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Soh-Fah The Ryedale Festival magazine

summer 2013

C is for Coffee Concerts: our series of morning concerts is at the heart of the festival. Look out for two new venues this year – the beautiful country churches of Ebberston and Coxwold. D is for Dragonetti: the great virtuoso double bassist who was a friend of Haydn and Beethoven. His life, music and 250th anniversary are celebrated by Chi-chi Nwanoku - a rare opportunity to hear one of the world’s finest double bassists in recital. E is for Em Whitfield Brooks: as director of Community Operas in the festival for over

The Swifts have arrived in North Yorkshire which means summer must be here and our two weeks of music is not far away. The brochure is in great demand and tickets are selling well. The BBC has agreed to broadcast three or four concerts and BBC Music magazine is carrying an abbreviated brochure into the homes of at least 16,000 of its subscribers. Just as in stock-markets when things seem to be going well – be prepared for a setback. Ours came the day following a successful inaugural concert in London when the Arts Council informed us that they were unable to continue to support us. Their decision seems a curious reward for success – but of course that is not what public funding is about. I have recently written to all our members and friends describing some of the background to the Arts Council decision. It has been gratifying and encouraging to have heard from so many of you supporting your board’s decision to embrace our new situation and meet the financial challenge we now have. We will replace the £50,000 of public funding that has been suddenly withdrawn with a mixture of increasing ticket sales, private donations and commercial sponsorship. It is fortunate that over many years the festival has accumulated a small financial reserve. This will allow us the necessary time to replace the “missing” funds and to plan future festivals. Over the years the Ryedale Festival has received considerable public funding from both the Ryedale District Council and the Arts Council. We should all be grateful for this and certainly without these funds it is unlikely we would have the successful festival we now all enjoy. However, as so many of you have suggested it is time to “fly solo”. In a sense much of the work leading to this year’s festival has been done. Certainly Christopher Glynn and I are discussing the content of next year’s festival and indeed the year after. However, for many the work is just starting and in particular I should like to thank in advance all our hostesses whose hospitality is such a vital contribution to the festival. The stewards, the programme printers, the technical team, and of course the artists themselves are all gearing up to bring you a wonderful two weeks of music. Let’s just hope the sun is out and the newly born Swifts are, like us, also flying solo. •

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robin andrews

Papageno, costume design by Schinkel (Berlin, 1816); Steven Isserlis; Alison Balsom

Artistic Director Christopher Glynn picks out…

An A to Z of this year’s festival A is for Ampleforth Abbey: one of the high-

lights this year will surely be a performance there of Mozart’s last great choral work – the Requiem by the Orchestra of Opera North and the massed Yorkshire voices of the Ryedale Festival Chorus under the baton of Simon Wright. B is for Britten: we celebrate the 100th anniversary of the birth of the most successful English composer in living memory with a theme of English Music running throughout the festival, including a whole day dedicated to it at Duncombe Park

A letter from the Chairman

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Sir Marcus Worsley Marcus Worsley was a long-term Vice-President and Friend of the Festival, and a longer term friend. Indeed, the associations of Hovingham Hall with music go back many years, at least as far as the Worsley who built the present house in the mid-18th Century, and whose interest in music is documented in the archives which Marcus enjoyed showing enquirers. He was proud of the fact that the great German violinist Joseph Joachim, friend of Brahms, had come to play in the first Hovingham Festivals in the 19th century purely for love of the place and its musicmaking; and many Festival goers will remember the evening when, enthroned and beaming in a vast armchair, Marcus related a musical history of the Hall, while Martin Vander Weyer, in a variety of voices ranging from guttural German for Joachim

Sir Richard Rodney Bennett It was at a convivial lunch during one of the Festivals that Malcolm Layfield asked Richard Rodney Bennett if he would like to join us as a Vice-President. To our delight, he leapt at the invitation, and his name began adorning our distinguished list of Vice-Presidents from 2006. That was the year he came and gave us a brilliantly entertaining evening at Settrington with Claire Martin. Richard had always been both brilliant and entertaining, even from his teenage years, when he won a scholarship to the Royal Academy of Music, studying composition with Lennox Berkeley but moonlighting to earn a living as a jazz pianist. That was when, a student in the Other Place, the Royal College, I first met him, and like everyone else, was dazzled by his charm and sophistication, and by the effortless

to broad Yorkshire for an appreciative villager, filled in with illustrations, and a string quartet played appropriate music. Marcus was more than a passive friend. Though he always disclaimed any knowledge of music, his appreciation was wide and well-informed, with a particular love of the 18th Century. He was delighted with Malcolm Layfield’s sequence of Mozart operas, delighted again when Handel’s Orlando was the choice of opera, and especially with Malcolm’s ‘Bach Brandenburg Marathon’, all at Hovingham; and he keenly turned up to performances and lectures around Ryedale even when increasing frailty confined him to a wheel-chair. His hospitality was generous, whether privately or when he would wander among the audience on his lawns in sunlit concert intervals, with the sound of bat on ball punctuating conversation. His observation was sharp, and on more than one occasion a quiet word about some potential mishap saved us from trouble. He was above all one to enjoy himself, and though quick to spot when things did go wrong or fell short of the best standards, equally quick to brush aside, with a charming smile, complaints from anyone else. When things went well, his enthusiasm and pleasure were radiant; and it is his warmth and good nature, which seemed to go on ripening with the years, that we shall remember. We could not have wished for a better friend. • JOHN WARRACK

way he seemed to be able to play jazz, with perhaps Fats Waller as a model, and compose in the densest techniques of Boulez (another teacher) and serial music that were then occupying the avant-garde. Ask Richard for a piece of music, and it was ready in a flash. His fluency was proverbial, almost self-defeating. But there was a serious side to him. The list of his works includes operas, among them an excellent piece, The Mines of Sulphur, performed world wide and now being revived, including at Wexford; and music in almost every other genre you can think of, ranging from symphonies and concertos to the entertaining Jazz Calendar and, of course, film music. When the train pulls out of Istanbul station on its way north in Murder on the Orient Express, it is to Richard’s catchy waltz, and when he played it at Settrington in 2006, there were smiles and murmurs of recognition all round the Riding School. He was wonderful company, with respect for the establishment (he was pleased to have earned a knighthood) but finding himself happier living in New York, as he latterly did, where his multifarious talents found a wide outlet. Within the sparkling wit and the warmth of good nature – he was someone who could pick up on a friendship after a gap of years as if one had met only yesterday – there was, I think, a streak of loneliness. But he was always someone of high courage and high good humour, and we shall miss his enlivening visits to Ryedale. • JOHN WARRACK

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Claire Martin

a decade she has inspired countless local performers of all ages with her energy and vision. This year she leads over 150 of them in a performance of Britten’s Noyes Fludde. F is for the friends of the festival: what would we do without them and all that they do to support the festival? G is for Gershwin: Is he a classical or a popular composer? The answer, of course, is that he is both - never more so than in the hands of fine performers like Claire Martin and Joe Stilgoe. Join them and Martin Vander Weyer for a celebration of his music at Duncombe Park. H is for Haydn: his effervescent Cello Concerto, full of melodies and witty touches, is played by BBC Young Musician of the Year Laura van der Heijden. I is for Isserlis: the great cellist and ambassador for classical music performs a typically wide-ranging programme by candlelight in Old Malton Priory. J is for Joseph Houston: this outstanding young pianist is the soloist for the world premiere of Cheryl Frances-Hoad’s new Ryedale Concerto, inspired by local landscapes K is for Kirkbymoorside: their Brass Band is well known as one of the finest in the north and has had a long relationship with the festival. They perform this year with virtuoso tuba player Ewan Easton in Helmsley Church. L is for Lastingham: ‘among England’s special places’ according to Simon Jenkins and who could disagree? This stunning church is the venue for a talk by Lucy Beckett on the Northern Saints, as well as a recital by superb young oboist James Turnbull and a concert by the acclaimed Choir of New College, Oxford. M is for mystery: join us for our Ryecrawl – a musical, magical tour through the heart of

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Ryedale where the destinations and the music are only revealed at the last moment. N is for New College Choir: one of the country’s finest, performing an unmissable programme for us celebrating Britten’s anniversary (for which they have just been awarded Germany’s most prestigious musical prize) O is for organ: surely some of the most thrilling sounds of the festival will be heard when the fine organ of Ampleforth Abbey joins forces with the Orchestra of Opera North for Saint-Saëns’ Organ Symphony. P is for Patricia Routledge: the star of stage and screen visits Pickering Kirk Theatre to talk to Edward Seckerson about her life and work. Q is for quartet: Many festival-goers will remember Andrej Bielow’s performance of Tchaikovsky’s Violin Concerto last year. He returns with his colleagues in the acclaimed Szymanowski Quartet as our artists in residence this year. They will perform both alone and in collaboration with other visiting artists such as the Fitzwilliam Quartet – old friends of the festival – who will join them for Mendelssohn’s Octet. R is for Royalty: The stunning trumpet virtuoso Alison Balsom and The English Concert perform such celebrated royal works as Handel’s Water Music in a concert entitled The Kings and Queens of Handel and Purcell. S is for Sledmere: this beautiful Georgian House nestling in the Yorkshire Wolds is one of our most loved venues. Tickets will surely be in high demand for our Double Concert there, featuring performances in both the house and church, with the opportunity to picnic in the grounds during the interval. T is for Triple Concert: the inspired invention of former Artistic Director Justin Doyle,

James Turnbull

The Choir of New College, Oxford

it has become an essential part of the festival. I try to make the three concerts as contrasting as possible and also suited to the three very different spaces. It’s a bit like the challenge of planning a meal of three contrasting courses, but one where they can be eaten in any order! U is for umbrellas: They won’t be needed. An order has been put in for fine sunny days... V is for violin: The superb Baroque violinist Lucy Russell performs masterpieces by Bach with harpsichordist John Butt. And don’t miss Andrej Bielow in recital as he launches our English Music Day with a performance of Elgar’s great Violin Sonata. W is for Wassenaer: The so-called ‘mystery composer’ of Holland features in a programme of rarities by the gifted Dutch recorder virtuoso Erik Bosgraaf. X is for X-factor: the indefinable quality which makes a performer special and unique. The fast-rising local soprano Rowan Pierce certainly has it: look out for her two festival performances. Y is for young musicians: audiences constantly say how much they enjoy hearing the stars of the future. The young singers of Genesis Sixteen certainly fall into this category – they can be heard at the Sledmere Double Concert. Z is for Zauberflöte: the late operatic masterpiece to come from the pen of Mozart, better known to English audiences as The Magic Flute and performed in Ryedale this year in a new translation by John Warrack. This unique and warm-hearted work contains much that is profound and beautiful, as well as passages of pure and delightful entertainment – a mixture that will, I hope, also be found throughout our festival this summer. • CHRISTOPHER GLYNN, ARTISTIC DIRECTOR

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The Launch Concert And so it’s off to St Peter’s, Norton, for the concert launching the 2013 programme. First we have a concert - this year by the Gould Piano Trio - and then this year’s Festival Programme is introduced by Artistic Director Chris Glynn, and the physical programmes distributed. For me, this is where the long run-in to summer really begins. If the launch concert is here, can July be far behind? The Gould Piano Trio took us through a programme of Haydn, Arensky, Beethoven and Shostakovich. The Haydn was everything you’d expect: witty, tricky and energetic. Haydn just won’t rest until he’s twisted round every unlikely corner. Well, that’s what I hear now in the 21st century what must they have thought in the 18th? Then came a trio by Anton Arensky. I’ve not met this Arensky before, but thought his Op 32 Trio sounded like something Vaughan Williams or Howells might have produced after a night with the vodka and bevy of gypsy girls. No stint of melody, shall we say. By happy chance, as the slow movement faded out, the dusk chorus was alive, and produced a particularly fine blackbird counterpoint. The second half began with Beethoven’s cello/piano variations on a theme out of The Magic Flute - and cellist Alice Neary reminded us she had been part of the opera orchestra for the Festival’s Cosi fan tutte some years ago. But the musical highlight of the evening was surely the Shostakovich Trio No. 2. Deeply emotional stuff this harrowing at times too, since this was in part Shostakovich’s musical response to the discovery of the Holocaust atrocities. I loved it, cold and bleak and tragic and wintry as it was . . . it was still the real tabasco. The Trio invited us to view the opening movement as painting a journey through the Soviet Union. This was inspired: those wild keening high notes on the cello conjuring up the dreadful lonely cold, and later the discovery of a chuntering rhythm shunting the music along like, yes, cattle trucks. Difficult to listen to this now and not think of Steve Reich’s Different Trains. It remains a great mystery how music can explore such pain and yet leave you uplifted and smiling. But there it is. Finally, it was Artistic Director Chris Glynn’s turn to shepherd us through the programme. But more important on this night was the welcome absence of the St Peter’s Spider. Some of us will remember the moment a few years ago when, as the Artistic Director began to speak, something of imposing Amazonian appearance got to the red carpet, flexed its eight sinister legs and…legged it for the door. Panic was averted when a ram-rod backed man sprang to the rescue, cupped it in his hands and escorted it to the door. ‘Seen worse in Malaya’, I think I heard. • Michael Taylor

(clockwise from top-left): Andrej Bielow and Christopher Glynn, Luke D. Williams and Helen Bailey, Alexandra Silocea. Drawings by Shizue Takahashi.

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Ryedale comes to Marylebone This year for the first time it was decided to put on

a launch concert in London. The purpose was to raise awareness of the Festival among our musical friends and potential sponsors in the capital, and the recent announcement that BBC Radio 3 would be recording some of our concerts was the ideal spur to enhance our profile. An exciting programme of works featuring some of this year’s festival performers was given in a beautiful Adam salon in Marylebone. Robin Andrews opened the batting for Ryedale, welcoming the invited audience of 90: he made it quite clear that our Festival was unique and offered valuable sponsorship opportunities to those present. Robin handed over to Radio 3’s Sean Rafferty, who introduced the concert, neatly underlining the new deal with the BBC. The first item was a recital by awardwinning Romanian pianist Alexandra Silocea of three works by Schubert/Liszt and Debussy, to be heard later in her Hovingham concert. The centre-piece of the concert was Elgar’s Violin Sonata, played by festival favourite Andrej Bielow (remember the Tchaikovsky Violin Concerto last year?), accompanied by Christopher Glynn. This will be featured again in the Day of English Music.

Finally, Helen Bailey and Luke D. Williams, our Pamina and Papageno in this summer’s Magic Flute, performed some solo and duet numbers, and the concert culminated in all the evening’s performers joining forces in Franz Lehar’s ‘Love Unspoken’ from The Merry Widow, complete with an impromptu waltz danced by the two singers. Proceedings were enhanced by our artist friend Shizue Takahashi, artist-in-residence a few years back, who sketched performers while they played, causing a great deal of interest as members of the audience craned their necks to follow her progress. Shizue will be returning to the Festival this year, and examples of her work will be on sale. Musically and socially the evening was a great success. The standard of performance bodes well for our festival concerts, and Christopher is to be congratulated in assembling such a fine array of talent. A number of Directors and members were present to sing the praises of the Ryedale Festival, and to sell the benefits of coming to Ryedale to see for themselves. More importantly, did the concert succeed in its commercial aim? Indications are that we have increased our income by additional memberships and ticket sales, so it was a thoroughly worthwhile initiative. • ROW H

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The Glory Glory Glory Tree – Cheryl Frances-Hoad One of the most exciting aspects of this year’s

festival promises to be the contribution of our composer-in-residence Cheryl Frances-Hoad. She comes garlanded with plaudits and her talent has been fostered by some of the brightest luminaries in the modern composing world. Our first introduction to her music will be the debut of her Ryedale Piano Concerto at the opening concert, inspired by the geography and (I suspect) history of the place. But is she any good? What’s her music like? Will Ryedale like it? Just how modern is it? Answers first, explanation afterwards. Oh, she’s good, and at her best, devastatingly so. But yes, she’s ‘modern’ in ways which can be challenging. Will Ryedale like her? We shall see - but I’m starting a campaign right here (and have already lobbied Chris Glynn) to engineer an extra performance of her work during the festival because I have a feeling it could be one of the truly unmissable events of this year, or indeed any year. My first piece of advice to those attending the concert is. . . . buy the programme and read it. It will probably help a lot. I have done my homework, downloading her album of chamber music The Glory Tree and putting in some serious hours of listening. I must confess that after a few days, I remained slightly baffled: she claimed her chief influences were Ligeti, Prokofiev and Britten (if I remember correctly), and to my ear, there’s plenty in there from Bartók, Takemitsu, Ades - but a series of ‘influences’ doesn’t necessarily add up to compelling music. Actually, I couldn’t really understand what she is getting at. This issue of understanding is, and has always been, key to the experience of new music, but it’s an aspect we tend to ignore. That’s not surprising: for the most part, we don’t think much about what music is doing,

we just enjoy it. But throughout history, audiences haven’t come equipped and ready to understand genuinely new music. It involves work, and - let’s face it - most of us don’t come to concerts ready to roll up our sleeves. Consequently, throughout history the rejection of new music has been a revolt against the work of understanding. For example, faced with the wild explorations of the Hammerklavier, Beethoven’s contemporaries reached for the easiest conclusion - that he had gone mad. Something along the same lines has greeted most composers we are now comfortable with. Even Puccini reckoned The Rite of Spring was evidence Stravinsky could be measured for a straight-jacket. But with understanding can come great rewards, and so it was for me with The Glory Tree. The Glory Tree is a five-movement work for soprano and chamber ensemble, and I long, genuinely long, to hear it in Ryedale - preferably somewhere like Gregory’s Minster in Kirkdale. At first the piece struck me as vertiginous, but this was a case where the programme notes really helped. For in The Glory Tree FrancesHoad takes Old English poems of the 6th to 8th century which are traditionally interpreted as religiously inspired, and re-conceives them as shamanistic utterances. The five movements then follow the shaman up to heaven, across the sea, down to hell, with movements transitioning between these places. With this to guide you, this ‘difficult’ music becomes quite clear, and fully capable of raising the hairs on the back of your neck, sinking you into worlds of great transient beauty, and even leaving your somewhat breathless. This is it, you realise, the genuine 100% proof hard stuff of music. Can there be a better place for it than Ryedale? • MIchael Taylor

For your diary Ryedale Festival – 29th June at 11.00 am Coffee Concert in Kings Manor York Tickets £10 each by post with sae to Prof. John Taylor, Saxon House, Marsh Lane, Bolton Percy, YO23 7BA. Tel: 01904 744 483 Ampleforth and Ryedale Choir – 29th June at 7.30 pm Ampleforth Abbey – Britten: Noah’s Flood; Rejoice in the Lamb Tickets at door £10. Concessions £5 Northern Aldborough Festival – 13th June to 22nd June Benjamin Grosvenor, Alina Ibragimova, Steven Osbourne, Django Bates, Booking Office: 01423 900 979.

Helmsley Arts Centre • Sunday 29 September 3pm followed by tea – North Star Series Jenny Lewisholm, Viola and Gunel Mirzalyeva, Piano These two outstanding musicians from the Guildhall School of Music and Drama, will play works by Schumann, Bridge and Brahms • Sunday 13 October: The Gould Piano Trio – Beethoven, Fauré and Mendelssohn • Sunday 3 November: Piano Recital, Piers Lane – the complete Chopin Nocturnes by candlelight Royal Festival Hall, Southbank Centre – 4th June Music from 1953 Coronation featuring Ashley Riches (Eugene Onegin in RF’s 2012 production)

York Music Society – 15th June Philip Moore 70th Birthday Concert – Mozart, Rutter, Haydn York University Choir and Orchestra – 20th June Verdi Requiem at York Minster Yorkshire Bach Choir – 22nd June Purcell’s Fairy Queen York Early Music Festival – 5th-13th July Palestrina to Handel Chanticleer Singers, St Peter’s Church, Norton – 6th July Mozart and Rutter

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Virtually Perfect We’ve a multi-media approach this year!

In addition to the performances, our accompanying art exhibition is a ‘virtual’ one, featuring our main venues which you can view at each concert (just before, after, or in the interval - but not during the performance!). Professional watercolourist Christopher Ware (also a singer in past Festival choirs) is painting Castle Howard, Sledmere House and many others in his renowned style. The paintings and limited edition prints are for sale with a sizeable royalty coming to us. The virtual exhibition can be visited on-line. As the festival progresses Chris is adding work to the collection, so you can see the exhibition unfold online by returning to the website during the festival. You can also see the work ‘in the flesh’ at Chris’s open studio at Levisham (see www.WareHouseArt. com for directions). But why not view the work on-site from the very spot from which it was painted before or after the performance by using an iPhone or other 3G device? Use the QR code square in the programme, or dial up the website to browse the paintings of the beautiful buildings you are visiting. “It’s a great idea for audiences of all ages. I’ve been to paint the venues. Now you can use your iPhone to log on and stand where I painted the picture while looking at the work,” said Chris. To learn more visit •

BBC seal of approval for Ryedale Festival To the delight of festival organisers, BBC Radio 3 will this year for the first time broadcast several concerts from the Ryedale Festival as part of their prestigious summer festival series. Audiences all over the country will have the chance to enjoy performances given in Ryedale by the Szymanowski Quartet, Steven Isserlis, Erik Bosgraaf and Alexandra Silocea. Artistic Director Christopher Glynn commented, “It’s great news and a great boost for the festival” and Festival Chairman Robin Andrews added, “This excellent news is recognition of the Festival’s musical standards and should encourage sponsors, advertisers, tourists to North Yorkshire, as well as everyone who has worked so hard over many years to make the Ryedale Festival rank among the best in the UK”. •

A “Last Night of the Proms” concert Ripon Cathedral Saturday 15th June at 7.30pm Ripon Choral Society is performing a special Last Night of the Proms concert in aid of the Ripon Cathedral Development Campaign (Registered Charity No. 1086760). This concert celebrates the sixtieth anniversary of Her Majesty the Queen’s Coronation and will include such popular favourites as Handel’s Zadok the Priest, Holst’s I vow to thee my country, Parry’s I was glad, Jerusalem, and Rule, Britannia. The international mezzo soprano Anna Burford will be singing Elgar’s Sea Pictures. Tickets available from or telephone 01765 601856.

The Eagle lands at Duncombe Park Your correspondent in Row H swaps his concert hall seat for

one on table 10 in the Saloon at Duncombe Park, for the Viennese Concert and Dinner held on 1st February. Nearly 100 sponsors, donors and Festival members attended this black tie affair. The Eagle, of course, was the Hapsburg Double Headed Eagle, prominent on the printed programme, heralding a concert of well-known Viennese music, either side of a beautifully prepared dinner. The performers included some old friends of the Festival, like soprano Bibi Heal, and Simon Wright who played piano, as well as Christopher Glynn. New to us were violinist Bing Xiang, who came highly recommended by one of his teachers at the RNCM, former Festival Artistic Director Malcolm Layfield, and the baritone Luke D. Williams, a rising talent who later this year will be singing the role of Papageno in The Magic Flute. Christopher Glynn’s brilliant programme featured popular composers from 19th century Vienna – Lehár, Kreisler, Johann Strauss – and some names less familiar like Bazzini and Sieczinski. The melodies, however, were well known and very hummable. Those who have been to the Saloon at Duncombe

Park will remember its long narrow shape, and this space was used most creatively in the choreographed numbers. Bibi and Luke, for example, entered through the doors at either end of the Saloon, moving towards each other and circumnavigating the piano, as they acted and sang the Dialogue and Waltz scene from Lehár’s The Merry Widow. Thanks to the clever programming, all performers – violin, piano duet, soprano and baritone – came together for a memorable finale. Bibi, as always, looked delicious and sounded angelic. Bing Xiang laid down a marker as the sort of young performer that forms the life blood of the Festival. We can’t wait for Luke D. Williams to return this summer, and Simon will thrill us once more as he conducts another great requiem, Mozart’s, with the Ryedale Festival Chorus. It was a thoroughly enjoyable evening. We noted nice touches at the dinner, like authentic Viennese chocolates and Mozart napkins, with every table bearing the name of an iconic Viennese building. The event was a great success. It resulted in a clutch of new gold Festival memberships, and gave us the chance to thank the sponsors and donors, without whom the Festival could not continue. • TABLE 10

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✍ Dear Friends You will by now have received the 2013

Festival programme, and I hope you have found time to sit down and fill in your booking form. Please make sure all your friends have a copy too and encourage them to come to some of the events. Christopher Glynn has put together a fantastic programme for us once again – with something for everyone. And yes, you will have noticed the mystery Ryecrawl is back! We are thrilled that the list of Gold and Silver members and Friends continues to grow. Thank you to everyone who has subscribed so generously and also those who have donated money to the Festival. You will all have heard by now that the Ryedale Festival will not be receiving any grants from the Arts Council, so it is even more important for our Friends and Members to support the Festival as much as you possibly can. The future looks bright; but the Arts Council has thrown us a challenge. With your help we will be able to maintain all that has been achieved and to develop still further. Other ways to support the Festival, apart from becoming members, include: • Making a one off donation or a regular gift by standing order. • If you are fortunate enough to get a tax repayment, perhaps you would consider donating some of it to the Festival. • Remember us when preparing your Will and leave a Legacy to the Festival. The fundraising Spring Lunch at the Forest and Vale made just over £1200. It was an opportunity to meet old friends, catch up on the gossip and get a sneak preview of some of the treats in store in the 2013 Festival. You all supported the raffle and

Published by: Ryedale Festival Trust, The Memorial Hall, Potter Hill, Pickering, North Yorkshire YO18 8AA tel: 01751 475777 email:

therefore helped us raise funds to bring Mark Simpson, clarinettist, a BBC Young Musician of the Year, and Richard Uttley, pianist, to the Festival for the afternoon concert and Talk on July 20th. It was a very pleasant occasion and it was great to see so many of our friends enjoying the day. As most of you are aware, Festival catering is my other job, alongside membership matters. Taylors of Harrogate very generously sponsor all our Coffee Concerts and I will be travelling over to Harrogate before the start of the Festival to collect all the necessary equipment as well as their excellent FreeTrade coffee, which has become a vital element at these concerts! There are eleven coffee concerts and the tea party to cater for this year so I will soon be contacting all our volunteers to get helpers. This year we have at last come up with a design for our very own Ryedale Festival Mugs. Hopefully they will be delivered before the start of the Festival and will be used for the coffee concerts. You will also be able to buy them for all your friends, they will make excellent gifts! We hope that more of you will make use of the Festival Bus again this year. It’s great to travel with other concert goers, enjoying the chatter and the scenery without having to concentrate on driving, and to arrive relaxed in good time for a drink before the concert. The bus picks up in most of the Ryedale towns, so why not give it a try? It was lovely to see so many old and new friends at the Launch concert. As one person said to me it’s just like coming back to school at the beginning of term! If we haven’t already met, please do make yourself

Chairman: Robin Andrews Artistic Director: Christopher Glynn President: John Warrack Editor of Soh-Fah: Robin Andrews Design: Printing: InPrint-Colour

known to me – I like to be able to put a face to all the names on our growing list of Friends and Members. If you are interested in helping in any way please contact Andie Cattle or anyone involved with the festival. See details below. Help is required in the following areas: • Offering accommodation to the artists; we require around 250 bed nights during the Festival and also the week prior to the Festival for the Opera cast. This is a great way to meet some of the musicians and is of huge benefit to the Festival. • Stewarding for concerts, • Helping with catering or on the bars, • We also need drivers for transporting artists to and from venues and stations etc. Anyone with a clean driving licence and time to spare will be most welcome. Ryedale Festival free Youth ticket incentive. At last year’s Festival did you see the students from Ryedale School who attended seven concerts? This year we hope to welcome students from Ryedale School again and we have also approached Scalby School. A group of five Friends are financing free tickets for these students (at the Youth Members’ rate) and if anyone else would like to contribute to this fund it would enable us to approach another school in Ryedale. Please get in touch with Andie Cattle on 01751 417223 or email: friends@ if you would like to become involved in this project. Andie Cattle

Some concerts of this year’s Festival will be recorded by BBC Radio 3 for future broadcast in the Lunchtime Concert series

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Classical Music Festival Magazine