I don’t usually write about very personal things on this blog – except when they directly relate to my piano playing or music – but this morning we had to take the very difficult decision to have our beautiful Burmese cat Freddy put to sleep. Saying goodbye to a much-loved animal companion is never easy. Freddy had enjoyed a very long and happy life, but in the last few weeks he had become increasingly frail, could hardly stand and eventually stopped eating, and it was clear he was nearing the end of his life. As pet owners, we usually know when it is the right time to do the most humane thing (what a pity we are not at liberty to do the same to our human loved ones in similar circumstances…..). In his youth Freddy was a great wanderer, a fearless fighter and a slayer of squirrels, but he was also very companionable and he loved the company of humans.

My piano students, especially when they were young kids, loved Freddy and my other cat Poppy (who died in 2009), and Freddy would frequently “join in” with piano lessons, either by yowling loudly (he had a very distinctive miaow, a feature of his breed) while a child was playing or by jumping up on the piano, or sitting on the piano stool next to a student. Sometimes he would leap onto the keyboard and parade up and down – “Ooh look, he’s playing his scales!” the surprised and delighted student would exclaim. Once, when a pianist friend came to lunch, Freddy leapt onto the keyboard interrupting our conversation with what I claimed was “Stockhausen”. “That’s amazing!” my friend declared, rushing into my piano room to witness my cat playing “plinky plonky music”.

I’ve always lived with cats, and I’ve owned five cats (including three Burmese) during the course of my nearly 30 year-marriage. Cats strike me as good companions for pianists –  I know many pianist friends and colleagues who have cats. We both crave and often actively seek solitude and quiet, and a cat is an undemanding companion, unlike a dog who seeks attention and, rather like a toddler, cannot be left to its own devices for long. Cats are independent (something which non-cat people regard as a negative trait) and come and go as they please. Freddy would often wander into my piano room and sit under the piano, or join me on the piano bench, leaning gently against me as I played.

He will be much missed, as are all our cats, but I have a feeling we will not be without a cat for too long…..

Guest post by Benjamin Tassie

On June 3rd IKLECTIK’s performance space, bar and garden will exist between two worlds: that of the baroque dance parties of the 17th and 18th centuries, and the musical world of 21st-century London. The sound of the baroque flute and bass viol, the music of Byrd or Bach, will mix with music from across the centuries for Baroque Remix, the first full-scale incarnation of this new classical club night. Baroque DJs will ‘live remix’ baroque music, sampling Lauryn Hill or 2Pac alongside Pergolesi or Purcell. Combining the best of baroque, hip hop, R&B, and contemporary classical music, Baroque remix will reimagine baroque music with drum loops or through the synth-bach arrangements of Wendy Carlos (‘A Clockwork Orange’ soundtrack).

The evening will feature live sets from period instrumentalists Carla Rees (baroque flute) and Liam Byrne (viola da gamba) playing a mixture of old music and new, showcasing the diversity of these historic instruments. World class performances will present baroque music alongside pop arrangements and works by contemporary classical composers, in a series of small sets throughout the night that reframe these instruments for today’s new-music scene.

Previously performed at nights for the V&A (part of a museum late, opening the new Europe 1600-1815 galleries) and Royal Palaces (for ‘Queen James’, part of #PalacePride at Banqueting House), Baroque Remix on June 3rd will be the first full-scale club night, with IKLECTIK’s bar and garden the perfect informal setting for a night of unique and innovative music making.

Venue Details

IKLECTIK

Old Paradise Yard, SE1 7LG

www.iklectikartlab.com

Nearest Tube: Lambeth North / Westminster

Date and Time

03.06.2017 – 8-11pm

Tickets £10

Book tickets

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John Irving, fortepianist

A new chamber music series launches in Kingston-upon-Thames on Thursday 18 May at All Saints Church, Kingston Marketplace.

The opening concert features keyboard music by Haydn, Bach and Mozart performed on a replica fortepiano very like the type of instrument Haydn and Mozart would have known and played. The concert is given by John Irving, Professor of Historical Performance at Trinity-Laban Conservatoire in Greenwich.

Future concerts in the series include the Piatti String Quartet in music by Debussy, Britten and Beethoven, and the Armorel Piano Trio, who will perform Beethoven’s ‘Ghost’ Trio together with works by Schumann and Dvorak.

The concerts will have a relaxed format, with audience seated salon style around small tables to create a convivial atmosphere and as a reminder that chamber music was written to be enjoyed in this way.

Tickets cost £15 (students £5) for a single concert or £40 for the whole series.

Further information and booking via kingstonchamberconcerts@gmail.com / tel. 020 8549 1960

Venue: All Saints Church, Kingston Marketplace, Kingston-upon-Thames KT1 1JP

ELGAR’S REVELATORY PIANO TRANSCRIPTION OF THE ‘ENIGMA VARIATIONS’

in a new album with

RARE CHAMBER WORKS BY BRITISH 20TH-CENTURY COMPOSERS

ENIGMAS: Solo piano and chamber works

by Elgar, Leighton, Rubbra, Bowen and Sackman

Performed by acclaimed young artists:

ELSPETH WYLLIE piano

solo and chamber recitalist, appearances at the Purcell Room, Fairfield Halls, and for BBC Radio Scotland

CLAIRE OVERBURY flute 

guest player with Britten Sinfonia, the RPO, and the Hallé Orchestra

HETTI PRICE cello

appearances at the Southbank Centre and on BBC Radio 3 In Tune

ALEXA BEATTIE viola 

guest player with Munich Chamber Orchestra, ensemble appearances with Lisa Batiashvili and Kim Kashkashian

CATHERINE BACKHOUSE mezzo-soprano 

Britten Pears Young Artist 2015, solo appearances with Scottish Chamber Orchestra and Garsington Opera

To coincide with Elgar’s 160th birthday on 2nd of June 2017, Divine Art is releasing a recital recording of solo piano and chamber works, featuring Elgar’s own solo piano transcription of his much-loved Enigma Variations.  Elgar originally extemporised and sketched out the music at the piano, and his transcription highlights the intimate nature of a work inspired by friends and acquaintances.

This is complemented by a varied collection of masterful repertoire by British composers. Edwin York Bowen’s Sonata for flute and piano is well-known to flautists and Kenneth Leighton’s Elegy is familiar to many cellists – both works deserve to be more widely-known as staples of post-romantic concert repertoire. Edmund Rubbra’s Two Sonnets by William Alabaster for trio are exquisite, essential listening, and this is the first modern-day recording with a mezzo – as Rubbra intended. Finally, a premiere recording of Nicholas Sackman’s Folio I for solo piano, a lively suite originally written for his family.

Recording release date: 19 May 2017

CLICK HERE TO LISTEN TO A SAMPLE TRACK

LIST OF WORKS:

EDWARD ELGAR – Enigma Variations, Op.36 (composer’s own piano transcription)

KENNETH LEIGHTON – Elegy for cello and piano

EDWIN YORK BOWEN – Sonata for Flute and Piano, Op. 120

NICHOLAS SACKMAN – Folio I for solo piano  *premiere recording*

EDMUND RUBBRA – Two Sonnets by William Alabaster for medium voice, viola and piano Op.87

ENIGMAS Solo piano and chamber works (Divine Art catalogue no. DDA 25145)

CDs available to pre-order:  www.elspethwyllie.co.uk/enigmas-cd/

Digital format available 19 May: www.divineartrecords.com

For further information please contact:

Kathryn Marshall (Divine Art) – Kathryn@divineartrecords.com

Elspeth Wyllie (performer) – 07878 411300