La Palatine: “Building a happy hour around two important Italian visitors to Baroque Spain”
York Early Music Christmas Festival: La Palatine and Ensemble Augelletti, National Centre for Early Music, York, December 8 and 9
JUST as the nights turned chill, Early Music’s Christmas celebration in York blazed into life with two young groups determined to bring warmth. In their different ways, they succeeded.
La Palatine’s Fiesta Galante built a happy hour around two important Italian visitors to Baroque Spain, Domenico Scarlatti and Luigi Boccherini, framing them with lesser-known but equally talented locals.
Directed from the harpsichord by Guillaume Haldenwang, La Palatine’s complement includes soprano Marie Théoleyre, backed up by violin, cello and theorbo or guitar.
José de Nebra (1702-1768) is a name not as well known in this country as it should be, but he staged more than 50 zarzuela-style works in Madrid, while holding down a church job. His punchy rhythms reinforced by strumming were right up Théoleyre’s street, playing to the mezzo side of her voice.
In Nebra’s Que Contrario, Señor, which involved two arias, one song-like, one cheerful, Théoleyre delivered some tricky coloratura as she ornamented repeats, and her colleagues backed her to the hilt, especially violinist Murielle Pfister, who sometimes doubled her line.
Her style was less idiomatic, although equally fiery, in two higher-lying arias by Scarlatti, where she tended to fly off onto top notes without covering the tone.
More restrained was a trio sonata by Jose Herrando, although sunshine quickly re-emerged with Jeremy Nastasi’s account of Santiago de Murcia’s rhapsodic Marizapalos for solo guitar, which bordered on flamenco by the end. In such solo pieces, Nastasi would do well to face his audience so that his sound projects better into the audience.
A Boccherini cello sonata elicited much tricky double-stopping, which Cyril Poulet despatched briskly, especially in its central military allegro. A keyboard sonata by Scarlatti, K.144 in G (of no less than 555 that he wrote), enjoyed a smooth line at the hands of Haldenwang amid numerous deceptive cadences. A Spanish encore brought the full ensemble back into joyous life. More of that, please: it suits you perfectly.
Ensemble Augelletti: “A group whose enthusiasm is infectious”
The following evening saw Ensemble Augelletti, another quintet although all instrumental, take the stage in Pick A Card!, which highlighted some historical playing cards in the British Museum collection.
These were shown on a back-screen. They were amusing enough, although the link with the group’s Baroque programme was sometimes tenuous.
Olwen Foulkes, who is a dab hand on a variety of recorders, is the prime mover and most dominant voice among the Augellettis. But equally important to the ensemble’s success is the highly intelligent cello of Carina Drury, whose every note is attuned to what is going on around her. Her phrasing is exemplary.
She was largely responsible for the success of Bach’s Trio Sonata in G major, BWV 1039, especially in the incredibly active bass line of the concluding Presto. Its earlier Allegro had also generated terrific momentum. It was the group’s crowning glory.
Two dances from Purcell semi-operas were beautifully shaped and there was special entertainment in hearing Geminiani base his Third Trio Sonata on the folk-tune The Last Time I Came O’er The Moor.
After Handel at his most effervescent in part of a trio sonata, it was good to hear the dancing shepherds’ Piva from Messiah. It was immediately followed by Corelli’s Christmas’ Concerto Grosso, Op 6 No 8, moving gracefully from its dark opening through excitement into its closing lullaby. This was exactly what the festival needed.
Along the way we had appreciated Ellen Bundy’s lithe violin and Johan Lofving’s deft theorbo, but we had not heard quite enough from the harpsichord of Benedict Williams. Even so, this is a group whose enthusiasm is infectious.
Review by Martin Dreyer
York Early Music Christmas Festival runs until December 16. Full details at: ncem.co.uk. Box office: 01904 658338 or ncem.co.uk.
Solomon’s Knot: Premiering Johann Kuhnau’s Christmas Cantatas on December 16. Picture: Dan Joy
YORK Early Music Christmas Festival 2022’s combination of music, minstrels, merriment, mulled wine and mince pies can be savoured from December 8 to 17.
The live festival will be complemented by a festive online box set, comprising highlights of seven concerts available to watch on demand from 12 noon on December 19 to January 31 2023.
Run by the National Centre for Early Music (NCEM), at St Margaret’s Church, Walmgate, the 2022 festival features both Early and folk music performed by an array of artists from Great Britain, Europe and York itself.
“The NCEM welcomes old friends and new faces for this musical celebration of Christmas,” says director Dr Delma Tomlin. “As well as concerts from some of the world’s foremost exponents of Early Music, this year’s Christmas programme brings you festive cheer from The Furrow Collective, Green Matthews and The York Waits, thanks to a special Events and Festivals Grant from Make It York.
“This is the perfect choice for an atmospheric Yuletide evening away from the crowds as the York Early Music Christmas Festival transports you to a magical Christmas past, with mice pies and mulled wine available at most concerts.”
La Palatine: Opening York Early Music Christmas Festival 2022with Fiesta Galante concert
Returning after their sparkling debut in York last year, French baroque ensemble La Palatine open the festival on December 8 at 7pm at the NCEM with Fiesta Galante, a festive and colourful spread of different musical genres marking the accession of the Bourbons to the Spanish throne in 1700.
These rising stars of Creative Europe’s EEEmerging+ programme – to support the development of young professional ensembles – will be performing acrobatic sonatas, dancing cantatas and guitar pieces, capturing how the new Italianate spirit spread through Spain. Led by soprano Marie Théoleyre, the highlight will be Nebra’s sacred cantatas.
“The relationship with Europe (through EEEmerging) has been fabulous, allowing us to share these wonderful musicians’ skills,” says Delma. “Post-Brexit, the bridges will still be there; they still want to collaborate, and so do I.
“Last December, La Palatine made the audience cry…in a very positive way with the beauty of their music, especially the last song. Marie Théoleyre is such an engaging singer. People were still not getting out to many concerts, and there was such a sense of joy in being there.
“La Palatine will be here for a few days, and as part of their residency, for Restoration, a UK network of Early Music promoters, they will be presenting a private concert to be shared online, giving the promoters the chance to talk to the artists with a view to further engagements.”
Ensemble Augelletti: Invitation to Pick A Card! Picture: Luke Avery
Expect to hear fantasias as they have never been played before when improvising violinist Nina Kumin gives an illustrated concert as part of this University of York PhD student’s doctorate in Telemann’s Fantasy: The Genius Behind The Music (NCEM, December 9, 12.30pm, free admission).
Looking at how fantasias capture the style and the spirit of the Baroque, this Peter Seymour pupil will open with Telemann’s fantasias for solo violin, then will address two questions: how did baroque musicians create fantasias, and from where did they gain inspiration?
Kumin, by the way, has taken over as the director of the Minster Minstrels, the NCEM’s Early Music ensemble for school-age musicians.
In Pick A Card! (NCEM, December 9, 7pm), London’s Ensemble Augelletti explore playing card designs from the 14th century to the present day, connecting each card to a different piece of music to tell seasonal stories of people, places and animals in winter.
Olwen Foulkes, recorders, Ellen Bundy, violin, Carina Drury, cello, Toby Carr, lutes, and Benedict Willliams, keyboards, play music by Handel, Corelli, Rossi, Purcell and Ucellini to conjure up cosy evenings of playing cards around a fire, an ancient pastime for family celebrations and gatherings.
Clowning around in Ensemble Molière’s Good Soup performance on December 12
Audiences can enjoy a brace of intimate yet extrovert celebrations of JS Bach’s music in solo violin lunchtime concerts over the festival’s two weekends. Festival favourite Bojan Čičić returns to the NCEM to interpret Bach’s Sonatas (December 10, 1pm) and Partitas (December 17, 1pm), ahead of the release of his latest recording with Delphian.
York’s Yorkshire Bach Choir and the Yorkshire Baroque Soloists return to the Sir Jack Lyons Concert Hall, University of York (December 10, 7pm to 10pm), with soprano Bethany Seymour and Hannah Morrison, tenor James Gilchrist and bass Johnny Herford as the soloists for Handel’s Brockes Passion.
After languishing in the margins of musical history, Handel’s only Passion setting – first performed in Hamburg in 1719 – receives its debut performance in the North of England, with its vivid mixture of chorales, choruses and emotive recitatives, under conductor Peter Seymour.
Baroque ensemble Spiritato and York vocal group The Marian Consort join forces at the NCEM (December 11, 5pm) to present Inspiring Bach, an exciting, moving and profound performance featuring music and composers admired by Johann Sebastian Bach: Pachelbel, JC Bach, Knupfer and Buxtehude.
“These large-scale, uplifting works, composed after the trauma of the Thirty Years War, have a remarkable resonance today,” says Delma. “Featuring composers you might surmise were inspired by Bach or inspired the man himself, this is music form the very soul of the 17th century, crowned with soaring melodies and the glorious sound of trumpets and drums.
Ensemble Molière: NCEM’s New Generation Baroque Ensemble
“We’re delighted Spiritato are returning to York; they’re an absolutely smashing young ensemble, working incredibly hard to present unfamiliar repertoire and making a real go of it.”
To celebrate French playwright Molière’s 400th anniversary, Ensemble Molière, the first NCEM/BBC Radio 3/Royal College of Music New Generation Baroque Ensemble, re-create a time of environmental catastrophe, war and pestilence set around the table of the Sun King, Louis XIV, in Good Soup at the NCEM (December 12, 7.30pm).
“Very different from a normal baroque programme”, the evening of music, absurdist theatre, slapstick and puppetry features works by Jean-Baptiste Lully, Couperin, Marais, Dumont, Charpentier and Jean Chardevoine, complemented by clowns and performers James Oldham and Lizzy Shakespeare. Klara Kofen is the dramaturg and puppeteer; Rachel Wise, the movement director and fellow puppeteer.
The NCEM and partners will be seeking a new New Generation ensemble from next September. In the meantime, Ensemble Molière will record their debut album at the NCEM next spring, on top of their work for BBC Radio 3.
The Orlando Consort’s Matthew Venner (countertenor), Mark Dobell (tenor), Angus Smith (tenor) and Donald Greig (baritone) mark their final year of performing and recording together with Adieu, presenting a selection of pieces they have particularly enjoyed singing over the past 35 years, at the NCEM (December 15, 6.30pm, moved from 7.30pm).
The Orlando Consort: Saying goodbye with Adieu, an evening of music and conversation on December 15
The mellifluous sequence of music from across Europe ranges from the hypnotic beauty of 1,000-year-old polyphony, through the Medieval age, and onwards to the early Renaissance.
In addition, Consort members will be sharing reflections on their musical journey in a handful of behind-the-scenes touring anecdotes. That journey included a commission from Gabriel Jackson to mark the opening of the NCEM in 2000.
The main festival concludes with Solomon’s Knot’s focus on Johann Kuhnau’s Christmas Cantatas, directed by Jonathan Sells, now at the NCEM, rather than the Lyons (December 16, 6.30pm).
“Three hundred years after his death, it must be high time to bring Johann Kuhnau – the 16th cantor of the Thomasschule in Leipzig – out of the eclipsing shadow of his well-known successor, JS Bach,” says Delma.
The Furrow Collective: Opening their winter tour at the NCEM on December 2
“Thanks to the pioneering work of scholar and countertenor David Erler, his sparkling works are ever more widely available. Solomon’s Knot return to the festival to give three of them their UK premiere in York, to be followed by a second performance at Wigmore Hall, in London, the next day.
“Featuring full choir and orchestra – 25 performers in all – these cantatas will ‘raise the roof’ of our 2022 Christmas celebrations, with festive trumpets, horns, and drums providing the perfect soundtrack for Christmas and New Year.”
In further festive concerts at the NCEM, English/Scottish band The Furrow Collective present We Know By The Moon, a spine-tingling evening of storytelling and harmony, bringing light into the wintry gloom (December 2, 7.30pm), while modern-day balladeers Green Matthews evoke the spirit of Christmas past, bringing600 years of music to life in a riot of sound and colour (December 17, 7.30pm).
In the NCEM’s last Christmas concert, the stalwart York Waits celebrate the 45th anniversary of their re-creation of York’s historic city band with The Waits’ Wassail in Music for Advent and Christmas, exploring festive music from the 14th to the 17th century (December 20, 7.30pm).
For full programme details, go to ncem.co.uk. Tickets are on sale on 01904 658338, at ncem.co.uk or in person from the NCEM.
El Gran Teatro Del Mundo: Part of the NCEM’s online box set
FOR the festive online box set, the NCEM concerts by La Palatine, Bojan Čičić, Spiritato & The Marian Consort, The Orlando Consort and Solomon’s Knot will be filmed and recorded by Ben Pugh and Tim Archer, formerly of the BBC’s Manchester studios, to enjoy from the comfort of home.
The set will be completed by El Gran Teatro Del Mundo’s concert, The Art Of Conversation, filmed on November 20. A festival pass costs £45 for the seven concerts; individual concerts, £10, at ncem.co.uk, and the concerts may be watched any number of times.
NCEM director Dr Delma Tomlin says: “York Early Music Festival is one of the highlights of the city’s Christmas calendar and the online programme offers the chance for everyone to enjoy these glorious concerts wherever they are in the world, giving access to people unable to go out or attend.
“As always, we’re welcoming old friends and new to the festival, which features an extraordinary wealth of music associated with Advent, Christmas and Epiphany. Our programme is the perfect accompaniment to Yuletide festivities and can be streamed well beyond Twelfth Night, so if you can’t join us in York this year, you can celebrate with us at home from December 19 to January 31.”
York Early Music Christmas Festival director Dr Delma Tomlin: “Welcoming old friends and new”
Recorder virtuoso Olwen Foulkes at the recording of Ensemble Augelletti’s concert for Awaken. Picture: Ben Pugh
REVIEW: Awaken, National Centre for Early Music online, York, from various venues, March 27 and 28. Streaming until April 30 at www.ncem.co.uk/awaken
AWAKEN had all the right vibes. Five events over the weekend signalled the beginning of the end of our enforced hibernation. They also heralded the start of spring. As if in tune, the weather co-operated and turned warm and sunny.
All the concerts had been filmed in venues around York the previous week, but they had the feel of live events. We began with a peripatetic tour by the Gesualdo Six – a slight misnomer, since they are really seven with their director Owain Park, who also sings from time to time, though there are never more than six singers in action at once.
The group revelled in the free-wheeling motet style of four Englishmen by the name of John from the first half of the 15th century. The rhythmic verve of John Pyamour was nicely contrasted with a smoother take on John Forest and tenderness from John Plummer; all these were trios. But John Dunstaple’s quartet Veni, Sancte Spiritus outdid them all, a step ahead of his compatriots.
In Merchant Adventurers’ Hall, three Frenchmen from later that century sounded more calculating, more predictable, though Josquin des Prez’s attention to words in Nymphes des Bois – the only secular piece in the programme – was exquisite. It was good to hear, this time in the Hall’s chapel, John Thorne’s Stella Caeli, with neat passing harmonies and major-chord cadences that doubtless were heard in York Minster during his time as Master of the Choristers (1542-73).
Extracts from Lamentations by another three Frenchmen prepared us for Holy Week, with Brumel’s warmly autumnal Good Friday lection, without countertenors, topping the bill and bringing comfort amongst the sorrow. Byrd’s incomparable Infelix Ego, reflecting our current sufferings and sung under the Minster’s Great East Window, made a transcendent finale, its coda deeply affecting. The Gesualdos could not have got Awaken off to a better start.
Ensemble Augelletti: Octet of players homed in on music connected with John Baptist Grano
At the National Centre, recorder virtuoso Olwen Foulkes led the splendid Ensemble Augelletti, an octet of players who homed in on music connected with John Baptist Grano. He was principal trumpeter in the orchestra at the King’s Theatre, Haymarket where he premiered several Handel operas. He was also an operator who had a finger in several pies, but thrived even when in prison for debt.
Given the company he was keeping here, Grano’s own Sonata in F for recorder and continuo was relatively run-of-the-mill, though its Spirituoso was indeed spirited and the succeeding Largo eloquently plaintive. Foulkes was on top of her game throughout, as also in a concerto by John Baston, where her soprano recorder danced wittily in its final Presto.
In Handel’s Trio Sonata Op 2 No 4, Foulkes worked effectively in tandem with Ellen Bundy’s violin and all five players relished its closing, very English, jig. A final word for the supremely attentive cellist Carina Drury, a player I’d be happy to have on my team any time.
Staying in St Margaret’s Church (alias the National Centre), the viol consort Fretwork was joined by York countertenor Iestyn Davies in a programme of 16th century North German music, spearheaded by two arrangements of Vaughan Williams songs. Silent Noon was an odd opener and not heat-hazy enough, but The Sky Above The Roof was much more telling, though Davies’s diction was woolly. (His Latin later was marginally better, but his German admirably clear.)
Davies’s other contributions all concerned music connected with Holy Week and proved that lockdown has in no way hurt his evocative powers, his countertenor gliding smoothly over even the most taxing challenges. In a Lamento by Johann Christoph Bach, often described as JSB’s most talented forebear, he was pleadingly penitential, amid textual floods of tears. Franz Tunder’s Salve Mi Jesu was appropriately prayerful, finding genuine serenity in its peaceful ending.
Most potent of all was Christian Geist’s reaction to Holy Saturday, with semi-recitative for the biblical narrative, culminating in an aria of considerable power, which benefited from Davies’s operatic experience.
Iestyn Davies: “Countertenor glided smoothly over even the most taxing challenges”
Fretwork alone was rhythmically lively in Schein’s Seventh Suite from Banchetto Musicale (1617), notably in the vigorous syncopation of its galliard. The rapidly changing variations in Scheidt’s Canzon Super O Nachbar Roland were brilliantly negotiated, tremolandos and all, though it was a pity we were not given a chance to hear the song by itself.
It took a while to adjust to the sound of period instruments in Schubert’s mighty String Quintet in C, played by the Consone Quartet with Alexander Rolton as second cellist, also at the National Centre.
Let us dispose of the reservations first. Balance was never quite right, though I channelled the sound through my best speakers: we needed more from the outer voices, first violin and second cello. This was almost certainly a problem of microphone setting. There was also a disparity of approach between the cellists, one using more vibrato than the other.
The work got off to a cautious start, as if every effect was being over-calculated. Spontaneity began to surface with the repeat of the exposition. The second movement hovered to the point of stasis, with definition undermined by the second cello’s over-restrained pizzicato (probably microphones again).
Thereafter things changed very much for the better. The players began to enjoy themselves in a robust Scherzo. There was a slight loss of focus in the Trio, but caution was finally thrown to the winds when the Scherzo returned with even more verve. A strong, confident finale did much to compensate for the earlier diffidence and the acceleration towards the tape was neatly managed. I also enjoyed the encore, a sensitive setting of the song Frühlingsglaube (Faith In Spring), with cello to the fore.
Awaken’s finale shifted to St Lawrence Church, where Robert Hollingworth directed his vocal ensemble I Fagiolini (with some stiffening from former members of The 24) and the English Cornett and Sackbut Ensemble. The evening was entitled Super-Excellent, a word taken from the travel writer Thomas Coryat, preaching the wonders of Venetian music in 1608. Naturally, the programme was largely Italian or Italianate.
The Gesualdo Six with director Owain Park, back, centre: “Revelled in the free-wheeling motet style of four Englishmen by the name of John”
Hollingworth himself expounded on each piece in advance. He was most informative, but his enthusiasm sometimes led him to raise expectations unreasonably. Polychoral effects that were undoubtedly stunning in St Mark’s, Venice, were not quite so impressive in the less rewarding acoustic of St Lawrence.
Music by Giovanni Gabrieli appropriately framed the programme. With voices and instruments used interchangeably, Buccinate featured thrilling fanfares. No less stirring were the recurring Alleluyas in the multi-choir In Ecclesiis at the close, in a clever reconstruction by Hugh Keyte.
There were mass extracts from the Catalan composer Joan Cererols with three choirs overlapping, almost conversationally. Juan de Araujo, Spanish-born but working in South America, gave us an exciting Dixit Dominus, with jazzy rhythms heightened by strumming theorbo and guitar.
Solo tenor and bass respectively (no individual performers’ names were available) offered tastefully decorated motets by Grandi and Schütz, the latter an angry and sorrowful lament by David for Absalom, attended by four mournful sackbuts.
A florid cornett lit up a madrigal-style arrangement of a Palestrina ‘Ave Verum Corpus’. But for me the greatest surprise was Edmund Hooper’s verse anthem ‘O God Of Gods’, in a frankly superb reconstruction by William Hunt (who issued a recording of the work only last June). It proved that an Englishman could do it too.
Streaming of concerts is notoriously difficult, a path littered with potholes. Awaken was not perfect: there were occasional breaks in the sound and the odd unintended freeze-frame. Sometimes the camera lingered too long on an individual when what you wanted was to see the whole ensemble interacting. But it still served a vital role, reminding us how valuable live concerts are and renewing hope that they will soon return.
Above all, these events showed faith in musicians, many of them young, that despite everything we treasure their talents and will welcome them back with open arms (or the socially distanced alternative) just as soon as we are allowed. You have the rest of April to catch up with all these brave souls. I heartily recommend them.
Becky Gee, curator of Fine Art at York Art Gallery, with Michael Lyons’ 1993 sculpture Amphitrite in the Artists Garden in May 2019. Picture: Charlotte Graham
ONLINE entertainment is still ruling the Stay Home world, but more promoters are announcing shows for the summer as the recovery roadmap begins to twitch our cultural satnav. Charles Hutchinson reaches for his diary.
Last chance to see: Michael Lyons’ Ancient And Modern sculptures, York Art Gallery Artists Garden and Edible Wood
THE free display of large-scale works by late Cawood sculptor Michael Lyons behind York Art Gallery will close on April 11.
On show in his biggest ever exhibition on York soil are nine sculptures created between 1982 and 2000, inspired by nature, myth and ancient cultures, with the central space dominated by Amphitrite, a large painted steel structure evoking the sea that he fashioned in 1993.
Opened in late-May 2019, Ancient And Modern originally was booked to run until May 2020, but has remained in place through these pandemic times.
Caroline Gruber as Vashti in E M Forster’s The Machine Stops, now starting up again in a York Theatre Royal and Pilot Theatre webcast. Picture: Ben Bentley
Recommended resonant webcast of the week and beyond: The Machine Stops online
YORK Theatre Royal and Pilot Theatre’s 2016 co-production of The Machine Stops can be watched at yorktheatreroyal.co.uk/show/the-machine-stops-webcast/ until April 5.
Adapted for the stage by Neil Duffield, E M Forster’s 1909 short story is set in a futuristic, dystopian world where humans have retreated far underground and individuals live in isolation in “cells”, with all bodily and spiritual needs met by the omnipotent, global Machine.
Director Juliet Forster says: “It’s even more striking today than it was at the time we staged it: things like human contact and human touch becoming something that’s almost taboo, things that didn’t seem relevant back in 2016 but are really, really striking and even more relevant now.”
Ensemble Augelletti: Recording for the Awaken online weekend at the National Centre for Early Music, York
Springtime celebration of music online: Awaken, National Centre for Early Music, York, Saturday and Sunday
THE NCEM’s Awaken weekend will present York countertenor Iestyn Davies and Fretwork, the all-male vocal group The Gesualdo Six, I Fagiolini and the English Cornett & Sackbut Ensemble, Ensemble Augelletti and The Consone Quartet.
The six-pack of online festivities will celebrate the sublime sounds of spring, recorded in a range of historic venues to mark “the unique association between the City of York and the exquisite beauty of the music of the past”.
Among the architectural gems will be Holy Trinity Church, Goodramgate, St Olave’s Church, Marygate, the Merchant Adventurers’ Hall and the NCEM. Full details can be found at ncem.co.uk/awaken.
Becky Lennon and Jules Risingham: Ready to host Thunk-It Theatre’s online youth theatre sessions
Online youth theatre opportunity: Thunk-It Theatre sessions with Pocklington Arts Centre
POCKLINGTON Arts Centre’s youth theatre partnership with York company Thunk-It Theatre is to continue for a second series of online drama classes.
Becky Lennon and Jules Risingham’s all-levels drama sessions for children aged six to 11 will be held on Zoom every Sunday during term-time from April 25 to May 30.
The 10am to 11am sessions for Years 2 to 6 children will include fun games, exercises and storytelling, aiming to encourage confidence building, life and social skills, creativity and positivity. Participants will work collaboratively to create a short performance that will explore storytelling. To book, go to pocklingtonartscentre.co.uk.
Abba Mania: Booked for Sounds In The Grounds at York Racecourse
Live music returns to Knavesmire: Sounds In The Grounds at Clocktower Enclosure, York Racecourse, June 25 to 27
NORTH Yorkshire impresario James Cundall’s Sounds In The Grounds is adding a new location to its picnic-concert portfolio for summer 2021.
Complying with Covid-19 guidelines, the Clocktower Enclosure of York Racecourse will play host to the Beyond The Barricade celebration of musicals on June 25, Abba Mania on June 26 and A Country Night In Nashville on June 27.
The capacity will be capped at 1,400 for the fully staged productions with LED screens on either side of the stage. Tickets are on sale at: soundsinthegrounds.seetickets.com.
Paul Winn: Co-organiser of the 2nd York Blues Festival in July
Here comes a dose of the blues: York Blues Festival, July 24, 12.30pm to 11pm
THE 2nd York Blues Festival will be held on Saturday, July 24 at The Crescent Community Venue, York, organised by Paul Winn and Ben Darwin.
No strangers to the British Blues scene, they present Blues From The Ouse on Jorvik Radio and are members of York band DC Blues.
Winn and Darwin have booked a bill of Robbie Reay; The Swamp Hoppers; Dori & The Outlaws; John Carroll; Dr Bob & The Bluesmakers; DC Blues and Nick Steed Five. Tickets are on sale at yorkbluesfestival.co.uk, thecrescentyork.com and earwormrecords.co.uk.
Racing cert: Shed Seven will ride out at Doncaster Racecourse next May after moving post-racing gig…again
Sheds on the move…again: Shed Seven, Live After Racing, Doncaster Racecourse, May 14 2022
YORK heroes Shed Seven’s twice-postponed post-racing gig at Doncaster Racecourse will come under starter’s orders on May 14 202.
First diarised for August 15 2020, then May 15 this spring, each show was declared a non-runner under the Government’s pandemic lockdown restrictions.
Let Donny Races wax lyrical: “So don’t have your friends asking ‘where have you been tonight?’ We have ‘high hopes’ that ‘the heroes’ Shed Seven will deliver an outstanding night of music. ‘It’s not easy’ but you’d be stuck to find a ‘better days’ entertainment in Doncaster next summer.” To book raceday tickets, go to: doncaster-racecourse.co.uk/whats-on/
Graham Gouldman, second from left, will be returning to York Barbican with 10cc
Gig announcement of the week: 10cc, York Barbican, March 26 2022
10cc will play York Barbican next spring in the only Yorkshire show of their 13-date Ultimate Greatest Hits Tour.
“It’s difficult to express just how much we have missed playing live and how much we want to be back playing concerts for you,” says Graham Gouldman, the one group founder still in the touring line-up. “We look forward to seeing you all again in 2022.”
Tickets are on sale at yorkbarbican.co.uk and ticketline.co.uk.
Olwen Foulkes at Ensemble Augelletti’s recording of A Spring In Lockdown for the National Centre of Early Music’s Awaken online weekend. Picture: Ben Pugh
ENSEMBLE Augelletti will make their York debut on Saturday at the National Centre for Music’s online weekend celebration of the rise of spring, Awaken.
Founded and directed by recorder specialist Olwen Foulkes, the young, up-and-coming ensemble will perform A Spring In Lockdown, an intriguing tale of 18th century music-making from an English debtors’ prison.
Premiered at 3pm on Saturday (27/3/2021), on sale until April 23 and available to watch on demand until April 30, the concert will feature Olwen, recorders; Ellen Bundy and Alice Earll, violins; Elitsa Bogdanova, viola; Carina Drury, cello; Harry Buckoke, double bass; Toby Carr, theorbo, and Benedict Williams, chamber organ.
Winner of the FBAS Young Artists Competition in Italy in 2019, the ensemble explores the chamber music and concertos performed on the London theatre stages in the first decades of the 18th century.
Ensemble Augelletti members, led by recorder player Olwen Foulkes, front, centre
Hence Olwen’s focus on trumpeter John Grano in A Spring In Lockdown: “In the spring of 1729, Grano, dubbed ‘Handel’s trumpeter’, was serving the end of a sentence, incarcerated in the infamous Marshalsea debtors’ prison,” she says.
“The prisoner kept a diary detailing his musical exploits as he composed, taught, organised concerts, and tried to maintain a performance schedule from the ‘home’ of his cell.
“Our concert will explore some of his fascinating diary entries from a very different kind of lockdown and will include music that he was performing, writing, and listening to, by Francesco Geminiani, Grano, William Corbett, John Baston and of course Mr Handel.”
Ensemble Augelletti recorded the concert at the NCEM’s home of St Margaret’s Church, Walmgate, on March 15. “I’d been there in the past, performing Shepherds Of Bethlehem with Fieri Consort at the York Early Music Christmas Festival in December 2019,” says Olwen.
“The one thing we found strange was taking a bow to an empty room, which made us realise how much we miss playing to an audience,” says Olwen Foulkes of Ensemble Augelletti’s performance for Awaken
“But this is the first time the ensemble has played there. Since lockdown started last March, it was one of the few times we could play together because the NCEM is such a big space.”
How did Olwen settle on A Spring In Lockdown for Saturday’s concert? “Delma [NCEM director Delma Tomlin] offered us some proposals, giving me the chance to propose this programme, which is completely bespoke for the Awaken festival,” she says.
“I’d been reading the diary of John Grano, a trumpeter, flautist and recorder player, written in 1728, when, in some ways, London was very similar to now. So much of the musician’s experience resonated with us today, reading of when he was working in West End theatres, at the Haymarket and the Theatre Royal in Drury Lane.
“Grano was the principal trumpeter in Handel’s orchestra for 15 years and is likely to have played in the premiere of Handel’s Water Music.
A socially distanced line-up of Ensemble Augelletti in pandemic times
“For our concert, one of the pieces we’ll play will be the only surviving publication of Grano’s music.”
Ensemble Augelletti made the recording with Ben Pugh, omnipresent at the NCEM’s online recordings for the 2020 York Early Music Festival and Early Music Christmas Festival.
“The one thing we found strange was taking a bow to an empty room, which made us realise how much we miss playing to an audience,” says Olwen.
“I last played to a full audience a year ago, on March 15, with Dramma Per Musica at the Barnes Festival, and the last performance by Ensemble Augelletti was to a very, very small audience in the London Sound Galler, for an online festival with The Gesualdo Six in September.”
Olwen Foulkes and Ensemble Augelletti released their debut album, Indoor Fireworks, in November 2019, taking the name Augelletti [little birds] from the aria Augelletti Che Cantate from the first act of Handel’s opera Rinaldo.
The artwork for Indoor Fireworks, the album by Olwen Foulkes and Ensemble Augelletti released on Barn Cottage Records in 2019
“We’d been playing together for a while, and when I did that CD, I was thinking about where I wanted the group to progress, and I thought it would be lovely to have a new identity for the group, so I said, ‘Can we call ourselves an ‘ensemble’?’ and that’s when we became Ensemble Augelletti,” says Olwen.
Her ensemble has plans to make a new recording this year, but Olwen will remain quiet on its exact nature, subject to the outcome of a “big funding application”. “But I can say it’s really exciting and will be another project celebrating musicians that we don’t necessarily know of as a composer,” she says.
Unlike so many of us whose first encounter with playing music is a forlorn blow on a recorder, Olwen’s journey was different. “I actually started playing the recorder second! I started with the violin when I was five,” she recalls. “I didn’t start the recorder till I was 11 and that was to keep my sister Ethnie – now an acoustic and electronic composer – company in a recorder group.
“I just fell in love with the recorder at the point, but I’d found that love in the opposite way to the usual graduation to another instrument!”
Olwen Foulkes played violin first before discovering the recorder at the age of 11
Olwen went on to study at the Trinity Laban Conservatoire of Music and Dance in London from the age of 13 to 18, and later as the Christopher Hogwood Scholar at the Royal Academy of Music, and a career specialising in recorders has ensued.
Once the easing of pandemic strictures allows, she would love to perform to an audience in York, taking a bow in more familiar fashion. “It is such a lovely place to play,” she says.
The Awaken weekend will run online on Saturday and Sunday, March 27 and 28. The full programme and ticket details can be found at ncem.co.uk.
How to view The Awaken weekend of concerts will be shown on ncem.co.uk. On the day before the festival starts, all bookers will be emailed the viewing links and clear navigation to the concerts from the home page will be added.
The NCEM advises: “Please ensure that you have a strong broadband connection, and you may want to use external speakers or headphones to maximise your experience. If you experience any difficulties with the concerts, please contact us and we will do our best to help you via ncem.co.uk.”
Iestyn Davies: York countertenor will perform with viol specialists Fretwork at the Awaken weekend
THE National Centre for Early Music, in York, is to play host to an online celebration of music for springtime on March 27 and 28.
The weekend programme of Awaken will feature celebrated British musicians, working across a range of historic venues to mark “the unique association between the City of York and the exquisite beauty of the music of the past”.
The two days of festivities will begin with a musical whistle-stop tour led by the all-male vocal group The Gesualdo Six, directed by Owain Park at 1pm on March 27. Beyond These Shores: A York Tapestry will explore the musical “jewels in the crown” of Renaissance Europe, as revealed in the stained glass and manuscripts of the City of York.
The journey will show off some of the city’s most beautiful buildings, such as Holy Trinity Church, Goodramgate; St Olave’s Church, Marygate, and the mediaeval splendour of the Merchant Adventurers’ Hall, Fossgate.
At sixes and sevens: The Gesualdo Six with director Owain Park, middle, back row
The weekend’s grand finale, on March 28, will feature I Fagiolini in Super-Excellent, directed by Robert Hollingworth in a 7pm concert filmed in York. They will be joined by the English Cornett & Sackbut Ensemble to present a multi-choir extravaganza of music from the Italian Renaissance, taking a musical journey across Spain to the New World and back again.
Also appearing in Awaken will be York international countertenor Iestyn Davies, performing with the instrumental viol specialists Fretwork on March 27, as they bring light to the 17th century world of JC Bach and his contemporaries, interlaced with the 20th century genius of Ralph Vaughan Williams, in a 7pm programme entitled The Sky Above The Roof.
Directed by Olwen Foulkes, rising stars Ensemble Augelletti will make their York debut at the NCEM’s home, St Margaret’s Church, Walmgate, presenting A Spring In Lockdown on March 27 at 3pm, and BBC New Generation artists The Consone Quartet will perform Schubert’s Quintet in C major with cellist Alexander Rolton on March 28 at 3pm.
Looking forward to the reawakening weekend, NCEM director Delma Tomlin says: “As we gradually move into spring, we are delighted to bring you Awaken, which through music brings us the promise of hope, joy and warmth for the coming months.
“Through music, Awaken brings us the promise of hope, joy and warmth for the coming months,” says NCEM director Delma Tomlin
“Since the very first lockdown, we have continued to bring you some of the finest music streamed from our beautiful base of St Margaret’s Church. For Awaken, we’ve branched out further and are very excited to be able to show off some of the city’s architectural gems, which provide us with a fitting backdrop for the glorious music.
“We’re also pleased to welcome back some of our most popular performers and to introduce a few new faces. We hope you’ll join us for these sublime sounds of spring.”
Tickets cost £10 for individual online concerts or £40 for a weekend pass on 01904 658338, at ncem.co.uk or by emailing boxoffice@ncem.co.uk. Full programme details can be found at: ncem.co.uk/awaken. The concerts will be available on demand until April 30.
Before Awaken, The Gesualdo Six will mark Early Music Day by performing a 3pm concert on March 21, toasting the genius of Josquin des Prez, French composer of the Renaissance age. The live-stream from the NCEM will form part of the annual celebrations organised in association with the European Early Music Network, REMA.
The Consone Quartet: Performing Schubert’s Quintet in C major with cellist Alexander Rolton on March 28
The musicians taking part in Awaken will be:
The Gesualdo Six: Owain Park, director; Andrew Leslie Cooper, Guy James, countertenors; Josh Cooter, Joseph Wicks, tenors; Michael Craddock and Sam Mitchell, basses.
Ensemble Augelletti: Olwen Foulkes, recorders, director; Ellen Bundy, Alice Earll, violins; Elitsa Bogdanova, viola; Carina Drury, cello; Harry Buckoke, bass/gamba; Toby Carr, theorbo; Benedict Williams, harpsichord/organ
Fretwork: Richard Boothby, Emily Ashton, Joanna Levine, Asako Morikawa, Sam Stadlen, viols, with Iestyn Davies, countertenor.
Consone Quartet: Agata Daraškaite, Magdalena Loth-Hill, violins; Elitsa Bogdanova, viola; George Ross, cello, with Alexander Rolton, cello.
I Fagiolini: Robert Hollingworth,director; Martha McLorinan, Nicholas Mulroy, Matthew Long, Greg Skidmore, singers; William Lyons, Nicholas Perry, dulcians, shawms; Catherine Pierron, James Johnstone, organs; Eligio Quinteiro, Lynda Sayce, theorboes, guitars.
English Cornett & Sackbut Ensemble: Gawain Glenton, Conor Hastings, cornetts; Emily White, Miguel Tantos-Sevillano, Tom Lees, Hilary Belsey, Andrew Harwood-White, Adrian France, sackbuts.
