Devizes Arts Festival’s programme continued on Thursday afternoon with a lunchtime classical concert in the beautiful surroundings of the Assembly Hall in the Town Hall. Coming on a market day, it was no surprise that town was busy, and plenty of people used the opportunity to make their way to this splendid venue.
Duo Tutti is made up of Ruth Molins (flutes) and Alex Wilson (piano). They are inspired by old and new music, creating sound worlds you might not expect to hear from a flute/ piano duo. Ruth plays a standard flute, alto flute, bass flute and the piccolo, accompanied by Alex’s piano.
Their programme was an interesting and eclectic mix of items, much of it from composers I’d not heard of before, but no the less enjoyable for that.
We started with the Sonata in F from Anna Amalia of Prussia (1723 -87). This lady I was surprised to discover was the sister of Frederick The Great. This piece in three movements, although simple in sound and structure, was bright, bouncy and just the thing to get started with. There followed three very contrasting pieces from contemporary composers: John Rutter’s Suite Antique (in six short movements), Ruth’s own piece (Fuse for Bass Flute & Piano) and Elena Kats-Chernin’s Eliza’s Aria for Piccolo. Each piece was delivered with freshness and confidence by the duo.
Keeping with the contemporary theme, we moved on to Arthur Butterworth’s Ukko, featuring the alto flute, and a piece that was slightly deeper and fuller, offering a darker, slower and slightly more discordant feeling throughout. Then on to two “miniatures” from Constance Warren, the first being slow and thoughtful, and the second very short piece being much livelier.
Finally, slightly back in time to Jules Mouquet (1867 – 1946) for La Flute De Pan, a work in three short movements. The first piece was sparkling, with many flourishes. And, following the slower, quieter middle passage, the final section moved from a gentle fade-out, to another frothy champagne ending.
Throughout the concert the flutes were always to the fore, carrying the main themes, with the piano playing more of a supportive, sympathetic accompanying role. But the combination worked splendidly, and provided a diverse and entertaining lunchtime concert. Bravo!
The Devizes Arts Festival is moving towards its end now, but there are still several events with tickets available, until Sunday 16th June at various venues around the town. Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk
And, following a lively few days of varied events over this last weekend, we’re now into Devizes Arts Festival’s second week. And at last it was time for some serious classical music, and we were certainly treated to something special when Ida Pelliccioli played the Leslie Taylor Memorial Concert in the Assembly Room last night. Once again the setting of the beautiful Assembly Hall perfectly matched the style and the quality of the entertainment. Indeed this very room was constructed in the very early years of the 19th century, immediately after the deaths of three of the night’s composers.
Ida Pelliccioli is a world-renowned concert pianist who has performed throughout Europe, Canada and South Africa. She was born in Italy and studied in Nice and Paris and, since 2021, she has taught at the Paris Conservatoire.
Her selected programme last night, which was accompanied by extensive notes and a short introduction, was inspired by the forgotten music of ‘the Spanish Scarlatti’, composer Manuel Blasco de Nebra.
We began with three short sonatas by the Italian composer Domenico Scarlatti (1685 – 1757). The first and third of which were at a sparkling, lively tempo, whilst the second was slower and calmer. However all three were played by Ida with plenty of gusto and attack. All of them were very short, and this part of the programme was completed in only ten minutes.
The next section featured two fantasias by the Austrian Wolfgang Amadeus Mozart (1756 – 1791). These two pieces seemed (to me at least) to possess a little more depth and substance. And again we had the contrast between the dramatic and exciting first piece, set against the more romantic and portentous second piece.
There then followed two pieces by a Spanish composer I’d not previously heard of – Manuel Blasco de Nebra (1750 – 1784), whom Ida described as “the Spanish Scarlatti” and very much a composer that time seems to have forgotten. These two sonatas were each in two movements: an adagio, followed by a more lively allegro. I found them interesting and entertaining, but not as good as what had gone before.
And finally we came to another Austrian composer Franz Schubert (1797 – 1828). Ida played his Drei Klavierstucke (three piano pieces) and, again, we had the structure of one piece that was thoughtful, melancholy, plangent and poignant sandwiched in between two pieces that were far more lively and exuberant.
The whole performance was both intense and mesmerising, played and presented by a world-class pianist who was clearly absolutely dedicated to her work, and completely on top of her game. Entirely justifiably there was sustained applause at the end from a very appreciative audience, provoking not one, but two, short encores, the latter of which was an “impromptu” by the more modern Finnish composer Jean Sibelius (1865 – 1957).
Another fabulous night at the Arts Festival, and thanks (yet again) to DAF for bringing such top-notch entertainment to our little town. I only wish we had a lot more opportunities in D-Town to hear such wonderful classical music, played by a world-class musician.
The Devizes Arts Festival continues until Sunday 16th June at various venues around the town.
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A Lunchtime Amuse-Bouche by Andy Fawthrop Devizes Arts Festival’s programme continued on Thursday afternoon with a lunchtime classical concert in the beautiful surroundings of the…
Last night I was privileged to sit in on the Dress Rehearsal for this wonderful production. It was like having a private viewing of a great work of art, with a chance to see how it all came together, and to figure out what made the whole thing tick. It was also a chance for cast and crew, together with Musical Director Roland Melia, and Stage Director Matt Dauncey to iron out any last-minute wrinkles. There were a few but, as the song goes, too few to mention. This show is absolutely ready to go live for the rest of the week!
Giacomo Puccini’s La Bohème is one of the most famous operas ever written, following the unforgettable story of two young bohemian lovers in Paris at the end of the 19th century. When young poet Rodolfo meets seamstress Mimì, it’s love at first sight. But, faced by the cruel realities of poverty and ill health, will the flame that burns between them flicker and die? Or will the timeless strength of their youthful passion withstand every trial and tribulation that life can throw at them? With a great love story comes a beautiful score, including arias like Musetta’s Waltz and ‘Yes, they call me Mimì’ (Si, mi chiamano Mimì).
A classic tale of tragic romance, La Bohème is a great opera for beginners and regulars alike. Director Matt had updated the setting to the 1960s, with fashion to match but, to me at least, it made little real difference to the superb quality of musical operatic delivery. Using WHO’s trade-mark stripped back lines in terms of scenery backdrops, props, costumes and musical accompaniment, this was nevertheless a production that felt rich and full.
The four principals absolutely shone. Guest tenor Robert Felstead (Rodolfo), and WHO stalwarts soprano Lisa House (Mimi), baritone Jon Paget (Marcello) and soprano Jess Phillips (Musetta) all put in superb performances. And that’s not to diminish the quality of the rest of the cast in any way. Contributions all round were spot on, and the staging was confident and upbeat. The rapid interplay of dialogue singing during certain scenes meant that everyone had to be completely on their game and if there were any slip-ups I certainly didn’t spot them.
The whole production is sung in English in four acts, with a half-time interval. The programme provides excellent notes and a synopsis of the plot for each act, and the whole thing wraps up in about two hours. These factors make the production accessible to all and easy to digest. If you’ve not tried opera before, this is the sort of production that should change your mind, and I’d encourage anyone to give it a shot. Equally those who are perhaps more familiar with the opera will not be disappointed, as what’s on offer here is a truly sparkling version of a classic.
Tickets are still available (both online and at Devizes Books) for performances tonight (Wednesday), and for Friday and Saturday.
Future WHO events:
Sat 18th May Top Of The Ops Seagrey, nr Chippenham
Fri 6th December Christmas Concert St. Andrew’s Church, Devizes
After a larger quantity of social media teasers than previous years, Devizes Arts Festival has today revealed their full line-up for 2024. Better take a peaky sneaky gander at it, keep in their good books, because it looks rather special! Based on previous experience they usually range from pretty awesome to super-duper lights are gonna find me awesome…so here goes……
The festival runs from Friday 31st May to Sunday 16th June, and never fails to bring us a diverse programme of separate events within the arts, music and theatre, but also takes in talks and walks. Some come with a worthy price tag, but there’s lots of free fringe events also. All it takes is for you to support it.
I don’t know about you, but the first one I got excited about when I heard, was Bristol’s soulful indie-folk singer-songstress Lady Nade, who plays the Corn Exchange on Saturday 1st June. I put this Lady on my must-see list after fondly reviewing her album Willing back in 2021. I’ve not yet had the opportunity to see her live. Yet it is not for that reason I’m grateful to the Arts Festival for booking Lady Nade, rather in contemplation of the elevated sentimentality channelled through her Americana-fuelled songs.
I summed up the album at the time, with “written during the pandemic, there’s a secluded ambience echoing through these eleven sublime three-minute plus stories of friendship, love and loneliness lost and found, reflecting the fact it was recorded in multiple studios and engineered by all the musicians in isolation. Yet to hear it will hold you spellbound in a single place, till its conclusion.”
If that doesn’t tempt you I don’t know what will! But Lady Nade is not before a high-energy Penzance sea-punk grand opening to the festival, with Golden Gnome award winning Jolly Roger, at the Corn Exchange on Friday 31st May; blistering barnacles, Captain Haddock, that sure sounds like some swashbuckling shenanigans.
History of Market Lavington, anyone? Sunday 2nd has a festival walk, followed by the first two free fringe events, consummate story-teller Adam Alexander’s Seed Detective at The Peppermill from 2pm, and a solo loop pedal show with Eddy Allen, 7pm at the Cellar Bar.
Likely the best known name on the roster, comedian Lucy Porter comes to Devizes on Thursday 6th June, and I’m sure you’re all aware of her distinctive, bouncy, feel-good comedy from TV and radio panel shows, and being victorious on Celebrity Mastermind.
Lucy Porter
Prior to this headliner, NHS doctor, journalist, broadcaster, speaker, campaigner and comedian Dr Phil Hammond on Monday 3rd June presents ‘How to Fix the NHS’ and ‘The Ins and Outs of Pleasure…’ I’ve my own suggestions on the subject, don’t get me started, but maybe add Prime Minister to Phil’s already impressive résumé!
Wiltshire based multi‐instrumentalist, the Edward Cross Quintet at the Assembly Rooms on Tuesday 4th June. Liz Grand’s superb, funny, moving, sensitive and informative portrayal of Clementine Churchill, also on Tuesday at the Merchant Suite.
Wednesday 5th June sees English naturalist, ecologist, author and broadcaster Mike Dilger, known as the wildlife reporter on The One Show, doing a talk on One Thousand Shades of Green, his quest to find 1000 different British plants in a calendar year and assess how our flora is faring in modern Britain. Geneticist, author and broadcaster, Adam Rutherford, who frequently appears on science programmes on both radio and TV, also gives an engaging, provocative and informative talk the Arts Festival promises to be unmissable.
Hollie McNish. Image: Kat Gollock
Poet and author Hollie McNish presents her Lobster Tour on Thursday 6th June at the Town Hall; I’m just chatting about her with the legend who is Kieran J Moore, seems Hollie played Bath Komedia recently, he recommends, and you can’t get a better local recommendation than that.
The weekend sees a blues, skiffle, calypso and rockabilly mesh, apparently with a sweeping vaudeville twist, which sounds like a beguiling and exhaustive blend I must say! Jo Carley and the Old Dry Skulls are at the Corn Exchange Friday 7th June.
Jo Carley and the Old Dry Skulls
London’s Cable Street Collective headline Saturday, an intriguing one, their sound mixes African-influenced guitars and beats with soulful female vocals, socially conscious lyrics and western melodies, creating an idiosyncratic alt-pop sound that’s all their own.
Sunday 9th June sees a Festival Walk into the West Woods; Sarsens, Soldiers and Sawpits. Two free fringe events, an Americana band from West Midlands called Rumour, from 2pm at the Three Crowns, and a fresh and lively approach to jazz at St John’s Church from 7pm with the Annie Parker Trio.
The final week of the festival sees world-renowned concert pianist, Ida Pellicciolo on Monday 10th June at the Town Hall. Belinda Kirk, world-record holding explorer, researcher and a leading campaigner promoting the benefits of adventure on wellbeing, talks at the Town Hall on Tuesday, along with intrepid Antarctic explorer Tom Crean’s story brought to life in a dramatic and humorous solo performance by Aidan Dooley from Play On Words Theatre Company, at the Wharf Theatre.
Two best-selling Wiltshire-based authors, Kate Webb and Jon Stock, discuss their craft at The Peppermill Hotel on Wednesday 12th June, and there’s a remarkable intimate solo guitar performance from Martin Simpson at the Corn Exchange.
Duo Tutti, a classically-trained flutist and pianist duo who combine well-known classical tunes with interesting sounds to create a unique concert that is accessible to all, at the Town Hall on Thursday. Terry Quinney’s Sound Of Blue Note accurately recreates jazz and the aesthetics which defines Blue Note Records, also on Thursday 13th June at the Town Hall.
Friday 14th June there’s an organ recital at St John’s with award-winning organist and conductor Huw Williams, and we have the intriguingly titled Slambovian Circus of Dreams at the Corn Exchange, an electrifying live performance of moody but upbeat alt-roots rock.
The final Saturday of the Arts Festival, 15th June, we have something altogether different, hypnotist Matt Hale presents an 80s Spectacular, where Matt promises to have you partying like it’s 1985, humm, whether you like it or not. I’m not sure about hypnotists, I might stand at the back!
Matt Hale. Image: DG-Imagery-3
Soulful and electrifying rhythm and blues band The Junco Shakers at the The British Lion on
Sunday 16th June at 2pm, and Clive Oseman and Nick Lovell, creators of Oooh Beehive, the number one spoken word and poetry open-mic night in Swindon, have a Wham! Bam! Poetry Slam 6pm at The Wharf Theatre; two free fringe events polishing off another spectacular Devizes Arts Festival.
Masterclass by Andy Fawthrop Devizes Arts Festival’s programme continued last night, and it was the turn of another big name to grace the stage of the Corn Exchange. Martin Simpson is, in the contemporary folk world at least, the equivalent of Royalty, or a National Treasure. He’s been performing and recording for over forty years,…
Devizes Scooter Club put their braces together and their boots on their feet, for a moonstomping win of the Best Turned-Out Club at the 25th Isle of Wight Lambretta Day. Congratulations also goes to member Gary Chivers for winning best Lambretta too…. There’s colossal pride and respect in Devizes Scooter Club, which transforms into motivation…
Over the coming weeks I’m having cuppas with candidates of the Melksham-Devizes constituency crazy enough to indulge my political ignorance and endure my inane waffling; it’s funnier this way! First under my spotlight is Catherine Read, standing for the Greens…. Bulked with other scoops the night before I was short of time to put in…
Right Out Of The Comfort Zone by Andy Fawthrop Following a lively few days of entertaining and varied events over this last weekend, we’re now into Devizes Arts Festival’s second week. I decided to trundle along to the Cheese Hall earlier this afternoon to find out what Belinda Kirk might have to say for herself. …
World Class Piano by Andy Fawthrop And, following a lively few days of varied events over this last weekend, we’re now into Devizes Arts Festival’s second week. And at last it was time for some serious classical music, and we were certainly treated to something special when Ida Pelliccioli played the Leslie Taylor Memorial Concert…
Here’s what we’ve found to do in the wilds of Wiltshire this coming week…. Everything listed here is on our event calendar; go there for links and more info. It may be updated, so check in later in the week. Ongoing: A Wiltshire Thatcher: A Photographic Journey Through Victorian Wessex runs at Wiltshire Museum, Devizes,…
Once Devizes folk had their fill of vintage cars and side stalls at the popular annual Lions on Green family event, and the sun took a nosedive behind clouds, many refreshed themselves at the Three Crowns, where Devizes Arts Festival held one of their many free fringe events…. Americana trio Rumour from the Black Country,…
Seven-piece sui generis ensemble The Cable Street Collective were everything I expected them to be last night at The Corn Exchange; another impressive booking for the middle weekend of Devizes Arts Festival….. Hailing from the Shadwell area of East London as the name suggests, if Cable Street is remembered for violent clashes between fascist Blackshirts…
As if the FullTone Festival isn’t exciting enough for Devizes, the Town Council has allowed them an extra day, on the Friday 26th July….. Seeing as everything should be set up and ready to roll for Saturday morning, it seemed a shame not to make use of this iconic stage and tech, so an extension…
Funny You Should Say That Andy Fawthrop And finally it was time to see the girl we’ve all been seeing on the poster for the past few months! Last night Devizes Arts Festival presented its comedy big-hitter, the radio and TV star Lucy Porter. And D-Town responded with another packed audience. Lucy Porter is a…
Such a pleasure to see White Horse Opera back in the saddle again after their illness-affected production of Donizetti’s “L’Elisir d’Amour” at Lavington School last October had to be part-abandoned. Tonight the cast were all dressed up in their finery and, I have to say, scrubbed up pretty well. The opera-starved public of D-Town responded in kind, dressing up for the occasion and turning out in numbers to pack the Town Hall’s Assembly Room.
Although the concert was tinged with some sadness following the recent death of the company’s dear friend Graham Billing, who passed away in July after a brave battle against cancer, there was much to celebrate in this gala concert. In a room festooned with posters and memorabilia of the last thirty years—worth of great productions, the company gave their all, augmented by several guest singers. The programme, superbly curated and pulled together by soprano Jess Phillips, consisted of many highlights from those shows, and served to highlight the company’s ambition and the calibre of their achievements.
We were treated to piano overtures, arias, duets and choral pieces. There were pieces from Puccini, Verdi, Rossini, Mozart, Bellini, Gounod, Gluck, Gilbert & Sullivan, Offenbach, Tchaikovsky, Lehar, Bizet, Donizetti, Strauss, and Saint-Saens. Quite a line-up! And it just goes to demonstrate the scope and the versatility of this very talented cast of amateur singers under the musical direction of Roland Melia.
The pianists – Dominic Irving and Tony James – provided perfect and flawless performances. The stand-out singers for me were guests Carlos Alonso and Robert Felstead, together with several members of the regular company, particularly Chrissie Higgs, the dependable Lisa House, and alto Paula Boyagis. That’s not to say that all of the soloists weren’t superb though!
This is a talented company, based in and around D-Town, so if you get the chance, go and see one of their productions – you won’t be disappointed! The next opportunities to hear them are listed below.
Future WHO events:
Sat 9th Dec 2023 Christmas Concert 11.30am St. Johns Church, Devizes
10th -12th April 2024 Puccini’s La Boheme Lavington School
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The Devizes Arts Festival continued to deliver its wide-ranging programme yesterday. Following tango, folk, opera, talks and drama, Wednesday and Thursday saw the arrival of its two back-to-back classical concerts in The Assembly Room in The Town Hall. It seems like you wait ages for the classical bus to come along, then two arrive together!
Wednesday night saw The Leslie Taylor Memorial Concert, delivered by the young and very talented Aglica Trio, and Thursday lunchtime featured the Dieci Corde duo.
The Aglica Trio was created in 2016 in the Guildhall School of Music & Drama when Carys Gittins (flute), Agnieszka Żyniewicz, (viol), and Lise Vandersmissen (harp) graduated with Distinction. All of them are now multi-award winners, and have pursued careers as both soloists, and as part of various other ensembles. Bringing together Welsh, Polish and Belgian influences, this promised to be something a little different.
Their programme on Wednesday began with Claude Debussy’s Sonata in three movements, where all three instruments were well to the fore, engaging in a light conversation of themes. It was light and airy for the most part, but with a somewhat fiery finale. This was followed by The Song of Amergin by Hilary Tann, which was much more strident in character, and by Two Interludes by Jaques Ibert, wherein Lise managed to make her harp sound very much like a piano at times.
After the interval there were three more pieces. First was a lively flute-led Sonatine by Maurice Ravel, a couple of short exercises written by harpist Lise, and finally (my personal favourite of the evening) the Zodiac Trio Op. 70 by the Welsh composer William Mathias. This final piece really showcased the different voices of the three instruments – Pisces, the jolly, easy-going flute, then Aries, the “miserable” viol, and at last Taurus, the fiery and passionate harp. Although at times slightly discordant, this was a wonderful piece with an exhilarating finish.
Fully deserved rapturous applause was the only possible outcome.
Next day, in exactly the same venue, it was the turn of Dieci Corde in the shape of Clare Deniz (cello) and Mihael Majetic (guitar). Both of them have thriving independent musical careers, but they regularly perform together as Dieci Corde (ten strings) as it lets them explore more interesting ways of performing with their respective instruments.
The Devizes Arts Festival continues at various venues around town until Saturday 17th June.
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It was time last night for The Devizes Arts Festival to roll out its first big-hitter of the 2023 programme, and what a smash it proved to be. Although not quite sold out, the Corn Exchange was pretty full, and those who turned out were rewarded with a sparkling performance.…
Sir Willard White is one of the world’s best-loved and most versatile opera stars of the last 40 years. He is a performer whose illustrious career has taken him to the most prestigious opera houses and concert halls throughout the world. It was opera royalty come to pay us a state visit.
The evening opened with the Kymaera Duo, the twin guitars of Shane Hill and Simon James, who have been performing together for over twenty years. Their beautiful and understated rendition of the classic “Summertime” set a very high bar for the rest of the evening. Soon they were joined by the tastefully yellow waist-coated Sir Willard.
Over the next couple of hours we were entertained with songs and reminiscences from his life on stage and screen. The songs were selected because they had been particularly important to him, or held some special meaning. Pausing to explain and to introduce each piece, he took us on a musical journey from his youth in Jamaica, through his early career, the first truly complete recording of Gershwin’s Porgy and Bess in 1976 to the songs that made the bass-baritone singer Paul Robeson famous in the 1920s and ‘30s. He explained that, amazingly, he had never wanted to be a singer in the professional sense, he just wanted to do something that would define him as “a real man”. But, having tried out the idea of working in an office with a briefcase and a rolled umbrella, Mr. White (as he termed himself) discovered that would not be his life.
With occasional instrumental pieces from the guitar duo to spell the singer, the Great American Songbook was rolled out for us, together with a few other unexpected classics. We had Gershwin, Nat King Cole, Aaron Copeland, and even Bob Marley’s Redemption Song. “It Don’t Mean A Thing If It Ain’t Got That Swing”, “Some Enchanted Evening”, “My Way”, “Ole Man River” were delivered in what appeared an effortless style, all the while accompanied by some fabulous guitar work.
A totally splendid performance and a deserved encore. But even then it wasn’t over. In an equally engaging coda to the evening, Sir Willard took questions from the floor. In this section he revealed (even more that the main performance) what a really charming, urbane and thoughtful man he was. His style was avuncular, gentle and understated, and his philosophy of life, of self-care (of voice and body) and of mutual self-respect was thought-provoking. All in all, a great evening, and a worthy gem in the Arts Festival crown.
The Devizes Arts Festival continues, with events every day, until Saturday 17th June. The full programme of events, times and prices is available online.
Friday night saw the launch of an entirely new musical experience from good old Devizes Town… “The Four Sopranos”….
Attendees at the full house in the Town Hall may well have been familiar with those in the quartet already… Jemma Brown, Terésa Isaacson, Lucia Pupilli and Tabitha Cox. Yet whilst they certainly have historical and ongoing connections with “The Invitation Theatre Company” and “The Fulltone Orchestra”, nonetheless “The Four Sopranos” are a separate entity in their own right; four friends coming together to perform something presented a little differently for audiences to enjoy. As Lucia says, “We have worked on the harmonies collaboratively, we didn’t want to just take them off the shelf and let people hear what they might have heard before, it’s been a fantastic way of working, but is also hard work – but it means our sound is absolutely ours”. And I can confirm it absolutely is.
Doing what their name says on the tin, “The Four Sopranos” were exactly that… four talented and musically excellent sopranos, delivering a widespread program of harmonic song, from opera, stage, film and popular music, sung in harmony – as per the above!
So what of the show? The foursome started with a couple of crowd favourites – two numbers from “Les Mis”; “I dreamed a Dream” and “Stars”. It is true there were some nerves showing – but understandably. A new venture, a new idea, a new approach… but with these two songs under their belt a noticeable lifting of confidence, a collective “what’s going on – let’s get over it” so to speak was evident. And the rest of the show delivered with verve, panache and oozed with the talent before us.
The Musical Theatre genre continued with “Somewhere over the rainbow” and “You’ll never Walk alone”. Followed by a change into a more classical and operatic tone with solos and duets, Terésa with Gounod’s arrangement of Ave Maria, Lucia – a fluent Italian speaker in her own right – with O Mio Babbino Caro by Puccini. And “Sull’aria” by Mozart performed by Lucia and Tabitha plus Delibe’s “Flower duet”. Our quartet finished off a whirlwind first half with numbers from “Phantom of the Opera” and “My Fair Lady”.
Photo by Gail of Devizes
The second half followed in similar vein… I won’t bore you any further with lists of songs performed and if you want to find out what they were you’d best get to one of their gigs! I will add that Tabitha and Jemma also performed solos – with “Never Enough” from “The Greatest Showman” and “She Used to be Mine” from “Waitress” respectively. Other than those two, needless to say it was just more high class, perfectly delivered songs from film and musical theatre including the breath-taking four voice rendition of Adele’s “Skyfall”.
It would be remiss of me to not say that the evening’s performance was accompanied by the hugely talented pianist (and all-round musical virtuoso!) Dominic Irving, whose ivory tinkling was sublime in itself. And making a rare appearance for him of facing the audience rather than with his back to them, Anthony Brown charmed as the evening’s ringmaster.
So there we had it – a whistle-stop tour of music from multiple genres, in a beautiful building, created uniquely by four maestros of their art. What more do you want? Well, for a start… chances to see more of them that’s what!
You can catch all four next Friday night as it is, in Cheltenham Town Hall, including reprising “Skyfall” and “Somewhere over the rainbow” – amongst many other wonderful pieces of music including the phenomenal choral piece “Symphonic Adiemus” by Karl Jenkins; see the link at the bottom for tickets… and keep an eye on the Facebook page for “The Four Sopranos” for more dates and news in the future of course.
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The last time I was in St Mary’s church was well before the C-thing to see TiTCo perform Spamalot, and not a lot has changed to the venue since then. It’s still a largely a disused church, with all the religious fixtures and fittings still in place, and with exactly none of the trappings one might expect of a proper music venue, nor of (let’s hope sometime) a real Arts Centre. But that’s a whole different story for another day.
In the meantime, The St Mary Trust had done their best to make the place as hospitable as it could be on a cold, rainy October night. The guests for the evening were the Handel-inspired The Brook Street Band, come to bring us a wonderful short programme of baroque music. Their presentation was built around the idea of musical nights from 18th Century Leipzig’s Kaffeehaus culture, featuring pieces from Handel himself, Bach and Telemann.
The performers – Lisete da Silva Bull (flute & recorder), Kathryn Parry (violin), Tatty Theo (cello) and Carolyn Gibley (harpsichord) – turned in a polished and professional performance. The quartet, formed back in 1996, have been regulars on the BBC and have played at all the principal classical venues across the UK and Europe. Making the best of the chilly conditions in this large church, the four of them took to the six pieces with great humour and enthusiasm. The pieces were not only introduced and explained, but so were their individual baroque instruments. Thus we had both entertainment and some education thrown in for good measure.
Despite the technical difficulties presented by the tunings needed for the various pieces (the explanation of which was way over my head), what we got was a programme that was up-tempo, light and uplifting. My partner-in-crime Gail used the word “cheerful” and I wasn’t about to disagree with her. My particular favourites were the first Telemann piece (Trio Sonata in G Minor) and the final Handel (Op. 2 No. 4 in F).
On the down side, the acoustics of the church are not currently of the best, it was definitely quite chilly in there, and the audience of about 50 could have been larger. But on the positive side, we had a really excellent and uplifting recital of baroque music. Well done to St Mary Trust for staging this event.
Once again D-Town had thrown up a little musical gem out of (it seems) absolutely nowhere. Yet again proof, if it were needed, that the building of St Marys could (and should) be refurbished and re-used as what I think will be a great venue for the town.
A group of local women and their families are gathering together to lay a huge installation of children’s clothes outside the office of Justin Tomlinson…
Kaffeehaus Culture comes to St Mary’s, Devizes on the 1st of October, bringing you some Bach, Handel & Telemann……
The acoustically rich space of St Mary’s Church, Devizes, will be filled with music from the best-known baroque masters on Saturday, 1st October.
Playing on traditional instruments The Brook Street Band will transport the audience back to the mid-18th century as they perform pieces by Bach, Handel and Telemann – three of the most famous German composers from the period. The programme reflects the rhythm and harmony of these baroque giants whose music was regularly heard at the famous Zimmerman Kaffeehaus in Leipzig.
The Brook Street Band takes its name from the street in London’s Mayfair where composer George Frideric Handel lived and composed for most of his life. Since its formation in 1996, the ensemble has established itself as one of the country’s foremost interpreters of baroque music performing at many of the UK’s major chamber music venues, as well as at Early Music Festivals in the UK and Europe.
The group has released eleven CDs, all receiving high critical acclaim; the Band’s debut disc “Handel Oxford Water Music” was selected as Gramophone Magazine Editor’s Choice, as was its “JS Bach Trio Sonatas”.
The St. Mary Project
The Church of St Mary the Virgin, Park Street, Devizes, dates from the Norman times and is one of the most important buildings in the town, with the church tower a particular landmark.
The building is listed Grade I, putting it amongst the top 2.5% of listed buildings in the country. The St.Mary Future Group is working hard to turn this wonderful building into an arts and community space that will become a hub for future generations.
Doors open 7pm for 7.30pm; tickets £18. See www.stmarydevizes.or.uk for booking details. email: info@stmarydevizestrust.org.uk
Full Tone Festival August Bank Holiday then, penny for your thoughts on that one……
Five irritating wannabes handpicked for their conflicting personalities vote on each other’s dinner parties while a poor man’s Harry Hill narrator insults them in a heavily edited sham of a television show. Yet, despite this perpetual cycle of formulated garbage, Come Dine with Me attracts millions of viewers. It’s the same thing every darn episode; oh, how original, they’re looking in her knicker draw, saucy!
Give me strength; familiarity is prevalent, between three to five million people slouch in front of The Chase daily, when face it, aside differing questions, it’s monotonous; eat, watch The Chase, sleep, repeat. Still, from a few branches of the grapevine, I’ve caught this tosh: “The Full Tone Festival is the same as last year.” Shut the front door!
Honest, I feel like tapping them on the head, inquiring, “hello? Anybody in?!” Even if it was the same, which I’m out to conclude it’s not, so if you agree you need not read on, but even if it was, I’d reply, “yeah? Good!” for the simple reason, last year’s was absolutely, off-the-scale fantastic, and nothing, I repeat nothing, around these parts could match it.
I sincerely hope they’re not the same substandard detractors who hypocritically whine-hole when DOCA, for good reason, change the dates or the route of carnival! I attended the astounding MantonFest last weekend, it was a similar setup as last year, because the formula works, regulars flock to it safe in the knowledge they know what they’re getting, and if it’s not broken…. Face it, most events are samey. Glastonbury might host some different acts annually, but even they have the same stages in the same fields year after year; fresh cowpats, same mud!
Bottom line is, I’m unsure if it’s possible to improve on the sound, stage and pyrotechnics from last year, unless we forward-wind technology a few decades. The acoustics on that stage were mind-blowing, and if the price-tag is another niggly issue, you could see where your dollar was offloaded. It looked like something out of The Jetsons, didn’t it?! And I hope its shape will become iconic symbolism as to what can be achieved right here in Devizes. As an inimitable annual party, it’s one of a kind around these waters, it’s our ravey-davey Last Night of the Proms! The Full Tone Orchestra toured Bath Abbey, Marlborough College, the Wyvern in Swindon and beyond this year, but what they return home to produce is something really superior, something to congratulate and celebrate.
Musical director and conductor, Anthony Brown tells us he’s “been looking forward to this year’s festival from the moment I put my baton down last year, and I’m thrilled to have the opportunity to share what we do with so many people. There’s something here for everyone, no matter what your musical tastes are, and I guarantee that even those who have never experienced orchestral music before, will leave wanting more!” Summing my angle up nicely; far from a restrictive Proms, last year it opened doors to those otherwise sceptical of the magnificence of an orchestra and changed their preconceptions of them, and that’s a glorious achievement.
But the biggie still remains, what can we expect from this year’s Full-Tone Festival on August Bank Holiday weekend (27th & 28th August)? The family-friendly music festival promises to be even bigger and better than ever, with two full days of back-to-back music, performed by this spectacular 65-piece orchestra conducted by Anthony Brown, we know and love as the Fulltone Orchestra.
The programme divides into six orchestral concerts providing the ultimate variety of live music from popular classics, opera and big band to movie themes and huge nineties hits. The grand finale on Sunday evening will see The Green at Devizes transformed into its very own Studio 54, with the orchestra and singers performing a full two hour set of seventies inspired disco classics; oh, that can ring my bell, have I got time to grow an afro?!
So, if it is as I suggested, impossible to improve on the sound, stage and pyrotechnics, enhancements in the line-up are the logical steps, which has been done. Special guest artists performing on stage include the formidable voice of Jonathan Antoine. A classically-trained tenor, Jonathan rose to fame after appearing on the sixth series of Britain’s Got Talent in 2012, as half of the classical duo Jonathan and Charlotte. He went solo and his debut album, Tenore, was released in 2014, and subsequently followed with a further two albums.
Wiltshire’s own presenter and skateboarder, DJ James Threlfall also appears. James works radio for the BBC, and hosts football platform, 433. With a 95K Tik-Tok audience, Full Tone Festival also welcomes trumpeter Oli Parker, local legendary rock n rollers, Pete Lamb & The Heartbeats, and I’m delighted to see the most amazingly talented country-rock star Kirsty Clinch added to this fine bill; surely the icing on the cake.
Talking cake, food and drink will be available from local vendors, and t-shirts will be on sale and raising funds for Dorothy House. And that’s that, Bowie said it best, ch-ch-ch-changes. All you need to do is grab a ticket, from Ticketsource, or Devizes Books. While children under 14 go free, it’s going to set you back forty quid, yet you can guarantee its money well spent, for this unmissable entire weekend show right on your doorstep.
And for anyone casting a shadow of “samey,” I’d argue only in as much as everything is formulated; Albert Einstein had seven of the same suits, so he didn’t have to decide which one to wear! What are you expecting from them, the Hanging Gardens of Babylon, digging up Beethoven? One ponders if they even attended last year, and I don’t mean the unofficial gathering on the little green, because they didn’t receive the benefit of being encased in the incredible acoustics of that Jetsons stage, they had not one iota of the splendour, the all-encompassing effect of it. But to say, if you were there, you’d surely take the “if it isn’t broken,” opinion and want nothing more than to do it all again.
Of course, it’s your prerogative to stay home watching Come Dine with Me on an endless cycle of repeats while everyone else is having a truckload of fun! For more information about the Fulltone Music Festival on The Green, Devizes, and to purchase tickets, please visit the Fulltone Orchestra website.
by Ian Diddamsimages from Mark Harrison Facebook Last summer I was lucky enough to see Mark Harrison play at the “Tangled Roots” festival over Radstock…
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There’s no respite if you’re into your culture in D-Town these days. Fresh off the back of the wonderful Devizes Arts Festival, I headed on a beautiful sunny Sunday evening to a sold-out Town Hall to hear The Fulltone Orchestra in full musical flight. This was FTO’s “taster” event, and an advert for the big event over the August Bank Holiday weekend (Fulltone Music Festival) to be held on The Green on 27th and 28th August….
Anthony Brown (“Our Tone”) had gathered an almost 40-strong string orchestra, with only a very short time for rehearsals, and moulded them together to provide us with a short, but very satisfying musical repast. To start with, our amuse-bouche if you like, was the short but sweet Adagio in G Minor by Tomaso Albinoni. This 18th Century composer, who was quite famous in his day, and a contemporary of Vivaldi, is less well-known these days. The piece was light and airy, and played with some panache by a clearly enthusiastic orchestra, a perfect Baroque accompaniment to the sunshine flooding in through the open windows, and a piece absolutely suited to the surroundings of the splendid room in which were sitting.
Next up, the real starter, was Ralph Vaughn Williams’ Fantasia on A Theme By Thomas Tallis. Still light but a little more substantial, this was one English composer’s interpretation of an earlier English composer’s work, and is perhaps more recognisable, having been recorded and performed many times over the last century.
And finally, after a short interval, we were onto the main course and, I suspect, the key reason for this concert’s obvious popularity – Antonio Vivaldi’s The Four Seasons, his violin concerto written roughly 300 years ago in the period 1718-20. For this piece, conductor Anthony willingly ceded the leadership of the strings to guest Russian concert violinist, Elizaveta Tyun. Elizaveta has performed all over the world, and her appearance in Devizes was a real coup for the FTO.
The Four Seasons (“Le quattro stagioni” in Italian) is, by far and away, the best-known of Vivaldi’s works, and is a group of four linked violin concertos, each of which gives musical expression to a season of the year. At the time when they were first performed, they were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds, a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters’ and the prey’s point of view, frozen landscapes, and warm winter fires. Also unusual for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called “program music” — or in other words, music with a narrative element. Vivaldi divided each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections. I’m not going to pretend that I knew all of that, but I Googled it and I thought you ought to know! I did it before I listened, and it certainly helped me to understand much better what I was listening to!
What can I say? It was absolutely wonderful, thrilling, inspiring, and emotional stuff. It was live orchestral music at its very best. Elizaveta played with enormous passion and enthusiasm, attacking the faster, trickier passages with great energy. And the strings of the FTO, probably inspired by such skill in their midst, followed her lead and supported her to great effect. It’s an absolutely fabulous piece of music. No matter how many times I’ve heard it played, it never ceases to amaze me. Despite being used in (literally) hundreds of film soundtracks, adverts, and the inevitable telephone on-hold theme, it always comes through as fresh and original. And it was so good to listen to it properly, all the way through, played by a set of musicians who clearly wanted to play it. Hats off to the lot of them – it was absolutely superb!
Well done to Jemma and Anthony Brown for pulling this concert together, well done to Elizaveta for a stirring rendition of the lead violin role, and well done to the scratch group of musicians who came together to deliver an excellent performance. Oh, and well done to the crowd who came out on a Sunday night to support such great live music and gave the performance exactly what it deserved – a long standing ovation and rapturous applause. Absolutely brilliant!
So – don’t forget to buy your tickets for The Fulltone Music Festival on Saturday and Sunday 27th & 28th August on The Green – available from Devizes Books, and online from www. www.ticketsource.co.uk/fulltone
Girls, girls, girls, we love them here at Devizine, especially our esteemed all-female local supergroup The Female of the Species. 2024 will be their ninth…
Two teen Devizes punker bands appear on Trowbridge’s Pump triple-bill this Saturday, as the search for the Future of Trowbridge reaches its eighth instalment; unsure…
There will be some foot-tapping folky goodness at the wonderful Wiltshire Music Centre in Bradford-on-Avon on Friday. This year’s Bradford Roots Festival may be a…
After an inaugural midweek gig with local legend Andrew Hurst this month, it seems Bromham’s St Nicholas Church could be the unexpected new rural music…
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If you look upon The Devizes Arts Festival as a box of chocolates, this particular concert was a sweet little surprise – an additional lunchtime treat if you will, a chocolate to be enjoyed with a nice cup of (free) tea or coffee (thanks to the grand volunteers at St Andrew’s).
St Andrew’s church is a light, pleasant airy space, and an ideal venue for this sort of lunchtime concert, and it was good to see the Festival making good use of additional venues around the town.
The Borealis Saxophone Quartet is an award-winning chamber ensemble, led by Alastair Penman (soprano saxophone), with the other three members on alto, tenor and baritone saxophones. They played a varied hour’s programme featuring contemporary & recently commissioned pieces, together with more well-known items by Bach, Gershwin, Rossini and Bernstein/ Sondheim. Hence we had extracts from West Side Story, and the William Tell Overture (the “Lone Ranger” theme for our more childish readers; Editor’s Note: That’s a-me!)
As one might have expected from such experienced and professional musicians, this was an immaculately performed concert, full of brightness and verve. All the pieces were well received by an appreciative audience, and the final applause was justifiably fulsome.
All of DAF’s offerings so far have been exceptionally good, and this one just kept their good run going. Short and sweet, but an excellent concert.
The Devizes Arts Festival continues every day until 25th June at various venues across town. Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk
It’s taken a lot of resolve and a lot of hard work and planning to get Devizes Arts Festival back on the road after two enforced years away due to that C-thing, so it was great to get back to business as usual. And the good folks of D-Town have responded well by turning out for the first few events.….
Lesley Garrett at the Corn Exchange (“A Diva and a Piano”) was a cracking start with the hall full and Lesley herself on sparkling and witty form. I’m not a personal fan of her singing style, but it was well worth the time just listening to her down-to-earth humour, and her genuinely funny stories. Superb entertainment.
Since then we’ve had Baila La Cumba, South American music (reviewed earlier here on Devizine by Darren) and the first free Fringe event with Rockin’ Billy at The British Lion on Sunday
Which brings us to Monday and our first piece of classical music programming. The Leonore Piano Trio, first formed in 2012, consists of Benjamin Nabarro (violin), Tim Horton (piano), and Gemma Rosefield (cello). Each of them is an acclaimed soloist, having played with many famous orchestras and musical projects around the world. And last night it was a pleasure to welcome them to the beautiful setting of the Town Hall.
An almost-full room were treated to three pieces. The first, and perhaps most familiar was Haydn’s XV:25 in G major (Gypsy Rondo) – a lively and upbeat three-movement work. Second up was the far less familiar four-movement work by Bargiel – Trio in F, a work which the group have been recently recording. And, following the interval, Mendelssohn’s Trio in D minor. For me it was this last piece which struck the deepest chord, with a passionate and romantic first movement, and a wonderful short, sparkling scherzo as its third movement.
To my untrained ear, it was all pitch-perfect. The trio played with spark and intelligence, bringing real feeling to the pieces and, to quote a somewhat unreliable source, played all the right notes in the right order. It was a wonderful, uplifting and entertaining evening. And, as we are fairly starved of classical music in Devizes, a very welcome opportunity to hear three world-class musicians perform in our little town. A thoroughly enjoyable night out.
And there’s plenty more yet to come with the best part of two weeks’ worth of events still to happen, yet again nailing the increasingly redundant myth that “nothing ever happens in Devizes”. It’s good to see this major cultural Arts Festival firmly back in the calendar.
And this is just the Devizes Arts Festival! – don’t forget that there’s plenty of other stuff happening during that same two weeks – Wadworth’s Music (Wadfest), Saddleback Music Festival and Jim Blair solo at The Southgate – and that’s just on Saturday. See elsewhere on Devizine for a complete guide as to what’s on where and when. Get yourselves out there and see some live music!!
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The Liberal Democrat’s are today celebrating a historic election win in the heart of Marlborough, in the first contested Town Council election for thirteen years….…
Andrew Hurst appears at St Johns House in Devizes this Saturday, 27th May, courtesy of Devizes Rotary, for a Ukraine fundraiser, the same day he releases the solo piano album, Cookie Cutter Island [Do you know the way to], of which we’ve taken a sneaky preview of…….
I go to gigs, where the archetypal though talented acoustic musician prior to a headlining full band is kind of diluted by the memory of the band. Such is power in numbers, the combination and bearing of a band, or more so, an orchestra. Yet it takes a special someone who can hold you spellbound in the same manner, solo. But if you’re going to attempt it, piano is your friend.
Akin to a Scott Joplin recital, which you can envision ragtime of yore, of boxcars and trams running through New York’s bustling 19th century streets, Andrew Hurst undoubtedly has that skill to paint a masterpiece with sound.
Another textbook example is film-scoring, though the image is pre-nourished. There was a fascinating series of social media videos where renowned movies had the score taken away, and suddenly the impact is lost; the horror is hardly horrific at all, there is no thrilling suspense in that thriller. Shows how important the music is in film, and in turn the influence music has over us in general.
Andrew Hurst appears at St Johns House in Devizes this Saturday, 27th May, for a Ukraine fundraiser, where multi-instrumental goodness is promised. Yet while Andrew can make a guitar sing, whether filling a concert hall or busking in the Brittox, I’ve a sneaky peek at his strictly piano-based album Cookie Cutter Island [Do you know the way to], which, double-whammy, is released on the same day.
It’s as captivatingly emotive as a film score, and in a way, kind of is. This album is a sketch of music for a potential anime film Andrew has in mind. Now, I’m going to find it somewhere between difficult and impossible to write customary comparisons on this, my knowledge on classical piano is limited, but I know what I like, and that’s my angle! Cookie Cutter Island paints such a picture in one’s mind; a musical dreamcatcher, surreal, pensive and evocative, lingering in suspense and mood.
Andrew describes his vision similar to Disney’s Fantasia, I could argue against this, being Fantasia uses established classics, while Andrew has created his own. “Music first,” he explains, “and the plot came from the owner of Chard Bookshop, who sent a bizarre message; ‘do you know the way to cookie cutter island?’ My reply to her was the flow of the plot, that since has crystallised. Thenthe music was a case of arriving at the studio every two weeks with “I’ve no idea what I’m doing” but leaving that day with a track I wasn’t “allowed” to revisit: a sort of “enforced creativity” …. though each week later on I couldn’t stop preparing stuff once impetus caught up!”
This bout of when inspiration strikes, has the concentrated oriental narrative of Wu Cheng’en’s Journey to the West, with a fantastical and childlike expedition synopsis, involving Mitsuki, following her grandmother’s conspiratorial message to meet on “Cookie Cutter Island.” The tracks follow her progress, as she journeys to this mysterious place.
A fable filled with place-names associated with her mood, which also act as track listings, Temple of Regret, Tower of Fallen Heroes, or Sanctuary at Galaxywatch, the story is awash with samurai folklore, brimming with morals of love and honour. Such is the refined concept, it is an ambitious project, and animation is such a tedious process. Even if this vision doesn’t materialise, you can use the narrative in the sleeve notes, and almost see the animation flowing behind closed eyelids. The music commands this of you; as if I could reach out and immerse in it, at least how I would interpretate the music if I only had the artistic skill it warrants.
If forced to make comparisons, I’d offer movie themes, the Tangerine Dream fashioned Krzysztof Penderecki adaption for the Exorcist Theme immediately springs to mind, though Cookie Cutter Island is more graceful mood than chilling, and shards of Chopin, Schubert and particularly Debussy come into play. It ends on a high note, Bulls of Triangle Bridge is uplifting, and the finale Sanctuary at Galaxywatch precisely as the title suggests. Overall, it needs no visual stimuli, it’s enchanting and inspiring.
Tickets for The Devizes Rotary Club Ukraine Fundraiser with Andrew Hurst, Saturday 27th May at St John’s House are £15, and include a glass of wine; available here
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Under his own name, Richard projects acoustic folk songs, yet never without fascinating instrument experimentation, yet as Karda Estra soundscapes of surreal gothic and cosmic compositions evoke mood as a film score should.
With a pungent fusion of Zappa and Canterbury influenced instrumental compositions, Sanguine Hum was formed a decade ago from the ashes of the Joff Winks Band and the Antique Seeking Nuns. Known for complex ensemble work, reflective song-writing and distinctively striving instrumental pieces, Sanguine Hum’s defining characteristics owes much to Matt’s keys, who released his first solo album, Suite for Piano and Electronics on Bad Elephant Music in 2018.
The pair first met at RoastFest in 2011, where Sanguine Hum were performing, and soon afterwards, Matt and Richard did their first collaboration track, Mondo Profondo 1, which appeared on the Karda Estra album Mondo Profondo.
Returning to the studio together towards the end of 2020, initially intending to put a couple of tracks down, the sessions went so well, they continued co-composing through 2021 and the project evolved into this album, which is chilling me to the bone.
Richard’s long-time vocal and clarinet player Amy Fry also guest appearances on three of the nine enchanted tracks. At times, like the finale, The Birth of Spring, this sounds like it could’ve been recorded on a light dewed grassy knoll, under a troll bridge of a Tolkienesque landscape, at others a Kling Klang type Düsseldorf studio towards the end of the seventies, but the steam of this melting pot perpetually reeks of influences further and wider.
With Matt’s clear progressive-rock influence, tracks like Passing Wave and the penultimate Day Follows Night, hold woozy psychedelic swirls of a Hawkwind free festival, yet the classical piano concertos of Claude Debussy ring through interludes like Three Audio Slow and 2009.
It’s a wonderous journey, mellowly twirling through gorgeously uplifting, sometimes haunting soundscapes, as ambient as The Orb, as methodically composed as Mike Oldfield, as peculiar as The Art of Noise, as moody electronically progressive as Tangerine Dream, and melodically unruffled as Jefferson Airplane.
The second tune, after Karda Estra-fashioned haunting intro, sounding like a spooky film score by William Orbit, Souvenir is vocally a prime example of the folk-rock influence of Jefferson Airplane, but only a slight segment of styles blended here, of which the magnum opus of the album, Emperor combines all aforementioned elements sublimely. This one is as Mike Oldfield created Primal Scream’s Higher Than the Sun from Screamadelica; yeah, it’s that beautiful, all too beautiful!
Find a Richard Wileman track on our compilation album!
The F.T.O. Big Band at the Wyvern Theatre, Swindon. 21/11/2021
Ian Diddams
The Fulltone Orchestra (a.k.a. FTO) was formed back in 2017, the vision and brainchild of its Musical Director, Anthony Brown. Since then, the orchestra has performed across Wiltshire playing a wide genre of orchestral based music, from iconic movie themes to Bernstein and Gershwin, then Russian composers and The Planets, and most recently a firework extravaganza of classical music (with no actual fireworks folks!). Then there has been its involvement with “The Invitation Theatre Company” (a.k.a. TITCo) with the inaugural, and this year’s “Fulltone Festivals”, and the incredible “Jeff Wayne’s Musical version of the War Of The Worlds” reprised in 2019 in Swindon’s Wyvern Theatre. And of course the amalgamation of choirs in Devizes for the poignant and beautiful “Armed Man” by Karl Jenkins.
For these performances the FTO has fluctuated in size of orchestra depending on requirements – musicians coming from all over Southern England, and even have included a passing Hungarian cellist. Anthony’s vision always seeks the next, exciting opportunity and this year has seen the birth of the “FTO Big Band”. Cutting its teeth at the “Fulltone Festival” on August bank holiday weekend 2021, now the FTO took its latest progeny back to the Wyvern for its “Big Band Night” on Sunday 21st November.
And what a night it was! Five saxophones (also doubling up on clarinet and flute), four trombones, four trumpets, drums, bass, guitar, and keyboards joined by three female and three male voices crooned and smoothed and belted their way through a cornucopia of delights. From Benny Goodman, Glenn Miller (who else for a big band night after all?!) to Ella Fitzgerald, Julie Garland and Jackie Wilson numbers. And that was just the first half! The second half kicked off with “The Pink Panther” and “Big Spender” and crooned away deliciously after that with Frank Sinatra, more Judy Garland and even a spot of Marilyn Monroe.
The band, as ever with the FTO, was absolutely spot on. The ever-present Dominic Irving this time left his keyboard and violin at home and whipped out his trumpet (oo err missus!). Louise Cox a persistent FTOer on the drums was her usual impeccable, percussive self. Devizes born and bred Archie Combe tinkled the ivories (I played rugby with his dad y’know!), and Vickie Watson amazed in her juggling of sax, clarinet, and flute throughout the entire show. But its churlish to only mention a few by name, where in fact the entire band were simply amazing. A whole bunch of horns and sax appeal for sure for starters!
And the singers? Well… I guess they did all right… 😉 Truth be told – of course they were brilliant. Confession time – for those that don’t already know, these people are my friends, and I am honoured to stand on stages with them often. So you can understandably think now “oh well, sycophancy rules, OK” at this juncture. But – everything I write here is true. These people WERE amazing tonight. Truly awesome. Jemma Brown with her consummate ease of poignancy in such numbers as “Ole’ Devil called Love” to power in “Big Spender” and Chris Worthy similarly between “Nightingale sang in Berkley Square” to “Reet Petite”. Then of course Sean Andrews, well known for his strength of projection unsurprisingly absolutely creaming “Luck be a Lady” … but showing a crooning side with “Come Fly with me”. Then there’s Will Sexton. Well, if you’ve never heard Will you bloody well should. And if you have you will know there are insufficient superlatives available. He calmly, coolly, sang his way through “Blue Moon”, broke hearts with “My Girl” and finished us all off with “Cry Me a River”.
But these were not alone on the stage… enter stage right Ella Mangham. WHAT A VOICE. Made for this style of music, “Black Coffee” and “Fascinating Rhythm” held us spell bound. Ella had debuted with the FTO Big Band back in the summer, but tonight saw the first appearance of a super young lady – Ruby Phipps. Now Sean had clearly bought his fan club with him as we heard when introduced, but Ruby had family and friends travelling from all over – and no surprise. Sublimely duetting with Jemma on “Get Happy”, “Over the Rainbow” and “The Trolley Song” she lit up the stage with her excellence and grace. Then the whole group appeared as Will completed the evening with – what else? – “My Way” and joined in… showing that the FTO Big Band truly did this THEIR way, in style, panache and not a little excellence.
What a night. But there’s one more person that deserves a HUGE pat on the back. I’ve mentioned this entire project, from orchestra to big band spin off, is the brainchild of Anthony Brown. But Anthony (a.k.a. O.T but never EVER call him “Tony” !!!) is more than just a M.D. (a.k.a. Musical Director). He is the passion, the life force, the visionary that has produced an orchestra that dares, and now a Band that is truly BIG. He AM da MAN.
So – if you were there tonight and saw it, how lucky were we? And if you weren’t or think I’m just a sycophant for my raving review all I can say is – my eighty-four-year-old mum absolutely loved it. And get a ticket for the next Big Band night and make up your own mind!
Meanwhile – live music is back. And don’t you forget it!
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Swindon indie popsters Talk in Code return tomorrow (1st March) with a new single, Something Of Nothing …..hold tight to your Deely-Boppers, things are about…
One portion my nostalgia rarely serves, and that’s my once veneration for spacey sounds, apexed through the ambient house movement in the nineties, but not comprehensively; we always had Sgt Pepper, Pink Floyd and Hendrix’s intro to Electric Ladyland. I’ve long detached myself from adolescent experimentation of non-licit medications, lying lone in a dark bedroom chillaxing to mood music, and moved onto a full house of commotional kids; progress they call it.
Incredibly prolific, Swindon’s composer Richard Wileman might yet stir the memories, if these headphones drown out the sound of a nearby X-Box tournament. Best known for his pre-symphonic rock band Karda Estra, there is nothing vertical or frenetic about his musical approach. Idols of the Flesh is his latest offering from a discography of sixteen albums. Yet far from my preconceptions of layers of decelerated techno, as was The Orb or KLF, or psychedelic space-rock moments of my elders, which our own Cracked Machine continue the splendour of, Richard’s sounds with Karda Estra bases more orchestrally, neo-classical, as if the opening of a thriller movie. Though, so intense is this sound you need no images to provoke you.
Idols of the Flesh is dark and deeply surreal, with swirls of cosmic and gothic hauntings which drifts the listener on a voyage of bliss. Nirvana is tricky to pinpoint in my household, but with my ears suctioned to my headphones I jumped out of my skin upon a tap on the shoulder, daughter offering me some sweets! Momentarily snapped back in the room as if I’d surfaced from a hypnotist’s invocation, but aching to fall backwards into it once again.
Agreeably, this is not headbanging driving music, neither does it build like Leftfield for those anticipating beats to start rolling after a ten-minute intro, it simply drifts as a soundscape, perhaps coming to its apex at the eloquently medieval church organed Church of Flesh, one of two named tunes out of the six on offer, the others given part numbers. Then, with running water, the final part echoes a distant chant of female vocals as if a wind blowing across a sea for another eleven minutes, it’s stirring, incredibly emotive and perfected.
Along a similar, blissful ethos Richard Wileman served up Arcana in September this year, a third album this time under his own name. While maintaining a certain ambiance, it’s more conventional than his Karda Estra, more attributed to the standard model of popular music. It’s an eerie and spectral resonance, though, with occasional vocals which meander on divine folk and prog-rock; contemporary hippy vibes, rather than timeworn psychedelia. Released on Kavus Torabi’s Believers Roast label, a sprinkling of Byrds and Mamas & Papas ring through with an unmistakable likeness to a homemade Mike Oldfield. When vocals come into effect, with one guest singer Sienna Wileman, it’s astutely drafted and beguiling.
Select anything from the bulging discographies of Karda Estra or Richard Wileman and you’re onto a mood-setting journey, composed with expertise and passion. If ambient house is lost in a bygone era, this is reforming the balance of atmospheric compositions with modernism, so mesmeric it remains without the need for intoxication. Now, where did I stash my old chillum?! Probably in a dusty box in the loft with my Pete Loveday comics and some Mandelbrot fractal postcards….
devizine.com 