Concert on 3rd May at Canada Water Culture Space – Peregrina EnChantica “Look Up”

Our original Press Release can be viewed here:

Bona fide Press Tickets (and those for Festival Directors) should be requested via:

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Michala Petri & Lars Hannibal Concert on 21 April 2018 in Sussex

Butterfly Concert 21st April 2018 7.00pm

The next Butterfly Concert will be on 21st April 2018 at 7.00 pm
Bishop Hannington Church, Hove.

Michala Petri (recorders) and Lars Hannibal (guitar).

Tickets are available in advance at £17 for adults and £8 for children and F/T students from BrownPaperTickets online.

Tickets on the door will be available at £20 for adults and £10 for children and F/T students


J.S. Bach Sonata F major (BWV 1033 Originally in C major)

Jacob van Eyck 2 Variations for Descant recorder solo.

Arcangelo Corelli La Follia

G.F.Handel Sonata B-flat-major

Anonymous Greensleeves to a ground for descant recorder and Basso continuo

Interval – refreshments available

Edouard Lalo Fantasie Norvegienne for recorder and guitar (originally for violin and orchestra)

Stephanie Cant Winter Seascapes from Ospedaletti for recorder solo

Carl Nielsen Humoresque Bagatelles for recorder and guitar (originally for piano)

Edvard Grieg Five Lyric Pieces for recorder and guitar (originally for piano)

Piazolla Tango

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New Digital Download Release – “Desert Songs – Memories of Rumi” by ESBE – PRESS RELEASE

Title: Desert Songs – Memories of Rumi
Artist: Esbe Composer: Esbe
Catalogue No.: MMC120 Bar Code: 5065001668203
Release Date:6th April 2018
Format: Digital Only Release Price Point:Full

Where Is He?; Your Promise; Die; Under a Scorching Sky; Habib; Take Heed; Burning Lips; Where You Dwell; Magic Screed; Seek; Listen; Buthaina

Artist Information


Esbe is a composer, producer, and singer from London. Her music is an eclectic blend of many influences, from her pure classical roots, but uniquely drawing on contemporary, world music and film scoring. After graduating from the Royal Academy of Music, where she gained an LRAM and won the prestigious ‘Julian Bream Prize for Guitar’, Esbe performed as a guitarist and singer in concerts around the UK. She particularly enjoyed singing Dowland and other early composers and this soon developed into composition and setting poetry to music.
As the first collection of songs, which were only performed live, were heavily influenced by North African and Middle Eastern music, she engaged a line-up of musicians to reflect this. The group was named ‘Shai’, meaning ‘gift’ in Hebrew, reflecting her part Jewish/Arabic origins. An ongoing interest in ‘World Music’ then took her to India, and on her return Esbe wrote songs in homage to Qawaali singers – the great Nustrat Fateh Ali Khan being a particular favourite – which she performed with British Indian musicians.

An association with several recording studios, brought a variety of work from string arrangements to session work as both vocalist and guitarist. And she has always taught classical guitar privately, coaching students to Grade Eight and Diploma level.
Five years ago, she developed the rare and debilitating condition of Musicians’ Focal Dystonia. This affects just 3% of musicians, and there is no cure. Although there is a great sadness at losing the ability to play, the time she would have spent practising was used to pursue an art career alongside her studio recording. She exhibits with galleries and at art fairs around the UK, mainly working with glass, with a style influenced by Pop Art and Art Deco, and these can be seen in the elegant line drawings she created for the album art work.
Esbe has composed and recorded a great variety of music, each project with its own inventive mix of styles, and she has just completed a similarly unusual set of songs for an animation film. Esbe’s musical influences are drawn from the classical world where she began her creative life, and arrangements and orchestrations display this. But, intriguingly, she is equally happy to encompass flavours from around the world. As well as writing her own lyrics, Esbe has set an eclectic choice of poems, from Gerard Manley Hopkins to the nonsense poet Mervyn Peake. And for the album, Desert Songs, she chose a selection of 8th – 13th century Middle Eastern poets, in English translation.

Project Information


Composer and singer, Esbe, has produced an album featuring lush cinematic strings, delicate Early Music arrangements and Arabic scales. These arrangements, combined with her clear and resonant vocal style, bring together this eclectic mix to celebrate the musical and historic influences of the poetry she has set to music of the renowned Sufi mystic poet, Jalaluddin Rumi (b1207). Esbe first became interested in the literary heritage of the Middle East when she read that the European troubadours took their tradition from Bedouin poet travellers. And so, she began reading English translations of these poems, some from as early as C9th Iraq, and she was struck by the resonance of their themes and their timeless connection with contemporary thought and life experience. The Rumi poems are taken from “Words of Paradise”, a book of reinterpretations by Raficq Abdulla. Born in South Africa of Muslim parents, Raficq Abdulla is an Oxford-educated barrister, as well as a writer, public speaker, and broadcaster. He was awarded an MBE in 1999 for his interfaith work between Muslims, Jews and Christians.
The poems of Jalaluddin Rumi have sold millions of copies in recent years, making him allegedly the most popular poet in the US. His texts (both in the original language and subsequent translations) have been set to music by many composers – Trygve Seim (ECM), Neil Shaw Cohen, Larry Sitsky, Thomas Osborne, Laszlo Slomovits and Philip Glass (Monsters of Grace) – to name but a few.
Desert Songs” is Esbe’s musical homage to the region, its poets and our own literary past. 
This project is the first of four distinct new album projects that will be appearing throughout this year, bringing the work of this multifaceted composer, singer, musician, producer and artist to the outside world.
Other Background Information links

Marketing/Press Activity
This release will receive a full service to press and supported initially by advertising in BBC Music Magazine.

Though a digital only commercial release, some physical copies have been manufactured for promotional use only (.wav files can be supplied if preferred).

For review copies, interview requests and any further information, please contact Music & Media/MMC Recordings (via, which is a division of Music and Media Consulting Limited.

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New CD/Download from METAMORPHOSES – Trios for clarinet, viola & piano – PRESS RELEASE



New CD/Download information for Press & Media

Composers:                             Robert Schumann; Leo Smit; W. A. Mozart; Jean Françaix
Title:                                        Metamorphoses – Trios for Clarinet, Viola & Piano
Artist:                                       Metamorphoses – Jean Johnson (clarinet);
Roeland Jagers (viola); Ilona Timchenko (piano)
Catalogue No.:                        MMC122
Bar Code:                                5065001668227
Release Date:                          6th April 2018
UK Distribution:                        Discovery
Format:                                    Single CD/Standard Jewel Case
UK PPD:                                   Full Price


Robert Schumann: “Four Fairy Tales” opus 132; Leo Smit: Trio for Clarinet, Viola & Piano; W. A. Mozart: “Kegelstatt” Trio kv498; Jean Françaix: Trio for Clarinet, Viola & Piano

Artist Information

Metamorphoses is a new ensemble of world class musicians who have established themselves individually as soloists and chamber musicians in the world’s most prestigious concert halls.

Their debut CD, is a cross-pollination of a wide range of sounds, colours and music styles – just as the group itself is an exchange between musicians from three different countries and cultures.

American-born clarinettist Jean Johnson is an international chamber musician and has played in some of the world’s fi nest venues, notably the Concertgebouw, Carnegie Hall, and the Palais des Beaux-Arts. She has performed concertos in Singapore, China, and in the UK, and her musical partnership with pianist Steven Osborne has received enthusiastic critical acclaim. Notable chamber music festivals include Mostly Mozart Festival at Lincoln Center New York, Spannungen (Germany), Bath Music Festival (UK), and Hindsgavl Festival (Denmark). Her teachers include Michael Sussman, Theodore Oien, Eli Eban and Alfred Prinz. She began her career with the Singapore Symphony and remains sought after as a guest principal.

Violist Roeland Jagers is a passionate chamber musician and was a founding member of the Rubens Quartet, laureate of several international competitions. The quartet enjoyed an active international career for sixteen seasons in Europe, the US, and Israel. Mr Jagers performs regularly in concert halls such as the Concertgebouw in Amsterdam, the Tonhalle Zürich, the Konzerthaus in Vienna and the Philharmonie in Berlin. He also appears as a guest in international festivals such as Schleswig Holstein (Germany), Larzac (France), Kuhmo (Finland), Sitka Music Festival and Indiana University Festival of the Arts (US). His teachers include Ferdinand Erblich, Vladimir Mendelssohn and Eberhard Feltz.

llona Timchenko has won over twenty international prizes. Her fi rst CD on Landor was selected for one of the inaugural ‘Outstanding’ accolades in International Record Review, as well as highly acclaimed in Gramophone magazine. Timchenko became the fi rst to perform the complete 24 Preludes and Fugues of Shostakovich in concert in Italy, as well as new music of many contemporary composers, including some dedicated to her. She has appeared in recital at Wigmore Hall, Philips Hall in Holland, the Vienna Musikverein, Amsterdam Concertgebouw, the Great Hall of Moscow Conservatory, and is Artistic Director of Peregrinos Musicales Festival. Her teachers include Elena Richter, Alexander Gold, Rian de Waal, Lazar Berman.

Project Information

Music is perhaps the most expressive and moving of all art forms. Like other art, music is essentially about life: about joy and sadness, love and grief, hope and despair. To musicians, the genre of chamber music adds the element of conversation. They blend the voices of their instruments in a meaningful dialogue, an ever-dynamic exchange of ideas and emotions.

The ancient poet Ovid created his most famous masterpiece, Metamorphoses, as a series of mythical fairy tales, in which transformation is the binding factor. As musicians from three different parts of the world, playing instruments which seem to have more differences than similarities, this trio, too, find inspiration in transformation – the process of coming together. Being musical chameleons, they constantly adjust shapes, colours, and appearances, yet essentially are telling the same colourful story.

Robert Schumann (1810 – 1856) composed four Fairy Tales for clarinet, viola and piano, opus 132, pieces so rich and versatile that no other title would do. Imagine a dream landscape with the most divergent of fantastic characters interacting – often changing moods abruptly or playing grotesque exaggerations of themselves. This capricious, wondrous and extremely colourful realm is Schumann’s home, and the Fairy Tales are some of our favourite musical stories.

The music of Dutch composer Leo Smit (1900 – 1943) speaks in a very unique way. His Trio portrays all three voices in a challenging yet highly expressive style. The composer tells this enchanting story in one uninterrupted musical structure, while managing to unite his own background as a Dutch Jew with influences from the years he spent in Paris – the sounds of Ravel and Stravinsky are never far away. Sadly, Smit was murdered in Sobibór in 1943, only 42 years old.

Mozart’s (1756 – 1791) Kegelstatt Trio, the first piece ever composed for this particular formation, was also the first work Metamorphoses studied and performed together. The key signature of E-flat major, in Mozart’s later works often symbolising close friendship, underlines the joy and playfulness which the score exudes. One can easily imagine the composer himself playing the viola part during the premiere in Vienna.

The Trio by Jean Françaix (1912 – 1997), closes this disc. The piece is highly virtuosic, and each instrument has its chance to exude brilliance and originality. Though written in a neoclassical style, it displays the full range of French musical flavour. Colourful and expressive, the Trio almost has the qualities of a silent movie: one could imagine meandering through the Christmas markets of the Champs Elysees, to the circus, to the lavender fields of Provence as the music guides the listener from excitement to poetic nostalgia. The Trio is written in five contrasting, thematically-linked movements.

For three cosmopolitan musicians who call five different countries home, what would be more appropriate than to choose repertoire from five different countries for this album? Their musical greed came at a price though; as they exceeded the maximum running time for the CD, which is why the beautiful duo by Rebecca Clarke is made only available as a bonus track that can be accessed via:

Marketing/Press Activity

The CD will receive a full service to press and initial marketing is in the process of being confirmed.

For review copies and any further information, please contact John Cronin at Music & Media/MMC Recordings (via ), which is a division of Music and Media Consulting Limited.

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New CD from pianist Antonio Oyarzabal – “The Inner Child” – Press Release

Tracklisting & CD Information
Robert Schumann: Kinderszenen Op. 15; Claude Debussy: Children’s Corner; Frederic Mompou: Escenas de
niños Maurice Ravel: Ma mère l’Oye
Catalogue Number: OR7351-0685           Bar Code: 0651973510685         UK PPD: Full Price
Release Date: April 6th 2018                   UK Distributor: Discovery           Label: Orpheus/MMC

Repertoire Information
The world of childhood has always been closely connected with music. Not surprisingly, music is the first innate vocal language that a person develops with immediate effect, long before the spoken word appears in the second or third year of life, to undo all the spells.
In the Romantic period, Robert Schumann was responsible for initiating a sequence of childhood repertoire. Kinderszenen (Scenes of Childhood) is a set of short pieces written in 1838, during a stormy moment in the relationship between Schumann and Clara. Originally thirty pieces, Schumann decided to reduce the number to thirteen for his final version of the piece. The other seventeen pieces were later included in Bunte Blätter, op. 99 and in Albumblätter, op. 104. The original title was Kindergeschichten (Tales for Children), which reveals a literary source. Thomas Koenig refers to Hoffmann’s books for children, to which Schumann was very close, inspiring him to write his vast piece Kreisleriana shortly after Kinderszenen. Although not virtuosistic, Kinderszenen are only superficially easy. They are not written for children’s hands nor ears. Schumann’s aim was to create an intimate picture of the world of childhood for adults. At first sight, the pieces seem unrelated and randomly organized, but a deeper analysis proves that the piece has a solid and well planned inner structure. Moreover, it has sometimes even been described as a theme with variations.
Despite being written for Claude Debussy’s only daughter, Chouchou (2 years old at the time), Children’s corner (1907) is a set of six miniatures of the most refined simplicity, and none of them are written for children’s hands nor young listeners. The piece was written during a very difficult time in Debussy’s life, after he had divorced his first wife Lily (which resulted in her attempt to commit suicide). In its deliberate simplicity and with its light and whimsical tone, Children’s corner represents an intimate interlude between two of Debussy’s biggest phases in his piano compositions. The piece is, for the performer, less technically demanding than in its need of great sensitivity, imagination, and a coordinated and very nuanced pulse that is capable of transmitting both the subtlest sense of humour and the most delicate emotion. Debussy (who was a renowned anglophile), chose English titles for every movement of Children’s corner as a little joke, in response to the Anglomania that was very dominant in France at that time. Children’s corner was premiered by Harold Bauer at the Cercle Musical in Paris, on the 18th of December 1908. It was published by Durand in the same year using a charming cover drawn by Debussy himself. André Caplet wrote an orchestral transcription of the piece, first performed on the 25th of March 1911, and conducted by Debussy. 
Escenas de niños or Scènes d’enfants is part that first group of remarkable pieces for piano that the young composer Frederic Mompou wrote between 1914 and 1920 – in other words, during the Barcelona interregnum and in between his two crucial stays in Paris. Mompou named this compositional period the “descriptive period”, although it might be more appropriate to use the term “evocative”, in which his aesthetic ideas take shape and are defined. He stated that these five pieces were intended to perpetuate the promenades around Barcelona during his former years, and they are full of reminiscences of Catalan popular folksongs. Escenas de niños  is a clear model of expressive efficiency, of simplicity in the writing and precision in the tone.
Ma mère l’Oye is a clear evidence of Maurice Ravel’s enthusiasm for the world of childhood (he would retake this topic for L’enfant et les sortilèges). The piece was originally written for piano four hands between 1908 and 1910. Ravel would soon afterwards orchestrate it, turn it into a ballet, and it was finally transcribed for piano solo by Jacques Charlot (which is the version performed in this CD).
Artist Information
Antonio Oyarzabal was born in Bilbao in 1989. He started studying piano with Sor Cecilia Keller and continued with Guadalupe López completing high school with honors and obtaining the highest grade in piano. Later, he entered in Musikene, in San SebastianAntonio also completed a harpsichord Diploma degree with Honors.  He assiduously receives lessons from pianist Denis Pascal and the Armenian master Anahit Simonian, with whom he works on piano improvisation.

Antonio is a Master Graduate as a piano soloist at the Guildhall School of Music and Drama in London, where he is now part of the exclusive programme Artist Diploma. Antonio is a versatile pianist that combines performing as a soloist, as well as chamber music and orchestral piano.

As an orchestral pianist, Antonio has played with Basque Country Symphony Orchestra. Antonio was Principal Keyboard of the Gustav Mahler Jugendorchester 2014-15. He has also been the keyboard player for ULSO in London, Guildhall School Symphony Orchestra, and the European Union Youth Orchestra. Antonio has worked with many conductors: Vasily Petrenko, Vladimir Ashkenazy, David Afkham, Jun Märkl, Peter Stark, & John Wilson to name just a few. Antonio was the pianist of London Philharmonic Orchestra, Foyle Future Firsts programme 2016/2017.

As a chamber pianist, Antonio is one of the founder members of Trisquel Arts Ensemble, with which he had been playing in different recitals since 2013, both in the UK and abroad. Together with Trisquel Arts, Antonio has taken part in a pedagogical project with the DECODA Ensemble from the USA recently. His experience also includes playing with different Spanish ensembles at the Euskalduna Palace in Bilbao, Fundación Botín in Santander, Kutxa Hall of San Sebastián, and at the Festival of San Sebastián.

As a soloist, he recently played Mozart Piano Concerto nº23 with Aldwych Sinfonia in London. He has also played Ravel Concerto in G and Mozart 9th Piano Concerto in Spain. Other experiences include Bach Concerto for two harpsichords and orchestra in C minor, and Poulenc Concerto for two pianos and orchestra with Musikene Symphony Orchestra. Antonio has also performed Gershwin Rhapsody in Blue with European Union Youth Orchestra in Grafenegg, Austria.

Antonio frequently works as an accompanist. He often appears with mezzo Chlöe Schaaf, with whom he has performed at the Leeds Lieder Festival, Song in the City Festival in London and in Academia Marshall, Barcelona, among other venues. With soprano Mirjam Mesak, Antonio has performed in Westminster Cathedral and they were named finalists of the English Song Competition at the GSMD. Antonio has been the accompanist of the Proms on the roof 2015. He also had the opportunity to accompany Emily Magee and Christiane Karg.

Concert Activity
Antonio is an active and regular performer of solo recitals both in London and across Europe. He has an incredibly busy schedule, best seen via:
Marketing, Promotion and Further information
Antonio’s new CD will be fully serviced to UK press and media. Advertising in appropriate classical magazines both in print and online is under consideration.
Please request a review copy of the CD from Interview requests can be accommodated quickly, either in person or by telephone.

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New CD/Download from Pianist/Composer RICHARD HINSLEY – Press Release

Composer:                               Richard Hinsley
Title:                                         Stain On The Sunset
Artist:                                        Richard Hinsley
Catalogue No.:                         MMC116                      
Bar Code:                                 5065001668166
Release Date:                           6th April 2018    
UK Distribution:                       Discovery
Format:                                     Single CD/Standard Jewel Case
UK PPD:                                    Upper Mid-Price

Stain On The Sunset; Night Wind; Calm Before The Storm; Celestial; Flight Over AA Mountain; Prelude At Sunrise; A Sense Of Foreboding; Cielo Caido; Winter At Midnight; Chasing The Rain

Artist Information

From his early days as a chorister Richard has shown great commitment to a varied musical career that has encompassed organ study, stints on the club circuit, a brief encounter with synth rock, composing library music and more recently playing guitar in a five-piece jazz ensemble. Alongside this he manages a small family-run building company which has been constructing new homes in selected locations around the Nottingham area for many years. The company specialises in the construction of traditionally built homes on smaller infill sites, sourcing its materials from local independent suppliers and with carefully crafted designs that accommodate the demands of modern day living.

The current musical journey for Richard Hinsley began in 2012, after a period of relative inactivity as a composer and chancing on a YouTube video showing an American pianist called David Nevue playing his own material at a house concert.
Richard began to wonder whether he could perhaps do something like that but had never considered performing as a solo artist and Richard didn’t have any suitable original material. David Nevue actually heads a 24-hour radio station in the US dedicated to solo piano called “Whisperings – Solo Piano Radio”,  ( ) and periodically opens submission windows where artists can audition material for possible inclusion on the station playlist.
Shortly after that he composed a piece called “Wedding Day” which, although not realising it at the time would turn out to be one of the tracks on his debut solo piano album. In 2013 he was commissioned to compose a short piano piece as a soundtrack to a DVD being produced for the Radiotherapy Department at the local hospital. Richard then found a local recording studio where he recorded two tracks for consideration and enjoyed the experience of some valuable studio time.
At the same time, he had contacted David Nevue and enquired about the possibility of submitting material for consideration, but instead of the usual three tracks he required a complete album to audition. So, following a spike in creative activity, Richard did eventually have enough material for a complete album and decided to return to the studio the following year to record his audition CD.
In the summer of 2014 his debut album “A Dance At Twilight” was born and following the sessions and at the suggestion of the recording engineer Mick Wilson it was released on various digital platforms and Richard uploaded selected tracks onto various social media music sites. The release was made available for sale on digital stores such as Amazon and iTunes, along with steaming on Spotify. In November 2014, following successful audition of the CD, Richard Hinsley was then admitted as an artist on the roster of Whisperings Solo Piano Radio – currently consisting of around 300 artists worldwide, and three of the album tracks are in rotation on the station playlist.
Richard finally decided to take the plunge as a performer with a landmark performance at the Djanogly Recital Hall Nottingham in December 2015. This was a charity concert in aid of the ME Association, with all the music performed on the night being original and having the bonus of media promotion on BBC Radio Nottingham. Further solo lunchtime concert appearances have since taken place at venues like Southwell Minster and St George the Martyr Church in London with more planned for the future.
Project Information
In the summer of 2016 Richard recorded his second album “Stain On The Sunset”, which this time is to be commercially released on the MMC/Music & Media label.
The ten compositions on “Stain On The Sunset” clearly demonstrate Richard’s real passion, which is the solo piano, and this shines through with every performance of his self-composed pieces that are varied but have an unmistakable thread.
Each piece is inspired by a place, time, season or mood – and the listener is assisted by the beautifully evocative photographs relevant to each track that are featured in the booklet, together with informative notes by the composer.
Tracks can be sampled via
Marketing/Press Activity
The CD will receive a full service to press and initial advertising is in the process of being confirmed.
Richard is performing “Stain On The Sunset” at numerous venues around the UK.
27th February                 Wakefield Cathedral
17th March                      Lincoln Cathedral
24th April                        Attenborough Arts Centre, Leicester
18th May                        Derby Cathedral
26th June                       Kings Lynn Minster
28th July                        St Giles Cathedral, Edinburgh
7th September               St Brides Church, London
More dates are being confirmed, so check out
For review copies and any further information, please contact John Cronin at Music & Media/MMC Recordings (via ), which is a division of Music and Media Consulting Limited.

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I Musicanti (cond. Leon Bosch) at St John’s Smith Square on 4th November 2017

Artist Information
I Musicanti is a mixed instrument chamber ensemble founded in 2013 by international double bass virtuoso Leon Bosch. They have recently begun their second series of concerts at St John’s Smith Square, and are also regular guests at other venues including St John’s Smith Square, Kings Place, Imperial College and the Liberal Jewish Synagogue, often performing programmes designed specifically for the occasion. They have also appeared live on BBC Radio 3’s In Tune programme. Future concerts include further appearances at St John’s Smith Square, Conway Hall and with the Peak Music Society.

Leon Bosch, artistic director of I Musicanti, is an internationally renowned double bass virtuoso. He was for many years principal double bass with the Academy of St Martin in the Fields and now performs as soloist and chamber musician. His recordings as soloist include albums of British, Hungarian and Russian double bass music, and the first of a series dedicated to forgotten Catalan virtuoso, Josep Cervera, a musician he was instrumental in rediscovering.
As soloist he began directing concertos from the double bass, which led to opportunities to conduct orchestral works in those concerts.
With the encouragement of Sir Neville Marriner, for whom he played for many of his years at the Academy, he began to study conducting seriously. He now takes conducting lessons with Sian Edwards and has participated in masterclasses with Alexander Polishchuk in St Petersburg – both are noted exponents of the method taught by Ilya Musin.
Although based in the UK, his conducting work so far has taken him to his native South Africa in particular: he has performed with South African-born cellist Amanda Forsyth (Schumann’s cello concerto in Stellenbosch) and has forthcoming engagements with the US Camerata, FSSO, the Chamber Orchestra of South Africa (the viola concerto by Stefans Grové) and Camerata Tinta Barocca. He will be reuniting with Ms. Forsyth for a cello concerto by Victor Herbert; other projects include performing and recording works by Arutiunian with the Pan European Philharmonic, the complete Mozart violin concertos in Poland, concerts with I Musicanti, the Liverpool Mozart Orchestra, the Georgian Chamber Orchestra, Camerata Orphica in Bulgaria and work with the Bombay Chamber Orchestra.
The Concert
This concert at St John’s Smith Square on Saturday 4th November is the next step in the transformation of Leon Bosch ‘virtuoso soloist’ into Leon Bosch ‘conductor’.
The intriguing programme presents two World Premiere performances; an arrangement for Cello and String Orchestra of Tchaikovsky: Variations on a Rococo Theme Op. 33 by Allan Stephenson; and Alexandra Harwood’s Sinfonia Concertante “The Secret Ball”. In addition, researches indicate that the fourth item in the programme – an arrangement of Shostakovich “Sinfonietta (Quartet no 8) for String Orchestra and Timpani by Abram Stasevich is a London Premiere.
Further information and press requests
Interview requests with Leon Bosch can be accommodated quickly, either in person or by telephone.

Please direct interview requests and press ticket requests to:

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Brazilian Landscapes – New CD/Download from OUR Recordings

Review copies are available from

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Angela Brownridge plays Debussy – New CD & Download + London Concert

Tracklisting & CD Information

Debussy: Préludes Book 1 & Book 1; L’Isle joyeuse

Catalogue Number CC72727 [Bar Code 608917272727] – Release date November 2017
Standard CD Jewel Case with card sleeve. Single SACD released at Full Price.
Simultaneous digital release through all download and streaming services.
Repertoire Information

This disc represents the third release from Angela Brownridge on Challenge Classics. Angela continues to survey romantic masterpieces and presents here some of the cornerstones of Debussy’s creative output.

Artist Information

Hailed as a major star in classical music Angela Brownridge has been compared with such pianists as the legendary Solomon, Rachmaninov, Cherkassky, and Bolet. She began her life in an atmosphere of freedom and individualism virtually impossible to find today. Under the guidance of Maria Curcio, who had been a pupil of Schnabel for many years, she absorbed the ability to produce every nuance of the piano, and to present music flexibly and persuasively instead of concentrating on a single method of technique or continual displays of brilliance, learning to deal with the differing requirements of a varied range of composers which recalls Cortot in his prime. Indeed, by realising that many pianists of a bygone age played with far more individuality, magic, and inspiration than has become the fashion, she was able to develop her own unique personality.  In an age which has become over-fascinated with mere technique, and which seeks the degree of ‘perfection’ offered by over-edited CDs, Angela’s playing restores spontaneity, character, and beauty of sound to the platform.

A child prodigy, equally talented in composition, extemporisation, and technically brilliant, Angela first performed in public at the age of seven, and a year later had several pieces published. By the age of ten she had given her first concerto performance, and in her early teens was appearing regularly as a recitalist and concerto performer throughout Great Britain and abroad. She later won a piano scholarship to Edinburgh University, and after graduating B. Mus. was awarded a further scholarship for a two-year period of study in Rome with Guido Agosti. As the winner of several competitions she was able to continue her studies with Maria Curcio in London, where she now lives.

Since then Angela has appeared in all the major London concert halls, and has visited Eastern and Western Europe, the USA, Canada, the Far East and Australia, as well as performing extensively in the UK. She has been a soloist with many leading orchestras and conductors, and Festival engagements include Bath, Edinburgh, Warwick, Newport Rhode Island, Bratislava, Brno, Hong Kong, and Maastricht.
Her recorded repertoire is very varied, including some first ever collections of the complete piano music of Barber, Gershwin, Kenneth Leighton and the complete piano concertos of Saint-Saëns.

Her recordings have received worldwide critical acclaim, several being voted “Critics’ Choice” by Hi-Fi News and Record of the Year by the Absolute Sound magazine of America. She has also appeared on BBC TV in programmes which have involved her in discussion about the music she has performed. She often gives lecture recitals and master classes, and maintains her love of improvisation which has led her on occasions into the world of jazz.

Concert Activity

Angela has been incredibly busy over the last year or two with concerts all over the UK and Europe – many of which will featured the repertoire included in this new disc.

Attention is drawn in particular to her next concert at St John’s, Smith Square on Friday November 3rd 2017 – for details see

Marketing, Promotion and Further information

Angela’s new CD will be fully serviced to UK press and media. Advertising will include appropriate classical magazines both in print and online. A full page advert is in the October issue of BBC Music.

Please request a review copy of the CD from (likewise press tickets for the concert at St John’s on 3rd November). Interview requests can be accommodated quickly, either in person or by telephone.

Other CD Releases on Challenge Classics from Angela Brownridge

Chopin Four; Ballades; Piano Sonata No 2; Fantaisie Op. 40         CC72728 SACD
Beethoven Piano Sonatas (3, 23 & 30)                                                 CC72707 SACD

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New CD/Download & Concert  Information from the WIHAN QUARTET “Elegy for Pamela”


The internationally renowned Wihan Quartet present six new string quartets to commemorate the life and work of Pamela Majaro, released through their arrangement with Nimbus Alliance Records.

Nimbus Alliance NI6356 [0710357635625]
UK Release Date 27th September 2017
Single CD/Standard Case; Full Price;
Beethoven: String Quartet in B-flat Op. 130 – (Cavatina); Cheryl Frances-Hoad (b1980): Invocatio; Mika Hassler: Fugue for Pamela; Celia McDowall (b1951): To a Nightingale; Roxanna Panufnik (b1968): Votive; Freya Waley-Cohen (b1989): Vitae; David Knotts (b1971): At the Mid Hour of Night; William Zinn (b1924): Kol Nidrei Memorial

Project Overview

In every generation one encounters a few individuals, who through their dedication, steadfastness and creative determination have left an indelible mark on the community at large. The late Pamela Majaro was one of those individuals.

She adored chamber music and its vast repertoire from an early age. She harboured a nostalgia for the days when chamber music in the more enlightened western world was performed in homes in front of invited friends. She was always moved when she saw paintings (and later photos) of musicians like Mozart, Haydn, Beethoven and Dvorak, entertaining their guests in private salons. Her dream was to revive this custom. She was determined to remove the notion that Chamber Music was an elitist genre of music. Any group of players, including enthusiastic amateurs, she felt, could form an ensemble and play for their own pleasure and their friends. That was what she viewed as the essence of chamber music.

The main obstacle to this dream was the sad fact that the younger generation showed no interest or knowledge of this wonderful form of music. It was sufficient to attend chamber music concerts in public venues to note the absence of young faces, so she decided that the first challenge is to change the age profile of the audiences by attracting children and young people to chamber music concerts.

Together with her husband Simon she set up a charity CAVATINA Chamber Music Trust in 1988 with the aim of attracting the younger Generation to chamber music.

Pamela was the driving force of the whole project. In a single-minded fashion and total commitment, she developed a multi-faceted series of activities designed to attract the youth of this country to the idea that chamber music is fun. Through an elaborate system of School Concerts, since the start of the initiative, over 130,000 children have attended CAVATINA-sponsored chamber music concerts and workshops with carefully-trained ensembles.  A FREE CAVATINA Ticket Scheme has been operating in around 40 venues, music societies and festivals. The number of young people using the Scheme is increasing at an impressive rate. Family chamber music concerts, where children can escort their parents to such programmes, has become an important feature of the charity.

Both Pamela and her husband Simon were awarded MBE’s in 2010 for establishing CAVATINA and all its education work. Sadly, Pamela passed away in 2016.

To commemorate his late wife, Pamela, Simon Majaro commissioned six leading contemporary composers to write a collaborative work for string quartet. The commissioned composers include both well-known names alongside those who are nearer the beginning of their careers, as was Pamela’s interest in developing young talent.

On Wednesday 27th September 2017, London’s Wigmore Hall hosts a very special event at which this CD tribute to Pamela will be launched and the pieces featured on it will be included in the concert.

The proceeds of the concert (and the CD) will go towards CAVATINA Chamber Music Trust, the charity founded in 1998 by Simon and Pamela to develop younger audiences for chamber music.

The Repertoire

Cheryl Frances-Hoad has been composing to commission since she was fifteen. Classical tradition (she trained as a cellist and pianist at the Menuhin School before going on to Cambridge and King’s College, London) along with diverse contemporary inspirations including literature, painting and dance, have contributed to a creative presence provocatively her own. She writes:

“Invocatio” is dedicated to the memory of Pamela Majaro, who I am very sorry not to have had the opportunity to meet. It was wonderful to hear stories about her tremendous kindness and generosity, towards young musicians, and school children who may have not heard classical music before the Cavatina Trust brought live chamber music concerts to their schools. My piece is in part inspired by these stories: at the beginning, a simple melody (that could easily be sung by a child) builds and builds in supplicatory fashion over a simple repeating bassline. A mournful middle section follows, with a reprise to the original material in which all instruments climb to the top of their range, before resolving onto a simple D major chord. 

Mika Haasler was born in London and grew up surrounded by live music, having attended a wide variety of concerts for many years. Her music has already been performed in prestigious venues including the Royal Albert Hall.

Composition has been a central interest and is now a prominent part of her studies – Mika currently studies Music at the University of Liverpool, where her works have been performed by members of the Royal Liverpool Philharmonic Orchestra as well as university ensembles. She hopes to study further after completing her undergraduate degree.

This piece was first performed by the Wihan Quartet in 2015 as part of a chamber music concert at Woodhouse College, North London organised by the Cavatina Chamber Music Trust. The Trust provided a platform for the piece to be heard – a wonderful opportunity for both the composer and the students forming the audience.
The piece begins with a presentation of a stately theme inspired by the dances of the Elizabethan-era. The fugue begins with an ascending melody, evoking imagery of climbing. With all parts intertwined, the Elizabethan style continues in the waltz-like nature of the fugue’s resolution. The main theme returns, giving a somewhat regal conclusion to the piece.
The work is dedicated to the memory of Pamela Majaro.

Born in London Cecilia McDowall has won many awards and been short-listed eight times for the British Composer Awards. In 2014, she won the Choral category of the British Composer Awards for her haunting work, Night Flight, which celebrates the pioneering flight of the American aviatrix, Harriet Quimby, across the English Channel. McDowall’s distinctive style speaks directly to listeners, instrumentalists and singers alike. Her most characteristic works fuse fluent melodic lines with occasional dissonant harmonies and rhythmic exuberance. Her music has been commissioned and performed by leading choirs, including the BBC Singers, The Sixteen, ensembles and at festivals worldwide. Three Latin Motets were recorded by renowned American choir, Phoenix Chorale, winning a Grammy award for their Chandos recording. Upcoming commissions include works for the National Children’s Choir of Great Britain, King’s College and St John’s College, Cambridge, Kansas City Chorale and a Requiem for the Wimbledon Choral Society. Celia writes:

Simon Majaro’s warm-hearted and loving tribute to his remarkable wife, Pamela, has brought together these short string quartets which have all been fashioned in her memory. When Simon and Pamela commissioned a clarinet, cello and piano trio from me in 2008, I drew my inspiration from John Keats’ Ode to a Nightingale, written one springtime under a plum tree in a Hampstead garden, and from the first ever birdsong recording in 1924, in which the cellist, Beatrice Harrison, played well-known songs in nocturnal duet with a nightingale in her garden. At the centre of the trio I made a reference to the opening of Beethoven’s sublime Cavatina. Then, at Simon’s kind suggestion, I re-thought and condensed the trio for the Wihan Quartet; To a Nightingale opens with a sliver of the Cavatina. In my mind Pamela is the ‘nightingale’; eloquent, passionate and committed to bringing the beauty of wonderful chamber music to young audiences everywhere.

Roxanna Panufnik studied composition at the Royal Academy of Music and, since then, has written a wide range of pieces – opera, ballet, music theatre, choral works, orchestral and chamber compositions, and music for film and television – which are performed worldwide. She has a great love of music from all over the world and different faiths, whose influence she uses liberally throughout her compositions. Roxanna is Associate Composer with the London Mozart Players. Her compositions are published by Peters Edition and recorded on many labels. Roxanna writes:

This short piece was commissioned in memory of the amazing Pamela Majaro who, alongside her husband Simon Majaro, founded and directed the Cavatina Chamber Music Trust. This wonderful organisation takes professional musicians into schools to introduce the wonders of chamber music to children who may not necessarily come across it in their day-to-day lives.
I have had the pleasure of working with Pamela and Simon since the Trust was established. In a very fitting memorial, Simon has commissioned these mini quartets in her memory as part of a project involving multiple composers, entitled Kol Nidrei: Elegy for Pamela – and it’s this title that inspired me to use a stunning Oriental-Sephardic ‘Kǫl nidḝre’ found for me by my great friend and Jewish Music mentor, Dr Alexander Knapp.
“Votive” starts quietly but intensely, a prayer that over its four-minute duration becomes more and fervent so that by the end it’s a passionate declaration of the joy and positivity that was – and always will be – Pamela. The piece is dedicated to her, in admiration and loving memory.

Freya Waley Cohen’s music has been performed at venues including The Sage Gateshead, St John’s Smith Square, The National Portrait Gallery, Kew Royal Botanical Gardens and at the Aldeburgh, Cheltenham, Dartington, Ryedale, Spitalfields and Tanglewood, festivals.

A Britten-Pears Young Artist from 2013-16, she holds an Open Space Residency at Snape Maltings, with which she created an architectural performance artwork, Permutations, launched at the 2017 Aldeburgh Festival together with Signum Classics CD. She has been Composer-in-Residence at Northern Chords Festival, Apprentice Composer with Orchestra of the Swan, was a Composition Fellow at Tanglewood and is Associate Composer with Non-Classical, Magnard Ensemble and Reverie Choir. While at the Royal Academy of Music, Freya was Manson Fellow (2014-15). Freya writes:

“Vitae” was written in memory and celebration of Pamela Majaro. When I first talked to her husband Simon about this work, he showed me several of her elegant and distinctive artworks. When it came to choose a title, I decided to ask Simon to suggest one of her pieces from which to find title, which is where the word ‘Vitae’ came from. The stark octaves in the opening lead into shifting melodies, constantly unsettled by each other and the unsteady movement of the underlying harmonies, finally finding their groove in the lower registers of the cello and floating off skywards. 

David Knotts studied at the Royal Academy of Music, King’s College, Cambridge, the Guildhall School of Music and Drama and the University of Sussex. In 2007, David was made an honorary associate of the Royal Academy of Music where he has taught since 1994. He is also a staff accompanist at Canterbury Christchurch University. He first came to public attention as a finalist in the 1994 Young Musician of the Year Composer Competition and has gone on to write music for many of the country’s finest soloists, orchestras and chamber-music ensembles.

“At the Mid Hour of Night” was inspired by a poem by the visionary poet, Sylvia Townsend Warner. She describes sitting up late into the night and seeing an extraordinary troop of people and animals passing by in an imaginary nocturnal procession. Townsend Warner celebrates her vision: it is a vision which she embraces and enjoys in her wakefulness: it is a vision which inspires her imagination and sparks her creativity. “At the Mid Hour of Night” was written in memory of Pamela Majaro whose fantastic vision continues to inspire young audiences and musicians.

From the Wihan Quartet

LeoÅ¡ ÄŒepický & Jan Schulmeister – violins; Jakub ÄŒepický  -viola; Michal Kanka – cello

In 1991 we, the Wihan String Quartet of Prague, came to the UK for the first time. The purpose of our visit was to take part in the London International String Quartet Competition that had moved from Portsmouth to London in that year. The Competition took place at the Goldsmiths Hall.
Soon after our arrival we met a charming lady by the name of Pamela Majaro. She was one of the Directors of the Competition. She welcomed us most warmly and made us feel at home. Following the Competition when we won the First Prize and the Audience Prize we started coming to the UK on a regular basis. Pamela looked after us like a mother. She helped us and guided us with the utmost care and affection. We owe our success in the UK entirely to her support. We called her, for very good reason, “Our English mother”.  We miss her very much.

Further information about the Quartet and full details of recordings available and their concert schedule can be found on their website:

Interview/CD Review Copy requests should be directed to

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