Maestro Magazine 2012

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A celebration of 12 glorious summer days of music, art, song, drama, film, talks, walks and fiesta

MAESTRO A Cheltenham Festivals Publication

Mad, bad and dangerous to know The life and loves of a great composer

To Bolivia and back A remarkable story of a truly incredible journey

Drama on and off the screen Possibly the most controversial film in Hollywood’s history

Cheltenham Music Festival in association with

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In the future, there will be no markets left waiting to emerge.

Even as soon as 2050, 19 of the top 30 economies by GDP are forecast to be countries that we currently describe as ‘emerging’.* HSBC was established to finance and facilitate the growing trade between China and Europe.

That’s why we have Trade and Supply Chain teams on the ground in the major and emerging trading economies all around the globe, helping you make new business connections and navigate local regulations. So when you are thinking of emerging markets we can provide all the support you need.

For more information visit www.hsbc.com/tradeconnections Source: HSBC ‘The world in 2050’

Issued by HSBC Bank plc.

AC22830

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4 – 15 July 2012 Maestro Magazine

Image: Sussie Ahlburg

cheltenhamfestivals.com/maestro

Editor Candice Pearson Contributors Meurig Bowen Jeremy Pound Christopher Morley Katharine Gowers Marc Rochester Hannah Kendall Fenner Curtis Jeff Edis Maestro content copyright Cheltenham Festivals. No part of this publication should be reproduced without permission.

Images are credited to photographers and remain their property.

Go online to hear many of our artists: cheltenhamfestivals.com/maestro

Meurig Bowen Festival Director

Maestro magazine has a very special mission. It’s been created to bring the hugely varied programme of the Cheltenham Music Festival alive in a new way. We’ve designed the magazine to highlight all of the fascinating performances and events that we’re sure will have an appeal far beyond a traditional classical music audience.

Music is rarely just music on its own. It aligns with so many other things, and makes for some broad and fascinating encounters. That’s why, in the following pages, you can read about musical journeys as faraway as Africa, Bolivia and Montenegro. That’s why these pages investigate a controversial silent film from 1923, the poetry of World War One, the love life of Claude Debussy and the culinary adventures of a touring musician.

Do enjoy having a good read of Maestro!

CONTENTS GUIDE

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Out of Africa – throbbing drum sequences and traditional tribal music meets Western song.

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1914-1918: War poetry and music – celebrate the war poets’ special place in Britain’s literary tradition.

18 19 20 22

One of the many faces of Nigel Kennedy Profile: Steven Isserlis A true passion for making music The challenges facing a world class musician

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exotic music, truly an experience not to be missed.

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Salomé – the classic and controversial 1923 silent film brought to life by an exhilarating percussion score.

5 6 10 11 13 14

Out of Africa Mad, bad and dangerous to know Music that moves Jean-Efflam to tears What a way to go Salomé: The Film 1914-1918: War poetry and music

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Maestro Magazine

24 25 29 30 32

Music fit for Royalty Your 4 page Festival listings pull-out Was it the movie or the music?

The Land with Music Milosˇ: From war-torn Montenegro to award-winning musician 35 Profile: Benjamin Grosvenor 36 James Mayhew: 1001 Arabian Nights 37 Pluck: Musical Mayhem!

To Bolivia and back – Jesuits took baroque music to Bolivia, three hundred years later it’s on its way back.

38 Bandwagon: Classical music made fun!

40 An appetite for international touring 42 To Bolivia and back 44 Ten great reasons to visit Cheltenham 48 Directory: Where to eat and stay 51 Booking Information 3

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We would like to thank our Sponsors & Supporters for their invaluable support National Media Partner

In association with

Principal Partners

National Radio Partner

New Music Partner

Major Partners

The Steel Charitable Trust

The Delius Trust T Festival Partners

The Oldham Foundation

Local Media Partner

Associate Partners

Individual Supporters Aquarius Group Clive Coates and Ann Murray Celia and Andrew Curran Elizabeth Jacobs Graham and Eileen Lockwood Peter and Veronica Lofthouse Sir Peter and Lady Marychurch Mary Mackenzie, Richard Walton and Friends

Sir Michael and Lady McWilliam Neil and Ann Parrack Patricia Routledge CBE Diana Woolley Penny Wright and Andrew Neubauer

Promotional Partners

Trusts and Societies

In-Kind Supporters

Adams Youth Trust Alan Cadbury Trust The John Ireland Charitable Trust The Notgrove Trust Quenington Sculpture Trust Royal Philharmonic Society The Vandervell Foundation The Vaughan Williams Charitable Trust

The Cheltenham Ladies’ College The Daffodil

Regular Supporters

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Maestro Magazine

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Image: Judith Croasdell

Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

Out of Africa

David Fanshawe recording the Luto tribe in 1973

What springs to mind when you think of folk music? Maybe a Scottish Ceilidh, or English Morris dancers? Every nation has its musical folk traditions, and for some the preservation and sharing of these songs can be fascinating. By Fenner Curtis In the ’70s David Fanshawe explored Africa, recording the tribal sounds he heard as he went. He didn’t just preserve them, he was inspired by them, and used them to create his African Sanctus. Taking the religious words from Western choral music (like The Lord’s Prayer) and setting them to the sounds and songs he heard on his travels, Fanshawe created something that would have been a new experience to audiences – a window on another world.

This wonderful work is packed full of so many memorable musical moments it’s difficult to know where Maestro Magazine

to begin. There are throbbing drum sequences and traditional songs and dances such as the Bwala (which celebrates tribal war victories).

Other events captured in Fanshawe’s journey down the Nile include an Egyptian wedding, a Sudanese mother ringing bells to celebrate her new-born son and a stunning rain song. To top it all Maureen Brathwaite’s glorious high soprano will soar out from the choir’s beautiful sequences and you’ll be swept along by an amazing mixture of live and recorded music played by the multi-talented Backbeat

Percussion Ensemble.

At the Music Festival on Thursday 12 July you can hear the amazing contrasting sounds of African Sanctus. It’s 40 years old now, but it’s still remarkable – the driving rhythms of African percussion and the live tapes of Fanshawe’s actual recordings completely transform lyrics usually found in churches. Forget what you think of as ‘folk music’ and forget your preconceptions of religious songs: Fanshawe’s fusion will be as different as he would have been on his adventures, with his khaki shorts and hat against the brightly

coloured painted faces and costumes of the tribal dancers.

Venue: Cheltenham Town Hall Date: Thurs 12 Jul / Time: 7pm

M57 African Sanctus Venue: Cheltenham Town Hall Date: Thurs 12 Jul / Time: 8.40pm

M57a Exploring

African Sanctus For full event details go to page 27

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MAD, BAD & DANGEROUS TO KNOW

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

Kurt Cobain lived fast and died young. Jimi Hendrix is remembered as much for his prolific drug taking and cavalier attitude to casual sex as he is for his music. People expect rock stars to live scandalised lives, but what about classical musicians?

Candice Pearson takes an in depth look at his life and loves.

I

f you think of classical musicians as straightlaced squares, then think again. Born in 1862, Claude-Achille Debussy was one of the most important French composers ever to sit at a piano, but he also boasted a romantic history to make even the most salacious tabloid journalist salivate.

Aged just 18 Debussy began an eight-year affair with Blanche Vasnier, wife of a wealthy Parisian lawyer. After Blanche, Debussy lived ‘in sin’ with Garielle Dupont, a tailor’s daughter from Lisieux. He cheated on Gaby with Thérèse Roger (to whom he was briefly engaged) before leaving her for her friend, fashion model Rosalie Texier, whom he did eventually marry. Rosalie clearly had the looks but not the brain to interest Debussy long-term, and she was soon packed back to her father’s home when Debussy met the captivating Emma Bardac, the mother of one of his students and wife of a Parisian banker. It’s something of an understatement to say that Rosalie did not take the rejection well. She shot herself in the chest while standing in the middle of Paris’s Place de la Concorde. Amazingly she survived this violent suicide attempt, but the bullet stayed lodged in her spine until her death 28 years later.

This was one scandal too many for Debussy. He and the now pregnant Emma found themselves so unpopular that they were forced to flee to England, before eventually returning to France for the birth of their eponymous daughter ClaudeEmma. Rectal cancer eventually finished off Debussy in 1918. He died in the midst of an aerial and artillery bombardment of Paris, and his funeral procession made its way through deserted streets to the famous Père Lachaise Cemetery (where Jim Morrison, Edith Piaf, and Oscar Wilde among others are buried) as German shells tore the city apart. Debussy was later re-interred to the small Passy Cemetery. You can hear more about Debussy’s fascinating life at Cheltenham Music Festival where there will be a free screening of Masterworks: La Mer, a BBC film that investigates Debussy’s life, including his marital infidelity and public scandal, and the origins of his La Mer masterpiece. It’s on Friday 6 July at 5pm in the Town Hall Pillar Room. Tickets are required but the event is free of charge.

Debussy: Curtain Up When Parisians first heard Debussy’s music they didn’t know what to make of it. It was different to anything they had heard before, but Maestro Magazine

they liked it.His visionary Prélude à l’après-midi d’un faune premiered in 1894 and even now when you listen to the music, every note is surprising.

It sounds incredibly earthy and sensuous, yet deliciously light. Predictably the work was not without its critics, but it got a standing ovation at its premiere and it is still popular today.

Inspired by Stephane Mallarmé’s poem‘Afternoon of a Faun’, the work tells of a faun trying to seduce two nymphs. The poem is full of the sounds of nature and has a sultry, hazy atmosphere, all of which can be heard in the music. The faun tries to seduce his nymphs with sound by making a flute, an incident from the poem which can clearly be heard in the work.

Just as Mallarmé’s Faun inspired Debussy, Debussy’s Faun inspired a ballet by the worldrenowned Vaslav Nijinsky in 1912. There is some amazing footage on YouTube of the great Nijinsky performing Faun, and you can also see Rudolph Nureyev dance it. For a more modern take on the role, have a look at The Royal Ballet’s Johan Kobberg dancing Faun at a recent charity gala (to see these clips, put the dancer’s name plus ‘Faun’ into YouTube). In Johan’s stripped-back version, the music and ballet feel as fresh and as contemporary as it would have done for those 1912 audiences. After Faun, Debussy was also asked to write the music for Diaghilev’s ballet Jeux, a fun ballet where two girls and a boy are ostensibly searching for a lost tennis ball but in reality are just flirting.Debussy didn’t think much of this vacuous plot, but cash persuaded him to write the music nonetheless. At the time, audiences seemingly felt similarly about the work–bemused by the ballet and fairly indifferent to the music. Now though, the piece is admired for its ability to transport the listener to another world. You can hear Faun on Saturday 7 July at Cheltenham Town Hall where it will be performed by the Southbank Sinfonia and Wellensian Consort. It starts at 8pm.

Debussy: Influences and Impressionism Though he rejected the term himself, Debussy is considered to be a central figure of the Impressionist movement by music historians.

Just as Impressionist art creates an entire feeling, Debussy’s work creates a general mood rather than focusing on individual notes. Nature and light strongly influenced his composition,just as they did for Impressionist artists. From a technical point of view, some of this ‘Impressionist sound’

comes from Debussy’s use of the piano pedals, which vastly change the sound and quality of the piano’s output. The pedals blur the audible texture of what is being played, just as the brush strokes used by Impressionist painters visually blur their work. Debussy also liked to close the lid of the piano, further muffling the sound.

Debussy was influenced by literary sources.

He mingled with the literati of his day, meeting them in the cafes and bars that were an active hub for France’s leading creative minds. He was exposed to the emerging Impressionist artists, and also found himself profoundly influenced

by Wagner’s music, as well as music and art from the Far East. When he first heard the Javanese gamelan Debussy was astonished by the vast range and subtleties of its sound, something he tried to incorporate into his work. You can particularly hear this influence in Estampes, which will be performed at The Essential Dubussy event. Alternatively, try Percussions Claviers De Lyon, this concert includes exciting arrangements of Debussy’s music.Foreign flavours from Debussy and others can also be heard from the Orchestra of the Music Makers. With music composed

by Debussy, Delius and Holst, inspired by travels in Indonesia, Paris and Algiers respectively, audiences can expect an evening of exotic music.

Venue: Pittville Pump Room Date: Fri 6 Jul / Time: 10am

M10 The Essential Debussy Piano: Jean-Efflam Bavouzet Venue: Cheltenham Town Hall Date: Fri 6 Jul / Time: 10am

M15 Orchestra of the

Music Makers Venue: Cheltenham Town Hall Date: Sat 7 Jul / Time: 8pm

M26 Hassan Venue: Cheltenham Town Hall Date: Sat 14 Jul / Time: 12 noon

M65 Percussions Claviers

De Lyon For full event details go to pages 25, 26 & 28

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INTERVIEW

Image: Paul Mitchell

Music that moves Jean-Efflam to tears Pianist Jean–Efflam Bavouzet performs the title Debussy concert, which celebrates the composer’s 150th birthday,at this year’s Music Festival.

Jean-Efflam embodies suave charm as only a certain type of Frenchman can. Anyone that heard his Debussy pianorecitalatlastyear’sCheltenham Music Festival knows what a captivating performer Jean-Efflam is as he frequently steps away from the piano to speak to the audience, explaining what he is about to play and putting the work in context for 10

the listener. This adds colour and a framework to the concert for piano novices and old hands alike. It is evident to all who listen that Debussy is Jean-Efflam’s great passion.Here he explainshisfavouriteDebussyworks: “Neither of the pieces by Debussy that inspire me most are for piano,” he said.“The first is Pelléas et Mélisande because it was the no return point. About 15 years ago I was touring in Asia, I listened to the marvellous recording by Herbert von Karajan in my hotel room and I

began to cry. For several years I could not hear a note by Debussy without being moved to tears. Shortly after I wrote a piano version of Jeux – probably the ultimate in his orchestral and harmonic writing dash, which was another turning point for me.

A chance to be immersed in the piece’s architecture, to plunge into the score.”

For 2012,Jean-Efflam is performing a special concert that comes complete with coffee and croissants.

The Essential Debussy is on Friday 6 July at 10am. The programme

includes Images book 1, Préludes book 1 (selection), Préludes book 2, Estampes, Clair de Lune, Ile joyeuse and Etudes.

Jean-Efflam Bavouzet was speaking to BBC Music magazine Venue: Pittville Pump Room Date: Fri 6 Jul / Time: 10am

M10 The Essential

Debussy For full event details go to page 25

Maestro Magazine

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WHAT A WAY TO GO Classical composers seem to have had their fair share of unusual deaths. Meurig Bowen shares some of the more extreme demises with us.

Enrique Granados y Campiña (1867-1916) Death by U-boat With works such as the Goyescas, Granados was one of the most celebrated composers writing in a new Spanish nationalist style.

Following the successful New York premiere of his Goya opera in January 1916, he stayed on to give a recital for President Woodrow Wilson, missing his boat back to Spain in the process. Returning via England instead, his ferry was torpedoed by a German U-boat in the English Channel. In a futile attempt to save his wife, he leapt out of his lifeboat and drowned too. One of the surviving Granados children became a champion swimmer…

Maestro Magazine

Henry Purcell (1659-95) Death by angry wife (or chocolate?)

Living for only the same short timespan as Mozart and Schubert, Purcell’s contribution to English music in the late 17th century was immense. Dido’s Lament from Dido and Aeneas may be his big hit, but he wrote so much other fine instrumental and vocal music alongside. Purcell might have lived longer than 36 if his wife hadn’t locked him out of their Westminster home on a cold and wet night, after one too many nights out carousing.

So, pneumonia is the official explanation. But others reckon he was poisoned by a new and rather potent beverage called Hot Chocolate…

Jean-Baptiste de Lully (1632-1687) Death by conducting Lully was Louis XIV’s favourite composer, and the principal architect of the French baroque style in music. He wrote ballets and operas, and was playwright Moliere’s great musical collaborator.

We take conductors for granted now – leading the troops from the front with their baton – but there was a time when that wasn’t the norm. Lully used to ‘beat time’ by doing just that – beating a big wooden staff on the ground. During a performance in January 1687, celebrating the return to health of the Sun King, he banged the staff very hard into his foot rather than the floor. The injury turned gangrenous, and he died three months later.

Valentin Alkan (1813-1888) Death by falling bookcase (or coat stand) Like his now better-known contemporaries Chopin and Liszt, Alkan was one of the 19th century’s great pianist-composers. He wrote the kind of phenomenally difficult piano music that sounds as if three or four hands are required to play it, not just two. Hypersensitive and, on his own admission, increasingly misanthropic, the final 25 years of his life were spent in Paris as a recluse. The story goes that he was crushed by a bookcase, but more recent evidence suggests he died just hours after being found under a heavy coat stand.

Anton Webern (1883-1945) Death by accidental shooting Alban Berg (1885-1935) Death by insect bite Along with Purcell, Berg is probably the most influential A-list composer in this selection. His two operas, Wozzeck and Lulu, and his Violin Concerto have become true classics of the early-modern era. In late 1935, living with his wife in Vienna in near poverty, a wasp sting got very nasty and abscessed. His wife allegedly tried to sort it with some scissors (ouch), and he died of resultant blood poisoning on Christmas Eve.

Ernest Chausson (1855-1899) Death by bicycle The son of a wealthy Parisian property developer, Chausson’s best known work is his Poeme for violin and orchestra. You would definitely have wanted to be a fly on the wall at his grand home – regular visitors included Fauré, Debussy, Mallarmé and Monet. But it didn’t end happily for him, at the relatively tender age of 44: cycling down a steep hill near Paris, he lost control, crashed into a brick wall and died instantly.

The most rigorous follower of his teacher Schoenberg, Webern’s concise output has had a great influence on the postwar generation of composers. In the aftermath of the Second World War, Webern stepped outside his Salzburg house for a cigar and was shot dead accidentally by a cook in the US military. The soldier, Raymond Bell, was overcome with remorse and died of alcoholism 10 years later.

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

HIGH DRAMA ON AND OFF THE SCREEN The classic and controversial 1923 silent film Salomé is a story of scheming, seduction and betrayal brought to life by an accompanying and exhilarating percussion score.

The flamboyant Russian actress Alla Nazimova, one of the most famous stars of her day.

Maestro Magazine

A rare screening of one of the most extraordinary and bizarre silent movies to come out of Hollywood in the 1920s will be given a dramatic twist when Sound Affairs present Salomé at Cheltenham Music Festival this summer. Four percussionists will perform a score specially written for the film by Charlie Barber, playing from two giant towers placed on either side of the screen.

Adapted from the controversial play by Oscar Wilde and costing a staggering $350,000 to make, the film was produced by and starred the flamboyant Russian actress, Alla Nazimova, one of the most famous stars of her day. Her aim was to create a bold and experimental work that would raise the artistic level of American films. However, conservative 1920s audiences simply weren’t ready for its erotically charged aura and rumours that Nazimova had insisted on an all gay and bi-sexual cast in honour of Oscar Wilde added to the film’s notoriety, resulting in it quickly being consigned to relative obscurity.

In recent years however, Salomé has increasingly been acknowledged as ahead of its time, in many ways one of the first arthouse films.

Designed by Natacha Rambova (the future Mrs Rudolf Valentino) the extravagant costumes and striking art nouveau sets are visually stunning, whilst Nazimova’s performance in the title role is remarkable.

“It’s a complete one off” says composer Charlie Barber of the film, “an incredible visual feast. I felt it needed a particularly dramatic score to do it justice and nothing is more vibrant or exhilarating than the sound of percussion. I think there is a real sense of theatre in watching percussionists play so thought I’d heighten this by placing the players on the towers. I hope it will add an extra dimension to the evening for audiences to enjoy.”

Venue: Parabola Arts Centre Date: Fri 6 Jul / Time: 10pm

M16 Salomé For full event details go to page 25

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19141918

A unique band of soldier poets have left an indelible mark on history. Candice Pearson celebrates the war poets and their special place in the British literary tradition.

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

Image: Imperial War Museum

T

he First World War has been immortalised through words and music, with an astounding amount of this work coming from soldiers with personal experience of battle horrors. Much has also been written since and continues to be voraciously consumed.Michael Morpurgo’s War Horse, for example,topped the‘best-seller’ list first as a book, then as a critically-acclaimed play, and then as a blockbuster film directed by Steven Spielberg. From a literary point of view, the genre that most defines the years 1914 to 1918 is its poetry. Much-quoted lines from the ‘War Poems’ are lodged in the popular consciousness and, nearly a century later, its poetry is still firmly located on the school GCSE syllabus and it shapes our modern understanding of the conflict.

The incredibly handsome, Cambridge and public school educated, Rupert Brooke was and remains the poster boy for a golden age of pre-war poetry. He lived an enchanted life, mingling with the Bloomsbury Group and travelling the world.

It was Brooke who penned the now infamous lines: ‘If I should die, think only this of me; / That there’s some corner of a foreign field/ That is for ever England’. Brooke fulfilled this prophesised fate, eventually being buried in an olive grove in Skyos, Greece, though unlike many of the other ‘War Poets’ it was not battle injuries that killed him. Brooke reportedly passed peacefully after a short illness with blood poisoning caused by an infected mosquito bite. He never knew the true horrors of war and his halcyon vision of battle was soon to be obliterated by his successors.

Wilfred Owen’s derisive poetry offers stark contrast to Brooke’s idealised work,destroying any romanticism about a soldier’s experience on active duty.He wrote:‘Bent double,like old beggars under sacks… coughing like hags’, Owen’s soldiers 16

‘trudge’ to an ignoble death drowned by gas, gurgling blood and finally abandoned. Owen implores people not to perpetuate ‘the old Lie; Dulce et Decorum est/ Pro patria mori’ (‘it is sweet and right to die for one’s country’) that was prevalent in the aggressively patriotic pre-War era. Owen’s ‘Anthem, for Doomed Youth’ similarly captures this anti-establishment feeling, which is immediately obvious in the poem’s paradoxical title.He questions what bell will ring to mark the

From a literary point of view, the genre that most defines the years 1914 to 1918 is its poetry.

Much-quoted lines from the ‘War Poems’ are lodged in the popular consciousness. deaths of soldiers ‘who die as cattle’, and says that the only‘mourning choirs’to commemorate their sacrifice will be the‘shrill,demented choirs of wailing shells’. Owen had a strong sense of bitter irony, making his death (just one week before the signing of the Armistice) and his subsequent promotion (the day after he died) all the more poignant. His mother received the telegram informing her of his death on Armistice Day,when the rest of the country was celebrating.

Owen would not have become the poet he did were it not for Siegfried Sassoon,who was already writing war protest poetry when Owen’s work was just in its infancy. A shooting, hunting, country gent, Sassoon became infamous when he had a letter published in The Times, criticising the government by suggesting they were deliberately prolonging the war. Only a campaign

by friend and fellow war poet Robert Graves to convince the authorities that Sassooon was suffering from shell-shock prevented him from being court-martialled. Sassoon wanted to prick the public conscience about the war. In ‘Suicide in the Trenches’ he writes of how the trench-life changed ‘a simple soldier boy/ Who grinned at life in empty joy’ to a lice-infested wretch ‘cowed and glum’ who ‘put a bullet through his brain’, something considered so shameful that no one would speak of him again. Sassoon calls the public ‘smug-faced’ as they cheered marching soldiers, safe in the knowledge that they wouldn’t suffer the same ‘hell’ that the soldiers would.

Sassoon’s court-martial saviour Robert Graves also survived the war though not without serious injury. Graves even had to endure reading his own obituary that had mistakenly made its way into The Times. After the war, Graves suffered badly with shell-shock but he went on to be a leading literary figure and Professor of Poetry at Oxford. Like Owen and Sassoon, Graves dispelled ideas of glorious heroism with his war poetry. In ‘A Dead Boche’ he tells of ‘A certain cure for lust of blood… a dead Boche… who scowled and stunk… face a sodden green… Dribbling black blood from nose and beard’. Graves was an incredibly prolific writer and, by the time of his death in 1985, his war poems were just a fraction of his whole collection with I, Claudius probably being his best-known work. It’s amazing to think that while Owen looked to Graves’s work for inspiration, so too did Ted Hughes 40-odd years later.

Ivor Gurney is another ‘War Poet’ who continued to produce work after the war. Gurney was Gloucester born and bred and an exceptionally talented musician. He was a chorister at Gloucester Cathedral before winning a scholarship to the Royal College of Music. His studies were interrupted by the war, but while serving he began to write poetry in earnest. In ‘Pain’, he wrote about ‘Dying in shell-holes both, slain by the mud./ Men broken, shrieking even to hear a gun’, but he also wrote with fondness about the glory of his fallen comrades, and also of the beauty of England,particularly when compared to the horrors of war-torn France. Gurney continued to be a successful composer, though like many other ex-soldiers he seriously struggled with mental ill-health in later life. Gurney was eventually confined to an asylum where he spent the last fifteen years of his life. His moving story has inspired a new play, A Soldier And A Maker, using Gurney’s own music, poems and letters.

Venue: Parabola Arts Centre Date: Fri 13 Jul / Time: 5pm Date: Sat 14 Jul / Time: 3pm

M62, M67 A Soldier and a Maker

By Iain Burnside For full event details go to page 28 Maestro Magazine

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In Flanders Fields (3 May 1915)

by Lieutenant Colonel John McCrae (30.11.1872 – 28.01.1918)

In Flanders fields the poppies blow Between the crosses, row on row, That mark our place; and in the sky The larks, still bravely singing, fly Scarce heard amid the guns below.

We are the Dead. Short days ago We lived, felt dawn, saw sunset glow Loved and were loved, and now we lie, In Flanders fields.

Take up our quarrel with the foe: To you from failing hands we throw The torch; be yours to hold it high.

If ye break faith with us who die We shall not sleep,though poppies grow In Flanders fields.

‘In Flanders Fields’ is one of the most notable poems written during World War I. Canadian physician and Lieutenant Colonel John McCrae wrote it on 3 May 1915, after he witnessed the death of his friend, Lieutenant Alexis Helmer, aged 22, the day before.

First published in the London-based magazine Punch, it has been widely described as “the most popular poem” produced during that period.

Venue: Parabola Arts Centre Date: Thurs 12 Jul / Time: 7pm

M56 WWI Piano and Poetry Piano Charles Owen Piano Katya Apekisheva Reader TBC Historian Margot van Bers Streeter For full event details go to page 27 Maestro Magazine

Festival Focus Time Capsule: 1914-18 is a three-day focus during the Music Festival on all things musical and non-musical from this turning-point period in history.

Audiences will journey concert by concert, year by year, and explore the cultural and political context along the way. Violinist and guest curator Katharine Gowers explains more.

The period in history 1914-1918 is a musical melting pot: some composers still cling to the Romanticism of the previous century while others start to forge a new way ahead. It means that within the same year two composers can appear to be at completely different ends of the musical spectrum. For instance, in The 1918 Concert we have the precision of Stravinsky beside the grandeur and epic scale of Elgar. In the second half of The 1914 Concert there are two very short works in extremely contrasting styles. One is the Magnetic Rag by the famous American ragtime composer Scott Joplin, which originated from dance music played in red-light districts in New Orleans and St Louis. The other is Three Little Pieces for Cello and Piano by the Austrian composer Anton Webern, who abandoned the expectations of his contemporary audience by reworking both musical structure and how the instruments were used, with an extraordinarily pithy and concise result.

The concert at 7pm on Thursday 12 July is dedicated exclusively to WWI. The evening will take the form of a talk about the war, illustrated by poems, prose and pieces of music that emanated from it. Following on from that will be a screening of ‘The Battle of the Ancre and the Advance of the Tanks’, an official propaganda film produced during the war, which was recently digitally restored by the Imperial War Museum. It will be accompanied by the music heard in the 1917 cinema screenings, played live on the piano.

Before the start of each Time Capsule concert, the journalist and broadcaster Julia Somerville will give a short summary of the year’s current affairs. These bulletins will be wide ranging, from information about the politics of the day to events like the arrival of a Canadian black bear

called Winnie at London Zoo in 1914.

This bear was visited by A.A. Milne and his son Christopher Robin.

When we listen to the music in the concerts we will of course do so with the ears of people who are living almost a hundred years since the compositions were written.

However, I hope that within our Time Capsule we may catch a sense, even if only fleetingly, of the impact and originality the music had when it was fresh off the page.

Beyond the Music Time Capsule: 1914-18 will feature a number of spoken-word events around the concerts themselves.

Full details of these will be available online and in a separate leaflet, but here is advance news on these events: Social historian and broadcaster Juliet Gardiner, author of books such as The Blitz: The British under attack, The Thirties: An Intimate History and The Edwardian Country House, will discuss how we lived during WW1 – from clothes and food to entertainment and transport.

A Literature Festival-style Booker event for 1914-18, chaired by Ion Trewin. Books under consideration will include: Tressell’s The Ragged Trousered Philanthropists (1914), D.H.Lawrence’s The Rainbow (1915), Somerset Maugham’s Of Human Bondage (1915), Ford’s The Good Soldier (1915) and Joyce’s A Portrait of the Artist as a Young Man (1916).

Dates and times are to be confirmed (on the afternoons of 11, 12 and 13 July), together with events on Science & Technology. Check at: www.cheltenhamfestivals.com

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One of the many faces of Nigel Kennedy For over twenty-five years, British violinist, Nigel Kennedy, has been acknowledged as one of the world’s leading virtuosos.His unique talent and mass appeal have brought fresh perspectives to both the classical and contemporary

repertoire and he is the best selling classical violinist of all time.

From a young age, as Yehudi Menuhin’s most famous protégé, he studied at the Menuhin School before moving to the Juilliard School of Music in New York.

Nigel Kennedy has attracted worldwide media attention and has been presented with many awards including Outstanding Contribution to British Music and Male Artist of the Year at the UK Brit Awards.

His passion for jazz resulted in

the 2009 album,“BlueNote Sessions”, featuring jazz giants such as Ron Carter and Jack DeJohnette.

He has since founded the ‘Nigel Kennedy Quintet’, made up of the violinist plus four of the most dynamic musicians on the Polish jazz scene. Marking a bold excursion into non-classical repertoire, Kennedy has made two recordings with the quintet,thetypicallyidiosyncratically named AVery Nice Album and Shhh!

Since moving to Sony, Kennedy has recorded and released the Four

Elements, his own answer to the Four Seasons. He recently founded his own orchestra, the Orchestra of Life, with which he made a radical new recording of the Four Seasons, for release later this year. Nigel Kennedy is currently undertaking several international tours,including a programme of solo Bach plus his own arrangements of Fats Waller.

You can hear the genius that is Nigel Kennedy playing with Steven Isserlis and friends at The 1918 Concert.

Perhaps the best way to sum up Nigel Kennedy’s musical output is to quote Nigel himself.

“If you want you can call me a classical violinist; I personally see myself as a musician who just plays music – and not just one kind of music.”

Image: Rankin

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PROF I L E

Steven Isserlis The fact that Steven Isserlis has become one of the world’s most celebrated cellists is hardly surprising when you consider his musical parentage and the career paths of his siblings. His mother was a piano teacher, his father a keen amateur musician, one of his sisters is a violinist and the other plays the viola as her profession. So for them to play chamber music together, it had to be the cello for Steven, the youngest member of this very musical family. But even if the choice of instrument wasn’t initially his own, he is on record as saying he wouldn’t change it for the world.

The musical line of the family goes back a further generation to Steven’s grandfather Julius Isserlis.

A celebrated pianist, composer and teacher he was one of the first twelve musicians to be allowed out of Russia by Lenin to promote Russian culture, but he never returned. The story goes that Julius Isserlis sought lodgings in Vienna in 1923 when Steven’s father was just a small boy.

He was shown around a flat by a 102 year old landlady who took a shine to Steven’s father. But when his grandfather explained he was a musician she is reported to have said “Oh no I hate musicians”. When asked why she replied,“because when I was a girl my aunt had a musician lodger, a filthy old man who used to spit on the floor and I hated him – his name was Beethoven”.

Although Steven Isserlis was seen as a brilliant young cellist he was determined not to become a jobbing musician touting for work in different orchestras and as a result he suffered nearly a decade with relatively few musical engagements.

But his patience paid off when he madehisnameplayingTheProtecting Veil,a composition by John Tavener, and today he is recognised as one of the world’s finest cello virtuosos.

One of the things that sets this special musician apart from his fellow star cellists, who favour a big glitzy steel Maestro Magazine

Which is explained in part by his musical lineage but also by two other incredibly impressive branches of the family tree. Steven’s ancestors include Helen Rubinstein the founder of a cosmetics empire and one of the most revered political thinkers of all time, Karl Marx. .

Don’t miss Steven Isserlis in the Music Festival programme:

Image: Satoshi Aoyag

Being a world class musician isn’t the only string to Steven Isserlis’ bow. He has also written highly successful children’s books packed full of humorous and at times scandalous tales about the great composers.

In his first book “Why Beethoven threw the stew” he reveals the wig stealing, sword fighting, egg throwing and drunkenness in front of presidents that some of our favourite composers indulged in.

‘Why Beethoven threw the stew’ & ‘Why Handel waggled his wig’ are published by Faber and Faber

string sound, is his preference for playing mostly on gut covered strings.This gives his playing its signature mellow, soulful quality.

The other unusual aspect to his playing is that he has been in the extremely fortunate position of being able to play on two priceless Stradavarius cellos. One of them goes by the name of the Marquis de Coberon, on loan from the Royal Academy of Music, the other has

the equally exotic name De Munck which has now been returned to the Nippon Music Foundation.

In spite of his position on the world stage Steven still practises every day and apparently has only taken a maximum of three days off since the age of ten.

This kind of dedication to his craft combined with his exceptional talent calls for the kind of genetic inheritance that is rare indeed.

Finale Concert – London Marathon (M74) 15 July 5pm, Town Hall Music inspired by and written about London, with the sounds of Cockney street-cries; chuch bells; Salvation Army bands; Westminster chimes; bus conductors’ calls; street markets and the Thames – and even a tribute to the Shard, the latest addition to London’s skyline.

Isserlis will be playing Elgar’s Cello Concerto – which promises to be one impressive piece of playing! He recorded it back in 1988 – and it’s listed as one of the greatest versions of the piece ever recorded.

1915 Concert (M49) 11 July 7pm, Pittville Pump Room Isserlis plays Debussy’s Sonata for cello and piano, alongside music by Bartók, Reger, and Szymanowski.

1917 Concert (M60) 13 July 11am, Pittville Pump Room Isserlis performs Fauré’s Sonata No 1 for cello and piano, alongside music

by Ireland, Bartók and Debussy.

Venue: Cheltenham Town Hall Date: Fri 13 Jul / Time: 8pm

M63 The 1918 Concert Isserlis and Kennedy come together for Elgar’s Piano Quintet. Also features other music from 1918, such as Bruch’s string quintet and Stravinsky’s ‘Soldier’s Tale suite’.

For full event details go to page 28

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

A true passion for making music

There is a corporate communications lawyer, a systems engineer, a chiropractor, there are doctors, dentists, architects and teachers, ten are currently undertaking their National Service, 44 are students, and their ages range from 14 to 48. What draws them together is a passion for making music. Writes Marc Rochester.

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s Kelly Loh who plays the flute in the orchestra puts it, “Music making is fun, passionate and fruitful. More importantly, I get to make music with close friends”, while for violinist Johnson Cheung “being around fellow musicians that share the same passion is truly motivating”. All this might seem like just another of the hundreds of community orchestras around the world where enthusiastic amateurs live their dreams while keeping their feet firmly on the ground through maintaining the day job, but the Orchestra of the Music Makers (OMM) does things very differently.

Like everything else in Singapore, there is no room for the faint-hearted and if a thing’s worth doing, even at an amateur level, it’s worth doing better than anyone else. With its determination to 20

beat the professionals at their own game, OMM has become a rare musical phenomenon which almost defies description. OMM’s tirelessly enthusiastic Music Director, Chan Tze Law observes,“We struggle over the term ‘amateur’ because it somehow gives the impression of mediocrity. Indeed, the orchestra strives for a professional approach to everything they do. So we settled on calling ourselves a volunteer orchestra; volunteering to make great music and to serve the community”.

With no regular government funding, OMM needs to find sponsorship from commercial organisations. Their approach is to walk into the Singapore offices of major multi-national banks and corporations and bombard them with compelling arguments backed up by highly sustainable business plans; they rarely come

away empty handed. On top of that, in the four years of its existence, it has itself become a major fund-raiser contributing almost 10% of the $1.2m collected in the country’s ChildAid appeal in 2010. It was this fundraising and community work that won OMM a very generous Youth Excellence Award from HSBC Singapore in 2009.

And it was a similar level of enterprise on the part of conductor Chan Tze Law that made some trans-continental HSBC links and connected with the Cheltenham Music Festival.

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ltimately, what brings OMM 7,000 miles from Singapore to Cheltenham is not the enthusiasm or dedication of its players, nor its ability to raise funds for worthy causes, but its extraordinary musical reputation for tackling works which even wellMaestro Magazine

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Were you to meet members of Orchestra of the Music Makers, at work or at play, they would seem much like any of the other five million inhabitants of the thriving, dynamic, colourful city state of Singapore.

But the everyday pictures to the right are in fact of some of the most talented and inspirational volunteer musicians ever to have graced the Cheltenham Music Festival.

established professional orchestras find daunting.

Driven by the ambitions of the players themselves, two years ago they booked Singapore’s iconic 2,000 seat concert hall, the Esplanade, for a performance of Mahler’s monumental Second Symphony. The acclaim with which the performance was greeted came not just from the local audience – who are by no means strangers to professional music making at the highest level – but from the handful of international music critics who had been cajoled by the insistently enthusiastic Chan into attending what he assured them was going to be something very special. It was, and when a recording made of that concert was selected by Singapore Airlines to be part of their on-board on-demand playlist, the extraordinary reputation of OMM literally travelled round the world.

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Since then they have tackled many more pinnacles of the repertoire, every time creating something little short of a sensation. The rise of this extraordinary musical phenomenon over such a short period of time has astounded nobody more than the musicians themselves who still can’t quite grasp what it is they have achieved.

As flautist Tu Si-jing says, OMM has become her “dream-come-true place”.

HSBC has been a longstanding supporter of Cheltenham Festivals, and will be the sponsor of OMM’s Cheltenham residency, which will not only feature two Cheltenham Town Hall performances but also open rehearsals and collaborations with young orchestral musicians in Gloucestershire.

Venue: Cheltenham Town Hall Date: Fri 6 Jul / Time: 7pm

M15 Orchestra of the

Music Makers Piano: Melvyn Tan Conductor: Chan Tze Law Venue: Cheltenham Town Hall Date: Sat 7 Jul / Time: 12 noon

M19 Sinbad the Sailor

& Scheherazade Family concert: With illustrator James Mayhew as Sinbad the Sailor For full event details go to pages 25 & 26

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

The challenges facing a world class pianist In his Sunday morning recital, pianist Melvyn Tan will be wired up by Aaron Williamon, Professor of Performance Science at the Royal College of Music, to monitor Melvyn’s physical output during the concert – his heart rate and skin conductivity among other things. The results will be delivered later in the day, and not even Melvyn knows what to expect…

Singapore-born Melvyn Tan spoke to us about his training and challenges of being a world-class pianist.

“How I prepare for concerts depends on the repertoire. Some of the pieces I have worked on are more difficult than others. Whatever the difficulty though I like to ‘live in’ a new piece.

Learn the notes, like an actor learning his words, then get into the music/role and let it become part of you. Once you have done that, it’s always wise to leave it for a while and come back to it at a later date.No matter what it is, it is always easier second-time round.After this process has elapsed a few times, then you can begin to interpret and perform the piece in public. You spend a lifetime learning and re-learning something, but that is the best and most enjoyable thing about it all.”

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“I have absolutely no idea what to expect from the result of this investigation. I like to think I am fairly fit though sometimes after a long journey that is not the case.

I swim regularly about 2-3 times weekly if I can, about 2-2.5km each time. Travelling as often as I do my life can be very sedentary, and I don’t know how some of my colleagues manage to do the jet set lifestyle and keep fit.Actually many don’t and I think that can’t be good for you.”

“I think a lot of stage nerves is due to insecurity, whether in yourself, or your ability to perform on the night, or it may be more what audiences are going to think of you. Either way, it’s best to be convinced in yourself, your ideas,and your projection.There will be always be someone who won’t like it – that is human nature.”

“Any first-time concert attendees should just let the music come to you and wash over your senses, and be open to ideas. Once you have heard it then I am sure you will have thoughts and opinions about it.

Never be intimidated by it. Contrary to what some people think, music is for everyone and for everyone to ENJOY. If you want to delve deeper that is fine, but if you don’t it doesn’t matter. Listen to it for what it is. If you enjoy engage the replay button.

The wonderful thing with really great music is that there are so many layers and the more you hear the more it will be revealed.”

Venue: Pittville Pump Room Date: Sun 8 Jul / Time: 11am

M27 Melvyn Tan Programme includes: J S Bach, Judith’s Variations, Schumann, Chopin Venue: Parabola Arts Centre Date: Sun 8 Jul / Time: 4.15pm

Match fit or on the bench?

The world of music making is highly competitive. It involves long days and late nights, fierce concentration, masses of adrenalin, countless hours of solitary practice, and the Image: Eoin Carey management of performance nerves – all pressures that we typically associate with sportsmen and women.

Cheltenham Music Festival’s Musical Athletes series investigates this music athleticism and its associated problems in its LabOratory project. Funded by the biomedical organisation the Wellcome Trust, which brings science to all four Cheltenham Festivals, and with support from the LabOratory Think Tank and medical charity the British Association for Performing Arts Medicine, Cheltenham Music Festival will explore the biomechanics and psychology of musicians.

M32 Fear &

Fearlessness For full event details go to page 26

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Hot blooded tango meets the mystery of Klezmer Passionate, fiery, exotic music – truly an experience not to be missed. By Fenner Curtis.

In my early years as a young, novice violinist, my horizons didn’t extend beyond the world of classical music.

But around the age of 13 came my musical awakening. I discovered to my considerable delight that there was far more out there than violin sonatas and concertos. Among the many different and fascinating styles were Tango and Klezmer.

The Tango is a dance that most of us have heard of, with many enjoying its intimate, physical, excitement courtesy of the extremely popular “Strictly Come Dancing”. As those viewers will have discovered Tango music is every bit as exciting as the daring moves on the dance floor. Hailing from the area of Rio de la Plata, which is between Argentina and Uruguay, Tango is passionate, fiery music that’s full of excellent tunes and a real driving rhythm. Ástor Piazzolla was an Argentine tango composer who took his native traditional tango and combined it with elements from jazz and classical music,creating a brand new style termed ‘nuevo tango’. We’ll be treated to a performance of this in Cheltenham on 11th July by the Fugata Quintet, who specialise in Piazzolla’s new brand of tango – with violin, guitar, piano, accordion and double bass.

This same concert will feature a completely different style of music altogether – but one that is just as exciting to experience live. Klezmer was originally a musical tradition of Eastern European Jews, played at weddings and other celebrations – and as a result the music is energetic, joyful and amazing to watch. The 8-piece band She’Koyokh will be performing their exhilarating Eastern European/Balkan/Gypsy tunes for us on the same night.It will be amazing to see two very different but equally inspirational bands in one concert. So whatever kind of music you enjoy this is definitely an evening not to be missed.

Listen to this amazing music online: cheltenhamfestivals.com/maestro Venue: Cheltenham Town Hall Date: Wed 11 Jul / Time: 7pm

M50 Tango & Klezmer Fugata Quintet and She’Koyokh For full event details go to page 27

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Over the centuries, composers have always benefited from connections with the Monarchy, especially whenever a new piece was required to mark some special royal event. In the case of William Byrd, however, those connections represented a tightrope that had to be walked very carefully. As a Catholic composer living during the turbulent times following the Reformation, where successive monarchs swung from Protestantism to Catholicism and back again, he was lucky to keep his head. And Queen Elizabeth I, wise and enlightened, protected this great composer and allowed him to flourish. In gratitude, he produced compositions in her honour.

Matters were very different by the time Handel was commissioned to compose music for a British monarch, though things might have been a little awkward at first. Handel had juggled working for George, Elector of Hanover, with lucrative and lengthy sojourns in England,and had virtually abandoned his German commitments – when George arrived in England, now acclaimed as King George I. Relations between Handel and the Royal Family remained cordial,however,and some of the music most associated with state occasions to this day was born of this liaison.

George I having died early in 1727 as the result of chronic overeating, George II succeeded, and for his coronation in October of that year Handel composed four Coronation Anthems,of which “Zadok the Priest”has remained a staple of coronation ceremonies ever since. Handel also provided the music for a magnificent firework celebration of victory over the French at Aix-la-Chapelle in 1748, ending the War of Austrian Succession (during which George II had led his troops into battle, the 24

Some of the Nation’s most revered and treasured music was specially commissioned to mark great Royal occasions. The grandeur and spectacular nature of such works lives on today.

By Christopher Morley last reigning monarch so to do).

This jamboree was given in London’s Green Park on 27 April 1749, and the Music for the Royal Fireworks called for a gargantuan, noisy outdoor orchestra of 24 oboes, 12 bassoons,nine trumpets,nine horns, three pairs of kettle-drums,a serpent (a strangely-shaped bass wind instrument), and a double-bassoon (an LP recording with this scoring was made in the middle of the night – the only time when all the players were available – during the 1950s).

“Zadok the Priest”is one constant at coronations. Another, ever since 1902, has been Sir Hubert Parry’s “I was Glad”, composed for the coronation of Edward VII on August 9 of that year, and associated with processionals towards the chancel of Westminster Abbey. The climax of the processional is an acclamation of

the new monarch, most recently – though nearly 60 years ago! – with the words “Vivat! Vivat Regina!

Vivat Regina Elisabetta!”.

Perhaps a surprising choice to be asked to compose music for royal occasions was William Walton, who in the 1920s and 30s had acquired a reputation for being jazzy and scurrilous,perhaps thanks to his close relationship with the iconoclastic Sitwell family. But his oratorio “Belshazzar’s Feast”, premiered at the Leeds Festival in 1931, had gone a long way towards establishing his credentials, and in 1937 he was invited to compose a march for the coronation of George VI. This was “Crown Imperial”, a huge success, and one which was followed up by a return invitation to compose something similar for the coronation

of Elizabeth II in 1953: the result was “Orb and Sceptre”.

Elgar, towards the end of his life endowed with the title of Master of the King’s Musick, is a composer closely associated with national royal occasions. His “Land of Hope and Glory”, originally a mere tune at the centre of his first Pomp and Circumstance March, has become virtually a surrogate National Anthem, sung, for example, at the opening of the old Wembley Stadium, and his orchestration of Parry’s “Jerusalem”(also a surrogate National Anthem) is broadcast annually around the world at the end of the Last Night of the Proms – not exactly royal, but close enough.

Certainly not composed for royal occasions is Elgar’s Nimrod, the centre-piece of his “Enigma Variations”, musical portraits of his intimate friends,with this particular movement a memory of a restorative conversation a depressed Elgar held during an evening walk with his publisher. The music’s noble, elegiac tones lend themselves immediately to great moments of remembrance, whether domestically or nationally, and our chief encounter with them comes with the annual ceremony at the Cenotaph in Whitehall, early each November.

Christopher Morley is the chief music critic at The Birmingham Post.

Venue: Cheltenham Town Hall Date: Sun 8 Jul / Time: 6pm

M34 Royal Musical

Treasures Performers: Flowers Brass Band, Tewkesbury Abbey Schola Cantorum, Cheltenham Bach Choir, Benjamin Nicholas, Stephen Jackson, Paul Holland.

Narrator tba.

For full event details go to page 26

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

MAKE THE MOST OF YOUR FULL LISTINGS PULL-OUT To help you plan your visit to the Festival we have produced a special four page pull-out featuring all of the events, performances, dates, times and venues. Those that are printed with a colour tint, for example THE ESSENTIAL DEBUSSY on this page, have been featured or referred to in one of the articles in this magazine, those events and performances printed on a white background, for example THE NASH ENSEMBLE on this page have not been referred to previously in the magazine. So the best way to make the most of the Festival is to spend some time reading through your pull-out guide.

Wednesday 4 July

FESTIVAL EVENSONG

Not referred to in articles in this magazine

Thursday 5 July

Thursday 5 July

Friday 6 July

THE NASH ENSEMBLE

GLOUCESTERSHIRE YOUTH ORCHESTRA

THE ESSENTIAL DEBUSSY

Ian Brown piano Richard Watkins horn Marianne Thorsen violin Philip Dukes viola Paul Watkins cello M4 11am (ends approx. 1pm) Pittville Pump Room £26 £21 £15 Members 10% off (50% concessions apply) Mozart Piano Quartet in G minor K 478 27’ Alexander Goehr Horn Trio (premiere) 15’ Frank Bridge Phantasy Piano Quartet 10’ Brahms Horn Trio in Eb Op.40 30’

Glyn Oxley Conductor M8 7.30pm (ends approx. 9.30pm) Cheltenham Town Hall £10 (£8 U18) unreserved Members 10% off Butterworth The Banks of Green Willow 7’ Delius On Hearing the First Cuckoo in Spring 7’ Vaughan Williams On Wenlock Edge 22’ Supported by The Delius Trust and The Vaughan Williams Charitable Trust

Supported by Clive Coates & Ann Murray With the friendly support of

Cheltenham College Chamber Choir Alex Ffinch Director M1 5pm (ends approx. 5.45pm) Cheltenham College Chapel FREE

Referred to in articles in this magazine

Jean-Efflam Bavouzet Piano M10 10am (ends approx. 1.30pm) Pittville Pump Room £28 £24 £18 including free tea/coffee and croissant voucher Members 10% off (50% concessions apply) Programme to include: Images book 1 Préludes book 1 (selection) Préludes book 2 Estampes Clair de Lune Ile joyeuse Etudes Supported by Graham & Eileen Lockwood

Thursday 5 July

Recorded for broadcast on BBC Radio 3

COMPOSERS IN CONVERSATION Goehr commission supported by

M7 7pm (ends 7.45pm) Cheltenham College Lecture Theatre FREE, ticket required Friday 6 July

Wednesday 4 July Recorded for broadcast on BBC Radio 3

MILOŠ & THE CARDUCCIS

Programme to include: Solo guitar works from Spain and South America by Sor, Barrios and Villa-Lobos Haydn Quartet in B flat, Op.76, No 4 (Sunrise) 24’ Boccherini Guitar Quintet No 4 (Fandango) 25’ The Carduccis are the Quartet-inResidence and the Head of Strings at Dean Close School

Thursday 5 July

CIVIC SOCIETY WALK M5 4pm Cheltenham Town Hall Steps, FREE (finish 5.30pm at Parabola Arts Centre)

Thursday 5 July

DELIUS: SONG OF SUMMER M8a 5.30pm (ends approx. 6.45pm) Cheltenham Town Hall, Pillar Room FREE to M8 (GYO) ticket holders, ticket required

Wednesday 4 July Thursday 5 July

TRANSITIONS PRESENTS BEFORE LIFE AND AFTER James Gilchrist Tenor Anna Tilbrook Piano Netia Jones Video artist M3 9pm (ends approx. 10.15pm) Parabola Arts Centre £20 Members 10% off (concession Discover Pass off er applies) Britten Winter Words 21’ Tippett A Boyhood’s End 13’ Finzi A Young Man’s Exhortation 26’ Ireland Soliloquy & The Darkened Valley 8’

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MASTERWORKS: LA MER

BBC SINGERS

M14 5pm (ends approx. 6.15pm) Town Hall Pillar Room, FREE, ticket required

David Hill Conductor

Miloš Karadaglic Guitar Carducci Quartet M2 6pm (ends approx. 8pm) Pittville Pump Room £30 £25 £20 Members 10% off

Thursday 5 July

RUTH WALL: THE GIRL WITH THREE HARPS M6 6pm (ends approx. 7pm) Parabola Arts Centre £12.50 including Hotel du Vin drink voucher Members 10% off (concession Discover Pass offer applies) Programme to include: Steve Reich Piano Phase Graham Fitkin Close Hold Astor Piazzolla Chanson de la naissance and traditional Gaelic tunes

M9 8pm (ends approx. 10pm) Cheltenham College Chapel, £15 unreserved Members 10% off Hugh Wood From the Pisan Cantos LXXXI (premiere) 10’ Lauri Supponen new work (premiere) 10’ Jonathan Harvey Marahi 11’ Judith Bingham new work (premiere) 10’ Giles Swayne Magnificat I 4’ John Tavener Unto the End of the World (premiere) 11’ Einojuhani Rautavaara Mass (UK premiere) 25’ With the friendly support of

Friday 6 July

ORCHESTRA OF THE MUSIC MAKERS Melvyn Tan Piano Chan Tze Law Conductor M15 7pm (ends approx. 9pm) Cheltenham Town Hall £32 £25 £16 £12 Members 10% off (50% concessions apply)

Delius Paris: The Song of a Great City 23’ Debussy (arr. Caplet) Pagodes 6’ Ravel Piano Concerto in G major 23’ Holst Beni Mora – Oriental Suite 15’ Debussy La Mer 25’ Supported by The Delius Trust

Supponen supported by Susan Bradshaw Composers’ Fund

Rautavaara sponsored by

Friday 6 July

SALOMÉ A SOUND AFFAIRS PRODUCTION Recorded for broadcast on BBC Radio 3

The classic 1923 movie complete with a live score by Charlie Barber M16 10pm (ends approx. 11.15pm) Parabola Arts Centre £15 Members 10% off (concession Discover Pass offer applies)

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Saturday 7 July

Saturday 7 July

Sunday 8 July

Sunday 8 July

READY, STEADY… SING!

THE OPERA GROUP PRESENTS BABUR IN LONDON

CIVIC SOCIETY WALK

ROYAL MUSICAL TREASURES FOR THE DIAMOND JUBILEE

M17 10am (ends approx. 10.50am) Cheltenham Town Hall, Drawing Room £5 (accompanying adults free) Suitable for ages 3+ A singing workout for the little ones!

Saturday 7 July

WELLENSIAN CONSORT Christopher Finch Conductor M18 11am (ends approx. 12noon) Deerhurst Priory £12 Members 10% off Tippett Five Spirituals (A Child of Our Time) 15’ Ronald Corp Dhammapada (extracts) 10’ Giles Swayne Missa Tiburtina 10’ Music by Purcell and Taverner

Edward Rushton Music Jeet Thayil Words John Fulljames Director M22 4.30pm (ends approx. 6.30pm) Parabola Arts Centre £25 Members 10% off (concession Discover Pass offer applies) Suitable for ages 14+

Saturday 7 July

HASSAN Southbank Sinfonia Wellensian Consort Narrator tba Neil Thomson Conductor M26 8pm (ends approx. 10pm) Cheltenham Town Hall £25 £20 Members 10% off (50% concessions apply)

Saturday 7 July

SINBAD THE SAILOR AND SCHEHERAZADE with James Mayhew illustrator as Sinbad the Sailor Orchestra of the Music Makers Chan Tze Law conductor

Debussy Danses Sacrée et Profane 10’ Debussy (arr. Adriano) Prélude à l’aprèsmidi d’un faune 10’ Delius Complete incidental music to James Elroy Flecker’s ‘Hassan’ 60’ Supported by The Delius Trust

Sunday 8 July

MUSICAL ATHLETES M30 My body is a temple?

2pm (ends approx. 3.15pm) M32 Fear and fearlessness 4.15pm (ends approx. 5.30pm) Parabola Arts Centre £6 Members 10% off (book all 4 events for £20)

Sunday 8 July

Saturday 7 July

TALK: ORIENTALISM M25 6.45pm (ends 7.30pm) Cheltenham Town Hall Drawing Room £6 Members 10% off

Florilegium Arakaendar Bolivia Choir Ashley Solomon Director M31 3pm (ends approx. 5pm) Pittville Pump Room £26 £21 £15 Members 10% off

Sunday 8 July

MUSICAL ATHLETES M21 Heads, shoulders, knees and ...

2pm (ends approx. 3.15pm) M23 Ear, nose and throat 4pm (ends approx. 5.15pm) Cheltenham Town Hall Drawing Room £6 each Members 10% off (book all 4 events for £20)

Programme to include: Byrd O Lord, make thy servant Elizabeth Walton Coronation marches: Crown Imperial & Orb and Sceptre Walton Coronation Te Deum Parry I was glad Handel Zadok the Priest Handel Royal Fireworks Music Handel Arrival of the Queen of Sheba Elgar Nimrod and music from the 2012 Choirbook for the Queen Supported by The Oldham Foundation Presented in association with the High Sheriff of Gloucestershire

Monday 9 July

GROSVENOR & THE ESCHERS Benjamin Grosvenor Piano Escher Quartet M37 11am (ends approx. 1pm) Pittville Pump Room

SOLD OUT

M33 5pm (ends approx. 5.45pm) Pittville Pump Room, FREE to ticket holders

Supported by Sir Michael & Lady McWilliam and Sir Peter & Lady Marychurch Recorded for broadcast on BBC Radio 3

Sunday 8 July

MELVYN TAN Melvyn Tan Piano

Saturday 7 July

M34 6pm (ends approx. 8.15pm) Cheltenham Town Hall £28 £23 £16 £12 Members 10% off (50% concessions apply)

POST-CONCERT TALK

MIDSUMMER FIESTA! M20 12 noon - 10pm, Montpellier Gardens, FREE

Cheltenham Bach Choir Stephen Jackson Conductor Flowers Brass Band Paul Holland Conductor Tewkesbury Abbey Schola Cantorum Benjamin Nicholas Conductor Narrator tba

BOLIVIAN BAROQUE

Music from the Missions Sacred and secular music by Araujo, Balbi, Bassani, Brentner and Zipoli

M19 12 noon (ends approx. 1pm) Cheltenham Town Hall £8 Members 10% off Suitable for ages 6+

Saturday 7 July

M29 1pm, finishing at Pittville Pump Room by 2.30pm Cheltenham Town Hall, FREE

M27 11am (ends approx. 1pm) Pittville Pump Room £28 £24 £18 Members 10% off (50% concessions apply) J.S. Bach English suite No 2 in A minor 24’ Judith’s Variations 11 short reflections on ‘Bist du bei mir’ 22’ Schumann Fantasiestucke, Op.12 25’ Chopin 3 Mazurkas, Op.59 10’ Chopin Scherzo No 2 in B flat minor 10’

Sunday 8 July

CASTALIAN QUARTET M36 8.30pm (ends approx. 9.40pm) Pittville Pump Room £15 unreserved Members 10% off (50% concessions apply) Hugh Wood String Quartet No 1 19’ Michael Nyman String Quartet No 2 22’ Giles Swayne String Quartet No 3 20’ Supported by Peter & Veronica Lofthouse Recorded for broadcast on BBC Radio 3

Monday 9 July

THE CLASSIC BUSKERS Michael Copley Multi-instrumentalist Ian Moore Piano Accordion M38 6pm (ends approx. 7pm) Parabola Arts Centre £12.50 including Hotel du Vin drink voucher Members 10% off (concession Discover Pass offer applies)

Monday 9 July

BENJAMIN GROSVENOR Saturday 7 July

Sunday 8 July

Benjamin Grosvenor Piano

BABUR: PRE-SHOW TALK

WHEN YESTERDAY WE MET… STORYTELLING IN SONG

M22a 3pm (ends approx. 4pm) Parabola Arts Centre FREE to M23 ticket holders

Sophie Daneman Soprano Philip Smith Baritone Dominic Harlan Piano

Sunday 8 July

M28 11.30am (ends approx. 12.30pm) Parabola Arts Centre £7 Members 10% off Suitable for ages 8+

M35 7.30pm (ends approx. 8.15pm) Pittville Pump Room, Oval Room FREE to ticket holders for M36

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M37a 8pm (ends approx. 9.15pm) Pittville Pump Room £20 £16 £12 Members (50% concessions apply)

COMPOSER IN CONVERSATION JS Bach Partita No 4 in D 16' Chopin Sonata No 3 in B minor Op. 58 25' Ravel Gaspard de la Nuit 20'

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Monday 9 July

Tuesday 10 July

Wednesday 11 July

Thursday 12 July

I FAGIOLINI

PHILIP LANGRIDGE MENTORING SCHEME SHOWCASE

GLOUCESTERSHIRE YOUNG MUSICIAN SHOWCASE

CIVIC SOCIETY WALK

Robert Hollingworth Director The Oriel Singers M39 7.30pm (ends approx. 9.30pm) Tewkesbury Abbey £32 £28 £24 £16 Members 10% off

Philip Higham Cello Alexandra Dariescu Piano Kathryn Rudge Mezzo-soprano Helen Sherman Mezzo-soprano

Programme to include: Striggio Ecce beatam lucem Tallis Spem in alium Striggio Missa ‘Ecco sì beato giorno’ Giovanni Gabrieli Magnificat

M44 7.30pm (ends approx. 9.30pm) Cheltenham Town Hall £25 £20 Members 10% off (50% concessions apply)

Supported by Diana Woolley I Fagiolini’s Striggio Tour is supported by the National Lottery through Arts Council England

Schubert Sonata in A minor, D.821, Arpeggione 20’ Mahler Lieder eines fahrenden Gesellen 16’ Chopin Preludes, Op.28, Nos 16-24 17’ Constantinescu Toccata 4’ Duparc Au pays ou se fait la guerre 5’ Britten Cabaret Songs 15’ Broadcast live on BBC Radio 3

Alex Kirk Piano M48 5.30pm (ends approx. 6.30pm) Parabola Arts Centre £12.50 including Hotel du Vin drink voucher Members 10% off (concession Discover Pass offer applies) Music by Chopin and Britten

Wednesday 11 July

TANGO & KLEZMER Fugata Quintet and She’Koyokh

LOVE SONGS FROM THE PRINCE CONSORT Katherine Broderick Soprano Jennifer Johnston Mezzo-soprano Andrew Staples Tenor Jacques Imbrailo Baritone Alasdair Hogarth, Philip Fowke Piano M40 11am (ends approx. 1pm) Pittville Pump Room £26 £21 £15 Members 10% off (50% concessions apply) Brahms Liebeslieder Op.52 24’ Stephen Hough Other Love Songs 20’ Schumann Spanische Liebeslieder Op.138 21’ Brahms Neue Liebeslieder Op.65 23’ Supported by the Alan Cadbury Trust and Patricia Routledge CBE

Wednesday 11 July

THE 1914 CONCERT

Wednesday 11 July

Henning Kraggerud Violin Katharine Gowers Violin Adrian Brendel Cello Christian Ihle Hadland Piano

RACHMANINOV’S VESPERS: A CANDLELIT PERFORMANCE

M45 11am (ends approx. 12.50pm) Pittville Pump Room £28 £24 £18 Members 10% off (50% concessions apply) Janáˇcek Violin Sonata 18’ Webern Three pieces for cello and piano 3’ Kodaly Duo for violin and cello 25’ Joplin Magnetic Rag 4’ Ravel Piano Trio 28’

Ex Cathedra Choir Jeffrey Skidmore Conductor M51 9.30pm (ends approx. 10.40pm) Cheltenham College Chapel £18 Members 10% off Rachmaninov All Night Vigil (Vespers) 60’

Broadcast live on BBC Radio 3

Wednesday 11 July

M52 11am (ends approx. 12.50pm) Pittville Pump Room £28 £24 £18 Members 10% off (50% concessions apply)

Tuesday 10 July

KEN RUSSELL: A VERY ENGLISH GENIUS M43 6pm (ends approx. 7.15pm) Parabola Arts Centre £12.50 including Hotel du Vin drink voucher Members 10% off (concession Discover Pass offer applies)

THE 1915 CONCERT Henning Kraggerud Violin Lars Anders Tomter Viola Steven Isserlis Cello Catherine Beynon Harp Emily Beynon Flute Matthew Hunt Clarinet Christian Ihle Hadland Piano Connie Shih Piano Escher Quartet M49 7pm (ends approx. 9pm) Pittville Pump Room £28 £24 £18 Members 10% off Debussy Sonata for flute, viola, harp 16’ Szymanowski Mythes 20’ Debussy Sonata for cello and piano 12’ Bartok Romanian Dances 5’ Reger Clarinet Quintet 37’

Thursday 12 July

THE BATTLE OF THE ANCRE SCREENING WITH LIVE PIANO ACCOMPANIMENT John Sweeney Piano M58 9.30pm (ends approx. 10.45pm) Parabola Arts Centre £10 Members 10% off (concession Discover Pass offer applies)

Thursday 12 July

YSAYE’S SOLO SONATAS

Supported by Quenington Sculpture Trust

War poetry readings & WW1 piano music Debussy En blanc et noir 18’ Debussy Pièce pour le Vêtement du Blessé 2’ Stravinsky Souvenir d’une Marche Boche 2’ Granados Marche Militaire 4’ Bridge Lament for Solo Piano 5’ Bridge Three Improvisations for piano left hand 9’ Ravel Le Tombeau de Couperin 25’

In partnership with the Imperial War Museum

Katharine Gowers Violin Lars Anders Tomter Viola Catherine Beynon Harp Emily Beynon Flute Adrian Brendel Cello Christian Ihle Hadland, Connie Shih Piano

Ysaÿe Sonatas for solo violin, Op.27

M56 7pm (ends approx. 8.45pm) Parabola Arts Centre £15 Members 10% off (concession Discover Pass offer applies)

THE 1916 CONCERT

Supported by Elizabeth Jacobs

M42 3.30pm (ends approx. 4.40pm) St Swithin’s Church, Quenington £12 Members 10% off

WW1 PIANO AND POETRY

Thursday 12 July

Tuesday 10 July

Henning Kraggerud Violin

Thursday 12 July

Charles Owen Piano Katya Apekisheva Piano Reader tba Margot van Bers Streeter Historian

M50 7pm (ends approx. 9pm) Cheltenham Town Hall £20 £15 Members 10% off

Tuesday 10 July

M54 3pm Cheltenham Town Hall (finishing at Hotel du Vin at 4.30pm) FREE, ticket required

Schoenberg Piano Quintet, ‘The Iron Brigade’ 5’ Rebecca Clarke Lullaby & Grotesque for viola and cello 3’ Bax Elegaic Trio for flute, viola and harp 10’ Bridge Two Old English Songs for quartet 8’ Bliss Pastoral for clarinet & piano 5’ Busoni Albumblatt for flute & piano 3’ Rachmaninov Etudes Tableaux Op.39 40’ Supported by Neil & Ann Parrack In recognition of The Leonora Society

AFRICAN SANCTUS Bournemouth Symphony Chorus Cheltenham & Tewkesbury Youth Choirs Gavin Carr Conductor Backbeat Percussion Ensemble Maureen Brathwaite Soprano M57 7pm (ends approx. 8.30pm) Cheltenham Town Hall £22 £16 £12 £9 Members 10% off (50% concessions apply) Trad. African music for mbiras and djembes Liz Lane Spirit of Africa (premiere) 10’ David Fanshawe African Sanctus 60’ With the friendly support of

Recorded for broadcast on BBC Radio 3

Friday 13 July Broadcast live on BBC Radio 3

EXPLORING AFRICAN SANCTUS M57a 8.40pm (10 minutes after M57 ends) Cheltenham Town Hall Drawing Room FREE, ticket required

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Friday 13 July

Saturday 14 July

Saturday 14 July

Sunday 15 July

A SOLDIER AND A MAKER

BY IAIN BURNSIDE

PERCUSSIONS CLAVIERS DE LYON

BRITISH MUSICAL EXPLORERS

A LONDON MARATHON FINALE CONCERT

A new play based on songs, poems and letters of Ivor Gurney

M65 12noon (ends approx. 2pm) Cheltenham Town Hall £20 £15 Members 10% off

Iain Burnside director Giuseppe and Emma Belli designers Victoria Newlyn movement M62 Fri 13 Jul 5pm (ends approx. 7.15pm) M67 Sat 14 Jul 3pm (ends approx. 5.15pm) Parabola Arts Centre £20 Members 10% off (concession Discover Pass offer applies)

Debussy (arr. Gérard Lecointe) Suite Bergamasque 15’ Debussy (arr. Gérard Lecointe) 5 Préludes 20’ Gérard Lecointe Après Masques 13’ Debussy (arr. Gérard Lecointe) Nocturnes 10’ François Narboni Rigodon 15’

Saturday 14 July

A SOLDIER AND A MAKER

Friday 13 July

M67 3pm (ends approx. 5.15pm) Parabola Arts Centre £20 Members 10% off (concession Discover Pass offer applies)

THE 1917 CONCERT Katharine Gowers Violin Steven Isserlis Cello Connie Shih, Charles Owen Piano Escher Quartet M60 11am (ends approx. 12.50am) Pittville Pump Room £28 £24 £18 Members 10% off (50% concessions apply)

M66 1.30pm Cheltenham Town Hall (finishing at St Paul’s Church at 2.30pm) FREE, ticket required

Recorded for broadcast on BBC Radio 3

M68 3pm (ends approx. 5.40pm) St Paul’s Church, Cheltenham £15 Members 10% off

BACH’S B MINOR MASS

J.S. Bach Mass in B minor, BWV 232 Supported by the Aquarius Group

THE 1918 CONCERT

Recorded for broadcast on BBC Radio 3

Svara Kanti’s current tour is supported

by Creative Scotland, Gem Arts and The Hope Scott Trust.

Elgar Cockaigne (In London Town) 13’ Hannah Kendall Shard (premiere) 5’ Holst Hammersmith 15’ Ireland A London Overture 13’ Elgar Cello Concerto 30’ Vaughan Williams A London Symphony 45’ Supported by Celia & Andrew Curran and The Vaughan Williams Charitable Trust Kendall commission supported by The Steel Charitable Trust With the friendly support of

Sunday 15 July

SONGS OF THE EXOTIC

M72 11am (ends approx. 12.50pm) Pittville Pump Room £26 £21 £15 Members 10% off (50% concessions apply) Songs of travel – the intrepid explorer India Love Songs Eastern Attraction: Japan and China Songs of the Exotic Homeward Bound Selected songs by: Armstrong Gibbs, Bantock, Purcell/Britten, Delius, Elgar, Holst, Ireland, Quilter, Rhian Samuel, Stanford, Vaughan Williams, Warlock & Judith Weir Supported by The Vaughan Williams Charitable Trust

Saturday 14 July

EDUCATION MAKING MUSIC WITH THE OMM Orchestra of the Music Makers Chan Tze Law Conductor M11 Friday 6 July 10.30am Cheltenham Town Hall

BANDWAGON Monday 9 July – Thursday 12 July

BANDWAGON CONCERT FOR SCHOOLS M59 Friday 13 July 10.30am Cheltenham Town Hall £2 (school bookings only)

Recorded for broadcast on BBC Radio 3

SAVITRI Sarah Connolly Mezzo-soprano Allan Clayton Tenor Benedict Nelson Bass-baritone Trondheim Soloists Savitri Singers M70 7pm (ends approx. 9pm) Cheltenham Town Hall £30 £25 Members 10% off (50% concessions apply) Grieg Holberg Suite 19' John Tavener Dhyana 5’ Roxanna Panufnik Tibetan Winter 5’ Roxanna Panufnik Indian Summer 7' Holst Rig Veda songs, set No 3 12’ Holst Savitri 35’ Supported by Diana Woolley

Interval canapés kindly provided by

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M71 9.30pm (ends approx. 10.45pm) Parabola Arts Centre £15 Members 10% off (concession Discover Pass offer applies)

Ruby Hughes Soprano Jennifer Johnston Mezzo-soprano Benedict Nelson Baritone Joseph Middleton Piano

The Utrecht Student Choir and Orchestra

Supported by The Patrons of Cheltenham Festivals

Simon Thacker Classical guitar Jyotsna Srikanth Carnatic violin Sarvar Sabri Tabla Japjit Kaur Voice

M74 5pm (ends approx. 8pm) Cheltenham Town Hall £42 £35 £22 £12 Members 10% off (50% concessions apply)

CIVIC SOCIETY WALK

Supported by Mary Mackenzie, Richard Walton and Friends

Stravinsky Soldier’s Tale suite for piano, clarinet and violin 15’ Bruch String Quintet in A minor 25’ Elgar Piano Quintet 35’

SVARA KANTI

See p48 for a special Festival dining offer at The Curry Corner

Saturday 14 July

M63 8pm (ends approx. 9.50pm) Cheltenham Town Hall £35 £28 £20 £12 Members 10% off

Saturday 14 July

Bournemouth Symphony Orchestra Martyn Brabbins Conductor Steven Isserlis Cello

Saturday 14 July

Fauré Sonata No 1 for cello and piano 22’ Ireland Piano Trio No 2 in E 13’ Debussy Sonata for violin and piano 15’ Bartók String Quartet No 2 25’

Nigel Kennedy Violin Katharine Gowers Violin Lars Anders Tomter Viola Steven Isserlis Cello Matthew Hunt Clarinet Connie Shih Piano Escher Quartet

M69 5.45pm (ends at 6.30pm) Cheltenham Town Hall Drawing Room £6 Members 10% off

HAVE-A-GO SESSIONS and MEET THE GAMELAN Sunday 15 July

Education Partners

PLUCK: MUSICAL ARSON! M73 3pm (ends approx. 4.15pm) Parabola Arts Centre £7 Members 10% off Suitable for ages 7+

50% concessions are available on many events – see pg.51 for special offer details

Adams Youth Trust

The Vandervell Foundation

All family events supported by Elizabeth Jacobs

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Was it the movie or the music?

Some films are every bit as famous for their soundtrack as they are for the movie itself. Many movies include classical music in their soundtrack. And as people are becoming more and more familiar with classical music, naturally, their desire to seek and find a particular work increases.

However, the problem is that many people don’t know the name or composer of the piece. Fenner Curtis has compiled ten classical music works you know that you can make a note of.

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B P rie by ian f En R R o C co P Co ach ach on un Ad lato ki nc ma m cer te B a o a ck er n an to r (1 Yo arb gio n (1 go nyt in to N ino ino No 94 e u d r for 986 te in hi wh o v’s v . 2 5) ru ead tho St ) fa arj g o ng en . 2 s Pia rin od nn , bu ug (b nta erk n i em ev eem no h gs th ds in t n t E th y R st er n t oti er t s g by , e m b on fr o! lia e F av ic p . H hi on he to o a T o A s vi ck ly m h w es el) ia ea s v al re d ag ng to to im ere as tiv o n r a in ’s io tu th be p h al n 6 o co no tag . fo ne e sh os e i th n th e r S o ra ot si s, Ju cer er tr f B th in ble ly to in a er at gs rb Ap . er Ri oc ’s d a W e l An ag of yp cl o ne the se N Va o W ass the r lk w a ag ic, r V 2 yr (19 Am cco ne bu iet (1 00 ie 7 r s b 9) ac e mp ’s m t th na Al 968 1: A y fr tu ric an u is m b so ) Sp M ac ra om ally an yin sic tim mo N y St Sp M Rh an eO o ra rac e w vie ex the th ha ad g e t a ha ( h n a G 2 s dy P pe r ei ve va th St tra in uss h Z ith Va 00 ter Th ers pso tta ss ra n g c a on ian rie diff r ch it b nce e Z 3 h d ra M rio ) an ey m e o w y n (1 12 o an nce ere op lar . Th ho ara uss ce l onv us u th d a p in in 97 k W th d , t nt pe in e t ’ i e s C s us bo w hu A ke ey Bl 9) oo kes en om N y p ic p t Ju Po ry w rs g y t u i ue m l s s a t B ra ly. et ou ar . F w po ar lay Rh ne dy it o ing OM m t go tra so he a b m by o i t r S ry W A b . s t s l T b ra a . e p a m i i p G e h c Y v he R o n a s nd er ps er lle io en BO ... s... ou ra it f g ev W B t n t h r n f u u o o c r a b en 1 u s er M bo o kn h om st ch e’s ss ic n is rp co h ect dy hw lo s t e a in M m m o W irri , an Bo ell av tal ris g or m is g acc in in ves ha lon M m m w e i c C a n e o ill g d ch r l o ng M m m a ch d rea o Bl ’s a g t e B ly ! … ...

Lo ut V iam Va som er ow bat f oo be nd N est y, w t ro mp ue i e i Di attl u t n a n s f . d le Fo co e ral ith m an s th in do ug . B gh e v i, Re es e R s w i m C a r e a m m e a d le n S ha su n ry or iff so in Yo a the nt e e W qu Ira oy e F n i y m n c s g r e c lli on m W re se ith ie e f al t Kl esti ren eth on k c terp jazz , ce ph ill to c cl con in m M rom e (2 ez va t a in e. ity ie y a r 0 i o t h t o n am e th s d h a V 0 m l, t t g sc ce er ry th a n y i s’ ck ap th e d sic s o e v ss erd 0) Tw 15 n e M bi g o e i’s Re e D ra , yo f th ery i o t t u C g h i u u m la lig on r T us go qu ie a ’r is A fir Ju r D B i s e a i s r h t i ly fo od e Ir i h s t 11 ng c pi ebu e d t ( vi onu .

Th th o 20 cl r a w m M ae c en it w ian e e d s s ( G c e Ju & 2 e s s L h o as m ay a fro tr it cu ro ow e Cl y’s un 08) ly Av 00 og cho Za eor Ma . co the sma ovi to ss. m anc h lt e s m a v s Sc e M 0-p am ice Th do ge dn i e b so nc r… te e a set A p Ver e o hu a re e k t (19 es (w am anc up re d ren y D f e i – e b s O e n m d f r t ep e rt u k o h et i’ Je ith pir e ( in t e L e p eb in atu be ria sen seri Hi m th use he 94 s of ic si on r o illi ut e s ty s a w e tm i u P r b u i h a ) o e t c a o r s w t t n t K s r c y s h n tu m 6 rc g on -E ut ). it is ne n s he ste w f H ie en in ith is es a ’s A Sc ) s an o h y h C m ne ila th he e e s t o c v f r ee nt cli st n an t b g e el th ser ll o ve hu be e’ ll ert flam am atc s. rly Ju str ach a P d n r r y m d o c ag ly al w st be on B pi h th k co dy e b ies ve Ma ber e ries an a oke erf el H or kn p 6 a re i ha e as ind mp us ea of g r th ria t of xch t fo ce o xin – e ul f ’s m and ks o lay th vo s) s s g so sa of an ua ut a e p a En an llo f Z c sp ilm us el . wn in Ju uz at so me ssi sn yin lly iful me lac pi re t gla ge: wi ado hor eci is ic so g D ly, et’ vo s, e lo e wh s P ng m na ea g M ec he n “I ng k t al all a y pi bu e ca Ju rinc s, y ore tion ky som on usi e at Pat d.” “ am the he an ss re l ly e ou g f 8t cal ou ien No th te e .

C o y’s o u c e r ns h T s t.” S on o rg n K Ju re pe H ir, i e so uld eo . Fo ly as ci ea yo ng rt tr us r . ur al r u on y es Ro th 10 the co ya is th nc l er t

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

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fter being met, predictably enough, with an initial round of humphs and garumphs on this side of the North Sea, Schmitz’s treatise was soon relegated to the status of occasional footnote reference and library shelf dust-gatherer. That ‘land without music’ tag, though, somehow stuck around for years to come. Unfairly so, as Schmitz was talking rubbish.

To be fair to Schmitz, it’s easy to see how he arrived at his conclusion – as he set pen to paper, he would have been casting his eye over a 19th century in which his own country had revelled in the glories of Beethoven, Mendelssohn, Schumann, Wagner, Brahms... while England had little more than the occasional flurry from the likes of Sullivan,Parry and Stanford to shout about.

But the history of music didn’t begin in the 19th century. Schmitz really should have looked back around 400 years before making his damning judgement.

The cast list of British composers plying their trade in the Tudor and early-Stuart eras is both long and distinguished – from John Taverner, the pre-eminent voice of pre-Reformation England, and his Scottish contemporary Robert Carver, through the likes of Christopher Tye and John Sheppard, to Orlando Gibbons and Thomas Weelkes in the early 17th century. All are glorious,

but two names in particular stand out: Thomas Tallis and William Byrd. Catholics both, they nonetheless prospered in Elizabeth I’s fiercely Protestant England. How, exactly? Well, the Queen knew a good thing when she heard it – not only did she tolerate Tallis and his younger colleague,but she even gave them a unique patent to publish music.

Tallis can be enjoyed at his most spectacular at this year’s festival when, in Tewkesbury Abbey on 9 July, I Fagiolini (plus friends) take on the extraordinary Spem in alium, his motet written for 40 voices. And a much smaller-scale, but similarly exquisite, example of Byrd will be heard at the previous day’s ‘Royal Musical Treasures’ concert, in the form of his anthem O Lord, make thy servant Elizabeth (note the title – brilliant and Catholic Byrd may have been, but a little kowtowing to royalty never hurt anyone...).

If the 16th century marked English music’s first golden age,then the second arrived, coincidentally,just as Schmitz was putting the dot on the i of Musik.Within 20 years of his treatise appearing in print,British audiences had enjoyed the premieres of, say, Elgar’s First Symphony (1908) and Cello Concerto (1919), Vaughan Williams’s Fantasia on a Theme of Thomas Tallis (1910) and The Lark Ascending (1920) and Holst’s The Planets (1918) – masterpieces all, and the

perfect musical riposte to the German’s gibe.

Within the same period, meanwhile, were born two composers, Michael Tippett (1905) and Benjamin Britten (1913), who would go on to carry the British music torch blazingly into the second half of the century, while the First World War claimed the life of one whose full potential would never be realised – works such as the orchestral piece The Banks of Green Willow and his song settings, A Shropshire Lad, give a tantalising glimpse of what might have been had George Butterworth not been killed at the Somme in 1916.

All of these composers feature to varying extents at the festival, not least in the finale concert, ‘A London Marathon’, on 15 July when Elgar’s Cockaigne and Cello Concerto jog alongside Holst’s Hammersmith and Vaughan Williams’s A LondonSymphony(awork,incidentally,suggested to the composer by his friend, Butterworth).

And, as audiences hear just what a rich variety of sources this second golden age of British music both drew on and, in turn, reflected – from Vaughan Williams’s British folk influences, to Elgar’s broader European outlook, to Holst’s fascination with Indian and African cultures as demonstrated in the likes of Savitri and the Beni Mora suite respectively – a certain local pride can be felt. Holst was born in Cheltenham itself, while Gloucestershire provided the birthplaces,

Oskar Schmitz has a lot to answer for. Whether he was being deliberately provocative, or genuinely believed what he was writing, the German scholar certainly ruffled a few British feathers with his 1904 treatise, Das Land ohne Musik: ‘The Land without Music’. The Brits, said Schmitz, may have had a fine ear for everyone else’s music... but they had no musical heritage of any substance to call their own. Ouch. As this year’s festival marks the Queen’s Diamond Jubilee with a celebration of British works, Jeremy Pound of BBC Music magazine explains why our musical heritage really is worth shouting about.

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too, of both Vaughan Williams and the tortured genius Ivor Gurney, whose life and music lies at the heart of the subject of Iain Burnside’s play, A Soldier and a Maker, on 13 July. Gerald Finzi, whose exquisite A Young Man’s Exhortation is sung by tenor James Gilchrist on 4 July, spent much of his life in nearby Painswick,while even the Worcestershire-born Elgar,who liked nothing more than to take a walk up on the Malvern hills, presumably spent much of his time while up there gazing admiringly at the beauty of the county to the south. Well, possibly.

Talking of neighbourly admiration, it was Elgar himself who, in 1902 found himself feted in German music circles after performances of his Dream of Gerontius in the country met with wild enthusiasm. Leading the praise was composer Richard Strauss who proposed a toast to his English colleague’s continuing success. Strauss, at least, recognised that England was by no means ‘Das Land ohne Musik’.

Venue: Parabola Arts Centre Date: Wed 4 Jul / Time: 9pm

M3 Transitions presents:

Before Life and After Venue: Cheltenham Town Hall Date: Sun 15 Jul / Time: 5pm

M74 London Marathon

Finale Concert Image: Sasha Gusov

Performers: Bournemouth Symphony Orchestra conducted by Martyn Brabbins with cellist Steven Isserlis.

Venue: Parabola Arts Centre Date: Tues 10 Jul / Time: 6pm

M43 Ken Russell:

A Very English Genius Venue: Parabola Arts Centre Date: Fri 13 Jul / Time: 5pm Date: Sat 14 Jul / Time: 3pm

M62/M67 A Soldier and a Maker Above: Martyn Brabbins, who conducts the Bournemouth Symphony Orchestra in our finale concert.

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A new play directed by Iain Burnside based on songs, poems and letters of Ivor Gurney.

For full event details go to page 27 & 28

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Images: © Olaf Heine / Deutsche Grammophon

Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

The meteoric rise of Milosˇ

From war-torn Montenegro to award-winning musician

I

f you were asked to name classical music’s most legendary guitar players, you’d probably come up with Andres Segovia, Julian Bream and John Williams. Milosˇ Karadaglic, who is already being hailed by fans and critics for his brilliant technique and transcendent musicality, may well be on his way to joining them.“My motto is: there are no problems, only challenges!” declared the 27-year-old musician from Montenegro, the small country on the Adriatic which once formed part of Yugoslavia. Coming from a homeland with no real classical guitar tradition and a population of only 600,000, the challenges faced by Milosˇ if he were to climb the international guitar-playing ladder were 32

daunting. At least he comes from a family of music lovers, even though none of his relatives is a musician (both his parents are economists, and his younger brother is currently studying for a Masters degree in economics in Madrid).“Music was very much loved in my family, by my parents and my grandmother,” he recalled. “They really encouraged me to sing because the voice is something that comes most naturally. Then when I was eight I said ‘I really want to learn properly and go to a music school’, and there was only one place, which was the music school in Podgorica.”

Milosˇ comfortably passed the audition and then decided to specialise on guitar because of its practicality. “I liked the piano very much but

my parents said it was too expensive to have one.

Then I liked the violin too, but they said ‘oh, that would be really painful for us!’” His first guitar was an ancient instrument which his father had originally been given by his older brother.“It was a really ugly old black guitar which had been forgotten about and was sitting on top of the cupboard in my parents’ bedroom. It had missing strings, it was all dusty and it was terrible. I said ‘can you give me that, I just want to feel it’. I vividly remember this scene, the moment when I picked it up for the first time and pretended to be a rock star. I said ‘this is what I want to play’.”

Milosˇ studied strictly classical guitar from day one,according to the programme laid down by the Maestro Magazine

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state music school.“It was still kind of Communist then, so there were no private teachers. If you were talented you went to the music school and had sol-fa teaching for the voice, and worked on the instrument you had chosen. This was for six years.”

T

he early Nineties were not the best of times for the Balkans, and although Montenegro didn’t suffer the kind of horrors that were visited on Bosnia or Kosovo, it did not escape unscathed. “War was happening all around,” says Milosˇ. “Montenegro was a part of Yugoslavia and politically it wanted to stay in Yugoslavia, so it was dragged into the conflict. It was the scariest time. I remember the father of some children I played with was killed in the war, so it affected everybody indirectly. I was lucky to have the most unbelievable parents. All the shops were empty and everything was so depressing, but with the little they had they tried to make my brother and myself feel like princes.”

For Milosˇ and his family, music provided reassurance and escape. “I remember once there was a power cut and we were trying to keep warm.

My mum said ‘why don’t you bring your guitar and play something for us?’ It was like the music kept us going.”

Meanwhile, Milosˇ’s playing was developing at stunning speed. He had never been afraid to perform in public, and as his skills improved he was quick to display them in front of audiences.

He had begun making appearances in major concert halls by the time he was 14. “It was all happening extremely fast and there was a great sense of achievement. I was thrown into concerts and given ridiculously hard pieces to play, but I coped and I always loved it. As soon as I could play a piece I had to play it in front of a thousand people.I think all these experiences in my childhood not only made me a happy person, but also left me equipped for whatever is happening right now.

Without the audience I am not complete. The audience makes me come alive.”

During the war years, the Montenegrins had felt isolated from the outside world and hadn’t been able to travel beyond their own borders. But at last the hostilities ceased, and the restrictions eased. In 1996, Milosˇ was invited to play a concert in Paris, and his trip there remains one of his most special and magical memories. “I just played a small concert in Paris, but it was my first chance to get out of my country and see the happy Western world. I remember my mother and myself walking around the streets of Paris, and suddenly we were in the Champs Elysées. It was just before Christmas and the whole city was lit up. I was just drawn to the shops and their windows. I thought ‘my God, this is how life should be, in full colour’.” It was in Paris too that Milosˇ bought his first serious guitar, a Jose Ramirez instrument that would help him take his playing on to the next level. “My parents gave all their savings so I could buy that guitar,” he said. “It’s another reason why I see Paris as such a magical place.”

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Another turning point came when he travelled to Italy to meet the classical guitarist David Russell, who was giving masterclasses.

The ambitious Milosˇ wanted to measure himself against one of the guitar’s top practitioners.

“There was a big international competition going on at the same time,” he remembers, “and all these older students were watching this kid playing so fast and so clean, and I thought ‘hmm, they’re looking at me!’ I started to feel important.

Then I played for David Russell, and he said I was very good and should keep working.” When Milosˇ asked where the best place was in the world to study classical guitar, Russell promptly advised him to go to London and aim to enrol at the Royal Academy of Music, as Russell himself had done.

Despite his undoubted gifts, Milosˇ quickly discovered that he didn’t know everything about the classical guitar after all. His teachers in Montenegro hadn’t been true guitar specialists, and various imperfections had crept into his technique. Eventually though, after many hard years of practice, Milosˇ graduated with First Class honours in June 2004.

Determined to get himself to London and the RAM, Milosˇ applied himself single-mindedly to improving his technique and building up his repertoire, winning every available competition in Yugoslavia and taking additional lessons in Belgrade. He had gone as far as he could go in his homeland.

“I decided I would send my material to London.

I chose five of my best pieces and recorded a tape of them, and sent it to the Royal Academy. After

two months I hadn’t heard anything. My mother said ‘you’re only 16, you can try again next year’, but I refused to accept it.” Plucking up his courage, he telephoned the Academy, and asked what had happened to his application. “The lady said ‘wait a minute’, and then she came back and said ‘it’s wonderful news! Didn’t you get our letter? You’ve been accepted, the head of studies Michael Lewin will teach you, and you will have a scholarship of such-and-such amount of money. See you in September, bye!’” So, just turned 17, Milosˇ found himself starting a new life in a strange city.

Fortunately, his teacher, Professor Michael Lewin, understood what he was going through. “He was the nicest person,” says Milosˇ, “and he said ‘if I didn’t know that you are more than good enough to do this, I wouldn’t have done this to you and your family because I know what it means. We’ll take it one step at a time and you will achieve everything’.

For me, from then on, everything was fine.”

Despite his undoubted gifts, Milosˇ quickly discovered that he didn’t know everything about the classical guitar after all. His teachers in Montenegro hadn’t been true guitar specialists, and various imperfections had crept into his technique. Eventually though, after many hard years of practice, Milosˇ graduated with First Class honours in June 2004. Then he continued his studies with a two-year Masters degree in Performance, in which he achieved a Distinction.

Following that, he became the first guitarist ever to be made a Meaker Junior Fellow of the RAM, which gave him a further two years’ breathing space to study and perform.

Emerging into the world of professional musicianship, he notched up prestigious appearances at the Lucerne Festival, the Wigmore Hall and the Purcell Room. He had also brought his prize-winning ways to London, collecting the Ivor Mairants Award in 2002 and the Julian Bream Prize (awarded by Bream himself) in 2005. He was also the first guitarist to win the Prince of Wales’ Prince’s Prize. In 2011 Milosˇ’s debut album became the best-selling classical music album, winning him “Young Artist of the Year” and “Specialist Classical Chart Award” at the prestigious Gramophone awards at The Dorchester, London. He’s become a much soughtafter artist, playing to sold out audiences around the world, and his passion for the instrument is infectious. “There isn’t a more accessible or more beautiful instrument than the guitar,” he said.

“The guitar repertoire is wonderful and there is a lot of it. It needs to be brought out of its niche and to have a renaissance. This is my mission!”

This article first appeared at: milosguitar.com Venue: Pittville Pump Room Date: Wed 4 Jul / Time: 6pm

M2 Milos ˇ & The Carduccis For full event details go to page 25

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PROF I L E

Image: York Tillyer

Benjamin Grosvenor

Many of us spend quite a lot of our lives daydreaming about when we will finally have our moment; when we will reach our full potential, achieving something truly admirable. But what do you do when you’ve hit those dizzy heights and you’re still just a schoolboy? How do you proceed, knowing that you’ve already reached a success-level that most people can’t even imagine, let alone accomplish?

Child-star Benjamin Grosvenor knows all about the pressures of early stardom, having first come to the public’s attention as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition. Since then, he has become an internationally acclaimed pianist performing all around the world with orchestras including the London Philharmonic, Tokyo Symphony, and Brazilian Symphony in venues such as the Royal Festival Hall, Barbican, Muza Kawasaki and Carnegie Hall (at the age of just 13).

In 2011, having just turned nineteen, Benjamin performed with the BBC Symphony Orchestra on the First Night of the BBC Proms to a sold-out Royal Albert Hall, and he is now one of the most sought-after pianists in the world. In 2011 he also signed to Decca Classics and, in doing so, has Maestro Magazine

GOOD BYE BOY WONDER, HELLO SUPERMAN You won’t find Benjamin Grosvenor disappearing into telephone boxes and reappearing to take on the world’s arch villains with his “super powers”.

But our description of him couldn’t be more apt. Since emerging as a child prodigy he has more than fulfilled his early virtuosity. In 2011 he signed to Decca Classics and in doing so has become the youngest British musician ever to sign to the label.

become the youngest British musician ever to sign to the label, and the first British pianist to sign to the label in almost 60 years. His first recordings for Decca have received rave reviews from critics, such as this from The Times: ‘Grosvenor, you can tell, is a Romantic pianist, almost from another age. He doesn’t deconstruct, or stand at a distance. He jumps inside the music’s soul’. During his brief but sensational career to date, Benjamin has been featured in two BBC television documentaries, and his performances have been broadcast widely across the world. Benjamin was scheduled to perform just one concert at Cheltenham Festivals, but that sold out in record time, so another performance has been scheduled on the same day, where he plays music by Bach, Chopin and Ravel.

Venue: Pittville Pump Room Date: Mon 9 Jul / Time: 8pm

M37a Benjamin Grosvenor Piano: Benjamin Grosvenor For full event details go to page 26

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

Author and illustrator James Mayhew paints his way through 1001 Arabian Nights to the magical music of Scheherazade by Rimsky-Korsakov, performed by the Orchestra of Music Makers. Dressed as Sinbad the Sailor, Mayhew will tell the exotic stories, introducing children to the beautiful princess Scheherazade, monsters, genies and fabulous fairytale cities.

A unique creative experience for your children – they can try at home!

James took time out of his busy schedule to talk to us about his new family show.

Live painting to live music – that’s quite an unusual combination. What should people expect from the concert?

The Orchestra of Music Makers will be performing one of my absolute favourite pieces, Scheherazade by Rimsky-Korsakov. He was a magician with the orchestra, who loved turning fairy tales and legends into music. He was really a musical illustrator! As well as narrating the stories I’ll also be creating big illustrations, live on stage, as the orchestra plays. The pictures give children an accessible way in to understanding what the music is about. So audiences can expect to be swept along by the glorious music,hear tales from the Arabian Nights,and watch pictures grow and change on a big screen,before their very eyes!

Why did you choose Arabian nights?

I loved old movies about Sinbad and magical genies when I was a child, and they led me to the Arabian Nights. What a treasure trove of stories!

They are full of pictures I want to draw and paint!

Rimsky-Korsakov did not want to be very specific about which stories inspired him, but he left several clues. I have tried to be as authentic as possible. In reading many versions of the Arabian Nights I have found all sorts of fascinating and sometimes less famous stories that are extraordinarily strange and beautiful. Expect tales 36

about pomegranates and genies and sea monsters and diamonds as big as rocks, and a princess as beautiful as the moon…!

abstract colourful pictures. The 1812 overture by Tchaikovsky is good for that! YouTube is great for finding pieces to use this way.

Why is it important for children to experience the arts?

All children are naturally creative. They want to explore making marks and sounds. It’s all about communicating. But nowadays there are so many distractions, some children don’t find time to hear the whole arc of a story, to lose themselves in music, or to explore making pictures. Yet all these things are important if we want our children to know how to express themselves. Being creative is a useful skill in any walk of life. I also believe that the arts simply improve the quality of life. Introducing a child to the concert hall at a young age is a wonderful gift. Combined with art and storytelling, this is the perfect introduction to classical music.

What’s next for you?

I love exploring the folk tales and legends behind the music. I’m absolutely passionate about this, and I truly believe it is a unique and magical combination of the arts for children. There are many themes to explore: heroes like William Tell, mythology like Prometheus, literary stories, like Shakespeare: all have been immortalized in fantastic music. Everyone knows the William Tell overture… but how many children know the story? My mission is to restore these great works to the original stories in a fun way, with illustrations to bring them alive. It’s a huge task, but I love every minute of it! How many people get to stand on a stage with a whole orchestra and have Rimsky-Korsakov’s music swirling around them? It’s truly a flying carpet that transports you to a land of magic and imagination!

Should families try drawing to music at home?

Yes! Absolutely! I always listen to music when I paint. You need music that isn’t too long and is “catchy” (has tunes!), and get them to draw or paint in time to the music, finishing as the music does. Sometimes it’s fun racing along with a short piece, like The Flight of the Bumble Bee (about a Russian prince who has been turned into a bee by a magic Swan-Princess). Or you could try something longer like The Sorcerer’s Apprentice. You can paint the story, or just make

Venue: Cheltenham Town Hall Date: Sat 7 Jul / Time: 12 noon

M19 Sinbad the Sailor and the

Stories of Scheherazade Suitable for ages 6+ For full event details go to page 26

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at e r G ıly Fament Ev

Pluck: Musical Mayhem!

“Well, here’s another nice mess you’ve gotten me into!”

Chaotic,unruly,captivating,and fun, classical music trio Pluck owes more to comic duo Laurel and Hardy than it does to its classical counterparts.

Pluck presents classical music like you have never seen it before, competing, arguing, and seducing their way through well-known music from across the centuries.

Think Marx Brothers not Chuckle brothers though. Pluck are experts in their field, performing seriously Maestro Magazine

good music just in a rather unusual way. They are not afraid to challenge the traditional decorum of the classical music concert, performing entertaining stunts and outrageous, madcap antics throughout their shows.

Pluck adds a real sense of Festival to this year’s Cheltenham line-up.

They’ve even got the Edinburgh Fringe awards to prove it, including the Spirit of the Fringe Award and

The Tap Water Award for Cabaret, as well as the Fringe Sensation Award and the award for Excellence from Adelaide Festival. As with all zany Fringe phenomena, Pluck has performed everywhere from bridges to boxing rings, theatres to fields, but thankfully Cheltenham audiences can catch them in the comfort of the Parabola Arts Centre this summer. Join the mayhem on Sunday 15 July at 3pm.

Venue: Parabola Arts Centre Date: Sun 15 Jul / Time: 3pm

M73 Pluck: Musical

Arson!

Suitable for ages 7+ For full event details go to page 28

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

School workshops: MUSICAL EXPLORERS As part of our British Musical Explorers focus this year, composer and educator Liz Lane will be offering school workshops exploring traditional African Music through song and percussion, as well as exploring the amazing African adventure of musical explorer David Fanshawe.

MAKING MUSIC WITH THE OMM M11 Friday 6 July at 10.30am in Cheltenham Town Hall An exclusive activity morning for schools and pupils of Gloucestershire Music service, who will have the chance to hear this top-class Singapore orchestra in rehearsal and try out some instruments for themselves.

Information:

A bandwagon I’m more than happy to jump on Making classical music fun by composer Hannah Kendall.

Two years ago I got a phone call out of the blue from Cheltenham festivals, asking whether I’d like to join a bandwagon... Once it was explained that this was in fact a new and fresh initiative that would deliver live classical music performances and workshops to primary school children, I immediately jumped on board.Classical music,unfortunately, is still largely viewed as being for a certain few and not for all, but what’s really exciting is that there are fantastic programmes, such as Bandwagon, doing great work to change this.

By taking classical music out of the concert hall and bringing it directly to hundreds of children in their primary schools over a week, they are given the freedom to engage with it in a non-intimidating environment. They learn about all the different instruments, ask Maestro Magazine

questions, make their own music and most importantly explore their own creativity. The children are also able to identify with some of the first-rate music-making that’s happening on their door step by working with composers and musicians involved in the Festival.

The unique aspect that I particularly love about Bandwagon is that the performers are incredibly talented 16 to 18-year-olds, our upand-coming professional classical musicians. At the beginning of the week us oldies give them a lot of guidance on how best to work with young children and get their creativity flowing, but by the end of the week, they’re running many of the sessions themselves. It’s great to see them develop their own skills over such a short period of time, skills that will most certainly be invaluable in their own future careers.

A vivid memory from last year’s Festival was being involved in the sold-out concert for schools at Cheltenham Town Hall. Hundreds of children enjoying, moving and singing along to music performed by the Bandwagon players, the Festival Academy ensemble and worldrenowned pianist James Rhodes.You could tell that they also got a real buzz from being able to say hello to and chat with some of the musicians that they had already met at school after the performance.All of these activities really do go a long way to help children and young people develop a life-long appreciation for classical music and I’m thrilled to be a part of it.

Bandwagon runs from Monday 9 to Friday 13 July. For more details visit: cheltenhamfestivals.com/ bandwagon

FREE FOR SCHOOLS Cheltenham Music Festival is committed to making music accessible to all, and again we are offering free tickets to accompanied school groups for all concerts. This is a fantastic opportunity for pupils to experience the thrill of live music.

Please note that tickets are limited, subject to availability, and allocated on a first-come, first-served basis.

Free for Schools booking opens on 1 May 2012.

For full details please visit: cheltenhamfestivals.com/education Venue: Cheltenham Town Hall Date: Fri 13 Jul / Time: 10.30am

M59 Bandwagon

Concert for Schools The last day of the Bandwagon project sees them leading a concert for schools, packed full of audience participation and special guests.

This is followed by Have-a-go sessions and Meet the Gamelan.

Gloucestershire Music Service and Gloucester Academy of Music are giving children a chance to try out a whole range of instruments, with the help of our Bandwagon students and volunteers. And new this year, is a chance to see the Festival’s very own Javanese Gamelan, which is available to book for school workshops all year round. For more information, visit: cheltenhamfestivals.com/education For full event details go to page 28

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

An appetite for international touring

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Image: Eric Richmond

Michael Copley muses on the various cuisines he has encountered as a touring musician.

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O

ne of the delights of international touring as a Classic Busker is eating.

I know of an eminent musician who tours the world as a vegan. A serial refuser of the delights on offer, he is a man never without his large bag of nuts. To me however, it is important to sample the national cuisine wherever we go, however revolting it may be.

My first experience of serious international touring was as a member of the backing group to a German comedian where, thanks to a serious relationship that I developed with the pig and the potato, for the only time in my life I put on a serious number of kilos. Japan rectified this weight gain though, and after nearly thirty tours I am still very fond of Japanese food, although I would recommend that aficionados of the eel check the pronunciation carefully. “Unagi” means eel and “Inago” grilled grasshopper. At least we finished the plate, although its contents were rather too crunchy for comfort.

Kimchi, a highly spiced garlic sauerkraut, is the Korean national dish, not to be eaten more than six times a day, apart from on public holidays. It forms a fine accompaniment to that perennial Korean favourite, boiled internal organs. In other parts of Asia, I have tried and failed to locate the irresistible Malaysian speciality Frog Porridge and was warned off a fragrant Taiwanese aperitif made from the insides of a recently protesting snake, blended with something distilled without mercy.

In Hungary where the language gives no clues, a supposedly “light” lunch turned into a trout, most of a lamb, three soups and a confusing selection of menacing desserts. Bosnia does a nice line in grilled lamb’s brain, and Czech cuisine appears to be based on the potato dumpling. I have never seen a Slovenian restaurant outside

Slovenia. There is a national vegetable, the Brussels Sprout. I have seen it leering at me from a breakfast buffet, found that it produces oddly repellent soup and doesn’t really work as the main ingredient of a green salad, although it does look slightly more decorative than the Slovene New Year speciality, Tripe Soup.

In Barcelona, having just finished a couple of concerts for children, we were hungry. The

In Hungary where the language gives no clues, a supposedly “light” lunch turned into a trout, most of a lamb, three soups and a confusing selection of menacing desserts.

Spanish eat very late and it was early, but we did find a Colombian restaurant which seemed to be both cheerful and open, with a menu full of deeply ethnic specialities described of course in the Colombian dialect of Spanish. There was a clue, which with hindsight I should have picked up on, from the waitress “No es domestico”. It was my first and last guinea pig.

As you can well imagine, it is always a joy and a relief to perform in France where Veganism is happily not yet obligatory.

plays more than 40 woodwind instruments at incredible speeds, ranging from recorders, flutes, panpipes, crumhorns and ocarinas to a Pico Pipe and a rubber trout, accompanied by fellow Busker Ian Moore on a small but perfectly formed accordion,either pink or yellow.Their skill on these instruments is staggering,and their arrangements of the best-known classical music pieces delight aficionados (listen out for an endless stream of musical jokes) and music newbies alike. In fact, anyone who appreciates wit and likes to be entertained will appreciate The Classic Buskers.

Michael’s command of an astonishing number of foreign languages enables him to present the show in the language of whichever country in which the Buskers are performing. Their repertoire consists of clever arrangements of works ranging from Baroque classics such as Vivaldi’s Four Seasons, to opera favourites such as Mozart’s Don Giovanni and Catalani’s La Wally, Romantic giants in the form of Tchaikovsky’s Swan Lake and folk tunes from Romania.

They have performed in over 20 countries and in 15 languages, from London to Lyons, Paris to Potsdam,Toronto to Tokyo and Vienna to Valencia, and in venues ranging from Seoul’s National Arts Centre to Salzburg’s Mozarteum, London’s Royal Albert Hall to Ljubljana’s Cankarejev Dom and Milan’s Teatro Manzoni to Malaysia’s Petronas Towers.

Venue: Parabola Arts Centre Date: Mon 9 Jul / Time: 6pm

M38 The Classic Buskers About The Classic Buskers The Classic Buskers communicate their passion for classical music in two of the best ways possible – their virtuosity on a range of instruments and a great sense of humour. Busker Michael Copley

The Classic Buskers will perform French favourites with familiar tunes from Debussy, Ravel, Lully, Bizet and Offenbach.

For full event details go to page 26

“A good Musician always praises his tools” Michael Copley on his weird and wonderful instruments.

After a concert I am often asked about the instruments I play, some of which are extremely unusual.

The side-blown flute, in its simple form can be found in most parts of the world. Gradually, throughout the 18th and 19th centuries in Europe, keys were added to the holes, culminating in Theobald Böhm’s design, which had a key for every hole and some more besides.

Everyone knows, most people have played and many people hate the recorder. They come in a huge range of sizes from tiny to absolutely enormous. In the 16th and 17th

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centuries in Europe they were often played together with other wood-wind instruments, including the crumhorn, which looks like an umbrella without the useful waterproof bit and produces a strange, buzzing tone. The gemshorn produces a far more gentle sound although I would not like to meet a gem with only one horn if I were playing the other.

One of my favourites is the ocarina, which must be one of the world’s most ancient instruments.

In its spherical form it was played thousands of years ago in India, China and South America; this design is nowadays known as the English ocarina.

The pan flute is another instrument of ancient origin played with amazing virtuosity and speed

by Romanians in Romania and far more slowly by Englishmen elsewhere.

The Swanee whistle, or slide whistle, is a cross between the recorder and the trombone. It is never taken seriously by composers because of the excessively foolish sound it produces.

The nose flute is a little instrument played through the nose, never to be shared with even the closest of friends, and the digital horn is a Japanese invention with a large variety of sounds and a delightful incapacity to be played out of tune,

rather like the melodion, which is a clever combination of keyboard and wood-wind.

I enjoy playing the rauschpfeife, which is a very loud, outdoor Renaissance reed instrument.

Unfortunately, I play it indoors together with the kelhorn, invented about 30 years ago by an American manufacturer to sound just like an ancient instrument, which never actually existed.

Together with a few folk flutes and whistles, children’s musical toys and various surprises, these form part of my collection of instruments.

I guarantee the programme will contain nothing originally written for any of them. That would be boring.

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The winding pass from La Paz to Coroico, Bolivia – considered to be one of the World's most dangerous roads.

Opposite: The award-winning choir Arakaendar Bolivia

TO BOLIVIA AND BACK

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Jesuit missionaries played a unique role in bringing not only Roman Catholicism to South America – they also brought baroque music with them. Jeff Edis and Candice Pearson discover that three hundred years later it’s on its way back.

T

he Jesuit missionaries arrived in Bolivia Yet it was not until a few years ago that much in the 1670s with the aim of converting of this music came to wider notice, when a cache the local population to Christianity. of 10,000 baroque music scores were found in Amongst other things, they founded ten a number of mission churches. This cache of Jesuit missions deep in the Bolivian jungle. Here manuscripts that had lain forgotten for 300 years they found an indigenous people who were keen was behind one of classical music’s most unlikely to learn, and make music. Each mission collected pairings between two musicians from opposite music for its worship, including masses as well sides of the world and from utterly different as instrumental and keyboard compositions. cultures. Henry Villca grew up in a poor village in It’s over two centuries since the Jesuits were Bolivia and earned a living singing in a Mexican expelled from the region and yet the tradition of folk band. Ashley Solomon studied at the Royal baroque music is still thriving.

Academy of Music and is a leading exponent of The musical legacy is tangible in the small town Baroque music as artistic director of the ensemble Florilegium. of San Ignacio de Moxos, located in the middle of the Amazon rainforest where the heat is sweltering, The archives of Bolivian Baroque music, the roads muddy and the mosquitoes are huge. composed by European Jesuits and by indigenous people, were discovered by Piotr Nawot, a Polish The only way to arrive is by a road that would priest who was director of the La Paz choir in which have been familiar to the Jesuits, who began establishing their missions across parts of what is Villca sang. The manuscripts had been hidden now modern-day Paraguay, Argentina, Brazil and away for centuries in mission churches. Some of the pieces have text in native Bolivian languages.

Bolivia in the 17th Century.

When he heard Solomon’s ensemble, San Ignacio de Moxos was one of the very last Florilegium, Nawot decided they would be the Jesuit missions in South America, and home to thousands of local people. As well as religion, the perfect interpreters of the music and approached them. He offered Solomon first refusal on a vast Jesuits also taught European baroque music and archive of unknown music from the period. how to make instruments, such as the cello, harp “I said yes, and Piotr sent me 30kg of manuscripts and violin. in the post,” Solomon says. Music director Ashley After the Spanish expelled the Jesuits in 1767, Solomon and Baroque-orchestra Florilegium have the indigenous population preserved the music been involved in promoting this unique archive and re-wrote the scores with lyrics in their own of music in collaboration with Bolivian musicians language.

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for the last ten years. Initially with four Bolivian soloists and now with the award winning choir, Arakaendar Bolivia, they have brought engaging and uplifting interpretations of this previously unknown baroque music to many European countries,as well as to baroque festivals in America and Singapore. At Cheltenham Music Festival they will perform sacred and secular works from the Moxos and Chiquitos archives, as well as from La Plata. Father Piotr Nawrot, the Jesuit Polish priest responsible for discovering and editing much of this music will be accompanying the choir and, together with Ashley Solomon, will be giving a post-concert talk to support the performance and will take questions from the audience.

Venue: Pittville Pump Room Date: Sun 8 Jul Time: 3pm

M31 Bolivian Baroque Venue: Pittville Pump Room Date: Sun 8 Jul Time: 5pm

M33 Post-concert Talk FREE to ticket holders For full event details go to page 26

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Book tickets now: 0844 880 8094 / cheltenhamfestivals.com/maestro

AN AFTERNOON IN THE COTSWOLDS

TEN GREAT REASONS TO VISIT CHELTENHAM

Visit the picturesque village of Quenington for Norwegian violinist Henning Kraggerud's charismatic performance in its beautiful church. Make the most of the glorious July weather (we hope!) and enjoy tea and cake in the tranquil gardens of Quenington Old Rectory after the concert. Event number M42 see page 27 for details.

Image to left: Joe Dunckley, Cotch.net

BIRTHPLACE OF THE PLANETS Take a step back in time and explore the house where Holst, composer of The Planets, was born. The Holst Birthplace Museum gives a wonderful insight into Victorian life, with a special exhibition this summer looking at Holst's travels abroad and his fascination with India, which inspired many of the pieces that feature in our British Musical Explorers concerts.

LET'S DO LUNCH…

BEAT THE RUSH HOUR

Enjoy one of our morning concerts in the regency splendour of Pittville Pump Room, then head up the road to the beautiful Ellenborough Park hotel for a special Cheltenham Music Festival lunch.

Discuss the concert while you enjoy two delicious courses and a glass of house wine for £16. See page 34 for full details.

Swap the traffic for a ticket to one of our Rush Hour concerts at the Parabola Arts Centre – these early evening concerts last an hour and include a complimentary drink next door at the elegant Hotel du Vin. Why not make a night of it and take advantage of their dining offer for Festival goers? See page 46 for details.

SHOP INDEPENDENTLY Cheltenham boasts a wonderful array of fantastic independent shops. Visit Bath Road, the Suffolks and Montpellier for a one-off shopping experience with shops that you won’t find anywhere else.

There’s everything from quirky home wares, beautiful gifts, delicious foods, presents for baby, clothes for you, and of course, shops selling your everyday essentials, as well as plenty of lovely cafes, bars and restaurants.

Image to left: Andrew Stawarz

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BY ROYAL APPOINTMENT In 1788 King George III spent five weeks in Cheltenham, drinking the waters for his health. His visit ‘set the seal’ on the town’s popularity and subsequently the number of visitors and residents increased dramatically. Cheltenham’s Royal history is still in evidence, with tree lined streets, beautifully planted gardens and regency architecture. It’s a lovely place to explore by yourself, or as part of a guided tour.

VISIT THE FIESTA

PITTVILLE PARK

Montpellier Gardens, brings the country into the centre of Cheltenham, with its refreshing greenery and beautiful blooms.

It really comes to life when it’s festival time and the gardens are full of live music and dance, market stalls, gifts, arts and crafts, children’s village including circus skills, a collection of classic and vintage cars and your favourite food and drink.

Don’t miss it – Saturday 7 July 12 noon to 9pm, Montpellier Gardens.

As well as Montpellier Gardens and Imperial Square, Pittville Park is a glorious place for a walk and a picnic in summer. Complete with an ornamental pond and a boating lake, play area, café, aviary and small breed farm, there’s plenty to keep the family entertained.

Cheltenham Music Festival also hosts a range of concerts in Pittville Pump Room (see pages 25-28 for a full listing).

Above image: Kathryn Wright

CHELTENHAM FESTIVALS Cheltenham Festivals runs four Festivals across the year: Jazz on 2-7 May, Science on 12-17 June, Music on 4-15 July, and Literature on 5-14 October. Each Festival has its own special atmosphere, but they all guarantee excellent quality events with talks, debates and performances from headline making names as well as plenty of free activities for passing visitors.

AN EVENING AT THE MOVIES There’s nothing better than spending an evening out taking in a good film.

And there’s no film quite like Salomé.

The classic 1923 silent movie has been described as opulent, extravagant, and decadent. You can experience its erotically charged aura complete with exhilarating percussion, in a rare screening at the Cheltenham Music Festival.

Parabola Arts Centre Friday 6 July 10pm

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Saturday 7 July * 12 noon–9pm * Montpellier Gardens * Free Admission The annual Midsummer Fiesta is a popular community event in Montpellier Gardens during Cheltenham Music Festival, which aims to bring together and showcase the fantastic talents of Cheltenham’s diverse communities.

• THE FIESTA HAS SOMETHING FOR EVERYONE: • A PROGRAMME OF LIVE MUSIC AND DANCE PERFORMANCES • WORKSHOPS • A MARKET PLACE WITH DOZENS OF STALLS INCLUDING LOCAL PRODUCE, GIFTS, ARTS AND CRAFTS AND GAMES • A FUN FAIR; CHILDREN’S VILLAGE INCLUDING CIRCUS SKILLS, GO KARTS AND BOUNCY CASTLES • OLYMPIC THEMED SPORTS ACTIVITIES; A COLLECTION OF CLASSIC AND VINTAGE CARS • ALL YOUR FAVOURITE FOOD AND DRINK

For further information visit www.midsummerfiesta.com or find us on Facebook

COMING SOON… TO GLOUCESTER CATHEDRAL presents

CIRCA & I FAGIOLINI’S

HOW LIKE AN ANGEL Yaron Lifschitz Director Robert Hollingworth Musical director 16 - 17 July 2012 Gloucester Cathedral cheltenhamfestivals.com/likeanangel Box Office 0844 880 8094 A stunning interplay of choral music and physical movement set against the backdrop of one of England’s finest cathedrals.

In association with

Norfolk & Norwich Festival is funded and supported by

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Places to eat and stay

Jamie’s Italian The Jamie’s Italian menu is driven by what you’d find ordinary people eating over in Italy.

Fantastic,rustic dishes,using recipes that have been tried,tested and loved! The restaurant sits in one of Cheltenham’s finest buildings oozing Regency charm.

One lucky party will win their meal on Jamie every day during the Cheltenham Festival – just quote FESTIVAL when booking to be in the chance of winning. Ts & Cs – Not to be used in conjunction with any other offer. No cash alternative is available. Reservations booked must be within the Cheltenham Festival weeks. One party will win a meal on Jamie each day and will be told upon arrival.Meal on Jamie will be to a maximum of £100.

Jamie’s Italian County Court Road, Cheltenham GL50 1HB Tel. 01242 500193 www.jamieoliver.com/italian/cheltenham

Beaumont House Within walking distance of the beautiful Montpellier Gardens, boutique shops and award winning restaurants, Beaumont House is a Five Star Luxury Guest House ideally located to offer tranquillity and accessibility for anyone seeking an alternativetothe averagehotelexperience.

Beaumont House 56 Shurdington Road, Cheltenham, Gloucestershire GL53 0JE. Tel. 01242 223311 Fax. 01242 520044 www.bhhotel.co.uk (with secure online booking facility) Follow us on Facebook and Twitter (@bhguesthouse) for our latest offers and last minute rates.

The Curry Corner Freshly ground spices are fused with best quality local produce, creating voluptuous flavours. Booking recommended, private dining available.

• Gordon Ramsay’s The F Word Best Local Restaurant, Finalist • WINNER Gold Taste of the West Award 2011 • Restaurant of the Year World Food Awards 2011, Finalist • WINNER Restaurant of the Year Cotswold Life • RICK STEIN “Great Food” • MICHAEL PALIN “the best curry from pole to pole” • GORDON RAMSAY “better flavours than in India” • SIR RICHARD BRANSON “The most amazing food” • JAMIE CULLUM “the best reason to come to Cheltenham” The Curry Corner, 133 Fairview Road, Cheltenham GL52 2EX Tel. 01242 528449 www.thecurrycorner.com Festival Special: £20 3 course lunch or complimentary glass of wine with dinner.

T&Cs apply. Quote ‘Festival Special’ when booking.

Montpellier Wine Bar Take a break between festival events and enjoy locally sourced fresh food, excellent wines and cask ales in the comfortable surroundings of our ground floor bar, intimate lower ground floor restaurant or south facing terrace for al fresco dining.

Montpellier Wine Bar Bayshill Lodge, Montpellier Street, Cheltenham GL50 1SY Tel. 01242 527774 www.montpellierwinebar.com

81 The Prom – Bar & Restaurant Cheltenham’s newest Indian restaurant invites you to enjoy the finest Indian cuisine in Gloucestershire. Situated in the heart of The Promenade, 81 The Prom brings you high quality, authentic Punjabi Indian food at a reasonable price. Enjoy lunch with a free glass of wine; and get 10% discount on your evening meals when you bring a ticket from the current day’s event at the Cheltenham Music Festival.

81 The Prom – Bar & Restaurant 81 The Promenade Cheltenham GL50 1PJ Tel. 01242 255776 Email. 81theprom@gmail.com www.81theprom.co.uk 48

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Monty’s Bar & Brasserie One of Cheltenham’s most popular award winning restaurants. Prime location, few minutes walk to the Town Hall and festival sites. Monty’s is lively, offering stunning contemporary food, with an emphasis on seafood. Its informal and vibrant atmosphere make it a great place for lunch or dinner. Early festival dining and lunch 2 courses £12.50,3 courses £15.00.

Monty’s Bar & Brasserie 41 St Georges Road, Cheltenham GL50 3DZ Tel. 01242 227678 www.montysbraz.co.uk Queen’s Hotel The Mercure Cheltenham Queen’s Hotel is situated at the top of the tree lined Promenade. Our beautifully appointed rooms provide the setting and we promise a personal service with the guarantee of bespoke, quality hospitality.

Mercure Cheltenham Queen’s Hotel The Promenade, Cheltenham GL50 1NN Tel. 01242 514754 www.mercure.com

Spice Lodge – Pan Asian Cuisine ‘Best Curry House in the South West’ British Curry Awards 2011. Luxurious surroundings, outstanding food, great service – and just a five minute walk from the Festival.

Spice Lodge Montpellier Drive, Cheltenham, GL50 1TY Tel. 01242 226300 www.spicelodge.com

SAVE ON TICKETS LIVE PREVIEWS FOUR FESTIVALS FESTIVAL PARTNER OFFERS

FULL MEMBERSHIP PRIORITY ADMISSION FAMILY MEMBERSHIP

The Daffodil With the country’s most dramatic dining room, The Daffodil offers a full a la carte menu, a ‘Dailies’ menu and a fully licensed bar in the breathtaking surroundings of a 1920’s cinema.

The Daffodil 18-20 Suffolk Parade, Cheltenham GL50 2AE Tel. 01242 700055 www.thedaffodil.com The George Hotel Cheltenham’s leading independent hotel.

Prime town centre location. Just a few minutes walk to the Town Hall and all festival sites. 31 stylish bedrooms, free parking and Wifi.Home to award winning Monty’s Brasserie, one of Cheltenham’s most popular restaurants.

The George Hotel 41-49 St Georges Road, Cheltenham GL50 3DZ. Tel: 01242 235751 www.stayatthegeorge.co.uk The Wheatsheaf ‘While it may appear to be a pub with rooms, The Wheatsheaf has a brilliant, eccentric, incredibly British blast of theatre to it.’ Tatler Travel Guide 2012 The Wheatsheaf Tel. 01451 860 244 www.cotswoldswheatsheaf.com The Tavern – opening March 2012 Bar and restaurant in Cheltenham with award winning chefs.

Tel. 01242 221 212 www.thetaverncheltenham.com

PRIORITY BOOKING INDIVIDUAL MEMBERSHIP EXCLUSIVE EVENTS ASSOCIATE AND CONCESSIONARY MEMBERSHIP FROM £15

ENJOY THE BENEFITS OF MEMBERSHIP Becoming a member means that you can enjoy all of the special benefits on offer at all four of the Cheltenham Festivals. So whether you enjoy jazz, science, music or literature, or indeed are interested in attending a number of these events there are a host of special privileges just for members. There’s a 10% discount on tickets with full membership, advanced booking to make sure you don’t miss out on your favourite events, priority entry to unreserved events at selected venues and Directors’ Picks live previews. Memberships are available for individuals, couples and families and start at £15.

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DISCOVER MORE: cheltenhamfestivals.com/membership 0844 880 8094 or visit Regent Arcade Box Office Terms and conditions apply

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Patrons of Cheltenham Festivals Have you considered becoming a Patron?

Benefits include: • Dedicated Patron booking line • Invitations to special events at each Festival • Opportunities to meet the Festival Directors, performers and speakers • Public acknowledgement of your patronage if you wish Patronage starts from £800 a year and Life Patronage is £25,000 To find out more please contact: Arlene McGlynn Patrons Manager.

Call: 01242 775857 Email: arlene.mcglynn@ cheltenhamfestivals.com or go to: cheltenhamfestivals.com/patrons

The Duke & Duchess of Gloucester are Joint Patrons of the 2012 Cheltenham Festivals We would like to thank our current Patrons for their generous support: Life Patron Mark & Sue Blanchfield Peter & Anne Bond Charles Fisher David & John Hall Graham & Eileen Lockwood Fiona McLeod The McWilliam family in loving memory of Ruth McWilliam John & Susan Singer Mark & Elizabeth Philip-Sørensen Fiona & David Symondson The Walker Family

Platinum Patron Jennifer Bryant-Pearson Dominic Collier in memory of Karen Hood Michael & Angela Cronk Colin Doak Jeremy & Germaine Hitchins Jonathan & Cassinha Hitchins Stephen & Tania Hitchins Simon & Emma Keswick Des & ChiChi Mills Howard & Jay Milton The Oldham Foundation Adrian & Lizzie Portlock Peter Stormonth Darling Charitable Trust Ludmila & Hodson Thornber Peter & Alison Yiangou Gold Patron Anonymous Jack & Dora Black Stephen & Victoria Bond Eleanor Budge Charlie Chan Martin & Tania Chisholm Clive Coates & Ann Murray Stuart & Gillian Corbyn Janet & Jean-François Cristau Michael & Felicia Crystal Wallace & Morag Dobbin George & Cynthia Dowty Peter & Sue Elliott Simone Hindmarch-Bye Lord & Lady Hoffmann Elizabeth Jacobs Sir Peter & Lady Marychurch Sir Michael & Lady McWilliam Janet & Charles Middleton The Helena Oldacre Trust Mr & Mrs P Roberts Sharon & Toby Roberts Esther & Peter Smedvig Giles & Michelle Thorley Steve & Eugenia Winwood Festival Patron Kate Adie Margaret Austen Mark & Maria Bentley Mr & Mrs Brenninkmeijer-McKenzie David & Jane Bruce

DID YOU KNOW THAT CHELTENHAM FESTIVALS IS A CHARITY?

It may come as something of a surprise that only just over 40% of our income comes from ticket sales. For the remaining 60% we rely on the support of our patrons, members, sponsors, grant-givers, donations and other supporters.

Jonathan & Daphne Carr Robert Cawthorne & Catherine White Simon Collings Mr & Mrs Andrew & Jacqueline Coyle James Fleming Kate Fleming John Foster Jean Gouldsmith Skinner Maurice Gran Professor A C Grayling Huw & Nicki Gwynn-Jones Mike & Sally Hatcher Margaret Headen Marianne Hinton Stephen Hodge Anthony Hoffman & Dr Christine Facer Hoffman Richard & Peta Hoyle Keith Jago Emma Logan Lady Elaine Marriott Juliet & Jamie McKelvie Mark McKergow & Jenny Clarke Professor Keith Millar & Professor Margaret Reid Mary & Timothy Mitchell Professor Angela Newing Jonjo & Jacqui O’Neill Robert Padgett Sir David & Lady Pepper Leslie Perrin Maggie Phillips Hugh Poole-Warren Jonathon Porritt Patricia Routledge CBE Khal & Zoe Rudin Lavinia Sidgwick Phil & Jennifer Stapleton Meredithe Stuart-Smith Sharon Studer & Graham Beckett Jonathan & Gail Taylor Brian Watson Arthur & Ann Webb Professor Lord Winston Michael & Jacqueline Woof Corporate Patron HSBC Willans LLP Solicitors

That’s how we are able to put on the Cheltenham Festivals and attract the finest musicians, scientists, writers and performers from around the world. The Festivals also add a special kind of buzz to Cheltenham life and involve the wider community through our education and outreach programmes.

No donation is too small and each one will help in Cheltenham Festivals’ future development.

Cheltenham Festivals Board Peter Bond - Chairman Susan Blanchfield Lewis Carnie Jonathan Carr Dominic Collier Christopher Cook Peter Elliot Prof. Russell Foster Diane Savory Prof. Averil MacDonald Dr Gill Samuels CBE Chief Executive Donna Renney Contact If you have any specific comments about any aspect of the Festival, please email: music@cheltenhamfestivals.com With many thanks to all the staff at Cheltenham Festivals, those at each venue and the Festival volunteers, all of whom help make the Festival happen.

Registered Office 28 Imperial Square, Cheltenham, GL50 1RH Reg. No. 456573 Charity No. 251765 Vat. Reg. No. 100114013 Music Festival London Advisory Group Jonathan Freeman-Attwood Sally Groves Rosemary Johnson Stephen Johnson David Owen Norris David Sigall Harriet Smith

Please donate when booking your tickets online or by calling the Box Office on 0844 880 8094, and Gift Aid your donation if you can.

To find out more about our Patrons’ and Membership schemes or for more information on remembering Cheltenham Festivals in your will, please visit cheltenhamfestivals.com/ support-us Charity No 251765

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Book tickets now: www.cheltenhamfestivals.com/maestro

BOOKING INFORMATION BOOK IN THREE WAYS…

GETTING TO CHELTENHAM CHELTENHAM A435

Uckington

M5

4 7

Online at cheltenhamfestivals.com

A

40 1

9

Prestbury

CHELTENHAM

A40 A40

A4 0

Charlton Kings

TRAIN Cheltenham Spa is well served by First Great Western and CrossCountry trains, including direct services from many mainline stations. The railway station (GL51 8NP) is located approximately 1 mile from the town centre, and local buses depart into Cheltenham town centre every few minutes.

M5

46 A Leckhampton

A435

National Rail enquiries: 0845 748 4950 Train tickets: www.thetrainline.com

8

By phone 0844 880 8094

36 A4

BUS AND COACH Stagecoach run regular services locally and to nearby towns and villages – for route maps and timetables, visit www.stagecoachbus.com/cheltenham

VENUES AND CAR PARKS 2 6

BOX OFFICE INFORMATION Hig h St ree t

Hi gh

St re et

Bat hR oad

P

Prom enad Reg e ent S tree t

P

P

P&R

P Imperi al Lan e

1

P

P P

Oriel Road

Imperial Square Imp eria l Sq .

College Road

3

Bath Road

During the festival (4–15 July) Open 10.30am – 4.30pm (6pm on telephone) Mon – Sun Box office will also be available at Festival venues from 30min prior to any performance.

P P

Mon tpell Mon ier S tpell t ier W alk

Pre-festival (To 4 July) Regent Arcade Open 10.30am – 4.30pm Mon – Fri and 11am – 3pm on Saturdays (online only on Sundays & bank holidays)

National Express operate coaches between many major cities and Cheltenham Spa’s Royal Well bus station (GL50 3PD). See www.nationalexpress.com for more details.

P A435

In person at our Box Office

Montpellier Gardens

P&R Montpellier Terrace

Sandfo rd Road

PARK & RIDE If you’d prefer to use Cheltenham’s Park & Ride service, these are located at Arle Court (GL51 6SY, near M5 Junction 11) and Cheltenham Racecourse (GL50 4SH). Parking is free, and the service runs every few minutes into the Town Centre; but please note that times vary on Sundays. For more details on Park & Ride, visit www.gloucestershire.gov.uk/ cheltenhamparkandride PARKING If you are bringing your car into the town centre, please be considerate to residents when parking. Car parks are situated in various locations around Cheltenham – some are shown on the Cheltenham map opposite.

5 Andover Road

Suffolk Road

VENUES Thirlestaine Road

Regent Arcade Shopping Centre Cheltenham GL50 1JZ

CONCESSIONS

Park Place

1 Cheltenham Town Hall GL50 1QA 2 Pittville Pump Room GL52 3JE 3 Parabola Arts Centre GL50 3AA 4 Tewkesbury Abbey GL20 3RX 5 Cheltenham College Chapel GL53 7LD 6 St Paul’s, Cheltenham GL50 4EZ 50% concessions Concessions apply to U25, full-time students and registered unemployed. Proof of eligibility is required, subject to availability.

7 Deerhurst Priory GL19 4BX 8 Quenington Church GL7 5BN

Discover Pass concessions If you are aged 25 or under, each event at Parabola Arts Centre will cost £10 if you book for 4 or more events over the course of the Festival. Applies to one ticket per event.

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E

Come and experience the delight of seeing and hearing some of your favourite authors and discovering the writing talents of many of the nation’s leading commentators, presenters and public figures at The Times Cheltenham Literature Festival.

Pam Ayres Pat Barker Mary Beard Giles Coren Carol Ann Duffy Gavin Esler Richard Ford Anthony Horowitz Mark Haddon Richard Ingrams Dom Joly Russell Kane John McCarthy Roger Moore Neil Oliver Michael Palin Ian Rankin Jack Straw Kate Summerscale Jeremy Vine Jacqueline Wilson

Lierature reflecs sociey’s norms and values, the ethos of culture, the processes of class srumle and certain ypes of social ‘facs’.

It also gves us the sheer pleasure of a really good read.

E

MEMBERS BOOKING OPENS 13/8 PUBLIC BOOKING OPENS 20/8

Charity No 251765