Music for a While Tenth Anniversary Season

12 - 25 August 2018

North York Moors Chamber Music Festival www.northyorkmoorsfestival.com North York Moors Chamber Music Festival Finalist for a White Rose Award 2018 Contents Programme 2 North York Moors 4 Visitor Information 5 Pickering 6 Lastingham 10 Helmsley 14 Boosbeck 18 Egton Bridge 22 Danby 28 Fylingdales 32 Sneaton Castle, Whitby 36 Lythe 42 Westcliff, Whitby 46 Biographies 51 Façade screen 64 Lyrics 65 Acknowledgements 72 It is the frst time the overture to orientalism and stark modernism, and Introduction that opera has been heard in the even the French school (Debussy in same village since then and the particular). What riches there are! It gives me great pleasure to unfolding story, unearthed by Paul We hope you enjoy the journey welcome you, on our tenth festival Ingram, led us to devise a programme we’ve devised for you - it is important anniversary. It seems incredible that which championed not just under- in this landmark festival year that our we have come this far, developing represented British composers but musical statement has strong defnition, with such a unique identity - this is so too their less known works, which yet is imbued with variety, quality and something we’ve all achieved together. need to be heard but often aren’t. It substance. Let us look no further than When the festival launched back in is also why we felt the importance of the British Isles and cherish the legacy 2009 I was simply responding to the including St Aidan’s, Boosbeck, as an we have and continue to build upon warmth of our audiences, sensing the appropriate new venue in the festival it. From Dowland songs (1597) to a need to put into one festival everything this year. newly written concerto by Stephen I found so transformative and enriching The exploration of this repertoire Goss (2018), we are covering over 400 both musically and socially. The in research for this festival threw up years of music. So, sit tight and expect experience was a revelation and each some fantastic surprises and fying in some unusual revelations... year, as we explore new themes and the face of the reputation for bucolic This festival is dedicated to the travel through the challenges of the blandness, which British music so memory of our friend Hanni Begg, repertoire, one continues to learn so often gets tarred with, we discovered a pictured in the montage on page 50, much, not least we the musicians, who canon of work which contradicted this. who we will dearly miss at these cherish the opportunity to work upon Dark, passionate and ground-breaking concerts. compositions which we often don’t get works there are plenty we discover, to play. conveying strong infuences emerging Jamie Walton This is particularly true for this from Vienna at the time (Berg, Strauss year. The concept of a British theme et al), Russia, with its heady mix of Artistic Director stemmed from two sources: frstly, the post-festival audience feedback requesting more music from our shores (as well as Lieder, so I hope we’ve responded appropriately!); the other centred around the extraordinary story surrounding that much underrated but great British composer Michael Tippett, who lived in the village of Boosbeck between 1932 and 1934. It was here where he conceived his String Quartet No.1 as well as writing the folk opera ‘Robin Hood’ specifcally for the community (a work more or less now forgotten).

North York Moors Chamber Music Festival 2018 1 Programme Week one

Sunday 12th August St Peter & St Paul's Idyll 3pm Pickering ARNOLD Fantasy for Horn op 88 (4') BRIDGE Piano Quintet in D minor (28') BAX Octet (15')* MACMILLAN For Max (3') ELGAR Piano Quintet in A minor op 84 (37') Monday 13th August St Mary’s Janus 7pm Lastingham BRITTEN Prelude & Fugue on a Theme of Vittoria (organ) (5') KNUSSEN / BENJAMIN / MATTHEWS A Purcell Garland (13') ADÈS Catch (9'); Court Studies from The Tempest (8')* TIPPETT Preludio al Vespro di Monteverdi (organ) (3') MAXWELL DAVIES String Quartet movement op 338 (4') BRIDGE String Quartet No 3 (30') Wednesday 15th August All Saints’ Sighs 7pm Helmsley ELGAR Violin Sonata in E minor op 82 (25') BRITTEN Seven Sonnets of Michelangelo op 22 (16' L)* TIPPETT The Heart’s Assurance (17' L) ELGAR Sea Pictures op 37 (23' L) ELGAR Sospiri (5') Friday 17th August St Aidan's Illumination 7pm Boosbeck TIPPETT Overture to Robin Hood (4') BRITTEN Les llluminations op 18 (21' L)* WALTON Sonata for Strings (23') DOWLAND Go Crystal Tears (6'); Flow My Tears (6') PURCELL Music for a While (4'): When I am Laid in Earth (5') Saturday 18th August St Hedda’s RC Polyphony 7pm Egton Bridge ELGAR Serenade for Strings in E minor op 20 (13') TIPPETT Fantasia Concertante on a Theme of Corelli (19')* GOSS Concerto for Theorbo and Strings (20') VAUGHAN WILLIAMS Fantasia on Theme by Thomas Tallis (16') Figures in brackets indicate * denotes interval follows length in minutes The letter 'L' after the length indicates the lyrics are on pages 65-71. 2 North York Moors Chamber Music Festival 2018 Programme Week two

Sunday 19th August St Hilda’s Ayres 2pm Danby DOWLAND - JOHNSON - CAMPION - PURCELL Songs for lute, theorbo and soprano (60') Monday 20th August St Stephen’s Nightfall 7pm Fylingdales TIPPETT String Quartet no1 (19') (Robin Hood’s Bay) ADÈS The Four Quarters (20')* VAUGHAN WILLIAMS Nocturne (6') VAUGHAN WILLIAMS Phantasy Quintet (15') IMOGEN HOLST String Quintet (14') Wednesday 22nd August St Hilda’s Priory Silent Noon 2pm Sneaton Castle, Whitby TIPPETT Piano Sonata no1 (21') TIPPETT Caliban’s Song (4' L) VAUGHAN WILLIAMS The House of Life (25' L) Wednesday 22nd August St Hilda’s Priory At the River 7pm Sneaton Castle, Whitby BAX Piano Quintet in G minor* (45') LEIGHTON Fantasy on an American Hymn Tune op 70 (18') CLARKE Dumka (10') BRIDGE Phantasie Trio No 1 in C minor (16') Friday 24th August St Oswald’s Refrains and Choruses 7pm Lythe ARNOLD Wind Quintet op 2 (12') KNUSSEN Three Little Fantasies (8') IMOGEN HOLST Fall of the Leaf (Adagio) (4') MELINDA MAXWELL Pibroch (11')* BIRTWISTLE Refrains and Choruses (8') GUSTAV HOLST Wind Quintet op 14 (15') ARNOLD Three Shanties (7') Saturday 25th August St Hilda’s Suites and Scenes 5pm Westcliff, Whitby ELGAR Imperial March (organ) (5') BRITTEN Variations on a Theme of Frank Bridge op 10 (23') PALMER Eggs or Anarchy* (20') WALTON Façade: an entertainment (intro by William Sitwell) (33')

North York Moors Chamber Music Festival 2018 3 North York Moors

The North York Moors is a The designated area of the The National Park encompasses National Park covers an area of 1,436 two main types of landscape: green national park in North Yorkshire. square km (554 square miles) and areas of pasture land and the purple The moors are one of the largest has a population of about 25,000. The and brown heather moorland. These North York Moors became a National two kinds of scenery are the result of expanses of heather moorland in the Park in 1952, through the National differences in the underlying geology United Kingdom. Parks and Access to the Countryside and each supports different wildlife Act 1949. communities. There are records of

4 North York Moors Chamber Music Festival 2018 Visitor Information

12,000 archaeological sites and features Many visitors to the moors engage in the North York Moors National Park, in outdoor pursuits, particularly Venue postcodes of which 700 are scheduled ancient walking; the parks have a network of monuments. Radio carbon dating of rights-of-way almost 2,300 km (1,400 pollen grains preserved in the moorland miles) in length, and most of the areas peat provides a record of the actual of open moorland are now open access BOOSBECK species of plants that existed at various under the Countryside and Rights of TS12 3AY periods in the past. About 10,000 years Way Act 2000. ago the cold climate of the Ice Age DANBY ameliorated and temperatures rose YO21 2NH above a growing point of 5.5˚C. Plant life Car Parking was gradually reestablished and animals The churches in Danby, Lythe EGTON BRIDGE and humans also returned. and St Hilda’s Priory have large car YO21 1UX parking facilities. Those in Lastingham, Fylingdales, Boosbeck and Egton Bridge FYLINGDALES have local village parking. In Helmsley, YO22 4RN Pickering and Whitby West Cliff there are local car parks and on-street HELMSLEY parking. YO62 5YZ

LASTINGHAM Toilets YO62 6TL The churches in Fylingdales, Boosbeck, Pickering and St Hilda’s Priory have their LYTHE own facilities. Egton Bridge, Helmsley YO21 3RW & Lastingham have village facilities. The churches at Danby, Lythe and Whitby PICKERING West Cliff have portable toilets. YO18 7HL

WHITBY SNEATON CASTLE Refreshments YO21 3QN Refreshments are available for a suggested donation of £1 for soft drinks WHITBY WEST CLIFF and £2 for a glass of red or white wine. YO21 3EG

North York Moors Chamber Music Festival 2018 5 St Peter & St Paul's, Pickering - Idyll 12th August

in 1876-9 and while this degraded some architectural features it led to the permanent uncovering of its most notable feature; the medieval frescoes. Dating from c.1450 these are “one of the most complete series of wall paintings in English churches” (Pevsner). The function of paintings, to inspire faith and inform an illiterate congregation, is largely understood. Here in Pickering we have major Christian figures and events but we also have notably English twists on the theme – St George, St Edmund, King & Martyr, and Thomas à Becket. Although the artistic quality is merely vernacular they represent a vivid glimpse of a pre-Reformation English parish church interior. During the 16th century such paintings came to be viewed as icons of superstition; the Reformation abjured the role of saints and their intercessionary powers. The result was that images were often whitewashed then overwritten with Biblical texts so that church interiors instead resembled “a giant scrapbook of the Bible” (Diarmaid MacCulloch). The whitewashing of the Pickering The 14th century spire of St Peter all the major orders of ecclesiastical images ultimately saved them. There & St Paul's asserts the location of the Gothic architecture. The 14th century was no systematic iconoclasm here; church from all directions. A substantial triple sedilia with its crocketed a fate which often occurred in cruciform building, the church is lofty gables springing from sculptured tumultuous periods of protestant zeal and expansive; it demonstrates what heads (including monsters, bishops such as the 1530s or 1640s. The result Pevsner calls “complex” development and a priest) is a particularly fine is this building has much to offer in from its Norman origins. There are example of Decorated craftsmanship. explaining key features in the history notable examples to be found here of The church was heavily restored of the English Church.

6 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 7 stands a lone horn player. Malcolm like Tippett’s Robin Hood in 1934, ARNOLD Arnold’s Fantasy is the technically but to an American commission (from Fantasy for Horn op 88 (1966) challenging work of an expert brass Elizabeth Sprague Coolidge) and was player - Arnold had been principal premiered in 1936 in London, on the trumpet with both the LPO and the night of the abdication of King Edward BRIDGE BBCSO. The Fantasy is typical Arnold - VIII. The Meditation, flled with typical Piano Quintet in D minor (1905 a jolly tune you could whistle, then the long-lined melody, gives way to a rev. 1912) depths below and a realisation of being shorter Scherzo, ending with an slow alone in that landscape. peroration and fnal deft fourish. Adagio - Allegro moderato - Adagio e Frank Bridge stood alone, The brief For Max by Sir James sostenuto expressively, in English music and is MacMillan was composed for piano Adagio ma non troppo - Allegro con not often an identifable member quintet as a birthday tribute for the brio - Adagio ma non troppo of the pastoral schools. We include Festival’s late patron, Sir Peter Maxwell Allegro energico several Bridge works this year which, Davies, and was frst performed in taken together, leave no doubt as to 2004. MacMillan saw Max as almost his importance and quality. The Piano a fellow-Scottish composer, and the BAX Quintet in D minor began its life in 1905, melodic contour of his piece expresses Octet (1917) was withdrawn in 1907 and revised the northern connection. Twelve years (tightened up considerably) in 1912. later, MacMillan would offciate at the Meditation: Molto moderato The second and third movements were memorial concert for Max, at London’s Scherzo: Allegro condensed into a Scherzo bookended by King’s Place. Adagio sections, with the outer Allegros Elgar’s Piano Quintet in A minor trimmed and reduced in rhetoric. The derives from more of a southern MACMILLAN resulting half-hour quintet is a delight, idyll - almost ‘home counties.’ It was For Max (2004) intensely individual in the harmony, composed in 1918, in Sussex, and like occasionally recalling Fauré, Franck or his other chamber works of the time, Slow Saint-Saëns. As with Franck, early themes passages have been linked to the natural recur at the end in ‘cyclic’ fashion, but surroundings there, in this case the there is nothing second-hand about the spooky trees which were supposedly ELGAR direct and affecting last section of the the remains of sacrilegious Spanish Piano Quintet in A minor op 84 fnal Allegro, idyllic and elegant at the monks. Their presence is not necessary (1919) same time. for understanding the work. Elgar wrote The distinctive character of Arnold the Quintet in a rented cottage, where Moderato Allegro Bax’s music is also its individuality - the change of air and recuperation from Adagio Bax sounds like no-one else, while ill-health had prompted a temporary but Andante Allegro exploring forms and instrumental very considerable creative resurgence groupings that often ft no regular - three major chamber pieces and Our eleven concerts this year pattern. The ffteen minute Octet for the Cello Concerto were written explore a complex landscape of British piano, horn and string sextet is one, in a short time, the very last major life and music, but at the idyllic entrance unique example. It was composed, works he would complete. Elgar avoids

8 North York Moors Chamber Music Festival 2018 comparison with previous, heroic piano and energetic, but very soon the spooky piano-led climax but again winding quintets via imaginative use of chamber Elgarian nostalgia returns, the string down at great length, unwilling to let texture and atmosphere, the sense of a melodies grow more mellifuous, the go. The quiet Moderato returns to lead narrative. He opens the work stealthily central drama developing through the a fnal Allegro which sounds like the old, with what sounds like a quiet tapping drastic con-trast between the musics. confdent Elgar of the Enigma, heading on the door in the night. The Moderato This fades into a longer and still more for triumph. There is a short, giddy dash introduction features a yearning cello immobile version of the Moderato for the line at the end, but not before a phrase that generates much of the and away into silence. The Adagio is long diversion into that entirely different emotional capital for the remaining more straightforward, and is one of world of quieter, ghostly lyricism, a movements. The ensuing Allegro almost Elgar’s most engaging slow movements, souvenir of a (nearly) fnal creative idyll plays at being conventionally Brahmsian sometimes cello-led, reaching a in the life of Edward Elgar.

North York Moors Chamber Music Festival 2018 9 St Mary’s Lastingham - Janus 13th August

seems relevant here. Now that a recent survey carried out by archaeologists from the University of Leeds has found Roman material in the crypt, it begins to look as if the shell of an Anglo-Saxon religious building was neatly dropped into the middle of an abandoned temple. The wider signifcance of Cedd’s church and of its successor, the Benedictine monastery refounded in 1078 by Stephen of Whitby, is being explored in a series of annual lectures sponsored by the Friends of Lastingham Church. The most signifcant feature is the unusual apsidal crypt consisting of a series of compartments created by short, thick vaults with detailed capitals. The simple window at the apsidal end draws the eye, which otherwise would be enclosed by subterranean oppression. This effect created a virtual cell reminiscent of a Roman catacomb. Today the interior of the church is as J. L. Pearson reconstructed it in 1879, when he was inspired to put groin vaulting over the nave and the chancel. It is this that produces the exceptional quality of sound. The rest is plain, and this is what gives the main church The church is undergoing a major and wild beasts”. Now that is giving such a sense of peace, refection and reconstruction, not of its fabric but way to the realisation that where it simplicity. It is devoid of oppressive its history. There was a long-accepted stands, on the edge of the fertile area of features or clutter and the apsidal belief that the site of St Mary’s chosen Ryedale, was only three miles from an theme continues with a simply framed by Cedd between 653 and 655 to build important Roman road and near to the chancel end. Simon Jenkins gives it four a monastery was, as described by Bede’s great villa at Hovingham. Bede’s further stars in his Thousand Best Churches; Ecclesiastical History, “among steep reference to Cedd having to purify Sir John Betjeman gave it one word - and remote hills ft only for robbers the site before he could begin building “unforgettable”.

10 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 11 One Note. Each composer brings the BRITTEN MAXWELL DAVIES work into a modern idiom, at least Prelude & Fugue on a Theme of String Quartet movement op 338 in part. Knussen’s piece has added Vittoria (1946) (2016) poignancy, as we say farewell to a much-loved composer and conductor, Presto who died this year, far too young. KNUSSEN / BENJAMIN / The same ensemble is used by MATTHEWS BRIDGE Thomas Adès in two short works. The A Purcell Garland (1995) ten minute Catch is from 1991. Small String Quartet No 3 (1926) groupings form and dissipate within the Fantasia Upon One Note (Sognando) quartet, in a game whose advantage for Fantasia 7 (Andante) Andante Moderato - Allegro Moderato the listener is shifting, fascinating texture Fantasia 13 (Slow) Andante con moto and sharply unpredictable life, changing Allegro energico with each new instrumental association - and each physical movement. Adès ADÈS Many of the composers in our engaged fully with our shared past Festival this year have written work Catch (1993) in writing an opera on Shakespeare’s that explores the past in order to help Tempest, frst performed in 2004, and Very fast make the future, the resulting works can since staged around the world. The effectively seem to look both ways at the six Court Studies form a short and same time. When commissioned in 1946 immediately attractive suite ending in ADÈS by the vicar Walter Hussey to write an quiet with The King’s Grief. organ piece, Benjamin Britten went to Court Studies from The Tempest Michael Tippett would return to The the motet Ecce sacerdos magnos by the (2005) Tempest in late life, but in the 1930s and sixteenth century Spanish composer ‘40s he did perhaps more than anyone The False Duke (con brio) Vittoria (Victoria). The result was the in England to bring music written before The Prince (Peasant, molto energico) short Prelude and Fugue on a Theme of Bach’s time to current vivid life. Tippett The King (Slow) Vittoria, the only solo organ work by the in 1946 gave Monteverdi’s Vespers The False Duke’s Defeat (Spettrale) composer to be published in his lifetime, of 1610 its frst UK performance at The Counsellor (comodo, con and in which the theme (atypically for a Morley College. For it he composed a espressione) Prelude and Fugue) helps bring the work brief, respectful organ Preludio of his The King’s Grief (Largo) to a quiet and calm conclusion. own. It is hard now, looking back after A Purcell Garland from 2012, by the Early Music revival, to imagine how Colin Matthews, Oliver Knussen and revolutionary and shockingly new that TIPPETT George Benjamin is scored for the same frst performance must have seemed. Preludio al Vespro di ensemble as the Messiaen Quartet for Sir Peter Maxwell Davies had also Monteverdi (1947) the End of Time (clarinet and piano done Janus-like work on the Purcell trio). Matthews arranges Fantasia XIII, Fantasias, but tonight we hear the single Benjamin Fantasia VII and Knussen movement he was able to complete reserved for himself the Fantasia Upon (op 338!) of a planned String Quartet,

12 North York Moors Chamber Music Festival 2018 in 2016 at the very end of his life. This work of Bridge’s pupil, Britten. Like slow movements, but evokes also the fragment suggests new paths for the the Bax Octet it was commissioned by quiet of the Sussex countryside, a composer, looking back to his own Elizabeth Sprague Coolidge, who had memory of English folk music and fnally aggressive use of expressionist language already given Bridge an annuity for life, the unease of the mind in being alone at the start, then forward to a freer use to help him compose. This work had there in history. The frst Allegro forms of wide melodic lines and sparse, calm its premiere in Vienna in 1927, played an ambitious, tremendous drama from beautiful textures, by the end. by Schoenberg’s associates, the Kolisch an Andante introduction that exposes Frank Bridge, almost uniquely among Quartet. Britten himself felt that that the thematic cells for the whole work. his British contemporaries, also looked the horror of WWI had changed and The closing Allegro energico is more out and forward to the contemporary intensifed Bridge’s creative expression dramatic still, and clinches the thematic European mainstream in chamber - and for the better. This is chromatic and harmonic unity and logic of this music, as well as backward to the great music, with a tonal base - Bridge is piece, but the energy once spent, like traditions. Completed in 1926, Bridge’s aware of Berg and Bartók but does the fury of war, leaves only Janus’s Quartet no. 3 might just be the greatest not copy them. Hence the central unanswered question - where to go, if British string quartet, outside of the Andante links to Bartók’s ‘night music’ anywhere, once the confict has died?

North York Moors Chamber Music Festival 2018 13 All Saints’ Helmsley - Sighs 15th August

undertaken by the London frm of Barry & Banks with the overall effect being “big and self-confdent” (Pevsner). Whereas the Victorian fascination for medieval forms of art and architecture is well known, All Saints’ offers a good example of another obsession: that of continuity and lineage. The north aisle wall is covered with a large colourful mural to demonstrate the roots and development of Christianity in the local area. The story of St Columba and St Aidan in the south transept is even more audacious. Here we see St Aidan attempting to convert the inhabitants of Helmsley to Christianity; a scene high in drama but without any actual documented justifcation. Much of this interior detailing was the result of Helmsley’s most famous incumbent, Charles Norris Gray. He was a classic activist clergyman whose zeal and vision was employed in every aspect of his role. He oversaw the development of several churches in far-off hamlets while giving moral leadership to issues such as education, sanitation and the dangers of women wearing tight lace. He died from overwork in 1913 Restore, rebuild or start completely scalloped capitals, while the chancel having signifcantly advanced the social afresh? This was the dilemma for church arch is a supreme example of playful infrastructure of Helmsley. The massive architects and patrons in the mid 19th detailing. Close examination shows four marble altar and reredos in the side century. At All Saints’ the wise decision orders with the outer ring being a series chapel were installed by Gray as a was to restore and integrate a sizeable of hoodmasks; 28 vernacular faces memorial to his father who was Bishop portion of the original medieval fabric. tending towards the jocular or even of Cape Town. The fne woodwork in The south door contains delightful grotesque. The remainder of the church the chancel is by Robert ‘Mouseman’ Norman zigzag decoration and largely dates from an 1860s restoration Thompson of Kilburn.

14 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 15 while the fnal Allegro’s opening could ELGAR ELGAR almost be by Nielsen - whose Violin Violin Sonata in E minor op 82 Sea Pictures op 37 (1899) Sonata no. 2 was written fve years (1918) earlier. By the conclusion, huge intensity Sea Slumber-Song - Andantino of Elgarian feeling is evoked through the Allegro In Haven (Capri) - Allegretto recurrence of the big theme from the Romance Sabbath Morning at Sea - Moderato Romance, a gesture beyond words, and Allegro non troppo Where Corals Lie - Allegretto ma non apparently inspired by the death of the troppo intended dedicatee of this great, under- The Swimmer - Allegro molto appreciated sonata. BRITTEN The next three works bring the specifcs of sung poetry - but as Seven Sonnets of Michelangelo ELGAR op 22 (1940) accompaniment to differing musical Sospiri (1914) expressions. Britten’s cycle to sonnets Sonetto XVI by Michelangelo was written in the Sonetto XXXI Adagio late 1930s, and the composer sings Sonetto XXX convincingly of love in a foreign Sonetto LV For Felix Mendelssohn, music’s language, devising his own, impassioned Sonetto XXXVII expressive power began where words appropriation of Italian bel canto. Sonetto XXXII left off. Music might express specifc Beyond pastiche, the distancing of the Sonetto XXIV thoughts, feelings or ideas, but only the words seems, like the French texts of performer and listener could add the Les Illuminations, to have freed Britten’s meaning. Edward Elgar teased those melodies into a broader, confdent TIPPETT Romantic notions of specifcity and emotional range. The ambition is The Heart’s Assurance (1951) invocation, whether by an ‘Enigma’ or manifest from the frst song, setting through the avowed hidden subtext (and Sonnet XVI with a declamatory vocal Song addressee) of several major works. The line that feels super-Italianate in its force. The Heart's Assurance Violin Sonata was written near the end The quiet ecstasy of the great setting Compassion of WWI, and refects the composer’s of Sonnet XXX and the ‘Neapolitan’ The Dancer Sussex surroundings, the inner and outer surety of Sonnet XXXI hint at the Remember your Lovers life, his own relation to the violin and the internal variety of gesture. The melodic Romantic tradition - and his renewed confdence and personality of this work compositional vigour. A frst Allegro would help inform later cycles to English opens in big-scale Brahms country then words, such as the Hardy and Donne consciously leaves it behind for themes sequences, as well as the Canticles. At and textures both strong and delicate. the fnal song’s end, Death makes an A major drama ensues - about musical inevitable cameo appearance. contrast, and evidently much more. The The Heart’s Assurance by Michael Romance mixes dreamy fantasy with Tippett also explores ‘death’s republic’ one of Elgar’s fnest, opulent fddle tunes, but as an intensely personal, delayed

16 North York Moors Chamber Music Festival 2018 response to the suicide in 1943 of on.’ Sidney Keyes in the following verse scale. There is grandeur here, and Francesca Allison - cellist, friend, warns we should trust ‘only the heart’s an invocation of Wagner (notably soul-mate and associate (including during fear,’ while the following two Lewis Die Meistersinger) in several of the the Boosbeck days). Both preferred their poems face death, including the ironic songs, while the ending is exultant. own sex, yet Allinson for a time wished (in the circumstances) line, ‘Had he At the core, though, sits the folk-like to mark their relationship by conceiving not died, we would have wed.’ The end, directness of Where Corals Lie, and children with Tippett. The loss of though, comes to a quiet sadness, truly the heart-stilling, astonishing melody Fresca could not be accommodated alone in Keyes’s Remember Your Lovers. of the section beginning ‘I, the mother by the composer. Instead, a few years Elgar’s five Sea Pictures date from mild’ in the great opening Sea Slumber on, Tippett chose poems by two poets the 1890s - another era, the texts Song. Here the composer invokes killed in WWII, to make a sequence that apparently looking more to the outer feeling beyond the implications of the explores the possibility that love might world than the love/death nexus of variable song texts. In the brief Sospiri still, somehow, defy the insistent reality our other cycles, or of so much of though, written twenty years after Sea of death. The sense of hope comes in the song repertoire. Heard more Pictures, Elgar transcends the power the changing vigour of the piano lines. In often now with orchestra, the piano of all words, by making one of the Song to words by Alun Lewis the poet and voice version of Sea Pictures greatest portrayals in all music of the hopes that ‘what’s transfgured will live is both authentic and preferable in true sighs of the heart.

North York Moors Chamber Music Festival 2018 17 St Aidan's Boosbeck - Illumination 17th August

1850s Boosbeck was simply a bridge with a few houses – a small and remote part of the Skelton parish. Between 1850 and 1870 over thirty ironstone mines were prospected within the Cleveland area and with it came the need for cheap housing and the provision of social and spiritual infrastructure. Non-conformism - unencumbered by Erastian constraints - was generally more agile at getting into places like Boosbeck. Although a Primitive Methodist chapel was established in 1877 the Church of England was not far behind. By 1900 a site for the church was donated by W.H.A. Wharton of Skelton Castle, and the adjacent site for the vicarage by Robert Petch, a local farmer who also owned a seedcake and manure enterprise. St Aidan’s cost £4,000 and it opened in 1901. It was built to a lofty, cruciform arrangement which moved Pevsner to comment that ‘one is impressed by [its] respectable height and transeptal chapels’. The church was designed by William Searle Hicks who was a great nephew of Sir Charles Barry. Hicks was a middling architect who failed to achieve any notable public profle but he did The development of industrial Commission started by force in the become architect to the newly created communities in the 19th century laid 1830s grew into its own movement as Diocese of Newcastle. Examples of his down a challenge to a Church of the century progressed. work refect a confused and derivative England which was still largely funded St Aidan’s can be counted as amongst style and his only other local church by engrained property rights - how to the fnal products of that Anglican at Carlin How is described by Pevsner liberate some of those resources and imperative to establish new churches as ‘a pathetic sight’. Recently St Aidan’s use them in places with the greatest and parishes closer to emerging has suffered from the modern curse of need? That which the Ecclesiastical industrial communities. Before the vandalism and lead theft.

18 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 19 Tippett’s Overture to his unpublished Rimbaud’s texts (mostly in prose) to be TIPPETT folk-song opera Robin Hood. By kind suitable for musical treatment. Britten Overture to Robin Hood (1934) permission of the Michael Tippett pruned several of his initial settings Foundation and the Tippett Will Trustees, (they survive) from a fnal selection in this brief work is heard as a one-off nine parts for high voice and brilliant BRITTEN performance in a ‘modern premiere’ and string orchestra. Rimbaud claims in the Les llluminations op 18 (1940) in Boosbeck, the village for which it was opening Fanfare to have the only key to frst composed in 1934. The ‘orchestra’ the ‘wild parade’ of thoughts, feelings Fanfare of fve players is the authentic band and images which follows - but Britten Villes which accompanied Tippett’s jolly tale of takes that key from him, unlocking his Phrase and Antique triumph over the landlord - libretto by own senses and imagination - and ours Royauté Ruth Pennyman, David Ayerst and input too. There are breathtaking highlights: Marine from Tippett himself. The work proved the suspended line and falling end of Interlude a huge success when frst presented in Phrase, the pomp of Royauté, extended Being beauteous Boosbeck’s Church Hall, with a local ecstasy in Being Beauteous, the shifting Parade cast. Manuscripts survive, reconstruction light all through. For the whole twenty Départ is possible, but the whole work has not fve minutes our senses are heightened been heard since the ‘30s. We hope and in the process Britten’s expressive the Overture might help you imagine range seems wholly set free. WALTON yourself there too, as part of that frst, Light, shade and fre ficker all Sonata for Strings (1971) expectant audience. Tippett re-used through William Walton’s Sonata for some of the Overture’s material in the Strings, a 1971 re-working for string Allegro Finale of his orchestral Suite in D of orchestra of his String Quartet in A Presto 1948. minor from the mid-1940s. Prompted Lento Just fve years after that Robin Hood by Neville Marriner, and assisted in the Allegro molto premiere in Boosbeck, Europe was at arrangement by Malcolm Arnold, Walton war, and Benjamin Britten was in the went further than a mere transcription, USA with Peter Pears, completing work rethinking sections of the opening Allegro DOWLAND on a French song cycle. Les Illuminations and creating a unique English string Go Crystal Tears; Flow My was written for soprano and strings masterpiece along the way. The Sonata Tears (Lachrymae) (1597) but is more often heard today sung became the ‘missing’ lively, Waltonian by tenors, following on from Pears, companion to the established repertoire who frst performed the male-voice pieces by Elgar, Vaughan Williams, Britten PURCELL version in 1942. Arthur Rimbaud had, and Tippett. The Allegro works up to a Music for a While; When I am conversely, written many of the texts in fugal section before its recapitulation Laid in Earth (1689) England in the 1870s, while wandering and is followed by a truculent, brilliant in Europe, sometimes with Paul Verlaine. Presto, particularly vivid and colourful We are able tonight to shed unique Britten seems to have empathised with in this arrangement. Before the contemporary light on the local Rimbaud’s concerns, and unusually for a insistent closing Allegro motto comes experience of the 1930s, by offering composer at that time, Britten considered an extended Lento, arguably Walton’s

20 North York Moors Chamber Music Festival 2018 strongest slow movement - the passions (the 1600 vocal version of his hugely and Aeneas, composed in the 1680s. are not contained by ‘Englishness’ and successful Lachrimae pavane from No music is more moving than this the feelings implied are raw, and strong. 1596), and Go crystal tears from the aria. Dido may sing that ‘Death is now Evocation of such feelings was never First Book of Songs of 1597. Purcell’s a welcome guest’ but as countless in doubt when poetry was set by the 1692 song Music for a While invokes a performances and arrangements greatest masters of English song - John doleful, memorable musical beauty in testify, Purcell’s portrayal of her Dowland and Henry Purcell. We hear the service of a text that implies music demise affects the listener so deeply, arrangements by David Bruce of two of might even calm and disarm the Furies. that we are inspired to go on living, Dowland’s tear-laden, lamenting works: Our ending is the dying of the light: just as we are saddened again by the his best-known song Flow my Tears Dido’s Lament from the opera Dido dying fall.

North York Moors Chamber Music Festival 2018 21 St Hedda’s RC Egton Bridge - Polyphony 18th August

whom the local inn is an eponymous reminder. He discreetly ministered across Yorkshire for ffty years until he fell victim to the hysteria of the Popish Plot of 1678 and was hanged, drawn and quartered in York the following year. English Roman Catholicism was at its lowest ebb in the 18th century yet the frst church was built in 1798; this is now the school next door. Within the next ffty years both legal emancipation and the infux of labourers from Ireland created a rising demand. In 1859 the priest in charge – Fr. Callebert – set about trying to raise funds for a much larger church building. Unlike many large Catholic churches of the period (one immediately thinks of Pugin’s neo-gothic apotheosis at Cheadle) this project did not rely upon a wealthy patron; instead, all the costs were defrayed by small donations. Volunteer aid was enlisted in every task including quarrying the stone. The building itself was designed by Hadfeld & Son of Sheffeld in a simple French style with lancet windows and an apsidal chancel. However, at 114ft by 47ft with a height of 43ft it was a triumph of volume Many features of the story of Roman and 17th centuries. This was aided over expense. The present church Catholicism within England since by gentry families, such as the Smiths opened in 1867 while furnishings such the Reformation can be found in the of Bridgehome in the village, who as the altar from Messrs Mayer & Co. history of St Hedda’s RC Church. The were able to provide a safe haven for of Munich and the Lady Chapel were village and the surrounding population priests to live and for Mass to be said. added over the subsequent ten years. have long maintained a Roman Catholic Probably the most notable priest – and The Lady Chapel now contains the tradition even when under extreme later martyr – was Nicholas Postgate Postgate Relics and several of these offcial disapprobation in the 16th who was also born in the village and of are on display.

22 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 23 Music for strings feels familiar section of a concerto grosso with ELGAR ground for British music, helping convey contrasting ‘themes’) through variation Serenade for strings in E minor anything from pastoral nostalgia to and fugue to an accelerating explosion op 20 (1892) intense spiritual light. The brief Elgar of feeling and into an extended, ecstatic, Serenade has roots in the 1880s, the polyphonic meditation. If in The Heart’s Allegro piacevole work of a very young man. If the outer Assurance (heard in our August 15th Larghetto Allegro and Allegretto match charm to concert) Tippett had not quite convinced Allegretto easy-going character and modesty, the us or himself that love might transcend central Largo presents close to the death, then here he most certainly whole Elgarian emotional swell in just does convince. His Fantasia enacts the TIPPETT six minutes. It is mature and fully-formed, discovery of overpowering love, moving Fantasia Concertante on a prefguring Mahler with a sense of away from dryness, making the past live Theme of Corelli (1953) aching, yearning song. The great ‘aria’ of and quite overwhelming the listener the short climactic section conveys the with the possibility of life. composer’s fully-distinctive melodic arc, The seventeenth century lives still GOSS while the eloquent ending foreshadows more fully in the Theorbo Concerto by Concerto for Theorbo and the Cello Concerto, composed at the Stephen Goss, written at the instigation Strings (2018) other end of Elgar’s creative life. of the extraordinary lutenist Matthew Michael Tippett wrote his Fantasia Wadsworth and here receiving its Prelude Concertante in his forties, for the English premiere, as a part-commission Scherzo 1953 Edinburgh Festival - Churchill by the NYM Festival. This is the frst Passacaglia was Prime Minister; coronation year; concerto ever written for the theorbo, Finale Everest. Tippett’s popular Concerto and the idea for the composition for Double String Orchestra from arose from the success of Matthew’s 1939 had identifed him as the heir to performances of Goss’s The Miller’s VAUGHAN WILLIAMS the ‘English string tradition’ but his Tale, heard at last year’s Festival and in Fantasia on theme by Thomas Fantasia bemused early audiences by our August 19th concert, this year. Like Tallis sailing straight off to a new continent of Vaughan Williams in his Symphony no. 8, (1910; rev. 1913 & 1919) emotional expressivity via seventeenth Goss has written a series of variations century Italy - the authentic ancestral ‘in search of a theme’ which comes at home of the modern string section. the end for a bright, loud conclusion. Perhaps those frst listeners found it The six variations (in reverse order) ‘un-British’ and unrestrained - their early are woven into a four-movement indifference now seems unaccountable. structure (Prelude, Scherzo, Passacaglia, As all the concerts in this Festival show, Finale) with three interludes featuring the expressive range of British music solo violin, cello and viola in turn, with written since the 1880s is immense. theorbo and bass. Somewhere behind This concert is dedicated to a Tippett’s achievement in the Fantasia the structure lies the outline of the long-standing friend of the festival, was to match head and heart, moving novel Cloud Atlas by David Mitchell, the late Lady Normanby. from the Corelli ‘theme’ (the opening along with varied baroque musics. If that

24 North York Moors Chamber Music Festival 2018 sounds intimidating the work is surely not Hymnal in 1906. On one level, the its strength, like the Tippett, lies in - though it is certainly unprecedented. composer re-interpreted Renaissance its expressive arc of passion. Heard The nearest to a precedent to the vocal polyphony for strings and for the this way, it is less religious meditation Tippett Fantasia in British music is the modern world, setting three groups of and closer to, for example, the love Fantasia on a Theme of Thomas Tallis by strings (a solo quartet and two further scene in Berlioz’s Roméo et Juliette. Vaughan Williams, written in 1910 for ensembles) in counterpoint or united The climax, release and languorously Gloucester Cathedral. It was developed within the familiar stone acoustic. erotic conclusion are the work of a like Tippett’s Fantasia from an ancient But that description does not explain Romantically passionate composer, theme, this time a hymn-tune from the global success of the piece, or its while the musical range (in part defned the sixteenth century, Why fum’th ubiquity now - up in the top ten of by the harmonic implications of the in fght? which Vaughan Williams had all Classical works. The Tallis Fantasia Tallis theme) approaches, again, the included when editing the English can be calming, simply beautiful, but contemporaneous work of Mahler.

North York Moors Chamber Music Festival 2018 25 Michael Tippett in Boosbeck

For a time between 1932 and 1934, village of Boosbeck, in 1934. The enthusiast and father of conductor Sir MIchael Tippett stayed and worked orchestra of five instrumentalists Sir John Eliot Gardiner, had in 1925 in the still-rural East Cleveland area, included the future Private Secretary stumbled upon the local miners’ sport just outside what’s now the National to Neville Chamberlain, while another of sword-dancing, then in decline. He Park boundary. Local unemployment of the players would become director began an association with Jim and Ruth had reached ninety percent and more, of Sadler’s Wells. Pennyman, local landowners based at thanks to the boom and bust dynamic Surrounding Michael Tippett’s Ormesby Hall, Middlesbrough. Jim was of the ironstone mining industry. The involvement in our area is a tragi-comic a Tory grandee, Ruth was a de-facto composer wrote a folk-opera, Robin narrative whose detail is historical Communist, but both wished to help, Hood, for and with the local people, and political fact, but which can seem practically, with the plight of the and performed it successfully with a unfeasible fiction. Rolf Gardiner, families in East Cleveland. Patches of local cast in the church hall of the folklorist, ruralist, activist, Germanic wild open land near Boosbeck were

26 North York Moors Chamber Music Festival 2018 leased by the Pennymans, cleared his own instincts instead, artistically, First Quartet is also played. We have then cultivated by and for the benefit personally and politically. He wrote been granted kind permission to of the unemployed miners. Grafted new work for the people, lived with perform the Robin Hood Overture onto this, though, were Gardiner’s a Bauhaus-trained artist, Wilf Franks, in Boosbeck, and a series of local cultural notions and pan-Germanic and for a time became a Communist. events and initiatives have begun, sympathies some of which can now Franks, an amazing figure, was also with partners including MIMA in seem dubious in context. So there actor (including early television), Middlesbrough, community activities was music, and dancing, singing and activist, and much more. We are ranging from sword dancing to music debate too, as well as regular visits fortunate in having Dan Gilgan, and, we hope, the commissioning of from German students as co-workers. Franks’ grandson, to help explain new work in this area. The unlikely Tippett got the job of musical all this at our Fylingdales concert, but ultimately inspiring local story is supervision, and quickly followed where Tippett’s locally-conceived beginning to develop, once again.

North York Moors Chamber Music Festival 2018 27 St Hilda’s Danby - Ayres 19th August

Danby village. Arriving at a time when the Methodists had the ascendancy over the Anglican church in the area, he believed the solution lay in returning among the people. In 1863 he caused an iron church to be commissioned in Castleton (the Tin Tabernacle); this was later replaced by a stone church built in 1924. Yet under Atkinson’s regime St Hilda’s was no longer neglected; the year after he arrived a new chancel was designed by the architect, William Butterfeld. This was only the latest among many alterations since the church was founded. There are possible traces of Danish occupation in the burial ground, and Saxon remains in the church. The tower is 15th century and two of the bells are marked 1698. There was a major restoration in memory of Atkinson in 1903 in the Early English style by Temple Moore. It might have been a muddle, yet the impression nowadays is of a most harmonious building, glowing under 21st century lighting; a sanctuary brought back to life, standing on the promontory below what Pevsner called "the noble line of the moor". The installation of a Nestled in the heart of Danby Dale, Years in a Moorland Parish’ by Canon lavatory and the recent arrangement St Hilda’s can easily be seen from the John Atkinson, in which he famously of the west end to create an adaptable high moors which surround it on three described how his frst sight of the meeting space shows how tradition can sides despite its diminutive tower. The interior in 1845 was of shocking neglect, be blended with modern expectations. remote location of the church refects dirt and an almost total absence of We are delighted that members of the history of dispersed hamlets that worshippers. He believed this was due the church will offer concert goers make up this parish. This is the church to its remote position in the middle afternoon tea and cakes in the glorious that inspired the cult book ‘Forty of the dale, one and a half miles from setting of the churchyard.

28 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 29 HENRY PURCELL (1659-1695) JOHNSON - DOWLAND - accompanying fgure is quizzical. Last is Amidst the shades and cool refreshing CAMPION - BRITTEN - ‘Down by the Sally Gardens’ to words streams KAPSBERGER - GOSS - by Yeats for which Britten devised an Music for a while PURCELL accompaniment as apt and moving as The fatal hour comes on a pace anything in his cycles of original songs. Songs for lute, theorbo and Evening hymn Matthew plays a short solo by the soprano. seventeenth century German/Italian We welcome again to St. Hilda’s, composer and virtuoso Giovanni ROBERT JOHNSON (1583-1633) Danby the lutenist Matthew Wadsworth, Kapsberger, the Toccata arpeggiata, As I walked forth with soprano Julia Doyle for solo songs, whose harmonies and mood imply a and a selection of instrumentals. much later music. We then match this JOHN DOWLAND (1563-1626) ‘As I walked forth’ tells of a lady so year’s Festival premiere performance Can she excuse my wrongs saddened in love she lies down among of Stephen Goss’ Theorbo Concerto Come away, come sweet love the leaves and dies. The words are set with a repeat of his work for solo Shall I strive with words to move to a tune by Queen Elizabeth's lutenist, theorbo, The Miller’s Tale. Written in Robert Johnson. Our Dowland group 2015 it has since been recorded by THOMAS CAMPION (1567-1620 ) begins with the well-known ‘Can she Matthew in Whitby and was played at It fell on a summers day excuse my wrongs?’ and ‘Come away’ our 2017 Festival. Goss, whose varied from the 1597 First Book of Songs, work includes a vivid Guitar Concerto JOHN DOWLAND (1563-1626) followed by a tale of unrequited love for John Williams, has taken inspiration Fortune, from A Pilgrim’s Solace of 1612, ‘Shall from Geoffrey Chaucer’s bawdy tale Pavan I strive with words to move?’ Then, of a hapless carpenter, John, who has a Anon: Galliarda Thomas Campion’s ‘It fell on a summers beautiful eighteen-year-old wife, Alisoun. day’ from his 1601 Book of Ayres tells The young lodger Nicholas begins a BENJAMIN BRITTEN (1913-1977) the naughty tale of Jamy and Bessie. clandestine affair with Alisoun, who I will give my love an apple Dowland’s pavan ‘Fortune my also has a second young local suitor, the The soldier and the sailor foe, why dost thou frown on me?’ is parish clerk, Absolon. Nicholas arranges Sally gardens followed by an anonymous Galliarda, a preposterous subterfuge in order to and three of Britten’s folksong settings. spend a whole night with Alisoun, while GIOVANNI KAPSBERGER (c1580-c1651) The composer sustained a lifetime’s John lies suspended from the ceiling in Toccata arpeggiata close relationship with the songs of a tub, fearing an imminent reprise of the English Renaissance and wrote Noah’s Flood. Absolon arrives to beg STEPHEN GOSS (B1964) variations on Dowland. Today we hear a kiss at the window. When Alisoun The Miller’s Tale (solo theorbo) two of the arrangements Britten made proffers her naked bottom instead of Prologue for Julian Bream. In ‘I will give my love an her lips, he rushes to fetch a hot iron Estampie (John) apple’ the arpeggiated accompaniment from the blacksmith, to punish Alison’s Chanson (Alisoun) is darker than one might expect - the behind. This time, however, Nicholas Toccata (Nicholas) worm in love’s apple. ‘The Soldier and offers his own bottom at the window Serenade (Absolon) the sailor’ features several wishes, and breaks wind mightily in Absolon’s Epilogue culminating in one for beer - again, the face. Nicholas suffers a burnt backside

30 North York Moors Chamber Music Festival 2018 but wins the lady. Absolon wins nothing. form that Chaucer would have known; the second time in a week we hear the John, the cuckold, is branded a madman ‘Alisoun’ is a complex Chanson, implying song that gave this year’s Festival its by the community. the deeper personal concerns, beneath title. ‘Music for a while’ was written for Music also flls Chaucer’s tale, with the bawdy; ‘Nicholas’ is a Toccata, a version of the Oedipus story written both young suitors priding themselves more John Adams than John Dowland; by Dryden and Lee and produced in on their performing prowess, and ‘Absolon’s Serenade’ is tender and 1692. ‘The fatal hour comes on apace’ on their general level of culture and hesitant, evoking compassion rather is probably late Purcell, published in decorum. Stephen Goss offers a cultured, than ridicule. 1702, and is in the form of an Italianate intimate response to Chaucer’s story, in We end with a Purcell group. recitative and (beautiful) aria. The six short movements. A slow Prologue ‘Amidst the shades’ from 1683 is one ‘Evening hymn’ concludes our concert and faster, bass-tune-led Epilogue frame of Purcell’s best songs - the birds feel with thanks from and for the voice four character studies. ‘John’ is an so sorry for the lovelorn Damon that itself: “And singing, praise the mercy/ Estampie, a wistful tune cast in a dance they sing to cheer him up. Next, for That prolongs thy days.” North York Moors Chamber Music Festival 2018 31 St Stephen’s Fylingdales (Robin Hood’s Bay) - Nightfall 20th August

revolutionised English Christianity in the mid 19th century. The new St Stephen’s church – where the concert is to be held – is a bold statement of design as infuenced by a generation of architects raised on the tenets of the Oxford Movement; Pevsner calls it "big, earnest and rather stern". This time the emphasis is sacramental with special detailing such as the large four-light west window and the rib vaulting in the apsidal chancel, leaving the worshipper in no doubt as to the focal point for their devotions; namely the altar. The building was designed by George Edmund Street, whose most notable building is the Royal Courts of Justice in The Strand, London. Street was much in demand as an ecclesiastical architect. He was Diocesan Architect to the cathedrals of Oxford, York, Winchester and Ripon and also undertook considerable commissions abroad. Use of such an eminent ecclesiastical architect with high ideals inevitably increased the cost of the building to a sizeable sum of £6,000. The work was financed by the long-standing incumbent, Robert Confusingly there are two churches simple if somewhat crowded interior Jermyn Cooper, and local landowner, dedicated to St Stephen within the dedicated to the spoken word. Further Robert Barry. Their munificence civil parish of Fylingdales. The old down the hill is the new church of ensured a high standard of design and church of 1822 is situated on a hillside 1868 - 1870. Barely ffty years separate execution; in particular the stained overlooking Robin Hood’s Bay, itself the two churches, yet the contrast glass designed by Henry Holiday built on the site of a much older in architecture and interior design is is especially meritorious, ranking chapel. It conformed to the style of immense; a beautiful illustration of alongside the best examples of late worship common at that time – a the powerful forces unleashed that Victorian stained glass in the county.

32 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 33 Michael Tippett’s Quartet No. 1, more straightforward - this is clearly, TIPPETT his earliest canonical instrumental already, a modern masterpiece and an String Quartet No 1 (1935) work, owes its birth to Wilf Franks, approachable one in the traditional four the dedicatee and frst true love of movements, Time is its essence, or the Allegro appassionato the composer’s life. Work on the frst running out of it, then moving somehow Lento cantabile version began around 1934, with the beyond time in a spellbound fnale, The Allegro assai Lento designated a love song for Wilf, Twenty-Fifth Hour. The inner movements prefaced by a composer-modifed poem are a scherzo with pizzicati, Serenade, by Wilfred Owen called Happiness, which and a more static slower section, Days. ADÈS had itself been written in Scarborough The opening Nightfall is darker, of The Four Quarters (2010) during WWI. The work links to the course, with lights appearing in the high composer’s time in Boosbeck, where registers and through the rhythm. We Nightfalls Tippett lived and stayed with Franks, could enter a great technical dissection Serenade - Morning Dew who had brought much poetry and art class on The Four Quarters but it’s not Days into Tippett’s life, as well as passion. needed - the music makes its point very The Twenty-Fifth Hour The short Lento is, remarkably for an directly and movingly. The time we live ‘early’ work, not beholden to the English through is compressed frst into a single string traditions - in a climax of personal VAUGHAN WILLIAMS day and then into a half hour of music, love, it achieves a cosmic, visionary crystallising further into D major by the Nocturne (1904 rev. 1906) range, unlike Elgar, Vaughan Williams or end. The nearest precedent in English anyone else. The questing frst Allegro music is perhaps the Britten Quartet is a later (published 1943) replacement VAUGHAN WILLIAMS no. 3, but the link is not at all direct and for the original frst movement, which Adès has found a new path for the old Phantasy Quintet (1912) survives in manuscript. The short fnal medium. Allegro recalls Haydn in its refusal to In 1906, Vaughan Williams revised Prelude: Lento ma non troppo offer a portentous conclusion but it is as a Nocturne the brief Ballade Scherzo: Prestissimo dominated by Tippett’s rhythmic bounce he’d composed two years before Alla Sarabanda: Lento and by wit and life - though this is largely - recognisably the work of the Burlesca: Allegro moderato a brilliantly conceived fugal movement. mature composer, in its night-time Thomas Adès has the ability to atmosphere. His Phantasy Quintet imply music that is not really being IMOGEN HOLST dates from 1912, two years after the sounded at all, for example ghosts Tallis Fantasia, whose mood is shared String Quintet (1982) of the Bartòk First Quartet, or the by the Quintet’s calm viola-led opening Shostakovich Fourteenth Symphony and quiet close. In between come a Prelude in his own quartet, The Four Quarters Prestissimo Scherzo that recalls Gustav Scherzo from 2011. The work challenges the Holst, a muted Sarabande (yet another Theme & Variations players - for example using a 25/16 impressive English Lento) and a varied time signature in the closing movement, Burlesca Allegro. The work is fne and and with many-layered harmonies all immediately enjoyable, but perhaps through. For the listener, things are stronger still is the String Quintet

34 North York Moors Chamber Music Festival 2018 of 1982, by Imogen Holst - who had composer. Her impact was profound Festival. Her music has begun to herself written a Phantasy Quartet in work with wartime refugees and emerge from those big male shadows, (for the same Cobbett prize) in 1928. in spreading musical activity in the and it’s outstanding. The 1982 Quintet Written near the end of her creative English regions. She taught, notably at fanks a tiny Scherzo with an eloquent life, the three-movement Quintet Dartington, and wrote, with famously Prelude and ends with a Theme and seems her most fully individual piece. unsentimental objectivity, on her Variations based on one of the last Imogen was the only child of Gustav father’s work, and on music in general entries in her father’s notebooks. For Holst and soprano Isabel Harrison. with a practical clarity rarely matched Holst, the work portrayed the course Imogen Holst was a profoundly elsewhere. In later life Holst was best of the Thames from its source; for the talented performer, conductor, known as Benjamin Britten’s assistant listener it perhaps seems the dawn to organiser and animateuse, as well as and co-director of the Aldeburgh dusk journey of a life lived.

North York Moors Chamber Music Festival 2018 35 St Hilda’s Priory, Sneaton Castle - Silent Noon 2pm & At the River 7pm 22nd August

Over time, purpose-built facilities for the sisters could be afforded and the central element of this was the neo-Romanesque chapel designed by C.D. Taylor and built between 1955 and 1957. Central to the life of the Order, which follows St Benedict, are the Divine Offce and the Eucharist. In 1992 the distinguished ecclesiastical architect, Ronald Sims, who died in 2007 aged 80, advised on the reordering of the chapel "to improve its ambience, dignity, accessibility and liturgical use". Later on he was responsible for the cross and candlesticks made of black wrought metal (as also for the crypt window in St Mary, Lastingham.) By the time the school closed in 1997 the nuns had greatly diversifed their work into preaching, spiritual guidance, retreats, hospital chaplaincy and missions. They have other houses in and around Whitby as well as in Rievaulx, York and Hull. Their long-standing commitment to Africa has recently been extended by two new convents in the Ashanti region of Ghana and Johannesburg in South Africa. There is also a home for girls in Swaziland. St Hilda’s Priory is the mother house the Great War was refounded under The sisters have offered immense for The Order of The Holy Paraclete the banner of the OHP. Sneaton Castle support to the Festival from its (OHP) which is a female Anglican was the location for both educational beginnings in 2009. We remain grateful religious community. The community and religious devotion which meant to them for allowing us to share their was founded in 1915 by Margaret Cope much adaptation was required in the buildings for rehearsals and recordings. in order to blend religious vocation frst half the 20th century. The castle The impressive acoustic of the chapel with provision of education for girls. A itself was an attractively situated family has been captured on several recent CD school which had been in abeyance for home built in 1799 by James Wilson. recordings by Festival artists.

36 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 37 worth living through. This was a fresh ‘Tippett/Bowen’ acknowledging the TIPPETT sound in English music, rhythmically and input of Meirion Bowen, Tippett’s Piano Sonata No 1 (1938) texturally alive to the Elizabethan age life-partner and artistic associate from but looking forward. There are traces of the 1970s on. The vocal line begins with Allegro four-moment structure in the variations the instruction ‘Declamatory’ and the Andante tranquillo that follow, but the impression is of elaborate writing makes considerable Presto exuberance and joy in life. Tippett was use of triplet rhythms. Soon the piano Rondo giocoso con moto living and thinking his way through the part has expanded to four staves, to be most diffcult of decades, the 1930s, yet played at a tempo independent of the his experiences and outlook helped him vocal line. As Caliban speaks his repeated TIPPETT pass on to us the capacity to see beyond “ding dong’” the page-turner is invited Caliban’s Song (1996) the strife - this is very happy-sounding to join in, ad lib. The ending is quiet, piano music, for a composer of that and perhaps Caliban will indeed “dream time. The Andante references the again.” This song is a highly individual, VAUGHAN WILLIAMS Scottish tune, ‘Ca’ the yowes’ but also tiny masterwork from a composer who The House of Life (1904) the blues, and is a mostly-quiet, sensual never stopped dreaming or exploring. love song. The Presto is a scherzo We return to the dawn of a Love sight in sonata form, and channels a gruff composer’s career for the Vaughan Silent Noon Beethovenian dynamism, in contrast Williams cycle The House of Life - A Heart's Haven to folk-like themes. The music also Cycle of Six Sonnets. The work is best challenges the performer to respond to known for the second song ‘Silent Noon,’ In the very rich musical world of those extremes by not holding back - and sets six texts by Dante Gabriel ‘Tippett’s 1930s’ the Sonata no. 1 stands the province of English pianists, mostly, Rossetti. It was frst heard (soprano and out as special, a landmark in the British the Sonata is ‘un-British’ in expression. piano) in late 1904 when the RVW was keyboard repertoire. It’s music that Tippett adds a Rondo giocoso which thirty two - his early maturity as a song offers real uplift, and consciously so. does not take itself too solemnly. The composer. ‘Silent Noon’ is itself an idyll Work began on this piece in 1936, after heavy things have been said earlier in the of quiet eroticism, the lovers alone in the composition of the First Quartet’s work. Jazz and ragtime are present in the a sunlit meadow - the composer must frst version. An initial standalone recurring music, with the humour and have known a time “When twofold Theme and Variations became by 1938 virtuosity of the contrasting sections silence was the song of love.” He had a four-movement sonata, later revised fnding time for another joyous climax been gathering folk-songs in similar slightly and called a Fantasy Sonata in the before the kind of throwaway ending landscapes, and had begun work on the frst 1942 edition, and just Sonata in the which Haydn might have conceived had English Hymnal, but the song’s vocal 1954 second edition. The work engages he been writing in the pre-WWII era. line doesn’t recall folk music or hymn Beethoven at his own piano game, pulling Caliban’s Song from 1995 marks tunes but rather lived-through emotion in world music, jazz and a Scottish folk the end of Tippett’s compositional - it’s almost RVW’s ‘Ich bin der Welt tune, for the ride. Like a Bach Prelude, journey, though he had written his other abhanden gekommen,’ the Mahler song the bright theme of the frst Allegro pieces for a production of The Tempest dating from a few years before. ‘Love opens the doors onto an optimistic over thirty years earlier. This setting Sight’ and ‘Love’s Minstrels’ surround world, leading us toward a new day for baritone and piano is credited to ‘Silent Noon’ with a similarly lovestruck

38 North York Moors Chamber Music Festival 2018 stillness. In ‘Heart’s Haven’ and ‘Death The best advice to the listener Baxian, the progress distracted by its and Love,’ the emotion is more publicly who does not know the Bax Quintet own attractive surface, until another proclaimed, with Schumann and Mahler in G minor is: surrender. As WWI was folk-like melodic climax. The fnale is a again evoked in the drama and the becoming an inevitable, grim reality in brooding re-interpretation of the frst themes, before ‘Love’s Last Gift’ in which 1914-15, Arnold Bax composed a vast movement, in a changed world, waking the composer makes rural imagery of symphonic drama for piano and strings, as if startled at the close. Think, perhaps, love into a simpler tune, then a quiet a quintet like no other. Like Elgar, Bax of the Bax Piano Quintet as a day’s walk end on piano. consciously avoids evocation of the alone on the moors, the story unfolding Brahms or Schumann quintet heritage. in an inspiring landscape and among From the extraordinary and imposing the elements, identifying with the wild BAX opening on piano followed by an drama, pausing at villages or at the inn, Piano Quintet in G minor (1915) expansive cello melody, we’re sent off to a meeting a cast of characters, but fnally world that exists only in this piece. There alone with nature and thought, the need Passionate & Rebellious (Tempo are three movements, and the last opens to confront the demons and the next moderato) with what sounds a ‘damaged’ version of day. Slow & Serious (Lento serioso) the work’s opening, as though something There is no doubt as to the Moderate Tempo (Tempo moderato) has changed for the worse, with the composer’s identifcation with the song’s - Allegro vivace - Lento con jaunty folk-aspects refected in a dark message, as well as its musical content, gran’espressione mirror. That frst movement is labelled in Kenneth Leighton’s Fantasy on an ‘Passionate and rebellious’ and conveys American Hymn Tune. It is a twenty an inescapable narrative sense, a saga of minute piece for clarinet, cello and LEIGHTON nature and feeling. Folk-inspired rhythms piano written in 1974 for a Cheltenham Fantasy on an American Hymn and melodic shapes are a important premiere in 1975, and based on the Tune op 70 (1974) elements in Bax’s compositional tune The Shining River, which had been approach, often referred to as ‘Celtic’ composed in 1865 in the style of a by commentators. The attitude of the spiritual. Leighton’s music is here rich, CLARKE music, passionate and rebellious indeed, impassioned and highly varied. Beginning Dumka (1940) seems highly signifcant, implying story, and ending with Adagio sections, the stress and strain. Two-thirds of the work incorporates Scherzo, Fugue and way-in to the frst movement’s drama, a Fantasy elements, but to a common, BRIDGE still point of unearthly beauty is reached, powerful expressive end. Rebecca Phantasie Trio No 1 in C minor leading to music whose quality matches Clarke’s Dumka is for the unusual trio (1907) Tintagel and Garden of Fand, Bax’s most of vioin, viola and piano. She wrote it in popular narrative orchestral pieces, 1940 when she, like Britten was in the Allegro moderato ma con fuoco soon to be written. The central ‘Slow USA at the start of WWII, and at about Andante con molto espressione and serious’ movement is probably the the same time he was fnishing the Alegro scherzoso most successful of the three, structurally, composition of Les Illuminations. Like Allegro Moderato though it can feel less slow and serious Britten Clarke played viola, and Clarke’s than the frst. Memorable melodies and reputation is growing in response to delicate textures dominate, uniquely the current, increasing success of her

North York Moors Chamber Music Festival 2018 39 Viola Sonata of 1919. Already a mature with a haunting and sparse conclusion. at their most minor-key urgent. Cobbett composer back then, she would live a Frank Bridge’s Phantasy Piano called this Trio “lavish” and it fnds time further sixty years, dying in New York, Trio in C minor of 1907 was another in its short span for a nimble ‘French’ in her nineties. The Dumka sounds Cobbett Prize winner - as stipulated by scherzo which intrudes into an Andante like authentic Dvorak at the opening, businessman Walter Cobbett the work whose thematic opulence propels the and the slow dance recurs, in between was in a single movement, in this case players to an emotive climax. There livelier sections that evoke later Czech divided into six sections. The opening, is a still moment before the inevitable composers. The feeling behind the music stormy and passionate again, might return of the stormy questioning seems frst-hand, though: it is genuinely imply a longer work, the musical dialect opening, a recapitulation that is flled lived through, not a pastiche of genres, somewhere between Brahms and Fauré, with dynamism and on the largest scale.

40 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 41 St Oswald’s Lythe - Refrains and Choruses 24th August

(who began his ecclesiastical career as assistant curate here), 37 fragments of carved stone were found built into the walls of the Norman church. These are Anglo-Danish gravestones from, most likely, a Christian burying ground established following the Viking invasion of the neighbourhood in 867. Many more fragments have been stored within the tower and several are mounted in an attractive display which illuminates the transitions of settlers towards early Christianity. Of special note are the hogback tombstones which were fashionable from around 900 AD and a particular feature of Viking heritage within northern Britain. The 1910 restoration was overseen by Sir Walter Tapper, a distinguished member of the Arts and Crafts movement, renowned for his attention to detail. The pews, pulpits, rood screens and organ lofts in the many churches he restored were always of the best quality, and the acoustics were, almost without exception, fne. This is true of St Oswald’s at Lythe, where Tapper created an elegant, calm and airy space in great contrast to The church of St Oswald dominates drawn to the east, to the sea and south, the fury of the sea and winds outside. the headland above the village of down the steep bank and along the beach The architectural critic H.S.Goodhart- Sandsend. Its solid Early English tower to Whitby Abbey, founded in 657. The Rendel called Tapper’s work at Lythe with small spirelet stands stark against earliest written record of St Oswald’s "his best church." There are several the North Sea beyond. Inland, to the occurs in 1100; but in 1910, during a splendid memorials relating to the north, west and south lie the vast open major restoration carried out under Normanby marquisate whose main spaces of the North York Moors but at the auspices of the Vicar, the Reverend residence is at Mulgrave Castle within the church the eye and the mind are the third Marquess of Normanby the parish.

42 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 43 written in 1970 and revised in 1983. The ARNOLD ARNOLD central Lento refects on ‘Farben’ from Wind Quintet op 2 (1943) Three Shanties (1943) Schoenberg’s Five Pieces for Orchestra but derives from a work on Winnie Allegro Allegro con brio the Pooh. The brief outer movements, Presto Boney was a warrior - Allegretto simplice Tempo giusto and Vivace, also reference Alla Marcia Allegro Vivace Schoenberg, but in as light and witty a manner as humanly possible. Our Festival has featured much music The cello’s humanity is clear enough KNUSSEN for human voice, but we here offer a in Imogen Holst’s The Fall of the Leaf, Three Little Fantasies (1970 rev. sequence of works just as demanding of written in the 1960s to a tune from the 1983) breath control: British works for winds, Fitzwilliam Virginal Book. The heartfelt with some brief appearances from the Adagio conveys, according to the Tempo Giusto cello, so often compared to the voice composer, the rich variety of colours Lento e Calmo in expressive range. Malcolm Arnold’s present in leaves. The cello remains Vivace Wind Quintet op. 2 was composed in on stage for our next work, but as a 1942 but then lost for sixty years, before drone accompanist. A lamenting tone rediscovery and publication. It is a twelve is sustained in Pibroch by oboist and IMOGEN HOLST minute piece in three movements, none composer Melinda Maxwell. A pibroch Fall of the Leaf (1963) of them slow. A witty Allegro and brilliant is an ancient Scottish musical form, Presto scherzo give way to a bitter Alla sometimes for fddle but usually for Adagio marcia, as satirical of war in its way as bagpipes - the word means ‘piping.’ Kurt Weill or Shostakovich. Themes are repeated with elaborations, Oliver Knussen, a child prodigy, sometimes in accordance with elaborate MELINDA MAXWELL became one of the most important fgures rules and traditions. Pibroch is hence Pibroch (1981) in British musical life, from the 1970s to a kind of theme-with-variations, the 2018, the year of his untimely passing. sections punctuated by a two-note fgure. He conducted countless premieres By the end, the tune has transformed BIRTWISTLE and gave revelatory performances of into a different melody. The technical Refrains and Choruses (1957) ‘diffcult’ modern classics like the Carter description does not characterise the Concerto for Orchestra whose sense work’s effect which is haunting, hypnotic and clarity had eluded other conductors. and moving. GUSTAV HOLST From the early 1980s he also directed The brief modern classic from 1957, Wind Quintet op 14 (1903) the Aldeburgh Festival and from 1986 Sir Harrison Birtwistle’s Refrains and took on contemporary music duties Choruses, is effectively the composer’s Allegro moderato at Tanglewood, too. He composed Opus 1. It is dedicated to his fellow Adagio slowly, and his music could recall the ‘Manchester School’ member, Alexander Minuet (in Canon) - Trio fnery of Ravel as well as the strength Goehr, and was frst heard at Cheltenham Air and Variations of Mussorgsky, another of Knussen’s in 1959. An obvious antecedent would ‘gods.’ The Three Little Fantasies were be Stravinsky’s short Symphonies of

44 North York Moors Chamber Music Festival 2018 Wind Instruments, but the work really it was performed in 1982 in an edition written in the same year as his Wind announces Birtwistle’s trademark skill (with cuts) by Imogen Holst and Colin Quintet, 1942. No guide is required of writing music that seems to move Matthews. The piece is tuneful, civilised, for the listener - Arnold set out to forward and stand still at the same enjoyable and unrecognisable as the challenge the players while entertaining time. Structurally elaborate, the work’s work of the composer of The Planets the audience in rumbustious fantasies fve-part conversation (or argument) and Savitri. There’s a Minuet (with a on ‘What Shall We Do With a Drunken feels straightforwardly enjoyable, nearly charming Trio) instead of a Scherzo, to Sailor,’ ‘Boney was a Warrior’ and sixty years after the premiere. The short follow the brief Allegro and unassuming ‘Johnny Comes Down to Hilo.’ Arnold sections alternate and recur, slowing to Adagio. The work ends with a diverting was a conscientious objector during a cool coda and featuring (especially) set of variations on a folksy theme, and this part of WWII, and after a spell in some brilliant work from the horn. a quiet close. the fre service he returned to trumpet The Wind Quintet of 1903 by Arnold’s Three Shanties, frst heard duties with the LPO, hence the airfeld Gustav Holst vanished like Malcolm in an aircraft hangar in 1943, played by premiere of this work, given by his Arnold’s Quintet, but for far longer - the London Philharmonic Quintet, were orchestral colleagues.

North York Moors Chamber Music Festival 2018 45 St Hilda’s West Clif Whitby - Suites and Scenes 25th August

by birth, Austen arrived in Whitby and stayed 45 years, during which his forceful personality made him famous throughout Yorkshire. "Whitby was his kingdom" it was said, and what more ftting that the fve Anglican churches over which he presided should be formed into the heart of a new diocese? He conceived of St Hilda’s as a cathedral; the result is certainly “big and bold” (Pevsner). Designed by the Newcastle architect, R.J. Johnson, St Hilda’s was built in 1884-86 on a scale, and with features, suitable to the cathedral. To that end the new St Hilda’s soon acquired a bishop’s throne and the stained glass is by the eminent Victorian designer C.E. Kempe. Austen himself planned and oversaw every detail of the new church, including the view across the harbour to the Abbey, though this was not achieved without a prolonged struggle with the landowner of the site. Whitby did not become an archdeaconry with a suffragan Bishop until 1923. By that time Austen had left to become a Residentiary Canon at York Minster. He died aged 95 in 1934. The tower was fnally The whole of Whitby West Cliff, time it was fnished so was Hudson, completed by G.E.Charlewood in including St Hilda’s, is a story of lofty disgraced and bankrupt. Without any 1938. The three-manual organ is by ambition. Undeveloped until the subsequent traffc boom Westcliff only Harrison & Harrison and was installed seaside railway boom of the 1840s continued to develop piecemeal. A tin in 1926, funded by W. A. Headlam, a the resort attracted the attention of church was provided in 1875 but the local shipping merchant and a staunch the ‘railway king’ George Hudson who arrival of Canon George Austen as member of the congregation. It was purchased West Cliff Fields and began Rector of Whitby in the same year given in memory of his son who had construction of East Terrace. By the was to prove crucial. A southerner been killed in the Great War.

46 North York Moors Chamber Music Festival 2018 North York Moors Chamber Music Festival 2018 47 March was a considerable hit in Victorian ELGAR WALTON England. Ironically the liveliest tune Imperial March (organ) (1897) Façade (1922 rev 1947-48) recalls a diabolic chorus from Berlioz’s Faust. Fanfare Britten’s Variations on a Theme BRITTEN Hornpipe of Frank Bridge formed the younger Variations on a Theme of Frank En famille composer’s personal tribute to his Bridge op 10 (1937) Mariner Man former teacher and saw its frst Long Steel Grass performance in Salzburg in 1937, Introduction and Theme Through Gilded Trellises a commission from the Boyd Neel Adagio Tango-Pasadoble Orchestra. Since then it has had a busy March Lullaby for Jumbo career as an undisputed masterpiece Romance Black Mrs. Behemoth of the string repertoire. The theme is Aria italiana Tatantella from the second of Bridge’s Three Idylls Bourrée classique A Man from a Far Countree for string quartet, of 1906, where it Wiener Walzer By the Lake encloses an almost violent ‘trio’ section Moto perpetuo Country Dance not used by Britten. The other Idylls Funeral March Polka are worth your attention, especially the Chant Four in the Morning intense opening Adagio. Britten’s frst Fugue and Finale Something Lies Beyond the Scene variation has a similar mood to that Valse piece by Bridge, and is followed by seven Jodelling Song genre pieces, unforgettable in character PALMER Scotch Rhapsody and for vivid string writing, forming a Eggs or Anarchy (2017) Popular Song combined portrait of Bridge - it’s one Foxtrot of Britten’s most inspired sequences. Gramophone Prelude Sir Beelzebub Highlights are the boisterous ‘Aria Introducing Fred Italiana,’ the expressionist detailing of War Our Festival has shown British music ‘Wiener Walzer,’ (beyond even Ravel’s Newsreel April 1940 engage with the familiar big issues: love La Valse in its infation) and the moving At the Ministry of Food and death; war and peace; past, present ‘Funeral March.’ The magical ‘Chant’ then Interlude: Rationing and future. To end things, Edith Sitwell anticipates the opening of the Britten The Secret Life of Colwyn Bay and William Walton will invite us to let First Quartet and prefaces the extended Newsreel Cooking Tips down our hair and forget solemnity ‘Fugue and Finale’ which even seems to Woolton Pie - the offcial recipe - though we will not forget musical reference the very recent Shostakovich Gramophone postlude quality and intelligence. To begin, the Fifth Symphony. Most memorable are organ, and The Imperial March by Elgar. the tense closing minutes, the theme It’s a fve-minute work written in 1897 made into a barely audible Mahlerian for Queen Victoria’s Diamond Jubilee ghost before the last release. and scored originally for full orchestra. Conductor and composer Ben Always popular with organists, the Palmer does approach the big issue of

48 North York Moors Chamber Music Festival 2018 war in Eggs or Anarchy, but not from a experimental verses (sound over sense) When Façade was published at last, the solemn perspective. The work, composed for recitation, and with an ensemble work found its now familiar and popular as a companion piece for Façade with not including the saxophone which form. Walton anticipates Britten’s the same forces, is based on the book of so characterises the Façade we know ‘genre’ approach in the Frank Bridge the same name by William Sitwell, telling now. The private performance (with Variations also heard in today’s concert, the story of Lord Woolton’s successful Sengerphone, the cone that amplifes by composing convincing pastiches, management of national nutrition in the voice considerably, and a screen to memorable tunes and sharp character WWII - without which we’d probably hide the performers) was successful. For pieces, all of them very brief. Sometimes not be here. Palmer’s innovative work the public premiere the following year, they are pregnant with impressionist is in eight sections, with a ‘Gramophone Walton dropped four of the settings, but atmosphere, as in ‘Long Steel Grass,’ Prelude’ and matching ‘Postlude.’ It was had written an additional sixteen. The ‘Through Gilded Trellises’ and ‘A Man premiered in October 2017 at Cedars saxophone was now included in in the From a Far Countree.’ Humour is rarely Hall, Wells Cathedral School. ensemble. More settings ensued, some absent in the music (let alone the mode Façade, the ‘Entertainment’ devised now lost. Façade’s fame grew, there of presentation) - ‘I do Like to be Beside by Walton and Edith Sitwell was mostly were recordings and arrangements, the the Seaside’ worms its way into ‘Tango,’ composed around 1921/22 and published orchestral suites were published - but a dance band is let loose in ‘Something in 1951 as a Fanfare with twenty-one not the originals. 1942 saw the twentieth Lies.’ The quieter parts of Façade might instrumental settings to follow - we hear anniversary performance, and Constant be its most fascinating, but the ebullience that familiar version today. The history Lambert suggested the selection of of the whole Entertainment epitomises of the settings is complex. Walton was three sets of seven Façade settings, to and satirises English eccentricity, with staying with the three Sitwell siblings, make an ironic match for the twenty one raucous musical fun - a ftting and and in 1921 set sixteen of Edith’s poems of Schoenberg’s Pierrot Lunaire. beguiling end.

North York Moors Chamber Music Festival 2018 49 5050 North York Moors Chamber Music Festival 2018 Biographies

Over these past ten glorious years the musicians who perform with us, many of them regularly, have been struck by the sheer inspiration of the area as a whole. The generous and attentive audiences, sacred buildings, majestic Jill Allan Katya Apekisheva landscape and the general sense of freedom, all contribute to the music and how we interpret Clarinet Piano it. It seems to us that we’re making music Jill Allan studied the clarinet at the Royal Katya Apekisheva is one of Europe’s foremost for all the right reasons and that in itself has Northern College of Music in Manchester pianists, in demand internationally as a soloist where she is currently a Professor of and chamber musician, and described by profound implications. In stressful, high profle Clarinet at Manchester University. She went Gramophone Magazine as ‘a profoundly careers and an industry which often applies on to complete a postgraduate diploma in gifted artist who has already achieved artistic unnecessary and misguided pressures, it is easy performance at Rotterdam Conservatoire in greatness’. Studying at the Royal College of to forget what music is meant to be expressing the Netherlands. During this period, Jill began Music under Irina Zaritskaya, she went on to and how we’re supposed to be communicating to establish herself as one of the foremost become a fnalist and a prize-winner at the clarinettists in the UK and has since gone on Leeds Piano Competition and the Scottish the authentic work of the composer. Chamber to perform as a guest player with many of Piano Competition as well as being awarded music was always intended to be intimate and the country’s fnest ensembles, including the the London Philharmonic Soloist of the Year. one senses that the splendid venues we have BBC Symphony and Philharmonic Orchestras, She has subsequently appeared as soloist with access to ofer not just a sanctuary but also a Hallé, Royal Philharmonic Orchestra, the City the London Philharmonic, Philharmonia, Hallé, space which acoustically lends itself so perfectly of Birmingham Symphony Orchestra and the Moscow Philharmonic, Jerusalem Symphony, highly acclaimed John Wilson Orchestra. Jill is English Chamber Orchestra and the Royal to music. The energy and atmosphere both regularly guest principal with the Symphony Philharmonic Orchestra with conductors enhance the mysterious qualities of the music Orchestra of India, based in Mumbai and has including Sir Simon Rattle, Alexander Lazarev which are often lost in a concert hall and this also appeared throughout Japan, China, South and Jan-Latham Koenig. Her various recordings is partly why the festival has such a special Korea and Europe. Aside from orchestral feature Grieg’s solo piano works (Quartz), quality. We as musicians feel it and cannot playing, Jill enjoys the variety and interactive masterpieces by Mussorgsky and Shostakovich challenges of chamber music, helping to set (Onyx) and Impromptus by Chopin, Fauré and describe it. It’s just glorious that we can come up the Minerva Wind Quintet and working Scriabin (Champs Hill). She has also recorded together and share in so many ways. alongside the Birmingham Contemporary numerous CDs with violinist Jack Liebeck I'd like to thank three extra young musicians Music Group and Ensemble 10/10. This is Jill’s as well as her duo partner pianist, Charles who will join us in the festival this year: Greta sixth visit to the North York Moors Chamber Owen, with whom she set up the London Maknickaitė (violin), Peter Baumann (French Music Festival, and she is looking forward to Piano Festival, now in its third year. Katya lives being part of great chamber music with long in London where she is Professor of Piano horn) and Jonathan Lyon (oboe). Peter and established colleagues within one of the most at London’s Guildhall School of Music and Jonathan will be playing with us in Tippett's inspiring settings in the country. Drama. Robin Hood Overture and Greta will perform as part of the festival orchestra in the fnale. It's super to have young musicians on board with us and your time is much appreciated. www.katyaapekisheva.com North York Moors Chamber Music Festival 2018 51 Tony Bedewi Simon Blendis Simon Browne Percussion Violin Violin/Viola Tony currently serves as principal timpanist Simon Blendis enjoys an international career Simon Browne teaches and performs at the with the BBC Symphony Orchestra, whose as a chamber musician, soloist and orchestra University of Trinidad & Tobago Academy annual London season includes numerous leader. He has been a member of the for the Performing Arts and is well known performances at the BBC Proms in London’s Schubert Ensemble for the last twenty-two at the Festival, being part of it right from the Royal Albert Hall. Prior to joining the BBCSO years, with whom he has performed in over start in 2009. As a principal violinist with the in 2017 he held the position of co-principal thirty different countries, recorded over Northern Sinfonia, under the direction of timpanist with the London Symphony twenty CDs of music ranging from Brahms Thomas Zehetmair, he gained a reputation Orchestra, whilst at the same time freelancing to Judith Weir, made frequent broadcasts as a fne interpreter of baroque and classical with all of the major orchestras in London for BBC Radio 3 and appeared regularly at concerti and for his versatility in repertoire and across the UK. He has also appeared Europe’s major venues. In 1999 the group from Bach to Shostakovich. Amongst around the world with a variety of ensembles, won the prestigious Royal Philharmonic other orchestras he has co-led the BBC including the John Wilson Orchestra, Society Award for best chamber group, for Philharmonic, Royal Liverpool Philharmonic, Orchestre Révolutionnaire et Romantique, St which it was shortlisted again in 2010. and City of Birmingham Symphony orchestras Petersburg Philharmonic Orchestra, Chamber During 2014 Simon was appointed leader of and has worked with the Berlin Philharmonic, Orchestra of Europe and the Australian World the London Mozart Players, and since 1999 BBC Symphony Orchestra and the Hallé Orchestra. In 2007 he relocated to Santiago has been one of the leaders of Orchestra Orchestra. Simon Browne is much in demand for a nine-month season where he served as Ensemble Kanazawa in Japan, with whom he as a chamber musician on the violin & viola, Principal Timpanist with the Teatro Municipal, has recorded Vivaldi’s ‘Four Seasons’ for the and has been invited to numerous festivals Chile’s national opera house. Away from the Warner label. He is also in constant demand in Europe, Canada and Japan, as well as the orchestral scene he has performed many as a guest-leader and guest-director and has International Musicians Seminars in Prussia times with the Colin Currie Group both at appeared in this role with most of the UK’s Cove. He was a multiple prize-winner on the BBC Proms and throughout the UK and major chamber and symphony orchestras. Royal Northern College of Music and abroad. Within the last year he has also appeared as Manchester University’s joint course, studying Tony currently teaches orchestral timpani a soloist with the Philharmonia Orchestra, violin with Richard Deakin and baroque violin at the Royal Academy of Music in London, the Academy of St Martin-in-the-Fields, the with Andrew Manze. Simon went on to having previously received the DipRAM recital Royal Philharmonic Orchestra and the City study with renowned Hungarian pedagogue, diploma from there as a student, where he of Birmingham Symphony Orchestra. Lorand Fenyves, with the aid of awards studied with Simon Carrington. Prior to this Simon is a keen exponent of new music. He from the Countess of Munster Trust, and he he was awarded a frst-class degree in music has given over 50 frst performances and has won the chamber music prize at the Royal and the Director’s Prize from the Hong Kong had new works written for him by, amongst Conservatory of Music in Toronto. Academy for Performing Arts, where he others, John Woolrich, Tansy Davies and jazz studied with Alan Cumberland. legend Dave Brubeck.

www.simonblendis.com

52 North York Moors Chamber Music Festival 2018 Luca Buratto Meghan Cassidy Pau Codina Piano Viola/Violin Cello Since winning the 2015 Honens International Meghan studied the viola with Garfeld Jackson Pau Codina was born in 1988 in Barcelona Piano Competition, Luca Buratto has performed at the Royal Academy of Music, where she (Spain) and began studying the cello at the on three continents to warm acclaim. Critics graduated in 2010 winning the Sydney Griller age of fve with Eulalia Subirà. He graduated and audiences across the globe are quickly Award and Sir John Barbirolli memorial prize. from the Yehudi Menuhin School in 2006 and recognising Buratto as a distinctive performer In 2007 Meghan joined the Solstice Quartet the Guildhall School of Music & Drama with and his successful debut recitals at Wigmore who were awarded the Tillett Trust and Park frst class honours in 2010. Pau later obtained and Carnegie Halls heralded the Italian pianist Lane Group Concert Series in 2008 before a Solo Artist Diploma from the Chapelle as ‘a name to watch’ (The Guardian). In March winning the Royal Overseas League in 2009. Musicale Reine Elisabeth where he studied 2018 Buratto made his Berlin recital debut at They went on to perform at London’s with Gary Hoffman and since then he has the Konzerthaus, followed by a performance Wigmore Hall and Queen Elizabeth Hall as performed extensively throughout Spain, the of Prokofev’s Piano Concerto No. 2 with the well as live on BBC Radio 3, during which time UK and Germany, in venues such as Wigmore London Philharmonic Orchestra conducted Meghan continued her studies with Tatjana Hall, the Royal Festival Hall, the Purcell Room by Thomas Søndergård at the Royal Festival Masurenko (Leipzig), Nabuko Imai (Hamburg) and the Pau Casals Auditorium. As a soloist Hall this April. Last year Hyperion released and Hartmut Rohde at International Musicians Pau has appeared with several orchestras such his Schumann CD of Davidsbündlertänze, Seminar (Prussia Cove). A much sought-after as the Barcelona Sinfonietta, the Franz Liszt Humoreske & Blumenstück to great acclaim; chamber musician, Meghan has appeared at Chamber Orchestra of Budapest, the Chamber his highly regarded interpretations of the many international festivals throughout Britain Orchestra of Wallonie, the RTVE Orchestra music of Thomas Adès also reveal Buratto’s and Europe, Meghan and has recently been in Madrid and the Orquestra Simfònica illuminating versatility. collaborating with the London Conchord del Vallès. He also recorded Saint-Saens Following graduation from the Milan Ensemble, Ensemble Midvest, Monte Piano Suite op16 for cello and orchestra with the Conservatory in 2010, Buratto earned a master’s Trio and Fidelio Piano Trio. Alongside a Royal Philharmonic Orchestra of Liege and degree from the Bolzano Conservatory and chamber music career, Meghan appears as conductor, Christian Arming under the label a MAS from Conservatorio della Svizzera guest principal viola with orchestras such as Fuga Libera, and recently debuted as a soloist Italiana. Luca’s festival appearances and BBC National Orchestra of Wales, the Royal with the Orquestra Simfònica de Barcelona i residencies include Progetto Martha Argerich Liverpool Philharmonic Orchestra, Opera Nacional de Catalunya (OBC). Pau is also a at the Lugano Festival in Switzerland, Busoni North and the Royal Scottish National keen chamber musician, being a member of and Primavera Beethoveniana Festivals in Italy, Orchestra. Highlights this year include the Idomeneo Quartet and the Cellophony the Marlboro and Ottawa Chamber Music concertos with Orion Symphony Orchestra in cello ensemble, with which he has performed Festivals. Luca has just participated in the 25th London and Aberystwyth. Meghan is founder in major venues throughout Europe. Verbier Festival in Switzerland as an Academy and Artistic Director of the Marylebone Music Musician and regularly broadcasts on national Festival, which has just enjoyed its third season. radio throughout Europe. www.lucaburattopiano.com www.marylebonemusicfestival.com North York Moors Chamber Music Festival 2018 53 James Dickenson Julia Doyle Claude Frochaux Violin Soprano Cello James Dickenson studied both in the UK Born and educated in Lancaster, Julia read The Italian cellist Claude Frochaux began and the USA and his mentors include Lydia Social and Political Sciences alongside a playing the cello at the age of six at the Suzuki Mordkovitch, Wen Zhou Li and Christopher choral scholarship at Cambridge. She made Talent Center, then at the Conservatory of Rowland with whom he studied chamber her professional debuts singing ‘Messiah’ with Turin. Studies followed in Frankfurt with music. After graduating from the Royal The King’s Consort at the Cadogan Hall Michael Sanderling, where he completed his Northern College of Music in Manchester, and with the Britten Sinfonia/Polyphony at diploma and his concert examination with James left the UK to lead the Degas Quartet St John’s Smith Square, and continues strong the highest rating in the soloist class, as well in the USA with home he gave concerts all relationships with both. Since then she has as postgraduate studies in Essen and Madrid. over the USA from Carnegie Hall to the performed all over the world and become He received further artistic inspiration from Aspen Music Festival. He also held various established as a specialist soprano in Baroque Eberhard Feltz, Menahem Pressler, Ralf Gothoni residencies in over ten universities. Since repertoire. and was supported by the foundations De leaving the quartet in 2007, James returned to She has worked with many conductors, Sono, Live Music Now and Anna Ruths. the UK to continue teaching, performing and including Sir John Eliot Gardiner, Philippe As a sought-after and passionate chamber a chamber music career with the renowned Hereweghe, Richard Tognetti, Juanjo Mena, Sir musician, he is a guest at festivals including Villiers String Quartet who The Strad recently Roger Norrington, Gianandrea Noseda and Schleswig-Holstein, Mecklenburg-Vorpom- described as “one of the most charismatic Trevor Pinnock. mern, Mozartfest Würzburg, Beethovenfest and adventurous quartets of the British Highlights include performances with the Bonn, Oxford, Enescu Bucharest and performs chamber music scene”, having developed BBC Philharmonic, Britten Sinfonia, Royal at noted venues including Wigmore Hall and an international reputation as exceptional Philharmonic, Scottish Chamber Orchestra, Kings Place London, Alte Oper Frankfurt, interpreters of English composers. the English Concert, the King’s Consort, City Konzerthaus Berlin and Laeiszhalle Hamburg. An advocate of new music, James has worked of London Choir, OAE, the Sixteen and at He is broadcast regularly on many radio closely with many American composers Wigmore Hall, London and Concertgebouw, stations: BR, WDR, SWR, Deutschlandfunk including Jeffrey Mumford and Andrew Amsterdam. Recent and future engagements and Radio Clasica. In 2008 he founded Monte Waggoner; he is currently commissioning a include concerts in Toronto, Concertgebouw, Piano Trio with which he has won numerous new piece for violin from Shafer Mahoney. Palace of Versailles and Theater an der Wien. international prizes (Maria Canals Barcelona, Additionally, James has just completed a Further projects include a recording of Bach Brahms Austria, Schumann Frankfurt, Folkwang research and recording project of Louis St John Passion with J.S. Bach Stiftung, a Prize) and regularly gives concerts. He Spohr Duos (just released on Naxos) and is a tour of Europe with The Monteverdi Choir collaborates with groups including O/Modernt regular contributor to articles published by the and Orchestra, 'Messiah' with the Rias Stockholm, Ensemble Midwest Denmark, European String Teachers Association. James Kammerchor, Tisbe at the Buxton Festival and Amici Ensemble Frankfurt, Ensemble Ruhr. plays a violin made by Sergio Perreson in 1976 Handel Occasional Oratorio with Bayerische Claude Frochaux is the founder and artistic Rundfunk. director of Kammermusikfest Sylt, which takes place every year on the German island of Sylt. www.villiersquartet.com. www.juliadoylesoprano.com 54 North York Moors Chamber Music Festival 2018 Mary Hofman Anna Huntley Adam Johnson Violin Soprano Piano/Conductor Since graduating in 2007, Mary has pursued Described by The Guardian as a ‘fast-rising One of the most versatile and exciting a varied career as an orchestral and chamber British talent’, award-winning mezzo-soprano young musicians on the circuit, the pianist musician and teacher. She studied with Krysia Anna Huntley sings on concert, opera and and conductor Adam Johnson founded Osostowicz at the Guildhall School of Music recital stages in the UK and international- his own orchestra - The Northern Lights and Drama and studied English Literature at ly. Currently a recipient of a Wigmore Hall/ Symphony Orchestra (nlso.org) - of which Trinity College, Cambridge. Mary went on to Independent Opera Vocal Fellowship given he is both Artistic Director and Principal do her master’s degree in the US, studying with at the Wigmore Hall/Kohn Foundation Conductor. Winner of the Ricordi Operatic Ida Levin and Lorenz Gamma. She won an International Song Competition, she is a Conducting Prize whilst studying under Sir award there from the Maestro Foundation in laureate of the Das Lied Competition, Berlin Mark Elder, Adam was invited to conduct at Los Angeles leading to chamber performances and the London Handel Singing Competition. the Manchester International Festival as well on the United States West Coast. Since her She was selected by YCAT in 2012, Kirckman as associate conductorship of the London return Mary has worked as guest leader of Concert Society in 2013 and is currently premiere of Jonathan Dove’s opera ‘Flight’ with the Edinburgh Quartet as well as performing mentored by Angelika Kirschlager as part British Youth Opera under Nicholas Cleobury. with the Endellion Quartet and plays regularly of the Royal Philharmonic Society/Sir Philip His subsequent operatic successes have with Ensemble Cymru. She plays in a violin/ Langridge Mentoring Scheme. An outstanding included direction of Karol Szymanowski’s piano duo with her partner, Richard Ormrod, recitalist, Anna has worked with a number ‘King Roger’ and Benjamin Britten’s ‘The with whom she has performed across the of leading accompanists including Graham Rape of Lucretia’ for Elemental Opera. A Mediterranean and East Asia. They will be Johnson, Iain Burnside, James Baillieu, Julius former scholar at the RNCM with the Sema returning for performances and masterclasses Drake and Simon Lepper. Other concert Group Contemporary Performance Prize to in Malaysia and Singapore in August 2018. In engagements have ranged from Bach’s B his credit, Adam continued his piano studies Autumn 2018 they will be starting a cycle Minor Mass, with Trevor Pinnock and Haydn’s with the late Peter Feuchtwanger who has of the complete Beethoven Sonatas for Harmoniemesse, with Andras Schiff, to described him as ‘in possession of an excellent Violin and Piano at ten venues across Wales. Mahler’s Das Lied von der Erde, with the City of technique and full of fantasy’. A supreme Mary has also worked with most of Britain’s London Sinfonia (Michael Collins) and Berio’s chamber musician and frequent artist at this leading chamber orchestras, including the ‘Folksongs’, with the Hebrides Ensemble. Festival, both as conductor and pianist, the late Scottish Chamber Orchestra, Northern Highlights of recent opera seasons have been eminent composer Oliver Knussen hailed his Sinfonia, Manchester Camerata and Britten a variety of roles for English National Opera, performances as containing "extraordinary Sinfonia as well as period orchestras OAE and Welsh National Opera, English Touring Opera detail". In 2011 he was elected as a Freeman ORR. Mary teaches violin at the Junior Royal and the Cambridge Handel Opera Group. of the Worshipful Company of Musicians Northern College of Music. She lives in the Anna Huntley is generously supported by the and is a member of the Royal Society of mountains of North Wales with Richard and Richard Carne Trust. Musicians. Adam lives in Norfolk where he their two small daughters. has just launched his frst festival ‘Music- next-the-sea’. www.annahuntley.com www.adamjohnsonmusic.com

North York Moors Chamber Music Festival 2018 55 Rachel Kolly d’Alba Luiza Lale Marmen Quartet Violin Sax The Swiss violinist Rachel Kolly d’Alba Having been awarded a place on the Marmen Quartet are the inaugural winners of is considered one of the most talented distinguished joint course-double degree Music In The Round’s ‘Bridge’ scheme, as well musicians of her generation. Known for her programme at the Royal Northern College of as the 2018 Annual Royal Overseas League fre, temperament and fne musicianship Music and the University of Manchester, Luiza Competition and the Royal Philharmonic she has performed concertos with many studied with Rob Buckland. At the Guildhall Society Albert and Eugenie Frost Prize. They great orchestras including the Rotterdam School of Music & Drama in London she were selected for the Musicians' Company Philharmonic, Bournemouth Symphony then completed a master’s degree with Simon Concerts Concordia Award for 2018/19, Orchestra, WDR Rundfunkorchester Köln, Haram. Luiza has had a series of sax and piano featured as a selected artist with Making Music Symphonic Radio Orchestra Frankfurt, BBC works written for her and Tim Watts, which for 2017/18 and are Ensemble in Residence Philharmonic Orchestra, Lausanne Chamber she premiered at the Queen Elizabeth Hall with Salomon Smith Chamber Music Society Orchestra and the NHK Symphony Orchestra as part of the Prince’s Trust. She has toured in Sweden. Performing regularly in venues in Tokyo. Rachel made her US debut in Chicago Europe as principal saxophone with Berio’s around the UK and internationally, they were at the International Beethoven Festival during International New Music Ensemble. Luiza founded at the Royal College of Music, London, September 2012 bringing international praise performs and records regularly with her in 2013. They consist of individually acclaimed for her visionary spirit. As a recitalist she saxophone quartet, Spiral, who play around musicians Johannes Marmen, Ricky Gore, performs regularly with her longstanding duo the capital and country, and commission and Bryony Gibson-Cornish and Steffan Morris. partner, Christian Chamorel, appearing at perform new music of all genres. Luiza writes Marmen Quartet has worked regularly with many prestigious festivals such as the Menuhin music for the quartet, sax and piano and Simon Rowland-Jones, Oliver Wille and John Festival in Gstaad and the Schleswig Holstein has a series of books underway for student Myerscough at the Royal College of Music Festival. Her frst concerto recording with improvisation. With her current duo partner, London and Hochschule für Musik, Theater Warner Classics was voted Best Recording Dan Watts, Luiza performs regular recitals in und Medien Hannover. Radio broadcasts of the Year in 2012 by ICMA and Rachel has London and on various cruise ships, and the include appearances on ‘Swedish Radio’ and gone on to record many albums, most recently pair have had their own children’s piano story ‘BBC In Tune’. In the summer of 2017 they chamber music works by Strauss and Lekeu book, Funfair Fantasy, published on Amazon. took part in Foco Boulez festival at the Teatro which won the prestigious Supersonic Award. Luiza plays in some of London’s top party Colón in Buenos Aires, where they performed Rachel became an ambassador for Handicap venues as Organic Jam, performs and tours in a variety of programmes and settings as International and her frst work for the charity with The It Girls music and dance act and has well as quartet recitals. They will return to was in Cambodia in February 2013 and she has recorded for BBC radio, Capital FM and XFM. Buenos Aires in 2019 to embark on their frst regularly organised many concerts for them. This is Luiza’s frst appearance at the North Beethoven cycle. She is a devoted mother to her daughter and York Moors Chamber Music Festival. she also writes short stories and novels. Rachel plays on a magnifcent Stradivarius violin made in 1732. www.racheldalba.com www.marmenquartet.com 56 North York Moors Chamber Music Festival 2018 Roman Mints Andrew Pettitt David Pipe Violin Oboe Organ Roman Mints was born in Moscow and Andrew graduated from the Royal Northern David read music as Organ Scholar of Downing began playing the violin at the age of fve. In College of Music in Manchester after studying College Cambridge, later studying organ 1994 he won a Foundation Scholarship to with Robin Canter, Hugh McKenna and at the Royal Academy of Music in London. the Royal College of Music in London and Thomas Davey. He then completed two years While a master’s student there, he was Organ also studied at the Guildhall School of Music of postgraduate study at the Musik Academie Scholar and Director of the Merbecke Choir and Drama. In 1998 Roman and the oboist in Basel, Switzerland with Omar Zoboli and at Southwark Cathedral. David has given Dmitry Bulgakov founded the Homecoming worked with the world- renowned chamber recitals throughout the British Isles and as part Chamber Music Festival in Moscow, which musician Sergio Azzolini, gaining invaluable of tours to the USA throughout Vermont and has gained widespread recognition and a experience in the feld of chamber music Colorado; festival performances have included substantial following in Russia. Roman has also performance. He has since been living in the Cambridge Summer Music Festival, St co-directed the Suppressed Music project Manchester where he not only pursued a Albans International Organ Festival and our which staged concerts and conferences on career in teaching and recording but also North York Moors Chamber Music Festival. composers whose music had been suppressed. freelanced with the Hallé Orchestra, Opera David has also appeared as organist and He has recorded for ECM (nominated for a North, the Royal Liverpool Philharmonic, conductor on national television and radio; Grammy Award), Black Box, Quartz and other Manchester Camerata and the Ulster his recordings include a disc of original works labels for albums which feature a number of Orchestra. As well as performing which and transcriptions by Liszt and Brahms, which world-premiere recordings and collaborated remains a keen passion, Andrew also enjoys was released in 2012 and voted ‘Recording of with a number of celebrated conductors working in education and is currently in charge the Month’ on MusicWeb International. David and musicians, performing as soloist with of A level Music Technology at Canon Slade took up the post of Director of the Organists’ prominent orchestras around the world. School, Bolton and was a former member of Training Programme and Cathedral Organist Roman’s CD of solo works for violin by the Live Music Now Scheme, an organisation in the Diocese of Leeds in May 2016, having Ysaye, Schnittke, Piazzolla and Silvestrov uses set up by legendary violinist, Yehudi Menuhin, been Assistant Director of Music at York innovative recording and editing techniques, which tours musicians to transform lives of Minster. He has been Principal Conductor including a world premiere recording of those in need. Andrew was a member of of York Musical Society since 2012, achieving ‘Spinning a Yarn’ by Dobrinka Tabakova. His Minerva Wind Quintet for fve years while critical acclaim in works including Bach’s ‘St latest album featuring works by Russian studying at the Royal Northern College of Matthew Passion’, Brahms’s ‘Ein Deutsches composer, Leonid Desyatnikov was received Music and has also appeared with the London Requiem’ and Verdi’s ‘Requiem’. David is very warmly by the press, including a fve-star Sinfonietta and the Spitalfelds Festival in delighted to return for his seventh North York review from BBC Music Magazine and a London. More recently he has been principal Moors Chamber Music Festival! nomination for the ICMA Awards. oboe with the Northern Lights Symphony Orchestra. www.romanmints.com www.david-pipe.co.uk North York Moors Chamber Music Festival 2018 57 Ryan Quigley Victoria Sayles Catriona Scott Trumpet Violin Clarinet Ryan Quigley is an award-winning jazz and Victoria Sayles was a Scholar at Bryanston Recently described by The Daily Telegraph lead trumpet player and an in-demand studio School, a Foundation Scholar at the Royal as ‘the excellent soloist’, Catriona is also an musician, orchestral player, composer, arranger College of Music (where she graduated with experienced recitalist and chamber musician. and educator. His recent recording and touring First Class Honours) and a Scholar at Kingston As well as playing live on BBC Radio 3 she also work includes dates with Quincy Jones, Aretha University studying Masters in Publishing. As appears regularly at festivals such as Aldeburgh, Franklin, George Michael, Gregory Porter, an orchestral player, Victoria was Associate Cheltenham, Hampstead and Highgate, St Beverley Knight and Sir Tom Jones and as a lead Leader of the Royal Liverpool Philharmonic David’s, St Magnus, Swansea, Ulverston and and guest principal trumpeter he has appeared Orchestra, the London Mozart Players and Presteigne, where she frequently appears. with the Grammy-winning Metropole Orkest, a full-time member of Scottish Chamber With a varied and extensive repertoire, the Halle Orchestra, the Royal Northern Orchestra. She has also been Concertmaster Catriona has performed clarinet concerti by Sinfonia, the BBC Scottish Symphony and of Bergen and Royal Philharmonic Orchestras, Mozart, Weber, Crusell, Finzi, Goldschmidt, Royal Scottish National Orchestras, the RTE Santiago Opera House, BBC Scottish, City of Hoddinott, Joseph Phibbs and James Francis Concert and Symphony Orchestras and with Birmingham, Swedish Radio and Trondheim Brown, a concerto written specifcally for her. the Staatskapelle Berlin, under the baton of Symphony Orchestras plus guest co-leader A passionate advocate of contemporary Daniel Barenboim. of the Philharmonia Orchestra. Victoria has music, Catriona attended the contemporary The Irish born, Scottish raised, London based, also led orchestra live on television in China. performance and composition course as part Quigley began playing trumpet at the age of In chamber music Victoria has regularly of the Britten-Pears Young Artist Programme. eleven. His late father, who had played with performed with Southern Cross Soloists She has premiered and recorded many works Maynard Ferguson, the Who and Diana Ross (Sydney Opera House), Chamber Music written for her by composers including Phillip during the golden era of Irish showbands in the New Zealand, Oxford May Music Festival, Cooke, Cheryl Frances-Hoad, Adrian Hull, 1960s, gave him his frst lesson and became an Australian Festival of Chamber Music, Gstaad David Knotts, Cecilia McDowall and David inspiration. Lessons at school from Scottish Festival Switzerland, Grindelwald Chamber Matthews. Earlier this year she recorded Dixieland legend Alex Dalgleish gave Quigley a Series, throughout Japan and many others James Francis Brown’s Clarinet Concerto with grounding in jazz standards and New Orleans including, of course, our very own festival George Vass and Orchestra Nova for Resonus favourites and while still in his early teens here, where she has been returning year after Classics. Catriona wokrs regularly with her Quigley was sitting in with Dalgleish’s band. year. Enjoying a diverse career within the arts, duo partner pianist Charlotte Brennand Quigley studied classical trumpet with John Victoria was also Artist Manager at Harrison as well as numerous ensembles including Gracie, the long-time Royal Scottish National Parrott, London and is now Artistic Director Gemini, Galliard Ensemble, Bristol Ensemble Orchestra player, at the then Royal Scottish of Music at Hazelgrove School, Somerset. and Orchestra Nova. Catriona read Music Academy of Music and Drama (now Royal Victoria plays a 2013 Joachim Schade Violin, at St Hilda’s College, Oxford, and studied at Conservatoire of Scotland), a period that Leipzig. the Royal Northern College of Music, winning proved invaluable when he moved into the several prizes and scholarships. Her teachers session and orchestral scene. include Dame Thea King, John Bradbury and www.ryanquigleymusic.com Chris Swann.

58 North York Moors Chamber Music Festival 2018 Charlotte Scott Kate Shortt William Sitwell Violin Cello Narrator Charlotte enjoys a hugely varied career as a Kate Shortt trained as both cellist and jazz William Sitwell is one of Britain’s foremost chamber musician, soloist and concertmaster. singer at the Guildhall School of Music. She food writers and is a multi-award-win- She studied at Wells Cathedral School before divides her time between freelance work in ning writer, editor, critic, TV, cider maker graduating to the Royal Academy of Music and varying genres from classical to contemporary and radio presenter. He has been editor of the New England Conservatory in Boston. She jazz, fado and theatre. Her work includes Waitrose Food for 16 years, writes for wide was the 1st violinist of the prize-winning and touring with renowned vocalist/singer variety of newspapers and magazines and RPS award nominated Piatti Quartet before songwriter, Christine Tobin, a recent winner he is a long-standing critic on the BBC show leading the Badke Quartet with whom she of BBC British Composer of the Year award, MasterChef. His regular show Biting Talk, on performed all over the world in venues and jazz guitarist Phil Robson, winner of the Soho Radio, is the UK’s liveliest food and drink such Wigmore hall, Concertgebouw, Vienna Parliamentary Awards. She has been a regular radio show. William also authored the critically Konzerthaus and The Esterhazy Palace. She member of the Northern Lights Symphony acclaimed classic A History of Food in 100 has recorded for LINN Records, Classical since it’s inauguration and plays in an Austrian Recipes, which has to date been published Label and Champs Hill Records. Charlotte based contemporary classical trio ‘Line 3’ in eight languages. His book Eggs or Anarchy, is also a guest leader for the European performing, broadcasting and recording the which for the frst time tells the remarkable Chamber Players and has been a guest at music of composer Norbert Zehm. Zehm tale of how Minister of Food Lord Woolton various international summer music festivals. recently wrote a cello concerto for Kate fed Britain in World War Two, was published As a soloist she has performed with some of ‘Towards the Wind’ and the Swarawski Wind to rave reviews in May 2016. This inspired a the leading UK orchestras and with her duo Band utilising her vocal and improvisational companion piece for Walton’s Facade written partner, James Baillieu, she has also appeared at skills. She was onstage cellist in the West End by composer Ben Palmer which was premiered London’s Purcell Room, the Fairfeld Hall and in production for the award winning play ‘Charles at Cedars Hall (Wells Cathedral School) last various festivals throughout the UK. Charlotte the Third’ with music by television/flm/theatre year and will make a further appearance at is a regular guest concertmaster for various composer Jocelyn Pook, with whom she has this year’s festival fnale. William is the current orchestras including the Scottish Chamber worked since 2001. In the pop world her work occupant of the famous literary Sitwell family Orchestra, Royal National Scottish Orchestra, includes close collaboration with Gary Kemp home Weston Hall in rural Northamptonshire European Chamber Players, BBC Philharmonic of Spandau Ballet, playing with Tears for Fears, where he also hosts The Weston Supper Club. and Oxford Philharmonic where she has taken Take That and Simon le Bon of Duran Duran. The house plays a vital role in the literary and part in numerous live broadcasts and concerts She is a member of Portuguese fado singer culinary story of the United Kingdom. He is at the BBC Proms. Charlotte plays on a violin Claudia Aurora’s band, recently completing a the great-nephew of Dame Edith Sitwell. by Antonio Stradivarius 1685 ‘Gagliano’ and is European tour. Kate performs her one woman leader of the much-acclaimed Oculi Ensemble. show, ‘Shortt and Sweett’ a combination of self-penned songs with cello through ballads to comedy. www.oculiensemble.co.uk www.kateshorttmusic.com www.williamsitwell.com North York Moors Chamber Music Festival 2018 59 Virginia Slater Philip Smith Zeb Soanes Viola Baritone Narrator With siblings as violinists, Virginia began One-time zoologist and National Otter Zeb Soanes is a familiar and trusted voice to playing the viola at the age of six attending Surveyor of England, Philip Smith hung millions as a newsreader for those who wake The Purcell School of Music then continuing up his waders to study singing, frst at the to The Today Programme on BBC Radio 4 or her studies at London’s Guildhall School of Birmingham Conservatoire and then with go to bed with The Shipping Forecast. He is a Music. She went on to hold a postgraduate Barbara Robotham at the Royal Northern regular on The News Quiz, reports for From fellowship there with the help of numerous College of Music. He is a Britten-Pears Young Our Own Correspondent and has presented awards and scholarships. As recitalist and Artist Programme alumnus, Samling Artist Radio 3’s Saturday Classics. Sunday Times chamber musician, Virginia’s UK concerts and Crear Scholar. Recent highlights include readers voted him their favourite male voice on include performances on London’s Southbank Endymion/Charon Orpheus for the Royal UK radio and on television his voice launched at the Purcell Room and Queen Elizabeth Opera House at The Globe, Sid Albert Herring BBC FOUR, where he presents the BBC Hall, the Wigmore Hall, St Martin-in-the for Maggio Musicale Fiorentino, Witness 6 Proms and has introduced live performances Fields and the Royal Albert Hall as part of Icarus at the Montepulciano Festival, Papageno from the Royal Opera House relayed to the 2007 Prom Series. She has performed in Die Zauberföte at the Teatro Petruzzelli di screens around the UK. Zeb trained as an actor at many Festivals including Edinburgh and Bari and Gratiano in The Merchant of Venice and was the Voice of God in the Aldeburgh the City of London, playing concertos in (André Tchaikowsky) for the Polish National production of Noye’s Fludde for the Britten Paris, Vienna, Budapest, Helsinki, Tallinn and Opera. In concert, Philip has performed with Centenary and has made a new recording of Japan. As a member of the Covent Garden orchestras including the Hallé, Royal Liverpool Walton’s Façade conducted by John Wilson, Consort, Virginia has made several recordings Philharmonic’s Ensemble 10/10, Manchester released on Orchid Classics. He regularly and been a featured artist on Classic FM and Camerata and the Northern Sinfonia with narrates popular orchestral works for children BBC Radio 3 as well as appearing in television conductors including Sir Mark Elder, Clark including Peter and the Wolf, Little Red Riding broadcasts in Ireland, France and Italy. She Rundell, David Hill and Nicholas Kraemer. Hood, The Snowman and Paddington. Zeb’s enjoys a varied freelance career and has Philip has recently performed Der Sprecher acclaimed frst book for children, Gaspard appeared as guest principal with the Royal Die Zauberföte for Opera di Firenze, ‘Verdi the Fox, was published in May, based on the Liverpool Philharmonic Orchestra, the Royal Requiem’ at Sage Gateshead, Handel ‘Messiah’ real fox that visits him each night in London. Philharmonic Concert Orchestra, Scottish with Leeds Philharmonic Society, Vaughan Last year he performed the world premiere Ballet, Opera North, Orchestra of the Swan Williams ‘A Sea Symphony’ with Ripon of Ben Palmer’s Eggs or Anarchy based on and City of London Sinfonia. Virginia recently Choral Society and major roles for Welsh William Sitwell’s award-winning book about gave the world premiere of Julian Philips' National Opera and Opera North. In recital the wartime Minister for Food, Lord Woolton. Concertante for Viola and Double Bass at the he performed at Wigmore Hall, Kings Place, Stratford Artshouse and now plays on a 1793 Leeds Lieder Festival, Cheltenham Festival and Mantegazze viola. the Aldeburgh Festival.

www.virginiaslater.com www.zebsoanes.com 60 North York Moors Chamber Music Festival 2018 Simon Tandree David Tollington Elizabeth Trigg Viola Horn Bassoon As an internationally recognised soloist David left the Royal Northern College After graduating from the University of Surrey, and chamber musician, Simon Tandree has of Music in 2000 collecting the Alfred de Elizabeth Trigg won a scholarship to the Royal performed in the world’s leading concert halls Reyghere Memorial Prize. As a successful Northern College of Music in Manchester, including the Wigmore Hall, Concertgebouw, freelance musician, he has worked with many studying bassoon with Edward Warren. She Berlin Konzerthaus, Vienna Konzerthaus of the country’s fnest orchestras including then graduated to the Royal Academy of Music and Library of Congress in Washington. the BBC Philharmonic, the Hallé, the Royal where she took up further studies with Gareth Simon also plays regularly in festivals around Philharmonic Orchestra, Northern Sinfonia, Newman and John Orford before pursuing the globe including Maputo, Sydney, New the BBC National Orchestras of both a career as a chamber musician and as an York and Bratislava. As a member of the Scotland and Wales, the City of Birmingham orchestral bassoonist in some of the country’s world-renowned Doric String Quartet, Simon Symphony Orchestra and the Royal Liverpool most eminent orchestras. Elizabeth is in great won numerous prizes including 1st prize Osaka Philharmonic. He also regularly works with demand as a freelance musician and performs International Chamber Music competition, Opera North and the English National Ballet as with the likes of the London Symphony 2nd prize Borciani Competition in Italy as well as appearing as guest principal horn with Orchestra, London Philharmonic Orchestra well as having two Gramophone nominations the Symphony Orchestra of India with whom and the BBC Symphony Orchestra under such for CDs recorded with Chandos. Simon has he recently performed in Moscow. His work prestigious conductors as Valerie Gergiev, Sir collaborated with some of the world’s leading has taken him all over the world with tours Colin Davis, Mark Elder and John Adams. As artists including Alexander Melnikov, Mark of Japan, China, India, much of Europe and, as well as orchestral playing, she enjoys a varied Padmore, Chen Halevi, Anthony Marwood a baroque hornist, he appeared as principal career as a chamber musician, playing regularly and Laurence Power. As well as being in with Les Arts Florissant in Paris, Switzerland at London’s Wigmore Hall. Elizabeth also has demand as principal viola, appearing regularly and the Edinburgh Festival. His recording work a real passion for music education which with orchestras such as Britten Sinfonia, has been incredibly varied with a wealth of enhances her busy schedule. Highlights of her Aurora orchestra, ENO, Manchester Camerata classical CDs and also a recent collaboration career to date include performing Beethoven’s and Porto Sinfonica, Simon is passionate with Sting in Durham Cathedral of his ‘Winter Ninth Symphony with the BBC Symphony about teaching and has given master-classes Songbook’. David has also, occasionally, Orchestra for the First Night of the Proms, in institutions and courses in Spain, India, ventured into the realm of flm and TV with recording the sound track for the flm ‘The Indonesia and Mozambique, where he is part perhaps his most notable appearance being in Golden Compass’ and touring America and of the Xiquitsi project helping to bring classical the recent Keira Knightley flm ‘The Duchess’. Europe with the Royal Philharmonic Concert music to young children. Simon studied at the After last year’s hypnotic solo performances in Orchestra and Anthony Daniels. Elizabeth has Guildhall in London, in Detmold, Germany and St Stephen’s Fylingdales, David is to open this appeared regularly at the North York Moors in Basel, Switzerland. Simon is also a qualifed tenth anniversary festival with a solo work by Chamber Music Festival, always a highlight in Cranio-Sacral Therapist. Malcolm Arnold. her diary, we’re told!

North York Moors Chamber Music Festival 2018 61 Ben Vonberg-Clark Matthew Wadsworth Jamie Walton Tenor Theorbo/Lute Cello Ben has established himself as a leading Lutenist and theorbo player Matthew Founder and curator of this festival, Jamie has tenor recitalist and choral conductor of his Wadsworth is in great demand as a soloist, performed all over the world in concertos, generation. Solo highlights include St Nicolas continuo player and chamber musician, recitals, broadcasts and as a chamber musician, in Britten’s work of the same name, The Swan appearing at many major festivals in the UK, which remains his main passion. Jamie also in Orff's Carmina Burana, Jennik in Smetana's Europe and North America. He can frequently set up his own record label to celebrate the Bartered Bride, Lensky in Eugene Onegin, be heard on radio and has recorded for Avie, festival and the importance of collaborative Tamino in Mozart’s Magic Flute, Flute and Deux-Elles, Linn, EMI, Channel Classics and music making: Ayriel Classical was launched Lysander in Britten’s A Midsummer Night’s Wigmore Live. His eight CD recordings for last year and is now embarking upon building Dream, Don Ottavio in Don Giovanni and Channel Classics, Linn Records, Deux-Elles and Ayriel Studios – a state of the art recording Acis in Handel’s Acis and Galatea. He has Wigmore Live have all received international studio in the heart of the North York Moors performed the Evangelist in Bach’s passions critical acclaim. Matthew studied lute at National Park, which aims to open in the numerous times, most notably with the London’s Royal Academy of Music, winning the summer of 2019. Orchestra of the Age of the Enlightenment. He London Student of the Year award in 1997 for Jamie has recorded most of the sonata is a keen proponent of English song and Lieder, his work on the development of Braille lute repertoire for Signum Classics, ten concertos and has put on several recitals in the City of tablature. He then spent a year at the Royal with the Philharmonia (including the Dvořák London and is performing this year in a recital Conservatory of Music in The Hague before and Schumann with Vladimir Ashkenazy), three series at Britten’s Red House, Aldeburgh. He going to perform at many prestigious halls, concertos with the RPO and the complete studied music and German in Durham, Vienna including Wigmore Hall, the Purcell Room and works for cello by Benjamin Britten including a and at King’s College, London. He then studied the Metropolitan Museum of Art (New York). flm about the solo suites, which was premiered singing at Trinity Laban Conservatoire where In 2013 Matthew co-founded the company on SkyArts. Jamie was awarded a Foundation he was the Morag Noble scholar and is Good Food Talks (www.goodfoodtalks. Fellowship by Wells Cathedral School for his currently taught by Nicky Spence and Alison com) for the visually impaired, enabling outstanding contribution to music and is Patron Wells. As a conductor, Ben leads choral and them to read menus in restaurants from a for Cedars Hall, a new concert hall which singing workshops around the world, most phone or tablet. He was also involved in a Jamie and colleagues opened in October last notably co-directing annual singing weeks in three-part documentary called ‘Renaissance year with a gala concert. As a member of the Shanghai and Shenzhen, China. He directs the Man’ which follows his training to attempt a Worshipful Company of Musicians, Jamie was Singing Outreach Programme for Westminster 200ft motorcycle jump in the Mojave Desert. elected to the Freedom of the City of London Cathedral, conducts a choral society and the Matthew has just been touring in Hong Kong (although he now lives permanently on the three children's choirs of St John the Divine, with the Scottish Chamber Orchestra. North York Moors - but can legitimately take Kennington alongside the London Youth Boys’ his sheep across London Bridge). Choir.

www.benjaminrdclark.co.uk www.matthewwadsworth.com www.jamiewalton.com 62 North York Moors Chamber Music Festival 2018 Stacey Watton Dan Watts Anthony Williams Double bass/Conductor Flute Double bass Stacey made his concerto debut on the Dan Watts attended Wells Cathedral School Anthony Williams studied music and maths double bass at the age of thirteen and studied and the Aspen Music School before studying at Royal Holloway, University of London, as a scholar at London’s Guildhall School of at the Royal Northern College of Music. After and then double bass performance at the Music and Drama before later becoming a graduating Dan was appointed Professor of Royal College of Music. He enjoys a busy professor there. His many prizes have led Flute at the National Conservatory of Music and varied freelance career performing with to performances on Russian television and in Ramallah, Palestine. He has performed the Philharmonia, Orchestra of Opera North, numerous broadcasts as part of International concertos at the Royal Festival Hall, St BBC Philharmonic, BBC National Orchestra of festivals with some of the world’s greatest John’s Smith Square and appeared with the Wales and the BBC Concert Orchestra, and living musicians, such as Claudio Abbado, Manchester Camerata, Faros Soloists (Cyprus) playing principal with London Mozart Players, Daniel Barenboim, Nigel Kennedy and Janine and Orquesta di Algarve. Dan has also played Brandenburg Sinfonia and the Northern Jansons. His concerto appearances include with the Royal Shakespeare Company and in Lights Symphony Orchestra (founded and Bottesini’s B Minor Concerto with the Bavarian numerous West End productions including run by Adam Johnson). In July 2013 Anthony Radio Chamber Orchestra and Dragonetti’s ‘Phantom of the Opera’, ‘Mary Poppins’ and was appointed to the Royal Liverpool Grande Allegro with the London Chamber ‘Wicked’. Dan is principal fute of the Northern Philharmonic Orchestra with which he Orchestra. Stacey is principal double bass with Lights Symphony Orchestra and is one of undertakes regular performances, broadcasts, the London Chamber Orchestra, the London the founding members of the Metropolitan recordings and tours: recent travels have taken Mozart Players and has also appeared with Ensemble, a fute and string ensemble, with him as far afeld as Japan, China and Bucharest. the Royal Concertgebouw, the Royal and which he has performed live on national Anthony also continues to freelance with London Philharmonics, Hallé, BBC Concert television. A trademark purity of sound is a many of the UK’s top orchestras including the Orchestra, Royal Scottish National Orchestra distinctive quality in his playing and Dan is a BBC Symphony and RPO and has recorded and the BBC National Orchestra of Wales. committed chamber musician both in modern soundtracks for several flms and television He is also principal bass, principal conductor and period performances. His versatility as an shows including ‘The Man from U.N.C.L.E’ and and founder of Esprit Ensemble Ltd. as well artist manifests also in solo work, guesting as ‘Downton Abbey’. As a soloist he gave the as running his recording company and session soloist with the Aubry String Trio and he gave world premiere of William Attwood’s Double orchestra, First Take Music, who regularly the world premiere of Edward Gregson’s fute Bass Concerto in 2009 and enjoyed a visit to record for commercial sessions at Abbey concerto at St Martin-in-the-Fields with the Whitby to play Vanhal’s Concerto with the Road Studios in London. Stacey has now Northern Lights Symphony Orchestra. Dan St Hilda’s Festival Orchestra last Summer. embarked on a career as a conductor, making is a regular artist here at the festival, having Anthony lives on the Wirral with his wife his major London debut in London conducting performed in the very frst one. Rosie (event manager and bassoonist) and cats Sir Andrew Lloyd Webber’s Phantom sequel Jeoffry and Suzie. He regularly visits Yorkshire ‘Love Never Dies’ and he appears frequently for real ale, chamber music and walks! throughout Scandinavia. www.staceywatton.com North York Moors Chamber Music Festival 2018 63 Façade Screen

Last summer we decided to stage an informal performance of Walton’s Façade in Appleton-le-Moors for charity. To bring true individuality and authenticity to the performance we tapped on the shoulders of our good friend and artist Catriona Stewart to ask if she was up for the daunting challenge of producing a screen for this occasion, behind which the performance would take place. Considering the scale of the artwork needed this was no small favour. Amazingly she jumped at the chance and not long after the commission, Catriona produced a magnifcent screen depicting different aspects of the moors, the coast and our village life with Dame Edith Sitwell as the centrepiece. The performance was such a hit both visually and musically, we decided to programme Façade in this year’s festival, so the screen and our thanks are more public. Music, photography, art – and indeed sculpture. We in this area are blessed with an abundance of creativity. Sean Henry’s ‘Seated Figure’ was commissioned by the David Ross Foundation and currently sits high up at Castleton Rigg, overlooking the panorama of Westerdale. It’s well Seated Figure by Sean Henry worth a visit! (Location: Castleton Rigg)

64 North York Moors Chamber Music Festival 2018 Luci l’ore del fn fan men moleste; I fy with your wings, having none of my own; Ch’ogn’ altro ben val men ch’ogni mia doglia. with your spirit toward heaven I am always Lyrics Però se ‘l colpo, ch’io ne rub’ e ‘nvolo, moving; Schifar non poss’; almen, s’è destinato, by your will I turn pale or blush, Ch entrerà ‘nfra la dolcezza e ‘l duolo? cold in the sun, warm in the coldest weather. Seven Sonnets of Michelangelo Se vint’ e pres’ i’ debb’esser beato, Within your will alone is my will, Maraviglia non è se nud’ e solo, my thoughts within your bosom are born, XVI Sì come nella penna e nell'inchiostro Resto prigion d’un Cavalier armato. in your breath are my words. È l'alto e 'l basso e 'l mediocre stile, I am like the moon, alone, E ne' marmi l'immagin ricca e vile, To what purpose do I express my intense which our eyes cannot see in the heavens Secondo che 'l sa trar l'ingegno nostro; desire except that it is illumined by the sun. Così, signor mie car, nel petto vostro, with tears and sorrowful words Quante l'orgoglio, è forse ogni atto umile: when heaven, which clothes my soul, LV Tu sa, ch’io so, signor mie, che tu sai Ma io sol quel c'a me proprio è e simile neither sooner or later relieves me of it? Ch’i veni per goderti più da presso; Ne traggo, come fuor nel viso mostro. To what purpose does my weary heart long E sai ch’i’ so, che tu sa’ c’i’ son desso: Chi semina sospir, lacrime e doglie, to die, A che più indugio a salutarci omai? (L'umor dal ciel terreste, schietto e solo, when all must die? So to these Se vera è la speranza che mi dai, A vari semi vario si converte), eyes my last hour will be less painful, Se vero è ‘l buon desio che m’è concesso, Però pianto e dolor ne miete e coglie; all my joy being less than all my pains. Rompasi il mur fra l’uno e l’altro messo; Chi mira alta beltà con sì gran duolo, If I cannot avoid the blow, Chè doppia forza hann’ i celati guai. Dubbie speranze, e pene acerbe e certe even seek them; since it is destined, S’i’ amo sol di te, signor mie caro, who will stand between sweetness and Quel che di te più ami, non ti sdegni; Just as in pen and ink sorrow? Che l’un dell’altro spirto s’innamora, there is a high, low, and medium style, If I must be conquered in order to be happy, Quel che nel tuo bel volto bramo e ‘mparo, and in marble are images rich and vile, no wonder then that I, unarmed and alone, E mal compres’ è degli umani ingegni, according to the art with which we fashion it, remain the prisoner of an armed Cavalier? Chi ‘l vuol veder, convien che prima mora. so, my dear lord, in your heart, along with pride, are perhaps some humble XXX Veggio co’ be’ [vostr’occhi]1 un dolce You know that I know, my lord, that you know thoughts: lume I have come to take pleasure in your but I draw thence only what is proper for che co’ mie ciechi già veder non posso; presence; myself porto co’ vostri piedi un pondo addosso, and you know that I know that you know I in accordance with what my features show. che de’ mie zoppi non è già costume. am constant. Who sows sighs, tears and lamentations Volo con le vostr’ale senza piume; Why then do we hesitate to greet one (dew from heaven on earth, pure and simple, col [vostro ingegno]2 al ciel sempre son another? converts itself differently to varied seeds) mosso; If it is true, this hope that you give me, will reap and gather tears and sorrow; dal [vostro arbitrio]3 son pallido e rosso, if these desires are true which come over me, he who gazes upon exalted beauty with such freddo al sol, caldo alle più fredde brume. break down the wall between one and the pain Nel voler vostro è sol la voglia mia, other; will have doubtful hopes and bitter, certain i miei pensier nel vostro cor si fanno, hidden sorrows have twice the force. sorrows. nel vostro fato son le mie parole. If I love only in you, my dear lord, Come luna da sé sol par ch’io sia, that which you love most, do not be angry; XXXI A che più debb’io mai l’intensa voglia ché gli occhi nostri in ciel veder non sanno let love spring up between our two souls. Sfogar con pianti o con parole meste, se non quel tanto che n’accende il sole. That which in your noble face I seek Se di tal sorte ‘l ciel, che l’alma veste, is but ill-understood by humankind, Tard’ o per tempo, alcun mai non ne spoglia? I see through your lovely eyes a sweet light and he who wishes to see it must frst die. which through my blind ones I yet cannot see; A che ‘l cor lass’ a più morir m’invoglia, I carry with your feet a burden S’altri pur dee morir? Dunque per queste which with my lame ones I cannot;

North York Moors Chamber Music Festival 2018 65 XXXVIII Rendete agli occhi miei, o fonte o Se mille e mille non sarien centesmo and never found in beauty so truly; fume, A tal nodo d’amore, a tanta fede; love takes me captive, and beauty binds me; L’onde della non vostra e salda vena. E sol l’isdegno il può rompere e sciorre. pity and mercy with sweet glances Che più v’innalza, e cresce, e con più lena fll my heart with strong hope. Che non è ‘l vostro natural costume. If there is a chaste love, a heavenly pity, What law or power in the world, E tu, folt’air, che ‘l celeste lume an equal fortune between two lovers, what cruelty of this time or of a time to Tempri a’ tristi occhi, de’ sospir miei piena, a bitter fate shared by both, come, Rendigli al cor mio lasso e rasserena and if a single spirit and one will governs two could keep Death from sparing such a lovely Tua scura faccia al mio visivo acume. hearts; face? Renda la terra i passi alle mie piante, if one soul in two bodies is made eternal, Ch’ancor l’erba germogli che gli è tolta; raising both to heaven on the same wings; The Heart’s Assurance. E ‘l suono Ecco, già sorda a’ miei lamenti; if love with one blow and one golden arrow Gli sguardi agli occhi mie, tue luci sante, can burn and pierce two hearts to the core; Song Ch’io possa altra bellezza un’altra volta if each loves the other rather than himself, Oh journey-man, oh journey-man, Amar, po’ che di me non ti contenti. with a pleasure and delight so rewarding, Before this endless belt began that to the same end they both strive; Its cruel revolutions, you and she Give back to my eyes, o fountains and rivers, if thousands upon thousands are not worth a Naked in Eden shook the apple tree. the waves of powerful currents that are not hundredth yours, part of such a loving bond of such a faith; Oh soldier lad, oh soldier lad, which swell you and surge with such force then shall anger alone break and dissolve it? Before the soul of things turned bad, than was ever in your nature. She offered you so modestly And you, dense air, heaven’s light XXIV Spirto ben nato, in cui si specchia e A shining apple from the tree. obscuring from my sad eyes, full of sighs, vede give them back to my weary heart, and Nelle tuo belle membra oneste e care Oh lonely wife, oh lonely wife, lighten Quante natura e ‘l ciel tra no’ puo’ fare, Before your lover left this life your dark features to my sight. Quand’a null’altra suo bell’opra cede; He took you in his gentle arms. Let the earth return to me the traces of my Spirto leggiadro, in cui si spera e crede How trivial then were Life’s alarms. steps, Dentro, come di fuor nel viso appare, that the grass may grow where it was Amor, pietà, mercè, cose sì rare And though Death taps down every street crushed; Che mà furn’in beltà con tanta fede; Familiar as the postman on his beat, give back the sounds, Echo, yet deaf to my L’amor mi prende, e la beltà mi lega; Remember this, remember this, laments; La pietà, la mercè con dolci sguardi That life has trembled in a kiss their glances back to my eyes, you blessed Ferma speranz’al cor par che ne doni. From Genesis to Genesis, pupils, Qual uso o qual governo al mondo niega, And what’s transfgured will live on that I may sometime love some other beauty Qual crudeltà per tempo, o qual più tardi, Long after Death has come and gone. since with me you are not satisfed. C’a sì bel viso morte non perdoni? ALUN LEWIS

XXXII S’un casto amor, s’una pietà superna, Noble spirit, in whom is refected, The Heart’s Assurance S’una fortuna infra dua amanti equale, and in whose beautiful limbs, honest and dear, O never trust the hearts assurance - S’un’aspra sorte all’un dell’altro cale, one can see Trust only the heart’s fear. S’un spirto, s’un voler duo cor governa; all that nature and heaven can achieve within And what I’m saying is, go back my lovely - S’un’anima in duo corpi è fatta etterna, us, Though you will never hear. Ambo levando al cielo e con pari ale; excelling any other work of beauty; S’amor c’un colpo e d’un dorato strale graceful spirit, within whom one hopes and O never trust your pride of movement - Le viscer di duo petti arda e discerna; believes Trust only pride’s distress. S’amar l’un l’altro, e nessun se medesmo, dwell - as they outwardly appear in your The only holy limbs are the broken fngers D’un gusto e d’un diletto, a tal mercede, face - Still raised to praise and bless. C’a un fn voglia l’uno e l’altro porre; love, pity, mercy, things so rare

66 North York Moors Chamber Music Festival 2018 For the careless heart is bound with chains Of death’s Republic, remember your lovers. Sea Pictures, op 37 Elgar, Edward: And terribly cast down: The beast of pride is hunted out When you foresaw with vision prescient I. Sea Slumber Song And baited through the town. The planet pain rising across your sky words by Roden Noel (1834-1894) SIDNEY KEYES We fused your sight in our soft burning beauty: Sea-birds are asleep, Compassion We laid you down in meadows drunk with The world forgets to weep, She in the hurling night cowslips Sea murmurs her soft slumber-song With lucid simple hands, And lead you in the ways of our bright city. On the shadowy sand Stroked away his fright Of this elfn land; Loosed his blood-soaked bands. Young men who wander death’s vague “I, the Mother mild, meadows, Hush thee, oh my child, And he who babbled death Remember your lovers who gave you more Forget the voices wild! Shivered and grew still than fowers. Isles in elfn light In the meadows of her breath, Dream, the rocks and caves, Restoring his dark will. When you woke grave-chilled at midnight Lulled by whispering waves, To paste the pavement with your bitter Veil their marbles And seriously aware dream Veil their marbles bright. Of the terror she caressed, We brought you back to bed and brought Foam glimmers faintly Drew his matted hair you home faintly white Gladly to her breast. From the dark antechamber of desire Upon the shelly sand Into our lust as warm as candle-fame. Of this elfn land; Nor did she ever stir Sea-sound, like violins, In the storms calm centre Young men who lie in the carven beds of To slumber woos and wins, To feel the tail, hooves, fur death, I murmur my soft slumber-song, Of the god-faced centaur. Remember your lovers who gave you more my slumber song ALUN LEWIS than dreams. Leave woes, and wails, and sins. Ocean’s shadowy might The Dancer From the sun shelt’ring your careless head Breathes good night, ‘He’s in his grave and on his head Or from painted devil you’re quick eye, Good night!” I dance,’ the lovely dancer said, We led you out of terror tenderly ‘My feet like frefies illume And fooled you into peace with our soft The choking blackness of his tomb.’ words II. In Haven (Capri) And gave you all we had and let you die. words by Caroline Alice Elgar (1848-1920) ‘Had he not died we would have wed, And still I’d dance,’ the dancer said, Young men drunk with desks unquenchable Closely let me hold thy hand, ‘To keep the creeping sterile doom wisdom. Storms are sweeping sea and land; Out of the darkness of my womb.’ Remember your lovers who gave you more Love alone will stand. than love. ‘I love was always ringed with dread SIDNEY KEYES Closely cling, for waves beat fast, Of death,’ the lovely dancer said, Foam-fakes cloud the hurrying blast; ‘And so I danced for his delight Love alone will last. And scorched the blackened core of night With passion bright,’ the dancer said - Kiss my lips, and softly say: ‘And now I dance to earn my bread.’ “Joy, sea-swept, may fade to-day; ALUN LEWIS Love alone will stay.” Remember your lovers Young men walking the open streets

North York Moors Chamber Music Festival 2018 67 III. Sabbath Morning at Sea When night is deep, and moon is high, So, girt with tempest and wing’d with thunder words by Elizabeth Barrett Browning That music seeks and fnds me still, And clad with lightning and shod with sleet, (1806-1861) And tells me where the corals lie. And strong winds treading the swift waves under The ship went on with solemn face; Yes, press my eyelids close, ‘tis well, The fying rollers with frothy feet. To meet the darkness on the deep, But far the rapid fancies fy The solemn ship went onward. The rolling worlds of wave and shell, One gleam like a bloodshot sword-blade I bowed down weary in the place; And all the lands where corals lie. swims on for parting tears and present sleep The sky line, staining the green gulf crimson, Had weighed mine eyelids downward. Thy lips are like a sunset glow, A death-stroke fercely dealt by a dim sun Thy smile is like a morning sky, That strikes through his stormy winding sheet. The new sight, the new wondrous sight! Yet leave me, leave me, let me go The waters around me, turbulent, And see the land where corals lie. O, brave white horses! you gather and gallop, The skies, impassive o’er me, The storm sprite loosens the gusty rains; Calm in a moonless, sunless light, V. The Swimmer O brave white horses! you gather and gallop, As glorifed by even the intent words by Adam Lindsay Gordon The storm sprite loosens the gusty rains; Of holding the day glory! (1833-1870) Now the stoutest ship were the frailest shallop Love me, sweet friends, this sabbath day. With short, sharp violent lights made vivid, In your hollow backs, on your high-arched The sea sings round me while ye roll To southward far as the sight can roam, manes. Afar the hymn, unaltered, Only the swirl of the surges livid, I would ride as never man has ridden And kneel, where once I knelt to pray, The seas that climb and the surfs that comb. In your sleepy, swirling surges hidden; And bless me deeper in your soul Only the crag and the cliff to nor’ward, To gulfs foreshadow’d through strifes Because your voice has faltered. And the rocks receding, and reefs fung forbidden, forward, Where no light wearies and no love wanes. And though this sabbath comes to me Waifs wreck’d seaward and wasted Without the stolèd minister, shoreward, And chanting congregation, On shallows sheeted with faming foam. God’s Spirit shall give comfort. He who brooded soft on waters drear, A grim, grey coast and a seaboard ghastly, Creator on creation. And shores trod seldom by feet of men - Where the batter’d hull and the broken mast He shall assist me to look higher, lie, Where keep the saints, with harp and song, They have lain embedded these long years An endless sabbath morning, ten. And, on that sea commixed with fre, Love! when we wandered here together, Oft drop their eyelids raised too long Hand in hand through the sparkling weather, To the full Godhead’s burning. From the heights and hollows of fern and heather, IV. Where Corals Lie God surely loved us a little then. words by Richard Garnett (1835-1906) The skies were fairer, the shores were frmer The deeps have music soft and low - When winds awake the airy spry, The blue sea over the bright sand roll’d; It lures me, lures me on to go Babble and prattle, and ripple and murmur, And see the land where corals lie. Sheen of silver and glamour of gold.

By mount and mead, by lawn and rill, * * * * * * * *

68 North York Moors Chamber Music Festival 2018 Les Illuminations peoples sing out. From castles of bone tremblait. Il parlait aux amis de révélation, words by Arthur Rimbaud (1854-1891) the unknown music sounds…The paradise d’épreuve terminée. Ils se pâmaient l’un music by Benjamin Britten (1913-1976) of storm collapses…The savages dance contre l’autre. ceaselessly the festival of the night… 1. Fanfare En effet ils furent rois toute une matinée J’ai seul la clef de cette parade sauvage. What kind arms, what fne hour will give où les tentures carminées se relevèrent me back this country from which come my sur les maisons, et toute l’après-midi, où ils 1. Fanfare slumbers and my smallest movements? s’avancèrent du côté des jardins de palmes. I alone have the key to this savage parade. 3a. Phrase 4. Royalty. 2. Villes J’ai tendu des cordes de clocher à clocher; One fne morning, amongst a most gentle Ce sont des villes! C’est un peuple pour qui des guirlandes de fenêtre à fenêtre; des people, a magnifcent couple were shouting se sont montés ces Alleghanys et ces Libans chaînes d’or d’étoile à étoile, et je danse. in the square: “My friends, I want her to de rêve! Des chalets de cristal et de bois se be queen!” “I want to be queen!” She was meuvent sur des rails et des poulies invisibles. 3a. Sentence laughing and trembling. He spoke to friends Les vieux cratères ceints de colosses et de I have stretched ropes from steeple to of revelation, of trial ended. They were palmiers de cuivre rugissent mélodieusement steeple; garlands from window to window; swooning one against the other. dans les feux…Des cortèges de Mabs golden chains from star to star, and I dance. en robes rousses, opalines, montent des As a matter of fact they were royal one ravines. Là-haut, les pieds dans la cascade whole morning, when the crimson hangings et les ronces, les cerfs tettent Diane. Les 3b. Antique were draped over the houses, and all Bacchantes des banlieues sanglotent et la Gracieux fls de Pan! Autour de ton front afternoon, when they progressed towards the lune brûle et hurle. Vénus entre dans les couronné de feurettes et de baies, tes yeux, palm gardens. cavernes des forgerons et des ermites. Des des boules précieuses, remuent. Tachées groupes de beffrois chantent les idées des de lies brunes, tes joues se creusent. Tes 5. Marine peuples. Des châteaux bâtis en os sort la crocs luisent. Ta poitrine ressemble à une Les chars d’argent et de cuivre — musique inconnue…Le paradis des orages cithare, des tintements circulent dans tes Les proues d’acier et d’argent — s’effondre…Les sauvages dansent sans cesse bras blonds. Ton cœur bat dans ce ventre Battent l’écume, — la fête de la nuit… où dort le double sexe. Promène-toi, la nuit, Soulèvent les souches des ronces. en mouvant doucement cette cuisse, cette Les courants de la lande, Quels bons bras, quelle belle heure me seconde cuisse et cette jambe de gauche. Et les ornières immenses du refux, rendront cette région d’où viennent mes Filent circulairement vers l’est, sommeils et mes moindres mouvements? 3b. Antique Vers les piliers de la forêt, Graceful son of Pan! About your brow Vers les fûts de la jetée, 2. Towns crowned with small fowers and berries Dont l’angle est heurté par des tourbillons de These are towns! This is a people for whom move your eyes, precious spheres. Stained lumière. these dreamlike Alleghanies and Lebanons with brown dregs, your cheeks grow gaunt. arose. Chalets of crystal and wood move Your fangs glisten. Your breast is like a cithara, 5. Seascape on invisible rails and pulleys. The old craters, tinglings circulate in your blond arms. Your The chariots of silver and copper — girdled with colossi and copper palm trees, heart beats in this belly where sleeps the dual The prows of steel and silver — roar melodiously in the fres…Processions sex. Walk, at night, gently moving this thigh, Beat the foam — of Mabs in russet and opaline dresses climb this second thigh, and this left leg. Raise the bramble stumps. from the ravines. Up there, their feet in the The streams of the moorland waterfall and the brambles, the stags suckle 4. Royauté And the huge ruts of the ebb-tide Diana. Suburban Bacchantes sob and the Un beau matin, chez un peuple fort doux, un Flow eastward in circles moon burns and howls. Venus enters the homme et une femme superbes criaient sur Towards the shafts of the forest, caves of the blacksmiths and the hermits. la place publique: “Mes amis, je veux qu’elle Towards the columns of the pier From groups of bell-towers the ideas of soit reine!” “Je veux être reine!” Elle riait et Whose corner is struck by eddies of light.

North York Moors Chamber Music Festival 2018 69 6. InterludeJ’ai seul la clef de cette parade O the ashen face, the shield of hair, the I alone have the key to this savage parade. sauvage. crystal arms! The cannon on which I must hurl myself through the jumble of trees and 9. Départ 6. Interlude buoyant air! Assez vu. La vision s’est rencontrée à tous I alone have the key to this savage parade. les airs. 8. Parade Assez eu. Rumeurs de villes, le soir, et au 7. Being Beauteous Des drôles très solides. Plusieurs ont exploité soleil, et toujours. Devant une neige un Être de Beauté de vos mondes. Sans besoins, et peu pressés de Assez connu. Les arrêts de la vie. O haute taille. Des siffements de morts et mettre en oeuvre leurs brillantes facultés et Rumeurs et Visions! des cercles de musique sourde font monter, leur expérience de vos consciences. Quels Départ dans l’affections et le bruit neufs! s’élargir et trembler comme un spectre ce hommes mûrs! Des yeux hébétés à la façon corps adoré: des blessures écarlates et de la nuit d’été, rouges et noirs, tricolorés, 9. Leaving noires éclatent dans les chairs superbes. d’acier piqué d’étoiles d’or; des facies Seen enough. The vision was met with Les couleurs propres de la vie se foncent, déformés, plombés, blêmis, incendiés; des everywhere. dansent, et se dégagent autour de la Vision, enrouements folâtres! La démarche cruelle Had enough. Sounds of towns, in the evening, sur le chantier. Et les frissons s’élèvent et des oripeaux! Il y a quelques jeunes… and in sunlight, and always. grondent, et la saveur forcenée de ces effets O le plus violent Paradis de la grimace Known enough. The setbacks of life. O se chargeant avec les siffements mortels enragée!…Chinois, Hottentots, bohémiens, Sounds and Visions! et les rauques musiques que le monde, niais, hyènes, Molochs, vieilles démences, Leaving amid new affection and new noise! loin derrière nous, lance sur notre mère de démons sinistres, ils mêlent les tours beauté, — elle recule, elle se dresse. Oh! populaires, maternels, avec les poses et les nos os sont revêtus d’un nouveau corps tendresses bestiales. Ils interpréteraient des amoureux. pièces nouvelles et des chansons “bonnes flles.” Maîtres jongleurs, ils transforment le *** lieu et les personnes et usent de la comédie magnétique… O la face cendrée, l’écusson de crin, les J’ai seul la clef de cette parade sauvage. bras de cristal! Le canon sur lequel je dois Caliban’s Song m’abattre à travers la mêlée des arbres et de 8. Parade l’air léger! Very secure rogues. Several have exploited Be not, be not afeard your worlds. Without needs, and in no Be not afeard 7. Being Beauteous hurry to set their brilliant faculties and The isle is full of noises Against a snowfall a Being Beauteous, tall of their experience of your consciences to Sounds, sweet airs that give delight, give stature. Whistlings of death and circles of work. What mature men! Eyes dulled like delight and hurt not. muffed music make this adored body rise, a summer night, red and black, tricolored, Sometimes a thousand, thousand, thousand, swell and tremble like a spectre; wounds, like steel spangled with gold stars; distorted thousand, thousand scarlet and black, break out in the magnifcent features, leaden, pallid, burned; their playful twangling, twangling, twangling instruments fesh. The true colors of life deepen, dance croakings! The cruel bearing of tawdry fnery! will hum, hum about my ears; and break off around the Vision, on the site. There are some young ones… and sometimes voices And shivers rise and groan, and the frenzied Oh the most violent Paradise of the furious Ding-dong, ding-dong favor of these effects, being heightened by grimace!…Chinese, Hottentots, gypsies, That if I then had waked, had waked, had the deathly whistlings and the raucous music simpletons, hyenas, Molochs, old madnesses, waked, had waked which the world, far behind us, casts on our sinister demons, they mingle popular, waked after long sleep mother of beauty, — she retreats, she rears motherly tricks with brutish poses and will make me sleep again up. Oh! our bones are reclothed by a new, caresses. They would interpret new plays and And then, in dreaming the clouds, methought loving body. “respectable” songs. Master jugglers, they would open and show riches, riches transform the place and the people and make Ready to drop, ready to drop upon me *** use of magnetic comedy… that when I waked I cried to dream again.

70 North York Moors Chamber Music Festival 2018 House of Life 3. Love’s minstrels Sped trackless as the immemorable hour 1. Lovesight One fame-winged brought a white-winged When birth’s dark portal groaned and all was When do I see thee most, beloved one? harp-player new When in the light the spirits of mine eyes Even where my lady and I lay all alone; But a veiled woman followed, and she caught Before thy face, their altar, solemnize Saying: “Behold this minstrel is unknown; The banner round its staff, to furl and cling, The worship of that Love through thee made Bid him depart, for I am minstrel here: Then plucked a feather from the bearer’s known? Only my songs are to love’s dear ones dear.” wing, Then said I “Through thine hautboy’s And held it to his lips that stirred it not, Or when in the dusk hours, (we two alone) rapturous tone And said to me, “Behold, there is no breath: Close-kissed and eloquent of still replies Unto my lady still this harp makes moan, I and this Love are one, and I am Death.” Thy twilight-hidden glimmering visage lies, And still she deems the cadence deep and And my soul only sees thy soul its own? clear.” 6. Love’s last gift Then said my lady: “Thou art passion of Love, Love to his singer held a glistening leaf, O love - my love! if I no more should see And this Love’s worship: both he plights to and said: “The rose-tree and the apple-tree Thyself, me. Have fruits to vaunt or fowers to lure the nor on the earth the shadow of thee, Thy mastering music walks the sunlit sea: bee; Nor image of thine eyes in any spring, But where wan water trembles in the grove, And golden shafts are in the feathered sheaf How then should sound upon Life’s darkening And the wan moon is all the light thereof, Of the great harvest marshal, the year’s chief slope This harp still makes my name its voluntary.” Victorious summer; aye, and ‘neath warm sea The groundwhirl of the perished leaves of Strange secret grasses lurk inviolably Hope 4. Heart’s haven Between the fltering channels of sunk reef... The wind of Death’s imperishable wing? Sometimes she is a child within mine arms, Cow’ring beneath dark wings that love must All are my blooms; and all sweet blooms of 2. Silent noon chase, love With still tears show’ring and averted face, To thee I gave while spring and summer sang; Your hands lie open in the long fresh grass, - Inexplicably flled with faint alarms: But autumn stops to listen, with some pang The fnger-points look through like rosy And oft from mine own spirit’s hurtling harms From those worse things the wind is moaning blooms: I crave the refuge of her deep embrace, of. Your eyes smile peace. The pasture gleams Against all ills the fortifed strong place Only this laurel dreads no winter days: and glooms And sweet reserve of sov’reign counter Take my last gift; thy heart hath sung my ‘Neath billowing skies that scatter and amass. charms. praise.” And Love, our light at night and shade at All round our nest, far as the eye can pass, noon, Are golden kingcup felds with silver edge Lulls us to rest with songs, and turns away Where the cow-parsley skirts the hawthorn All shafts of shelterless tumultuous day. hedge. Like the moon’s growth, his face gleams ‘Tis visible silence, still as the hour glass. through his tune; And as soft waters warble to the moon, Deep in the sunsearched growths the Our answ’ring spirits chime one roundelay. dragon-fy Hangs like a blue thread loosened from the 5. Death-in-Love sky: - There came an image in Life’s retinue So this winged hour is dropt to us from That had Love’s wings and bore his gonfalon: above. Fair was the web, and nobly wrought thereon, Oh! clasp we to our hearts, for deathless O soul-sequestered face, thy form and hue! dower, Bewildering sounds, such as Spring wakens to, This close-companioned inarticulate hour Shook in its folds; and through my heart its When twofold silence was the song of love. power

North York Moors Chamber Music Festival 2018 71 Acknowledgements

We would like to thank the Sisters at St talents to create pure magic on stage - Alice & Michael O’Neill, Tony & Sue Mason, Hilda’s Priory, Sneaton Castle who give us they’re truly put through their paces! Jane & Peter Dingle, Johannes & Josephine free rein in their chapel as well as generously I must personally thank our committed Secker. Tony Bartholomew and Jeannie providing much needed accommodation team - namely Joel Brookfeld, John & Katrina Swales from Turnstone Media have done - they have become such dear friends. Lane, Yvette Turnbull, Hannah Ahrens, Chris wonders for our publicity this year, helping Without the support we receive from Mason and Paul Ingram. This is a winning to spread the word throughout the county. individuals and organisations this festival combination of people and I appreciate Catriona Stewart generously designed simply wouldn’t be possible, so heartfelt your immense and collective contributions, and painted the wonderful screen for our thanks go to The Normanby Charitable from box-offce to lighting, photography to Walton Façade. Trust, Vaughan Williams Charitable Trust, programme production, stage management All of us at the festival, musicians included, RVW Trust & Malcolm Arnold Trust, Terry to festival logistics. There is so much to sincerely thank you, the audience, for coming & Katherine Snape, Derek Knaggs & John organise and I couldn’t think how it would and being part of a community, which Haines, Frank Harrison, Rollits Solicitors be possible without focus and commitment goes beyond the music. Your enthusiasm and all those who have supported this year’s from you all. Volunteers such as Matthew and loyalty drive us to deliver and develop festival but wish to remain anonymous Johnson give so much of their time and further. This is our tenth anniversary year (your help has been much appreciated). We energy; we appreciate every one of you - too and I know that we welcome back many must also thank Arts Council England for many to mention individually here but you who have been with us right from the start helping us to commission a new concerto know who you are! together with those who have found the by Stephen Goss, which has been a fantastic Thank you to the friends and trustees festival over our ten-year journey. addition to the festival’s activities and aims. who provide refreshments, accommodation Special appreciation goes to the musicians for the musicians, great hospitality and Jamie Walton taking part who all give of their time and delicious catering throughout the festival: Artistic Director

The North York Moors Chamber All landscape photography, posters, www.northyorkmoorsfestival.com Music Festival Trust is a charitable programme notes & tickets: Paul Ingram company limited by guarantee www.ingrampix.com registered in England and Wales. Church & people photos: Frank Harrison Company registration number www.ayrielclassical.com 6878005; registered charity No Programme layout: Chris Mason 1129262. Registered offce: The Historical material: Granary, Appleton-le-Moors, York, Anne Taylor & Joel Brookfeld North Yorkshire YO62 6TF

72 North York Moors Chamber Music Festival 2018

We welcome support for this event, which is why we’ve set up The North York Moors Chamber Music Festival Trust, a charitable organisation. If you wish to make a donation please download a Gift Aid form from our website (if you are a UK taxpayer) to ensure your donation goes further. Cheques payable to the North York Moors Chamber Music Festival Trust would be most gratefully received: Please send to the NYM Chamber Music Festival, The Granary, Appleton-le-Moors, York YO62 6TF. The accounts will be made readily available as part of our annual returns to the Charity Commission. Photo: Paul Ingram