The piano duet, generally regarded as belonging to the more sociable, less serious level of invention, becomes for Schubert the locus of some of his most experimental, imaginative and expressive instrumental writing. It also offered opportunities to develop his intense interest in variation techniques, given the enhanced range of texture and sonority inherent in the genre.
The format of the Variations allows Schubert to display his powers of transformation, presenting the theme in an entrancing variety of characters and pianistic effects. Besides the song connections working at various levels of the music, the achieving of unity across the large-scale instrumental works is owed to a number of factors explored by Schubert as part of his compositional project.
Among these is the kind of motivic unification seen in the Octet in F major D Schubert was a master of endings as well as beginnings, as the String Quintet demonstrates with its enigmatic final statement. This superiority consists in his ability to write more idiomatically for piano, i. Her research interests include 18th and early 19th-century music, keyboard music from to , performance practice, the social history of English music and the study of women composers.
In these ten-and-a-half months before his demise, two notable musicians impinged on him and his work, one by his absence and one by his presence. Beethoven had gone. His first appearance, three days after the big Schubert event, led to an extended season of further concerts, at least two of which were attended by Schubert, who was mightily impressed and whose growing interest in instrumental virtuosity — in the two piano trios of , but above all the Rondeau brillant for violin and piano D of — might well have been given impetus enough to write a first true concerto had he been given some extra months to live.
Beethoven Allegro — little harangues, you might say, backed by huge self-belief. Schubert, the gentler, more ruminative soul, with a dash of hedonism, absorbed more from Mozart in his early years, then took from Beethoven without losing his own charismatic creative identity. We used to think of Schubert as the instinctive composer par excellence, the halfway station through which heaven-sent tunes passed on the way to our lucky ears.
We now know that his spirit of intellectual inquiry and thirst for technical experiment were at least the equal of both Mozart and Beethoven.
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Even in works long known to us it is easy not to notice some of the carefully evolved underlying strategies and so to assume they are not there. Which other hitherto neglected media might he have shown immediate mastery of had his voice not been cruelly silenced in November? Meanwhile familiar forms continued to draw and excite him.
The last named, on a hybrid text and composed for a famous Berlin soprano, despite the poetic persona being male, brings the clarinet into interplay with the soprano, forging an elegant web that mixes the lyrical line, a streak of vocal virtuosity and the mountain yodel. There must be many for whom the last Piano Sonata of all, the B flat major, distils the essence of Schubert, with its finely-etched melodies, its hushed musings in remote key areas, its daring jumps from one key to another.
But their terse compression must also have appealed to Schubert, who bequeathed in his six Heine settings music with an atmosphere prophetic of dawning Romanticism yet finely drawn with Wie blitzen die near-Mozartian economy. Bin oft repertoire. It is true that we may pick up echoes of the older composer in the late works, but no slavish imitations, only acts of homage.
The two composers had different guiding stars. Schubert began composing for four hands at the age of 13 and still had three such works to offer in his final year. The Fantasia in F minor D is a truly unique masterpiece; its dedication to Karoline seems to reflect more than a goodwill gesture to a pupil. If, then, his last love was nurtured at the keyboard, his first love had warmed in his middle to late teens in the context of his local parish church, where Therese Grob was a soprano in the choir, again if we accept the testimony of various of his friends. Therese had received no dedication, but solo roles in the first two mass settings.
Another four-hand product of was a particularly impressive Allegro in A minor D The A minor duet movement suggests there was two-way traffic in this regard. The taut, fiery rhythms of the first theme only at length subside. Suddenly, with the A minor key still prevailing and no hint of an imminent change of key, Schubert jumps to the remotest major key, where a soft chorale floats in. Bauernfeld seems to have been the only friend to know that the composer was working on a Symphony in his last weeks, a sketch presenting two surprises to those who think they know their Schubert.
First, the slow movement begins with a lightly disguised paraphrase of the germinal idea of the bleak last song of Winterreise, hinting at its hurdy-gurdy tune but echoing in particular its bare texture, repetitive rhythm and drone-like harmony. Schubert extends this as though to offer a degree of solace necessarily lacking in the original, so that one could regard the movement as a warmer, yet not exactly sunlit, but hauntingly beautiful orchestral epilogue to the remembered cycle.
The second surprise is the unprecedented in Schubert contrapuntal complexity of the Finale. Schubert took the first lesson two weeks before he died. We should not be too surprised, though, that Schubert was embarking on a more thorough exploration of the riches of contrapuntal device, for modern scholarship has made discoveries that challenge the old assumptions — easily made on the old evidence — of Schubert the instinctive creator not give to intellectual manipulation.
That symphonic sketch Da shows Schubert poised to peer boldly into a musical future. His composed works not as good as those yet to come? We have to weigh all references to Schubert by his contemporaries in in light of what we know of his actual achievement and they did not. We know much more of his treasured oeuvre today than even his best friends ever heard or saw. The friends, throughout his mature years, were more familiar with his songs, along with some dances, partsongs and some of the piano works apart from the sonatas.
It is unlikely that any of them heard more than a few of the mature chamber works or the sonatas. No symphonic music from the last ten years of his 18 years of composing life would have reached their ears or those of the Viennese public at large. The glimpses into the future afforded by what Schubert penned in his final year continue to fascinate, leaving us wishing that some of what they promised could have been realized. But the true bounty of , and of the few years before, amounts to much more than could reasonably be expected of even such a compulsive workaholic seeking a voice and a vision of his own so close on the heels of the giants of the First Viennese School.
The analytical basis of much of his work, extending traditional methods, has led to important discoveries in works by Schubert and Ravel, as well as Brahms and Elgar. Schubert must have looked a very sorry sight on his deathbed. He was When Schubert assumed that echt Romantic role, forever welding himself in our collective imagination to the melancholy and often-desolate music he wrote, he had been suffering for nearly six years. Symptoms, including fever, fatigue and unsightly rashes, persisted throughout , reaching a manifest low point in May, when Schubert was likely admitted to the General Hospital in Vienna.
And yet, though his friends were optimistic, such reports were premature. Over the next few years, Schubert was to relapse several times and may well have been hospitalized again in and For a long time I have felt the urge to write to you, but I never knew where to turn. Now, however, [Johann Carl] Smirsch offers me an opportunity, and at last I can once again wholly pour out my soul to someone. For you are so good and honest, you will be sure to forgive many things which others might take in very part from me. Thus, joyless and friendless, I should pass my days, did not [Moritz von] Schwind visit me now and again and turn on me a ray of those sweet days of the past.
Du du bleicher Geselle! Schubert constantly invites these readings. He not only announces the approach in his letter to Kupelwieser — placing himself at the centre of one of his most famous songs — but also confesses, in the private forum of his journal, that his music is the product of sorrow.
To overlook this meeting of subject and object is not to take the composer at his word. The Classical Period, privileging the sublime and the objective, fundamental tenets of the Enlightenment, had given way to the Romantic, in which irrationality, emotionality and, ultimately, philosophical nihilism took hold. Gavin Plumley is a writer, broadcaster and musicologist specializing in the culture of Central Europe in the 19th and 20th centuries.
He has appeared on BBC Radio 3, written for The Guardian and The Independent on Sunday and contributed articles to festivals, orchestras, opera houses and concert halls around the world, including the Salzburg Festival, for whom he commissions and edits the English-language programme notes. He was certainly a successful composer of popular music: approximately works had been published, an impressive achievement for his scant 32 years, and his music had been performed in major Austrian cities and in Berlin.
Nevertheless, he had not achieved equal rank with the masters. The same applied to his copious solo and duet piano repertoire, which was mostly performed privately in homes. Little of his chamber, symphonic or operatic work was known in his lifetime and this situation changed only gradually after his death. The conductor on that occasion was Mendelssohn, who was a sufficiently superb musician to be unperturbed by the demanding score.
He went on to promote the work in Paris and London, albeit with limited success, before his early death. He did this for no other composer, nor indeed for any of his own songs, and kept the arrangements unpublished in his lifetime. But in all cases Brahms used an exquisitely luminous orchestration, at roughly the same size as Schubert would have expected for one of his symphonies, which would be edited by Brahms for publication 20 years later. The Monteverdi Choir has recorded a few of the arrangements with male voice choir rather than a baritone soloist, creating great effects from the variety between lower and higher voices and Horch, friedlich an effective match for the instrumental forces.
It was the same for Mahler, although his admiration for Schubert was more restrained. More subtly, Schubert built up an image of his nation upon which Mahler drew in turn. Es lockt seeking relief in this activity from original composition. Reger went on to orchestrate songs by Brahms, Wolf, Grieg and Schumann, as well as 12 of his own and 15 Schubert songs spread over two sets. Clearly Reger found the work of transcription congenial since he declared the intention to orchestrate a few songs by both Schubert and Brahms each year; the two men were linked in his mind.
Generations of accompanists, including Benjamin Britten, took this approach in their own playing. Unlike Brahms, Reger had a clear agenda behind his choice of song: familiarity. Thus his listeners would hear afresh songs that they knew intimately. The verses Schubert set range from the borderline trite to large-scale philosophical poetry by the two lions of his day: Schiller and Goethe. The legend that the songs Schubert sent Goethe in were returned unopened because he could not appreciate them has recently been called into question. Nearly two centuries on, musicians return to his works with mingled affection and amazement.
He will also conduct his Totentanz with the Boston and Chicago symphony orchestras and the Los Angeles and New York philharmonic orchestras. His recent piano engagements include solo recitals at Carnegie Hall and the Barbican and concerto appearances with the New York Philharmonic. His Britten recordings include the three tenor cycles, Serenade for tenor, horn and strings, Les illuminations and Nocturne. He is a Visiting Professor at the Royal Academy. Susie Allan. Susie has performed all over Britain and Europe and made recordings and broadcasts for the BBC and Channel 4, with a variety of well-established singers, many of whom appear at Oxford Lieder, in particular Roderick Williams, with whom she has a long association.
Together they have appeared at home and abroad, last year performing Schubert at Schloss Atzenbrugg, home of the original Schubertiade. She lives in south Shropshire with her three children. Thomas Allen is an established star of all the great opera houses. He was made Chancellor of Durham University in Among his proudest achievements is having a Channel Tunnel locomotive named after him. She currently works at the Royal College. Her co-edited book Brahms in the Home and the Concert Hall will be published by Cambridge University Press later this year and she is currently completing a monograph, Brahms and his Poets.
Marcelo Amaral Winner of the Pianist Prize at the International Robert Schumann Song Competition, Brazilian pianist Marcelo Amaral has quickly gained considerable reputation as one the most sought-after accompanists of his generation. In he made his debut at Wigmore Hall and at the Schubertiade in Schwarzenberg. Collaborative piano playing, particularly with singers, features prominently in his professional life, including many broadcasts and recordings, and he has developed a unique style of vocal coaching. He has taken part in over 15, auditions and performance examinations including about as part of the Kathleen Ferrier Competition.
He teaches on the Abingdon and Oxenfoord summer schools and leads specialist French repertoire courses for the Jackdaws Educational Trust. In he became an official Steinway Artist. In Eugene devised a recital series at Kings Place in honour of the anniversary of Felix Mendelssohn. The Orchestra enjoys an increasingly busy touring calendar both in the UK and internationally and has worked with a roster of worldclass artists across multiple art forms. An accomplished chamber musician, soloist and accompanist, James has given recitals throughout Europe and further afield. Iain Burnside is an acclaimed vocal accompanist.
His recordings straddle an eclectic repertoire ranging from Beethoven to Judith Weir, with a special place reserved for the highways and byways of English song. He also enjoys a close association with Rosenblatt Recitals, both on stage and in the studio, in collaboration with Opus Arte. He is a Sony Award-winning broadcaster and a master programmer, curating various festivals and recital series. In association with the Guildhall School, Burnside has written a number of highly individual theatre pieces, performed at the Barbican, Milton Court and the Cheltenham Festival.
His many recordings have won all the major international record prizes and been nominated for 13 Grammys. Originally from Massachusetts, Deirdre earned a bachelors degree from Dartmouth College and a masters from the Royal Academy and the Vienna Conservatory. She has appeared regularly at the Liceu since Swedish soprano Malin Christensson studied at the Royal College.
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Sophie Daneman studied at the Guildhall School. Forthcoming engagements include staging the tour for Le Jardin des voix. Allan has given Lieder recitals around the world. Charles Daniels studied at Cambridge and the Royal College. Nicholas Collon is known as a commanding and inspirational interpreter in an exceptionally wide range of music. His skills as a communicator and innovator have been recognized by critics and audiences alike. She was born in Barcelona and studied at the Conservatory in the city. During his years in Cuba he took part in masterclasses with Leo Brouwer and John Williams among others.
Recent roles include Gerhard in H. He has also collaborated with the Bridge, Chilingirian, Coull and Dante string quartets. Matthew Fletcher Award winning pianist Matthew Fletcher is increasingly in demand as a recitalist, particularly of song repertoire. He has been on the music staff at Glyndebourne since , most recently working on Der Rosenkavalier and La finta giardiniera.
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He has worked for Raymond Gubbay and as a vocal coach at the Royal Academy. He is also an enthusiastic explorer and champion of lesser known music and composers such as Medtner, Ireland, Alkan, Novak, Robert Fuchs and others. Recent projects have included performances of the complete Schubert sonatas, a composer to whom he always returns. He currently runs a chamber music society series in Stockholm, alongside many international engagements. Lyric tenor Joshua Ellicott was born in Manchester and read music at York University before continuing his vocal studies at the Guildhall School.
He is a graduate of the Royal Academy where he studied choral conducting and singing, a former lay clerk of Christ Church, Oxford and a member of the internationally acclaimed vocal ensemble Stile Antico. Equally comfortable in an elegant concert house or a smoky beer hall, the Erlkings are the only group to get audiences dancing to Goethe and Schiller. Since then they have been in much demand for their original and exciting performances. He read modern and medieval languages at Cambridge, where he was choral scholar in Clare College Chapel Choir.
Maria first graduated as an organist and choir conductor at the Royal College of Music in Stockholm and then pursued early music studies in London before completing her studies in orchestral conducting in St Petersburg. Her love of singing took over and she now sings frequently with the conductor Teodor Currentzis. An accomplished concert performer, she has performed with many renowned orchestras, including the Royal Liverpool Philharmonic and Capella Cracoviensis. Isa has a special interest in Lieder and is an acclaimed recital singer and in made her UK debut at Wigmore Hall.
During the coming season Isa will release two recordings of Nordic Lieder with the pianist Bengt Forsberg. Lucy Hall has just completed her training at the National Opera Studio. She previously trained at the Guildhall School and was awarded the Dove Memorial Prize for being the highest marked graduate of and the Wyburd Trust Prize for Lieder. He enjoys a busy international career as a concert, recital and recording artist and has worked with many major conductors and orchestras.
Stephen is a lecturer at Christ Church and University Research Lecturer, contributing to courses in plant conservation biology, plant biodiversity and field biology. Stephen has considerable fieldwork experience, particularly in Brazil. He has also long-standing interests in the history of botany and collections, and plant identification. Plants in cultivation — His many awards include the accompaniment prize in the Kathleen Ferrier Competition and the Gerald Moore Award. Christopher has performed in all the main UK concert halls and in major concert venues and festivals throughout the world.
He is currently continuing his vocal studies as a full scholarship awardee on the opera course at the Guildhall School with Janice Chapman. Martin started his vocal training at the University of Music and Theatre in Leipzig. Supported by an Erasmus scholarship, he moved to London in to continue his studies at the Guildhall School with Rudolf Piernay.
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Susan Gritton is one of the foremost lyric sopranos of her generation. Tim Hawken studied viola at Royal Northern, where he was also awarded a piano accompaniment scholarship. After graduating in he remained at the RNCM as an Assistant Staff Pianist in the vocal department, a role he combined with work as a deputy lay clerk in Manchester Cathedral Choir. He also appeared occasionally with the Orchestra of Opera North on viola and violin. Scottish mezzo-soprano Katie Grosset recently finished training at the National Opera Studio in London and she currently sings under the tutelage of Catherine Wyn-Rogers.
Both films serve to accompany live orchestral performances. His recordings range from Baroque to 20th-century opera and song, including an award-winning two CD set of the songs of Charles Ives. Benjamin Hulett graduated from New College, Oxford. He was a principal singer with the Hamburg State Opera, where his many roles included Tamino and Ferrando, returning as a guest for Tamino and Narraboth. Future appearances include recitals with Simon Lepper and James Baillieu.
Matti Hirvonen Swedish pianist Matti Hirvonen has been a collaborative pianist since he was a student and is today regarded as one of the leading accompanists in Scandinavia, equally comfortable in all forms of chamber music. He is a professor of accompaniment at the Norwegian Academy of Music in Oslo and has held similar positions at the Royal College and in Stockholm.
He regularly gives Lieder masterclasses for both pianists and singers. Daniel Johannsen Born in , Austrian tenor Daniel Johannsen is one of the most sought-after Evangelists and Bach interpreters of his generation. Song recitals are a central focus of his work and he collaborates with pianists including David Lutz, Burkhard Kehring and Helmut Deutsch.
Robert Holl is also the composer of a number of songs. After a period of absence from the stage, he returned during the late s and has appeared at the Vienna State Opera, Berlin State Opera, Zurich Opera and, since , at Bayreuth. As a Lieder and concert singer his main focus has been on German language and Russian composers. Numerous radio and CD recordings document the versatility of his repertoire. His extensive discography includes the entire Schubert and Schumann Lieder for Hyperion. He was awarded the Hugo Wolf Medal in Since he has taught Lied and oratorio at the Mozarteum in Salzburg and given masterclasses in Europe and North America.
From to he held a lecturing post at the University of Manchester. He is still active as a musicologist, lecturer, editor and performer and his main interests lie in 19th-century Austrian music, particularly the music of Schubert and Bruckner, and in 19th and early 20th-century sacred music. As Chairman of SIUK, editor of The Schubertian and associate editor of The Bruckner Journal, he contributes reviews and articles on a regular basis and has co-organized and participated in international Schubert and Bruckner conferences in the UK since Sholto Kynoch is a sought-after pianist who specializes in chamber music and song accompaniment.
In addition to a busy performance schedule and a fast-growing discography, he is the Founder and Artistic Director of the Oxford Lieder Festival. In she made her debut at Glyndebourne Hippolyte et Aricie , returning this summer to sing Sandrina La finta giardiniera. Bartholomew engages in a rich variety of musical collaborations and has recently performed with figures such as Anthony Marwood, Christian Tetzlaff and Andras Keller.
He is grateful for the private loan of a Benjamin Banks Jr. She is now in great demand in the foremost international venues, especially as a Mozart singer. She has especially close relationships with La Monnaie and the Theater an der Wien singing Baroque and Classical roles. Since winning the Audience Prize at the Wigmore Hall Song Competition she has developed an acclaimed career as a recitalist.
Her extensive discography includes successful releases of aria and song recitals and complete operas. Harmonia Mundi recently released her new album of Poulenc songs. During a four-year appointment as Head of Music at the Aldeburgh Festival he conducted and programmed a broad repertoire. Kildea holds an honours degree in piano performance and a masters in musicology from the University of Melbourne, where he is now an Honorary Principal Fellow, and a doctorate from Oxford University. His books include Selling Britten and Britten on Music.
She graduated in piano from the University of Auckland in She enjoys an international career, dividing her time between recitals and opera in Europe, North America and the Far East. She has an extensive discography on the Sony Masterworks label and has won many awards including a Grammy. Earlier in the season she appeared as Nancy for the first time in a new production of Albert Herring directed by Brigitte Fassbaender at the Volksoper and also made her recital debut at the Konzerthaus in Vienna with pianist Matthias Lademann.
She was also a prizewinner at the Wigmore Hall Lieder Competition in Norwegian baritone Espen Langvik made his debut in at the Norwegian National Opera and since he has been a permanent soloist in the ensemble. He is a professor of piano accompaniment at the Royal College, where he also co-ordinates the piano accompaniment course. He has been a member of the cello faculty of the Royal Academy since Works include Rigoletto Fantasy for cello and orchestra, Suite Tintin for cello and piano and the melodrama The Stamp King for cello and piano with narration.
Her co-edited book Brahms in the Home and the Concert Hall will be published by Cambridge University Press in and she is currently completing a monograph entitled Brahms and his Poets. Angharrad Lyddon is from Wrexham and is studying at the Royal Academy. He is a renowned recitalist and concert performer and has appeared with major orchestras across Europe and the USA.
He was given an honorary doctorate at the Royal Scottish Academy in and appointed International Fellow of Accompaniment in Geraldine has recorded for Hyperion and broadcast regularly on the BBC. She won the Kathleen Ferrier Award and has performed frequently at Wigmore Hall since her debut in Joseph Middleton Pianist Joseph Middleton specializes in the art of song accompaniment and chamber music and has been highly acclaimed within this field.
Benedict Nelson British baritone Benedict Nelson is one of the most exciting singers of his generation. He also studied at the National Opera Studio in London. In recital he has appeared at the Brighton and Aldeburgh festivals and Wigmore Hall. His realizations of three fragmentary Schubert symphonies have been performed and broadcast around the world, conducted by Neville Marriner, Charles Mackerras and Simon Rattle among others, and recorded several times. Since his retirement as Professor of Music at the University of Hull he has begun work on a third book about Schubert.
The Orchestra of the Age of Enlightenment Just under three decades ago, a group of London musicians took a good look at that curious institution we call the orchestra and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge?
No way. Specialize in repertoire of a particular era?
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Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. Since then, the OAE has shocked, changed and mesmerized the music world. Period-specific instruments have become just one element of its quest for authenticity. Today the OAE is cherished more than ever. It still pushes for change and still stands for excellence, diversity and exploration. Rowan first began studying voice with Betty Middleton. Rowan is supported by the Josephine Baker Trust.
His work as a concert pianist has taken him round the world for 40 years. Before beginning her studies at the Guildhall School, Raphaela graduated from Clare College, Cambridge with a first class degree in English. A committed recitalist and a Samling Scholar, Raphaela made her song recital debut at Carnegie Hall earlier this year following a residency at the Banff Centre, Canada. His extensive repertoire includes oratorios and passions from the Baroque, Classical and Romantic periods and works from the 17th and 20th centuries.
His discography nearly numbers recordings, which have been awarded numerous international prizes. His wide repertoire encompassed the music of Monteverdi, Bach and Handel, Elizabethan lute songs, German, French and English songs and first performances of new works. Ian Partridge has also enjoyed taking masterclasses on Lieder, English Song and early music. Ian retired from public performance in but remains a professor at the Royal Academy.
He was awarded the CBE in for services to music. He has built close ties over recent seasons with Kings Place in London, both as curator of a Britten centenary series and in collaboration with The Sixteen, as part of a Brahms and Schumann retrospective, and with the Sage, Gateshead, where he has performed as a Samling Scholar and as a regular guest of the Royal Northern Sinfonia Chamber Series. He has appeared regularly at the Oxford Lieder Festival over the last ten years, made his Southbank Centre debut with Anna Dennis as part of the Park Lane Group series and his recital partnership with Nicholas Mulroy is of comparable long standing.
His work on Central European culture is increasingly well-known and his articles, essays and notes have appeared in newspapers, magazines and programmes around the world. Anna Lucia Richter is passionate about Lieder. Spanish soprano Sylvia Schwartz is quickly becoming one of the most exciting lyric singers of her generation. Richter performed the complete works for cello of Brahms and Webern , Beethoven and Bach in London. Familiar to audiences across the world, the Ensemble has been hailed for its dedication and commitment to both traditional and contemporary repertoire.
It has over 80 commissions to its name, has recorded over 30 critically acclaimed CDs and is familiar to British audiences through regular broadcasts on BBC Radio 3. She is currently studying on the opera course at the Guildhall School with Gary Coward. While still a student, Klemens made his debut at the Volksoper, where he is now a resident soloist. He made his debut at the Landestheater in Salzburg as Tamino, before becoming an ensemble member at the National Theatre in Mannheim.
Andrew Staples is considered one of the most versatile tenors of his generation. He is currently a Fellow in conducting and piano at the Guildhall School. Birgid Steinberger is professor of song and oratorio at the Vienna Conservatory and professor at the University of Music and Performing Arts. Mark van de Wiel is principal clarinettist with the Philharmonia Orchestra since and is also principal with the London Sinfonietta since , London Chamber Orchestra since and Endymion.
He works closely with leading composers and conductors and has given many world and UK premieres as a soloist, including works by Carter, Maxwell Davies and Birtwistle. He is much in demand as a teacher and has recently given masterclasses in Brazil, Poland and the UK. Mark Stone studied at the Guildhall School.
Since her debut at the Wigmore Hall in she has become a regular artist at all the leading concert halls and festivals. They recently recorded a disc of Schumann song cycles, due for release in Anna studied at the University of York and the Royal Academy, where she was made an Associate in Mark Viner is recognized as one of the most exciting British concert pianists of his generation and is becoming increasingly well known for his bold championing of unfamiliar pianistic terrain.
Having won first prize at the C. Alkan — P. Due to his close association with unjustly neglected areas of the piano literature, he was recently elected Chairman of the Alkan Society. Ian Tindale read music at Selwyn College, Cambridge and graduated in with a double first.
He subsequently completed the Master of Performance course in piano accompaniment at the Royal College with distinction, having studied with John Blakely, Simon Lepper and Roger Vignoles. She previously taught at the universities of Manchester and Reading, having gained her PhD from Princeton in Two women have to work out whether or not they are dead.
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