Shaldon Festival 2024
Scroll the page or click on the performer’s name for photos and reviews for 2024.
Alis Huws, harp and Carys Gittins, flute
Review of ‘Travelling by Tuba’ concert at Shaldon Festival Sunday 16 June
The Festival has always been committed to creating musical opportunities for children, such as providing workshops for local school pupils led by professional musicians. However, this year, with generous support from the Shaldon Water Carnival and a community grant from The Arts Society, this provision was developed further with an exciting, new, and entirely free of charge family afternoon concert ‘TRAVELLING BY TUBA – Around the World in 60 Minutes’.
Travelling by Tuba, Chris Cranham on tuba and Stewart Death on keyboard, is a unique duo who perform stunning innovative programmes which are informative and fun. Families were taken on a fascinating voyage through the weird and wonderful world of the tuba, discovering instruments ancient and modern – Swiss Alpine Horns, Roman Cornu, Chinese dragon headed trumpets and many more. With music from classical to jazz, Africa to Hungary, a Can Can dancing tubist and an exploding tuba!
There was plenty of audience participation and a lot of laughter as we all clapped and moved to the music and the children eagerly volunteered to try the array of instruments, including the 3.6 metre Alpine Horn and a very large didgeridoo.
A global extravaganza which was joyful and a triumph!
Thank you Chris and Stewart.
Marion Korzinek
Review of concert by Alis Huws, harp and Carys Gittins, flute at the Shaldon Festival 19 June 2024
For the first evening concert of the 2024 season, we were pleased to welcome the Official Royal Harpist, Alis Huws, and the celebrated flautist, Carys Gittins, winner of the Blue Riband at the 2018 National Eisteddfod. Their challenging and varied programme of music from the twentieth and twenty-first centuries was a delight to listen to.
They began with Paquito by the British composer and saxophonist Andy Scott. Written in 2004 for twelve clarinets, Scott arranged it in 2010 for flute and harp. This fiery piece was a great opener for the concert and set the scene for much of what was to come. Taheke by Gareth Farr was written in 2002 and depicts three waterfalls in Farr’s native New Zealand, firstly the furious Huka Falls, secondly a dark and mysterious waterfall on Farr’s family homeland and lastly (after an emergency replacement of a string on the harp!), the sparkling Whangarei Falls.
By way of contrast, the next piece, Deep Blue by Ian Clarke, is a gentle, lilting piece, inspired by the ocean and the song of blue whales. Written in 2012, it featured some very challenging techniques for Carys, which were accomplished flawlessly, including modulating the pitch of some notes, achieved by sliding the finger back and forth across one of the holes. Continuing the theme of whales, Koholā Sings,written in 2021 by the Hawaiian composer Takuma Itoh, depicts the song that male humpback whales sing during their annual migration. Koholā is the Hawaiian word for a humpback whale. During this piece, which was for solo harp, Alis was able to play some single notes in a glissando manner, by sliding a triangle beater up and down the string, emulating the song of the whale.
Our duo now took us back in time by more than a century, to the music of Hamilton Harty. His piece In Ireland comes from 1918 and evokes the Irish spirit with an imitation of a street musician, a soaring melody, a light dance and, finally, a fast, exciting jig, all joined in one movement.
After the interval, the light-hearted Entr’acte by Jacques Ibert, which was published in 1935, gave our performers a further opportunity to demonstrate their technique.
The next piece is well-known in English as The girl with the flaxen hair (or, in French, La Fille aux Cheveux de Lin)by Claude Debussy and is relaxing, smooth and transcendental. This was followed by The Song of the Lark by the American composer Charles Rochester Young. These two pieces, from opposite ends of the twentieth century (1910 and 1989 respectively) offered an interesting contrast in styles for the two instruments. The Young piece is in three movements, Song to the Waking Sun, Flight and Into Darkness, and depicts a girl working in the fields and pausing to admire the lark. The inspiration for the work was an 1884 painting by Jules Breton. The piece enabled us to hear some interesting sounds from both instruments, for example, a breathiness in the flute-playing and a buzzing addition to the lower notes of the harp, the result of a strip of paper woven between the strings.
Lili Boulanger was the first female composer to win the coveted Prix de Rome. She was the younger sister of the renowned composer and teacher Nadia Boulanger. Lili died at the tragically young age of 24. She wrote this graceful and delicate Nocturne at the age of 18, in 1911. The next piece was also by a French composer, Bernard Andrès, an accomplished harpist. He composed Narthex in 1971, being inspired by sculptures in Burgundian churches. It incorporated some unusual special effects for both instruments. These included dismantling the flute and playing just its short mouthpiece section, whilst moving the finger in and out to slide the pitch of the note, while for the harp, a variety of devices and techniques were used to turn it partially into a percussion instrument.
The final piece on the programme tested our artistes to the limit, exploiting to the full, as it does, the technical resonances of both instruments. Naiades: Fantasy-Sonata, from 1971, written by William Alwyn, the British composer, conductor and flautist, is a virtuoso work, and was carried off with great panache and aplomb by our highly talented and gifted duo.
Our enthusiastic applause was rewarded with an encore, the traditional Welsh folk song, Lisa Lân (Fair Lisa), an emotive lover’s lament for Lisa, ending when the heartsick lover asks dead Lisa to guide him to where she is. This beautiful, haunting lament included vocalisations from both performers.
This was a fabulous and highly entertaining concert, a fitting opening to the 2024 Shaldon Festival of Music.
Chris Morris
Review of Trio Sōra concert at the Shaldon Festival 20 June 2024
What a treat this concert was! The return of Trio Sōra to our festival was a delight from start to finish. They brought a fabulous programme of two Brahms Trios sandwiching the delightful Haydn Trio No. 39.
From the opening of the Brahms Trio Op.40 (alternatively written as a horn trio) the impeccable ensemble skills of the players was apparent. Brahms wrote the piece whilst mourning his mother and every emotion is there, from gentle sadness to dark despair. The richness of sounds from all players suited this well. We heard their energy in the lighter Scherzo, followed by the sometimes bleak brooding sounds of the Adagio, where they took us into a much darker world. The final galloping Allegro is full of exciting Brahms cross rhythms clearly relished by the players.
The cellist introduced the Haydn, pointing out the link from Haydn to Brahms in the evolution of chamber music. This is a lovely trio, played with warmth and grace. It was interesting to notice the less prominent cello part, and the interaction between piano and violin in the variations of the Andante. The romantic slow movement showed the wonderful blend of sounds Trio Sōra has, and the feeling that every single note counts. The well-known and joyful Gypsy Rondo was an exuberant and energetic finale to this piece.
Brahms’ Piano Trio No.1 is very different. The first movement is passionate and powerful, often sounding almost orchestral. It’s hard to believe at times that there are only 3 instruments playing. The scherzo was wide ranging in its moods, with some really powerful sounds from the musicians, and they produced some beautiful textures in the adagio. The final Allegro is surprisingly agitated and at times turbulent. Trio Sōra’s supreme technical skills and warmth of tone took us right inside this piece in a magical way that enabled us to share every mood and emotion in depth.
Trio Sōra is a remarkable group with a very special blended sound, a unity of purpose and an evident love of the music they play. It seems almost as if they breathe together, such is the tightness of their ensemble playing. They were a joy to listen to.
Kate Hill-Art
Review of Kabantu concert at the Shaldon Festival 21 June 2024
The name ‘Kabantu’ translates as ‘of the people’ and the musical ensemble draws its inspiration from the South African philosophy of ‘ubuntu’ meaning “I am who I am because of who we all are.” This is not simply wordplay; these concepts pervade the composition and performance of this extraordinary group of people. The effect moves constantly between exciting and mesmerising.
For Shaldon Festival, the Kabantu concert, initially scheduled for 2020, was a bold step in the current strategic broadening of the range of musical genres on offer: classical music, broadly defined. Following two concerts featuring amazing virtuosity in classical modes (and a splendid family afternoon ‘Travelling by Tuba’), this evening fitted admirably into the Festival’s style and growth. This was folk but not as we know it. Kabantu do what other ‘classical’ music does, but with added fun.
The programme comprised their own compositions for the most part, mixing their established repertoire with newly created pieces. Further material was drawn from sources including Curved Air and Fairport Convention.
The four musicians exhibited a sensitivity that drew the audience in: clearly revelling in playing together while never losing the discipline and interplay of outstanding virtuosity. The lively chemistry within the group was plain to see – and contagious. At one point, violinist Katie Foster explained how they use signs and signals within their pieces, brought together with improvisation, made possible by total trust. It is rather like a musical version of the canvas and improvviso of a classic Italian comedia dell’ arte, with the same delightful results.
Their warm and relaxed rapport with the audience began from percussionist’ Delia Stevens’ rousing greeting and built as the concert progressed, bringing cheers in the applause at the end of each item and many people standing in appreciation at the end. When Katie Foster asked for audience vocal participation on the folk song ‘Rhoscolyn,’ St Peter’s church resounded with an enthusiastic and harmonious chorus.
The opening piece was ‘Pentewan Sun’ – a Cornish story. This began with a haunting theme on Delia Stevens’ hang drum, a magical instrument with a unique sound. As the atmosphere built, there were complex rhythms, hypnotic themes and spell-binding whistling from Katie Foster. The audience was engrossed. Then ‘No Change’ produced a bluegrass fiddle vibe, paired with Ali McMath’s didgeridoo (blown while he also played the double bass.) Again the driving rhythms carried the audience along. A change of feel came with ‘Glückspilz’, conjuring images of Switzerland. The name refers to a medicinal mushroom but also translates as ‘lucky devil:’ a gentler topography than the previous two tunes, which blended well.
The next two items brought first an African feel, with complex rhythms on percussion and unusual vocal interludes, and then a curious suspense-filled tune, apparently inspired by a television crime drama, watched during lockdown. Again the hang drum came into its own, creating a dramatic scenario.
The next item combined a version of the lilting Fairport Convention tune ‘Cat on the Mixer’ followed by a lively French tune. These featured some excellent detailed playing from guitarist Eddie Ogle, in a variety of time signatures.
The first half concluded with ‘Panic at the Pottery’ – a combination of subtle hand percussion, panting, vocal gymnastics and a powerful beat. The mix was consistently carefully balanced, making for a charming and thrilling romp.
The second half began with a piece inspired by Curved Air: another classical-folk fusion band. There was a long, scene-setting introduction building to a soaring violin. Next came an Australian story with an aboriginal atmosphere sense, using drone effects on the violin, bass and digeridoo, interspersed by percussion interludes including some syncopated clapping.
A lively Irish jig, ‘Three Cheers,’ began in a fiery, upbeat fashion before exploring several alternative rhythm styles, encompassing a bluesy feel from the guitar.
Katie Foster then introduced the audience to the chorus on ‘Rhoscolyn,’ a beautiful folk song inspired by the Anglesey coastline. She didn’t have to ask twice: the audience joined in at once. The result, in the wonderful acoustics of St. Peter’s church, was a joy.
The final item was ‘Pick me up.’ Having showcased so many musical styles, the group now adopted a country sound; the audience response was animated. The keenly demanded encore employed further themes; this time Eastern European: a Slavic, klezmer dance. It was a great way to end an extraordinary evening.
It is possible that expanding the breadth of musical offering this far may perhaps not always appeal to everyone in the customary audience but if this was the case it was not apparent at this concert. On this solstice night, Shaldon Festival audience was enthralled.
Richard Lamming
Review of concert by James Pearson & Lizzie Ball at the Shaldon Festival 22 June 2024
The final night of the Shaldon Festival of Music was an unforgettable concert featuring James Pearson, Artistic Director of Ronnie Scott’s, on piano and Lizzie Ball on violin and vocals. Their performance, titled “Encounters with Gershwin,” offered a fascinating exploration of George Gershwin’s life and his interactions with the musical giants of his era.
James and Lizzie seamlessly transported the audience through the vibrant artistic scenes of Paris, London, and New York, highlighting Gershwin’s influence and his relationships with fellow greats of the 20th century. The programme, rich in variety, intertwined jazz and classical genres in music and arrangements by Heifetz, Ravel, Kreisler, Gershwin, Bernstein, Britten, Copland, and Pearson himself. Each piece was performed with impeccable skill and profound emotion, reflecting the performers’ deep connection to the material.
What set this concert apart were the engaging anecdotes shared by James and Lizzie, delivered in their acclaimed and inimitable style. These stories provided insightful context and brought a personal touch to the music, making the historical figures come alive for the audience. Their charismatic delivery and seamless interplay between narrative and performance captivated the audience. James Pearson’s virtuosic piano playing and Lizzie Ball’s expressive violin and vocals created a perfect blend, their on-stage chemistry palpable and their passion for the music evident in every note.
The evening was a beautiful tribute to Gershwin and his era, leaving the audience with a renewed appreciation for the rich tapestry of 20th-century music. This performance was undoubtedly a standout moment of the Shaldon Festival, a wonderful swansong for the Festival’s outgoing Chair, Marion Korzinek.
Joanna Korzinek