MusicUpClose II, Conway Hall, London
Instrumental to our Development - a 400 year journey through music
Presenter: William Lyons
Was the Renaissance the turning point for Western music?
Was music perceived as science or art? Acclaimed performer
researcher, composer and Director of the world-famous Dufay
Collective, William Lyons, provides a fascinating insight,
demonstrating instruments from the period. A lively insight into
a fascinating period of music history…
Many would argue that Western music reached its peak
during the Baroque, especially with the music of JS Bach.
We look at that period through the eyes of its most
glamorous instrument, the trumpet. Specialist performer
Adrian Woodward (Globe Theatre, English National Opera,
Orchestra of the Age of Enlightenment, Gabrieli Consort &
Players) demonstrates the natural trumpet and the cornetto.
Adrian is joined by conductor and head of Postgraduate
Studies at Trinity Laban, Jonathan Tilbrook, to help address
wider musical and artistic interests of the period.
Plucked & Hammered
Presenter: Roderick Swanston
In the early 18th century, Johann Sebastian Bach, George
Frederic Handel and Domenico Scarlatti wrote for the
harpsichord. By the end of the 18th century Josef Haydn,
Wolfgang Mozart and Ludwig Beethoven composed for the
fortepiano. The harpsichord plucks the strings, the piano
hammers them, but most importantly the harpsichord has a
constant volume whereas the fortepiano can fluctuate
between soft and relatively loud. However, keyboards are
important not only for the music written for them, they also tell
whole-heartedly engaging with the political issues of the day. Composers were becoming serious figures of international standing and great social influence. Pianist and composer Richard Sisson investigates the new techniques of composition that were enabling these self-regarding practices to flourish.
Keele Concerts Society, Keele University
Voice + Loop Station Kerry Andrew
Clarinets Stuart King
Violin Dave Le Page
Violin Catherine Leech
Viola Rose Redgrave
Cello Chris Allen
Kerry Andrew: Birdlore
Antonín Dovorák: String Quartet in F major op.96 ‘American’
Little Missenden Festival of Music and the Arts
Tenor Robert Murray
Horn Joe Walters
Leader Dave Le Page
David Matthews: Three Birds and a Farewell
Gerald Finzi: Dies Natalis
Richard Rodney-Bennett: Chelsea Reach
Benjamin Britten: Serenade for Tenor, Horn and Strings
MusicUpClose III, Conway Hall, London
Musical journeys through fin de siècle London, Paris, New York, Vienna, Moscow, St Petersburg, Scandinavia and the Baltic.
Presented by Richard Sisson
London at the turn of the century enjoyed a vibrant musical
life. The Queen’s Hall was a thriving venue and the Crystal
Palace concerts attracted visitors from all over the country.
The Royal College of Music had recently been established in
Kensington and the London Symphony Orchestra was newly
founded. Elgar was poised to write the first great British
Presented by Tom Hammond
What was going on in the Frozen North at the start of the
20th Century? Were composers aware of what was
happening in the rest of Europe and America? Why was
Sibelius writing music so far removed from other traditions?
Why does his music get compared to / programmed with
Carl Nielsen, when Helsinki and Copenhagen are more
than 700 miles apart – nearly as far as London to Madrid?
Conductor Tom Hammond offers a musical smörgåsbord…
Presented by Karl Lutchmayer
The end of the 19th century saw the beginning of a radical
new musical identity. Grafting nationalist outlooks on
traditional forms, a new style emerged, at once shocking
and universally fashionable. However, the Revolution
overturned such free-thinking, and composers turned their
imaginations to plotting a course between great art and
Presented by Barbara Kelly
Author of a recently published book about music in Paris
between the World Wars, Professor Barbara Kelly is joined
by conductor Jonathan Tilbrook, sound collective and
students from Trinity Laban to explore and perform
composers such as Milhaud, Poulenc and Stravinsky.
Presented by Karl Lutchmayer
Fin de Siècle Vienna was a decadent moribund and culturally self-satisfied city in which only the Operetta flourished. It provided a perfect breeding ground for radical musicians such as Schoenberg and Webern who with their Expressionist aesthetic changed the nature of music and its performance for at least a generation and returned Vienna to the cultural prominence it had enjoyed a century before.
New York, New York
Presenter by Kenneth Woods
Music from the Dawn of the American Century
When Gustav Mahler left Vienna for New York in 1908,
it marked not only the beginning of a new chapter for
him, but the beginning of the end of Vienna’s primacy
as the centre of the musical universe. Already, New
York, was well on the way to becoming a musical
metropolis to rival any European capital. From the
mystic mishmash of Ives, to Scot Joplin and the dawn
of a new music driven by syncopation which would
evolve from Ragtime to Jazz to Rock to Hip-Hop, it was all happening in in the Big Apple in the early decades of the 20th. C.