The EMF is about more than simply a four- or five-day Festival in Oxfordshire: our aim is to widen and deepen concert-goers’ awareness of the music of British composers; and we are delighted, therefore, recently to have been able to launch our UK and European Concerts Series. Our first European concert took place on 26 November 2011, and was organised by a Friend of the Festival, Michael Poulain; we are extremely grateful to him for his hard work and dedication, without which this recital would not have taken place.

The town of Avon nestles deep in the wooded countryside around Fontainebleau, a region that has been, and is still, much prized by painters for the translucent, blue-grey quality of its light. La Maison dans la Vallée is one of the region’s principal concert halls and arts venues, and hosts a lively series of events throughout the year. It was as part of the 12th Festival celebrating British culture in its various forms that our recital was hosted; and regular EMF artists Rupert Marshall-Luck and Matthew Rickard presented a programme consisting of the Violin Sonata by Arthur Bliss (which will hopefully be familiar to many readers through these artists’ critically acclaimed recording for EM Records); Edward Elgar’s mighty, yet highly personal Violin Sonata – a fruit of his valedictory burst of creativity – which was followed by an early work by the same composer, the charmingly captivating Allegretto on GEDGE; Delius’s third Violin Sonata which, in its pointillist-inspired Impressionism, seemed perfectly attuned to this setting; and Britten’s ebullient and colourful Suite, op.6. The audience thoroughly enjoyed the concert (the Britten, perhaps surprisingly, was possibly the work they cited as liking the most), and the artists received many favourable comments afterwards.

EM MARSHALL-LUCK

Coinciding with the release of EM Records’ latest CD issue – Gustav Holst’s The Coming Of Christ – the English Music Festival was delighted to be joined on 13 November by Ben Palmer and the strings of the Orchestra of St Paul’s in the oasis setting of St Paul’s Church in London’s bustling Covent Garden. In a warming (apt for a cold November!) and varied programme, the audience was treated to Elgar’s much-loved Serenade for Strings and Holst’s St Paul’s Suite. We were also delighted to present the London première of Paul Carr’s beautifully touching Now Comes Beauty, in a string arrangement of what was originally a work for choir. In the second half we heard a lesser-known gem: the whimsical and fascinating Variations on Sellenger’s Round – in seven Variations. In a project initiated by Benjamin Britten for the 1953 Aldeburgh Festival, the plaintive melody is first scored by Imogen Holst, and then followed by variations by Arthur Oldham, Humphrey Searle, Britten himself, Lennox Berkeley, Michael Tippett and William Walton. The concert closed with Britten’s youthful Simple Symphony, a perfect end to what proved to be a delightful and intimate evening of English string music.

ALEXANDER THOMAS

This concert took place to mark the launch of a further two releases from EM Records and the publication of Music in the Landscape by Em Marshall, Founder-Director of the EMF. This well-known ‘Actor's Church’, with its many plaques celebrating famous names in the world of the arts and theatre, was surely a good choice for such a special occasion.

A reception held before the concert was introduced by Alexander Stilwell of Robert Hale Publishing Company who welcomed everyone and commended Em’s book which is subtitled How the British countryside inspired our greatest composers. With 125 colour photographs, it delves into particular places that were vital to the inspiration of musical landmarks – for Bax, Ireland and Holst, to name but a few of the composers whose music is discussed.

David Owen Norris then spoke about the release of his recording of Quilter’s complete piano music and announced that he was to play on one of Quilter’s pianos that evening. He commented that he had discovered a particular quality in the instrument that has encouraged him to play more melodically for this concert. The instrument is shortly to travel to France where it will be cared for by David Wilson-Johnson. He also pointed out that the original manuscripts of some of the pieces he was to play had been brought along for everyone to peruse by Leslie East, who actually owns an impressive grand piano of the composer as well as much of his music.

After a warm thank-you to everyone present, Em Marshall welcomed the first artists of the evening – Rupert Marshall-Luck (violin) and Matthew Rickard (piano) – to perform music by Holbrooke. The Violin Sonata No.2 in F (“The Grasshopper”) is featured on the newest CD from EM Recordings and was given in its authorised original version. The programme notes for this work gave us a fascinating insight into the history of the work which exists in two versions: a Concerto and a Sonata.

Piano music next – Roger Quilter’s Suite from Where the Rainbow Ends was performed before his Three Pieces, op.16, as pianist David Owen Norris had decided to alter the order printed in the programme after hearing the final movement of Holbrooke's Violin Sonata. This seemed an excellent decision, since the contrasts were a good talking point for the interval and Quilter’s manuscripts were then really viewed with interest and many of the alterations pointed out by Leslie East.

Granville Bantock's grandson, Bjorn, introduced the second half of this concert by saying how thrilled he is to be promoting his grandfather’s music. Rupert Marshall-Luck, with his pianist colleague Matthew Rickard, then performed the Sonata for Viola and Piano – a work of ‘great power, warm lyricism…..intense introversion and ebullient energy.’ This was a magnificent conclusion to this Celebratory Concert.

TJD

This delightful event was held both as a fundraiser for the English Music Festival as well as a get-together for Festival Friends and supporters. It was held in the lovely surroundings of the Springs Hotel in Oxfordshire. Although the soirée was intended to allow the Friends and supporters to mingle, chat and get to know one another, it turned out to be a miniature concert in its own right. I’m sure the Koinonia String Quartet had not expected to be listened to with such rapt attention but that they had assumed they were just to provide background music for the occasion. It was not to be! Their playing of English string miniatures was so expert and insightful that very soon the assembled company took their seats and simply enjoyed the music. Although all the playing was extremely accomplished, I was particularly impressed by the string quartet arrangement of Elgar’s Serenade for Strings. Although early in his output, this work has a simple but poignant expressiveness which, when played correctly, can be very moving. This was particularly so in this performance, especially in the slow movement. Alongside the Serenade they also played other Elgar miniatures such as Salut d’amour and Chanson de matin. In addition, there was also a very lively performance of Purcell’s Suite from Abdelazar which, of course, includes the famous theme used by Britten in his Young Person’s Guide to the Orchestra.  This was altogether a very enjoyable occasion and a wonderful precursor to the English Music Festival itself which was to be held a few miles away in Dorchester-on-Thames at the end of May. Many of the guests had decided to stay at the hotel overnight and were treated to an excellent meal in the restaurant.

Dr David Green

The ever-enterprising Em Marshall, together with the illustrious Bridge Quartet, had organised this concert at St John’s, Smith Square as a fundraising event for the English Music Festival. The Festival remains indebted to the sterling work of this Quartet which has performed in almost every English Music Festival since its inception in 2006. We have never been disappointed by their performances at the Festival itself and neither were we disappointed at this concert. It was a wide and varied programme which included Britten’s first String Quartet, Frank Bridge’s Piano Quintet and Ralph Vaughan Williams’s On Wenlock Edge. For the Frank Bridge Quintet the Quartet was joined by Michael Dussek and together managed to contrive a rapturous performance of this early and very romantic Quintet. I’m sure those who only know the later Bridge works would have been quite entranced not only by the melodiousness of the work itself but also by the intensity and brilliance of the performance. It really did bring the house down. For the Ralph Vaughan Williams, the Quartet and Michael Dussek were joined by the tenor Charles Daniels. Like the other performers, Charles Daniels is a veteran of the English Music Festival, having performed in Britten’s Canticles at the first EMF. He was absolutely superb in this work and we were treated to a excellent performance. It should be pointed out that all the performers gave their services free, showing the level of support which they have for the EMF. In addition, it was gratifying that the concert was very well attended and extremely well received. An wonderful evening all round!

Dr David Green

The second event to raise awareness of and raise funds for the EMF was an evening concert held in London on 2 April in the wonderful church of St Giles-in-the-Field, tucked neatly but rather precariously behind the looming tower of Centre Point at the origin of Tottenham Court Road.

The concert followed hot on the heels of the first EMF fund raising event held in Leeds one month earlier, and featured the Syred Consort and their conductor Ben Palmer, organists David Stratkauskas and Jonathan Bunney, and our guest soloist, the eminent lutenist Elizabeth Kenny. Not surprisingly, all the music we heard was English and it was a delight to be treated to an organ arrangement of the Serenade from Delius’s incidental music to Flecker’s Hassan as we took our seats.

Following a stirring introduction from the EMF Founder and Managing Director, Em Marshall, as to what the EMF was all about, the programme proper began with Vaughan Williams’s Lord, Thou hast been our refuge. This was followed by Stanford’s Magnificat and Nunc dimittis in G, Finzi’s Lo, the full, final sacrifice, Britten’s Rejoice in the Lamb and ended with Howells’s Magnificat and Nunc dimittis (Collegium Regale). The choir were inspirational and gave both insightful, reflective and, where necessary, full-blooded performances, on occasions truly raising the roof.

They also proved to be accomplished soloists in their own right as was amply demonstrated in what was, for me, one of the highlights of the evening, Rejoice in the Lamb. During the hour-long programme the choir were given two well-deserved breaks when the audience were treated to some exquisite English lute music. Elizabeth Kenny also introduced the works and reminded the audience of a previous period, during the reigns of the Tudors, of the pre-eminence of English music, with composers such as Dowland much in demand at home and abroad. As it is the avowed intention of the EMF to restore English music to its rightful place in the repertoire, her comments were most appropriate. An excellent evening; and thanks once again to Syred Consort and Elizabeth Kenny.

Dr David Green

YORKSHIRE FESTIVAL DAY in aid of the English Music Festival (EMF) was held on Saturday 21 March in the Clothworkers’ Centenary Hall of Leeds University. It was to be a day of recitals and talks to increase awareness of, and financial support for, the EMF in and around Yorkshire. The date happily coincided with an all-too-rare (and superb) performance of Delius’s Mass of Life in the Town Hall that same evening.

The event was superbly organised by two of the EMF’s most staunch supporters, Kevin Paynes and Sue Parker; and what a wonderful day it proved to be. The Clothworkers’ Hall (originally a church) turned out to be a superb venue with wonderful acoustics which suited the event admirably. The day began with an introductory talk by the EMF’s founder and artistic director, Em Marshall. She covered the origins of the EMF and illustrated her talk with excerpts from an amazing variety of composers from Bantock to Elgar, York Bowen to Vaughan Williams, Holbrooke to Matthew Curtis (whose Festival Overture was an EMF commission and première) to illustrate what we are all missing in the concert hall. Jo Peach then introduced us to a selection of piano music from Purcell to Richard Rodney Bennett in an illustrated recital of over 30 minutes. Not content with that, she then proved a superbly sympathetic accompanist to the flautist Jessica Wilkes, an extremely accomplished 17-year-old from Harrogate. Her recital included a lovely arrangement of The Serious Doll from Elgar’s Nursery Suite and works by Bax and York Bowen. This was immediately followed by a recital for baritone and piano by David Heathcote and Gary Midgley of English songs by Ireland, Denis Browne, Vaughan Williams and ending with the five Finzi Shakespeare settings brought together under the title of Let us Garlands Bring. Again the audience were treated to really insightful performances beautifully sung and played and introduced by the performers. A happy touch!

Time for a well-deserved lunch! The afternoon session began with a remarkable illustrated recital by the pianist and raconteur, David Owen Norris, entitled ‘Elgar at the Piano’. Having heard a similar illustrated recital before by Norris I was really looking forward to this item and neither I nor the audience were to be disappointed. The highlight was a superb performance of Norris’s own realisation of the Concert Allegro but also included a wonderful piano arrangement of the Prelude and Angel’s Farewell from The Dream of Gerontius.

This was followed by an excellent recital for soprano and piano by Amanda Crowley and the indefatigable Jo Peach in songs by Purcell, Quilter (we were to hear several versions of Now Sleeps the Crimson Petal during the day!), Vaughan Williams and Sullivan as well as some contemporary songs by Christopher Fox. Before the break for tea, Kevin’s wife Sarah proved an expert accompanist on the piano for another Harrogate youngster, Rebecca Else on the violin, in works by Elgar, Vaughan Williams and Howells.

Following a well deserved tea break, Sarah (singing alto) joined her husband Kevin (bass), Gareth Reaks (tenor), Gwendolyn Wellmann (mezzo) and Christopher Gibbs (baritone) for a really delightful finale. They constitute the vocal group Quintessential and covered a repertoire from the 16th to the 20th centuries beginning with Wilbye and ending with Lennon and McCartney. The last rendering of Now Sleeps the Crimson Petal turned out to be one of the best with a super arrangement for the five songsters by Gareth Reaks: a beautifully blended rendition. We got an encore whether we liked it or not (and we did!); and that proved to be three nursery rhyme arrangements by Paul Hart. A super end to a super day. Thanks so much to Sue and Kevin and all the wonderful performers for a fantastic day!

Dr David Green