Tag: Thomas Ades

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More Things To Do in York and beyond. Hutch’s List No. 32, from The York Press

Donna Maria Taylor in her South Bank Studios studio

GEORGIAN celebrations, a brace of art fairs, Shakespeare sonnets on the tennis court and The Magpies’ folk festival should outshine Wednesday’s solar eclipse, reckons Charles Hutchinson.

Artists in situ: South Bank Studios’ Summer Artists Open Doors, Southlands Methodist Church, Bishopthorpe Road, York, today, 10am to 4pm

MEET the South Bank artists and makers who work in a broad range of disciplines, from textile art, painting, drawing and photography, to mixed media, letterpress and linocut printmaking.

Visit their studios to see their creative processes in a day of art to buy, art demonstrations and activities, including the loft studios, not usually on view to the public. The cafe will be open for refreshments. Entry is free; all welcome.  

Masquerade Ball at the 2026 York Georgian Festival tonight

York festival of the week: York Georgian Festival, until August 10

HIGHLIGHTING the sights and sounds of 18th century life, York Mansion House and beyond plays host to the fourth York Georgian Festival in a festival programme that ranges from free displays of dancing and military drills in St Helen’s Square to the York Georgian Masquerade Ball at the Grand Assembly Rooms tonight. Talk, tours, performances and workshops feature too. For full listings and booking details, go to: yorkgeorgianfestival.co.uk.

Carlton Main Colliery Band: Brass At The Proms at Selby Abbey

Rousing concert of the week: Brass At The Proms, Carlton Main Colliery Band, Selby Abbey, tonight, 7pm

JOIN Carlton Main Frickley Colliery Band on its return to the former coalfield town of Selby for a Last Night of the Proms brass concert featuring a vibrant mix of rousing favourites. Seating in the Main Nave will be allocated, with seat and row numbers; Rear Nave seating will be filled on a first-come, first-served basis. Box office: selbytownhall.co.uk.

Futureproof’s logo for a night of poetry, drag, monologues and comedy

Art and science bonding exercise of the week: Futureproof presents Opposites Attract Scratch Night, York Theatre Royal Studio, tonight, 7.30pm

EIGHT acts perform a mixture of poetry, drag, monologues and comedy. Expect biochemistry, molecular biology, sewing, chalk stream-inspired dance and more tonight.

The theme, Opposites Attract, derives from the idea that many things will give people joy, purpose, belonging and entertainment — such as maths and science — that seem to be mutually exclusive to theatre. Futureproof invites creatives to consider these ostensible contrasts, alongside the concept that theatre is meant to reflect our world and/or be a tool to create new ones. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Comedy event of the week: Kevin Bridges: Warm Up, Grand Opera House, York, today and tomorrow, 8pm

CLYDEBANK comedian Kevin Bridges performs two warm-up shows in York ahead of his UK stand-up tour Here If You Need Me. Tonight’s gig has sold out but tickets are still available for tomorrow, as well as for his Leeds First Direct Bank Arena tour show on November 19. Box office: York, atgtickets.com/york; Leeds, axs.com/uk/events/1240964/kevin-bridges-tickets?skin=leeds.

On the stretch: Jamie McKeller’s Lionel, left, and Stuart Lindsay’s Charles limbering up for the doubles in York Shakespeare Project’s Summer Sonnets: What the Deuce? Picture: John Saunders

New balls please: York Shakespeare Project presents 2026 Summer Sonnets: What The Deuce?, Holy Trinity Churchyard, Goodramgate, York, until August 15, except August 11, 6pm & 7.30pm, plus 4.30pm Saturday shows

SUMMER at the Goodramgate Lawn Tennis Club finds four doubles teams competing for the chance to play in a Wimbledon amateur tournament, whereupon partnerships and rivalries lead to sabotage and break point. Who has the advantage? Who is at fault? Will the score be love?

Expect further tennis puns aplenty as Rosy Rowley directs Stuart Green’s script that asks a new collection of ten characters to play out this new sporting and unsporting situation where each finds a way to share a Shakespeare sonnet. Taking part will be James Robert Ball, Oscar Langford, Helen Clarke, Sarah McKeagney, Stuart Lindsay, Alexa Williams, Jamie McKeller, Alan Sharp, Christine Bramwell and Effie Warboys. Box office: tickets.41monkgate.co.uk.

The poster fort York River Art Market 2026. Illustration by Elliot Harrison (@York360)

Open-air art event of the month: York River Art Market, Dame Judi Dench Walk, York, today and tomorrow, then August 15 & 16, 10am to 5.30pm

YORK River Art Market returns for its 11th year, bringing more than 30 artists from multiple disciplines to the Ouse riverside each day, this year presenting art and design market stalls on both sides of the pathway.

Described as York’s answer to the Left Bank in Paris, the event is being run for the first time this summer by Caroline Turner, a professional potter and ceramics teacher at Clay Space York. Admission is free.

York River Art Market 2026 organiser Caroline Turner with artist Lincoln Lightfoot on the Dame Judi Dench Walk pathway

Tribute gig of the week: SWT presents Pulp’d vs Blur 2, Milton Rooms, Malton, today, 8pm

PULP’D and Blur2 team up for a double-header of Britpop royalty tonight. Born and raised in Sheffield, passionate Pulp fans Pulp’d came together to re-create the hits, passion and Jarvis Cocker moves.

Blur2 bring the very best of Blur to every show: the energy, the fun, the sound, the looks and the musicianship of Damon Albarn, Graham Coxon, Alex James and co. Box office: 01653 696240 or themiltonrooms.com.

Scissor Sisters: Heading to the Scarborough coast tonight

Coastal gigs of the week: Scarborough Open Air Theatre presents Scissor Sisters, today; Holly Johnson, ABC and Heaven 17, August 14,  gates 6pm

AFTER their 2025 UK arena reunion tour and that summer’s Saturday night Glastonbury set, Scissor Sisters bring their trademark blend of glam, grit and glorious to Scarborough Open Air Theatre this weekend. Jake Shears, Babydaddy, Del Marquis and co will be rolling out such favourites as Take Your Mama, Laura, I Don’t Feel Like Dancin, Let’s Have A Kiki, Only The Horses and Filthy/Gorgeous.

Holly Johnson: Frankie says Relax in Scarborough

Flamboyant, unapologetically bold Frankie Goes To Hollywood lead vocalist and lyricist Holly Johnson tops the 1980s’ triple bill next Friday, when he performs the chart-topping trio of  Relax, Two Tribes and The Power Of Love, further Frankie smashes Welcome To The Pleasure Dome and Rage Hard and solo hits Love Train, Americanos and Atomic City. Sheffield bands ABC and Heaven 17 support. Box office: scarboroughopenairtheatre.com.

The Magpies: Hosting their folk festival at Sutton Park

Folk festival of the month: The Magpies Festival, Sutton Park, near York, August 14 and 15

RUN by the folk trio of Bella Gaffney, Holly Brandon and Ellie Gowers, The Magpies Festival presents next Friday’s Main Stage bill of Daraa Tribes (6pm), The Magpies (8pm) and headliners Manran (10pm) and Brass Castle Stage bill of True Foxes (5pm), Elizabeth Davidson-Blythe & Daniel Quayle (7pm), SupaLung (9pm) and New York Brass Band (11pm).

Next Saturday’s line-up on the Main Stage comprises Steady Habits (12 noon), Alex Hart (2pm), Blair Dunlop (4pm), Katherine Priddy (6pm), Gnoss (8pm) and headliners Cut Capers (10pm). The Brass Castle Stage plays host to Songs In The Round, with Katherine Priddy, Blair Dunlop and Chloe Foy (1pm), Tarren (3pm), Ophelia’s Beard (5pm), Around About Dusk (7pm) and Suntou Susso & The Gambian Superstars (9pm). Box office: themagpiesfestival.co.uk/tickets.

Composer Thomas Adès: Presenting new composition at Creation-themed North York Moors Chamber Music Festival. Picture: Marco Borggreve

In Focus: North York Moors Chamber Music Festival, August 8 to 22

THE North York Moors Chamber Music Festival celebrates its 18th consecutive year with the premieres of six works by contemporary British composers.

Aptly named Creation, the 2026 festival will run from August 8 to 22, featuring new compositions by Thomas Adès, Huw Watkins (both of whom will perform at the festival), Charlotte Bray, Tom Coult, Isabella Gellis and Helen Grime.

“Our 2026 festival celebrates the wonder of beginnings and features six newly commissioned premieres that evoke the six days of the universe’s creation, woven through the festival theme, by six of our country’s very finest composers,” says festival director and cellist Jamie Walton.

Charlotte Bray: Premiering That Which You Wove Of Lightest Thread, I Wear To Honour Stone at North York Moors Chamber Music Festival. Picture: David Beecroft

“As part of this narrative, the Sabbath (Sunday) remains a day of rest – and each concert includes works that were themselves groundbreaking or innovative in their time, reflecting music’s timeless power to create, to renew, and to tell a universal story through sound.”

Jamie continues: “Thomas Adès is widely regarded as one of the world’s greatest living composers, so it’s a real coup to have him both write for us and come to premiere the piece, Flower Variations [in the Landspeak concert on August 14 at 7pm at Welburn Manor].

“We’re really proud of the fact that, alongside these six outstanding composers, we have such a stellar line-up of international artists.

Helen Grime: Premiering Time Be Brief. Picture: Benjamin Ealovega

“We’re also continuing to champion visual artists from the moors in the brochure, pairing their work with concert titles. We’ve done this for the past two years and it’s a wonderful way to cross-pollinate and collaborate with more artists.”

Charlotte Bray’s piece for horn and string quartet, That Which You Wove Of Lightest Thread, I Wear To Honour Stone,  will be accompanied by a collaborative artwork by Caroline Burraway, exhibited on stage at St Hedda’s, Egton Bridge during The Dividing Line performance on August 13 at 2pm.

Isabella Gellis’s Creation will be premiered in August 11’s Dialogue concert at St Hilda’s, Danby, at 2pm; Helen Grime’s Time Be Brief, at Metamorphoses concert, Welburn Abbey, August 15, 7pm; Huw Watkins’s Oboe Quartet, The Architect’s Hand concert, St Mary’s, Lastingham, August  18, 2pm, and Tom Coult’s Two Nocturnes and A Maze, in its UK premiere, Nightfall concert, Welburn Abbey, August 20, 7pm.

Huw Watkins: Premiering his Oboe Quartet in festival appearance. Picture: Benjamin Ealovega

The festival will take place in four historic moorland churches – St Hilda’s, Danby, St Hedda’s, Egton Bridge, St Michael’s, Coxwold, and St Mary’s, Lastingham – along with the majority of concerts being staged in the grounds of Welburn Manor, near Kirkbymoorside, where the acoustically-treated venue has been enlarged this year to reflect the festival’s increasing popularity.  

The festival was named a Best of British Fund Winner 2026 by Airbnb, representing Yorkshire as part of the North York Moors Beacon for the Arts.

Jamie says: “Our festival celebrates the art of collaboration in an awe-inspiring setting, taking our audience on a musical quest each year through interwoven themes within a central storyline.

Isabella Gellis: Premiering Creation in August 11’s Dialogue concert at St Hilda’s, Danby. Picture: Ella Pavlides

“Over 18 years, we have built a reputation for breaking down barriers to make exceptional music accessible to all, fostering community and cultural connection through friendship and trust. Uncompromising even amid pandemic challenges, our festival was one of the few to present full, live performances in 2020 and 2021.

“August, when the heather is in full bloom, brings the North York Moors to life. Artists are immersed in the National Park, rehearsing and living in a deeply holistic environment, while audiences are welcome to enjoy picnics on the grounds of Welburn Manor, attend concerts, and explore the region’s historic churches and priories.”

The event continues to attract international artists, 28 this year, many of them committing to the entire fortnight by taking up residencies in a festival of 13 concerts featuring 58 chamber works from 32 composers spanning 300 years to the present day. 

Tom Coult: Premiering Two Nocturnes and A Maze on August 20. Picture: Matthew Johnson

This year, these include Alena Baeva, Benjamin Baker, Oliver Cave, Oliver Heath, Alessandro Ruisi and Charlotte Scott (violin); Sascha Bota, Meghan Cassidy,  Emma Wernig and Simone van der Giessen (viola); Rebecca Gilliver, Tim Posner and Jamie Walton (cello) and Will Duerden (double bass).

Taking part too are: Thomas Adès, Katya Apekisheva, Joseph Havlat, Roman Kosyakov, Daniel Lebhardt and Huw Watkins (piano); Ben Goldscheider (French horn); Nicholas Daniel (oboe); Matthew Hunt (clarinet); Jonathan Davies (bassoon) and James Gilchrist (tenor). Completing the line-up will be the festival’s award-winning Young Artists ensemble, The Davidoff Trio.

Tickets for individual concerts are £18; a season ticket for all 13 costs £190. As ever, under-30s gain free entry to any of the concerts. To book, email bookings@northyorkmoorsfestival.com, call 07722 038990 or visit www.northyorkmoorsfestival.com. The full programme can be downloaded via https://www.northyorkmoorsfestival.com/.

“Our 2026 festival celebrates the wonder of beginnings and features six newly commissioned premieres that evoke the six days of the universe’s creation,” says North York Moors Chamber Music Festival director Jamie Walton. Picture: Matthew Johnson

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REVIEW: Martin Dreyer’s verdict on ‘Which Dreamed It?’, North York Moors Chamber Music Festival

Ben Goldscheider: “Immaculate”

North York Moors Chamber Music Festival: ‘Which Dreamed It?’, St Mary’s, Lastingham, August 25

THIS was one of the North York Moors Chamber Music Festival’s more adventurous programmes, but that did not deter the punters: it was a full house.

There were two pieces each from Schumann and Debussy, balanced by four much more contemporary works by two Brits and two Germans. It made for a stimulating mix, not least because the performers were so utterly committed.

Ben Goldscheider began out of sight in the Saxon crypt, the church otherwise darkened, with Bernhard Krol’s Laudatio for solo horn (1966). Inspired by the ancient Christian hymn Te Deum Laudamus, it could hardly have been more appropriate as a scene-setter, journeying from plainsong into more modern, questing territory. Goldscheider was immaculate.

He also closed the evening, with Jörg Widmann’s Air (2006). The music conveys something of the atmosphere of alphornists signalling to each other between mountain-tops, so that there are constant echoes and imitations, given a third dimension by the piano strings being wedged open and resonating eerily. It is a favourite competition piece. Goldscheider was more than equal to its taxing variations and drew sustained applause.

He had been soloist in Schumann’s Adagio and Allegro, with Daniel Lebhardt offering tenacious piano support. After nicely sustained legato in the Adagio, he cantered through the succeeding rondo with immense panache, testing his rapid tonguing even further by speeding up in the coda.

In Mark Simpson’s Nachtstück (2021), he did not hold back from the work’s more nightmarish contrasts, varying his tone in the darkness, but becoming more triumphal after Lebhardt’s keyboard climax. He is a riveting performer.

Debussy’s Rhapsody (named ‘First’ but in fact the only one) for clarinet and piano (1910) saw the first appearances of Robert Plane and Christian Chamorel respectively. Plane captured the composer’s will-o’-the-wisp aura, much helped by Chamorel’s early restraint. They brought terrific verve to the work’s later stages.

They were joined by viola player Simone van der Giessen for Schumann’s Märchenerzählungen (Fairy-tale narrations). Three of the four tales are marked ‘lively’ and they got off to an effervescent start.

There were pleasing contrasts, though, both in the lovely central section of the second tale and in the martial, dotted rhythms of the last, which were crisp and to the point. The exception was the third, where a peaceful, rocking movement in the piano featherbedded a soaring line in the viola, not quite matched here by the clarinet.

The four berceuses from Thomas Adès’s opera The Exterminating Angel are not the stuff of sweet dreams, indeed the title is ironic. With Lebhardt returning to the piano, viola and clarinet brought an elegiac feel to the opening lullaby, followed by something altogether bolder with a terrifying ending in the second. Only the finale seemed likely to produce a soporific effect – and it was touchingly shaped.

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on Gemini, Unitarian Chapel, York, 3/12/2022

York composer Nicola LeFanu, pictured in 2003

Late Music presents Gemini, Unitarian Chapel, St Saviourgate, York, December 3

NICOLAS LeFanu’s 75th birthday earlier this year was celebrated in fine style by one of our most distinguished and long-lived groups, Gemini, itself only a year short of its half-century. Two of her own works framed eight others, including one by her husband David Lumsdaine.

Gemini is a flexible ensemble led from the clarinet by Ian Mitchell. Here he was joined by a piano trio for the premiere of LeFanu’s appropriately titled Gemini Quartet, newly commissioned and written only this summer.

As an opener it was designed to reflect how we welcome others, in a dozen or so brief “bagatelles” (her word), some of only a few seconds. It charms with surprises, moving seamlessly between comfort and anguish, impressionism and rhythm, sometimes noisy, more often gentle, using the instruments in a variety of different groupings. Gemini delivered it with loving care. I could only have wished its 13 minutes had lasted longer.

At the end of the evening, more than two hours later, we heard her Piano Trio of 2003. Its single movement is rhapsodic, all its material developed from high harmonics and tremolos, which are soon amplified by a piano solo. It charts a fascinating course between nerviness and relaxation, the two moods changing between strings and piano, as dialogue influences their responses to one another.

As always with LeFanu, her orchestration is imaginative. It eventually reaches a harmonious conclusion, with trills in the piano as the strings disappear into the ether. Gemini interacted intuitively throughout.

Only a handful of the other works on the programme reached these levels. One of them was another premiere, David Lancaster’s Hell’s Bells Bagatelles, inspired by church bells, especially those of York Minster, and conceived over the last five years.

In his words, its five sections may reflect ecstasy or doom, but within those extremes his use of rhythm verges on dance most appealingly and pizzicato cleverly and regularly evokes the percussive ping of bells.

Lumsdaine’s Blue Upon Blue (1991), for unaccompanied cello, also fell pleasingly on the ear, combining slow melody with more urgent, un-tuned ‘commentary’ from wood, gut and hair, and transitioning between the two by means of glissandos. Sophie Harris teased out its essential lyricism with focused intensity.

Thomas Adès’s suite from his 2005 opera The Tempest was predictably clear-cut in its reactions to six Shakespearean scenarios, always with an ear to vocal characteristics in the four instruments.

Space forbids discussion of the other works, most of which fell into the category of vignettes. For the record they included two pieces without piano, Dorothy Ker’s Water Mountain (1999) and Blaze And Fall (2017) by Charlotte Bray, Martin Suckling’s Three Venus Haikus (2009), setting poetry by George Bruce, and two lockdown pieces for solo piano (Aleksander Szram) by Janet Graham, Church Blackbird and Advent Thoughts. All had something positive to offer.

But most of all we were reminded just how valuable an asset Nicola LeFanu is to York, Yorkshire and well beyond. Many happy returns!

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on Towards The Flame, North York Moors Chamber Music Festival

Pianist Daniel Lebhardt: “Carried the lion’s share of the first half”

North York Moors Chamber Music Festival: Towards The Flame, Welburn Manor Marquee, August 23

THIS was the most modern of this year’s programmes – 20th century music bar two Dowland lute songs – yet there was no falling-off in attendance, a mark of how dedicated this audience is. Dowland, indeed, was the focus of the first and the last two works on this programme, with two Russian pieces in between.

The pianist Daniel Lebhardt carried the lion’s share of the first half. He opened with Darknesse Visible, written by Thomas Adès in 1992 for solo piano, and inspired by Dowland’s song ‘In Darknesse Let Mee Dwell’ (in the original spelling).

Adès uses only notes from the song, nothing added, but he “explodes” it – his word – so that it occurs at the extremes of the piano, often heavily accented. Snatches of the original are glimpsed fleetingly in the middle of the keyboard, more so towards the end of its seven intriguing minutes. Lebhardt played it without a score, a mark of his diligence.

Prokofiev’s First Violin Sonata, in which Benjamin Baker joined Lebhardt, is one of his most tortured and tortuous. It took him eight years to write, finishing in 1946. While the first movement meandered darkly, a low-lying slow march in the piano, the violin nervously double-stopped before rushing into ghostly semiquavers.

Lutenist Matthew Wadsworth: “Intimate reading of Dowland’s Flow My Tears and If My Complaints Could Passions Move”

The clarity this duo brought to the work was enhanced by the contrast they brought to the two themes of the succeeding Allegro Brusco. Once again, Baker’s violin grew more frenetic, until the eventual collision of the themes seemed entirely logical.

He allowed a touch of lyricism into the slow movement melody, before a skittish finale, mainly staccato and strongly syncopated. Here the intrusion of the nursery-style melody was served up as a red herring, before the ghostly tones of the very opening restored the sense of menace that hovers around this work. It all sounded very logical in this account.

Lebhardt returned to give Scriabin’s Vers La Flamme – the evening’s title – where he relished the mounting urgency and heavy accents that surround an insistent tremolo. Scriabin’s apocalyptic vision requires considerable pyrotechnics, but Lebhardt tackled them with near-missionary zeal, again by rote.

Lutenist Matthew Wadsworth appeared after the interval in company with viola player Scott Dickinson and pianist Katya Apekisheva. He gave an intimate reading of two Dowland lute-songs, ‘Flow My Tears’ and ‘If My Complaints Could Passions Move’. Britten quotes both of these in his Lachrymae for viola and piano, but uses the second as the basis for a theme and variations in reverse; the theme appears at the very end.

Viola and piano treated the work lovingly, although in its Appassionato section – where part of the first song appears – they turned up the drama. When the theme finally appeared, there was a real sense of catharsis. A satisfying conclusion to what might have been an uncompromising evening.

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on University of York Symphony Orchestra

Sir Jack Lyons Concert Hall, University of York

University of York Symphony Orchestra/Stringer, Sir Jack Lyons Concert Hall, University of York, November 27

THE statistics were impressive. In their first public appearance for 20 months, the 85 members of the University of York Symphony Orchestra came from 20 different departments and nine nations – a truly cross-cultural ensemble.

The programme was equally eclectic. An Elgar second half was preceded by three 20th century pieces, including a tuba concerto.

George Walker’s Lyric for Strings – which, like Barber’s better-known Adagio, was originally
part of a string quartet – is a gentle elegy that does not reach quite as powerful a climax as Barber achieved. But the orchestra, under its regular conductor John Stringer, treated it tenderly enough, if with a certain caution.

In similar mood was Elgar’s heartfelt Elegy, also for strings alone, but given here with
reverence and a greater measure of conviction.

Thomas Adès quoted Julian of Norwich for the title of his ‘… But All Shall Be Well’ (taken up
much later by T S Eliot among others). Interjections by percussion threaten to disrupt the swirling strings until quite near the end, when the title motto begins to hold good. For all its complications, the piece relies on a simple five-note motif that gives it coherence. The orchestra sounded as if it understood exactly what was going on.

The agile soloist in Edward Gregson’s Tuba Concerto was Christopher Pearce, whose contrasts in colour were greatly helped by the sensitivity of the orchestral accompaniment. He cleanly pointed the difference between the two opening themes before bringing a smooth legato to the slow movement’s songlike melody. Despite the exciting, jazzy textures in the finale, he kept his eye on the ball and his phrasing crisp.

Elgar’s Polonia is one of those works that would fit neatly into the last night of the Proms, bursting with nationalistic fervour and produced as a fundraiser for Polish refugees during the First World War.

Its opening was on the ragged side here, but the cellos settled nicely into its big tune and the rest of the orchestra followed suit. Vigorous percussion accented its martial flavour and there was hardly any holding the brass when the theme returned in an Elgarian nobilmente.

The orchestra clearly relished its chance to be back in live action. A full house enjoyed it too.

Review by Martin Dreyer