- Exceptionally, these concerts are at St Mary's Church, Richmond; don't go to the Influence Church! A pay-and-display car park on Station Road (DL10 4JU) gives level access to the church - details here.
- Afternoon and evening performances will be identical. Concerts will last an hour, with no interval.
- Tickets are sold only on this site, and at the door (subject to availability), so we can limit numbers to keep you safe.
- No physical tickets will be issued. Purchasers' names will be checked at the door.
- If you receive Universal Credit, choose ‘UC recipient’ as your ticket type. These tickets are priced at £0.01 (PayPal can't do free) and you may order one ticket for a partner at the same price.
- If you can't come, but would like to buy a £10 'virtual ticket', we would be very grateful. Please use 'Donation' as your ticket type.
- Please bring a mask, wear it throughout, and comply with stewards' distancing requests.
Chloë Hanslip (violin)
and Danny Driver (piano)
26 May, 17:30 and 20:00
Prokofiev Five Melodies
Judith Weir Music for 247 Strings
Beethoven Violin Sonata No. 10 Op 96
Chloë Hanslip and Danny Driver have carved out a compelling reputation with their highly regarded Beethoven recordings. Tonight we'll be treated to one of that composer's loveliest sonatas.
First though, a piece which is not often heard. Prokofiev's Five Melodies were written while the composer was in self-imposed exile in California, and were originally intended as soprano vocalises. When they proved impractical for regular performance, he recomposed these exquisitely crafted and sharply characterised miniatures for violin and piano.
Judith Weir's Music for 247 Strings (don't ask) consists of ten tiny pieces played in unison, then breaking apart as the violin and piano assert their independence, only to rejoin at the end - "perhaps", says the composer, "in a more genuine spirit of togetherness than they started out with".
Which brings us back to the Beethoven; calm, ethereal, and ending on a cheerful theme.
Judith Weir Music for 247 Strings
Beethoven Violin Sonata No. 10 Op 96
Chloë Hanslip and Danny Driver have carved out a compelling reputation with their highly regarded Beethoven recordings. Tonight we'll be treated to one of that composer's loveliest sonatas.
First though, a piece which is not often heard. Prokofiev's Five Melodies were written while the composer was in self-imposed exile in California, and were originally intended as soprano vocalises. When they proved impractical for regular performance, he recomposed these exquisitely crafted and sharply characterised miniatures for violin and piano.
Judith Weir's Music for 247 Strings (don't ask) consists of ten tiny pieces played in unison, then breaking apart as the violin and piano assert their independence, only to rejoin at the end - "perhaps", says the composer, "in a more genuine spirit of togetherness than they started out with".
Which brings us back to the Beethoven; calm, ethereal, and ending on a cheerful theme.
. Generously supported by Nigel Tooze and Chris Shaw
The Gould Piano Trio, with Robert Plane (clarinet)
9 June, 17:30 and 20:00
Debussy Première Rhapsodie for clarinet and piano
Huw Watkins Four Fables
Beethoven Piano Trio in E-flat major, Op. 70 No. 2
Tonight's artists are Lucy Gould (violin), Benjamin Frith (piano), Richard Lester (cello), and Robert Plane (clarinet).
Download a free concert programme here (4pp, pdf).
When not touring or performing on Radio 3, the Goulds are often to be found not far away from Richmond, at the lovely Corbridge Chamber Music Festival. The Washington Post says of them, "The only comparison that comes to mind is the old Beaux Arts Trio". High praise indeed. The clarinettist Robert Plane is a frequent performer with national orchestras, and frequently partners the Gould Trio.
In a whirlwind seven minutes of free-form brilliance, Debussy's Première Rhapsodie poses immense challenges for the performer. Originally conceived as a competition piece, the Rhapsodie was quickly recognised as a concert-stage masterpiece. Four Fables was commissioned by tonight's artists; the identities of the fables are left to the audience's imagination. The work is mysterious, brightly coloured, languorous. Our concert ends with the mellow and intimate E flat Trio, one of the most loved and most subtle of all Beethoven’s chamber works.
Huw Watkins Four Fables
Beethoven Piano Trio in E-flat major, Op. 70 No. 2
Tonight's artists are Lucy Gould (violin), Benjamin Frith (piano), Richard Lester (cello), and Robert Plane (clarinet).
Download a free concert programme here (4pp, pdf).
When not touring or performing on Radio 3, the Goulds are often to be found not far away from Richmond, at the lovely Corbridge Chamber Music Festival. The Washington Post says of them, "The only comparison that comes to mind is the old Beaux Arts Trio". High praise indeed. The clarinettist Robert Plane is a frequent performer with national orchestras, and frequently partners the Gould Trio.
In a whirlwind seven minutes of free-form brilliance, Debussy's Première Rhapsodie poses immense challenges for the performer. Originally conceived as a competition piece, the Rhapsodie was quickly recognised as a concert-stage masterpiece. Four Fables was commissioned by tonight's artists; the identities of the fables are left to the audience's imagination. The work is mysterious, brightly coloured, languorous. Our concert ends with the mellow and intimate E flat Trio, one of the most loved and most subtle of all Beethoven’s chamber works.
|
. Generously supported by
|
|