Tag Archives: classical music

Thank you!

Well, what a festival! Yet again, we are so grateful for everyone who was involved in this year’s festival – there are so many volunteers and people behind the scenes that it would just not be possible to carry on without.

Of course, the standard of music this year was as exemplary as ever with so many wonderful comments from audience members.

We must rest for a few days before planning 2018 – keep an eye out for news announcing next year’s programme!

Thank you!
Two Moors Festival Moors Scenes 01.JPG

Advertisements

A word from our Artistic Director, Penny Adie

Build up!

I can’t be the only Artistic Director to be so consumed by the build-up to an arts event that no matter how hard you try, sleep seems to be a bit thin on the ground. Not that it matters because you can make up for it afterwards – and I certainly do in spade-loads. A bath armed with a good book is a luxury, as is sitting in front of the fire glued to Bake Off (with supper perched on knees), not to mention walking the dog and seeing one’s friends. These are all lacking currently but would one have it differently? No of course not; this is all part and parcel of what running a festival is about and particularly the Two Moors that is unlike any other in Britain.

There is a wonderful passion attached to this event. This has been present from the outset when my late husband, John and I set it up as an antidote following the devastation caused by Foot and Mouth disease. Since then it has blossomed into a national festival of which – and I am not afraid to say – he and I were (and I am) justifiably proud. It is our dedication and commitment that have manifested themselves and has spread to our audience members who come year on year showing their devotion to the type of concert that is offered to them. The Trustees have also shown their love of the organization and but for them and their sheer hard work, the festival would not be where it is today. It’s worth bearing in mind that all members of the Board are busy people who give up inordinate amounts of time to keep it afloat; who put forward ideas to make sure it continues to develop, offer opinions on whether it steers along the right course and to use their influence on broadening our horizons.

With only two weeks to go before kick-off, keeping an eye on ticket sales is very important (they are currently most encouraging) and it’s always interesting to see the surprises along the way. Some concerts that you least expect to, sell overnight while others you think are going to have a capacity audience, don’t fare well at all. Strange how the public mind works! Inevitably there are one or two who whinge at the prices. They don’t realise that their seat would cost in the region of £85 were there no sponsorship. They never stop to think that the cost of going to a football match would work out to be far more expensive!

Almost the last thing on the ‘must do’ list before opening night is to galvanise the press into action. The amount of work this entails is vast. Social media comes into its own these days and if you don’t do it, you’re really sunk. One Tweet can, when spread, reach thousands of people. Even if no one purchases a ticket, the profile enhancement is worth ££££££s. Both the national and regional press have to be bombarded with articles in hopes they will be printed near the front of the paper rather than alongside, say, the motoring section. BBC Radio 3, and our super media partner, Classic FM, are great at mentioning the festival on air and of course, we spread flyers to any shop of pub that will have them.

So it’s a case of wait and see and hope that this year’s music-making will give a thrill to those listening as it has previously. It will be wonderful if does then I can have my longed-for bath!!

 

Penny Adie

September 2017

In conversation with…

To get to know some of our wonderful artists a little better ahead of this year’s Two Moors Festival, we have invited some of them to share the answers to a few short questions so we can learn
more!

First up we have Oliver and Owen from O Duo Percussion….

Have you ever visited the Two Moors area before?

Oliver: Yes, to play for the festival (twice)
Owen: Yes! We’ve played at the festival on a few occasions now…..I’ve also been on the edge of Exmoor to an excellent pub for recreational purposes! 

What did you want to be when growing up? 

Oliver:  When I was quite young, a doctor! Then later, a musician….
Owen: From the age of 14, a percussionist! I didn’t really think about it before then or at least I can’t remember!

Who’s your inspiration?  

Oliver:  Probably my Grandad, who came from a really poor, working-class family in Dundee and became Principal Cellist of the LPO!
Owen: In music, no-one really…. But I try and put into perspective being a musician, by thinking of those of have trickier/life threatening jobs, like my brother in the army.
 

Ambition or talent: which matters more to success for you? 

Oliver: Both
Owen: Has to be both! Whilst I’m a believer in anyone can do it, I think you need that something extra to go up a level, that doesn’t mean to make a career. But, I think the best musicians have both

What is the greatest achievement of your life so far? 

Oliver: Musically, I guess playing most of the UK’s biggest concert halls with O Duo, after forming the duo at College.
Owen: Deep! Making a career (ie. Paying the mortgage, buying a house, and being able to pay for the family to live!) out of being a musician.
 

What are you looking forward to most when performing at this year’s Two Moors Festival?

Oliver: Being in a beautiful part of the country….
Owen: Being in one of the finest parts of the country, with great audiences.

O Duo Percussion
Owen Gunnell marimba
Oliver Cox marimba
Performance: 11:00 am Tue, 17 Oct 2017
Venue: St Pancras Church, Widecombe-in-the-Moor, TQ13 7TA

Tickets now on general sale!

The time has come that all tickets are now on general sale for this year’s Two Moors Festival! You can buy tickets both online, over the phone and in person.

CBSO Classical Music Festival
City of Birmingham Symphony Orchestra

We already have some performances nearly sold out so please do book soon in order to not miss out.

IMG_9357

Two Moors Festival team

 

 

Programme Announcement – 2017 Festival

The time has arrived to announce our 2017 festival programme – and we are so excited about it! With a total of 28 outstanding concerts for everyone to enjoy, this year’s festival takes place from Friday 13th October to Sunday 21st October 2017 across a total of 13 beautiful venues in Dartmoor and Exmoor.

The festival grows in calibre every year and now truly ranks in the top class of classical music events in the UK. And this year is no exception! Have a read here of some of the highlights of 2017:

  • The City of Birmingham Symphony Orchestra makes its first appearance in the South West at The Two Moors Festival performing alongside gifted pianist, Pavel Kalesnikov, to play Grieg’s much loved piano concerto
  • One of the most exciting British chamber ensembles, the Heath Quartet, will be performing Haydn, Tippett and Mendelssohn
  • Acclaimed pianist Barry Douglas will be performing twice, once with the Endellion Quartet which will be broadcast live in concert on BBC Radio 3
  • Schubert’s three famous song cycles are to be performed in one day with pianist, Jâms Coleman(tackling no less than 58 songs in the process!)
  • Esteemed international violinist Tasmin Little will travel to All Saint’s Church, Okehampton to for a recital to include Prokofiev’s D Major Sonata and Brahms Sonatensatz in C minor. Accompanied by Australian Pianist Andrey Gugnin
  • This year the festival also branches into Jazz with Alec Dankworth’s eclectic Spanish programme oozing flamenco rhythms and traditional Spanish and Cuban folksongs
  • Final concert brings the North Devon Sinfonia, winners of BBC Four’s ‘All Together Now – The Great Orchestra Challenge’, who will be performing Haydn’s Creation. The singers for the Festival chorus are local choral singers, largely made up of members of 2MF and the Devon Wildlife Trust,  our community partner for this event.

Ticket release dates are as follows:
Benefactors from 3 July 2017
Associates from 10 July 2017
Friends from 17 July 2017
General Booking opens 26 July 2017

All information for the 2017 festival can be found on our website: http://tickets.thetwomoorsfestival.co.uk/sales/2017festival/2017-concerts-and-talks

We can’t wait to see you again for another wonderful festival!

Young Musician Winners Announced!

We are so pleased to announce our four winners for this year’s Two Moors Festival Young Musicians’ Platform:

Matilda Wale, aged 16, Voice, from New College, Swindon

Ellen O’Brien, aged 17, French Horn, from The Castle School, Thornbury

Poppy Freya McGhee, aged 12, Violin, Hugh Sexey Middle School, Wedmore

Joseph Pritchard, aged 17, Cello, from Yehudi Menuhin School, Surrey

This slideshow requires JavaScript.

The standard this year was exceptionally high so huge congratulations to everyone who took part. We look forward to seeing these wonderful performers at this year’s festival and for all the upcoming young artists, keep an eye out for the opening of the 2018 competition later this year!

Cellist Rebecca McNaught On Becoming A Performing Musician

My aim is to be a professional cellist of some description. Playing is what I love most and want to do for as much of my life as possible. I’m currently studying music at Merton College, Oxford. People often ask one of two things when I tell them where I study:

  • Oh so that’s a performance based degree, right?

  • Why there?

The first question is completely wrong: it’s an academic music degree. The second question is one I certainly ask myself when staring at a blank word document hoping I can form a 1,500 word essay about a 14th century French composer I have never even heard of, or bashing notes out of a keyboard in the hope my score reading sounds vaguely like Lassus. So why did I choose university over conservatoire in the first place?

The first answer is either overly simple or simply stupid. I don’t know. When I was in year 12 going into year 13, I made the (big) decision that I didn’t want to spend the next three years of my life practising. And practising. I wanted to see a bit more of the world and to meet people who weren’t just musicians.

Here in Oxford some of the best musicians don’t even study the subject: they are medics, historians, chemists, you name it. Secondly I wanted to have the chance to view music from an academic perspective, to get a feel of how and why music is constructed in the way it is, and to contest those accepted traditions of musical analysis and the musical canon. Although this has been a big challenge for me personally, I feel that what I have already learnt in two terms has altered my attitude towards the way I view musical practice. And however difficult, I am really loving it.

Performing at university

It might be easy to think that the performance opportunities at a university would be limited but it’s certainly not the case. In one term alone I did three solo recitals alongside a mountain of chamber and orchestral playing. Emails regularly fall into my inbox asking for a cellist to help out and it’s very easy to get overloaded with opportunities. Quite often I can spend as much of my day playing as I do working! So has it been the right decision? It’s a case of waiting and seeing…

Clearly this is all very one sided. I’ve only done two terms at a prestigious university and so I have no knowledge of the transition to conservatoire after university, or the leap straight into conservatoire after school. So I decided to ask a few friends who have taken different performance paths to give me their views.

The first is a friend who, like me, headed to Oxford after his A levels to study music. However, he has since graduated and now studies the oboe at the Royal Academy of Music so can now see the utility of his degree as well as the transition between the two.

His choice to go to university first was very similar to me as a degree: “It left my options open in a way that I didn’t think a performance course might.” His first year was filled with orchestral playing and he points out that that meant he “did very little practice and had to make a real effort to head over to the practice block amid the tidal wave of other things I could have been doing”.

For him it was chamber music that made all the difference. “Setting up my trio was one of the most rewarding things I did at university and I grew so much as a musician. Oxford also has loads of opportunities to perform in lots of different settings. Every lunch time, there will be a clash of college music society recitals to choose from and it’s a great chance to try out new pieces.”

So I asked him the big question: whether he thought his degree had been useful to his performance plans. “My academic work stretched me and equipped me with the tools to examine and make sense of life in all its richness. I think a good degree will nurture these skills and, in that sense, I don’t think that it’s necessary to study music.”

Thus his concluding advice was as follows: “If you know that you definitely want to be a performer then maybe music college is for you. But if you have a sense of curiosity about the world outside of being a classical musician, then I would strongly suggest an application to university. You meet people interested in all manner of subjects and have the opportunity to expand your view of the world.” And this is ultimately the decision I made when I was in sixth form.

What about conservatoire?

Going straight to conservatoire has its advantages too: you don’t lose out on hours of practice while writing essays and you are surrounded by musicians following the same dream as you. Another friend, a singer who went straight to the RNCM at the end of sixth form said: “It is hard work but I appreciate the fact that 60 per cent of my degree will be based on a 30 minute recital as I feel I can portray my hard work and skill through this far better than I ever could in a written dissertation.”

If you know that playing, not writing essays, is what you want to do then conservatoire is the way forward without question.

The longer I spend at Oxford the clearer my choice is becoming to go onto conservatoire once I have finished my degree. It seems strange that it has been an academic degree that has made my mind up, and that’s not because I’m not enjoying it. But, at the moment, I couldn’t imagine being anywhere else. I feel privileged to be spending three years expanding my mind about music away from the cello and then being able to put that information into practice.

I am astounded by the number of performance opportunities I have been given. But more importantly I feel lucky that I am being given these opportunities by both tutors and students who have such varied interests and such passion for their subjects and hobbies alike.

At the end of school you are told to follow your heart. My heart was undecided and university has been the place where I’ve been given the time to see what I really want to do. And who knows, in a year this may all have changed!