More Things To Do in York and beyond when it’s never too late for Early Music. Hutch’s List No. 30, from The York Press

Richard Hawley: Revisiting Coles Corner with strings attached at Live At York Museum Gardens today. Picture: Dean Chalkley

WHAT happens when York Museum Gardens turns into Coles Corner and the same play opens in two places at once? Find out in Charles Hutchinson’s leisure list.

Open-air concert of the week: Futuresound Group  presents Live At York Museum Gardens, Richard Hawley, today; gates open at 5pm

SHEFFIELD guitarist, songwriter and crooner Richard Hawley revisits his 1995 album Coles Corner with a string section on its 20th anniversary this evening, complemented by Hawley highlights from his 2001 to 2024 albums (9pm to 10.30pm).

He will be preceded by Mercury Prize-winning Leeds band English Teacher (7.45pm to 8.30pm); Manchester-based American songwriter BC Camplight, introducing his new album, A Sober Conversation (6.30pm to 7.15pm), and Scottish musician Hamish Hawk, whose latest album, A Firmer Hand, emerged last August (5.40pm to 6.10pm). Box office: seetickets.com.

The Tallis Scholars: Performing Glorious Creatures, directed by Peter Philips, at York Minster at 7.30pm tonight at York Early Music Festival. Picture: Hugo Glendinning

Festival of the week:  York Early Music Festival, Heaven & Hell, until July 11

EIGHT days of classical music are under way featuring international artists such as The Sixteen, The Tallis Scholars, Academy of Ancient Music, Helen Charlston & Toby Carr and the York debut of Le Consort, performing Vivaldi’s Four Seasons “but not quite as you know it” on Sunday.

Directed by Delma Tomlin, the festival weaves together three main strands: the 400th anniversary of Renaissance composer Orlando Gibbons, the Baroque music of Vivaldi and Bach and reflections on Man’s fall from grace, from Heaven to Hell. Full programme and tickets at ncem.co.uk/whats-on/yemf/. Box office: 01904 658338.

Bridget Christie: Late replacement for Maisie Adam at Futuresound Group’s inaugural York Comedy Festival. Picture: Natasha Pszenicki

Comedy event of the week: Futuresound Group presents Live At York Museum Gardens, York Comedy Festival, Sunday, 2.30pm to 7.30pm

HARROGATE comedian Maisie Adam will not be playing the inaugural York Comedy Festival this weekend after all. The reason: “Unforeseen circumstances”. Into her slot steps trailblazing Bridget Christie, Gloucester-born subversive stand-up, Taskmaster participant and writer and star of Channel 4 comedy-drama The Change.

The Sunday fun-day bill will be topped by Dara Ó Briain and Katherine Ryan. Angelos Epithemiou, Joel Dommett, Vittorio Angelone, Clinton Baptiste and Scott Bennett perform too, hosted by “the fabulous” Stephen Bailey. Tickets update: last few still available at york-comedy-festival.com.

Justin Panks: Headlining Laugh Out Loud Comedy Club at The Basement, City Screen Picturehouse

The other comedy bill in York this weekend: Laugh Out Loud Comedy Club presents Justin, Panks, Tony Vino, Liam Bolton and MC Damion Larkin, The Basement, City Screen, York, tonight, 8pm

COMEDIAN and podcaster Justin Panks tops tonight’s Laugh Out Loud Comedy Club with his skewed observational eye and ability to approach seemingly ordinary subjects from extraordinary angles in his raw, honest  tales of relationships, parenthood and life in general.  

Tony Vino bills himself as “the only half-Spanish, half-Scottish hybrid working comic in the world”; experimental Liam Bolton favours a bewildering, train-of-thought approach to unpredictable stand-up comedy; Damion Larkin hosts in improvisational style. Box office: lolcomedyclubs.co.uk or on the door.

The Script: Returning to Scarborough Open Air Theatre this weekend

Coastal gig of the week: The Script and Tom Walker, Scarborough Open Air Theatre, today; gates open at 6pm

THE Script head to the Yorkshire coast this weekend as part of the Irish rock-pop act’s Satellites UK tour, completing their hat-trick of Scarborough Open Air Theatre visits after appearances in 2018 and 2022.  Special guest Tom Walker, the Scottish singer-songwriter, performs songs from 2019 chart topper What A Time To Be Alive and 2024’s I Am. Box office: scarboroughopenairtheatre.com.

Dianne Buswell and Vito Coppola: Red Hot and Ready to dance at York Barbican

Dance show of the week: Burn The Floor presents Dianne & Vito, Red Hot & Ready!, York Barbican, Sunday, 7.30pm

STRICTLY Come Dancing’s stellar professional dancers, 2024 winner Dianne Buswell and 2024 runner-up Vito Coppola are Red Hot and Ready to perform a dance show with a difference, choreographed by BAFTA award winner Jason Gilkison. The dream team will be joined by a cast of multi-disciplined Burn The Floor dancers from around the world. Box office: yorkbarbican.co.uk.

Florence Poskitt’s Margaret Watson, left, Jennifer Jones’s Elizabeth Watson and Livy Potter’s Emma Watson in Black Treacle Theatre’s The Watsons at the JoRo

Play of the week times two: The Watsons, Black Treacle Theatre, Joseph Rowntree Theatre, York, July 9 to 12, 7.30pm and .30pm Saturday matinee; The Watsons,1812 Theatre Company, Helmsley Arts Centre, July 9 to 12, 7.30pm

TWO productions of Laura Wade’s The Watsons open on the same night in York and Helmsley.  What happens when the writer loses the plot? Emma Watson is 19 and new in town. She has been cut off by her rich aunt and dumped back in the family home. Emma and her sisters must marry, fast.

One problem: Jane Austen did not finish this story. Who will write Emma’s happy ending now? Step forward Wade, who takes her incomplete novel to fashion a sparklingly witty play that looks under Austen’s bonnet to ask: what can characters do when their author abandons them? Bridgerton meets Austentatious, Regency flair meets modern twists, as Jim Paterson directs in York; Pauline Noakes in Helmsley. Box office: York, 01904 501935 or josephrowntreetheatre.co.uk; Helmsley, 01439 771700 or helmsleyarts.co.uk.  

Second Summer Of Love: Emmy Happisburgh’s coming-of-age and midlife-recovery tale at Theatre@41, Monkgate

One for the ravers: Pants On Fire Theatre in Second Summer Of Love, Theatre@41, Monkgate, York, July 10, 7.30pm

ORIGINAL raver Louise wonders how she went from Ecstasy-taking idealist to respectable, disillusioned, suburban Surrey mum. Triggered  by her daughter’s anti-drugs homework and at peak mid-life crisis, Louise flashes back to the week’s emotional happenings and the early Nineties’ rave scene.

Writer-performer Emmy Happisburgh’s play addresses the universal themes of coming of age and fulfilling potential while offering a new perspective for conversations on recreational drug use, recovery from addiction and embracing mid-life. Box office: tickets.41monkgate.co.uk.

An old story told in a new way: Russell Lucas’s Titanic tale of Edward Dorking in Third Class at Theatre@41, Monkgate. Picture: Steve Ullathorne

Titanic struggle of the week: Russell Lucas in Third Class at Theatre@41, Monkgate, York, July 12, 3pm

EDWARD Dorking was openly gay. On Wednesday, April 10 1912, he set sail for New York on a ticket bought for him by his mother in the hope his American family could put him “right”.

Writer-performer Russell Lucas’s Third Class charts Dorking’s journey from boarding the Titanic to swimming for 30 minutes towards an already full collapsible lifeboat,  and how, on arrival in New York, he toured the vaudeville circuit as an angry campaigner against the injustices of the shipping disaster. Using music, movement, projection and text, Lucas gives a “thrilling new perspective on what feels a familiar tale”, topped off with a Q&A. Box office: tickets.41monkgate.co.uk.

Catherine Bott to receive York Early Music Festival Lifetime Achievement Award and perform readings at Le Consort concert

Catherine Bott: Soprano, broadcaster, presenter, festival artistic advisor and now recipient of the York Early Musical Festival Lifetime Achievement Award

SOPRANO singer, broadcaster and presenter Catherine Bott will be awarded the Lifetime Achievement Award at the 2025 York Early Music Festival.

The award will be presented by broadcaster, writer and artistic advisor Lindsay Kemp at the National Centre for Early Music, St Margaret’s Church, Walmgate, on Sunday immediately before the 4.45pm live edition of BBC Radio 3’s Early Music Show.

Catherine, 72, will then return as a guest to the Early Music Show alongside mezzo-soprano Helen Charlston and instrumentalists Ensemble Hesperi. Free tickets to attend the show’s recording have sold out.

Throughout her career, Catherine has been involved with the annual festival, as a performer, jury member, presenter and artistic advisor. “I’m honoured to receive a Lifetime Achievement Award from the pioneering York Early Music Festival, following in the footsteps of so many distinguished friends and colleagues from whom I’ve learnt so much,” she says. “And I’m looking forward to returning to York for a lively weekend of music and conversation.”

She joins the esteemed list of past recipients of an award that honours major figures who have made a significant difference to the world of early music: Belgian flautist Barthold Kuijken; soprano Dame Emma Kirkby; countertenor James Bowman; Spanish conductor and composer Jordi Savall; conductor Andrew Parrott; lutenist Anthony Rooley; harpsichordist and conductor Trevor Pinnock; violinist Catherine Mackintosh and trumpeter Crispian Steele-Perkins.

This year Catherine  will be appearing at the festival with the French instrumental ensemble Le Consort, reading poems that accompany Vivaldi’s Four Seasons concertos at the Sir Jack Lyons Concert Hall, University of York, on Sunday at 7.30pm.

In this celebration of the 300th anniversary of the first publication of Vivaldi’s concertos,  directed by  baroque violinist Théotime Langlois de Swarte, the four vividly pictorial and virtuosic violin concertos will be interlaid with other works by Vivaldi, and preceded by Catherine’s readings of the sonnets (perhaps written by the composer himself) that set out the scenes he evoked in music with flair, brilliance and humour.

Catherine recalls first singing in North Yorkshire at Beningbrough Hall in 1981. “Don’t ask me exactly what I did, but I can remember signing some medieval songs,” she says. “I think it was outdoors and I don’t think it was raining!”

Through the years, she has performed with the Yorkshire Baroque Soloists under conductor Peter Seymour and the Royal Northern Sinfonia at the Sir Jack Lyons Concert Hall.

She is full of praise for York Early Music Festival,  the National Centre of Early Music and, in particular, director Delma Tomlin. “Delma is a force of nature and a force for good. She and the festival have always championed early music and repertoire that’s lesser known than it should be,” says Catherine. “Thanks to Delma, the York Early Music Festival continues to go from strength to strength.”

From 2003, her role as presenter of BBC Radio 3’s Early Music Show brought her to the festival each year for a live show. “So I’m really tickled to be a guest on the show I used to present straight after receiving the award on Sunday, when I’ll be meeting presenter Hannah French for the first time,” says Catherine.

Le Consort: French ensemble’s performance of Vivaldi’s Four Seasons on Sunday will be accompanied by Catherine Bott’s readings

“It’s a lovely award to receive. I do remember in my broadcasting past presenting the award to Jamie Bowman, who said, ‘I’m not sure I want to receive this as it’s suggests it’s all over!’, but I’m happy that I’ve been able to sing with just about every musician I wanted to work with or talk to the musicians I wanted to interview.

“Now I’m joining some very esteemed company, all of whom I’ve performed with except Jordi Savall, who I interviewed!”

Catherine continues: “This award is a wonderful excuse to go back and spend time in this beautiful city crammed with characterful, beautiful concert venues. York is the natural home for this kind of festival because it’s such an historic place.

“I’ve always tried to maximise any visit to York, walking the City Walls, going to the National Railway Museum, making sure I go to Evensong at the Minster. Thi time I shall be arriving Saturday lunchtime and then going to see the evening concert by the Tallis at York Minster.”

Catherine studied at the Guildhall School of Music and Drama in London, then spent two years from the age of 22 singing everything from Bach to Berio with Swingle II, successors to the baroque-jazz crossover group The Swingle Singers, before beginning a distinguished solo career specialising in baroque music.

Among her many recordings are Bach’s St John Passion and Purcell’s Dido and Aeneas and she has premiered and recorded works by contemporary composers Craig Armstrong, Jonathan Dove and Michael Nyman.

She is a Fellow of the Guildhall School and an Honorary Fellow of Trinity Laban Conservatoire of Music and Dance. For ten years from 2003, she combined singing with regular presenting for BBC Radio, scripting and introducing more than 300 editions of The Early Music Show on BBC Radio 3, as well as hosting live evening concerts and the BBC Proms.

She has worked with BBC Radio 4 and has made documentaries on subjects ranging from Auto-Tune to Mantovani and has presented numerous editions of Pick Of The Week.

In 2013, Classic FM invited Catherine to make the move to a more informal style of music broadcasting. She stayed for a decade, with her series Everything You Ever Wanted To Know About Classical Music running for seven years. She also co-hosted The Full Works Concert and presented a live Sunday lunchtime show.

New ways of sharing her love of music continue to evolve and since 2020 Catherine has introduced live-streamed recitals from London’s Wigmore Hall and digital concerts with the Bournemouth Symphony Orchestra, viewed by many thousands worldwide.

York Early Music Festival runs from today (4/7/2025) to July 11. For full details and tickets, head to: ncem.co.uk/whats-on/yemf/.

York Early Music Festival 2025 is ready to go to Heaven or Hell from tomorrow

Mezzo-soprano Helen Charlston: Going to Heaven or Hell at York Early Music Festival. Picture: Julien Gazeau

HEAVEN & Hell will be the theme of the 2025 York Early Music Festival, a summer fiesta of 19 concerts in eight days featuring international artists from tomorrow.

The Sixteen, the Tallis Scholars and Academy of Ancient Music will be taking part, as will French orchestral ensemble Le Consort, led by rising-star violinist Théotime Langlois de Swarte, in their York debut with an “exceptional rendition of exceptional of Vivaldi’s Four Seasons – but not quite as you know it”.

The festival will intertwine three very different themes: firstly, the music of Renaissance composer Orlando Gibbons, opening with viol consort Fretwork and mezzo-soprano Helen Charlston’s My Days: Songs and Fantasias programme tomorrow at the Sir Jack Lyons Concert Hall, University of York, at 7.30pm.

Secondly, the genius of the Baroque, focusing on Bach and Vivaldi, not least the aforementioned Le Consort performance of The Four Seasons on Sunday at the Sir Jack Lyons Concert Hall at 7.30pm, when Lifetime Achievement Award 2025 recipient Catherine Bott will be the reader.

Thirdly, the strand that lends itself to the 2025 title: a reflection on Man’s fall from grace – from Heaven to Hell – in biblical times with YEMF artistic advisor and BBC New Generation artist Helen Charlston and her fellow Gramophone Award-winner, lutenist and theorbo player Toby Carr, who team up in the medieval Guildhall of the Merchant Adventurers’ Hall on July 9 from 6.30pm to 9.45pm.

“I feel very lucky to have such a bond with the York Early Music Festival,” says Helen, who was a choral scholar at Trinity College, Cambridge, studying music there from 2011 to 2014. “It’s a special festival and it feels like a special connection as I’ve been coming up for many years.

“My early memories of the festival are of doing a few years’ concerts with David Skinner’s vocal consort Alamire. I’ve also sung with the Yorkshire Bach Choir, after Peter Seymour was given my name  and I helped him out for a concert at short notice, and as so often that led to a fruitful partnership.”

Fretwork: Performing My Days: Songs and Fantasiaswith Helen Charlston at Sir Jack Lyons Concert Hall, University of York tomorrow

Helen is in the third year of her role as festival artistic advisor. “I was very honoured to be asked and it’s a lovely way to connect with music-making around the country. I don’t run the festival but I do really love music and thinking about what audiences might like to hear that they haven’t,” she says.

“I can flex my festival muscle thinking about that and it gives me the chance to suggest who could be invited to take part in the festival. For example, this year Le Consort are coming over from France. I know their work from a group called Les Arts Florissants, a French baroque ensemble who I’ve done a young artists’ projects with in Paris. I’ve got to know a few of their players and a few of them will be appearing with Le Consort.”

Festivals are the “perfect launch-pad for collaborations”, says Helen, whose July 9 programme is a case in point. In an open call for the York Early Music Festival Special Commission, NCEM Young Composers Award alumni were invited to respond to the Heaven & Hell theme by writing a piece to be performed by Charlston and Carr as part of their In Heaven & Hell…Yours To Choose programme featuring Purcell, Strozzi, Monteverdi, Charpentier and Humfrey works.

Anna Disley-Simpson has been awarded the commission from a competitive field of 24 applications for her piece Heaven Or Hell, for which she collaborated with librettist Olivia Bell, drawing inspiration from Kurt Weill for a composition that Anna promises will be  “deliberately subversive and unexpected in several ways”.

Supported by the Hinrichsen Foundation and an anonymous donor, Dorset-born, London-based Anna has received a commission fee of £2,000, plus travel and accommodation expenses within the United Kingdom to attend a workshop with the musicians in London and the York premiere.

“Toby and I are doing a programme about heaven and hell after Delma [festival director Delma Tomlin] and I were having a conversation about the York Mystery Plays and it sparked my interest in the idea of York being a place for the retelling of very graphic stories,” says Helen.

“Delma is the governor of the Merchant Adventurers, who sponsor the Last Judgement  in Mystery Play productions, and my initial idea began to spiral into thinking about  how a lot of 17th century music is about heaven and hell. Toby and I decided we wanted to look at performing religious music by composers whose secular works we’ve shared with the festival audience.”

Composer Anna Disley-Simpson

Those works will be complemented by Disley-Simpson’s commission. “We had a whole heap of wonderful ideas put to us by applicants from the Young Composers scheme and had  a lovely day chatting with eight composers before we selected Anna,” says Helen.

“Anna’s piece is wonderful:  a monologue with a second character welcoming you to purgatory, where you have to decide which route you will take, to heaven or hell. I think it’s got something about it that the audience will not quite expect!

“I hope other people will take her work up as a song as I always want to encourage others to perform works to see how they develop when I’ve commissioned a piece.”

In further highlights, The Tallis Scholars present Glorious Creatures at York Minster on Saturday, 7.30pm; The Sixteen perform Angel Of Peace  at York Minster, July 7, 7.30pm, and the Spanish ensemble Cantoria present A La Fiesta!, a sizzling array of ensaladas and villancicos, at St Lawrence Church on July 8, 7pm (sold out).

Swiss-based medievalists Sollazzo return to York for the first time since winning a prestigious Diapason d’Or award to present The Angels Are Singing at the NCEM on July 10, 7pm.

The festival will finish with a flourish in the company of the Academy of Ancient Music and their leader, violinist Bojan Čičić in a celebration of Bach’s violin concertos at the Sir Jack Lyons Concert Hall on July 11, 7pm.

The full programme and booking details can be found at ncem.co.uk/whats-on/yemf/. Bookings also can be made on 01904 658338, via boxoffice@ncem.co.uk and in person at the NCEM, Margaret’s Church, Walmgate, York.  

Violinist Bojan Čičić: Leading the Academy of Ancient Music in a celebration of Bach’s violin concertos at the Sir Jack Lyons Concert Hall on July 11

Copyright of The York Press

What’s On in Ryedale, York & beyond. Hutch’s List No. 28, from Gazette & Herald

Richard Hawley: Playing Coles Corner with strings attached at Futuresound Group’s Live At York Museum Gardens concert on Saturday. Picture: Dean Chalkley

AS the outdoor concert season awakens, a festival goes to heaven and hell and Jane Austen has unfinished business in Charles Hutchinson’s list for the upcoming week.

Open-air concerts of the week: Futuresound Group  presents Live At York Museum Gardens, Elbow, tomorrow; Nile Rodgers & CHIC, Friday; Richard Hawley, Saturday; gates open at 5pm

LEEDS promoters Futuresound Group’s second summer of outdoor concerts in York begins with Bury band Elbow’s sold-out show tomorrow, when Ripon singer-songwriter Billie Marten and Robin Hood’s Bay folk luminary Eliza Carthy & The Restitution support.

New York guitarist, songwriter and producer Nile Rodgers and CHIC revel in Good Times, Le Freak, Everybody Dance and I Want Your Love on Friday, supported by Maryland soul singer Jalen Ngonda and Durand Bernarr. Sheffield guitarist and crooner Richard Hawley revisits his 1995 album Coles Corner with a string section on its 20th anniversary on Saturday, preceded by Leeds band English Teacher and Manchester-based American songwriter BC Camplight, introducing his new album, A Sober Conversation. Box office: seetickets.com.

Bridget Christie: Late replacement for Maisie Adam at York Comedy Festival on Sunday. Picture: Natasha Pszenicki

Comedy bill of the week: Futuresound Group presents Live At York Museum Gardens, York Comedy Festival, Sunday, 2.30pm to 7.30pm

HARROGATE comedian Maisie Adam will not be playing the inaugural York Comedy Festival this weekend after all. The reason: “Unforeseen circumstances”. Into her slot steps trailblazing Bridget Christie, Gloucester-born subversive stand-up, Taskmaster participant and writer and star of Channel 4 comedy-drama The Change.

More than 90 per cent of tickets have sold for the Sunday fun-day bill topped by Dara Ó Briain and Katherine Ryan. Angelos Epithemiou, Joel Dommett, Vittorio Angelone, Clinton Baptiste and Scott Bennett feature too, hosted by “the fabulous” Stephen Bailey. Tickets are on sale at york-comedy-festival.com.

The Sixteen: Performing Angel Of Peace programme at York Minster on July 7 at York Early Music Festival

Festival of the week:  York Early Music Festival, Heaven & Hell, Friday to July 11

EIGHT days of classical music add up to 19 concerts featuring international artists such as The Sixteen, The Tallis Scholars, Academy of Ancient Music, viol consort Fretwork & Helen Charlston and the York debut of Le Consort, performing Vivaldi’s Four Seasons “but not quite as you know it”.

Directed by Delma Tomlin, the festival weaves together three main strands: the 400th anniversary of Renaissance composer Orlando Gibbons, the Baroque music of Vivaldi and Bach and reflections on Man’s fall from grace, from Heaven to Hell. Full programme and tickets at ncem.co.uk/whats-on/yemf/. Box office: 01904 658338.

Belle Voix Trio: Nostalgic night of Motown and Northern Soul at Kirk Theatre, Pickering, on Friday

Tribute show of the week: Belle Voix Trio, A Night Of Motown & Northern Soul, Kirk Theatre, Pickering, Friday, 7.30pm

BELLE Voix Trio bring 30 Motown and Northern Soul hits to the Pickering dancefloor, from Do I Love You (Indeed I Do) to Tainted Love, Ain’t No Mountain High Enough to The Night. Sandy Smith, Sophie Mairi and Briony Gunn’s singing credits include London’s West End, cruise liners and luxury hotels. Box office: 01751 474833 or kirktheatre.co.uk.

The Script: Making third appearance at Scarborough Open Air Theatre on Saturday

Coastal gig of the week: The Script and Tom Walker, Scarborough Open Air Theatre, Saturday; gates open at 6pm

THE Script head to the Yorkshire coast this weekend as part of the Irish rock-pop act’s Satellites UK tour, completing their hat-trick of Scarborough Open Air Theatre visits after appearances in 2018 and 2022.

Danny O’Donoghue (vocals), Glen Power (drums), Ben Sargeant (bass) and Ben Weaver (guitar) have six number one albums to their name. Special guest Tom Walker, the Scottish singer-songwriter, performs songs from 2019 chart topper What A Time To Be Alive and 2024’s I Am. Box office: scarboroughopenairtheatre.com.

Dianne Buswell and Vito Coppola: Red Hot and Ready to dance at York Barbican with the Burn The Floor dancers

Dance show of the week: Burn The Floor presents Dianne & Vito, Red Hot & Ready!, York Barbican, Sunday, 7.30pm

STRICTLY Come Dancing’s stellar professional dancers, 2024 winner Dianne Buswell and 2024 runner-up Vito Coppola are Red Hot and Ready to perform a dance show with a difference, choreographed by BAFTA award winner Jason Gilkison.

The dream team will be joined by a cast of multi-disciplined Burn The Floor dancers from around the world. Box office: yorkbarbican.co.uk.

Ione Harrison: Mounting Season Songs exhibition at Helmsley Arts Centre

Exhibition launch of the week: Ione Harrison, Season Songs, Helmsley Arts Centre, July 8 to September 5; private view, July 6, 2pm to 4pm

WELBURN landscape painter and watercolour workshop leader Ione Harrison’s Season Songs exhibition depicts the rhythm of the year in serene, dynamic and joyful paintings that explore seasonal changes in mood, colour and light in the natural world.

Ione, whose teaching career has taken her to France, the Middle East, Turkey and Nepal, creates vibrant, atmospheric paintings, working primarily in watercolour and ink.  She is influenced in particular by the heat-soaked colours of Asia and the Middle East.

Vicki Mason’s Margaret Watson, Beaj Johnson’s Tom Musgrave and Becca Magson’s Emma Watson in 1812 Theatre Company’s production of The Watsons

Play of the week: 1812 Theatre Company in The Watsons, Helmsley Arts Centre, July 9 to 12, 7.30pm

WHAT happens when the writer loses the plot? Emma Watson is 19 and new in town. She has been cut off by her rich aunt and dumped back in the family home. Emma and her sisters must marry, fast.

If not, they face poverty, spinsterhood, or worse: an eternity with their boorish brother and his awful wife. Luckily there are plenty of potential suitors, from flirtatious Tom Musgrave to castle-owning, awkward Lord Osborne.

One problem: Jane Austen did not finish the story. Who will write Emma’s happy ending now? Step forward Laura Wade, who takes her incomplete novel to fashion a sparklingly witty play that looks under the bonnet of Jane Austen to ask: what can characters do when their author abandons them? Pauline Noakes directs resident company 1812 Theatre Company’s production. Box office: 01439 771700 or helmsleyarts.co.uk.  

More Things To Do in York & beyond when you need to know your arts from your Elbow. Hutch’s List No. 28, from The Press

Olly Murs: Returning to familiar turf at York Racecourse’s first Summer Music Saturday meeting this afternoon

AS the outdoor concert season awakens, a festival goes to heaven and hell and a koala tries something new in Charles Hutchinson’s list for the upcoming week.

Back on track: Olly Murs, York Racecourse, Summer Music Saturday, today, first race at 1.55pm; last race, 5.25pm, followed by concert

ESSEX singer, songwriter, actor and television personality from Olly Murs completes his hat-trick of appearances at York Racecourse this weekend, having played the Knavesmire track in 2010 and 2017.

Performing after today’s race card, his set list will draw on his seven albums and 25 singles, including the number ones Please Don’t Let Me Go, Heart Skips A Beat, Dance With Me Tonight and Troublemaker. Race day tickets: yorkracecourse.co.uk.

Marcelo Nisinman: Argentinean bandoneon player, performing Martin Palmeri’s Misatango at York Guildhall today

Reverence and rhythm of the week: Prima Choral Artists presents Scared Rhythms: From Chant To Tango, York Guildhall, The Courtyard, Coney Street, York, tonight, 7.30pm

ARGENTINEAN bandoneon maestro and composer Marcelo Nisinman performs Martin Palmeri’s Misatango as the finale to director Eve Lorian’s Sacred Rhythms – From Chant To Tango concert.

He joins the 60-strong Prima Choral Artists choir, pianist Greg Birch, Yorkshire mezzo-soprano soloist Lucy Jubb and the New World String Quintet for tonight’s journey through sacred and spiritual choral music. Box office: primachoral.com.

Justin Moorhouse: Giving two of the greatest performances of his life at Pocklington Arts Centre this weekend

Comedy gigs of the week: Justin Moorhouse, The Greatest Performance Of My Life, Pocklington Arts Centre, today, 3pm and 8pm

ASHTON-UNDER-LYNE comedian, radio presenter and actor Justin Moorhouse covers subjects ranging from pantomimes to dreams, how to behave in hospitals, small talk, realising his mum is a northern version of Columbo, and how being a smart-mouthed child saved him from a life of continually being beaten up. Funny, interesting, perhaps it will warm the soul too. Box office:  01759 301547 or pocklingtonartscentre.co.uk.

Bluebird Bakery: Makers’ Summer Fair on Sunday in Acomb

Arts and crafts of the week:  Makers’ Summer Fair, Bluebird Bakery, Acomb Road, Acomb, Sunday, 10am to 3pm; The Fox Summer Craft Market, The Fox Inn, Holgate Road, York, Sunday, 1pm to 5pm

ARTISAN baker and cafe Bluebird Bakery plays host to York artists and makers’ craft, jewellery, print, ceramic, plant, candle and woodwork stalls under one roof.  Meanwhile, The Fox Inn holds its second annual Summer Craft Market, featuring live music, handmade gifts, craft stalls and street food vendors.  

Swift service: Xenna pays homage to Taylor in Miss Americana at York Barbican

Tribute gig of the week: Miss Americana: The Eras Experience, A Tribute To Taylor Swift, York Barbican, Sunday, 7.30pm

STEP into Step into world ofTaylor Swift and her Eras experience in Xenna’s homage to the Pennsylvania  pop sensation’s music, style and stage presence, from her country roots to such hits as Love Story, Blank Space and Shake It Off. Cue replica costume changes, storytelling and dancers too. Box office: yorkbarbican.co.uk.

Dawn Landes: Amplifying the voices of women who fought for equality at Rise@Bluebird Bakery, Acomb

Country gig of the week: Dawn Landes, Rise@Bluebird Bakery, Acomb, York, July 2, 8pm

AMERICAN country roots singer-songwriter Dawn Landes showcases The Liberated Woman’s Songbook, her March 2024 album that re-imagines music from the women’s liberation movement.

Inspired by a 1971 songbook of the same name, Landes breathes new life into powerful songs spanning 1830 to 1970, amplifying the voices of women who fought for equality throughout history. Box office: seetickets.com/event/dawn-landes/rise-bluebird/.

James Sheldon’s Mr Darcy and Rosa Hesmondhalgh’s Lizzy Bennet in Pride And Prejudice at the SJT, Scarborough

Introducing America’s most performed living playwright to North Yorkshire: Pride And Prejudice, Stephen Joseph Theatre, Scarborough, July 3 to 26, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees

LOTTE Wakeham directs American writer Kate Hamill’s adaptation of Jane Austen’s story of love, misunderstandings and second chances, staged with music, dancing,  humour aplenty and a cast led by Rosa Hesmondhalgh’s Lizzy Bennet (CORRECT) and James Sheldon’s Mr Darcy in a whirl of Regency parties and courtship as hearts race, tongues wag and passions swirl around the English countryside. Box office: 01723 370541 or sjt.uk.com.

The Koala Who Could: Up a tree at York Theatre Royal for three days next week. Picture: Pamela Raith

Children’s show of the week: The Koala Who Could, York Theatre Royal, July 3, 1.30pm; July 4, 10.30am and 4.30pm; July 5, 11am and 2pm 

JOIN Kevin the koala, Kangaroo and Wombat as they learn that “life can be great when you try something new” in this adaptation of Rachel Bright and Jim Field’s picture book, directed by Emma Earle, with music and lyrics by Eamonn O’Dwyer.

Danny Hendrix (Wombat/Storyteller 1), Sarah Palmer (Cossowary/Storyteller 2) and Christopher Finn (Kevin/Storyteller 3) perform this empowering story of embracing change – whether we like it or not. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Richard Hawley: Playing Coles Corner with strings attached at Live At York Museum Gardens on July 5. Picture: Dean Chalkley

Open-air concerts of the week: Futuresounds presents Live At York Museum Gardens, Elbow, July 3; Nile Rodgers & CHIC, July4; Richard Hawley, July 5; gates open at 5pm

LEEDS promoters Futuresound Group’s second summer of outdoor concerts in York begins with Bury band Elbow’s sold-out show next Thursday, when Ripon singer-songwriter Billie Marten and Robin Hood’s Bay folk luminary Eliza Carthy & The  Restitution support.

New York guitarist, songwriter and producer Nile Rodgers and CHIC revel in Good Times, Le Freak, Everybody Dance and I Want Your Love next Friday, supported by Maryland soul singer Jalen Ngonda. Sheffield guitarist and crooner Richard Hawley revisits his 1995 album Coles Corner with a string section on its 20th anniversary next Saturday, preceded by Leeds band English Teacher and Manchester-based American songwriter BC Camplight. Box office: seetickets.com.

Le Consort: French orchestral ensemble, making York debut with Vivaldi concert at National Centre for Early Music on July 6

Festival of the week:  York Early Music Festival, Heaven & Hell, July 4 to 11

EIGHT days of classical music adds up to 19 concerts featuring international artists such as The Sixteen, The Tallis Scholars, Academy of Ancient Music, viol consort Fretwork & Helen Charlston and the York debut of Le Consort, performing Vivaldi’s Four Seasons “but not quite as you know it”.

Directed by Delma Tomlin, the festival weaves together three main strands: the 400th anniversary of Renaissance composer Orlando Gibbons, the Baroque music of Vivaldi and Bach and reflections on Man’s fall from grace, from Heaven to Hell. Full programme and tickets at ncem.co.uk/whats-on/yemf/. Box office: 01904 658338.

In Focus: Harry Baker, Wonderful 2.0, The Crescent, York, Sunday (29/6/2025)

Poet, mathematician and world slam champ Harry Baker

YOUNGEST ever World Poetry Slam champion Harry Baker’s two Wonderful 2.0 shows at The Crescent , York, tomorrow have sold out. Wonderful news for Harry; not so wonderful if you were yet to book for either bite of the poetic cherry, the 3.30pm all-ages matinee or 7pm evening event.

Enough negativity. Let this preview be suffused with positivity. “One thing that I know that I will always find amazing is what a thing it is to live a life,” posits Maths graduate Harry, who always looks for plus signs. “P.S. Let’s also do this loads before we die.”  Good, because that means Baker will be back and next time you can be quicker off the mark.

Baker, the 34-year-old poet, mathematician, writer and comedy turn from Ealing, London, first spread his Wonderful wings from April to August 2024, visiting The Crescent on May 20 with poems about wellies, postcodes and his favourite German wheat beer Schöfferhofer on his sold-out 40-date itinerary.

At the time, the “Maths-loving, TED-talking, German-speaking, battle-rapping, happy-crying, self-bio-writing unashamed human” said:  “After the mental health struggles I shared in my last show, this time around the plan was to have a fun time touring a fun show full of fun poems to celebrate coming out of the other side. But it hasn’t quite worked out like that.

“For the first time ever I have been to more funerals than weddings in the last year. I have hit the age where everyone around me is either having babies or talking about having babies or definitely not having babies, and found out first-hand how complicated and painful that can be. And yet I am more fascinated and amazed by the world around me than ever before.”

Harry added: “From the transformational power of documenting moments of everyday joy to the undeniable raw energy of performing a garage song about Greta Thunberg, I am learning more than ever that life can indeed be incredibly hard sometimes, but that doesn’t make it any less incredible.

“If anything, it is the darkness that helps us to appreciate the light, just as it is the puddles that help us to appreciate the wellies. And what could be more wonderful than sharing all of this with the glorious folk who come along after reading about it here.”

Now he returns with a new message to accompany his poems about “all the important stuff, like hope, dinosaurs and German falafel-spoons”. “May one thing match the gravity of all you’ve ever done. This wonderful reality: The best is yet to come,” Harry pronounces.

“More full of wonder than ever”, he will celebrate wellies and postcodes once more, funerals and fertility journeys too, in his trademark amalgam of the playful, the vulnerable and the hopeful.

How would he sum up Wonderful 2.0? “I like ‘Wonderfuller’. It doesn’t quite roll off the tongue, but I like the connotation,” he says.

“Wonderful 2.0 hopes to make you cry with laughter, laugh through tears, or, dream scenario: both. The show will contain old faves as well as brand new work, celebrating what a thing it is to live a life.”

“What I ended up doing was I started writing a poem a day for the first 100 days of my son’s life, though ‘poems’ would be a generous description of the first ones,” says Harry

For all his popularity on TikTok and Instagram, Baker’s favourite place to be is still on stage in front of an audience, sharing his words in person. “By its very nature, I don’t think it makes sense for poetry to go viral,” he says.

“It is all about taking the time out of your day-to-day to stop and pay attention to the world and the wonder it contains, which it feels like so many of us are too busy to be able to carve out time to do. And yet I think it is precisely this reason why people have been able to connect with my work so much.

“From the vulnerability of sharing my own personal struggles with trying to conceive a baby, to the power of making list of requests in advance of what I would like to happen when I die (an obnoxious amount of sunflowers and negronis all round, please), or even just a stupid (yet subversive?) poem about how great my knees are, there is a playfulness and poignancy that has changed the way others look at the world too.”

Harry continues: “I have been performing for 15 years now and last year’s tour was my favourite by far, because of the openness audiences were willing to bring and share in, so that we could all have a cry and a laugh and go away feeling slightly more connected to one another and the world, and I am so excited for a chance to do this all over again.”

Assessing where he fits in as a performer, Harry decides: “I think I fall somewhere in between a band (where you hope they will do your favourite songs) and a stand-up (where you expect new material!). So, as well as keeping in the classics, I have updated the show with new poems about everything that has happened in the meantime, including (finally and joyfully) having a baby.”

Wonderful 2.0 picks up where Wonderful left off, knowing his “whole life was about to change but not knowing how he would feel”. It turns out that becoming a father, and experiencing a deep love for his child, has heightened his connection with the world around him, rather than numbed it.

“What I ended up doing was I started writing a poem a day for the first 100 days of my son’s life, though ‘poems’ would be a generous description of the first ones!

“People say ‘it’s the best thing in the world’ or that ‘you’re going to lose everything you’ve enjoyed’, so I thought to be able to have all these snapshots in the poems means you can have days where you were in the moment, thinking how fragile and precious life is, but also have days where it doesn’t feel like that, especially in those early days, when if feels like ‘this is it, it will never change’.

“But having written these things, less than a year later, I look back and feel like ‘I think you’re being a bit dramatic’…but that’s fine because some of it felt amazing, sometimes it felt raw and spiky.

“Hopefully these poems will feel precious to me and my wife, and by sharing them, anyone who has recently has a baby will connect with them, or, like my parents, they can relate with them, and those who haven’t had a kid can connect with these basic emotions.”

Harry’s aim was to “capture the newness, the helplessness and the tenderness, not to create a parenting manual”. To detach from the practice of finding punchlines to jokes felt important in his writing. “I wanted to lean into the emotional side of it and that’s something that changes from day to day,” he says.

“This is the point in between where you can say ‘life can be difficult but also amazing, and if anything, one heightens the other’,” says Harry

Harry had written candidly about how long it took the couple to become pregnant. “To be so honest about that painful experience gave permission to connect with that, and now these new poems feel like an evolution,” he says.

“People have thanked me for ‘saying things they couldn’t’. I’ve been trying to open up in a way that is safe for me and safe for others, and having honed those skills, or muscles, I was ready to apply it to the new poems.

“It’s also trying to acknowledge that just because I have this child and this joyful outcome, it doesn’t negate the experience I’ve been through.”

The sequel to his Wonderful poetry collection will be published by Canongate next March. “This is the point in between where you can say ‘life can be difficult but also amazing, and if anything, one heightens the other’. If you can share the hard times with people, just as you share the joyous times, they’re more bearable for that.”

Poems have an intensity that suits the combative nature of slams. “When I started out, I was entering these poetry slams where you have to say everything in three minutes, win over the audience, be funny, get them on board, deliver a message, wrap it up and send it off into the sunset,” says Harry.

“That was such a good training ground because you have to convey things in such a short space of time. That’s why these Wonderful shows are such a joy to do, particularly when the poems can feel vulnerable and heartfelt, and it’s up to you where you take it next.”

Next year’s poetry collection, Tender, will reflect that. “Why ‘Tender’? I think it was that thing of wanting to lean into the feeling of vulnerability, but as well as the connotation of being tender where you feel bruised, there’s the ripeness and readiness too.”

Did you know?

HARRY Baker’s honest, heartfelt and hopeful poems have reached more than ten million people on TikTok  and Instagram.

Raised in a Christian community, Baker is a regular contributor to BBC Radio 2’s Pause For Thought.

He tours the UK in comedy-rap-jazz duo Harry and Chris Baker, also appearing on The Russell Howard Hour.

Baker released his third poetry collection, Wonderful, in May 2024, featuring fan favourites Wellies, Sunflowers and Sticky Toffee Pudding. Published by Burning Eye, copies are available at gigs, all good bookshops and www.harrybaker.co.

Welcome to Heaven & Hell as York Early Music Festival announces 2025 theme and international artists for July 4 to 11 event

Festival commission: BBC New Generation artist and mezzo soprano Helen Charlston will perform a new Anna Disley-Simpson work with theorbo player Toby Carr in In Heaven & Hell…Yours To Choose on July 9 at Merchant Adventurers’ Hall, York, at 6.30pm. Picture: Julien Gazeau

HEAVEN & Hell will be the theme of the 2025 York Early Music Festival, a summer fiesta of 19 concerts in eight days featuring international artists from July 4 to 11.

The Sixteen, the Tallis Scholars and Academy of Ancient Music will be taking part, as will French orchestral ensemble Le Consort, led by rising-star violinist Théotime Langlois de Swarte, in their York debut with an “exceptional rendition of exceptional of Vivaldi’s Four Seasons – but not quite as you know it”.

The festival will intertwine three very different themes: firstly, the music of Renaissance composer Orlando Gibbons, opening with viol consort Fretwork (Friday, July 4); secondly, the genius of the Baroque, focusing on Vivaldi’s Four Seasons (Sunday, July 6).

Thirdly, the strand that lends itself to the 2025 title: a reflection on Man’s fall from grace – from Heaven to Hell – in biblical times with YEMF artistic advisor and BBC New Generation artist Helen Charlston and her fellow Gramophone Award-winner, lutenist and theorbo player Toby Carr (Wednesday, July 9) in the medieval Guildhall of the Merchant Adventurers’ Hall.

Fretwork: Viol consort will open York Early Music Festival with Renaissance music of Orlando Gibbons in My Days: Songs and Fantasias with mezzo soprano Helen Charlston on July 4 at 7.30pm at Sir Jack Lyons Concert Hall, University of York

The Tallis Scholars (Saturday, July 5) and The Sixteen (Monday, July 7) will share their programmes in the glorious surroundings of York Minster; the Spanish ensemble Cantoria (Tuesday, July 8) will present a sizzling array of ensaladas and villancicos in their A La Fiesta programme and Swiss- based medievalists Sollazzo (Thursday, July 10) will return to York for the first time since winning a prestigious Diapason d’Or award.

The festival will finish with a flourish in the company of the Academy of Ancient Music and their leader, violinist Bojan Čičić (Friday, July 11) in a celebration of Bach’s violin concertos.

York Early Music Festival continues to support emerging musicians with invitations to two 2024 York Early Music Festival Young Artists Competition winners, Ayres Extemporae and Ensemble Bastion.

Once again, the festival will showcase a variety of York’s beautiful historic buildings, such as the Minster, the medieval Merchant Adventurers’ Hall and the intriguing hidden architectural gem Bedern Hall.

The Sixteen: Returning to York Minster to present Angel Of Peace on July 7 at 7.30pm

In an open call for the York Early Music Festival Special Commission, NCEM Young Composers Award alumni were invited to respond to the Heaven & Hell theme by writing a piece to be performed by Charlston and Carr as part of their In Heaven & Hell…Yours To Choose programme featuring Purcell, Strozzi, Monteverdi, Charpentier and Humfrey works on July 9.

Anna Disley-Simpson has been awarded the commission from a competitive field of 24 applications for her piece Heaven Or Hell, for which she will collaborate with librettist Olivia Bell, drawing inspiration from Kurt Weill. Expect her composition to be “deliberately subversive and unexpected in several ways,” Anna promises.

Supported by the Hinrichsen Foundation and an anonymous donor, Anna will receive a commission fee of £2,000, plus travel and accommodation expenses within the United Kingdom to attend a workshop with the musicians in London and the York premiere.

Looking forward to the July event, festival director Dr Delma Tomlin says: “We are thrilled to welcome friends old and new to what promises to be a fantastic celebration of music from an outstanding array of artists.

Le Consort: French orchestral ensemble will make York Early Music Festival debut on July 6, performing Vivaldi’s Four Seasons at Sir Jack Lyons Concert Hall, University of York, at 7.30pm

“Celebrating over 500 years of music from across Europe, we are particularly delighted to be able to welcome ensembles from France, Switzerland, Poland, Spain and the Netherlands to our wonderful city. We look forward to welcoming visitors and residents alike to eight wonderful days of music-making.”

The full programme and booking details can be found at ncem.co.uk/whats-on/yemf/. Bookings also can be made on 01904 658338, via boxoffice@ncem.co.uk and in person at the NCEM, Margaret’s Church, Walmgate, York.  

York Early Music Festival: the back story

ESTABLISHED in 1977, the festival is designed to celebrate York’s myriad of medieval churches, guildhalls and historic houses through historically informed music-making of the highest international standard.

The annual event is the “jewel in the crown” of the National Centre for Early Music’s annual programme, enjoyed by York residents and visitors from all over the UK and across the world.

The Tallis Scholars: Performing Glorious Creatures programme at York Minster on July 5 at 7.30pm. Picture: Hugo Glendinning

Violinist Mark Seow appointed artistic adviser to York Early Music Festival

“I’m delighted to be joining this fabulous organisation as artistic adviser and working with this talented team in the beautiful city of York,” says Mark Seow

VIOLINIST, musicologist , writer and broadcaster Mark Seow is the new addition to York Early Music Festival’s team of artistic advisers.

He joins mezzo-soprano and BBC Radio 3 New Generation Artist Helen Charlston, music writer and producer Lindsay Kemp, University of York Emeritus Professor of Music and Yorkshire Baroque Soloists & Choir director Peter Seymour and University of Huddersfield Emeritus Professor of Music and Rose Consort of Viols member John Bryan.

“I’m delighted to be joining this fabulous organisation as artistic adviser and working with this talented team in the beautiful city of York,” says Mark. “I’ve always been a huge admirer of the world-class York Early Music Festival, which continues to go from strength to strength, attracting the finest musicians to the city.”

Festival director Dr Delma Tomlin says: “We’re very pleased to welcome Mark to York Early Music Festival’s talented team, whose input is so important to the development and profile of this hugely popular annual celebration of early music. 

“I’m sure that Mark’s wealth of experience and enthusiasm will be invaluable assets and I’m sure he will enjoy his time in this beautiful city.”

After studying Baroque violin at the Royal Academy of Music in London, Seow received his doctorate in the music of Johann Sebastian Bach from the University of Cambridge.

He has performed at the Wigmore Hall (London), St Thomas Church (Leipzig), Philharmonie (Berlin) and Palais Garnier (Paris), working with directors such as John Eliot Gardiner, Masaaki Suzuki, Rachel Podger, Harry Bicket and Trevor Pinnock. He has even performed with the Orchestra Of The Age Of Enlightenment in the Royal Albert Hall and a pub!

Seow has been a broadcaster for BBC Radio 3 since 2021, presenting more than 50 editions of The Early Music News. His documentary for BBC Radio 4, Eastern Classical, was shortlisted for a Royal Philharmonic Society Award in 2024. He has worked for Decca Classics, Bach Network and Bärenreiter and has been a critic for Gramophone magazine since 2019.

He taught at the University of Cambridge, where in 2023 he was AHRC DTP Fellow in Music, and now holds a position in the University for Music and Performing Arts department of musicology in Vienna.

His recordings include Mozart’s Die Zauberflöte and Handel’s Messiah and he premiered the electronic-choral work Lark Ascending Remixed at London’s Southbank Centre.

REVIEW: Steve Crowther’s verdict on York Early Music International Young Artists Competition, NCEM, York, July 13

Ayres Extemporae: Picked by reviewer Steve Crowther and the judges alike for the first prize in the York Early Music International Young Artists Competition

THIS seriously prestigious biennial competition at the National Centre for Early Music showcased an outstanding concert of “emerging talent in the world of music”. Although having just quoted from the informative programme, the eight ensembles seemed pretty much “emerged” to my ears.

The first to perform were Trio Altizans (The Netherlands): Eriko Nagayama, violin; Antonio Pellegrino, violoncello; Agata Sorotokin, fortepiano.

THEIR programme, entitled Geister Medley, opened with the Largo Assai Ed Espressivo from Beethoven’s Piano Trio no. 5 in D major, op. 70 no. 1. The Trio captured the spooky, impressionistic tone of the movement. The work is nicknamed ‘the Ghost Trio’ (a response by Carl Czerny to this eerie middle movement).

Trio Altazans: “Performance was focused, lively and the knitting together of different themes worked well”

The performance reminded me how Gothic the music is – creepy bass tremolos in the piano etc. The fragmentary motifs, harmonies that had an instability – quite modern stuff really, but they made a convincing narrative throughout.

From Beethoven to Schubert and the last movement Allegro moderato from the great Piano Trio no. 2 in E flat major, D. 929. I thought the performance was focused, lively and the knitting together of different themes worked well, as did the closing triumphant ending. Not sure of the “early music” label here but I enjoyed it none the less.

Ensemble Bastion, from Switzerland

Ensemble Bastion (Switzerland): Maruša Brezavšček, recorder; Martin Jantzen, viola da gamba; Elias Conrad, theorbo; Mélanie Flores, harpsichord.

NOW this programme, entitled Les Goûts Réunis: The United Musical Tastes “takes its name from a collection of suites by François Couperin, reflecting the high-Baroque period’s rivalry between the musical centres of Italy and France” (programme note).

The programme opened with François Couperins Échos from his Concerts Royaux. I was impressed by the stylish ornamentation and the instinctive engagement between the players. The echoes, or echo effects, were charming.

Ensemble Bastion: “Stylish ornamentation and the instinctive engagement between the players”

Arcangelo Corelli’s Sonata IV in F major, op. 5 was originally ornament-free until composer Johan Helmich Roman (among others) had his say. This was indeed ornament-rich and a joy to listen to.

They closed with Georg Philipp Telemann’s Sonata a Flute Dolce, Dessus de Viole e Basse. This was joy too, the slow movement so gently teased out. But it was the clear canonic dialogue throughout that stayed with me.

[hanse]Pfeyfferey, from Germany. Picture: Vasilisa Gorbacheva

[hanse]Pfeyfferey (Germany): Laura Dümpelmann, shawms; Lilli Pätzold, cornetto; Alexandra Mikheeva, slide trumpet, trombone; Emily Saville, trombone.

WHO could object to an early music programme entitled: Party Like It’s 1524. Their programme note didn’t start promisingly: “In addition to our unwavering commitment to authentically merge musical practice with associated musicology and theory…”

But it perked up with “…we draw inspiration from the timeless human need to enjoy good company, food, drink and music”. Amen to that.

[hanse]Pfeyfferey: “Performers radiated energy playing the music”

I had never heard of the composer Ludwig Senfl so I did a bit of Google listening. I thought the conservative sacred music was quietly impressive, but it was the secular, humanist songs that we were treated to here.

These were full of life and the performers radiated energy playing the music. So too the Improvisations. The performances so seductive, so infectious and, in the case of Isaac’s Lala Höhö and Zwischen Berg Und Tiefe Tal genuinely touching.

P.S. Ludwig Senfl studied with the great Heinrich Isaac and lost a toe in a hunting exercise. Now there’s one for the pub quiz.

Apollo’s Cabinet

Apollo’s Cabinet (UK): Teresa Wrann, recorder; Thomas Pickering, harpsichord, traverso, recorder; David Lopez Ibanez, violin; Harry Buckoke, viola da gamba; Jonatan Bougt, theorbo, Baroque guitar; Daniel Watt, percussion.

THIS programme was entitled Musical Wanderlust: Charles Burney’s European Travels In Pursuit Of Harmony. Mercifully this concert was far more enjoyable than the turgid description would have had us believe. It was an attractive musical travelogue around pre-Brexit Europe through the eyes, ok the diaries, of Charles Burney.

Apollo’s Cabinet: “Attractive musical travelogue around pre-Brexit Europe”

I absolutely loved the whole set. It reminded me a little of Red Priest, who might just have been an influence. This was revisiting Vivaldi, Buxtehude and the holiest of spiritual grails, Bach’s Goldberg Variations, from another perspective; a completely bonkers one.

Of the four prizes on offer this early music band must surely be a contender for one of them. “The most fun-filled, brilliantly whacky prize goes to…”

Rubens Roza, from Switzerland

Rubens Roza (Switzerland): Aliénor Wolteche, medieval fiddles; Matthieu Romanens, tenor; Mélina Perlein-Féliers, medieval harps; Elizabeth Sommers, medieval fiddle, viola d’arco; Asako Ueda, medieval lute, Renaissance guitar.

A PROGRAMME entitled Warblings Of Paradise didn’t seem terribly inviting. Thankfully we had a note of explanation: “In Dante’s Paradise, music is the supreme joy of mankind. The pieces we are going to perform have both sacred and secular aspects and will give full rein to the sounds of heavenly instruments; harps, lutes, vielles and voice will alternate and blend to celebrate the harmony of souls.”

THE recital opened with Guiraut Riquier’s Aisi Com Es Sobronrada (from Chansonnier Provençal – La Vallière). This is intended to be a “declaration of love made to the Virgin”. And yet…tenor Matthieu Romanens was himself seductively serenaded by Aliénor Wolteche (medieval fiddle) and Mélina Perlein-Féliers (medieval harp) without, as far as I could see, much resistance. Mr Romanens has a lovely rich tenor voice with a particularly resonant lower register, which is rare.

Rubens Rosa: “A touching intimacy and a velvety richness in colour”

Following Rubens Rosa’s very engaging rustic dance, Estampie, we were back to Hail Mary, full of grace. There was a touching intimacy and a velvety richness in colour. Very enjoyable.

As indeed was Robert Morton’s instrumental N’aray Je Jamais Mieux Que J’ai, where the introduction of the viola d’arco (Elizabeth Summers) really enriched the tonal palette. Then back to Matthieu Romanens’ tenor voice in a dignified Fortuna Desperate (Anonymous). If you closed your eyes, his voice sounded more like a baritone than a tenor.

Their recital closed with a foot-tapping, rustic Laudato Sia Dio (Dindirindin). The call and response, the energy and rhythmic hemiola shifts (think Bernstein’s America) recharged the soul. Maybe.

Pseudonym, from Switzerland. Picture: Vivianne Caragea

Pseudonym (Switzerland): Liane Sadler Baroque, traverso; Maya Webne-Behrman, violin; Stephen Moran, viola da gamba; Gabriel Smallwood, harpsichord.

PROGRAMME entitled Broken Colours. The notes describe this theme as: “To showcase the wide range of colours and sonic possibilities of this instrumentation, Broken Colours draws on various collections from different composers published throughout the first decades of the seventeenth century. Together they represent a cohesive survey of the prevailing instrumental genres and compositional hallmarks of the time…”

The recital opened with Dario Castello’s Nona Sonata à Tre (from Sonate Concertate In Stil Moderno, Libro Primo, 1621). To be honest I know very little about Dario Castello’s music but what I have heard I liked immensely. As the description “moderno” suggests, his music is progressive, exploring “new formal structures and means of expression” (programme note). I think this freshness did come across; the performance was tight, stylish and full of energy.

Pseudonym: “An infectious, foot-tapping pleasure”

Other Baroque pioneer composers also featured in the recital. I thought the ensemble’s performance of Tarquinio Merula’s Ballo Detto Eccardo was extremely expressive and gave Liane Sadler (traverse flute) an opportunity to shine. Which she did. Biagio Marini’s La Foscarina, Sonata a 3, Con Il Tremolo was pretty amazing too. The players really caught the inventive, expressive nature of Marini’s writing, this time giving violinist Maya Webne-Behrman an opportunity to shine, and she duly did.

The recital closed with Andrea Falconieri’s rhythmically driven Ciaconna And Pseudonym clearly enjoyed playing it as much as we did listening to it. An infectious, foot-tapping pleasure. What a way to sign off.

Ayres Extemporae standing outside St Margaret’s Church, the home of the National Centre for Early Music

Ayres Extemporae (Belgium): Xenia Gogu Mensenin, violin; Víctor García García, violoncello piccolo; Teresa Madeira, violoncello.

UP to this point, I had forgotten that this was a competition. That was until Ayres Extemporae walked on to the stage and opened their recital with an X-rated, blistering account of Heinrich Ignaz Biber’s Sonata for violin and continuo in E minor, C.142.

Xenia Gogu Mensenin’s violin playing – technically brilliant, musically utterly hypnotic and completely fearless – immediately demanded attention. To be sure, there was some respite to be had in the beautiful Aria but this couldn’t last and didn’t; Ms Mensenin got her second wind, the violin bursting free of the constraints of the song, then regained the narrative of “torment” and headed for the finish line with indecent haste.

This was beyond ‘redemption’, nevertheless this remarkable Trio gave it their best shot with Johann Sebastian Bach’s Erbarme Dich from Ich Armer Mensch ich Sündenknecht, BWV 55 (arr. for violoncello piccolo, violin and continuo).

This wonderful aria is (obviously) from the St Matthew Passion. Erbarme Dich (Have Mercy) represents Peter’s weeping and distress at having denied knowing Jesus three times. Here the violoncello piccolo ‘sings’ the tenor aria.

Ayres Extemporae: “Performance was so moving and soul searching”

The performance by Víctor García García was very persuasive: meditative, expressive and genuinely moving. Whether it was persuasive enough, however, was to be found along the “path to forgiveness”. Once again, the Trio turned to Bach, this time the Sonata for Viola da Gamba and Harpsichord in G major, BWV1027 (arr. for violoncello piccolo, violin and continuo).

In this version, “the cello piccolo takes the role of the viola da gamba, and the violin and the cello play respectively the right and left hand of the harpsichord part” (programme note).

The E minor Andante had a haunting quality. The violoncello (Teresa Madeira) gracefully weaving through the arpeggiated progressions. The performance was so moving and soul searching. The final Allegro moderato was a dance, a bourrée and fugal.

Thus, giving all three of these outstanding performers the chance to show how well they intuitively understood and communicated this music. A real joy and, to quote Tina Turner, Simply The Best?

Before I typed this review, I thought I knew who the winner might be. I just wished I had behaved like a true, blue-rinsed politician and popped out to place a bet before the coronation.

Friedrichs Nebelmeer Ensemble, from Switzerland

Friedrichs Nebelmeer Ensemble (Switzerland): Pablo Gigosos, flute; Mei Kamikawa, oboe; Claudia Reyes, clarinet; Andrés Sanchez, horn; Angel Alvarez, bassoon.

HAVING lived and breathed contemporary music for most of my adult life, I am not a great fan of the 20th-century Wind Quintet repertoire (Birtwistle and the tedious Schoenberg works spring to mind, and back out again). But this Baroque repertoire of Franz Danzi, Giuseppe Cambini and Anton Reicha played by the charmingly enthusiastic Friedrichs Nebelmeer Ensemble was just delightful.

We were told to “expect some fun after a seven-hour concert’”, and we did. The problem is, however, that zippy exchanges – the musical flair in, for example, the Finale: Allegretto of Reicha’s Wind Quintet in E flat major, op. 88 no. 2 – can mask the technical brilliance.

Friedrichs Nebelmeer Ensemble: “Radiated enjoyment”

This closing movement is an energetic rondo and all of the performers embraced the solos on offer. I loved the intimacy of the sound the Ensemble generated.

The Larghetto Sostenuto Ma Con Moto from Giuseppe Cambini’s Wind Quintet no. 2 in D minor was so sweetly sung; it’s not often you hear a wind quintet blending as beautifully as this. Again, so intimate but this time with a velvety sensuous colouring.

Their recital actually opened with Franz Danzi’s Allegrettos no’s I and IV from his Wind Quintet in G minor, op. 56 no. 2, a work dedicated to Anton Reicha. Crisp staccato playing, perfect handovers of the musical motifs, lovely clear balance; and yes, it radiated enjoyment.

I do have critical observations and suggestions – not all the performances were uniform, at times not all the balance was quite as democratic as it might have been, and there were a few slips.

Glittering performance: [hanse]Pfeyfferey playing at the NCEM

But given the quality of these Young Artists and the fact that they had two days of “informal recitals” with completely different programmes and in the company of Steven Devine, then discretion and humility are surely the order of the day.

But I will say that the programme notes, although informative and indeed often insightful, veered towards the academic, seldom a good thing, and a bit dull.

Not surprisingly the “tell us a bit about yourselves and your programme” bit was a distraction at best. To this end, I would suggest drawing from the “everyday” anecdote of Steven Devine himself.

Here Mr Devine took us through a typical York ginnel to the Three Legged Mare pub. There was a folk-blues band playing and he popped in for a pint. Through the window, he noticed some members of an ensemble looking in. He bought them a drink and left. When he returned one of the players had joined in.

One can take many things from this lovely account: that this could never, ever happen at a “classical” music concert; that this musical experience belongs to the working class, pop, rock, folk, blues culture, or that the beer in the Three Legged Mare is decidedly better than that on offer at the NCEM.

“It was wonderful to welcome these eight ensembles from the UK and Europe to what is always an enriching experience,” says York Early Music Festival administrative director Delma Tomlin

For me, it is about the love and importance of music and music making. And what an enriching experience this is. Bob Dylan and John Adams are both great composers, just different.

Anyway, back to the competition. A panel of experts in the field of Early Music, Bart Demuyt, Philip Hobbs, Elizabeth Kenny, Lionel Meunier and Emily Worthington judged that Ayres Extemporae were the winners of this prestigious York Early Music International Young Artists Competition.

Additional prizes went to: [Hanse]Pfeyfferey (Cambridge Early Music), Ensemble Bastion (EUBO Development Trust) and Apollo’s Cabinet (Friends of York Early Music Festival).

So, what a way to close this remarkable festival: with renewal. Talking of which, none of this could happen without the dedication, professionalism and creativity of Delma Tomlin MBE, director of the internationally acclaimed National Centre of Early Music (NCEM) and the York Early Music Festival.

Unfortunately, I am all out of superlatives, so how about “National Treasure”? Sorry Delma.

Belgian trio Ayres Extemporae win the 2024 York Early Music International Young Artists Competition

Winners Ayres Extemporae with the York Early Music International Young Artists Competition judging panel

AYRES Extemporae were awarded first prize at the York Early Music International Young Artists Competition last Saturday, against fierce competition from seven fellow international ensembles from across Europe.

The Belgian-based ensemble receives a professional recording contract from Linn Records, a £1,000 cash prize, a future paid engagement with the York Early Music Festival and recording opportunities with BBC Radio 3.

During the two days before the competition, each ensemble presented an informal recital at the National Centre for Early Music, Walmgate, with the aim of giving the musicians the opportunity to adapt to the performance space and become accustomed with festival audience members in advance of the final.

These groups were selected from a pool of 48 ensembles from across the world and were judged by an international jury of Bart Demuyt, director of AMUZ/Alamire; Philip Hobbs, from Linn Records; Elizabeth Kenny, internationally acclaimed lutenist; Lionel Meunier, director of Vox Luminis, and Emily Worthington, clarinettist and University of York lecturer.

The competition provided a spectacular finale to the ten-day festival, which connected old friends and new through concerts, recitals and workshops staged in a variety of historic venues around the city. 

The recitals from this year’s final are available to watch on demand at ncem.co.uk and on the NCEM’s YouTube channel and edited highlights will be shared on BBC Radio 3’s Early Music Show on Sunday, November 3 2024.

 Friends of York Early Music Festival Award winners Apollo’s Cabinet with festival administrative director Delma Tomlin, right

Ayres Extemporae are: Moldovan-Spanish violinist Xenia Gogu, Spanish cellist Víctor García García, playing on a five-string cello piccolo, and Portuguese cellist Teresa Madeira.

Apollo’s Cabinet, from the UK, scooped the Friends of York Early Music Festival Award, a cash prize of £1,000; Ensemble Bastion won a cash prize of £1,000, endowed by the EUBO Development Trust, for the Most Promising Young Artists specialising in the Baroque repertoire, and [hanse] Pfeyfferey scooped the Cambridge Early Music Prize, which includes a paid performance in Cambridge.

The 2024 finalists were: Apollo’s Cabinet (UK); Ayres Extemporae (Belgium); Ensemble Bastion (Switzerland); Friedrichs Nebelmeer Ensemble (Switzerland); [hanse] Pfeyfferey (Germany); Pseudonym (Switzerland); Rubens Rosa (Switzerland) and Trio Altizans (Netherlands).

The 2024 competition was presented by Steven Devine,harpsichordist, fortepianist, conductor and director of orchestral, choral and opera repertoire, and former artistic advisor to the York Early Music Festival.

At the end of the competition, Philip Hobbs, from Linn Records, who chaired the judging panel, said: “This competition is definitely one of the musical highlights of the year and Linn Records is very proud to continue this important relationship with the York Early Music Festival and with the National Centre for Early Music.

Pseudonym musicians Maya Webne-Behrman, violin, and Liane Sadler Baroque, traverso, performing in the York Early Music International Young Artists Competition

“Today’s concert illustrated an array of extraordinarily inventive musical talent, and I would like to congratulate all eight ensembles who performed.”

Delma Tomlin, NCEM director and festival administrative director, said: “It was wonderful to welcome these eight ensembles from the UK and Europe to what is always an enriching experience and an amazing opportunity to share music and enhance their skills.

“I would like to thank everyone who appeared today, once again the standard of performance was of the highest calibre. I would also like to say a huge thank-you to our panel of judges for their hard work and support and also to Steven Devine for his expertise and invaluable help.”

Winners Ayres Extemporae said: “We’re absolutely delighted and honoured to receive this amazing prize and would like to thank everyone who has supported us – our time in York has been a wonderful experience and everyone has been super-friendly.  

“We’d like to thank all the other ensembles for their encouragement, friendship and brilliant musicianship, it’s been a real pleasure spending time with the other musicians. We’re really looking forward to returning to York and recording with Linn Records.”

York Early Music Festival celebrates at York Mansion House

Utopia: Flanders musicians played at National Centre for Early Music, York

THE 2024 York Early Music Festival enjoyed not one, but two celebrations in the presence of the Lord Mayor of York, Councillor Margaret Wells, last week.

Young musicians from the United Kingdom, Switzerland, Germany, Belgium and even Mexico arrived in York to take part in the York Early Music International Young Artists Competition, held in the city every two years.

The musicians were welcomed with a drinks reception and enjoyed a tour of York Mansion House with the Lord Mayor, who revealed some of the resplendent Georgian building’s hidden secrets.

The next day, the Delegation of Flanders to the UK hosted a reception to mark Flanders Day – a major national holiday in the Belgian region – in celebration of a new partnership with the York Early Music Festival, in association with the Alamire Foundation and AMUZ, with support from the Flanders government.

Bart Brosius, General Representative of Flanders in the UK and Ireland, welcomed the delegation to York and Bart Demuyt, from the Alamire Foundation in Flanders, extended a warm thank-you to the National Centre for Early Music director Delma Tomlin for her continued hard work, giving aspiring young musicians from the UK and beyond the encouragement and recognition they deserve.

Guests included: York Central MP Rachael Maskell; Claire Douglas, Leader of City of York Council; Joan Concannon, University of York; Philip Nelson, Harrowells Solicitors; Adam Butterworth, Department for Business and Trade, and many other guests from the Flanders delegation.

Audiences enjoyed concerts by two ensembles from Flanders, Utopia at the National Centre for Early Music and Cappella Pratensis & I Fedeli at York Minster.

From Flanders with early music: Cappella Pratensis performed at York Minster

REVIEW: Steve Crowther’s verdict on York Early Music Festival, Florilegium, National Centre for Early Music, York, July 7

Florilegium harpist Siobhán Armstrong

TO quote Anne-Marie Evans in the Daily Telegraph, “whereas the florilegia of the 17th century were created to portray the beauty and novelty of those plants brought back from the colonies, the modern florilegium may be seen as a conservation tool, instrumental in recording for posterity collections of plants within a chosen garden”.

Florilegium’s Le Roi s’Amuse: Music For A King’s Pleasure takes this delicate analogy, a musical journey around a musical flower garden, to “explore the intimate and elegant sound world of France in the decades around 1700 and perform music by composers known to both Louis XIV and Louis XV”.

An inspired concept that rewarded us with an impeccable concert of 18th-century French Baroque music. The concert opened with Jacques-Martin Hotteterre’s Suite in D major, and despite a gentle whinge by flautist Ashley Solomon at the 10.30am start, it was impeccable.

The opening Prelude set the tone of serious elegance and refinement. The flute playing by Mr Solomon was simply divine; phrases lovingly caressed, detail rich and polished. The Sarabande oozed charm and elegance, Menuet’s I & II were fresh and vibrant and the Brione’ Gigue (La Folichon) closed with a deliciously cute signing off.

Some of the movements were christened with titles such as Le Duc d’Orléans and Le Comte de Brionne. I can only assume these referred to courtiers from the reign of Louis XIV.

Jacques Morel’s Chaconne was great fun. It started out as a sweet Sunday morning chat with the flute and viola da gamba. The dialogue became a little more animated, competitive and virtuosic but the narrative always remained within the boundaries of decency, and they did kiss and make up at the end.

Couperin’s Unmeasured Prelude No. 13 is a work written without rhythm or metre indications. The score uses long groups of phrased whole notes, a bit like an instrumental plainchant. Anyhow, the performance was just superb; a quiet, melancholic jewel.

I haven’t heard of the composer Michel de la Barre. He wrote music for the transverse flute (no keys to cover the tone holes). The performance of his Suite No. 9 in G major was ensemble music making of the very highest order.

Marin Marais’s Suite in D minor was a tour de force performed with real, almost musically primal energy and vitality by Reiko Ichise (viola da gamba). The sound world was unlike anything else on offer: muscular, grainy lower register, biting articulation, dramatic dynamic range.

Such was the sheer physicality of the playing that even the wonderful Siobhan Armstrong’s harp accompaniment came across somewhat cowed, almost apologetic and the balance, not surprisingly, uneven.

Jacques-Martin Hotteterre’s Prelude: Pourquoy, Doux Rossignol proved to be the tenderest of love songs. The playing so refined, so sensitive.

Jean-Baptiste Barrière’s Sonata a Tre proved to be a worthy finale. Here, as ever, the playing was incisive, warm and polished. There was an encore, but unfortunately I missed the name and title of the work. It was very good, however.

Florilegium – Ashley Solomon, flute, Reiko Ichise, viola da gamba, and Siobhán Armstrong, harp – clearly are a world-class period instrument ensemble. And this insightful exploration and interpretation of the “intimate and elegant” French Baroque musical world of Jacques-Martin Hotteterre, Marin Marais and their lesser-known contemporaries was an absolute joy.

The performances were invariably elegant, technically flawless and, perhaps above all, transported the listener to a quite magical place.

Review by Steve Crowther

REVIEW: Steve Crowther’s verdict on York Early Music Festival, The Sixteen, Masters Of Imitation, York Minster, July 6

The Sixteen: Master Of Imitation programme at York Minster

A SURPRISE introduction: as per usual the concert was prefaced by a clerical welcome plus loo, safety and mobile phone instruction. This closed with a prayer, which I thought was a bit of a no-no. But then I got the (possible) subtext: England were to embark on a penalty shoot-out. And it worked; we won!

The Sixteen’s Masters Of Imitation celebrates the art of parody in renaissance music, focusing on the works of Orlande de Lassus to link this inspired programme together.

Today we are very used to the term ‘parody’ meaning to imitate, to exaggerate the style of a particular writer or artist but to comic effect. Here Lassus’s parody works are akin to creating a musical patchwork quilt: taking musical bits, passages from his own historic compositions or his great predecessor Josquin des Prez, for example, and reworking the material into an entirely new composition. This latter process being a dedicated act of homage.

The concert opened with the timeless beauty of the plainchant Lauda Jerusalem Dominum. It was performed as a processional with the tenor calls answered with soprano responses. There is invariably a deep simplicity of beauty in these non-metric, homophonic lines and this, being The Sixteen, was no exception.

Lassus’s reworking of the plainchant (it has the same text) was a thing of beauty. Here melodies rising high into the air, the singing just glorious. But there was also a sense of fun, of joy as the music rhythmically danced. And word painting too. I think it was this sense of warmth, of Lassus’s humanity that was communicated so effectively.

Lassus’s motet Osculetur Me Osculo Oris sui is scored for two choirs and the composer exploits the different sonorities to dramatic effect, such as Trahe Me Post Te. I was reminded of the music of the Gabrielis, but doubt I’m the only one to have made this connection.

And then there was the sensuous setting of some quite juicy texts:

“Let him kiss me with the kiss of his mouth;

for thy love is better than wine

Thy name is as oil poured out;

therefore the young maidens have loved thee.”

Be rest assured, the Latin text gives these lines a “cloak of decency” (Bob Dylan).

To be honest, I had never heard of Maddalena Casulana. According to a leading authority in these matters, Wikipedia tells us “she was an Italian composer, lutenist and singer of the late Renaissance. [Casulana] is the first female composer to have had a whole book of her music printed and published in the history of western music, dedicated to her female patron Isabella de Medici”.

Her pretty radical dedication reads: “These first fruits of mine, flawed as they are … show the world the futile error of men, who believe themselves patrons of the high gifts of intellect, which according to them cannot also be held in the same way by women.”

Of the two madrigals I found the second much more rewarding. The choir was reduced by half, which added some welcome relief from conductor Harry Christophers’ insistence on performing the programme with a full complement of singers. Greater clarity of line and text massively enhanced enjoyment. This love song was a real gem.

It is perhaps worth noting that this rediscovery and promotion of Maddalena Casulana’s music –this may be the first time these works have been committed to a CD recording, Masters Of Imitation, available at all good record shops near you – is clearly significant.

In The Sixteen’s 2023 Choral Pilgrimage, Harry Christophers programmed the world premiere of two commissioned works by female composer Dobrinka Tabakova.

I struggled with Lassus’s eight-part Credo from his Missa Osculetur Me. There was just so much wonderful contrapuntal detail unable to escape from the Minster acoustic black hole. At times passages hung in the air, just a haze of sound, albeit a beautifully sung one. And yes, the closing coming together and Amen final cadence was delicious.

Jean Guyot de Châtelet’s arrangement of Josquin, adding six extra parts to Benedicta es Caelorum Regina, was thrilling, if somewhat eccentric. There were juicy false relations and a spine-tingling Amen. This is original music composition and performance of the highest order.

Other memorable highlights included Josquin Desprez’s Benedicta es Caelorum Regina with its exquisite tenor opening, its slightly whacky atmosphere of splendour and its forceful, dramatic descending scales prosecuting the message-with-a-twist:

“The Word became flesh from you,

by whom all are saved.”

Lassus’s Magnificat Benedicta es Caelorum Regina was another, with its clear contrapuntal lines and exciting antiphonal exchanges that seemed to dissolve or evaporate, allowing the light to shine.

Although there is no doubting the brilliance of Bob Chilcott’s choral music – surely every choir in the UK worth its salt must have Chilcott in its repertoire – his music just doesn’t “turn me on” (John Lennon). But this specially commissioned sacred parody of Lassus’s secular madrigal, Lauda Jerusalem Dominum, undoubtedly called for a personal rethink.

The setting was pretty conservative – no surprises here, Chilcott is a pretty conservative composer. But there were truly magical moments. For example, the delicate ostinato soprano patterns, beautiful on their own terms, then as a gorgeous backdrop for the soaring melodies.

I would have liked greater contrasts in scoring and dynamic, but the rich tonal harmonic identity, distinctive variations in colour and ending delivered a tasty punch. The performance was of the usual exemplary quality; instinctive melodic shaping, expression and care for detail. And so musical.

The concert as a whole showed yet again Harry Christopher and The Sixteen’s deep understanding of repertory and, just as importantly, communicated an infectious engagement in the music itself. The audience response was both instinctive and rapturous.

They really are a class act.

Review by Steve Crowther