ST MARTIN'S CONCERTS 2009

CONCERTS IN SEPTEMBER

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October Concert Highlights Early Evening and Late Night Concerts Lunchtime Concerts Meet The Artist Jazz in the Crypt October Concert Highlights Mostly Bach Thursday 1 October, 7.30pm Programme: Bach - Brandenburg Concerto No 4 Bach - Orchestra Suite No 2 Bach - Harpsichord Concerto in A Bach - 'Essurientes' from Magnificat Bach - Air on the G string Telemann - Concerto for Two Flutes in E minor Gluck - Dance of the Blessed Spirits Join London Octave with flautists William Bennett and Unji Chung for a programme of mostly Bach. Bach Mass in B Minor by Candlelight Saturday 10 October, 7.30pm The Baroque splendour of St Martin's is the perfect setting in which to experience a concert of the work before which "...all masters of other ages must bow in reverence." (Schumann) I Fagiolini, one of the world's leading vocal ensembles, joins forces with the critically acclaimed Feinstein Ensemble in a historically accurate performance of Bach's B Minor Mass. Victoria Requiem by Candlelight Tuesday 13 October, 7.30pm Programme: Victoria - Requiem Victoria - O Quam Gloriosum (motet) Joby Talbot - 'Santiago' from the Path of Miracles Join the New London Singers with conductor Ivor Setterfield for an evening of English and Spanish Music from the Renaissance and the Modern Day. The Music Makers Thursday 22 October, 7.30pm Programme:Tavener - Mother and Child James MacMillan - Cantos Sagrados Britten - Chorale after an Old French Carol Britten - Rejoice in the Lamb Elgar - The Music Makers "We are the music-makers, and we are the dreamers of dreams", Arthur O'Shaughnessy. Experience this all British programme with London Oriana Choir with conductor David Drummond. October Lunchtime Concerts Free lunchtime concerts take place every Mondays, Tuesday and Friday at 1.00pm Monday 12 October,1.00pm Royal Academy of Music Series Eniko Magyar (viola) and Tadashi Imai (piano) perform works by Brahms, Schubert and Schumann. Tuesday 20 October, 1.00pm Guildhall School of Music and Drama Series Caterina Sereno (soprano) and Elizabeth Rossiter (piano) perform songs by Faure, Duparc, Hahn and Debussy. Friday 23 October, 1.00pm Beth Chen (piano) performs works by Rachmaninov, Chopin and Prokoviev. Monday 26 October, 1.00pm Laura Isaacson (cello) and Masa Tayama (piano) perform works by Handel arr Slatter, Schumann and Brahms. Early Evening and Late Night Concerts Thursday 15 October, 6.00-7.30pm Bach Goldberg Variations David Wright - Harpsichord Tuesday 27 October, 6.00-7.30pm Celebrity Solo Bach- Bach Cello Suites Alison McGillivray - Cello Thursday 31 October, 9.30 - 10.30pm Rachmaninov Vespers by Candlelight Encoro with Janet Lince - Conductor Jazz In The Crypt Wednesdays, 8.00pm Jazz in the Crypt this month brings more of your favourites and some new faces to our underground venue. Silvia Abelin and Brazza Band 7 October The Fabulations 14 October Oh La La! 21 October TJ Johnson's Bourbon Kick 28 October Meet The Artist Alison McGillivray - Baroque Cello Alison McGillivray was born in Glasgow. She studied cello at the Royal Scottish Academy of Music and Drama with William Conway, and went on to study baroque cello with Jennifer Ward Clarke at the Royal Academy of Music in London. Alison played principal cello for many years with The Academy of Ancient Music and The English Concert, and now works with The Early Opera Company, The Bach Players, Concordia and Concerto Caledonia. She teaches baroque cello at the Royal Scottish Academy of Music & Drama and the Guildhall School of Music & Drama. Alison has recorded Geminiani Cello Sonatas (Linn Records) and a CPE Bach Cello Concerto (HMUSA), and also helps to run a charity funding sabbaticals for musicians: Katherine McGillivray's Get a Life Fund. Alison performs Bach's Suite no 1 in D and Suite no 2 in D minor for solo cello for the second concert in St Martin's Celebrity Solo Bach Series on Tuesday 27 October, 6.30 - 7.30pm. ITP: Alison, it will be a delight to welcome you to St Martin-in-the-Fields in October for what I think will be the first time as a soloist...? AMcG: I've often enjoyed the wonderful acoustics but always as part of a larger ensemble. I'm looking forward to this concert! ITP: So, it won't be the first time you've performed Bach here, but it will be a first for you, your cello and The Bach Suites - can you tell us a little about your history with these works which command capitalisation? AMcG: Like all cellists, I've grown up with these works. They form a real back-bone to the cello's repertoire, but they seem to have unending possibilities of expression and nuance. The works change for me as I develop. ITP: What do you think it is about these particular pieces, which has captured your imagination and that of several generations of cellists from Casals to Isserlis, so completely? AMcG: Bach's mind operates on so many levels. It's possible to hear the works with many different accents but still find Bach's voice coming through loud and clear. There's a richness of possibility which means that there can never be an 'ultimate' performance, only lots of different explorations. ITP: And how does this engagement with the performer translate across the void between stage and stalls to the minds and hearts of the audience? AMcG: I think for the audience there's a sense of being involved in a journey through the works; something of that exploratory nature. And emotionally they're very direct, as well as being cerebrally engaging. ITP: And finally, what made you choose the first and second suites? AMcG: I enjoy the innocence and simplicity of the 1st Suite - a great contrast to the much darker waters of the 2nd. ITP: Alison, thank you very much for taking the time to answer our questions, we are very much looking forward to seeing you on the 27th. "McGillivray's delicately swung, sophisticated performance seduced movement from the first exploratory figures of the E-flat prelude, through the playfully stretched rhythms of the Allemande to the hide-and-seek triplets of the Courante ... Similar physicality, seriousness and elegance informed the C major suite." The Independent, 2009