2022. Taking part in the competition was an amazing experience. It was wonderful performing at the NCEM’s home, the beautiful St Margaret’s Church, and meeting the other ensemble who were taking part. The prize provides a real boost to our confidence, profile and careers.”
Protean Quartet performed at last summer’s festival, as did 2019 winners L’Apothéose, who say: “Winning the York competition was an extremely important and prestigious recognition of our career. It was wonderful to return to York for the recording of our CD with Linn Records and to appear at the York Early Music Festival last July.”
