FESTIVAL PROGRAMME CONCERTS MASTERCLASSES

WEDNESDAY 1 MAY WEDNESDAY 1 MAY 6 pm Hellens For All Times 9.30 am—1.30 pm Much Marcle School Choir Violin, viola and cello Great Barn at Hellens Music Room 10.30 am—1.30 pm 8 pm Hani Mojtahedy: Piano. Great Barn Melodies from the Middle East 9.30 am–1.30 pm St Bartholomew’s Church Chamber music. Dining room THURSDAY 2 MAY THURDSAY 2 MAY 8 pm Schubert, Weber, Brahms 9.30 am–1.30 pm Great Barn at Hellens Clarinet, violin and viola FRIDAY 3 MAY Music Room 7 pm Christian Blackshaw 10.30 am–1.30 pm Solo Piano Piano. Great Barn St. Bartholomew’s Church 9.30 am–1.30 pm Chamber music. Dining room 9.30 pm Pub Concert The Walwyn Arms, Much Marcle FRIDAY 3 MAY 9.30 am–1.30 pm SATURDAY 4 MAY Viola, violin, cello and clarinet 8 pm Fantasy and fairytale: Music Room Strings, clarinet and piano 9.30 am–1.30 pm ensemble Piano. St Bartholomew’s Church Great Barn at Hellens 9.30 am–1.30 pm SUNDAY 5 MAY Chamber music. Dining room 11.30 am & 3.30 pm SATURDAY 4 MAY Masterclass Students 9.30 am–1.30 pm Finale I & II Piano. Great Barn Great Barn at Hellens 9.30 am–1.30 pm Chamber music. Dining room WELCOME TO HELLENSMUSIC 2019

Our seventh Hellensmusic has become the time for us to check on our progress. We know how music enlarges and enriches life –scientists have discovered how the disciplines of music improves attention span, concentration, expands the cortex, develops pulse and rhythm! So you’ll see more variety this year, more concentrated work in local primary and secondary schools, and a 3-5 year pilot project in Much Marcle Primary School. And of course, the gift of world-class musicians returning again to inspire, teach, share, and perform! Thank you Christian, Máté, Maya, Markus, Bruno, Matthew, Julien, Hani, Elisabeth, Bridget, and all the team at Hellens. Our first concert Wednesday afternoon is brought to us by Danish violinist Elisabeth Zeuthen Schneider with Bridget Snasdell and Much Marcle Primary School, in what is the start of our project –Music For All Times– introducing musical training and singing to young children for long-term results. This is followed in the evening by a coup for us! Hani, singer and musician revered in Europe, The States and in the Middle East, has accepted to play with our ‘classical’ musicians in a concert that will have you in tears. On Thursday we have the rest of our chamber concerts and Christian Blackshaw playing with our international musicians. On Friday Christian Blackshaw gives a solo recital by candlelight at the historic church at Much Marcle, followed by an uproarious night at the Walwyn Arms when the classicists let their hair down. On Saturday Julien Quentin joins Matthew Hunt and our Chamber Ensemble for an evening full of beloved music, a little risk, and considerable variety! Inspirational education remains at the heart of what we do, and we’re proud to have thirteen talented students from the best colleges in Britain and abroad. They will be working with the pros, and playing with them at the festival’s closing concerts on Sunday to underline the importance of a shared, non-hierarchical approach to music-learning and making –for me a Hellensmusic highlight. Join us, I do recommend, for our first concert on Wednesday 1st May in the afternoon. Perhaps it might inspire you to work with your own children or grandchildren.

Adam Munthe Festival Chairman DEAR FRIENDS,

It is a tremendous joy to welcome all lovers of music to our Seventh Hellensmusic Festival, reuniting as it does musicians and listeners from far and wide to participate and share the wonder of this great international language. Since the inauguration of our festival in 2013 we have PROGRAMME striven to bring to rural Herefordshire great works of art to life through performances and the ability to work with young performers who we hope will continue the quest to find truth, meaning and fulfilment in their chosen path. We musicians are indebted to Nelly and Adam Munthe for opening once again their magical home to us and to all the members of the wonderful management team without whose help Hellensmusic could not exist. We look forward very much to seeing you.

Christian Blackshaw and Máté Szücs Artistic Directors HELLENS FOR ALL TIMES HANI MOJTAHEDY: MUCH MARCLE SCHOOL CHOIR MELODIES FROM THE MIDDLE EAST Wednesday 1 May, 6 pm Wednesday 1 May, 8 pm Great Barn at Hellens St. Bartholomew’s Church, Much Marcle

Hellensmusic aims to motivate and that ‘music belongs to everybody’ Each year Hellensmusic brings an world music scene. Very recently, inspire local children with the val- and that the best starting point is exceptional artist and musician the Middle East Sustainable Peace ue of music. Our opening concert through the instrument accessible from a different genre to open Organisation (MESPO) chose Hani this year celebrates this with our to all –the human voice. up our ears to new sounds. Hani as their “symbol of peace in the very first showcase event for our A selection of folk songs including: Mojtahedy is a well-known Kurdish Middle East” during the Kurdis- new music education programme Summer is a Cumin’In, Shalom, singer-songwriter from Sanandaj, tan International Peace Carnival in Hellens For All Times –working The Sky Boat Song, The Sofa Song a small city in the Iranian province which she performed a great con- with the children from Much Mar- exploring tempi, moods, colours, of Kurdistan. With her charisma, cert in Sulaimaniah with other in- cle primary school. The programme performed by the Much March she has been a voice for women, ternational artists. focuses on the dynamic collabo- Primary School, led by Bridget and for her people for years. She is Hani will be joined by four great rative practice of the Kódaly ap- Snasdell, accompanied and inspired now a household name in her na- classical musicians, well-known proach, developed from the belief by Elisabeth Zeuthen Schneider. tive country and a rising star in the to Hellens’ audiences through the years, in a novel challenge for Diltengi, A song about nostalgia Hellensmusic. She combines tradi- and the feelings of homesickness tional Persian vocals and Kurdish Xoshawisti, A complaint of love lyrics and will perform themes from and disappointment her work, passing from women’s Chawarwani, Passionate rights to the misfortunes of history, anticipation to meet from love and happiness to tragedy the one who is gone again and mourning. Gulbarin, Nature and spring and This will be truly a romantic evening the connection which they have for anyone of any age who loves to with women and creation hear a haunting melody, a gorgeous Shapoli shet, A rebellious woman voice and an outstanding artist tak- who can’t be harnessed even though ing delight in sharing her gifts. she is in love Ashyaneh, An old Persian love song Barun, An improvisation based on HANI MOJTAHEDY old Persian songs VOICE Mirage, An ultimate reflection of JULIEN QUENTIN the paradoxes of growing up in the PIANO contemporary world for a Middle SCHUBERT, WEBER, BRAHMS MARKUS DÄUNERT Eastern woman Thursday 2 May, 8 pm VIOLIN Cham Sia, A journey to ancient Great Barn at Hellens MÁTÉ SZÜCS Kurdish music’s origins, with a new VIOLA interpretation BRUNO DELEPELAIRE Schubert, Quarttetsazt, D. 703 CHRISTIAN BLACKSHAW CELLO Weber, Clarinet Quintet PIANO in B flat major, Op. 34 MAYA IWABUCHI Brahms, Piano Quintet VIOLIN in F minor, Op. 34 MARKUS DÄUNERT VIOLIN MÁTÉ SZÜCS VIOLA BRUNO DELEPELAIRE CELLO MATTHEW HUNT CLARINET SCHUBERT (1797-1828) creative spark that brought them and exuberant melody. The Given the outstanding quality of Quartettsatz in C minor D 703 into being. However, the catalyst following Fantasia is aptly named, his surviving compositions in this Allegro assai for some of the greatest works for the clarinet, with its long most intimate of genres, one can It is a mystery why this wonderful in musical history has been the drawn-out ethereal melody, weaves only wonder at what posterity has movement, composed in 1820, composer’s acquaintance with a shadowy path through seemingly lost. The chamber works that have stands on its own and did not wonderful soloists. Certainly the unknown regions, a feeling only come down to us include seven become the first movement of a repertoire for clarinet is all the richer intensified by an unexpected for strings alone: two string sex- full-blown quartet. This had surely for it. Mozart composed his Clarinet ascending scale, played fortissimo, tets, two string quintets and three been Schubert’s initial intention as Quintet and Clarinet Concerto, then pianissimo. Extraordinarily, string quartets. His great Piano he composed around forty bars of in 1789 and 1791 respectively, for Weber composed the Menuetto Quintet was created between 1861 an Andante to follow it. However, the virtuoso clarinettist Anton in a single day. This unique and and 1864 and one would never it has become a jewel in the piano Stadler; around 100 years later witty movement is characterised guess from the enormity of the miniature repertoire. What is Brahms was moved to compose by the flamboyant upward flourish piano part that it started life as a remarkable about the Quartettsatz a series of chamber masterpieces, of its opening and the vacillating string quintet (with two cellos). is the way in which the composer including his Clarinet Quintet, on clarinet writing: contrast is afforded From this, there emerged a version integrates the work’s opening being transported by the playing of by a Trio full of sentiment. The for two pianos before Brahms, on figure and the ideas that spring Richard Mühlfeld; and in the early Finale encapsulates the spirit of the the advice of Clara Schumann, re- from it into the whole movement, part of the 19th Century the warmth previous three movements. It is a thought its instrumentation once employing a wealth of different of tone of Heinrich Baermann’s Rondo of unbounded gaiety which again, fashioning finally the Piano keys. The agitated opening soon playing inspired Weber to compose bounces along effortlessly, bringing Quintet on the grand scale that we gives way to an ethereal melody, no fewer than six works for him, to an end in spectacular style one of know today. The work’s restrained and this alternation of anguish including this Clarinet Quintet, the dazzling chamber masterpieces unison opening gives no warning and beauty is a principal feature written between 1811 and 1815. It of the early 19th Century. of what is to come for, within a of the piece. What gives the music is very different from either of the few bars, the serenity is shattered its profound impact is the sheer quintets by Mozart or Brahms, both INTERVAL in the most dramatic fashion by quality of the material and the of which are pure chamber music of the angriest of eruptions, so ush- passion that impels it. blended textures. In Weber’s work, BRAHMS (1833-1897) ering in an expansive, tumultuous the clarinet is less collaborative Piano Quintet in F minor Op 34 movement, suffused with a sense WEBER (1786-1826) and the work has a sense of drama, Allegro non troppo; Andante, of tragedy. It finds room for mo- Clarinet Quintet in B flat Op 34 elements of the concerto and un poco Adagio; Scherzo: Allegro; ments of lyricism and repose but Allegro; Fantasia: Adagio ma non indeed, perhaps unsurprisingly, Finale: Poco sostenuto – the high drama of the Quintet is troppo; Menuetto: Capriccio presto; of opera for Weber was, after all, Allegro non troppo established. The Andante acts as Rondo: Allegro giocoso the founder of the German school So great was Brahms’ sense of an intermezzo, bringing an oasis When considering major classical of romantic opera. The opening perfectionism that he destroyed a of calm after the tempest of the works one’s thoughts are naturally Allegro gives early indication that great number of works, including opening Allegro. Wistful in mood, drawn towards pondering the this is a work of dazzling virtuosity many in the chamber music field. it has a gently rocking motion and a dreamy quality and also a rather buoyant movement but one with Slavic flavour. The Scherzo begins dark undertones. The folk-like first with an eerie theme, gossamer in theme develops into something texture, but this is banished by a resembling a gypsy dance, while thunderous passage of electrifying a second subject is more pleading force, stunning in its impact. The in nature. Throughout the move- noble Trio has one of the compos- ment, Brahms wonderfully blends er’s most effusive melodies. The together his themes before the Finale is framed by a haunting, work culminates in its unforgetta- rather desolate introduction and ble conclusion. a breathtaking Presto coda. Be- tween these two extremes lies a

CHRISTIAN BLACKSHAW SOLO PIANO Friday 3 May, 7 pm St Bartholomew’s Church, Much Marcle

J.S. Bach, Partita No. 1 in B flat CHRISTIAN BLACKSHAW major, BWV 825 PIANO W.A. Mozart, Fantasia No. 4 in C Minor, K. 475 F. Schubert, Drei Klavierstücke, D. 946 R. Schumann, Humoreske Op. 20 BACH (1685-1750) galloping Gigue, which requires in the bass. A cadenza leads into than with the two much loved sets Partita No 1 in B flat BWV825 some acrobatics to perform with the most gentle Andantino passage of Impromptus he had written the Praeludium; Allemande; Corrente; its constant hand-crossing, features of enchanting melody offering year before. The galloping motif and Sarabande; Menuets I & II; Gigue fast dialogue between high and low some sense of repose, only for the intense rippling accompaniment The impact that Bach’s six keyboard voices and provides an exciting end stability once again to be shattered that frames the first piece partitas (presented as a series) made to a work of remarkable ingenuity by the entry of an agitated Più (presented first in the unusual key upon the world of music is only too and invention. Allegro section. Finally, a kind of of E flat minor) leave one somewhat clear from reading the following symmetry is achieved as the work breathless. This contrasts markedly words of a leading Bach biographer MOZART (1756-1791) turns full circle, reverting to the with an expansive central Andante written in 1802: “Whoever learnt to Fantasia in C minor K 475 opening Adagio before finishing episode in B major: here the perform any of these pieces to a high Adagio; Allegro; Andantino; on a powerful ascending scale writing is predominantly chordal standard could make his fortune in Più Allegro; Adagio and chord to complete the drama. and tender. One might well think the world.” This B flat work, the first This Fantasia is a unique and Perhaps what is most remarkable the gentle lilting theme of the of the set, was composed in 1726 extraordinary work in the piano of all about this Fantasia is that Allegretto second piece to be that and is in seven short movements repertoire. It was composed in in a work of such freedom and of a Brahms lullaby. (It was, in (including two minuets). The florid Vienna in May 1785 and published imagination Mozart has managed fact, borrowed from a chorus in and leisurely-paced Praeludium alongside its companion piece in to unify the array of seemingly his unsuccessful opera Fierrabras.) (a term simply implying that it is the same key, the Sonata K457, contradictory elements to create Interspersed with this theme are a preface to a series of subsequent which often immediately follows one of the most compelling works two rather mysterious minor key movements) has an architectural it in performance, though Mozart in piano literature. episodes, the first agitated, with beauty. The Allemande, as befits does not appear to have endorsed sharp accents and a rocking bass, its title, is a graceful dance of the this practice. Unrest pervades SCHUBERT (1797-1828) the second containing curious utmost delicacy: ever-active, it this dramatic Fantasia, a work Drei Klavierstücke D 946 silken writing. The jubilation of the displays a wealth of ideas. A lively of violently contrasting ideas, Allegro assai; Allegretto; Allegro colourful and highly syncopated and carefree Corrente follows: this constantly shifting moods and great Impromptus in all but name, final piece suddenly ceases only is a cousin of the French courante harmonic daring and one which the three pieces that make up to admit a most heavenly central but containing hops and leaps exploits vast tracts of the keyboard. Schubert’s Drei Klavierstücke were episode, hymnal in texture: here, rather than the purely running A haunting octave figure opens and composed in 1828, the last year of repeated notes in the melody over motion of its French counterpart. sets the tone for the work. Following his short life: an ‘annus mirabilis’ subtly changing harmonies create The stylised elaboration of the slow this opening full of foreboding, an indeed from which also date the a rather hypnotic effect. This is Sarabande in no way impedes its oasis of calm in D major brings String Quintet, the song cycle short-lived, however, as the return gentle flow nor its stately manner. relief until eventually and suddenly Schwanengesang, the Fantasy in F of the main theme heralds the Of the two Menuets, the first is giving way to a most dark and minor for piano duet and the final work’s dramatic climax. characterised by its buoyancy and turbulent Allegro section with three piano sonatas. The emotional clockwork precision, the second quivering and alarming tremolos world of Drei Klavierstücke is more INTERVAL by its soothing character. The in the treble set against solid chords in line with that of these last sonatas SCHUMANN (1810-1856) This duality, though not specified, Humoreske is reflected in many of his works, In his early twenties Schumann and his Humoreske, dating from embarked on a novel and though 1838/39, is certainly one of them. he never finished it its two central It is a cycle of short pieces played characters, Florestan and Eusebius, without a break and the cohesion have lived on in a different context. of the work, its illusion of unity, The reason for their survival is largely derives from Schumann’s that the novel would have been use of two keys, B flat major and G autobiographical and the stormy minor (its relative minor) and the and impetuous Florestan and appearance of recurrent themes. the calm and dreamy Eusebius Within an over-arching structure represent the two seemingly are to be found, often side-by- paradoxical sides of Schumann’s side, passion and restraint; energy nature. Indeed, each of the 18 pieces and inertia; anger and gentleness; that make up his piano masterpiece frenzy and tranquillity; delight and of 1837, Davidsbündlertänze, is sorrow; defiance and resignation … ascribed to one or other of them The juxtaposition of musical ideas or, in some cases, both of them. seemingly has no boundaries. PUB CONCERT MONTI (1868-1922) composed in 1914 under the Czardas title Siete canciones populares Friday 3 May, 9.30 pm Derived from an old Magyar term españolas. There is something The Walwyn Arms, Much Marcle for a village tavern, a Czardas is a irresistible about the catchy rhythm traditional Hungarian folk dance. that opens El Paño Moruno (The Bartok, Romanian Folk Dances Our regular pub concert is just The Czardas by Vittorio Monti, Moorish Cloth) in the work’s lively Monti, Czardas one way that we inspire not just championed by many virtuoso first movement. Nana is a slow- Porumbescu, Balada our audiences, but our world- violinists since its composition in moving lullaby with the barest of De Falla class musicians too. Here they 1904, is the most famous example. It textures. Canción (Song), with its Suite Populaire Espagnole have the opportunity to share new is a true showpiece, contrasting slow insistent rhythm, is by contrast Mussorgsky, Hopak collaborations and repertoire –a and fast passages with dramatic effect. buoyant. Polo, an Andalusian folk (from ’Sorochyntsi Fair’) glorious fusion of sounds, rhythms dance, is an arresting movement of George Gershwin, It Ain’t and cultures, to be enjoyed with a PORUMBESCU (1853-1883) great freedom. Asturiana is a heart- Necessarily So drink in your hand! Balada rending lament from the northern Piazzolla, Libertango The Rumanian composer Ciprian part of Spain. Jota is a dance from Michel Legrand, ‘The Summer BARTOK (1881-1945) Porumbescu wrote a great deal of Aragon often accompanied by of 42’ (Été 42) Romanian Folk Dances music in his short life (for voice, castanets and it is not difficult to Benny Goodman, That’s a Plenty Overhearing a woman from choir, stage …) for which he has imagine them in this most vibrant Nino Rota, Parle plus bas / Speak Transylvania singing a folk-melody always been feted in his native movement. softly love (The Godfather) in 1904 was, for Bartok, to lead to country. However, outside Rumania Jamiroquai, Virtual Insanity a life-long fascination with the folk- his reputation largely rests on this Sting, Englishman in New York music of central Europe. He spent Balada which he composed in 1880. MUSSORGSKY (1839-1881) much of the time between 1909 and Originally written for violin and Hopak JULIEN QUENTIN, PIANO 1913 visiting villages and recording orchestra but since transcribed for A hopak is an energetic Ukrainian MÁTÉ SZÜCS, VIOLA the folk-songs he heard, mostly all manner of combinations, this folk dance. There are many MATHEW HUNT, CLARINET played on fiddle or shepherd’s deeply Romantic salon piece is examples and this one has survived flute. In 1915 he composed his utterly beautiful, full of nostalgia as a short independent piece though Romanian Folk Dances, a suite of and heartrendingly sad. taken from an unfinished comic six short pieces, initially for piano opera, The Fair at Sorochyntsi, duet but many arrangements of MANUEL DE FALLA that Mussorgsky was working on them have been made over the (1876-1946) between 1872 and 1880. From years. Infinitely varied and full of Suite Populaire Espagnole the sawing sound of its opening rhythmic surprises, the dances are, El Paño Moruno; Nana; Canción; through to its fast conclusion, the in turn, a stick dance; a sash dance; Polo; Asturiana; Jota rhythmically captivating Hopak a stamping dance; a hornpipe; a This suite is a transcription of six retains its excitement to the end. polka; and a quick dance. of seven songs Manuel de Falla GERSHWIN (1898-1937) BENNY GOODMAN STING (B1951) It Ain’t Necessarily So (1909-1986) Englishman in New York This famous song is taken from That’s a Plenty The concert will end with a Gershwin’s last major work, Porgy This is a ragtime piano piece com- celebrated Sting song, the 1987 and Bess (1935), that opera which posed by Lew Pollack in 1914. Lyr- release Englishman in New York fuses jazz and classical music ics were added much later and it is from his studio album Nothing Like and so helped to bridge the gap frequently performed not only with the Sun. between them. voice but in instrumental versions. The American jazz clarinettist and ASTOR PIAZZOLLA bandleader Benny Goodman (‘The (1921-1992) King of Swing’) made this standard Libertango his own. In the early 20th Century, Argentina gave birth to the tango, NINO ROTA (1911-1979) the most striking feature of which Parle plus bas (Speak Softly Love) was the use of lazy, syncopated The Italian composer and pianist rhythm. The tango was to become Nino Rota is best known for his the preoccupation of Piazzolla, film scores (over 150 in total). who developed a version of it This included the 1972 film The which combined jazz and classical Godfather and Parle plus bas is the elements and made much use of very well-known main theme from dissonance. This is well reflected in it –more commonly known as ‘Love Libertango, which was published Theme from The Godfather’. in 1974 and has become one of his most popular works. JAMIROQUAI Virtual Insanity MICHEL LEGRAND This 1996 single is one of the iconic (1932-2019) hits of the funk and acid jazz band Summer of ’42 Jamiroquai, formed in 1992. The The French composer, singer, con- band rose to international fame in ductor and jazz pianist Michel the 1990s. Legrand, who died earlier this year, wrote scores for over 250 films. The soundtrack of Summer of ’42, the 1971 comedy-drama film, consists al- most entirely of compositions by him.

FANTASY AND FAIRYTALE: STRINGS, with an impassioned, rather edgy, different versions including, in CLARINER AND PIANO ENSEMBLE central section. The colourful and both cases, one for piano trio. D’un rhythmically active final Romance soir triste is, in effect, a serious Saturday 4 May, 8 pm gives a foretaste of Brahms. Opening elegy, slow, exquisite and, for the Great Barn at Hellens with a quizzical unison theme, the most part, softly uttered though music gains momentum before its at times it rises in dynamics quite R. Schumann, 3 Romances, SCHUMANN (1810-1856) liveliness is abruptly checked by a threateningly. It does indeed depict Op. 94 Three Romances for tender and more reserved middle a ‘sad evening’ and inevitably one Lili Boulanger, D’un soir Viola and Piano Op 94 section. The coda is beautifully wonders whether it was composed triste for piano trio Nicht schnell; Einfach, innig; understated. in anticipation of her own death. I. Stravinsky, Three Pieces Nicht schnell If so, this shows itself in a mood for Solo Clarinet Schumann is in many ways the very LILI BOULANGER of resignation rather than of deep I. Stravinsky, L'Histoire embodiment of early Romanticism (1893-1918) sorrow. D’un matin de printemps, du Soldat for clarinet trio as is clearly testified by these Three D’un soir triste; as one might expect from a piece INTERVAL Romances which he composed in D’un matin de printemps depicting a ‘Spring morning’, has, Lili Boulanger, D’un matin 1849 and gave to his wife Clara as The prodigious talent of Lili on the other hand, a sense of joy de printemps for piano trio a Christmas present. They were Boulanger, sister of the composer and freedom. There is some darker Gabriel Fauré, Piano quintet originally composed for oboe and and teacher Nadia Boulanger, writing but overall the melodic line no. 1 in D-minor, Op. 89 piano but the oboe is frequently showed itself at an extraordinarily and at times dancing quality of the replaced by violin, viola (as today), young age for it was discovered that music speak of happiness, surely JULIEN QUENTIN cello or clarinet. The tempo marking she had perfect pitch when only two the legacy Lili Boulanger hoped to PIANO ‘Nicht schnell’ (not fast) for the years old! The first woman to win bequeath. MAYA IWABUCHI first and last of these gives early the Prix de Rome, she played several VIOLIN indication of their intimate nature. instruments with consummate skill STRAVINSKY (1882-1971) MARKUS DÄUNERT The first Romance has undertones and musicianship and, though she Three Pieces for Clarinet VIOLIN of sadness, a certain yearning was ill for much of her life and sadly In 1919, the year after Lili Boulanger MÁTÉ SZÜCS quality. Although its central died of tuberculosis at the tender composed D’un soir triste and D’un VIOLA section shows a degree of urgency, age of 24, she has left us with a matin de printemps, Stravinsky BRUNO DELEPELAIRE the general mood is tranquil and good number of compositions of completed his Three Pieces for CELLO its lovely theme unfolds in utter the highest order. Many of these are Solo Clarinet. These cameos were MATTHEW HUNT gentleness. There is a greater sense vocal compositions, including an written as a mark of gratitude CLARINET of dialogue in the second Romance astonishing setting of Psalm 130. for Werner Reinhart, an amateur to which Clara attributed a ‘spring- D’un soir triste and its companion clarinettist and arts patron who like joy’. Carrying the marking piece D’un matin de printemps had supported the first production ‘Einfach, innig’ (simple and both date from 1918, the last of the composer’s L’Histoire du heartfelt), it is an affectionate piece year of her life, and exist in three Soldat. What is fascinating about them is Stravinsky’s treatment event, to be performed by three more autumnal, more elusive. Nor more overtly passionate moments of style, timbre, rhythm and also actors, one or several dancers and a do they follow the tradition of the music invariably subsides time signature, which constantly septet of instrumentalists. Today it the great piano quintets that with sadness, so reinforcing its changes in the first and third pieces: will be performed, as it so often is, as preceded their composition, prevailing character. Despite the the central piece has neither time a five-movement suite for clarinet, those of Schumann, Brahms, unexpected surge of energy that signature nor bar lines. Stravinsky violin and piano, a version that Franck and Dvorak. There are concludes the work, one is left with made it clear that his preference Stravinsky produced shortly after its no grandiose effects here, no the memory of its delicate tracery, was for the first two to be played creation as a stage work. The dark dramatic interventions. It is the not its declamation. on a Clarinet in A and that the first story, which is based on a Russian very reticence of the Piano Quintet one was a ‘personal and private folk-tale, tells of a soldier who No 1, composed between 1890 reflective set of sounds’. There is a makes a pact with the devil, trading and 1894 and dedicated to the tranquillity to this first piece, which in his violin in return for unlimited violinist Eugène Ysaÿe, that gives started life as a song and exploits the wealth, then loses his soul in a card it its unique appeal. Although instrument’s low register. If the first game and finally surrenders himself. there are climactic moments, it piece is introspective, the second is The suite comprises a parody of a seems, especially in the first two extrovert and improvisatory with march with the clearest of martial movements, that every stirring of its free form, has an elasticity and beats; a movement showcasing energy is soon suppressed. This is a makes telling contrast of timbre the violin, largely in extempore work of seamless flow that unfolds between the upper and lower mode; the joyful coming together with such naturalness, the piano registers of the clarinet. The final of the three instruments in a ‘Petit blending with the string texture piece, so rhythmically compelling, Concert’ of incessant rhythm and rather than competing with it or at a loud dynamic throughout and constant excitement; the ingenious dominating it. In its unbroken to be played on the B flat clarinet, is dovetailing of three dances, drawing line of exquisite melody it may inspired by the ragtime of L’Histoire on the older and the newer; and owe a great deal to the influence du Soldat. the triumphant dance as the devil of Fauré’s teacher Saint-Saëns. Its celebrates his victory. opening is crystalline, the music STRAVINSKY (1882-1971) suggestive of a gentle waterfall, L’Histoire du Soldat (A Soldier’s INTERVAL and indeed the whole movement Tale) for Clarinet Trio is characterised by a wash of gentle Marche du Soldat; Le Violon du FAURÉ (1845-1924) sound, bringing an air of restraint. Soldat; Petit Concert; Tango-Valse- Piano Quintet No 1 in D minor The mood is maintained or perhaps Rag; Danse du Diable Molto moderato; Adagio; deepens in the introspective Adagio Composed in 1918, L’Histoire Allegretto moderato which seems to exist in a state of du Soldat is an extraordinary The two piano quintets of Gabriel reverie. The texture here is liquid, conception in its original format Fauré differ considerably from his yielding. The Rondo Finale begins as a theatrical work: a multi-media two earlier piano quartets: they are in similar vein and though there are MASTERCLASS PROGRAMME FINALE Sunday 5 May 11.30 am part I – 3.30 pm part II Great Barn at Hellens

A. Dvořák, String Sextet Hellensmusic Masterclass Pro- in A major, Op. 48 gramme has a unique, non-hier- J. Haydn, String quartet archical approach to learning and in D major, op. 50, no 6 mentoring which in the course of W. A. Mozart, Divertimento seven years has inspired dozens of no 2, K.439b (Anh.229) aspiring professional musicians to And solo repertoire by the fulfil their utmost potential. Masterclass students Our masterclass students are the stars of tomorrow, and these perfor- MÁTÉ SZÜCS mances give you an opportunity to VIOLA hear them today. This is the culmi- BRUNO DELEPELAIRE nation of a week of study with our CELLO resident artists. MATTHEW HUNT CLARINET PIANO, VIOLIN, VIOLA, CELLO AND CLARINET STUDENTS FROM HELLENSMUSIC MASTERCLASS PROGRAMME

ALL PROGRAMME NOTES BY JOHN BRAIN HELLENSMUSIC MASTERCLASS PROGRAMME

Hellensmusic offers talented students the opportunity to learn with some of the best professionals in the classical music world. The Hellensmusic Masterclass Programme consists of six days of intense learning, with individual masterclasses, chamber music classes and music improvisation sessions taught by the Festival’s resident artists. The course culminates in two final concerts where students have the opportunity to perform some of the pieces they worked on during the week and play alongside their tutors.

Our aim is to create a rich and inspiring musical week that can fast-track meaningful learning, creating a welcoming environment that encourages risk-taking and candid interactions. Beyond the masterclasses, students have the chance to engage with their tutors at meals and breaks and can see them in action at rehearsals and performances. This provides a unique opportunity for informal learning, which sets Hellensmusic apart from other short courses.

This year we are proud to receive students from the Guildhall School of Music and Drama, the Royal Academy of Music, the Royal Birmingham Conservatoire, the Royal College of Music, the Royal Conservatoire of Scotland, and students from Hochschule für Musik Hanns Eisler, Berlin and Hochschule für Musik, Theater und Medien, Hannover. “Amazing! One of the best experiences of my life. Solo “Playing chamber music with the Masterclasses were absolutely professors was a particularly special fantastic. I have learnt so much! highlight and an experience which I’m so excited to process and practice will remain with me always.” everything that I’ve learnt here.” The guiding principles which underpin the activity are:

– That children have ways of listening and hearing which adults have lost.

– That children have a sense of pulse, rhythm and beat which can best be activated at this age.

– That children have an instinctive love of melody which activates and broadens their attention span.

– That children search for harmony, and accept the responsibility that goes with that search, when they understand a purpose.

– That through music children can learn and develop important life tools and capacities that go way beyond music itself! HELLENS FOR ALL TIMES MUSIC EDUCATION PROGRAMME Hellensmusic opening concert this year is a showcase of this new project, when children from Much Marcle school will perform Hellensmusic has launched a 3-5 year music education programme and put into practice all they have learned in the last 6 months of at Much Marcle school, led by Danish violinist and Danish Academy work. This will give them the opportunity to understand how to Professor, Elisabeth Zeuthen Schneider, and British music teacher deliver something precious –in this case a performance– overcoming Bridget Snasdell. The programme is based on the Kodály method their fears and discovering their confidence. –a child-centred approach to music learning through singing and movement where children gradually learn and internalise the Our aim is to continue and expand this project in the following years musical elements of pitch, rhythm, and pulse, alongside the ability to other schools in the area. If you are interested in supporting this to listen and perform. project, see how you can get involved on www.hellensmusic.com or The project began in October 2018 with weekly sessions at Much writing directly to [email protected] Marcle Primary School and currently involves 28 children of Class Three (7, 8 and 9 years old).

Blackshaw has performed with many leading orchestras including London Philharmonic, Hallé, City of Birming- ham Symphony, Royal Liverpool Phil- harmonic, Royal Scottish National, BBC Philharmonic, BBC Symphony, Academy of St Martin in the Fields, St Petersburg Philharmonic, Moscow Philharmonic, Mariinsky Orchestra, New York Philharmonic, San Francisco BIOGRAPHIES CHRISTIAN Symphony, Baltimore Symphony, Israel BLACKSHAW Philharmonic, Dresden Staatskapelle, A deeply passionate and sensitive Rotterdam Philharmonic and RAI performer, Christian Blackshaw is cele- Torino. Conductors with whom he has brated for the incomparable musician- collaborated include Sir Simon Rattle, ship of his performances. His playing Valery Gergiev, Gianandrea Noseda, combines tremendous emotional depth Yuri Temirkanov and Sir Neville with great understanding and, in the Marriner. He has given chamber con- words of one London critic, "sheer certs in London with the principals of the musicality and humanity". Pianist London Symphony Orchestra and magazine, reviewing his performance Chamber Orchestra of Europe and fes- of Schubert's great B Flat Sonata D.960 tival engagements have taken him to at the Queen Elizabeth Hall wrote that Stars of the White Nights St Petersburg, the work "has become the calling card Prague, Dubrovnik, Helsinki, Stresa, of many a pianist wishing to declare Britain in Greece Festival Athens, Bath, themselves a musician's musician and Orford (Canada) and the BBC Proms. Blackshaw most certainly belongs to Recent notable appearances in- this category". clude South Bank International Piano Following studies with Gordon Series, Berliner Philharmoniker, Tokyo, Green at the Royal College Manchester Montreal, Aldeburgh Festival, Bamberg and Royal Academy, London and win- Symphony, RAI National Symphony ning the gold medals at each, he was and Mariinsky Orchestra with Valery the first British pianist to study at the Gergiev. In May 2016 he completed his Leningrad Conservatoire with Moisei sold out debut recital tour in China, Halfin. He later worked closely with Sir including memorable appearances at Clifford Curzon in London. Christian the National Centre for the Performing Arts, Beijing and Shanghai Symphony atory in Antwerp, completed by Máté Rodney Friend. Since her first concert larly invited to lead orchestras such Orchestra Hall. Szücs with distinction. at age five, Maya has enjoyed an interna- as the Royal Philharmonic, City of His hugely acclaimed Wigmore Hall In 2003 he began his career as an or- tional career as a solo violinist, chamber Birmingham Symphony, Royal Liv- complete Mozart sonata series con- chestral musician and principal violist. musician and orchestral leader. erpool Philharmonic, Bournemouth cluded in early 2013 and subsequently It has taken him from the Royal Flem- Her performances have taken her to Symphony, Ulster Orchestra, English Wigmore Hall Live have issued all four ish Philharmonic Orchestra in Antwerp major concert halls world-wide such as Chamber Orchestra, Scottish Chamber volumes. Critics have been unanimous by way of the Bamberger Symphoniker, the Royal Festival Hall and Wigmore Orchestra, Orquestra Cadaqués and in their praise, describing these “land- Dresden Staatskapelle and Frankfurt Hall in London, Musikverein in Vienna, the John Wilson Orchestra. mark” recordings as "captivating", "mag- Radio (hr) Symphony Orchestra to Royal Concertgebouw in Amsterdam, After 18 distinguished years, Maya ical" and "masterful". Volume 4 is named the Deutsche Kammerphilharmonie Lincoln Centre and Carnegie Hall in ended her tenure as Leader of the as one of the Best Classical Recordings Bremen (Principal Viola from 2008 to New York City and Suntory Hall in Philharmonia Orchestra in 2012, of 2015 in the New York Times. 2012), and the Berliner Philharmoniker. Tokyo to name a few. Highlights for having led for major conductors such Máté Szücs, who appears in concerts Maya as soloist include appearances as Sir Andrew Davis, Christoph von throughout Europe as a soloist and with the Los Angeles Philharmonic, Dohnanyi, Gustavo Dudamel, Lorin chamber-music player, is also a profes- New York Philharmonic and the Maazel, Riccardo Muti, Gennady sor at the Geneva University of Music, Philharmonia Orchestra, and she has Rozhdestvensky, Esa-Pekka Salonen teaches at the Thy Chamber Music Fes- appeared in numerous renowned mu- and Kurt Sanderling. Since 2011, tival in Denmark, and is joint Artistic sic festivals such as the BBC Proms, she devotes her time as Leader of the Director of Hellensmusic. Aldeburgh, Bath and Chichester festi- Royal Scottish National Orchestra vals, and the International Musicians whilst taking much pleasure from a Seminar in Prussia Cove. The Strad has renewed life in Scotland with her hus- hailed her playing as 'simply brilliant' band and many pheasants! and the Times 'gorgeous', and she con- tinues to receive praise from the press. MÁTÉ SZÜCS A committed chamber musician, Like many players of the viola, Máté Maya has been a member of Mobius Szücs first learned the violin. He com- Ensemble since 2004, and she has also pleted his violin studies with Ferenc collaborated with artists such as the Szecsödi at the conservatory in Szeged, Vellinger Quartet, Steven Isserlis and changing to the viola in 1996 and be- Gil Shaham. Her recordings as part coming a pupil of Ervin Schiffer, who of Vikram Seth’s ‘An Equal Music’ CD taught him at the Royal Conservatory MAYA IWABUCHI compilation are regularly broadcast by in Brussels and at the Chapelle Musicale Maya Iwabuchi began violin lessons the BBC and Classic FM. Reine Elisabeth in Waterloo. This was at the age of two. Her main influences Maya has garnered much admira- followed by studies from 2000 to 2005 who remain integral to her working tion in her role as leader from artists with Leo de Neve at the Royal Conserv- life are Professors Alice Schoenfeld and and critics alike and has been regu- Domain Forget, New England Con- Münchner Rundfunkorchester and servatory, Manhatten School of Music the Württembergische Philharmonie NYC and several "Sistema" such as Reutlingen. The cellist has won sev- Venezuela, Colombia and Brazil. eral awards, including the first prize He is a lecturer at the Hochschule at the “Karl Davidoff International für Musik und Darstellende Kunst Cello Competition” (2012) and the Frankfurt am Main. Markneukirchen International Instru- He has appeared as a soloist and mental Competition (2013). Bruno chamber musician with pianists such Delepelaire has been principal cellist as Alexander Lonquich, Gianluca with the Berliner Philharmoniker MARKUS DÄUNERT Cascioli, Christian Zacharias, Steven BRUNO DELEPELAIRE since 2013. He is a member of the Markus Däunert is highly regard- Kovachevich, Daniel Adni, Michaela Bruno Delepelaire owes the fact that string quartet Quatuor Cavatine, of ed as a director, guest leader, soloist Ursuleasa, Benjamin Frith, Herbert he became a cellist to his grandmoth- the Berlin Piano Quartet and of the and chamber musician. From 1997– Schuch, Christian Blackshaw, Ricardo er, an enthusiastic amateur cellist. As a 12 Cellists of the Berlin Philharmonic 2005 he co-led the Mahler Chamber Castro and other musicians such as five-year-old, he also wanted to learn and plays a cello made by Matteo Orchestra, with which he also appeared Nicolas Altstaedt, Máte Szücs, Danusha the instrument. The cello lessons with Goffriller, on loan from the Karolina as soloist, under conductors such as Waskiewicz and Bruno Delepelaire. his first cello teacher Erwan Fauré were Blaberg Foundation. Claudio Abbado, Daniel Harding, He has appeared at several ma- formative experiences for him. Bruno Iván Fischer, Kurt Masur, Bernhard jor music festivals, including Wiener Delepelaire later studied at the Paris Haitink, Trevor Pinnock and Philippe Festwochen, Wien Modern, Salzburger Conservatoire under Philippe Muller. Herreweghe. He has been guest lead- Festspiele, London Proms, Menuhin In 2012 he went to Berlin to continue er with orchestras such as Scottish Festival Gstaad, Rheingau Musik his training under Jens Peter Maintz at Chamber Orchestra, BBC Philharmon- Festival, Festival d’Aix-en-Provence, the University of the Arts and under ic, Leipzig Gewandhaus Orchestra, Berliner Festspiele, Lucerne Festival Ludwig Quandt at the Orchestra Acad- Ensemble Modern and Münchener and Ruhrtriennale. emy of the Berliner Philharmoniker. Kammerorchester. Däunert is a fre- Däunert plays on a model made by He also attended master classes with quent guest with the Berliner Philhar- the German violin maker Christoph Wolfgang-Emanuel Schmidt, François moniker and is a founding member Götting (Wiesbaden). Salque, Wen-Sinn Yang and Wolfgang of the Mahler Chamber Orchestra, Boettcher. Lucerne Festival Orchestra and Alde- Bruno Delepelaire gained orches- MATTHEW HUNT burgh Strings. tral experience with the Verbier One of Europe’s leading clarinettists, As a chamber musician, soloist and Festival Orchestra, the Gustav Mahler Matthew Hunt is a distinctive musi- teacher he has been regularly invited Youth Orchestra, and as a student cian, renowned for the vocal quality of to Schleswig Holstein Musik Festival, of the Orchestra Academy of the his playing and his ability to commu- Aldeburgh Music, Dartington Sum- Berliner Philharmoniker. As a so- nicate with audiences. Matthew enjoys mer School, Mantua Festival, Festival loist, he has performed with the an international career as both soloist and chamber musician, and currently the Australian Chamber Orchestra and Conservatoire Hall and Bargemusic in Berlin Philharmonie, the Gewandhaus holds the position of Solo Clarinettist Pekka Kuusisto, and performances of New York. He has appeared as soloist in Leipzig, the Konzerthaus in Vienna, of the Deutsche Kammerphilharmonie, Magnus Lindberg’s clarinet concerto in with the Wroclaw, Qatar and Córdo- in Avery Fisher, Alice Tully and Bremen. Columbia with Andrew Gourlay. ba Philharmonic Orchestras under Carnegie Halls in New York. He has As a soloist, Matthew has recent- As a recording artist Matthew has such conductors as Tommaso Placidi, recorded for EMI, Channel Classics ly collaborated with the conductors broadcast for radio and television as Paul Biss, and Han-Na Chang. Reg- and Sony RCA. Paavo Jarvi, Trevor Pinnock, Clemens well as featuring on many film scores; ularly invited to numerous interna- He also performed on the harpsi- Schuldt, Alexei Ogrintchuok and he was the solo clarinettist on the score tional Festivals, Quentin’s appearances chord, appearing in concert with Sarah Reinhard Goebbel, and with orchestras for the hit film ‘Love Actually’. His CD in Europe include Verbier, Lucerne, Chang and the Verbier Festival Chamber including the Deutsche Kammerphil- recording for the ASV label of Mozart’s Gstaad, Montreux, Zermatt, Dresden, Orchestra, as well as with Thomas harmonie, the Georgian Chamber Clarinet Quintet was given five stars by Braunschweig, Schwetzingen, Ludwigs- Quasthoff and under the baton of Orchestra, the Concertgebouw BBC Music Magazine and acclaimed burg, Mecklenburg-Vorpommern, Leonidas Kavakos. Chamber Orchestra, the Estonian as: “the benchmark recording of this Radio France Montpellier and Saint Born in Paris, Julien Quentin started Festival Orchestra and as a guest of the much recorded work”. Denis. A regular performer in North his studies at the Geneva Conservatory Berlin Philharmoniker in their series America, he has appeared at the with Alexis Golovine. In 2002, he com- at the Berlin Philharmonie Kammer- Ravinia, La Jolla and Mostly Mozart pleted his Artist Diploma under the musik Saal. Festivals in the United States. He has tutelage of Emile Naoumoff at Indiana A distinguished chamber musi- broadcast in Canada, United States, University, where he held a one-year cian, his partners include the Meta4, Japan and in countries across Europe. teaching position as Assistant Instructor Chiarascuro, Pavel Haas and Elias Julien Quentin is a keen chamber and was a recipient of the Press- quartets, as well as Pekka Kuusisto, musician and has collaborated with art- er Award. In 2003, he received his Alina Ibragimova, Thomas Adès, Emily ists such as Nicolas Altstaedt, Emanuel Graduate Diploma from the Juilliard Beynon, Nicholas Aldstaedt, Antoine Ax, Lisa Batiashvili, Gautier Capuçon, School, where he studied with György Tamestit, Cedric Tiberghien, Steven Corey Cerovsek, Martin Fröst, Sol Sándor. He has also worked with Paul Isserlis, Tine Thing Helseth, Elisabeth Gabetta, David Garrett, Nelson Badura-Skoda, Nikita Magaloff, Leonskaja, Alexander Lonquich and JULIEN QUENTIN Goerner, Ilya Gringolts, Gary Hoffman, György Sebök and Earl Wild. the Jazz Pianist, Iiro Rantala. He has French pianist Julien Quentin has Angelika Kirchschlager, Lawrence Julien Quentin now lives in Berlin. appeared at many of Europe’s most established himself as a versatile and Power, Dmitry Sitkovetsky, Sayaka With ‘Musica Litoralis’ at Piano Salon prestigious venues and festivals, and as sensitive musician, exhibiting great ma- Shoji, Kirill Troussov, and István Várdai. Christophori, he has managed to cre- far afield as Bolivia, India and China. turity and poise. His remarkable depth Touring internationally in Ameri- ate an increasingly successful concert Plans for next season include festival of musicianship and distinct clarity of ca, Australia, Japan, the Middle East series reminiscent of the salons of the appearances in Holland, Finland and sound coupled with flawless technique, and throughout Europe, he has ap- Roaring Twenties. With visual artists, America, a trio tour of China, perfor- make him an artist in demand as both peared at the Concertgebouw in he explores new artistic visions bring- mances of the Mozart concerto with the soloist and chamber musician. Amsterdam, the Wigmore Hall in ing various art forms together. He also Deutsche Kammerphilharmonie, con- He has made successful recital de- London, the Louvre in Paris, the pursues his interest in other genres of certo performances in Australia with buts in Paris (Salle Cortot), Geneva Baden-Baden Festspielhaus, the music through his collaboration with pianists Kelvin Sholar and Francesco festivals all over the world with a mix and the wonderful early repertoire. Tristano, or producers Guti, dOP and of traditional and original repertoire in She has been awarded all the most Cesar Merveille in projects ranging which she brings together traditional prestigious prizes in Denmark in- from improvisation to producing elec- Persian vocals and Kurdish lyrics. cluding the Carl Nielsen, Jakob tronic music. Mojtahedy collaborated with rock Gade and Sonning Foundation grants. musicians, traditional instrumental- She has been a soloist with all the ists and even worked with the Czech major Danish orchestras, and was National Symphony Orchestra for the for a number of years Associate Con- Kurdish symphony “Peshmerga” com- certmaster of The Royal Danish Or- posed by Dilshad Said. Nevertheless, chestra and later The Danish National she has not forgotten her roots and reg- Symphony Orchestra. ularly participates in projects to support ELISABETH SCHNEIDER She was the leader of the Trinitatis the people of Kurdistan. Elisabeth studied at The Royal Dan- Chamber Orchestra in Copenhagen In 2016 she visited and sang at Kurd- ish Academy of Music, Copenhagen, doing the Bach Passions and most of ish refugee camps on the border be- under professors Milan Vitek and En- his cantatas for twenty years with Trin- tween Syria and Turkey and in 2017 she dre Wolf. Her soloist diploma was itatis Cantori and their leader Per Enev- HANI MOHTAJEDY gave concerts in Sweden and Germany awarded the highest marks. Her old. She was a member of the faculty at Hani Mojtahedy is a well-known to raise money for the victims of an studies continued in the USA, where Nordic Music Academy, with violinist Kurdish artist from Sanandaj, a small earthquake on the Iran-Iraq border. she was closely associated with mem- and conductor Nikolaj Znaider as Ar- city in the Iranian province Kordestân. In 2018 she participated in various bers of the renowned Budapest String tistic Director. Mojtahedy studied traditional Persian projects with Bundesjugendballet, sev- Quartet Mischa and Alexander Schnei- She now combines her performing ca- music after which her professional sing- eral concerts with Babylon band in Ber- der who taught and mentored her. reer with a teaching post as Professor of ing career started in 2000. lin and now she is preparing to perform Violinist Alexander (Sascha) Sch- Violin and Chamber music at The Royal Despite the obstacles imposed by re- in “Deutsche Oper Berlin” at the Begin- neider created the Prades and Puerto Danish Academy of Music in Copenhagen. ligious laws in Iran, Mojtahedy tried to ning of 2019. Rico Festivals, taking Pablo Casals out Her students include some of the live her life the way she wanted and gave Also this year, the “Middle East Sus- of his self-imposed exile in Spain. The most talented and interesting musi- several concerts, limited in number and tainable Peace Organization”(MESPO) link to Pablo Casals provided Elisabeth cians coming from Denmark, includ- for solely female audiences. She recog- chose Hani as “symbol of peace in the with even older ways of understanding ing Nikolaj Znaider, the two violinists nized that the lack of artistic and per- middle east” during the “Kurdistan In- and phrasing music. Another longtime of the Danish String Quartet (Rune sonal freedom was preventing her from ternational Peace Carnival” in which teacher and mentor for Elisabeth was Tonsgaard and Frederik Øland), Niklas truly being able to express herself and she performed a great concert in Su- violinist Isidore Cohen of the Beaux Walentin and Kirstine Schneider, her moved to Berlin in 2004. laimaniah with the companion of inter- Art piano trio. daughter, among others. Ever since, she has brought out two national musicians. Her final studies at Indiana Universi- She is one of the founders Thy Cham- albums, more than twenty singles, and Mojtahedy has developed herself into ty with Professor Stanley Ritchie, an ex- ber Music Festival, running for 20 years several music videos. Moreover, she has a household name in Kurdistan and a pert and passionate period style player, now and listed along with the Verbier performed in TV shows, concerts and rising star in the world music scene. spurred her love of the baroque violin Festival as one of the most innovative and popular, attracting young musi- Bridget studied Vocal Performance the Royal Scottish National Orchestra, cians of the highest caliber from all over at Huddersfield University, performed the BBC Concert Orchestra, Help Mu- the world. Her experiences at the Marl- round the world, and currently sings sicians UK, the Martin Musical Schol- boro Music Festival founded by Adolph with several chamber choirs includ- arship Fund, the Craxton Memorial Busch and Rudolph Serkin was inspi- ing Chorus Natus Est who bring large Trust and the Countess of Munster rational in creating the Thy Festival works to small venues. She also works Trust. She works extensively with the where the professors play alongside the as a soloist across the Marches, and as woodwind and brass departments at young musicians thus imparting expe- a Director of ABF Music, a local com- the Guildhall School of Music, the rience and knowledge in the deepest pany facilitating musical opportuni- Royal College of Music and the Royal sense of the words. ties for young people. Academy of Music where she regularly ​Her performing career in the last Among the large-scale projects that accompanies masterclasses with many decade throughout Europe and the ABF have worked on is Sing Spring In ALISON PROCTER eminent visiting musicians including USA has been centered around the which has seen close to 21,000 chil- Alison Procter studied piano and Stefan Dohr and Radovan Vlatkovich repertoire for violin and keyboard. dren singing over the last seven years. chamber music at the Royal Academy (horn), Reinhold Friedrich and Mat- The CDs that she has released have Bridget also works in an Alterative of Music in London with Christopher thias Hofs (trumpet), Jorgen van Rijen won critical acclaim for their in-depth Provision School using music as a Elton, Michael Dussek and subsequent- (trombone), Sergio Carolino (tuba) interpretations. therapeutic tool. ly with Gordon Back. She now has a and Jacques Tys (oboe). She is also With Music For All Time Bridget is very varied musical life as both a cham- Principal Accompanist for the National stretching her own and Primary School ber pianist and orchestral player as Youth Orchestra of Great Britain. children’s boundaries with a new well as predominantly an accompanist Kódaly inspired project working with having worked with many of Britain’s song, dance, rhythm, plain-chant and most distinguished instrumentalists harmony, to actively generate not only including Michael Cox (flute), Jona- satisfaction for all –whatever their mu- than Kelly (oboe), Richard Hosford sical talents– but greater concentration, (clarinet), Christopher Warren-Green better attention-span, and capacity to and Janice Graham (violin), Natalie operate in harmony. Clein (cello), David Pyatt (horn), John Wallace (trumpet) and Ian Bousfield (trombone). Alison has performed at BRIDGET SNASDELL most of the major concert halls in the Aged seven, Bridget took part in a UK and throughout Europe, Japan and music workshop as part of the Kings the USA. Lynn Music Festival in her home coun- Alison is in constant demand as an ty, and thought then that it would be audition accompanist in England play- fantastic to run such a project. It turns ing regularly for many organisations out that music is indeed a brilliant job! including the Philharmonia Orchestra, HELLENSMUSIC THROUGH THE YEAR

Our audience tells us that our little festival Hellensmu- sic is lovely just as it is. It is also bursting at the seams and there is only so much that can fit into 5 days of won- derful music making, with top class musicians, talented students and enthusiastic children who all just love an opportunity to perform. So ‘Hellensmusic Through the Year’ was launched in January 2019 to give us more op- portunities to support young musicians at every level, inspire new audiences and bring the best of music to Herefordshire. Our first concert in January featured one of our Hellensmusic alumni, pianist Eudald Buch in collab- oration with violinist Elisabeth Zeuthen Schneider and cellist Ella Rundle. Our second event in February formed part of a weekend of music-making promoted in collaboration with John Masefield School and pianist William Howard, and featured 6 world premieres of works composed by John Masefield students. In March, young mezzo-soprano Miriam Albano, with a reper- toire full of variety, was accompanied by renowned pia- nist Simon Lepper at our sister house, Southside House. Our forthcoming programme features Swedish Folk Trio Doggerland, vocal ensemble Ex Cathedra and the Juan Martin Flamenco Trio.

For more information visit www.hellensmanor.com SUPPORTERS PROGRAMME JOIN US

Hellensmusic strives to bring the finest music-making to the heart of rural FRIEND Herefordshire and to create an environment where everyone involved £60 A YEAR –concertgoers, local schoolchildren, aspiring musicians, world-class ∙ Free Festival Programme artists– is warmly encouraged to learn, be curious and enjoy music to ∙ Acknowledgment on our website and Festival Programme the fullest. We aim to: ∙ A complimentary drink voucher ∙ Priority booking Create opportunities for world- Provide a platform for students class musicians to collaborate from the best music schools and PATRON outside the concert circuit and colleges to learn from leading £150 A YEAR explore new ideas experts All benefits of a Friend plus: Motivate and inspire local Give local audiences exceptional ∙ 10% discount on Hellensmusic tickets children to love and live music music in a beautiful environment ∙ Access to a rehearsal with a tailored programme ∙ A CD from one of our artists of activities BENEFACTOR £420 A YEAR All benefits of a Patron plus: ∙ Exclusive dinner with the artists during the festival ∙ Two complimentary tickets to a Hellensmusic concert 

We would like to say a big thank you to all Friends, Patrons and Benefactors who have already joined the Programme.

YOU CAN JOIN US ONLINE AT WWW.HELLENSMUSIC.COM/DONATE

Your sustained support will encourage and enable us to further our work and widen its reach. At 5 High Street Ledbury, HR8 1BN 01531 631136 www.handleyorganics.co.uk GB UK5 Licence No G2141 & AGO 2141 Selling organic, local and ethical food. We have a range of organic fruit and vegetables, much of which we grow ourselves or source as locally as we can. We also keep a large range of organic and ethical wholefoods, chilled and frozen foods and also products suitable for vegans, vegetarians, diabetics and people with food intolerances. We have a large range of deli food, both savoury and sweet which we produce in our own kitchens from the best of produce and we have recently opened our café Sumac & Spice serving a large range of home cooked vegan, vegetarian and organic food, to eat in or out HELLENS MANOR We are open Monday to Saturday 9.00am to 5.00pm THE At 31 The Homend Hellens Manor is a much-loved historic home with an incredible tapestry of stories, characters, art, furniture, grounds and gardens. It is one of the oldest historic APOTHECARY Ledbury, HR8 1BN houses in England and a living monument to much of England’s history. Attractions SHOP 01531 633448 include heirlooms of Ann Boleyn, the haunted bed chamber prepared for Queen Mary Tudor, the panelled Music Room adorned with its English Renaissance frieze, The Apothecary Shop offers a wide range of natural & and paintings by Gainsborough, Van Dyke and Goya. It opens its doors for guided organic products to promote health & well being. As well as tours on Wednesdays, Sundays and Bank Holidays from 12.30 – 5.30pm, from April natural remedies, we stock organic & ethical products for to October and is a venue for educational, musical and literary events all year round. skin & hair care, essential oils for aromatherapy and massage, feminine hygiene & a wide range For more information visit of household cleaning products. Our mission is to www.hellensmanor.com promote ethically sourced, good quality, natural &

Or contact us organic products at an affordable price. [email protected] We also host several therapists in our therapy room; for details please T. 01531 660504 see our website www.theapothecaryshop.co.uk We are open Monday to Saturday 9.30am to 5.00pm FESTIVAL GET IN TOUCH Hellens, [email protected] Much Marcle, HR8 2LY T. 01531 660504 OFFICE /Hellensmusic 5 Earls Walk www.hellensmusic.com London, W8 6EP

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