Historical Talks Reivers encampment and re-enactment

Torchlight Parade

“The Hot Trod” and Fireworks display

Ghost Walks

16th Century Banquet & entertainment & much, much more...

The annual Hawick Reivers Festival commemorates the rich story, culture and tradition of the Border Reivers.. While not seeking to glamorise what was undoubtedly a bloody and violent period in our history we aim to give visitors a taste of what life was like for ordinary folks in 16th century Hawick. The Reivers were a hardy, independent, resourceful and resilient people - characteristics still evident in the modern day Borderer!

The festival, which is held annually, comprises a full weekend of activities, both in and outdoors, including reenactments, concerts, lectures, craft displays, drama, 16th century market and reivers encampment and a torchlight procession and fireworks display and offers something for all ages

We take pride in our key aims to “Explore, Explain, Experience”. , and give the audience a unique opportunity to gain an understanding of life in this difficult and challenging period of our history.

Cumbria Singers are performing Haydn’s ‘Creation’ in Carlisle Cathedral on 29th April, the 225th anniversary of its first performance. This work is one of Franz Joseph Haydn’s greatest achievements.

Born in Austria, to parents with no formal musical knowledge, Haydn (1732-1809) developed his musical talents despite his difficult and challenging childhood. After attending various ‘schools’, Haydn tried to earn a living by playing, composing and teaching. Through contacts provided by his pupils he gained social access to the nobility – the only people in the 18th century who could advance his career.

1766 was a turning point in Haydn’s musical development. He was appointed ‘Kapellmeister’ to the court of the Esterhazys. Prince Nikolaus, an extremely cultured man, was determined to expand the musical repertoire of his court. Haydn remained in his service until Nikolaus died in 1790, having by this time composed an extensive range of vocal and instrumental music.

At the 1791 Handel Festival in Westminster Abbey Haydn was deeply impressed by The Messiah and Israel in Egypt. He expressed a desire to compose a work on a similarly exalted biblical theme that would appeal to a broad public. In 1795, before he left England, the impresario and violinist Johann Peter Salomon handed him a libretto, in English, on the subject of The Creation. Haydn was excited by the musical possibilities of the theme and worked unstintingly on composing the oratorio for eighteen months. He recalled in later years:

“I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work....I spent much time over it because I

expected it to last for a long time....”

The 1798 Vienna premiere of the work (on 29th April), which was for a select private audience, created much excitement. Its official premiere was performed the following day. Haydn had achieved, by now, ‘rock-star’ status in both Austria and England and the streets outside the Schwarzenberg Palace filled with curious spectators. It took thirty police officers to contain them.

Haydn, who conducted both performances, was as overwhelmed as his listeners. His first biographer, Georg Griesinger, reported that the composer ‘could not describe the feelings with which he was filled when the performance went just the way he wished, and the public listened in total silence. “Sometimes my whole body was ice-cold,” he admitted, “Sometimes a burning heat overcame me, and more than once I was afraid I would suddenly have a stroke.”’

The Creation became a regular feature of the Viennese musical scene and within a few years it was being performed throughout Europe. Replying to a letter expressing admiration for The Creation, Haydn wrote in 1802 that ‘Often, when I was struggling with all kinds of obstacles... a secret voice whispered to me: “There are so few happy and contented people in this world; sorrow and grief follow them everywhere; perhaps your labour will become a source from which the careworn... will for a while derive peace and refreshment.”

Over two centuries later, the work remains enormously popular, thanks to its abundance of hummable melodies, pictorial text-setting, and the irrepressible cheer which is so desperately needed to help us through our own careworn times.

Invites you to the 225th Anniversary performance of