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DTSTART;TZID=Europe/London:20240908T150000
DTEND;TZID=Europe/London:20240908T160000
DTSTAMP:20260526T120539
CREATED:20240311T153153Z
LAST-MODIFIED:20240824T151940Z
UID:3427-1725807600-1725811200@abbeychamberconcerts.org
SUMMARY:CANCELLED Whither must I wander: A Recital of English Song
DESCRIPTION:ALAS.  This concert has been cancelled at very short notice. \nOliver Morrell tenor\nWill Sims piano \nGo\, lovely rose  Roger Quilter (1877-1953) \nO Fair to See\, op 13b   Gerald Finzi (1901-1956) \nIn Flanders   Ivor Gurney (1890-1937) \nFour Songs of Thomas Hardy   Robin Milford (1903-1959) \nIs my team ploughing?   George Butterworth (1885-1916) \nSongs of Travel   Ralph Vaughan Williams (1872-1958) \nThe Cloths of Heaven   Thomas Dunhill (1877-1946)
URL:https://abbeychamberconcerts.org/event/whither-must-i-wander-a-recital-of-english-song/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241013T150000
DTEND;TZID=Europe/London:20241013T160000
DTSTAMP:20260526T120539
CREATED:20240316T115717Z
LAST-MODIFIED:20241015T133359Z
UID:3449-1728831600-1728835200@abbeychamberconcerts.org
SUMMARY:Dvorak Piano Quartet no 2\, Mozart Piano Trio in G major K.564
DESCRIPTION:The Amalfi Piano Quartet\nAndrew Blankfield piano\, Claire Parkin violin\, Adam Clarke viola\, Emma Chamberlain cello \nDVORAK Quartet in E-Flat Major for Piano and Strings\, Op. 87\nI Allegro con fuoco\nII Lento\nIII Allegro moderato\, grazioso\nIV Allegro ma non troppo \nChamber music was extremely important to Dvorak\, both as a composer and as a performer. The Quartet in E-Flat was written when he was at his creative peak\, in 1889. From the first bold statement of the strings in octaves to the rousing final notes\, this work is filled with the joy\, excitement\, depth of feeling and distinctive character that can only be Dvorak. This is the second of his two forays into this combination of instruments. Though his earlier piano quartet\, Op. 23 also contains these typical qualities\, the second quartet is the work of a mature compositional genius\, brilliantly and tightly constructed. When he wrote this work\, Dvorak had not yet had his stint in America as Director of the National Conservatory in New York City\, with the summers spent in the Czech community of Spillville\, IA. \nThose years in America produced works that were “New World” in character. Op\, 87 however\, is thoroughly Bohemian in style and feeling. Dvorak himself wrote to a friend: “As expected\, it came easily and the melodies just surged upon me\, thank God!” After the distinctive unison opening material\, the first movement brings the greatest of contrasts including the most explosive piano writing with supporting punctuation from the strings\, to the most tender\, intimate sections\, this time punctuated by soft heartbeats. The movement builds up with great intensity\, again employing unison playing before coming to an exciting close. In the second movement\, Dvorak shows his deep love for the cello in one of the great solos in the chamber music literature for that instrument\, subtly accompanied by gentle chords and pizzicati in the piano and upper strings. There are two passionate\, turbulent sections but the movement finishes the way it began\, calmly and sweetly. The graceful third movement is almost waltz-like in feeling\, but with a lilting\, uniquely Bohemian folk-type character and a trio section of contrasting material. Dvorak even writes in a cimbalom style for the piano to achieve this wonderful flavor. The Finale is filled with tremendous spirit\, with a fiery ascending four note motive throughout. The closing of the piece is both thrilling and satisfying\, providing the listener with the feeling that they have journeyed along with the musicians through much of Dvorak’s magical world. \n  \nMOZART Piano Quartet in G minor\, K.481 \nI Allegro\nII Andante\nIII Rondeau \nThe Quartet is set in the stormy key of G minor\, which the German-American musicologist Alfred Einstein called Mozart’s “key of fate.” (It’s the same key as Symphony No. 40 and several other pieces we explored in this previous post). The first movement (Allegro) begins with a stern musical “call to order” by all four instruments in unison. The motive ends with an ominous falling minor second which returns as a persistent ghostly “sigh” throughout the movement. Listen to the way this opening announcement develops with each instrumental voice taking the music in a new\, unexpected direction. Also\, notice the quirky\, asymmetrical melody which takes shape a few moments later. The turbulent development section restores the mystery of G minor after the exposition’s sparklingly infectious exploits in the related key of B-flat major.\nThe second movement (Andante) develops out of a beautifully expansive melody. Filled with a quiet dignity and a tinge of sadness\, this music seems to transport us to a shimmering and intimate scene from one of Mozart’s operas. We can almost imagine what the characters might be saying.\nThe final movement (Rondo) moves into the bright sunshine of G major\, bringing the Quartet to a conclusion filled with endlessly inventive melodies\, joy and warm gratitude.
URL:https://abbeychamberconcerts.org/event/dvorak-piano-quartet-no-2-mozart-piano-quartet-in-g-major-k-564/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2024/03/ACE-Trio-3-scaled.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241103T150000
DTEND;TZID=Europe/London:20241103T160000
DTSTAMP:20260526T120539
CREATED:20240316T114734Z
LAST-MODIFIED:20241011T104721Z
UID:3437-1730646000-1730649600@abbeychamberconcerts.org
SUMMARY:Mozart clarinet quintet\, Finzi Five Bagatelles
DESCRIPTION:Catriona Scott clarinet \nOxus string quartet \n  \nWolfgang Amadeus Mozart – Clarinet Quintet in A Major \ni) Allegro  ii) Larghetto  iii) Menuetto – Trio I – Trio II  iv) Allegretto con variazioni \nMozart’s clarinet quintet was also born out of a friendship\, in this case with the Viennese clarinettist Anton Stadler who\, along with his brother Johann\, was a member of the court orchestra in Vienna\, and an important figure in the growing acceptance of the clarinet as an orchestral instrument. He was also a member of the same Freemasons order as Mozart. Anton specialised in the lower registers and experimented with a new instrument with an even lower range which is now generally known as the basset clarinet. This is the instrument for which Mozart wrote the clarinet quintet\, although it is now most often performed on the clarinet in A\, just one semitone lower than a clarinet in B flat\, but with a richer and mellower tone.\nThe premiere took place on the 22nd December 1789\, with Stadler playing the clarinet part and Mozart himself playing the viola. This spirit of friendship permeates the work\, and the clarinet is in true conversational dialogue with the string instruments\, weaving in and out of melodic and harmonic roles throughout the piece. This is especially clear in the first movement\, in the way that the clarinet enters halfway through the first theme\, passing its second theme back to the cello. \nLike Weber\, Mozart was a master of vocal writing and operatic style\, and this is particularly apparent in the clarinet quintet. It was in fact written at the same time that he was working on Cosi fan tutti. In particular the second movement is an exquisite aria for the clarinet\, supported by muted strings and joined in a duet by the first violin in the reprise. And the last movement really feels like a chamber opera for a cast of five. It is a set of theme and variations\, in which the characters talk\, joke\, dance and lament. Variation three is particularly striking\, in which the viola takes the lead with a melancholy line\, while the clarinet takes its place in the middle register of the quartet. \nThis melancholy voice\, originally played by Mozart himself\, is perhaps the true heart of this work. Despite the sunny key of A major and the optimism of the first movement\, the piece was written during an extremely difficult year for Mozart in which he struggled with financial difficulties and the ill-health of his wife Constanze. As H.C. Robbins Landon writes in Mozart: The Golden Years: ‘Parts of [the Quintet] seem to reflect a state of aching despair\, but the whole is clothed not in some violent minor key\, but in radiant A major. The music smiles through the tears…’ \nFinzi – Five Bagatelles \nIn 1941\, shortly before being drafted into the war effort\, Finzi finished three pieces for clarinet\, using ‘20-year-old bits and pieces’. With a fourth piece added\, they were given their first performance in January 1943 at one of the famous National Gallery lunchtime concerts that went ahead daily during the war.  A Finale was added for publication in July 1945\, and the Five Bagatelles immediately became Finzi’s most popular work. However\, the composer dismissed the pieces as ‘only trifles’ and ‘not worth much\, but got better notices than my decent stuff’. \nThe spirited opening ‘Prelude’ is followed by a peaceful ‘Romance’\, a tender ‘Carol’\, the ‘Forlana’ and a zippy Finale which shows off all the versatility of the instrument. Confidently showcasing the wide range of rich tones that the clarinet can make\, Finzi’s pieces remain just as popular today. \nFinzi is known mostly as a composer of un-Modern English songs\, and for the absolute care with which he set their texts. He wrote nine song cycles\, including six to works of Thomas Hardy and one to works of Shakespeare (“Let us garlands bring”). Finzi also wrote English anthems\, larger choral works\, and a very beautiful cello concerto. He wrote very little instrumental chamber music\, though; the Five Bagatelles for Clarinet are by far the most often played of his chamber works. \nKit Turnbull – Carbrooke Dancers from Three Cautionary Tales \nThe Carbrooke Dancers is said to be “inspired by the medieval legend of young girls turned to stone after dancing to the music of a strange fiddler in a churchyard.” The music is both tonal and merry.  The set of three pieces are very attractive haunting miniatures – a sort of modern English echo of Erben’s Czech tales.
URL:https://abbeychamberconcerts.org/event/mozart-clarinet-quintet-finzi-five-bagatelles/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2024/03/catriona-scott.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241215T150000
DTEND;TZID=Europe/London:20241215T160000
DTSTAMP:20260526T120539
CREATED:20240409T104839Z
LAST-MODIFIED:20240910T105555Z
UID:3485-1734274800-1734278400@abbeychamberconcerts.org
SUMMARY:Pavlova Wind Quintet Christmas Concert
DESCRIPTION:Pavlova Wind Quintet Christmas Concert \nLight music for a winter afternoon \nTraditional Christmas Favourites \n  \nPavlova Winds\nPeter Robertson flute\nWendy Marks oboe\nBarbara Stuart clarinet\nJenny Morgan horn\nSimon Payne bassoon
URL:https://abbeychamberconcerts.org/event/pavlova-wind-quintet-christmas-concert-5/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2024/04/2023-12-03-22.33.40-1.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250209T150000
DTEND;TZID=Europe/London:20250209T160000
DTSTAMP:20260526T120539
CREATED:20241026T102126Z
LAST-MODIFIED:20250131T224623Z
UID:3691-1739113200-1739116800@abbeychamberconcerts.org
SUMMARY:Simon Watterton piano - Brahms\, Schubert\, Debussy and Beethoven
DESCRIPTION:Wirral born pianist Simon Watterton has given recitals as soloist and chamber musician all across the world. In recent years he has performed in China\, Canada\, the USA\, Sweden and Italy as well as extensively in the UK and Republic of Ireland. \nHe made his concerto debut at London’s Cadogan Hall and was featured as a Rising Star in International Piano Magazine at the time of a cycle he gave of all the Beethoven piano sonatas in London. He has appeared at the Wigmore Hall\, St John’s\, Smith Square and the Purcell Room\, as well as performing live on Radio 3’s InTune and for Classic FM. \nSimon studied at the Purcell School of Music with Patsy Toh and the Royal College of Music with Yonty Solomon\, where he won a range of prizes and awards\, including the Hopkinson Silver Medal\, the Marmaduke Barton Piano Prize and the Peter Wallfisch Prize. \nBrahms – Intermezzo in A Minor op.76 no.7 \nSchubert – Sonata in B Major D575 \nDebussy – Feuilles Mortes (Dead Leaves) from Preludes bk.2  \n                  – Clair de Lune \nBeethoven – Piano Sonata no.23 in F Minor op.57 ‘Appassionata’ 
URL:https://abbeychamberconcerts.org/event/simon-watterton-piano-brahms-schubert-debussy-and-beethoven/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2024/10/simon-watterton-1-scaled.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250309T150000
DTEND;TZID=Europe/London:20250309T160000
DTSTAMP:20260526T120539
CREATED:20241023T090951Z
LAST-MODIFIED:20250307T194618Z
UID:3659-1741532400-1741536000@abbeychamberconcerts.org
SUMMARY:Coral Lancaster cello\, Diana Hinds piano - Faure and Debussy
DESCRIPTION:Faure Cello Sonata no 2\nDebussy Cello Sonata\nPlus music by Bach and Poulenc \nDiana Hinds piano\nCoral Lancaster cello \nFaure Cello (1845-1924) Sonata no 2 in G minor \nFame came late to Gabriel Fauré (1845-1924). Probably the most advanced French composer of his generation\, he was able to write music only during summer vacations while toiling principally as a choirmaster and teacher. The great master of French song\, Fauré sold his songs to his publisher outright for only 50 francs apiece. \nFortunately\, Fauré lived long enough to see ultimate success. At the age of 60 he became director of the Paris Conservatory\, a post that made him suddenly famous\, although again leaving him with little time to compose. He was also troubled by an increasing deafness and a hearing impairment which distorted pitches at the high and low ends of the range. \nNonetheless\, he retained his creative gifts to the end of his life – indeed\, it is the later works that inspired the fervent admiration of younger composers such as Aaron Copland and Arthur Honegger. Fauré composed his First Cello Sonata\, a violent\, tragic work in D minor\, during World War I. Although it is also cast in a three-movement form and set in a closely related minor key\, the Second Cello Sonata (from 1921) is little like the First in spirit. Despite the prevailing minor modes\, its turbulent energies are more ecstatic than angry. The agitation of the Brahmsian opening movement comes from the off-the-beat piano part\, its syncopations restlessly extended over long passages against an ardent\, noble cello line. The austere slow movement\, with its serene resolution in major mode\, is based on a Chant funéraire originally written a year earlier for the centenary of Napoleon’s death\, while the finale is a dramatic whirlwind of a piece\, filled with athletic exuberance. \n  \nClaude Debussy (1862-1918) Sonata for cello and piano (1915) \nPrologue: Lent\, sostenuto e molto risoluto\nSérénade: Modérément animé\nFinale: Animé\, léger et nerveux \nGiven the popularity and influence of his 1893 string quartet\, it is surprising that Debussy rote so very little chamber music . A second quartet and a violin sonata were started around that time but not completed\, and then almost no chamber music for 20 or so years. By 1914 things did not look good. A recent diagnosis of colorectal cancer together with depression at the outbreak of war had stopped him composing. But hearing a Septet with trumpet by Saint-Saëns stimulated an ambitious project: six sonatas each for a different combination of instruments. inspired by French baroque composers including Couperin. Tonight’s cello sonata was the first to be completed (1915) followed by one for flute\, viola & harp (1916) and one for violin & piano (1917); but three others were not finished before his death in March 1918: oboe\, horn & harpsichord; clarinet\, bassoon\, trumpet & piano; and the sixth ‘combining the previously used instruments’. The novel combination of oboe\, horn & harpsichord subsequently inspired the Sonata da Caccia by 20-year-old Couperin fan Thomas Adès. \nThe cello sonata was written in a few weeks in July 1915 at the Normandy seaside town of Pourville\, just west of Dieppe. It is a relatively short work (c. 10m) but\, as so often with Debussy\, draws a dazzling variety of sounds from the two instruments; it is technically demanding for both players. Structurally the work refers to classical French styles – Couperin was a favourite of Debussy – with just three movements\, and without the clear exposition\, development\, recapitulation of the German tradition. The principal theme is heard as a lyrical\, descending line in the cello (illustrated). \nThe mood changes dramatically for the episodically quirky Sérénade with lots of pizzicato from the cello. It leads without a break into the Finale which combines elements of the two preceding movements. For instance\, the next illustrated passage is perhaps a crazy tumbling version of the opening principal theme\, but analysing Debussy is beyond my pay grade! Just enjoy it.
URL:https://abbeychamberconcerts.org/event/coral-lancaster-cello-diana-hinds-piano-faure-and-debussy/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2024/10/DHjuly20jpg-scaled.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250413T150000
DTEND;TZID=Europe/London:20250413T160000
DTSTAMP:20260526T120539
CREATED:20241026T102704Z
LAST-MODIFIED:20241221T101308Z
UID:3703-1744556400-1744560000@abbeychamberconcerts.org
SUMMARY:Sound the Trumpet - Crispian Steele-Perkins Trio
DESCRIPTION:Crispian Steele-Perkins Trio \nCrispian Steele-Perkins began playing the trumpet at the age of 10 and\, after training at the Guildhall School of Music in London\, he became a member of the English National Opera\, the Royal Philharmonic\, and the English Chamber Orchestra. \nDescribed by Virtuoso magazine as ‘the world’s leading exponent of the Baroque Trumpet’\, particularly when heard in duet with some of the world’s greatest singers such as Kiri te Kanawa\, Emma Kirkby\, John Tomlinson and Bryn Terfel\, he has also recorded with popular artists including Led Zeppelin\, Kate Bush\, Lulu\, Cliff Richard\, Bob Geldof and Harry Secombe. In addition\, he has played on numerous TV scores for shows including\, amongst many others\, Dr Who\, Oliver Twist\, The World at War\, Inspector Morse and Tales of the Unexpected. \nwith Sophia Grech mezzo-soprano\, Malcolm Pearce piano \nPurcell\nTrumpet Tune and Air\nScarlatti\nSinfonia for Trumpet (1st movement)\nG.F Handel\nLet the Bright Seraphim (Samson)\nWhere’er you walk (Semele)\nW.A Mozart\nSerenade\nPapageno – Papagena (The Magic Flute)\nVoi Che Sapete (The Marriage of Figaro)\nBesley\nThe Second Minuet\nNovello\nWe’ll Gather Lilacs\nMancini\nMancini Magic (Arr. L. Pearson)\nW.A Mozart\nAlleluja (Exsultate\, jubilate )
URL:https://abbeychamberconcerts.org/event/sound-the-trumpet-crispian-steele-perkins-trio/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2024/10/crispian-steele-perkins.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250511T150000
DTEND;TZID=Europe/London:20250511T160000
DTSTAMP:20260526T120539
CREATED:20241026T103230Z
LAST-MODIFIED:20241104T115201Z
UID:3715-1746975600-1746979200@abbeychamberconcerts.org
SUMMARY:Coleridge-Taylor Nonet - Spohr Nonet
DESCRIPTION:with Pavlova Winds and Cotswold String Ensemble \nColeridge-Taylors’ Nonet in F minor\, Op. 2\, was written in 1894. It is scored for oboe\, clarinet\, horn\, bassoon\, violin\, viola\, cello\, double bass\, and piano. Its first performance (and apparently the only one until very recent times) was on a student concert at the Royal College of Music on July 5\, 1894. \nThe Nonet is in four large movements\, and its scoring makes it almost orchestral in sound. The influence of Dvořák\, whom Coleridge-Taylor admired greatly\, is evident in the opening theme of the first movement; nevertheless\, there is much individuality of style throughout the entire work. The slow movement is characterized by florid lines and a truly masterful second theme. Listeners will have to decide for themselves whether Grove’s criticism of this movement holds true. The duple-meter Scherzo has been aptly described by Geoffrey Self (The Hiawatha Man\, 1995) as “goblinesque\,” with its minor key and pervasive pizzicato in the strings\, but it also contains a lyrical trio. The final movement does not adopt a conventional “finale” character—neither light and playful\, nor heroic—but rather\, with its major key and rousing spirit\, conveys a sense of easy\, unexaggerated confidence. \nSpohr’s nonet of 1813 is the first nonet written for this particular combination of instruments and making conscious use of the distinctive qualities and idiosyncrasies of each. For all its classical structural characteristics and the unity of expression that Spohr creates with his first pervasive theme\, the nonet takes the listener on an unfamiliar journey as each new phrase introduces a different palette. Perhaps it is above all in his masterful mixing and revealing of all the colours of the musical rainbow that Spohr’s originality and inspiration are strongly to be felt. \n 
URL:https://abbeychamberconcerts.org/event/coleridge-taylor-nonet-spohr-nonet/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2024/10/coleridge-taylor.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250608T150000
DTEND;TZID=Europe/London:20250608T160000
DTSTAMP:20260526T120539
CREATED:20241026T101238Z
LAST-MODIFIED:20241107T124733Z
UID:3679-1749394800-1749398400@abbeychamberconcerts.org
SUMMARY:Jacqui Johnson cello and Dominic Piers-smith piano - Sains-Saens and Franck
DESCRIPTION:Jacqui Johnson cello\, Dominic Piers-Smith piano \nSaint-Saëns Sonata no 1 in C minor\, op 32 \nAllegro\nAndante tranquillo sostenuto\nAllegro moderato \nThe Cello Sonata No 1 in C minor Op 32\, from 1872\, was the first result of the new Société Nationale de Musique\, and therefore a work of significance for France. As in the case of Brahms’s First Symphony\, the choice of key may owe something to Beethoven. The second movement is in the relative major key of E flat and originates from an organ improvisation in the church of Saint Augustin. Charles-Marie Widor told the story of the composition of the third movement. After attending the successful first performance of the Sonata\, Saint-Saëns\, surprised that his mother had made no comment on the piece\, asked: ‘Don’t you have anything to say? Aren’t you pleased?’ Mme. Saint-Saëns then said she liked the first two movements\, but not the finale. A few days later he triumphantly told her: ‘I have composed a new finale! Do you want to hear it?’ This is the finale we know today. It contains quotes from the first act of Meyerbeer’s L’Africaine—possibly a favourite of Saint-Saëns’s mother’s. The Sonata is in good company in his output\, preceded by the Introduction et rondo capriccioso Op 28 for violin and orchestra and Le rouet d’Omphale Op 31\, considered the first French symphonic poem\, and followed by the Cello Concerto No 1 in A minor Op 33. \nCesar Franck Sonata in A major \nAllegretto ben moderato\nAllegro\nRecitativo-Fantasia: Ben moderato\nAllegretto poco mosso \nThe conventional wisdom likes to date the beginnings of a new French artistic sensibility from the death of Victor Hugo in 1885. But in the musical world it came about both earlier and later: earlier in that the foundation of the Société nationale de musique in 1871 provided at last a regular forum for French chamber and orchestral music\, free from the dictates of the opera house; later in that the new\, non-Germanic language took time to develop. \nFor César Franck\, this development seems to have been more a matter of confidence than of technique. His move away from church music in the last fifteen years of his life was encouraged by his adoring pupils\, ‘la bande à Franck’\, who\, while recognizing his status as pater seraphicus\, also saw beyond it to his creative power and originality: both\, in their view\, worthy of a wider audience. Franck had in fact written four piano trios back in the 1840s\, but then no other chamber music until the piano quintet\, premiered at the Société in 1880. Saint-Saëns was the pianist in that performance\, and the premiere of Saint-Saëns’s first violin sonata in October 1885 may have provided an additional inducement to Franck to engage with the medium—and to produce something totally different. \nSaint-Saëns’s sonata begins by injecting enormous energy into the proceedings\, and in this respect has a long tradition behind it. Franck on the other hand draws on his organist’s heritage\, and at the start time seems to stand still\, as in some magic garden. This was the Franck who would play the first notes of the ‘Moonlight’ sonata to himself\, murmuring: ‘J’aime\, j’aime.’ At the same time these four opening bars are structurally important in containing the interval of the major third that underpins much of what follows. Formally\, too\, this movement is unusual: it may owe something to sonata form\, but there is no development. This is postponed until the second movement. Not a minuet or scherzo\, then? No\, a wild (and technically difficult) allegro which\, in tone and tonality (ultimately converting D minor into D major)\, seems to risk sounding dangerously like a finale. \nThe pseudo-operatic recitativo-fantasia\, itself replete with magic moments\, is the nearest the work comes to a slow movement\, but in the fantasia section the violin’s passionate\, widespread phrases carry a momentum of their own\, sailing above the piano’s comfortable triplets. For the finale\, Franck\, knowing that he had to come up with something to trump the second movement\, turned to counterpoint and crowned the sonata with a purposeful canon. Since the sonata was a wedding present in 1886 for the Belgian violinist Eugène Ysaÿe\, who premiered it in Brussels on 16 December that year\, it is perhaps not too fanciful to hear this canon as representing two lovers setting out on a life together with a single mind—‘whither thou goest\, I will go’.
URL:https://abbeychamberconcerts.org/event/jacqui-johnson-cello-and-dominic-piers-smith-piano-sains-saens-and-franck/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2024/10/JJ-with-Hill-scroll-scaled.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250803T100000
DTEND;TZID=Europe/London:20250803T170000
DTSTAMP:20260526T120539
CREATED:20250526T102643Z
LAST-MODIFIED:20250528T092722Z
UID:4039-1754215200-1754240400@abbeychamberconcerts.org
SUMMARY:Bassoon workshop day with Catriona McDermid - Sunday 3 August 2025 in Dorchester (near Oxford)
DESCRIPTION:A great chance to work with Catriona McDermid – all details below. The day is aimed at amateur bassoon players of all ages\, and teachers. Please get in touch if you or your students would like to attend. Grade 5/6 minimum. \nSecure your place by buying a ticket (BOOK TICKETS link below).  Please also email payne.simon@gmail.com if you would like to take part in a masterclass (an accompanist is provided). \nThe format of the day will include ensemble playing\, short individual master-classes  and a detailed Q&A session where Catriona hopes to be able to cover all sorts of topics ranging from articulation to breath control\, intonation to vibrato\, how to get the most from practice and as many more thorny issues as requested!  Catriona may also give a short recital.  You will be able to ask questions throughout the day. \nPlease tell us your approximate standard so that we can organise ensemble pieces more effectively.  We can email out parts in advance if you want (so you needn’t be anxious about sight-reading\, and will get more out of group playing). \nCatriona leads a varied career as a modern and period instrument bassoonist and keen educator. She performs with leading period instrument ensembles such as English Concert\, English Baroque Soloists\, Orchestre Revolutionnaire et Romantique and Academy of Ancient Music. She is also in demand as a modern orchestral bassoonist\, playing guest principal with orchestras such as London Philharmonic Orchestra\, BBC Philharmonic Orchestra and RTÉ Symphony Orchestra. \nCatriona is also a passionate chamber musician\, playing at festivals and venues nationwide such as Wigmore Hall\, Bridgewater Hall and Ryedale Festival. She is a member of the first ever BBC New Generation Baroque Ensemble\, Ensemble Molière and also a member of wind quintet Magnard Ensemble\, previously artists for Making Music\, Tillett Trust and Tunnell Trust.  As a soloist Catriona is a former Countess of Munster and Handel House Talent artist. \nStrongly believing in the importance of education and community work\, Catriona regularly works on and leads a whole variety of projects\, most recently Ensemble Moliere’s early years workshop\, The King’s Animals. Catriona is also an avid arranger and has several pieces published with both Wonderful Winds and Alry Publications. \nPLEASE BRING YOUR OWN MUSIC STAND. \nArrangements for the day: \nTIMINGS\nThe Hall will be open from 09.30 to 18.00\nRefreshments from 09.30.\nThe workshop will start at 10.00\, and end by about 16.00/16.30.\nLunch roughly 12.30 – 13.30 \nREFRESHMENTS \nTea\, coffee and biscuits will be provided for the breaks during the day\, and are included in the cost.\nPlease bring your own lunch. There are also a nice hotel\, a deli and a Co-op in Dorchester High Street. \nVENUE \nThe Village Hall in the beautiful village of Dorchester-on-Thames (see particularly Dorchester Abbey).\nParking is quite easy in the roads near the Village Hall\, in car parks\, and on the main street. SEE MAP \nTRAVEL/MAPS \nDorchester-on-Thames is a village on the River Thame in Oxfordshire\, about 3 miles northwest of Wallingford and  8 miles southeast of Oxford.  The Hall is marked on the map.\nDorchester Village Hall\, 7 Queen Street\, Dorchester OX10 7RA.  SEE MAP\nNB this is the Dorchester in Oxfordshire\, near Oxford\, not the one in Dorset!
URL:https://abbeychamberconcerts.org/event/bassoon-workshop-day-with-catriona-mcdermid-sunday-3-august-2025-in-dorchester-near-oxford/
LOCATION:Dorchester Village Hall\, 7 Queen Street\, Dorchester\, Oxfordshire\, OX10 7RA
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/05/CatrionaMcDermidBassoon-768x996-1.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250907T150000
DTEND;TZID=Europe/London:20250907T160000
DTSTAMP:20260526T120539
CREATED:20250429T134237Z
LAST-MODIFIED:20250625T143442Z
UID:3964-1757257200-1757260800@abbeychamberconcerts.org
SUMMARY:Tim Elton (oboe\, piano) Eppie Churcher (clarinet\, piano) - Ravel and Reade\, Chaminade and Mozart
DESCRIPTION:Premiere of a newly composed Oboe Sonatina amongst other classical favourites from these two renowned Oxford players. \nFantasia in D Minor (K. 397)  Wolfgang Amadeus Mozart \nSonatina for Oboe and Piano Tim Elton \n‘Autrefois’ from 6 Pièces humoristiques for Piano (Op.87\, No.4) Cécile Chaminade \nPaul Reade’s Suite The Victorian Kitchen Garden was the winner of the 1991 Ivor Novello Award for Best TV Theme. This delightful suite for clarinet and piano accompaniment will be familiar to all.  Paul Reade (1943-1997) was an English musician who\, apart from working as a repetiteur at English National Opera\, was very active as a composer\, principally for the television. This work has since gone on to be one of the most famous in the clarinettist’s repertoire and is a firm favourite as a recital work\, with either piano or harp accompaniment.  The work has been a long-time stalwart in the music examination field appearing on the ABRSM and Trinity syllabi. \nMother Goose Suite for Piano Duet Maurice Ravel \nMaurice Ravel (1875-1937)\, a French composer of the impressionist era\, was known for his exceptional craftsmanship and innovative approach to composition. His Mother Goose Suite\,\noriginally written as a piano duet and later orchestrated\, is a delightful and enchanting work that brings to life the magical world of fairy tales. The Mother Goose Suite takes inspiration from the beloved stories of Charles Perrault and includes five movements\, each representing a different fairy tale. Ravel’s masterful musical storytelling and his delicate handling of orchestral colours  transport the listener to a realm of imagination and wonder.
URL:https://abbeychamberconcerts.org/event/tim-elton-oboe-piano-eppie-churcher-clarinet-piano-ravel-and-reade-chaminade-and-mozart/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/04/tim-elton-eppie-churcher-3-scaled.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20251012T150000
DTEND;TZID=Europe/London:20251012T160000
DTSTAMP:20260526T120539
CREATED:20250429T135210Z
LAST-MODIFIED:20251006T123120Z
UID:3976-1760281200-1760284800@abbeychamberconcerts.org
SUMMARY:The Virtuoso Cello with Jacqueline Johnson
DESCRIPTION:Bach\, Haydn\, Beethoven\, Villa Lobos\, Sarasate\, and some surprises! \nCellists: \nJane Fenton \nJacqueline Johnson \nKath Sharman \n 
URL:https://abbeychamberconcerts.org/event/the-virtuoso-cello/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2023/10/cellos-3.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20251102T150000
DTEND;TZID=Europe/London:20251102T160000
DTSTAMP:20260526T120539
CREATED:20250429T134428Z
LAST-MODIFIED:20250526T101644Z
UID:3970-1762095600-1762099200@abbeychamberconcerts.org
SUMMARY:Yoshiko Endo piano  Peter Adams cello - Rachmaninov cello sonata
DESCRIPTION:Sergei Rachmaninov’s Cello Sonata in G minor\, Op. 19\, was completed in November 1901 and premiered by the composer himself alongside cellist Anatoliy Brandukov (for whom he dedicated the music). Rachmaninov purportedly rejected the title of cello sonata as he viewed the cello and piano to be equally dynamic. Very often\, the piano introduces a theme which is subsequently taken and embellished by the cello. As typical of sonatas in the Romantic period\, it has four movements including a rich Lento – Allegro moderato\, a fast paced Allegro scherzando\, a sentimental Andante\, and finally a triumphant Allegro mosso. Each movement contains a chain of melodies that focus less on thematic development than on the themes themselves.  The success of the sonata was overshadowed by the acclaim of Rachmaninov’s Piano Concerto No.2 which premiered in October of the same year. Nonetheless\, the Sonata is considered one of the most important works for cello in the 20th century. \nBy the way\, cello students learning this piece should give the music to their accompanists WAY ahead of schedule (I am talking months in advance). This work is a real doozy for even the most seasoned of players and they will need a lot of time/patience to feel comfortable in performance. You really have to take care not to be ridiculous with your tempos\, lest you sacrifice your ensemble. This was all the information I could find given the tools available to me. What can I say? Enough said! \nYoshiko Endo piano \nYoshiko was born in Tokyo to an established musical family. After moving to England in 1983\, she trained at the Guildhall School of Music and Drama.  Yoshiko was a member of the Rogeri Trio for five years\, with whom she gave concerts within the UK\, including dates at the SBC and the Wigmore Hall\, and touring engagements throughout Europe and Japan. Their acclaimed recordings of works by Dvorak\, Smetana and Suk for the Meridian label was then followed by an equally acclaimed release of works by Rawsthorne for Naxos.  She has been a member of the teaching staff of the Centre for Young Musicians in London for the last ten year. \nPeter Adams cello \nPeter Adams’ career can truly be described as meteoric. When most musicians are still at school\, the 16-year-old Peter was playing in the orchestra of London Festival Ballet. By the time he was 21\, he had become principal cellist of both the London String Orchestra and the London City Ballet. Perhaps even more remarkably\, he became in the same year professor of viola da gamba and baroque cello at the Royal Academy of Music – the youngest ever professor in the Academy’s history. Peter was a founder member of the Rogeri Trio and is currently a member of the Bochmann String Quartet – both groups with a large list of recordings and broadcasts. As well as regular performances with the Adderbury Ensemble in its early years\, Peter has appeared as guest principal cellist with a variety of orchestras all over Britain. He is the principal cellist of the English String Orchestra\, Brighton Philharmonic\, Oxford Philomusica and the City of Oxford Orchestra. Peter’s interest in the viola da gamba continues with solo appearances as the director of the Elizabethan Consort of Violas.  Greatly sought-after both as a cello teacher and as a chamber music coach giving masterclasses\, Peter works with a wide variety of students and young professionals across the country. He is currently teaching cello for Oxford University and for Oundle School.
URL:https://abbeychamberconcerts.org/event/yoshiko-endo-piano-peter-adams-cello-rachmaninov-cello-sonata/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/04/yoshiko-endo.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20251207T143000
DTEND;TZID=Europe/London:20251207T153000
DTSTAMP:20260526T120539
CREATED:20250429T135426Z
LAST-MODIFIED:20251122T222750Z
UID:3986-1765117800-1765121400@abbeychamberconcerts.org
SUMMARY:Cinderella Suite (pantomime) and Mississippi Five with Pavlova Winds - STARTS AT 2.30PM
DESCRIPTION:NB 2.30pm start \nPavlova Winds\nJeremy Salter flute\, Wendy Marks oboe\, Barbara Stuart clarinet\, Jenny Morgan horn\, Simon Payne bassoon\nwith Malcolm Pearce piano \nPaul Reade (1943-97) Cinderella \nA musical fairy-tale arranged for piano and winds by Jan Willem Nelleke. Words by Michael Cole \nPerhaps best-known for his work for television and ballet\, Reade had an active career in composition. It was in the late sixties that Reade moved to BBC TV\, where he worked as a pianist and songwriter for the children’s programme Playschool. His extensive work in children’s television early in his career enabled him to develop and perfect his style of composing. Reade composed works for children throughout his career\, and composed notable works such as Cinderella (1980)\, and The Midas Touch (1982)\, both of which were broadcast on Radio 3.  Reade’s credits for television include the series The Victorian Kitchen Garden\, Jane Eyre\, The Flumps\, and Antiques Roadshow.. \nHis Cinderella for narrator and orchestra has been arranged for piano and winds by Jan Willem Nelleke\, the Dutch composer and pianist (whose wife Phillipa Davies was married to Paul Reade). \nJim Parker (1934-2023) Mississippi Five \nJim Parker was a prolific British composer known for his film and television music\, including themes for Midsomer Murders and Foyle’s War. His Mississippi Five is an inventive\, 1920s-style suite for wind quintet that pays tribute to jazz greats of the era. The composition uses free cadenzas and tempo manipulations\, allowing for virtuosic solos for all players. \nThe suite consists of five distinct movements\, each referencing a specific aspect or artist from early jazz history: \n\nKing Oliver Steps Out:A tribute to the cornetist and bandleader King Oliver\, a key figure in New Orleans jazz and a mentor to Louis Armstrong.\nBlues for Johnny Dodds:A movement dedicated to the influential jazz clarinetist Johnny Dodds\, known for his deep\, expressive sound in blues and early jazz recordings.\nThe River Queen:This movement evokes the atmosphere of a steamboat\, likely referencing the riverboats that carried jazz music up and down the Mississippi River.\nLe Tombeau de Bessie Smith:Titled “The Tomb of Bessie Smith\,” this piece is a solemn homage to the legendary “Empress of the Blues\,” whose powerful vocals defined the genre.\nLes Animaux:French for “The Animals\,” this movement’s specific inspiration is less documented in the provided notes but likely captures a playful or character-based scene\, fitting the descriptive nature of the other movements.
URL:https://abbeychamberconcerts.org/event/cinderella-suite-pantomime-and-mississippi-five-with-pavlova-winds-starts-at-2-30pm/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/04/cinderella-2.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260208T150000
DTEND;TZID=Europe/London:20260208T160000
DTSTAMP:20260526T120539
CREATED:20251110T115152Z
LAST-MODIFIED:20251227T132436Z
UID:4302-1770562800-1770566400@abbeychamberconcerts.org
SUMMARY:Classics for Wind Quintet  (and one or two treats) with Pavlova Winds
DESCRIPTION:György Sándor Ligeti (1923-2006)  Sechs Bagatellen (Six Bagatelles) \nThe word\, bagatelle\, translates as “a trifle\, or something of little importance.” In music\, the bagatelle refers to a piece which is brief\, light\, and unpretentious. Some of the most famous examples spring from the keyboard works of Couperin and Beethoven.  Between 1951 and 1953\, the Hungarian-Austrian composer\, György Ligeti\, composed a set of 11 bagatelles for piano\, titled Musica ricercata. Each intricately constructed miniature centers around a specific pitch class (or limited set of pitches). The first piece involves only two notes of the chromatic scale. With each successive piece\, a pitch is added\, culminating\, in the final bagatelle\, with all twelve pitches of the equal tempered scale. The impetus for Musica ricercata came after the Hungarian Communist regime censored much of Ligeti’s music. The composer explained\, “I began to experiment with very simple structures of rhythms and sonorities—as if to build up a ‘new music’ from nothing.” Musica ricercata is a celebration of the adage that great things often emerge out of limitation and discipline. \nLigeti transcribed excerpts from the collection to create the colorfully whimsical Six Bagatelles for Wind Quintet. Each of the movements evokes a distinct atmosphere. Throughout the work\, we hear echoes of Hungarian folk music. \n\nPaul Patterson (1947-)  Comedy for Five Winds Opus 14 (1972) \n\n\n\n\n\n\n\n\n\nI. Prelude: Allegro spiritoso; II. Soliloquy: Andantino; III. Blues: Slow\, relaxed; IV. Hornpipe \nThat Paul Patterson’s music possessed a razor-sharp sense of humour was already evident in his op.1\, Rebecca (1965). By 1972\, however\, when the Comedy for five winds was written for the Vega Wind Quintet\, one can hear just how much further his deployment of musical humour has developed\, with a sophistication in its use of pastiche and its sense of comic timing far removed from the earlier work’s scattershot\, “anything goes” brand of comedy.  The Comedy’s 4 movements follow the plan of a fast opener\, a slow second movement\, a moderately paced bluesy interlude and a fast finale\, giving the work as a whole the appearance of a miniature symphony of sorts. \nJean-Michel Damase (1928-2013)  Dix-sept variations for wind quintet op 22 \nDamase was a French composer and pianist (born at Bordeaux\, died at Paris). He began instrumental studies at the age of five\, and at nine\, after meeting the famous author Sidonie-Gabrielle Colette\, set some of her poems. In 1943 he was awarded a first prize in piano at the Paris Conservatory\, and in 1947 he won the Prix de Rome. He wrote seven operas\, seven ballets\, orchestral works including a symphony and ten concertos\, chamber and instrumental works\, and vocal works for soloists and choirs.\nThe Dix-Sept Variations\, composed in 1951\, comprises a delightful set of pieces for the standard wind quintet of flute\, oboe\, clarinet\, horn\, and bassoon. The main theme is a bit like a march\, but the clever variations put it into many different guises\, even a slightly sarcastic piece for solo bassoon. Damase fully exploits the numerous possibilities and strengths of these five flexible instruments; the final variation provides a splendidly triumphant declaration\, accompanied by elaborate and rapid gestures. \nPavlova Winds \nPeter Robertson flute\nWendy Marks oboe\nBarbara Stuart clarinet\nJenny Morgan horn\nSimon Payne bassoon \n 
URL:https://abbeychamberconcerts.org/event/classics-for-wind-quintet-and-one-or-two-treats/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/11/Pavlova-Dec-2024.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260308T150000
DTEND;TZID=Europe/London:20260308T160000
DTSTAMP:20260526T120539
CREATED:20251110T115804Z
LAST-MODIFIED:20251110T115844Z
UID:4306-1772982000-1772985600@abbeychamberconcerts.org
SUMMARY:Diana Hinds piano Coral Lancaster cello - Beethoven and Janacek
DESCRIPTION:Beethoven A major sonata\nLeoš Janáček Pohádka\nBax Folk Tale\nMozart Rondo in A minor \nDiana Hinds piano\nCoral Lancaster cello \n 
URL:https://abbeychamberconcerts.org/event/diana-hinds-piano-coral-lancaster-cello-beethoven-and-janacek/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2021/06/DHjuly20jpg-scaled.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260412T150000
DTEND;TZID=Europe/London:20260412T160000
DTSTAMP:20260526T120539
CREATED:20251110T120126Z
LAST-MODIFIED:20260328T115942Z
UID:4309-1776006000-1776009600@abbeychamberconcerts.org
SUMMARY:Schubert Trout Quintet - with Simon Watterton piano
DESCRIPTION:Schubert Trout Quintet \nVaughan Williams Piano Quintet 3rd movt \nSimon Watterton piano\nAnna Cashell violin\nVanessa McNaught viola\nKath Sharman cello\nElizabeth Harré double bass \n 
URL:https://abbeychamberconcerts.org/event/schubert-trout-quintet-with-simon-watterton-piano/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/11/Trout-Quintet-Watterton-Cashell-McNaught-Harre.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260524T150000
DTEND;TZID=Europe/London:20260524T160000
DTSTAMP:20260526T120539
CREATED:20251110T120621Z
LAST-MODIFIED:20260505T095622Z
UID:4313-1779634800-1779638400@abbeychamberconcerts.org
SUMMARY:Schubert and Haydn Piano Trios - Amalfi Trio
DESCRIPTION:Schubert Piano Trio in B flat\nHaydn Trio in E major Hob XV:28 \nAmalfi Trio\nClaire Parkin violin\nEmma Chamberlain cello\nAndrew Blankfield piano
URL:https://abbeychamberconcerts.org/event/schubert-piano-trio-in-b-flat-amalfi-trio/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/11/ACE-trio.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260606T100000
DTEND;TZID=Europe/London:20260606T170000
DTSTAMP:20260526T120539
CREATED:20260211T162706Z
LAST-MODIFIED:20260429T135443Z
UID:4380-1780740000-1780765200@abbeychamberconcerts.org
SUMMARY:Viola workshop day with Martin Outram. Saturday 6 June at St Nicolas church\, Abingdon
DESCRIPTION:A great chance to work with Martin Outram of the Maggini Quartet. The day is aimed at amateur viola players of all ages.  Grade 5/6 minimum. \nSecure your place by buying a ticket (BOOK TICKETS link below).  Please also email payne.simon@gmail.com if you would like to take part in a masterclass (an accompanist is provided). \nDuring this informal and friendly workshop\, there will be opportunities to play viola ensemble repertoire and a masterclass in which participants will be encouraged to perform works of their choice and be tutored by Martin. There will also be a questions and answers technique ‘clinic’ and a short recital by Martin if time permits. Viola literature and study material will be on hand for perusal. This is a chance to be immersed in all things viola in a beautiful venue – do come along! \nPlease tell us your approximate standard so that we can organise ensemble pieces more effectively.  We can email out parts in advance if you want (so you needn’t be anxious about sight-reading\, and will get more out of group playing). \nPLEASE BRING YOUR OWN MUSIC STAND. \nArrangements for the day: \nTIMINGS\nThe church will be open from 09.30 to 17.00\nRefreshments from 09.30.\nThe workshop will start at 10.00\, and end by about 16.00/16.30.\nLunch roughly 12.30 – 13.30 \nREFRESHMENTS \nTea\, coffee and biscuits will be provided for the breaks during the day.\nPlease bring your own lunch or go to one of the nice cafes in Abingdon market place. \nVENUE \nSt Nicolas church\, Abingdon. Park in the Abbey Close car park near Waitrose (not in Waitrose itself or you will be fined!). You will need to buy a parking ticket. \nThe street address is: St Nicolas’ Church\, Market Place\, Abingdon\, Oxfordshire.\nAs they do not have a postbox\, they do not have a postcode; however for Sat Navs\, the adjacent Abbey House is OX14 3JD  Visit St Nicolas’ Church \n  \nThe tutor is Martin Outram \n‘Outram proves himself a player in the Primrose mould\, with sumptuous tone and sensitivity’  BBC Music Magazine.   \nWebsite: martinoutram.com \nMartin Outram enjoys a wide-ranging career as chamber musician\, soloist and teacher. He studied at Cambridge University and the Royal Academy of Music. He was a member of the internationally renowned Maggini Quartet for forty-two years. He recorded over fifty discs with the quartet and other chamber music ensembles and has been the recipient of the Gramophone Award\, the Diapason d’Or\, a Cannes Classical Award\, three Grammy nominations and the Royal Philharmonic Society Award for chamber music. Alongside his work in the Maggini Quartet\, Martin’s experience includes an extremely busy career as a freelance player\, appearing as principal viola and guest principal with all of London’s premier chamber orchestras. His nine solo discs have received wide international acclaim\, including five-star reviews in the BBC Music Magazine\, Gramophone and Strad magazines. Many works have been written for him\, including concertos by Peter Aviss\, Adam Gorb and David Gow. He has appeared as a concerto soloist at the Royal Festival Hall and Queen Elizabeth Hall in London and performed on tour in South America\, Europe and the UK as a soloist with the Britten Sinfonia. His recital partner is Julian Rolton\, with whom he has appeared regularly. Their appearances include performances at several international viola competitions and congresses. He has given masterclasses at premier conservatoires throughout Europe\, China and the USA. He is Lionel Tertis Professor of Viola and a Fellow of the Royal Academy of Music and an Honorary Fellow of Brunel University and Canterbury Christ Church University. He is in demand as a jury member at international viola competitions. Martin’s extensive repertoire of arrangements and transcriptions is available in the catalogues of major publishing houses\, including Boosey and Hawkes\, Oxford University Press and Chesters. Martin plays on a very fine viola by Henricus Catenar\, made in Turin in 1680.
URL:https://abbeychamberconcerts.org/event/viola-workshop-day-with-martin-outram-saturday-6-june-at-st-nicolas-church-abingdon/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2026/02/viola-banner-scaled.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260614T150000
DTEND;TZID=Europe/London:20260614T160000
DTSTAMP:20260526T120539
CREATED:20251110T120818Z
LAST-MODIFIED:20251110T120914Z
UID:4317-1781449200-1781452800@abbeychamberconcerts.org
SUMMARY:Jacqueline Johnson cello Charlotte Brennand piano - Shostakovich and Beethoven
DESCRIPTION:Shostakovich Cello Sonata Op 40\nBeethoven Sonata in D major Op 102 No 2 \nJacqueline Johnson cello\nCharlotte Brennand piano
URL:https://abbeychamberconcerts.org/event/jacqueline-johnson-cello-charlotte-brennand-piano-shostakovich-and-beethoven/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2022/11/jacqui-johnson-cello.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260906T150000
DTEND;TZID=Europe/London:20260906T160000
DTSTAMP:20260526T120539
CREATED:20251113T105806Z
LAST-MODIFIED:20260505T095502Z
UID:4320-1788706800-1788710400@abbeychamberconcerts.org
SUMMARY:Brahms Quintet for clarinet and strings - Catriona Scott with OXUS
DESCRIPTION:Brahms \nQuintet for clarinet and strings Op 115 \nBernard Herrmann\nClarinet Quintet ‘Souvenirs de Voyage’ \nCatriona Scott clarinet\nOXUS string quartet
URL:https://abbeychamberconcerts.org/event/brahms-quintet-for-clarinet-and-strings-catriona-scott-with-oxus/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/11/Catriona-Scott-Publicity-Photo-1-smaller-scaled.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261011T150000
DTEND;TZID=Europe/London:20261011T160000
DTSTAMP:20260526T120539
CREATED:20251113T110236Z
LAST-MODIFIED:20251113T110643Z
UID:4325-1791730800-1791734400@abbeychamberconcerts.org
SUMMARY:Cello’s Angels - works by Handel\, Bach\, Schumann\, Ravel & Granados for cello trio
DESCRIPTION:Cello’s Angels  \nWorks by Handel\, Bach\, Schumann\, Ravel & Granados \nJane Fenton\, Jacqueline Johnson\, Kath Sharman \nspecial guest Raphael Mizraki \n 
URL:https://abbeychamberconcerts.org/event/cellos-angels-works-by-handel-bach-schumann-ravel-granados-for-cello-trio/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2023/10/cellos-3.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261108T150000
DTEND;TZID=Europe/London:20261108T160000
DTSTAMP:20260526T120539
CREATED:20251113T110514Z
LAST-MODIFIED:20251113T110625Z
UID:4328-1794150000-1794153600@abbeychamberconcerts.org
SUMMARY:Mozart and Thuille - Quintets for piano and winds
DESCRIPTION:Mozart and Thuille \nQuintets for piano and winds \nLynette Stulting piano\, Pavlova Winds \n 
URL:https://abbeychamberconcerts.org/event/mozart-and-thuille-quintets-for-piano-and-winds/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/04/Pavlova-Dec-2024.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261213T150000
DTEND;TZID=Europe/London:20261213T160000
DTSTAMP:20260526T120539
CREATED:20251113T110812Z
LAST-MODIFIED:20251113T110855Z
UID:4331-1797174000-1797177600@abbeychamberconcerts.org
SUMMARY:Pavlova Winds Christmas concert
DESCRIPTION:Pavlova Winds Christmas concert \n 
URL:https://abbeychamberconcerts.org/event/pavlova-winds-christmas-concert/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2025/11/Pavlova-Dec-2024.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
END:VCALENDAR