Violininst and composerRuby Colley launches her EP 'Underheard' in spring 2023, with live concert in London, Bury and Stockport in February and March.

Ruby's work seeks to unravel the connections between nature and music,  She draws upon a wide range of music styles including folk, improvisation and contemporary classical. Ruby creates instrumental soundscapes beyond the realm of traditional playing, introducing sounds from nature and electronics. Her latest commission - Edgeland - is an audio-visual work that explores people including Ruby's neurodivergent brother, and places within an 'Edgeland' near her home in West Sussex.

Ruby’s music is eclectic, unique and her performances are charged with emotional power and nuance. Her debut album Murmurations was released in 2010, followed by The Sussex Sessions, an EP with Isobel Anderson in 2014. Her latest album Overheard was released in April 2022, and explores connections between human presence and nature in response to the climate crisis.

Tour Dates

• 28th February - City University, London, Concert Series, 7pm.
  
  

• 11th March - The Met, Bury
                           Market St, Bury BL9 0BW
                           Tickets and performance details
  
  
• 12th March, 7pm - Where the Light Gets In
                           7, Rostron Brow, Stockport, SK1 1JY
                           Tickets, venue and performance details
  

Electronic press kit for concert and recording reviewers available from Ulysses Arts.

Edward Higginbottom is joined by rising star soprano, Holly Teague and percussionist, Felix Higginbottom as he takes Rameau's most theatrical compositions into the organ loft and 'reimagines' their performance, meanwhile taking us on a journey through exotic landscapes and arresting scenes.

To be released by CRD Records on 7 July 2023.  More details published here soon.

Virginia Black returns to the keyboard and her lifelong love - Beethoven's piano sonatas - in her latest album from CRD Records, released on 7 April 2023.

The three sonatas programmed here - The Tempest, Pathétique and Opus 110 - afford us a window onto Beethoven's life and his increasing struggle with hearing loss. Meanwhile we experience Beethoven at his best: breaking the rules of the sonata form and transcending them.

Tota pulchra es is a 1,600 year old Roman Catholic prayer, meaning 'You are completely beautiful', referring to the Virgin Mary. It glorifies her immaculate conception, and takes its text from the Bible's Book of Judith and Song of Songs.

It has inspired great composers for centuries, from Guillaume du Fay and Heinrich Isaac in the late Middle Ages, through Schumann, Bruckner, Pablo Casals, Duruflé and Gorczycki to contemporaries such as Sir James MacMillan and Ola Gjeilo: Neil Wright's new settting revels in the opportunity for musical beauty and spiritual yearning.

Tota pulchra es is Wright's debut commission and recording with Caritas Chamber Choir. Studying the Royal Northern College of Music, as an organist, composer and improviser, he has performed throughout the UK (including Cadogan Hall; Westminster Central Hall) and in Germany (Dresden Cathedral, Stuttgart-Schondorf Orgelnacht, Friedenskirche Potsdam, Maria Laach Abbey), USA (Carmel Valley California), Italy (Tagliacozzo Festival, Cremona Cathedral), Finland (Åland Orgel Festival) and France (Vannes Cathedral, Eglise de La Trinité Paris).

Caritas Chamber Choir, based in Canterbury, UK, is one of the world's leading commissioners of contemporary choral music, performing frequently around the UK and Europe, directed by Benedict Preece, a Genesis Sixteen Conducting Scholar.

Streaming and download links:

Released in partnership with Platoon.

John Kelley's When You are Old is an atmospheric setting of W.B. Yeats’ famous poem: its retrospective nature is a perfect work to precede the New Year, performed by the Caritas Chamber Choir conducted by Benedict Preece.

American composer John Kelley studied at Yale University and is a lay clerk at Grace Cathedral, San Francisco. His setting of When You are Old won the 1997 National Award for Schirmer’s Young American Choral Competition; it is performed annually by Redhot & Blue, Yale University’s world-renowned mixed a capella ensemble.

Links to listen or download on digital service providers will be posted here on 30 December.

ALBUM DETAILS

Germaine Tailleferre, Sonate Champêtre (première recording)

I. Allegro moderato
II. Andantino
III. Allegro vivace: Gaiement

Ingrid Stölzel, There Are Things to be Said (2009)
 
Bill Douglas, Three Lyrical Pieces
                                                                                              
I. Wings of the Wind
II. The Hills of Glencar
III. Autumn Song
                         
Jenni Brandon, Metamorphosis *

I. Vulnerable
II. Evolving
III. Transformation
IV. Rebirth
V. Transfiguration
VI. Breaking through the mold
VII. Regeneration
VIII. Emerging
IX. “The metamorphosis excites in the beholder an emotion of joy…”

* First performance and recording by Dr Lindabeth Binkley (oboe) with Dane Philipsen (oboe) and Mary Jo Cox (piano) on Dr. Binkley’s album FROM EARTH AND SKY: MUSIC OF JENNI BRANDON on Blue Griffin Record label in 2020.
 
Rhian Samuel (première recording), Little Duos for oboe and cor anglais

I. Morning Glow
II. Whispers
III. Sentries
 
Cecilia McDowall, Century Dances: Trio for oboe, clarinet and bassoon

I. Allemande
II. Menuet – ghost dance
III. Mazurka
IV. Tango
V. Last Dance 

Melchior Hoffmann, Trio Sonata in C minor

I. Adagio
II. Allegro
III. Adagio
IV. Vivace

Julius Röntgen, Trio for Flute, Oboe and Bassoon in G Major, Op. 86

I. Allegretto con Spirito
II. Poco andante, quasi una fantasia
III. Allegretto

The idea of writing a cello concerto for Raphael Wallfisch was first mooted more than ten years ago at the Banff Arts Centre, Canada, where Jonathan Dove was composer-in-residence. The two men spoke of Dove’s interest in writing a piece for cello and orchestra, and after further meetings in London, the work began to take shape. Given the composer’s extensive experience of writing for the voice, it was decided that the score would be written for baritone singer and solo cello with orchestra with texts taken from poems by various writers.

The subject matter was suggested by the Wallfisch family history. Raphael’s father fled, together with his mother and brother, to Palestine from Breslau in 1937, and his mother, Anita Lasker-Wallfisch, is a concentration camp survivor. She has written of the persecution of her Jewish family during the Second World War and her own incarceration in Auschwitz and Belsen, where her skill as a cellist saved her life. Knowing of these events, Jonathan Dove was inspired to base the work’s theme on the universal experience of refugees being exiled from their homeland.

In Exile was premièred at the George Enescu Festival on 3 September 2022, followed by a performance in Bucharest on 5 September. Scored for baritone, 'cello and orchestra, Jonathan Dove writes of the piece: ‘In Exile moves through a day in the life of an involuntary exile: waking alone in a foreign land; remembering the moment of banishment, the moment of departure, the voyage; remembering the homeland. The Exile feels the pain of being so far away in his country’s time of need, unable to help his own people. He remembers all the names he has been called in this strange land. He thinks of all he has lost, and longs for home.

The spine of Alasdair Middleton’s libretto is from a 10th Century manuscript, The Wayfarer, by an anonymous old English author. Voices from across the ages flesh out a composite portrait: a single line of Shakespeare recurs among lyrical verses by Dante, Emily Lawless, Kahlil Gibran, Kaveh Bassiri and Douglas Hyde. The theme of exile was suggested by the history of the Wallfisch family, and is dedicated to Raphael’s mother, Anita Lasker-Wallfisch, who has told her story in her book Inherit the Truth 1939-1945: The Documented Experiences of a Survivor of Auschwitz and Belsen.

In Exile fuses elements of operatic scena and concerto, the two soloists expressing complementary aspects of the same character. In Raphael Wallfisch’s words: ‘the cello represents the soul and spirit of the Exile, the baritone is that person and sings the dramatic and often challenging texts. Jonathan’s lyrical style lends itself so naturally to the cello. He exploits every register from the lowest to the highest notes. The cello comments on the sung texts'. (Paul Conway)

Night Song, a short piece for cello and piano is derived from the final section of In Exile. In the calm closing moments of the work the baritone sings of his loss in the words of the poet Douglas Hyde : My grief on the sea, / How the waves of it roll - / For they heave between me / And the love of my soul. Night Song was written partly at the request of the Rachel Baker Memorial Charity – who commissioned the orchestral work – and partly in response to the strong reaction of the first audiences who connected with this uncomplicated musical expression.

 
The spine of Alasdair Middleton’s libretto is from a 10th Century manuscript, The Wayfarer, by an anonymous old English author. Voices from across the ages flesh out a composite portrait: a single line of Shakespeare recurs among lyrical verses by Dante, Emily Lawless, Kahlil Gibran, Kaveh Bassiri and Douglas Hyde. The theme of exile was suggested by the history of the Wallfisch family, and is dedicated to Raphael’s mother, Anita Lasker-Wallfisch, who has told her story in her book Inherit the Truth 1939-1945: The Documented Experiences of a Survivor of Auschwitz and Belsen.

In Exile fuses elements of operatic scena and concerto, the two soloists expressing complementary aspects of the same character. The solo cello is the alter ego of the baritone, ranging above and below his voice, able to take his song down into the depths and up into the heights. Sometimes the soloists hand over to each other, complete each other’s sentences, so to speak; sometimes they duet and counterpoint.