THE founder and guiding light of Joglaresa, Belinda Sykes, died only three weeks before this event after a long illness.
But those she has left behind have maintained the big-hearted energy that she brought to everything she did with the group – and they incorporated no fewer than five of her compositions and arrangements into this lovely seasonal programme, entitled ‘Lullay Myn Lykyng’. So she was all but present here.
All seven of the performers sang and all but two of them played at least one instrument as well. Their singing style was distinctive: straight tone without vibrato, slightly nasal, very much what you might expect from dyed-in-the-wool folk singers.
Thus whether they were dealing with a mediaeval Spanish cantiga (love-poem) or Gustav Holst’s Lullay Myn Lykyng written 700 years later, the sound was very similar, with a certain flexibility of tempo. Not that either piece was ineffective. Quite the contrary.
The programme bounced around the centuries almost at random. So we had a setting of the Corpus Christi Carol by the modern American troubadour John Fleagle wedged between two traditional Shetland reels on one hand and a Belinda Sykes arrangement of a tune from Piae Cantiones (16th century) on the other.
It was a stimulating merry-go-round, and thoroughly good for shaking the audience out of the stupor of expectation. You simply never knew what was coming next.
Both the two Sykes compositions used 15th century English texts. Gabriel That Angel Bright was mildly macaronic – using a Latin refrain – and cast as a lament, chorally treated with percussion underlay. Her take on Lullay Myn Lykyng also had a mediaeval feel, although tinged with modernity. Both were strikingly effective and sung with notable determination.
But perhaps the most surprising piece of all was another cantiga attributed to Alfonso the Wise, filled with Spanish decorations in the voice, presumably influenced by Islamic music, which bordered on coloratura they were so ornate.
An anonymous French pastourelle (basically a romp involving shepherds and shepherdesses), given instrumentally, began with two fidels and ended in something like a full-blown ceilidh.
Even Woodward’s arrangement of Ding Dong Merrily harked back to its French origins (1588, the year of the Spanish Armada). It was a salutary reminder of just how old some of our Christmas music really is.
With its slightly anarchic flavour (there was, in truth, a little too much byplay between the performers to which the audience was not party), this programme was never less than stimulating. Belinda Sykes would have been proud.
York Early Music Christmas Festival: James Gilchrist and Matthew Wadsworth, National Centre for Early Music, York, December 10
THERE is nothing quite like a late-afternoon song-recital, especially when the singer is as intelligently persuasive as tenor James Gilchrist.
Add in the nimble fingers of Matthew Wadsworth, who is an equally dab hand as accompanist on lute, theorbo or guitar, and you have a recipe for delight.
In a programme divided equally between sacred and secular, they opened with Purcell and closed with Dowland, with a brief Christmas diversion and three Schubert lieder as the filling in the sandwich. It was tasty indeed.
Both performers sat, so this was more like a fireside chat, albeit with contrasting themes of ‘Divine Love and Earthly Passions’. Two settings by Purcell of poetry by William Fuller, an ardent royalist who became Bishop of Lincoln in 1667, found Gilchrist relishing their chromaticism, with his typically mobile torso lending emphasis.
Both songs, Evening Hymn and Lord, What Is Man?, have extended hallelujahs, bringing them to positive conclusions, which Gilchrist underlined here with almost chuckling delivery of their dotted rhythms. Between them, Pelham Humfrey’s extremely penitential A Hymn To God The Father was succulently remorseful. Wadsworth’s long-necked theorbo added pleasing detail.
A brief seasonal interlude came with Michael Praetorius’s sweetly-scented Christmas rose and the second of the plainsong Advent antiphons, O Adonai, a nice touch.
So to Schubert, where Wadsworth switched to a 19th century guitar, slimmer and less bulbous than the modern model, and thus more intimate. Schubert’s Ave Maria is not a setting of the ‘Hail Mary’ but a translation of Ellen’s prayer to the Virgin in Sir Walter Scott’s The Lady Of The Lake, which others have fitted to the Latin words of the prayer.
Still, it’s a fine piece and Gilchrist had the legato to bring it off. He might have improved its mood still further had he kept more still, but he found an ideal pianissimo for its second stanza.
He followed it with the last song Schubert wrote, Die Taubenpost (Pigeon Post), which, as Gilchrist rightly pointed out, is quite devoid of the angst that riddles Winterreise. Contentment and peace of mind coloured his polished performance. There was also a clever blend of confidentiality and ecstasy in his treatment of Ständchen (Serenade).
Finally, we had four songs by Dowland and one by Campion, now with lute accompaniment. The first two celebrated lovers’ joys amid springtime frolics – a nice diversion – but the last three homed in on Dowland’s relish for melancholy. These suited Gilchrist to a tee.
If Flow, My Tears was slightly matter-of-fact, His Golden Locks – an astute setting of poetry by Henry Lea – became an eloquent elegy on the fading charms of youth, and In Darkness, Let Me Dwell (with the lights lowered) distilled the essence of despair.
An odd ending, perhaps, but Dowland (and Gilchrist too) at the peak of his powers. Wadsworth was with him every step of the way. A pleasing, and thought-provoking, entertainment.
York Early Music Christmas Festival: Pocket Sinfonia, National Centre for Early Music, York, December 9
THIS was a delightful late-afternoon entertainment, made all the more so by being unexpected (there was a further performance later in the evening, as is happening with most of the concerts in the festival).
Only four years old, Pocket Sinfonia is a quartet built around Emil Duncumb’s fortepiano. The other players cover flute, violin and cello. They specialise in 19th century transcriptions of classical music for larger forces and here included a Mozart piano concerto and a Haydn symphony.
If that sounds unexciting, think again. We have perhaps been too prissy, even purist, about scaled-down versions of larger pieces. Covid has hastened a revision of that idea. Smaller groups have had to tackle bigger works, if only to ensure social distancing. Results have been gently reassuring.
But enough of the mechanics. Essentially what we had was a piano quartet, with flute and violin taking turns to play the top part. It made for an intimate sound, made more so by the relatively introverted fortepiano (as opposed to the modern pianoforte) and the use of a wooden flute, which is less incisive than its modern counterpart and thus more mellow in a small ensemble.
Mozart’s Piano Concerto in C minor, K.491, in Hummel’s transcription, took a short time to adjust to. For a start, the fortepiano joined the opening tutti, which would not normally have involved the soloist. But the intimate sound worked its magic and compelled attention. Where we would have expected bold dialogue, we had soloist and supporting trio sharing confidences. In short, it was akin to hearing a new piece.
Duncumb was exceptionally nimble-fingered. It was part of the style in the 19th century to decorate solo lines more than happens today, partly to counteract the quicker ‘decay’ – dying away of sound – of the fortepiano. The extra ornamentation in the slow movement especially seemed quite natural rather than grafted on for display. The finale’s set of variations grew in impatience and weight, and the closing accelerando was exciting indeed.
Now we had a lull with a transcription by the group’s violinist, Eleanor Corr, of a Mozart dance, Der Schlittenfahrt (The Sleigh Ride), complete with occasional bells (which might have been a touch more jingly). But it was just the kind of setting you might have heard at a Viennese court ball (or even coffee-house) in his own day, a tasty bonbon.
The third last of Haydn’s London symphonies, No 102 in B flat (mysteriously described in the programme as ‘The Miracle’, although that is actually No 96) was given in Clementi’s superb arrangement. We missed only the timpani in a development section of thrilling power.
Alex Rolton’s reliable cello came to the fore briefly in the slow movement – adapted by Haydn from a piano trio – and Rosie Bowker’s flute took an eloquent lead in the closing rondo. The group mined Haydn’s witty gaps here to the full.
Early music has come a long way since it dealt solely with mediaeval and baroque music and forced audiences to endure anaemic noises and excruciating intonation in the name of ‘authenticity’ (I exaggerate). Just how far was proved by Pocket Sinfonia’s skill and sensitivity. I hope they will make an early return to York.
Battaglia! combatants Bojan Cicic, left, and Gawain Glenton with peacekeeper Silas Wollston
IN the late-16th and 17th centuries, the cornetto and violin were considered equals despite their obvious differences.
The cornetto was the older, aristocratic instrument, a symbol of church and state, pomp and ceremony. Enter the violin, the irreverent newcomer, emerging from a background of dance music for the street and tavern.
For a short period, composers saw these rival virtuoso instruments as interchangeable, with many pieces written for ‘cornetto overo violino’ (cornetto or violin).
Roll forward to Saturday, December 11 2021, and let Battaglia commence, kick-off at 1pm, when Gawain Glenton, cornetto, and Bojan Cicic, violin, clash in A Contest of Equals, refereed by peacekeeper Silas Wollston on organ.
“I’ve always loved the historic rivalry between two instruments that now seem so different but were first considered equals and rivals,” says Gawain.
“Works were written for either cornetto or violin, which we would think strange now, but at the time they were considered alternatives, with the cornetto as the noble aristocrat and the violin as the cocky upstart, shedding its reputation for drunken revelry.
“Violin virtuosos began to be considered musicians of merit, being taken seriously as musicians, artists and composers. Before that, the cornetto had been a mainstay, the instrument of choice for the grandest of church and state events, but gradually its noble status was accompanied by the caché that it was falling out of fashion.”
The “Contest of Equals” spanned 75 years from the late-16th century to the mid-17th century. “The cornetto was played by an elite bunch of professional musicians; the violin, by amateurs, and consequently, partly because of a trick of the publishing industry being a market for professional musicians only, composers would say they wrote works for the violin, even though they were considered to be dilettantes.”
Now, Glenton and Cicic revisit the rivalry in a spirit of playfulness. “I love to bring that spirit to the concert platform, just as Bojan plays with that same spontaneity, when people often get po-faced about classical music,” says Gawain.
Gawain Glenton and Silas Wollston’s new album. The Myth Of Venice
“You must bring a playful attitude to it, as espoused by Luigi Zenobi [also known as Luigi del Cornetto], the 16th century Italian court cornetto player, noted for his ‘scherzare’ [playfulness].
“It was the attitude you had to bring to being a professional musician, never playing the same piece the same way twice – and I love that spontaneity in Early music.”
Glenton and Bojan have a history of working together, whether playing in each other’s ensembles or on each other’s recordings. “We spark off each other, and then Silas Wollston keeps us on the straight and narrow at the Battaglia! concerts,” says Gawain.
“We want people to leave our concerts with a smile on their face, having learnt of music they’d never heard before, thinking, ‘wow, there is so much out there to discover’.”
Why did Gawain choose to play the cornetto rather than, say, the violin? “It was the playfulness that I loved. I was really drawn to the sound. When you hear it, it’s almost confusing, thinking, ‘is it a boy treble or a saxophone?’. The first time I heard it, it was like a ray of sunshine,” he says.
“I always played wind instruments, whereas my violin ‘career’ stopped at Grade 3, and the other thing I love about the cornetto is that because you’re stepping outside the modern classical world, you don’t get someone telling you what to do, so I’m pretty much my own boss, able to do my own thing.”
Such a free rein resulted in the October release of Glenton and Wollston’s album, The Myth Of Venice, on Delphian Records. “This is the first cornetto recital recording to come out in the UK in 25 years,” says Gawain.
This weekend, the focus falls on the renewal of the rivalry between cornetto and violin with music from Italy, Germany and Spain. Who will emerge victorious? Be there, at one o’clock on Saturday, to find out.
Battaglia!, A Contest of Equals, with Bojan Cicic, violin, Gawain Glenton, cornetto, and Silas Wollston, organ, York Early Music Christmas Festival, National Centre for Early Music, York, Saturday (11/12/2021), 1pm. Box office: 01904 658338 or at ncem.co.uk.
York Early Music Christmas Festival: La Palatine, Il n’y a pas d’amour heureux, National Centre for Early Music, York, December 4
IT is hard to think that an early music event has ever included a modern French cabaret song. Until now.
La Palatine, a French quartet who joined the EEEmerging scheme (Emerging European Ensembles) last year, waited until the end of their stimulating lunchtime concert to reveal the origin of their programme title, ‘Il n’y a pas d’amour heureux’ (There’s no such thing as happy love).
It was an umbrella motto for a roving exploration of the pitfalls and drawbacks of love in the songs and arias of Italian early baroque. Italian poets of the period positively wallowed in self-pity over amatory disasters, real or imagined.
Composers naturally followed suit. So we had Domenico Mazzocchi (Rome), Francesco Cavalli (Venice) and Tarquinio Merula (Cremona), amid a host of lesser lights, culminating in the great Monteverdi (Mantua) and his Lamento di Arianna.
Off-stage humming was the prelude to Kapsberger’s hymn to Rosa Bianca, whose dazzling whiteness symbolised virginal innocence. Emotions ran a lot higher when soprano Marie Théoleyre applied her fluent coloratura to Mazzocchi’s S’io mi parto (when I leave … I shall die), exactly what one would expect from a composer on the rave.
A dip into Cavalli’s opera Eliogabalo (1668) produced an aria of heartfelt pain, but the progressive Merula’s tale of a girl continually stood up by her boyfriend was actually very amusing in Théoleyre’s peppy delivery. Sometimes these breast-beating pronouncements are just a little over the top.
With two excursions into cantatas by Luigi Rossi, it was the turn of our love-lorn lass to inflict vengeance, although not before she had turned catty – some distinctly feline noises here – climaxing in some triumphal coloratura in “I’ll make you pay”.
That called for some remorse. It came with the programme’s only sacred piece, Mazzochi’s handsomely chromatic Lagrime amare (bitter tears), with weeping written into every line. It would have been even more effective if Théoleyre’s diction had been less lax.
She more than made amends, however, with a crunching Arianna, lamenting her mistreatment by Theseus, as her central mad scene reached near-suicidal levels. Invoking nature as well as her friends, she calmed down on realising that her fate awaits any who love or believe too much. Monteverdi’s supremacy in this repertory shone through every bar.
We had enjoyed instrumental interjections throughout, including a rambling Frescobaldi toccata from Guillaume Haldenwang’s harpsichord, a lute passacaglia from Juan-José Francione, and rapid gamba figurations from Noémie Lenhof, both these latter pieces by Giovanni Vitali. All were despatched with brio, as were the accompaniments to the vocal music.
Then came the final revelation. Adopting her finest Edith Piaf chest tone, Théoleyre took us into a Parisian nightclub with singer-songwriter Georges Brassens’ setting of Louis Aragon’s poem (1943) used as title for this concert. It seemed to fit perfectly. No-one minded in the slightest. Quite the contrary.
State of grace: Rachel Sermanni on stage at St Margaret’s Church, home of the National Centre for Early Music, in Walmgate, York. Picture: Paul Rhodes
BEING born gloriously Scottish is simply the luck of the draw. What the performers at the NCEM on Tuesday chose to do with those lovely accents is anything but arbitrary.
Rachel Sermanni’s upbringing in the Cairngorms must have contributed to her distinctive personality, and certainly can be heard ringing through her wonderful singing voice.
Sermanni has only just turned 30. It’s almost a decade since she opened up for Jesca Hoop at one of Tony Fothergill’s much-missed House Concerts. Then, she had the charisma but not the songs, but now an adult, she is much further down that (never ending) road.
Her 75-minute set was richly textured – high praise as she was playing solo – and drew on songs from across her career. As a performer she naturally draws you in, and her habit of holding your gaze is quite disarming. While sometimes on record her material lacks heft, live and buoyed by her stage craft, it made for a really enjoyable evening.
Singer-songwriter Gary Stewart (who also fronts a Paul Simon tribute show built around the Graceland album, by the way)
Things had got off to a promising start with a charming support set from Gary Stewart. Comparisons with Paul Simon were inescapable, even down to the tank top, but then is there any higher benchmark for a singer-songwriter?
Born in Perthshire, we are lucky to have Stewart live near York, and he performed a set of songs from his home-recorded lockdown record, Lost, Then Found. His lilting, airy voice and dextrous finger picking were a treat.
While it was a shame he didn’t play his dainty Sadder Day Song – where laying on the grass in York’s Museum Gardens finally makes it into song – there was still much to enjoy. Pick of the set was Sailors And Tailors, which wittily and tunefully brought back to life the romance of his Scottish ancestors.
Kudos to Please Please You promoter Joe Coates’s attuned ears for matching these two performers.
Rachel Sermanni: “Her habit of holding your gaze is quite disarming,” says reviewer Paul Rhodes
Sermanni’s songs took the evening up another level. While she professed to be rusty, the occasional ‘alternative’ note added rather than detracted, making it feel much more human and real – more in keeping with her organic persona.
She wove in a mix of happy songs, with the audience stirred into voice for Dream A Little Dream Of Me (made popular by Doris Day), bitter (the curiously titled Tractor and searching and sad (Everything Changes, a standout from 2014).
Her most recent EP focused on her response to giving birth, Swallow Me sharing the stage with its darker brethren, Travelled. It makes her a highly relatable artist. What Can I Do sparkled, with our Covid powerlessness adding extra layers of meaning to her powerful cry.
Her fascinating introduction to discovering that Semisonic’s late-1990s’ hit, Closing Time, was actually a song in disguise about fatherhood almost made up for Sleeping, which was less hidden, rather winking, in plain sight. It was one of very few weaker moments.
In contrast, her pre-encore set finished with Lay My Heart. Easily her most memorable number, or at least the most anthemic, this enraptured song of being in a state of grace was stunning. Written under the influence of the aurora borealis, it might have been better to leave the audience in that condition.
Custom and good manners demanded an encore, which didn’t reach the same heights but such was the warmth in the room that we could have looked on into the early hours, like Sermanni under those dancing Canadian skies, whisky full until frost grew from our noses.
Consone Quartet: Partners in the NCEM Young Composers Award 2022
COMPOSERS aged 25 and under are invited to write a new work for string quartet for the NCEM Young Composers Award 2022.
Each year, the award is presented by the National Centre for Early Music, in York, in association with BBC Radio 3. For 2022, they are delighted to welcome the Consone Quartet, the BBC New Generation Artists, as creative partners, as announced on BBC Radio 3’s Early Music Show on November 21.
Composers are asked to write a new piece – three to four minutes in length – for string quartet, working alongside the Consone Quartet’s Agata Daraškaite, Magdalena Loth-Hill, Elitsa Bogdanova and George Ross, who play ‘period’ instruments using gut strings.
For next year’s award entries, they invite young composers to learn about the musical sound world of one of their favourite composers, Fanny Mendelssohn, a talented pianist who wrote 400 works but never enjoyed the acclaim that brother Felix received. “This is the opportunity to create a new piece which explores this fascinating time in musical history,” they say.
Shortlisted composers will be invited to the Award Day at the NCEM, at St Margaret’s Church, Walmgate, when the shortlisted compositions will be presented by the Consone Quartet in a workshop led by composer Professor Christopher Fox. In the evening, the Consone Quartet will perform each of the pieces for a panel of judges.
The two winning pieces, one from each age category (see below), will be premiered by the Consone Quartet at Stour Music Festival on June 26 2022, when the performance will be recorded for future broadcast on BBC Radio 3’s Early Music Show.
This major national annual award is open to young composers up to the age of 25, resident in the UK, and is divided into two categories: 18 and under and 19 to 25.
NCEM director Delma Tomlin says: “The Young Composers Award is one of the most important dates in the NCEM’s calendar and gives us a vital opportunity to work with the wider community. Last year, we received an astonishing number of applications from all over the UK and we’re sure that enthusiasm to take part will just keep on growing.
NCEM director Delma Tomlin: “Thrilled to be working with the Consone Quartet”
“For 2022, we’re thrilled to be working with the Consone Quartet, who will be guiding the shortlisted composers and performing their pieces. They’ll be joined in York by composer Professor Christopher Fox to host a day of workshops with the shortlisted candidates before the public performance in the evening.
“This year, the compositions will be performed at the prestigious Stour Music Festival and, of course, broadcast on BBC Radio 3’s Early Music Show – a brilliant beginning for any young composer.”
Alan Davey, controller of BBC Radio 3 and classical music, says: “As Covid restrictions lift and we are able to celebrate the return of live music to UK stages, BBC Radio 3 believes it is vital to give appreciation and encouragement to young composers and performers who represent the future of music in this country.
“That is why we are so proud to partner with the National Centre for Early Music’s 2022 Young Composer Award. Each year, it enables us to help audiences at home discover the brightest talents in Early Music practice, broadcasting their works on our Early Music Show.”
Consone Quartet are “thrilled to be joining forces” with the NCEM for the Young Composers Award. “Having competed in the NCEM’s International Young Artists Competition, we appreciate how much these sorts of opportunities can help to kickstart a young musician’s career,” they say. “We cannot wait to hear what the shortlisted composers have written, to work in more detail with them and eventually to perform their works.”
The Young Composers Award is an integral part of the NCEM’s work, with comments from the 2021 awards illustrating the impact and importance of the experience. Witness: “I have gained confidence in myself. Hearing my piece come to life was an incredible experience,” said one. “Great contacts and lots of fun!” said another. “Christopher Fox’s insightful comments, always thinking outside the box,” enthused a third.
The deadline for registration is 12 noon on Friday, February 18 2022; the deadline for submission of scores is 12 noon, Friday, March 18. Shortlisted candidates will be informed by April 8 and will be invited to attend the Award Day in York on May 19.
L’Apothéose in the grounds of the National Centre for Early Music, St Margaret’s Church, York, after winning the York International Young Artists Competition in 2019. Picture: Jim Poyner
YOUNG ENSEMBLES SOUGHT FOR YORK INTERNATIONAL YOUNG ARTISTS COMPETITION 2022
CALLING young ensembles of the world: the deadline for applications for next year’s York International Young Artists Competition is January 14 2022.
This prestigious longstanding competition for young ensembles will take place on Saturday, July 16 at the National Centre for Early Music as part of next summer’s York Early Music Festival.
The first prize includes a recording contract from Linn Records: a £1,000 prize; opportunities to work with BBC Radio 3 and a concert at the 2023 York Early Music Festival.
Other prizes include: the Friends of York Early Music Festival Prize; the Cambridge Early Music Prize and a prize for The Most Promising Young Artist/s endowed by the EUBO Development Trust.
The competition is open to Early Music ensembles with a minimum of three members; ensembles must have an average age of 33 years or under, with a maximum age of 37 years for individuals.
The ensembles must demonstrate historically informed performance practice and play repertory from any period, spanning the Middle Ages to the 19th century, on period instruments.
Sollazzo Ensemble: “Winning the competition was a turning point in our career”
The competition is recognised as a major international platform for emerging talent in the world of early music. Attracting musicians from all over the globe, it offers a boost to young professional careers with opportunities for performance, recording and broadcasting and international exposure.
NCEM director Delma Tomlin says: “We are so pleased to be staging the 2022 competition, which brings together young musicians of the highest calibre from the UK and all over the world.
“This is one of highlights of the York Early Music Festival and we are always overwhelmed by the superb quality of the performances from these fantastically talented young artists. The competition provides a joyous, optimistic finale to our festival and we are delighted to be able give these rising stars many exciting future opportunities.”
2019 winners L’Apothéose say: “Winning the York competition was an extremely important and prestigious recognition of our career, and taking part was an immensely joyful experience.”
Fellow former winners Sollazzo Ensemble enthuse: “Winning the competition was a turning point in our career, bringing us to the attention of both a wider audience and professionals throughout Europe.”
Details of how to apply can be found at yorkcomp.ncem.co.uk; alternatively, send an email to yorkcomp@ncem.co.uk.
Orchestra Of The Age Of Enlightenment: Opening the 2021 York Early Music Christmas Festival with two sold-out concerts on December 3
YORK Early Music Christmas Festival will be back in full swing this season, combining live concerts with a later online programme of festive music.
Running from December 3 to 11, then on demand from December 17 to January 14, the festival promises Christmas carols, candlelight, Vivaldi, Corelli, Bach, Handel, Purcell, Schubert, mulled wine, mince pies and Mexican melodies.
In the medieval St Margaret’s Church, in Walmgate, this celebration of Advent and the festive season will go ahead with Covid safety measures in place: seating will be socially distanced and proof of two Covid vaccinations or a negative Lateral Flow Test will be required. “No proof, no admission,” will be the strict policy, and the wearing of masks will be actively encouraged too.
To adapt to the prevailing circumstances and smaller capacities, five of the festive programmes will be performed twice, at 5.30pm and the more conventional 7.45pm.
“The philosophy is short concerts, no interval, and still selling to a limited capacity, so that people feel more comfortable because there’s more room and they don’t have to spend too much time together indoors in winter,” says festival director Delma Tomlin.
“In dark December, earlier evening concerts will appeal to a certain demographic, who can get home in good time for supper. It’s all about understanding people’s wishes as we return to going to concerts, and it’s much more practical to do two concerts in an evening, as we don’t have the same level of visitors for afternoon concerts.”
La Palatine: French songs of love, betrayal, disenchantment and loss on December 4
Looking forward to a festival with plenty of concerts sold out already, Delma says: “Christmas in most circles is a time for celebrations, a time of fanfare, ceremony and feasting. At the heart of the celebrations is a very human story which is often so beautifully illustrated through music, and we invite you to find peace, serenity, alongside mince pies and mulled wine at this busy time – and to enjoy some really fabulous music too!
“There is 500 years’ worth of glorious Advent, Christmas and winter music to go at, and frankly we all need a bit of cheering up right now.”
Opening festival proceedings will be an ever innovative, entertaining and engaging British ensemble, the Orchestra Of The Age Of Enlightenment, whose 5.30pm and 7.45pm performances of A Baroque Christmas on December 3 have both sold out. Concertos by Corelli, Manfredini, Torelli and Vivaldi will be complemented by Handel’s Pastorelle from Messiah and works by D Scarlatti and JS Bach.
Replacing Ensemble Caladrius’s O Magum Mysterium in the festival’s first NCEM Platform Artists’ concert on December 4 at 12.15pm will be French ensemble La Palatine, presenting Il n’y a pas d’amour heureux.
The raw emotions of love, betrayal, disenchantment and loss infuse the songs and opera arias of the early baroque in Italy, as explored by Marie Theoleyre, soprano, Noemie Lenhof, viola da gamba, Jeremy Nastasi, theorbo and baroque guitar, and Guillaume Haldenwang, harpsichord, in the works of Tarquinio Merula of Cremona, Domenico Mazzocchi in Rome and Claudio Moneteverdi’s Lamento d’Arianna.
Travelling further afield, the festival takes a Mexican theme with Siglo de Oro’s Christmas In Puebla, a sold-out 6.30pm concert on December 4 that evokes the spirit of the warm breezes of South America, on Christmas Eve in Puebla Cathedral, blending dance-infused villancicos with traditional 17th century carols under the direction of Patrick Allies.
Siglo de Oro: Mexican melodies
“This will be Siglo de Oro’s York debut,” says Delma. “Somewhat delayed, though, because they were supposed to be here two years ago.”
York favourites The Gesualdo Six return to the NCEM once more, this time with In Winter’s House, on December 5 at 5.30pm (sold out) and 7.45pm (tickets still available). Director Owain Park’s programme of music evokes a sense of mystery and joy, from works of the Tudor church to the 21st century by Judith Bingham, Joanna Marsh and Sally Beamish. “They will be wallowing in the deliciousness of both old and new music,” says Delma
The second NCEM Platform Artists’ concert, supported by the NCEM’s Creative Europe-funded programme EEEmerging, will be given by Prisma, a German ensemble comprising Franciska Anna Hadju, violin, Elisabeth Champolion, recorder, Alon Sariel, lute, and David Budai, viola da gamba, on December 7 at 5.30pm and 7.45pm. “They’re so much fun, so cheerful, and a very delightful group to welcome at Christmas,” says Delma.
Their programme, A Baroque Christmas, will be wrapped around baroque trio sonatas and dances, inviting the audience to rediscover Christmas songs by Castello and Fantana in fresh arrangements laced with joie de vivre.
Pocket Sinfonia’s Mozart And A Miracle concert, on December 9 at 5.30pm and 7.45pm, aims to re-create the atmosphere of 19th century living-room parties, where the intimacy of a chamber music performance was applied to orchestral-scale pieces.
Rosie Bowker, flute, Eleanor Corr, violin, Thomas Isaac, cello, and Emil Duncumb, piano and fortepiano, will be taking a journey through the dark wintery nights of Mozart’s Piano Concerto No. 24 in C minor, onwards to the Christmas cheer of Mozart’s Sleigh Ride, in a new Pocket Sinfonia transcription, and Haydn’s Miracle Symphony No. 102 in B flat.
Pocket Sinfonia: Dark journey through wintery nights
“Two members of the ensemble are from Norway, with dual nationality, and they’ll be making their debut here after I saw them on Zoom in a showcase they did in Brussels last year, and booked them on the strength of that,” says Delma.
Tenor James Gilchrist and lutenist Matthew Wadsworth reflect on love, passion and loss in Divine Love And Earthly Passions on December 10 at 5.30pm and 7.45pm, as they open with Purcell’s Evening Hymn and close with Dowland’s In Darkness Let Me Dwell on their thoughtful, sometimes melancholic, always engaging journey, with a sprinkling of Schubert and Praetorius as a taster of the festivities to come.
In A Contest Of Equals, on December 11 at 1pm, Bojan Cicic, violin, Gawain Glenton, cornetto, and Silas Wellston, organ, celebrate the late-16th and 17th century rivalry between the violin, the irreverent newcomer, and the cornetto, the older, aristocratic instrument, with music from Italy, Germany and Spain. Who will emerge victorious? Let Battaglia! commence.
The 2021 live festival concludes on December 11 with Yorkshire Bach Choir’s 7pm to 10pm performance of J S Bach’s Mass in B minor with the Yorkshire Baroque Soloists under conductor Peter Seymour. On solo duty will be Bethany Seymour, soprano, Helen Charlston, alto, Matthew Long, tenor, and Johnny Herford, bass.
“It’s a wonderful opportunity to hear the Yorkshire Bach Choir again at the festival after two years, and especially to hear them doing the Bach mass,” says Delma. “It’s such a cracking piece.”
Joglaresa: Carols, lullabies, dance tunes and wassails
In addition, but separate from the festival, Joglaresa will be presenting Lullay Myn Lykynge, a stand-alone concert on Monday, December 6 at 5.30pm and 7.45pm, complemented by a live-streaming of the second performance.
Their programme will offer encouragement to celebrate Yule effervescently and chase out the chill from the Celtic fringes of Europe with traditional carols, lullabies, dance tunes and wassails from Ireland, Scotland, England and Wales. Armed with fidel, harp, bells, bagpipes and voices, Joglaresa will be ringing in Christmas and the New Year.
Tickets remain available for concerts unless stated otherwise at ncem.co.uk/york-early-music-christmas-festival/ and on 01904 658338.
IN the York Christmas Box Set, seven concerts from the 2021 York Early Music Christmas Festival will be available to watch online throughout the festive season.
Billed as “the perfect festive gift for music lovers” by the National Centre for Early Music, the £40 filmed concert package can be viewed on demand from 10am on December 17 to Friday, January 14.
First prompted by pandemic restrictions, the NCEM continues to share many of its festival highlights online, reaching ever-growing audiences from as far away as Japan and Australia.
The seven festival highlights in the box set are:
Orchestra Of The Age Of Enlightenment, performing A Baroque Christmas;
Siglo de Oro, celebrating Christmas with dance-infused 17th century Mexican music;
The Gesualdo Six, returning to York after sold-out summer concerts to present In Winter’s House, Christmas music spanning many decades;
Prisma: Baroque joy in the York Christmas Box Set
EEEmerging artistsPrisma, bringing Baroque joy with fresh arrangements of Christmas music;
Pocket Sinfonia, conjuring up the atmosphere of 19th century living-room parties with Mozart and more;
Festival favourites James Gilchrist & Matthew Wadsworth, performing Divine Love And Earthly Passions, featuring music by Purcell, Schubert and Dowland;
Battaglia, the combative trio of Bojan Čičić, Gawain Glenton and Silas Wollston, staging an exuberant musical battle between the violin and cornetto, once considered rival instruments.
Festival director Delma Tomlin says: “We’re delighted to be able to bring you this fabulous array of concerts online with this wonderful Christmas Box Set, filmed at our home of St Margaret’s Church during this year York Early Music Christmas Festival.
“We’re continuing to share our music online, so those of you who aren’t able to join us in York will be able to enjoy this fabulous feast of music in the comfort of your own homes – and it’s the perfect gift to share with family and friends.
“We hope that our online friends will enjoy seeing the beautiful surroundings of our medieval home and we hope to welcome them in person in the future.”
For tickets and more information, go to: ncem.co.uk/events/york-christmas-at-home-festival-pass/
“Financial help from the ARG Fund ensures that we can stage the annual York Early Music Christmas Festival,” says director Delma Tomlin
THE National Centre for Early Music, York, has received a “generous grant” from the City of York Council’s Additional Restrictions Grant fund to help with the cost of staging this year’s York Early Music Christmas Festival.
This discretionary scheme supports York businesses affected by the lockdowns but not eligible for Lockdown Restrictions Grant and the Local Restrictions Support Grant (Closed Businesses) payments, thereby helping businesses that, while not legally required to close, were still severely impacted by Covid-19 restrictions.
In keeping with other arts organisations, the NCEM was forced to close its doors for several months but it continued to stage concerts and festivals digitally, sharing specially commissioned concerts all over the world, reaching audiences from as far away as Australia, Japan and the United States.
The return of a week-long York Early Music Christmas Festival from December 3 is one of the NCEM’S most important and high-profile events, attracting not only York residents but also audiences from all over Britain and beyond.
The NCEM, at St Margaret’s Church, Walmgate, is fully open once more, staging its year-round programme of concerts, not only Early Music, but jazz, folk and world music too.
NCEM director Delma Tomlin says: “We’re delighted to receive this generous grant from the City of York Council. Financial help from the ARG Fund ensures that we can stage the annual York Early Music Christmas Festival, a week of music celebration featuring a line-up of world-class performers.
“The festival is hugely popular with residents and attracts visitors from all over the UK, who make it part of their Christmas calendar. It’s wonderful to see the city coming back to life and we’re very proud to be able to be part of its fabulous programme of events celebrating the festive season. We can’t wait to welcome audiences back to our beautiful home of St Margaret’s Church.”
Councillor Derek Smalley, executive member for culture, leisure and communities, says: “York’s live music scene is a crucial and vibrant part of the city’s cultural offer. We recognise the ongoing challenges venues are facing as we ease out of the national restrictions and people get used to a new ‘normal’.
“We are committed to working with the sector to provide all possible support, including promoting the great experiences on our doorstep thanks to the many brilliant live music venues across our city.”
L’Apothéose in the grounds of the National Centre for Early Music, St Margaret’s Church, York, in 2019. Picture: Jim Poyner
CALLING young ensembles of the world: the deadline for applications for next year’s York International Young Artists Competition is January 14 2022.
This prestigious longstanding competition for young ensembles will take place on Saturday, July 16 at the National Centre for Early Music as part of next summer’s York Early Music Festival.
The first prize includes a recording contract from Linn Records: a £1,000 prize; opportunities to work with BBC Radio 3 and a concert at the 2023 York Early Music Festival.
Other prizes include: the Friends of York Early Music Festival Prize; the Cambridge Early Music Prize and a prize for The Most Promising Young Artist/s endowed by the EUBO Development Trust.
The competition is open to Early Music ensembles with a minimum of three members; ensembles must have an average age of 33 years or under, with a maximum age of 37 years for individuals.
The ensembles must demonstrate historically informed performance practice and play repertory from any period, spanning the Middle Ages to the 19th century, on period instruments.
The competition is recognised as a major international platform for emerging talent in the world of early music. Attracting musicians from all over the globe, it offers a boost to young professional careers with opportunities for performance, recording and broadcasting and international exposure.
NCEM director Delma Tomlin says: “We are so pleased to be staging the 2022 competition, which brings together young musicians of the highest calibre from the UK and all over the world.
“This is one of highlights of the York Early Music Festival and we are always overwhelmed by the superb quality of the performances from these fantastically talented young artists. The competition provides a joyous, optimistic finale to our festival and we are delighted to be able give these rising stars many exciting future opportunities.”
2019 winners L’Apothéose say: “Winning the York competition was an extremely important and prestigious recognition of our career, and taking part was an immensely joyful experience.”
Fellow former winners Sollazzo Ensemble enthuse: “Winning the competition was a turning point in our career, bringing us to the attention of both a wider audience and professionals throughout Europe.”
Details of how to apply can be found at yorkcomp.ncem.co.uk; alternatively, send an email to yorkcomp@ncem.co.uk.
FOLK big band Bellowhead are to reunite next year for a tenth anniversary tour of their Broadside album.
Among the 18 dates will be Yorkshire concerts at Harrogate Convention Centre on November 25 2022 and Sheffield City Hall two nights later.
During lockdown in 2020, the 11 members first re-connected online to record New York Girls – At Home remotely, prompting Bellowhead to reconvene in person for a one-off performance, streamed to mark the tenth anniversary of 2010’s Hedonism.
Thousands of fans watched one of the biggest online streams of 2020, confirming contemporary prog-folk act Bellowhead still to be in big demand despite not performing their traditional dance tunes, folk songs and shanties live since 2016.
The stream led to pleas for more and now the stars have aligned for Jon Biden, John Spiers, Sam Sweeney and co to assemble once more next autumn to toast fourth album Broadside’s tenth birthday.
Sam Sweeney: Playing with Bellowhead and providing the tour support with his own band. Picture: Elly Lucas
Produced by John Leckie for release on October 15 2012, Broadside gave Bellowhead their first Top 20 entry in the UK Official Album Charts and features the BBC Radio 2-playlisted singles Roll The Woodpile Down and 10,000 Miles Away.
Bellowhead say: “The reaction to the online concert was overwhelming and we really did enjoy playing together again. The tenth anniversary of Broadside presented an opportunity for us to take things one step further and get back out on the road. We couldn’t say no! It’s going to be lots of fun. Hope you’ll join us for the party.”
Support on all dates will come from Sam Sweeney and his band. Stroud fiddler Sweeney is not only a Bellowhead “veteran” (serving from 2008 to 2016 and now back on the front line) but also former artistic director of the National Folk Youth Ensemble.
Last year, Sweeney released his second solo album, Unearth Repeat; last Friday, he played a sold-out gig at the National Centre for Early Music, York, with Jack Rutter, acoustic guitar, Louis Campbell, electric guitar, and Ben Nicholls, double bass.
Bellowhead formed in 2004; played to thousands of people at festivals and on tour; recorded five studio albums, selling more than 250,000 copies; received two silver discs and won eight BBC Radio 2 Folk Awards before parting ways in 2016. Next autumn’s reunion itinerary is being billed as a “special one-off tour”.
Tickets go on general sale on Friday (26/22/2021) at 10am at gigst.rs/bellowhead.
NCEM director Delma Tomlin: “Delighted to receive grant”
THE National Centre for Early Music, York, is to receive a generous grant from City of York Council’s Additional Restrictions Grant fund.
This financial support will help with the cost of staging this year’s York Early Music Christmas Festival from December 3 to 11.
The city council’s discretionary scheme has supported York businesses affected by the lockdowns but not eligible for the Lockdown Restrictions Grant or Local Restrictions Support Grant (Closed Businesses) payments.
In doing so, it has helped businesses that, although not legally required to close, were still severely impacted by Covid-19 restrictions.
Like fellow arts organisations, the NCEM was forced to close its doors for several months, but it continued to stage concerts and festivals digitally, sharing specially commissioned concerts all over the world, reaching audiences from as far away as Australia, Japan and the United States.
The return of the week-long York Early Music Christmas Festival is one of the NCEM’S most important events, attracting not only York residents but also audiences from all over Britain and beyond.
The festival presents a variety of concerts, many by candlelight, in its celebration of Christmas through the ages. This year’s programme features artists from the UK and Europe, including the return of The Gesualdo Six, who took York Early Music Festival by storm last year; Yorkshire Bach Choir performing JS Bach’s Mass in B minor, plus 17th century Christmas, Mexican style, from Siglo de Oro.
The NCEM is fully open once more, staging its year-round programme of concerts, spanning early music, jazz, folk, and global sounds in the medieval St Margaret’s Church, in Walmgate.
NCEM director Delma Tomlin said: “We are delighted to receive this generous grant from the City of York Council. Financial help from the ARG Fund ensures that we can stage the annual York Early Music Christmas Festival, a week of music celebration featuring a line-up of world-class performers.
“The festival is hugely popular with residents and attracts visitors from all over the UK, who make it part of their Christmas calendar. It’s wonderful to see the city coming back to life and we’re very proud to be able to be part of its fabulous programme of events celebrating the festive season. We can’t wait to welcome audiences back to our beautiful home of St Margaret’s Church.”
Councillor Darryl Smalley, executive member for culture, leisure and communities, said: “York’s live music scene is a crucial and vibrant part of the city’s cultural offer. We recognise the ongoing challenges venues are facing as we ease out of the national restrictions and people get used to a new ‘normal’.
“We are committed to working with the sector to provide all possible support, including promoting the great experiences on our doorstep thanks to the many brilliant live music venues across our city.”
Tickets for the 2021 York Early Music Christmas Festival go on sale from tomorrow at ncem.co.uk or on 01904 658338.
