Read the Newbury Weekly News Review from June 22 and form your own views by listening to the concert Click Here
We have the final programme for Saturday’s concert a chance to hear some very talented young musicians
Come and support Local, Young Talent
8.00 pm at the Croft Hall – Hungerford, Tickets £10 Pre-show food available
Tickets from Hungerford Bookshop or ArtsforHungerford.com
Conrad Spencer – Bassoon
– Concerto in A minor RV497 – Antonio Vivaldi
Yi-Ann Yeung – Cello
Gavotte No. 2 in D major, Op. 23 – David Popper
and The Swan – Camille Sain
Matthew Prior – French Horn
Concerto No. 2 in Eb major – Wolfgang Amadeus Mozart
Emily Ambrose – Recorder The English Nightingale – Jacob van Eyck
Music for a Bird – Hans Martin Linde
Sonata in F major, movements 1 and 2 – Arcangelo Corelli
Joseph Willis – Trombone
Four Sketches for Trombone, 1. Blues, 3. Pastels – Tony Cliff
Morceau Symphonique – Alexandre Guilmant
Noam Rosenbaum – Flute
– Sonatina – Eldin Burton and Fantasia – Gabriel Faure
Accompanist – Hayley Tull
Life and Art
Following the success of their 2016 production at The Totally Thames Festival, The Opera Box have teamed up with The Music Troupe to bring you The Oval Portrait a new semi-opera by Edward Lambert and a new English translation of Mozart’s The Impresario by Mark Burns.
Croft Hall Hungerford 8.00 pm Tickets £15 on-line or at the Hungerford Bookshop
Pre-Show food at 7.00pm must be ordered by Thur 14 Sep
To support this production please sponsor via Click Here
We are delighted to be able to bring you this superb musical talent and quality of programme within the beautiful wooden beams of the Croft Hall Book Now to secure your place at this great event
Just back from several months in Rome to improve her bel canto and spoken Italian Hannah Medlam will be joined by theorbist William Carter and bass violist Charles Medlam (relation) for a concert in Hungerford on February 4th. They will be presenting a programme of lute songs by Purcell, Weldon, Handel, Lambert and Monteverdi, interspersed with bass viol solos by Marin Marais and theorbo music by Kapsberger. The bass viol group will go from the sublime (Marais’ lament for his teacher St. Colombe) to the ridiculous (a description of a bladder stone operation!). The theorbo is the largest of the lute family instruments. William Carter will be playing virtuoso music by Johannes Kapsberger, who in spite of his name was actually Roman and largely responsible for putting the instrument on the map.
Henry Purcell If music be the food of love – Music for a while
John Weldon Take, O take those lips away
Marin Marais Tombeau pour Mr de Ste. Colombe – La Guitare
1656-1728 Tableau de l’Operation de la Taille
Michel Lambert Rochers,vous êtes sourds – Goutons le doux repos – 1610-1696 – Ombre de mon amant – Celle qui fait mon tourment
Claudio Monteverdi O Quam tu pulchra es – Laudate Dominum –
1567-1643 Si dolce e’l tormento – Quel Sguardo
Johannes Kapsberger Toccata, Gagliarda and Corrente
G.F. Handel La Cantate Française
1685-1759 Sans y penser, à Tirsis j’ay suplaire
Charles Medlam Bass viol, Barack Norman, London 1689
William Carter Theorbo
Young Classical Musicians Concert – Croft Hall, Hungerford – 8.00pm £8
A little more about one of the artists and his programme.
Chopin polonaise in A flat major Op53
Rimsky-Korsakov The Flight of The Bumble Bee
To get tickets for the concert click here
Started piano lessons just before his 6th birthday with Rosemary Burn in 2006.
Have passed Grade 3 in the Autumn 2007.
Theodore stared having lessons with Yekaterina Lebedeva in 2009.
He started RCM JD in 2012 where he is still studying piano with Yekaterina Lebedeva.
Theodore has won several prizes in Bath and Bristol music festivals in solo piano classes (under 8 and under 11).
In 2014 he won a major prize presented by “Western Daily Press” for an outstanding young pianist under 13 in Mid-Somerset Music Festival.
Theodore has taken part in Jaques Samuel piano festival and performed as a winner in Wigmore Hall in 2012 and 2013.
Theodore took part in international “Piano Talents” competition in Milan where he was awarded 2-nd prize in 2013.
He passed Grade 8 with Distinction in piano performance in 2014.
He currently holds Music Scholarship at Stowe school where he had masterclass with Lang Lang and performed Bach Keyboard Concerto with MK Orchestra.
He won Milton Keynes Young Musician of the Year Competition in 2016.
Currently working towards ABRSM Diploma in piano performance.
Classical Young Musicians Concert – Croft Hall Hungerford – 8.00pm £8
Click Here to buy tickets
Meet 8 exceptionally gifted musicians at the start of their careers. A professional quality concert in a unique environment, enjoy a great evening with superb performances and good wines and beers.
See a star of the future, always something to remember. In collaboration with Berkshire Maestros we bring you
Emma Beach – Oboe
Thalia Lee – Violin
Emily Ambrose – Bassoon
Thomas Carr – Clarinet
Theo Hayes – Piano
Yi-Ann Yeung – Cello
A repertoire which includes:
Rondo by Mozart
Introduction and Polonaise by Carl Bohm
Chopin Polonaise in A flat major Op53
Rimsky-Korsakov The Flight of The Bumble Bee
To read the review more easily click here
10 Young cellists and a great afternoon concert thanks to Gérard Leclerc, Jude Barnby and Phillip Brown.
We started with a masterclass for three extremely talented students and a class for 10 young cello players.
Then an afternoon concert and tea party with over 90 people, followed by an amazing evening concert.
For details of concerts and tickets Click Here
Here he recounts his time as a pupil of Jacqueline du Pré. Please see : http://www.jacquelinedupre.net/memorabilia/mem_encounter03.htm
It was a beautiful spring day in 1983 that I came to know the extraordinary Jacqueline du Pré. I had written a letter to her in great admiration some weeks earlier, and had asked if she would accept meeting a young cellist and if she might consider hearing me play. I promptly received a reply to call at her house in Knightsbridge, at 2 Rutland Gardens Mews.
I was surprised (and rather panicked) to be able to not only meet one of the century’s greatest musicians, but to be able to play for her as well. I decided that on this earth, to meet such an extraordinary and unique person must be one of the greatest privileges, and that I had to make the most of this encounter with her.
I decided to come with my pianist, thinking that it would not be proper to ask her to listen to a cello sonata without a pianist and in addition decided to prepare three complete recital programs, hoping that maybe something in it would strike her fancy.
At her house we were let in by her wonderful and caring nurse Ruth Ann Cannings, and I could feel my apprehension growing by the minute. Finally she came downstairs and I was able to introduce myself and my pianist. ‘So what would you like to play for me today?’ she asked me with that eternally sunshiny face and I said, ‘Well, I’ve got this and that, those three sonatas etc. etc…’ And then she said to me ‘Did you say the Arpeggione sonata? I would LOVE to hear the Arpeggione sonata.’
So, with my bow trembling in the air, I set about to start….’It is SO easy to play!’ she said, ‘…Oh, by the way, would you like ANOTHER lesson soon?’, before I had even played the first note. I told her that if she could bear to hear what I played, then it would indeed be my biggest pleasure to come back. ‘Play me the first eight bars and I’ll let you know!’ she said with an amused grin, and so I did. That was the beginning of five years of close work with this genius of geniuses.
There is something so unique with Jacqueline. Later that year I attended the Prussia Cove International Music Seminar in Cornwall, England, for a masterclass with Jacqueline’s own teacher William Pleeth, and had another lesson with Jacqueline just after that. In his masterclass Pleeth heard a wonderful cellist playing the Beethoven A Major Sonata, and stopped him just after the first three notes (which starts with an A, going towards the E and F sharp) saying, ‘How can you play like that with the glissando [sliding from one note to another] between the first two notes? The piano must play the same phrase [after the introduction by the cello alone] and cannot use a glissando so you must not as well.’ After this I went proudly to Jacqueline’s to play the same sonata knowing that I held a truth of truths from her own teacher. She stopped me after the first three notes saying ‘Why don’t you use a glissando between the first and second note?’ and upon hearing my reason that the piano couldn’t do it in the same way so I shouldn’t, she exclaimed, ‘But if he COULD have, he WOULD have done it, so DO IT!!!’
Her intensity of communication is legendary, as well as her sense of humour. At another lesson she said to me, ‘Put down your cello [I was playing on her 1970 Peresson cello] and listen to me. Do you know that I have an incurable disease, one that overtakes one, it takes everything with it – there is no escape.’ At my cringing at the thought of the next part she said, ‘Death is the only escape. Do you know what the name of this disease is?’ Struck dumb, I could only nod… ‘It’s called…… glissanditis!!!!!’ she said, howling with laughter.
Sometimes we would listen to her beloved records together, and even when she could no longer play, she would know the exact number of trills given to a note, such was her power of observation. Once, upon a return trip from San Francisco, I was scheduled to have a lesson at 9.30am at her home as usual. I jumped off the plane at Heathrow into the tube running with suitcase and cello to come eye-to-eye with her in the brilliant morning sunlight in the courtyard, her mum at her side. ‘You are 3 minutes LATE!’ she giggled. It turns out that her mother had popped by. And just as well for me, for we met later in the day. Whew!
In one lesson, when I played the Elgar concerto for her she said, ‘Can’t you do it this way, or like that?’ Finally, in exasperation I said, ‘But I’m trying as HARD as I can’ to which she looked at me and simply said ‘Why don’t you just try it EASY?!’
The last time we met was two weeks before she left us all, and it was during a last call a few days after I asked her ‘What’s news this week, Jacqueline?’ and she said ‘Quick – go listen to my Boccherini concerto – I can’t believe the beauty of this work. It’s springtime everywhere…’
Back To MEMORABILIA
If you have a personal recollection of a concert or a meeting with Jacqueline, please let me know. Thank you.
Jacqueline du PréDiscographiesBooks & FilmsMemorabiliaLinks
This tribute and all related pages are conceived and designed by Miguel Muelle purely as a labor of love, meant solely for the pleasure of all those who are interested in Jacqueline Du Pré. All photographs are credited where possible, and all recordings and corresponding photographs used are assumed to be copyright and property of EMI Records, Ltd., unless otherwise acknowledged.
Gabriel Fauré, Clair de Lune, Op 46 no 2
Claude Debussy, Beau Soir
Gabriel Fauré, Elegie (c. 1883)
Jules Massenet, Thaïs, (Meditation)
Robert Schumann, Stücke im Volkston, Op 102
Nicht schnell, mit viel Ton zuspielen
Nicht zu rasch
Stark und markiert
Pre Show Food is available between 6.30pm – 7.00pm before the main concert at 7.30pm
Duck Shepherd’s Pie with Sweet Potato Topping, Braised Peas & Dressed Leaves or
Vegetable Filo Pie, Parmentier Potatoes, Mixed Leaf Salad
Tickets available from Hungerford Bookshop or to purchase online Click Here