pianist Helen Burford
pianist Helen Burford

While the famous south London parakeets squawked in the trees of Bushy Park outside, inside Bushy House, home to the National Physical Laboratory’s Musical Society, Brighton-based pianist Helen Burford gave a lunchtime recital of great imagination and musical colour, demonstrating the full tonal, percussive and emotional range the piano can offer.

Now in its 63rd season, the NPL Musical Society hosts regular concerts throughout the year featuring a varied range of artists, both established and up-and-coming, and provides useful performance experience for young musicians in conservatoires and music colleges who are preparing for end of year, or final recitals. (Indeed, my own piano teacher played at the NPL when she was a young woman.) The venue boasts a rather stately 1911 Steinway, and the audience is supportive, friendly and interested.

Helen trained at Birmingham Conservatoire, the University of Sussex and Guildhall School of Music and Drama, and has studied with a number of renowned teachers, including Heather Slade-Lipkin, Peter Feuchtwanger and Stephen Gutman. A champion of British and American new music, her NPL concert reflected her passion for this repertoire, with an eclectic programme of works by contemporary composers, including Martin Butler and David Rakowski.

Chick Corea’s ‘Three Improvisations’ offered a gentle entrée to the programme. The first and third pieces in the triptych, Where have I known you before and Where have I loved you before, were played with a wistful, sensuous sensitivity, while the middle movement was a lively, toe-tapping dance.

I have heard Helen perform Somei Satoh’s ‘Incantation II’ several times, and each time it has been slightly different, and always highly absorbing. The work, which has never been published, relies on the minimalist technique of prolonging a single unit of sound, while creating the sensation of a ‘rhythmic limbo’, a sense of stasis that is characteristically Japanese (cf the music of Toru Takemitsu). The music makes full use of the piano’s resonant qualities, creating a remarkable bloom of sound, which suggests a variety of instruments including cello, horn, bells, harp, drums. Building slowly from a simple opening, this music is hypnotic and meditative, and Helen’s controlled and intense performance made this an extraordinary and unusual musical experience.

Following this with a sonata by Scarlatti was inspired, for it highlighted not only the mannered elegance of the Baroque but also how revolutionary Scarlatti was, in his daring use of dissonance and unusual harmonies. It was performed with a lyrical simplicity.

The next work, a piece by composer Ester Mägi, named after an instrument called a kannel, a kind of plucked zither or psaltery, recalled the folk music of Mägi’s native Estonia with stamping off-beats and haunting melodies, to which Helen brought great colour, sensitive dynamic shading, and rhythmic vitality.

From the folk idioms of eastern Europe to the industrial western city in Martin Butler’s ‘Rumba Machine’, a celebratory fanfare-like piece, which suggests swiftly turning cogs and wheels of machines and the blaring sirens and honking horns of the city over a compelling rumba beat. This, together with David Rakowski’s witty Étude ‘A Gliss is Just a Gliss’, a study on glissandi, was played with an extrovert elan, bringing to a close a most enjoyable and refreshingly original lunchtime recital.

Helen will be performing a similar programme at the launch of the South London Concert Series on 29th November 2013 at the 1901 Arts Club. Further details here slcs1901.wordpress.com. Tickets southlondonconcerts@gmail.com

https://soundcloud.com/cross-eyedpianist/three-piano-improvisations

NPL Musical Society concerts take place in the Scientific Museum, Bushy House, National Physical Laboratory, Teddington TW11 0LW. Tickets £3 on the door.

Upcoming concerts this season include: 23 October – Joseph Tong, piano; 1 November – Madelaine Jones, piano; 11 November – Alice Pinto, piano; 22 November – Kathron Sturrock, piano. Further details Stephen.Lea@npl.co.uk

Anika Vavic (photo credit: Marco Borggreve)

Who or what inspired you to take up the piano, and make it your career?

I was lucky to have very motivating teachers from the very beginning of my musical career. I attended Ivo Pogorelich´s recital in Belgrade when I was 9 years old (alone, because it was sold out so my parents couldn’t accompany me) and the atmosphere in the concert hall fascinated me so much – so much that I felt a desire to perform professionally. I remember Pogorelich performing a Chopin programme, and it was so fantastic I couldn’t sleep that night. I felt and thought that I saw a lion making music with that Steinway piano.

Who or what were the most important influences on your playing?

My teachers Noel Flores, Lazar Berman and Mstislav Rostropovich, and the ‘old school pianists’ such as Sofronitzky, Rachmaninov, Richter, Gilels to name some, as well as Radu Lupu, Sokolov, Barenboim.

What have been the greatest challenges of your career so far?

My “Rising Stars” tour was certainly thrilling where I had the opportunity to perform at the Carnegie Hall and Concertgebouw for example. Another fantastic experience was my debut performance at the great Vienna Konzerthaus performing Tchaikovsky´s Piano Concerto No.1. Also, the first time I performed with Valery Gergiev was very special.

Which performances/recordings are you most proud of?

In general, all the performances where I felt I was going beyond the “concept”, including my visualized 3D model of the composition I was performing [and discovering a new angle of the piece while performing.  I love the Schumann “Kreisleriana” I recorded for the last CD – that’s a recording that I will still love in 20 years.

 Do you have a favourite concert venue to perform in?

My favourite venues are the Vienna Musikverein, Vienna Konzerthaus, the new Mariinsky Concert Hall and definitely the Conservatory in Moscow.

Favourite pieces to perform? Listen to?

I love performing any piece by Bach, Haydn Sonatas, Beethoven (especially op. 101), Schumann, Ravel, Brahms, Scriabin, everything by Prokofiev… I love listening to Brahms’ Double Concerto with Oistrakh/Rostropovich.

Who are your favourite musicians?

The musicians who serve the music and not themselves are my favourite: Oistrach, Rostropovich, Richter, Gilels, Rachmaninow, Sofronitzky, Sokolov, Lupu, Maazel, Gergiev, Jansons…. Unfortunately such musicians seem to disappear with the rise of the younger generation, and the whole music making fashion.

What is your most memorable concert experience?

I remember performing Bach´s Italian Concerto among other compositions and enjoying sitting on the grand chair in this great hall in Belgrade, and all the attention that I received along with it. I was 11 I think, and I thought, ‘that´s how Pogorelich must feel on this same chair and piano we are “sharing” as colleagues’.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Honesty and real love towards music, and looking back to the old times where there was ‘no selling of emperor’s new clothes’ as it is today with making music – my advice to aspiring new musicians is to take it from there and keep the musical morality.

What are you working on at the moment?

The phenomenal 4th Piano Concerto by Rodion Shchedrin for my performance with Valery Gergiev, and Prokofiev´s 3rd Piano Concerto as I will be performing this piece at the Proms this month and the Enescu Festival in September.

Where would you like to be in 10 years’ time?

Continuing the collaboration with my dear colleagues Valery Gergiev, Vladimir Jurowski, Paavo Jarvi, but also performing with Mariss Jansons, for instance.

What is your most treasured possession?

Vivid recollections of beautiful moments.

Anika Vavic performs Prokofiev’s Piano Concerto No. 3 in C major with Vladimir Jurowski on Friday 30th August. Further details here

Pianist Anika Vavic made her performance debut at Vienna’s Konzerthaus in 2003, and as a result, was chosen for the 2003/04 season highly commended “Rising Stars” concert cycle, leading to further performances in some of the world’s most famous concert halls. Together with the Musikverein, the Österreichischer Rundfunk produced a CD of her recital program from the season; Anika’s first release. Her latest disc, featuring works by Beethoven, Schumann, Chopin and Prokofiev was released in 2010 to great acclaim.

Anika works regularly with orchestras such as the Mariinsky Orchestra, the Munich Philharmonic and the MDR Orchestra Leipzig, and performs at festivals such as the ”White Nights” festival in St. Petersburg, the Istanbul Music Festival and Valery Gergiev’s Mikkelli Festival in Finland.

Her upcoming engagements include concerts with the Mariinsky Orchestra in July 2013, her debut performances with the London Philharmonic Orchestra at the BBC Proms and at the Enescu Festival in August 2013 and her return to the Munich Philharmonic Orchestra in March 2014. [Biography courtesy of Wildkat PR]

www.anikavavic.com

Fryderyk Chopin’s evergreen Mazurkas lend themselves to a wide variety of interpretations, and on her CD on the Delos label, Korean pianist Klara Min shines another light on them in a personal survey of her favourites.

The mazurka is a Polish folk dance in three time with an accent on the second or third beat. Chopin elevated the form into the concert miniature, in effect creating a new genre that became known as the “Chopin genre”. The sixty-nine Mazurkas that he composed in his lifetime remain amongst his best-loved music for piano. They offer some of the most intimate musical insights into Chopin’s relationship with his homeland, with their lilting rhythms and harmonies, poignant suspensions, tender, meandering melodies and falling cadences, and the subtle use of rubato. Others are more lively, with bright rhythms and piquant textures; yet all seem imbued with zal, that untranslatable Polish word so often associated with the music of Chopin, suggesting nostalgia and longing.

Klara Min’s approach to these works is sympathetic and thoughtful, if occasionally a little too studied in some of the phrasing and use of tenuto. But overall she neatly captures the individual idiosyncrasies, and shifting nuances and textures of these miniatures, with melodies sensitively highlighted, though never at the expense of the interior architecture of the music (the Mazurkas are replete with complex harmonies and counterpoint). A warm tone and wide-ranging pianistic colours, combined with supple tempo rubato, a plaintive tenderness, which runs through all the works on the CD, and Min’s technical acuity result in a charming reading of these exquisite miniatures. The selection closes as intimately as it opens, with the heartrending Op 68, no. 4, Chopin’s last composition – a piece which my piano teacher says she never teaches to students “because it is so very special”.

The CD comes with detailed notes and is produced with vibrant, clean sounds.

Klara Min will feature in a forthcoming Meet the Artist interview

Pianist Clare Hammond (photo credit © Angela Dove)

The Monday Platform at Wigmore Hall, presented by the Park Lane Group, showcased the impressive and varied talents of the Lawson Trio and pianist Clare Hammond.

This was an enjoyable programme which combined the elegant and witty classicism of Haydn with the intimate lyricism of Schubert, the mercurial passions of Schumann, Bach’s Italianate arabesques, and the earthy nationalism of Ginastera. The mix of ensemble and solo piano works made for an extremely satisfying concert experience.

Read my full review here

JDJ_2446-1

Who or what inspired you to take up the piano and make it your career? 

Apparently, my grandfather always wanted my mother to play the piano, but they came from a very humble background and decided that instead of going to a conservatory she would be much better off attending a regular school to become a doctor. When I was born, she was 35 and finally started taking lessons. However, it was just too difficult to continue lessons while working and looking after two kids, so she instead spent her free time with me playing games at the piano. I would sit at the instrument, singing and playing with full concentration for hours, which they thought was unusual for a baby. So my mother took me to her teacher, who kept refusing to teach me, saying my fingers were too short to start. She finally took me on when I was five-and-a-half years old, so my formal musical education began at her studio on the weekends.

Who or what were the most important influences on your playing? 

I think that the ‘social environment’ is very important, as well as your upbringing. At my home there were two gigantic speakers that my father put up in the living room with much pride. It was always very important to be able to ‘to listen to music’ instead of playing something in the background. I think this made me an ‘active’ listener, paying attention to melodies and just generally being aware of what is happening. Music was also something that connected my family. Despite all the little fights we had, we would turn the music on to dance and laugh. I remember times when the four of us would all wear sunglasses and dance to Rock ’n’ Roll in the living room. My dad had some killer moves – he would spin me in the air. My sister also loved singing – although her voice was pretty awful. (She is now much better and often sings to her own baby son!)

On the weekends when I took lessons, it was much more formal and disciplined. My first teachers made me understand the huge responsibility you take on as a performer, when you are playing a great piece by a classical composer. From the beginning, I knew it was not something you could take ‘lightly’. To me, playing the piano was serious: it needed so much detailed analysis, character and effort. I remember playing a Chopin Waltz when I was 7 years old in front of hundreds of people and it felt like my heart almost stopped backstage. I still get that feeling; but I wouldn’t call it ‘stage fright’ because I always loved going on stage, yet it is the enormous respect you feel towards all these amazing composers and you, as a pianist, should represent their work the best you can, so the audience can understand it.

I think, I took lessons following these two approaches: 1) using music to communicate and to have fun 2) taking it seriously and approaching it with respect and admiration

What have been the greatest challenges of your career so far? What advice do you have for other musicians? 

There are amazing talents I’ve met at my schools and it is almost always the same path for musicians: you teach, take part in competitions and accompany people to earn money. Yet, when you do what you have been educated to do (give concerts), they expect you to do it for free. It is not seen as a career, as you do not earn money for the hours you spend practising the piano, and this is such a pity. I see so many of my colleagues spending so much time wasting their skills on things they would not do if they were provided with better financial opportunities. They also do not have any time left to create something new because they spread themselves too thinly. (The tragic truth is even an entry level secretary gets paid more than an experienced professional musician)

This is because funding for arts and music gets cut first whenever there is a financial crisis, and without sponsorship and/or government support it is difficult for musicians to prosper.

Thanks to the digital age, I am lucky to have so many amazing fans around the world that connect with me through Facebook, YouTube and Twitter and make it possible for me to have a busy concert schedule!

I would like to see the same happening to my friends and I think the greatest step they can take is to use self-initiatives, take risks and communicate with their audiences more.

Which performances/compositions/recordings are you most proud of?  

I did a peace concert in Moscow along with 11 other pianists, all from conflict-affected countries. It was at The Cathedral of Christ the Saviour (the tallest Christian Orthodox church in the world), and was an event where people from different religions, races and political sides came together to promote worldwide peace through classical music. It was so touching, and I had a great time working with everyone there.

Do you have a favourite concert venue to perform in? 

I think each venue has its own unique characteristics. I love it when there is good acoustics and a great piano, yet it is also the people who listen to you that affect your performance. I like it when the audience members are willing to interact with me and this can happen the most in the unexpected parts of the world. For example, I was 12 years old performing at a small Greek town when after the concert an old Greek man approached me and told me the lines from a Turkish poem he had memorized, following a “tesekkurler” – (‘thank you’). I guess the magical experiences are created by people, not buildings or pianos. My favourite venues are those where I can inspire as many people as possible through music.

Favourite pieces to perform? Listen to? 

I listen to a lot of romantic classical music as well as oldies, rock and pop music up until the early 2000s. I love performing Chopin, Rachmaninoff, Liszt. I also love Beethoven because he was such a revolutionary guy.

Who are your favourite musicians? 

I admire those ‘giants’ who are sadly no longer with us, among them are Vladimir Horowitz, Arthur Rubinstein, S. Richter, Rosalyn Tureck and Artur Schnabel. Currently, my favourite pianists include Menahem Pressler and Arcadi Volodos, who always make their performances ‘magical’ and ‘inspiring’.

I also admire Lang Lang for being so open-minded, creative, hugely talented, for inspiring so many young people with his music and for his entrepreneurship. I think we need more people like him in this world.

What is your most memorable concert experience? 

My first concert with orchestra when I was 9, playing J S Bach’s 5th Keyboard Concerto was so important to me. It was the first time I showed I was able to handle this work. It was also very stressful, as there were more than 700 people in the audience hearing me for the first time. In the end it was a success. I received a huge toy dog from an audience member as a present, which I still keep.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? 

I think the most important thing is to be honest with what you do. Do not try to hide your own characteristics, in fact exaggerate them! I hear so many people who play so robotically just to be ‘perfect’ – yet their music becomes nothing more than a ‘photocopy’ of other people’s performances. It is important to be spontaneous on the stage and really let your emotions control your performance.

What are you working on at the moment? 

I am working on the rest of my Pink Floyd arrangements for the full album to be released this summer, along with chamber music performances and solo classical concerts. It is very busy, arranging, practicing, rehearsing and performing. I also like doing some creative and not-so-classical productions to really enjoy music.

What is your idea of perfect happiness?

Happiness to me means always having a project ready to inspire people with.

What is your most treasured possession?

I do not treasure objects. I treasure people, and the time you spend with them. Most of it is with those who inspire me and open my eyes, help broaden my thinking and allow me to see the world differently.

What do you enjoy doing most?

I love getting reactions from audience members after concerts. It reminds me of why I chose this career.

What is your present state of mind?

I am in a state of ‘production’ – focusing a lot on creating my own path.

AyseDeniz Gokcin is giving a private recital in London on Tuesday 14th May. Programme includes her own ‘Pink Floyd Lisztified’ and Liszt’s  “Apres un Lecture de Dante”: Fantasia Quasi Sonata, plus works by Chopin and Mozart. Further information and tickets here

AyseDeniz’s Billie Jean Smooth Criminal Thriller Mashup – a tribute to Michael Jackson on the occasion of the thirtieth anniversary of his performance of ‘Billie Jean’ on the Motown Records 25th anniversary tv show.

AyseDeniz recently completed her Masters in Piano Performance at Royal Academy of Music in London with Merit, under the tutelage of Christopher Elton, receiving the Maud Hornsby Award and completing the LRAM Teaching Certificate. In 2009, she finished her Bachelors Degree at Eastman School of Music (Rochester NY) in the studio of Douglas Humpherys, where she received Howard Hanson and Clements Scholarships as well as the John Celentano Excellence in Chamber Music Award.

AyseDeniz made her concerto debut when she was nine, with Gordion Chamber Orchestra playing J.S. Bach’s Keyboard Concerto No. 5. At thirteen, she had already performed as a soloist with various orchestras under conductors including Ibrahim Yazici, Fahrettin Kerimov, Antonio Pirolli, Cem Mansur, Engin Sakpinar, Ertug Korkmaz, Rengim Gokmen, Vladimir Sirenko, and Kirill Karabits.

Upon receiving an invitation from Nikolai Petrov, she has performed in Kremlin Palace (Moscow, Russia). She has also appeared in L’Eglise (Verbier, Switzerland); Duke’s Hall, Kings Place (London, UK); Central Park of Culture and Resort Open Air Hall, Lysenko Hall (Kiev, Ukraine);  ‘PepsiCo Hall’ Texas, ‘Kilbourn Hall’ New York, ‘Harris Hall’ Colorado, ‘Lehmann Hall’ California (USA); Bellapais Antique Monastry (Northern Cyprus) and most of the important art centers in Turkey, including the Sureyya Opera House during the 38th Istanbul International Music Festival.

She attended prestigious summer festivals including Verbier Academy; Music Academy of the West, Aspen Music Festival and School, PianoTexas, Goslar Konzerterbeitswochen, Tel-Hai and Beijing International Music Festival and Academy, studying with renowned piano pedagogues such as Menahem Pressler, Jerome Lowenthal, Arie Vardi, Yoheved Kalpinsky, as well as Lang Lang. Having been invited by the world renowned Bach interpreter Rosalyn Tureck to Spain, AyseDeniz had the privilege to study with her for a semester during her last years.

AyseDeniz has appeared on various TV channels, radio stations and in magazines including CNN Turk, NTV, TRT, The Voice of Russia and Vogue Turkey. She is currently working on solo and recording projects, as well as giving concerts to raise money for charities around the world.

Clare Hammond (image credit Julie Kim)

Who or what inspired you to take up the piano and make it your career?

I was given piano lessons for my sixth birthday. My mother had always wanted to learn but had never had the chance so she was keen that I had the opportunity. I enjoyed the lessons, but didn’t consider making a career of music until I was 8 and was taken to an orchestral concert at the Royal Centre in Nottingham. I can’t remember which orchestra I heard now, unfortunately, but I was absolutely swept away by the music and decided then and there that I wanted to be a pianist. Of course, I had no idea then what this would entail, but the seed had been sown!

Who or what are the most important influences on your playing?

I think it’s important as a musician to be open to all sorts of influences so I couldn’t really point to any dominant strains in my playing. I try to listen to as many live performances and recordings as possible, and also to take what I can from observing theatre, dance and even sport. I enjoy teaching and learn a great deal both from explaining things in novel ways to my students and from the phrases they use to articulate their problems or thoughts to me.

What have been the greatest challenges of your career so far?

I spend a great deal of time working by myself and have found, as a result, that the greatest challenge of my career is to maintain perspective. It’s very easy to be thrown off course temporarily by minor setbacks and I sometimes feel that there is so much to achieve, in such a short space of time, that it can be extremely daunting.

What are the particular challenges/excitements of working with an orchestra/ensemble?

I adore working with orchestras and ensembles as it’s such a pleasure to be able to react to somebody else’s sound. You are forced to collaborate in real time, which is both risky and incredibly exciting. It’s easier to track the emotional and psychological development of a work when you’re not solely responsible for it, or at least it’s less exhausting to sustain!

Which recordings are you most proud of?

I’m most proud of my debut album, ‘Piano Polyptych’, which is a collection of contemporary piano music by British composers. It was quite a strain to learn all the repertoire in time for the recording, especially as much of it is extremely complex, but I have had so many opportunities as a result of the project. It was a particular pleasure to collaborate with the composers. It’s a completely different experience when you’re working on music by living composers as they can tell you exactly what kind of sound they’re aiming for. It brings an element of dialogue into what can otherwise be a very solitary pursuit.

Do you have a favourite concert venue?

I’ve performed in a number of venues with wonderful acoustics, but my principal concern when playing in concert is the quality of the piano. Recently, the best that I’ve encountered was at St George’s Hall in Bristol. Their newer Steinway is extremely responsive and has a very pure, glowing tone, supported admirably by the acoustic of the hall itself.

Who are your favourite musicians?

Personally or musically? In either case, I’m not sure I can answer this question. I know so many wonderful musicians who have so much to offer that to place them in any kind of order would be impossible!

What is your most memorable concert experience?

My most memorable experience of performing was not for an official concert per se but at my parents-in-law’s house. My father-in-law is a vicar and I gave a recital for a music society near to his parish a few months ago. Several of his parishioners were keen to hear me but couldn’t make it to the recital so we arranged a coffee concert the following morning. I performed on an upright piano in their front room, surrounded by about 12 people many of whom had never been to a classical music concert before. I’m not sure if it was due to the intimacy of the venue, or the fact that I knew many of these people personally, but I felt that my playing was at its most communicative. I now try to recreate that, with varying levels of success, in larger halls!

What is your favourite music to play? To listen to?

Again, I can’t give a specific answer to this question. Different works or styles of music are suitable for different occasions and express wildly varying emotions. In fact, one of things I love about being a pianist is the breadth of the repertoire. However hard you work, you can never learn everything that has been written for the piano so there are always new horizons to strive towards.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians/students?

I’ve found that the most important skill in teaching is to be able to tailor what you’re trying to explain to the particular skills and aptitudes of the student. Of course, there is a broad ‘syllabus’ of concepts that you need to communicate to students depending on the level that they’re currently at, but you also need to draw out what is individual and unique about them as a person. When I was studying with Ronan O’Hora, at the Guildhall School of Music & Drama, I had the impression that he never taught two students in the same way. First, you have to understand the student as a personality, and then you can start teaching them music.

What are you working on at the moment?

I’ve been working on Piani, Latebre by Piers Hellawell, whose Das Leonora Notenbuch and Basho I recorded as part of ‘Piano Polyptych’. Piani, Latebre was commissioned by the pianist William Howard who premiered it at the Spitalfields Festival in 2010. I performed it as part of my inaugural recital as Artist-in-Residence at Queen’s University Belfast on 11th October 2012. My programme also included two pieces, Portrait and Spring Fantasy, by the Northern-Irish composer, Hamilton Harty, which have only recently been discovered. It’s quite exciting to give a world premiere of pieces which were written nearly 80 years ago!

What is your present state of mind?

Calm, on the whole, and drowsy. I’ve just eaten an enormous meal and the resulting haze of contentedness is impeding my ability to think clearly…

Acclaimed by The Daily Telegraph as a pianist of “amazing power and panache”, Clare Hammond has performed across Europe, Russia and Canada and has appeared recently at the Wigmore and Barbican Halls in London and the Bridgewater Hall in Manchester. Her Purcell Room debut for the Park Lane Group concert series was praised by The Guardian for its “crisp precision and unflashy intelligence”.

A passionate advocate of twentieth and twenty-first century music, Clare combines a formidable technique and virtuosic flair onstage with stylistic integrity and attention to detail. Since her debut with orchestra at the age of eleven, she has acquired a concerto repertoire of over 20 works which she has performed at major venues across the UK and on the continent. Solo engagements have included recitals in concert series and festivals across Britain, in France, Italy, Germany, Belgium, Denmark and Russia.

Clare Hammond’s full biography

Recordings, film clips and an interview at www.clarehammond.com/recordings.html

Forthcoming concerts:

Monday 24 June, City of London Festival

Saxton – Chacony for left hand alone; Bach-Brahms – Chaconne in D minor, transcribed for left hand; Harty – Portrait, Spring Fantasy; Sibelius – Five Pieces for Piano, Op. 75 “The Trees”; Saxton – Hortus Musicae (world premiere)

Tickets and further information here

Further information at www.clarehammond.com/concerts.html