Glowing reviews for Lancaster and Jenkins Late Music York premieres, in Musical Opinion

Premieres of works by David Lancaster and NCN composer Hayley Jenkins, performed at the Late Music Concert Series, York, have received superb reviews from Paul Conway, in Musical Opinion’s January-March 2025 issue.  The 2nd November lunchtime recital by pianist Jelena Makarova marked the centenary of Stravinsky’s Piano Sonata and the evening concert was given by the Amabile Clarinet Trio.   

SADIE HARRISON RECEIVES EXCELLENT REVIEW FOR PREMIERE IN MUSICAL OPINION QUARTERLY SPRING 2025

We are delighted that House Composer Sadie Harrison has received a most positive review in Musical Opinion Quarterly Spring 2025, for the premiere of her work The Book of Stars and Sorrows by the fabulous pianist Lauryna Sableviciute. The concert took place on 10 August at Stoller Hall, Manchester, one of several events held during the 23rd Chetham’s International Piano Summer School.  

Simaku Wigmore Hall World Premiere

"Thomas Simaku is one of the most distinctive voices in British music today" – Jim Samson.

Part of a compelling programme by the acclaimed British pianist Danny Driver, including ‘sublime works’ by Chopin and Ligeti’s ‘complex creation of 1951-3’, the world premiere of Catena IV for piano by Thomas Simaku took place in London at a packed hall of Wigmore Hall on 2 January 2025. British musicologist Jim Samson – a leading authority on the music of Chopin, and author of several books – wrote, in his programme note: “Born in Albania, but granted British citizenship in 2000, Thomas Simaku is one of the most distinctive voices in British music today. Catena IV, given its world premiere in this concert, is the fourth work of his Catena Cycle for solo piano. The composer stresses that, despite its nine self-contained sections and four interludes, it was conceived as a single movement, a linked chain of events rather than episodic form. Our programming here is strategic, given that its fourth section is a ‘Hommage à Chopin’ (built on the exact notes of the opening of First Ballade) and its fifth section a ‘Hommage à Ligeti’ (a re-working of Ligeti’s signature lamento motif). Fittingly, the eighth is titled ‘Ligeti meets Chopin’. Here the Chopin quotation is overlaid by different manifestations of the lamento motif, and at registral extremes.”

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