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The Orlando Consort: much the same way as dial-a-pizza!’ sessions some time in advance – not from his colleagues about when they’ll ‘the first early music boy band’ The Machaut project began with the least so that we can report back and get to hear his Brünnhilde. It was Martin ‘song-cycle’ generally regarded as confer with the editorial team on Vogel (in 1962) who noticed the ‘Tristan Machaut’s masterwork Le voir dit, and decisions relating to ficta and so on – chord’ in a work by Machaut without, of UNSUNG HEROES this first volume in the series was plus rehearsals nearer to the actual course, the harmonic implications that received with considerable critical recording. The nature of this music also make it meaningful. That is amusing, EARLY DANCE acclaim. The chansons within chart the means that we do a lot of work on our but maybe Machaut can be compared to For me, early dance is about connections Morocco, trying to explain to a teenage in the silly dances, which I love. My course of a real or imagined love affair – own in between group rehearsals. For Wagner: a demanding, multi-talented between people. I measure the success of a girl the poise necessary to make a pavan favourites are those that play out like a Smith draws artistic comparisons with one thing, a lot of practice goes into our creator of musical drama and a self- Playford’s Ceilidh by how many people I look good. I stumbled over the words and game, with the dancers chasing and German Romantic song-cycles. Looking attempts to master the medieval French publicist, micro-managing every aspect dance with; I measure the strength of one resorted to demonstrating again, at which spurning and selecting bystanders to join back, as we do through the distorting pronunciation!’ of his work? of my friendships by our ability to silently point she asked ‘Comme une princess?’ – not the fun. It’s a side of history that glass of history, we might fail to It’s worth noting at this point that the If, like me, you spent your youth dance a Passamezzo! As a ballet dancer by only did she understand the point I was sometimes gets lost. It’s easy to get appreciate how original Machaut was as Orlando Consort have form with plugged into a Walkman listening to training, I’ve always found the contrast trying to make, but she summed it up in a caught up in dates of battles and names a multidisciplinary artist. Mark Dobell Machaut, having recorded an extremely David Munrow’s revelatory Ars nova rather enjoyable: there’s a sort of group way I’ve used many times since then! of kings and forget that the past was (tenor) points out that ‘his work was well-received disc, Dreams in the pleasure recordings (to which Smith pays warm co-operation required for most early Between us, we bridged the gap. Despite populated by people who, like us, played unrivalled for centuries’ and when Smith dances that is not always present in a linguistic differences, the workshops have and danced for fun. By dancing those calls Machaut probably ‘the greatest ballet class. In general, the steps in early resulted in some fantastic cross-cultural dances that are utterly, unavoidably singer-songwriter of all time’, Donald Academia and performers can work together dance are simpler than in ballet, and so pieces, one of my favourites being a ridiculous, we remind ourselves that our Greig (baritone) suggests – only half the focus is less on individual perfection galliard mixed with pieces of street early modern antecedents weren’t just joking – that he might be viewed as ‘the to create a very valuable resource that can be than on team effort and communication. acrobatics thought up by the boys we dour-faced merchants, having portraits James Taylor of his day!’ appreciated on all sorts of levels, from casual The fun is in the floor patterns and the were working with. made of them unsmiling in their best The interaction between the four listener to expert musicologist detailed devices, the contact between eyes In a performance, early dance helps to clothes. They, like us, laughed and flirted, current members of the group is relaxed and hands, and the measured spaces connect the musicians and the audience by and occasionally hand-jived (don’t believe and mutually respectful – the quality of between bodies. Dances that would be adding another dimension. For younger me? Ask someone to dance Sweet Kate their listening to each other in a social garden, for Deutsche Grammophon’s tribute regarding the quality of the impossible to dance alone look beautiful in audiences in particular I’ve found dance, for you!). That connection is something situation evokes their effectiveness as an Archiv label in 1997 (reissued 2007) with singing), you will recognise how far we a pair or group – it’s the connections that along with costume and explanations of pretty magical. ensemble. I suggested to them that the group’s starting lineup. Smith relates have travelled in musicology and make it work. the instruments, can bring the music to Smith and Greig, as the two founding that ‘working on that project, and the performance practice. Although, The connections early dance can inspire life. At its best, dance can physically drag ANNIE HOYLE members, might seem to be gently in reception that it received, gave us the arguably, the use of instruments where are especially powerful when they bridge the audience in – there’s nothing quite like charge and asked whether in rehearsal confidence that all-vocal performances appropriate might bring us nearer to cultural or linguistic gaps. I’ve been lucky a farandole to get people moving, and to the group behaves like a democracy. of this repertoire can work very Machaut’s ideal, these new recordings FURTHER INFORMATION The modernisation enough to perform and lead early dance challenge the conception that early music Smith responds: ‘Nobody is in charge – effectively.’ will provide a benchmark against which workshops in Morocco, often with is a slightly stuffy type of culture, rather Early Dance Circle we are completely democratic, though That they make it sound so easy is a future a cappella interpretations will be schoolchildren whose English is almost as than the very living and lively art form www.earlydancecircle.co.uk Don and I may seem to have more to say tribute to their technical expertise and measured. basic as my French. I’m amazed by how that we love. Nonsuch History and Dance about the group simply because we are musical intelligence. Smith mentions www.nonsuchdance.co.uk
e ric r ich M ond Eri C r i hm O nd much can be shared through dancing Early dance also makes a rather special of Machaut the “originals”. We all put forward that, on the first read-through, they The Orlando Consort’s The dart of love is Norwich Historical Dance together, even when words fail. I connection with people through time. For Rebecca Tavener explores the ways in which a new digital project and recordings from the suggestions in rehearsals and, genuinely, come across passages about which they reviewed on page 41. www.norwichhistoricaldance.org.uk remember my first ever workshop in me, nowhere is this more keenly felt than Orlando Consort are opening up the work of Guillaume de Machaut to the 21st century we very rarely disagree. On those wonder: ‘Can that possibly be right? gallica.bnf.fr/ b ibliothèque nationalef rance de occasions that we do, we tend to take Experimenting with different turns in giving way which is maybe why approaches leads to the conclusion that ynergy between scholarship and experts who promise exhaustive online very valuable resource that can be the group is still together.’ if you just sing precisely what’s in the practical performance has been and published resources that will bring appreciated on all sorts of levels, from The chansons, in their various forms manuscript then it makes perfect sense.’ a defining feature of the early the most up-to-date Machaut scholarship casual listener to expert musicologist’. and layers of complexity (ballades, They seem also to be on a mission to music industry, and it is exciting and his entire oeuvre within the reach of The four members of the consort, who rondeaux, virelais, lais and motets), reveal every possible effect the music to report on a three-way partnership so all. Although it’s early days, an self-deprecatingly refer to themselves present multiple challenges for the will provide: ‘There’s a limited amount
S & DANCE NONSUCH HISTORY
potentially puissant that it may impressive amount is already available with reference to their artificial creation singer, as well as technical, musical and of notes at your disposal, but a great CIRCLE DANCE W KOSTER/EARLY reposition our views and appreciation of via the project’s website (http://machaut. over 25 years ago by the Early Music linguistic aspects. I asked them if they richness to be got from them’. one of the most original and prolific exeter.ac.uk). This is no dry scholarly Centre of Great Britain (forerunner of prefer to perform these works in public Volume two for Hyperion, The dart of A Farandole at Chepstow figures in the entire history of western exercise, however, as every one of the National Centre for Early Music) as prior to recording and how they plan love, is on the verge of release. Although music: Guillaume de Machaut. This is a Machaut’s works will be performed and ‘the first early music boy band’, are their rehearsal schedule. ‘We don’t they can’t predict how many discs will collaboration that will ultimately result all of his chansons will be recorded by clearly fascinated and compelled by always manage to have public see the project to conclusion, they are in a new edition of Machaut’s complete the Orlando Consort and released by Machaut. Smith admits: ‘In the performances of every Machaut song happy to reveal that volume three is literary and musical works, and a series Hyperion, adding its enviable track beginning we had to approach before recording – there are a lot of already in the can and that they are of quality recordings that will capture record in medieval repertoire to the mix. everything from scratch – working by them! But if there is an occasion when working on number four. EARLY DANCE CIRCLE DANCE EARLY every surviving note he wrote. Angus Smith, founding tenor of the instinct and intuition’. He is also quick we can’t slip an item into a programme Gramophone magazine compared Professor Yolanda Plumley of Exeter Orlando Consort, describes this to point out that they have a symbiotic before the red light goes on, then we do Smith’s singing of the unaccompanied University has, with the support of the collaboration as ‘a hugely impressive relationship with the world of make a point of doing trial runs in Lay de Bon Esperance from volume one as Leverhulme Trust, drawn together an statement of the way academia and musicology: ‘We found out pretty performance conditions. We also a challenge akin to performing Wagner, Materials such as Machaut’s Poésies (1372-1377) are available from the new digital resource international ‘dream team’ of academic performers can work together to create a quickly that one could dial-a-scholar in stagger the rehearsal process, holding and he has had to endure constant quips Norwich Historical Dance at Swaffam Performers from Nonsuch History and Dance
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performed for Porpora but not for Handel when they were both in London. PORPORA timeline I’m attracted to Porpora not only 1686 – because he taught the great castrati – Nicola Antonio Porpora is born on 17 August The legacy of Praising Porpora Farinelli, Caffarelli and Senesino – but in Naples to a bookseller, Carlo, because of the way his music is so full of and his wife, Caterina. – 1696 passion. I adore the baroque theatrical Countertenor FRANCO FAGIOLI talks to Rhian Morgan about his appreciation for the 1708 – Porpora enrols at the Conservatorio dei Poveri teacher of the great castrati – Nicola Porpora style, full of light and pathos. There’s Commissioned to write his first opera, Agrippina; di Gesù Cristo in Naples; by 1699, his fees are melancholy and there are such extreme it was well received. waived and he is assumed to have been earning expressions of human feelings. The his keep as a student teacher. Arnold Dolmetsch Brian Robins looks at the life and influence of this pioneering figure in early music before moving on to Gluck’s Orfeo ed music is technically very complex and – 1711 Euridice at three venues in France in very demanding.’ Porpora was described as maestro di cappella to promfih.com April. Performances in Vienna and In an appealing flight of fancy in his 1719 – the Prince of Hesse-Darmstadt, the general of he 75th anniversary of Arnold Julian l aidig Wiesbaden precede a run of Vinci’s own introduction to the Porpora CD, Porpora’s opera Faramondo is given the Austrian army in Naples, in the libretto of his Dolmetsch’s death on 28 second opera Flavio Anicio Olibrio. Catone in Utica at the Opéra Royal in Fagioli writes of what he imagines each its premiere in honour of the nameday of February 2015 seems a good the Empress Elizabeth. Versailles in June. ‘I am very, very time he studies one of the arias: ‘It’s as if I – 1720 moment to reassess the legacy of happy with what I am doing,’ he says were taking a singing lesson from Porpora makes his mark as a teacher; from his Tthe man many still think of as the contentedly, at the Covent Garden Porpora in each of them – I like to feel I private singing classes came the castrati Farinelli godfather of the early music revival. The and Caffarelli. An anecdote about Caffarelli flat where he lived for his Royal Opera too am a pupil of his. What an honour, singing the same page of vocal exercises for five considerable interest still attending his House performances of Idomeneo even today – so many years later – to years suggests Porpora was keen on technique, name was apparent at the Horniman last autumn. learn from singing his arias; what a joy his aim being ‘the development of absolute Museum’s Roots of Revival conference With a range of three octaves and a and what a challenge! Porpora’s special control of the voice, particularly with regard to (reported on in the previous issue of agility, dynamics and colouring, through the use technique which flies through positively style of writing, full of trills, long 1724 – EMT), when several papers and the final Porpora visits Austria and Germany; of regular and rigorous exercises’. instrumental writing, Fagioli is still coloratura passages – so emotional, so Damiro e Pitia is produced in Munich, but little concert were devoted to themes relating to enjoying the praise from his role of profound, so effective.’ else comes of this journey, the emperor in Dolmetsch. Yet recourse to comparison Idamante in the controversial ROH Does Fagioli believe we are now Vienna apparently finding Porpora’s music – 1725 between Grove V (1954), where Dolmetsch Back in Italy, Porpora works with Metastasio on production of Idomeneo, and also the enjoying a renaissance of singers who are ‘too florid and ornate’. is given in excess of two generous Didone Abbandonata. positive press for his CD, ’Il maestro – able to perform his maestro’s works? ‘I columns, with the present parsimonious Porpora arias’. ‘London is wonderful for hope so,’ he says. ‘No two countertenors 1726 – entry in Grove Music Online may suggest me,’ he says. ‘It’s the first time I have ever have exactly the same sound, and Porpora takes up his most important teaching a rather different story. visited. My Wigmore Hall recital went that’s absolutely great. Everyone has a post, at the Ospedale degli’ Incurabili, the Let’s briefly remind ourselves of the famous music school for girls in Venice. – 1733 very well and I have so enjoyed Idomeneo. different way to sing and a different Porpora goes to London at the invitation of his biography of this remarkable polymath. e have a chance since I stopped being a boy soprano. Working with the conductor Marc technique. The fact that we are not English patrons. He writes five operas, including Dolmetsch was born into a family of recovering and restoring the instruments exists; it may justifiably be thought of as encounter with Pergolesi’s Suddenly, I realised it was possible for Minkowski was a dream. The controversy machines, but human beings – artists with Polifemo, in which Farinelli makes his London professional musicians in Le Mans on 24 necessary for the performance of the the progenitor of the early music festivals Stabat mater in an men to sing in this range – it was a very over the production? Well, all a soul, a heart and a mind. I am really debut; this is under the aegis of the Opera of the February 1858, and learned keyboard repertoire of the period: viols, clavichords, that now proliferate around the world. Nobility, a group formed in competition with Argentinian CD shop to exciting moment.’ productions don’t have to be the same, do grateful to be able to work with these 1735 – Handel’s opera company. instrument-making from his father and harpsichords and lutes. The first concerts So how may we view the Dolmetsch Wthank for Franco Fagioli’s blossoming As a child, Fagioli, now in his early 30s, they?’ he says with charming diplomacy. incredible things. It means that this sort of Porpora leaves London, less than a year before maternal grandfather. Following violin on these instruments were given at his legacy today? As noted above, he was not career as a countertenor. The singer was had performed in choirs, as a soloist and ‘What I actually thought was music will always be new and exciting.’ both companies collapse, and returns to Venice studies in Brussels, where his interest in home in the 1890s. the first to revive old instruments and an 18-year-old piano student who had as one of the three boys in Mozart’s Die controversial, and interesting, was the and his old position at the Incurabili. – 1738 early music was whetted by the concerts The first decade of the new century present concerts on them, while his After an absence of 12 years, he returns to never even heard of a countertenor Zauberflöte, but he never sang as a tenor fact that my role of Idamante, which Franco Fagioli’s latest disc ‘Il maestro – Naples and revises Semiramide Riconosciuta for on early instruments originally found Dolmetsch undertaking sojourns in increasingly dictatorial attitude and lack of when he bought the disc, simply to get or as a bass. His vocal studies took him to Mozart wrote for a man, was actually Porpora arias’ is reviewed on page 38. the king’s birthday the following year. inaugurated in 1832 by François-Joseph the US (where he made over 80 early diplomacy alienated many of those who an idea of tempi for a choir he was the Instituto Superior de Arte at Buenos being sung by a man for the first time in 1744 – Fétis, Dolmetsch arrived in England in instruments in partnership with piano might have worked with him toward an accompanying. ‘I got home, put on the Aires’ Teatro Colón, where he was taught modern times. It brought a new With the decline in demand for his operas, 1883. Here he enrolled in the newly firm Chickering) and Paris, before he ever-greater understanding of old Porpora begins teaching singing at another CD and when I first heard it, I thought, by baritone Ricardo Yost and soprano emotional dynamic to the opera and for Venetian conservatoire, the Ospedaletto. – 1747 opened Royal College of Music, returned to England to settle in instruments and the music written for “there’s the soprano” – it was Emma Annelise Skovmand. He moved to the me, yes, it worked – absolutely.’ Porpora moves to Dresden, where he is subsequently becoming a violin teacher at Haslemere, Surrey. There he created an them. For me, Dolmetsch’s greatest Kirkby – and “there’s the alto, my international stage in 2003, winning the Fagioli is missionary in his zeal to 1752 – appointed Kapellmeister in 1748 – Dulwich College. Six years later, his enclave devoted to early music, achievement was his endless quest not just goodness, sounding exactly like I do Bertelsmann Foundation’s Neue Stimmen bring his hero Nicola Porpora back into Porpora travels to Vienna and gives composition only to see his rival Hasse appointed discovery of English viol music in the surrounding himself with fellow to build and play old instruments, but also lessons to the young Haydn. David Wyn Jones Ober-Kapellmeister in 1750. mainstream baroque circles. Though a enthusiasts and acolytes. These included to be one of the first to attempt an writes, in The Life of Haydn: ‘Haydn was allowed British Library proved to be an electrifying little-known figure today, Porpora, who to accompany Porpora’s voice students on the catalyst. Dolmetsch immediately set about such notable names as George Bernard awareness of the performance practice that It’s as if I were taking a singing lesson was born in Naples in 1686, was both an piano and was also his chamber servant for a – 1759 Shaw and William Morris, whose ‘Arts went with such an interest. In this he influential teacher and a popular opera time. He admitted […] that with Porpora he Porpora returns to Naples, to the Conservatorio and Crafts’ movement became closely genuinely was a pioneer, with a lasting from Porpora in each of them – benefited a great deal in voice, composition and di Santa Maria di Loreto. Metastasio wrote to composer, rivalling Handel in his day. associated with Dolmetsch’s work and legacy in the shape of the book he the Italian language.’ He also claimed to have Farinelli, speaking of the misfortunes of their He created an enclave I like to feel I too am a pupil of his ‘He was big in London and wrote almost learnt ‘the true fundamentals of compositions former master, asking him to excuse ‘Porpora’s whose image would interestingly be published as far back as 1915, 50 operas, oratorios, serenatas and from the celebrated Herr Porpora’. irregularities’ and remember him as a man of devoted to early music, mirrored some 50 years later by the open- The Interpretation of the Music of the XVIIth when I pretend to be a mezzo-soprano” International Singing Competition and cantatas,’ explains Fagioli. ‘The way he ‘eminence and a friend’. Porpora’s last years sandals perception of the 1960s early and XVIIIth Centuries. Within this context, 1768 – were spent in poverty. His pupil Domenico surrounding himself – and it was a man, James Bowman. I quickly became a familiar face in the developed vocal techniques to enrich music revival. In 1925 Dolmetsch started Arnold Dolmetsch was the prophet who Porpora dies in Naples on 3 March. Corri wrote: ‘Porpora kept so miserable a table with fellow enthusiasts was astonished because I’d never heard opera houses of Europe. emotion and melody was absolutely The musicians of Naples come together that he was frequently driven out of the house the Haslemere Festival, an event that truly laid the foundations for the scholar- such a thing before and that was exactly Fagioli began 2015 with Handel’s outstanding. Some of the greatest to perform, gratis, at his funeral. by hunger to seek a dinner elsewhere.’ and acolytes involved a uniquely conceived series of based early music revival of the second Nicola Porpora how I had been singing for fun ever Riccardo Primo in Karlsruhe in February, performers – indeed, Farinelli – early music concerts and one that still half of the 20th century.
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and a Palestrina-centric programme, first Tallis Scholars recording.’ Mozart symphonies and I didn’t like them Musica della Cappella Sistina – which seem After graduating from Cambridge, and either because I was too wedded to Karl to have the strongest claim to a Carwood- his choral scholarship at St John’s under Böhm and the Berlin Philharmonic.’ catalyst. Guest, Carwood took up a lay clerk But there was more to it than So, to mark the passing of their first position at Christ Church Cathedral, dissatisfaction with prevailing The changing face quarter century, I went to visit Andrew Oxford where he began to work with performances. Carwood was inspired by Carwood at St Paul’s Cathedral in London David Skinner on a liturgical the sound of St John’s under George Guest – where he is the first non-organist to hold reconstruction of Taverner’s Missa Mater and became increasingly interested in Early Music Highlights the post of choirmaster since the 12th Christi to be recorded under Stephen founding an early music group to reflect century – and asked him to tell me a little Darlington. It was out of this musical their style: ‘A more visceral, less perfect, of higher education about the origins of The Cardinall’s partnership that The Cardinall’s Musick more emotional approach to music- Serse (Xerxes) Rhian Morgan explores the changing identity of early music in university and Musick and their sound, and his own ‘Christian Curnyn’s cast is truly without a weak link… influences in early music. conservatoire departments ‘The biggest influence on me was my An audience should feel that they’ve made This is probably the Serse Handelians have been waiting for’ first choirmaster – I mean we wouldn’t be friends with everyone on the platform by the International Record Review sitting here today if it wasn’t for what he epartment of early music? Or Jane Booth, a specialist in the early an excellent example of how a did.’ Fred Goodwin was a founding end of the concert. That they know their ‘For anyone wanting to acquire this jewel among Handel’s later department of historical clarinet and chalumeau as well as head of historically informed performance can member of The Clerks of Oxenford and as voices – which ones they like, who does high, performance? When it comes historical performance at GSMD, believes shed light on misconceptions which operas, this beautifully recorded new version is the one to go for.’ a result Carwood heard their records. He who does low, who has what colour to choosing a university, does the current position has evolved over the have arisen from nineteenth-century also remembers George Guest at Opera Choice Dit really matter how a music department past few decades: ‘We certainly used to practice. St John’s College, Cambridge as, Gramophone styles itself? Can a potential student read call them early music departments,’ she ‘Schumann has long been considered a ‘absolutely phenomenal … the most was born. ‘It was very much a product of making. It seemed to me, with the anything into the name or expect to find says, ‘with the focus on music which was poor orchestrator,’ he says, ‘but when we astonishing musician! He cultivated this that and the fact that my ideas were exception of The Taverner Consort, that Album of the Week any major differences between these two earlier than standard. Now it’s a more came to perform a Schumann symphony boys’ sound – we used to call it starting to develop on performance style, most of the choirs out there were doing kinds of departments? There is a definite varied approach, with departments we found that the balance – which is what “continental”, not very usefully, to and I was not happy with two recordings: the King’s College, Cambridge thing – Sunday Times distinction between the two, believes recognising that there is a difference is often criticised – was improved simply distinguish from the King’s tone – a much there was The Tallis Scholars’ Byrd, which their perfect crystalline, slightly white CHAN 0797(3) Peter Collyer, who teaches at both the between the traditional approach and by using period instruments. There was a more exciting, lively sound. I’d already I’d listened to often and didn’t like … and sound.’ Carwood describes the first track Guildhall School of Music and Drama looking at the context of a piece before clearer sound, less clouding.’ So by been exposed to that when I bought my I’d got some of Christopher Hogwood’s of the Tallis Responds as recorded by (GSMD) and at Trinity Laban performing it. It’s about interacting with attempting to recreate what was done at Conservatoire of Music & Dance, and the score rather than taking a word-for- the time, not simply playing the notes on specialises in baroque and classical viola. word approach.’ the page, many prejudices can be peeled For Collyer, as he tells his students, At GSMD, historical performance away and the resulting performance is far Dealers, Makers & Repairers in Good Modern & early music is, ‘medieval and Renaissance, studies embrace a broad chronology from closer to what the composer intended. music with no continuous performing the Middle Ages to the early romantic All the London conservatoires have Baroque Violins, Violas, Cellos, Basses & Bows tradition’ while historical performance is period. The department has growing strong offerings in the early music/ the new buzzword to replace the associations with the Academy of Ancient historical performance area. At Trinity authentic instrument movement. Music and The Sixteen. Laban, instrumental and vocal students Expertise & knowledge led by a passion for sound Conservatoires and universities are Collyer, a former head of performance are urged to ‘explore the exciting increasingly moving towards the and early music studies at the University repertoire and extraordinary sound historical performance model – a of Southampton, worked on a major worlds opened up by historically description which perhaps implies a more research project looking at the historical informed interpretation,’ whether Skilful Repairs & Restorations research-led, contextual interpretation performance practice implications of performing on modern or period CHAN 0788 CHAN 0773(2) CHAN 0796 CHAN 0800 than simply the performance of early nineteenth- and early twentieth-century instruments. Optimal Sound adjustments music. string chamber music editions. He gives At the Royal College of Music’s historical performance department, Good selection of Violins, Violas, Cellos ensemble performance students flourish under Florilegium’s at gSMD Ashley Solomon. The college has a large Basses & Bows both Modern and Baroque collection of early keyboards as well as an extensive collection of manuscripts and early printed editions. At the Royal Academy of Music, where the violinist Margaret Faultless is head of BRIDGEWOOD & NEITZERT LTD historical performance, there are two baroque orchestras — one is a period 146 Stoke Newington Church St London N16 0JU instrument ensemble, the other a modern CHSA 0401 CHAN 0790 CHAN 0791 CHAN 0786 instrument group which performs in a style appropriate to its repertoire. Telephone 020 7249 9398 Following the successful Bach Cantata series on Sunday mornings, the academy
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Issue Copy deadline Publishing date Issue theme June/August 2015 14/05/2015 29/05/2015 Strings/Harpsichord September/November 2015 13/08/2015 25/08/2015 Greenwich Festival December 2015 February 2016 12/11/2015 24/11/2015 Christmas March/May 2016 12/02/2016 23/02/2016 Festivals
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