Music Reviews
GIFTS FROM CROWS TRIO IN CONCERT - Gifts From Crows Trio
This is the fifth year that Gifts From Crows have performed at the Buxton Fringe but the first time that I have seen them. I anticipated something special at Coffee 1. Each musician makes a specific and essential contribution to their sound. Richard Laurence (Keyboards) composes the pieces and holds the basic melody. Helen Southall (Tenor and soprano saxophone, clarinet and occasionally recorder) improvises on Richard's compositions and adds depth and nuance. Garfield Southall (Drums and percussion) links and drives forward Richard and Helen's performances with his subtle drumming.
What genre does the music fit into? Possibly jazz, possibly melodic ambient music. Whatever it is , it is very listenable. The compositions are original and catchy and the chemistry between the musicians works beautifully. RIchard mentioned that some of the pieces have been used in an upcoming film which makes sense since they are full of atmosphere and emotion.
They performed some pieces from the latest 'Partial Magick' album. Sandalwood Psalm, Orchard Summoning, Blessings, Half Moon Malady, The Earth and Our Leaving and Be. They also performed the standout track from that album, Between Intrigue and Wonder, which is full of optimism and feeling. None of their pieces have vocals but I can imagine that one working with with a powerful vocal.
They also performed Fragments of Light, the full Seasons Suite and But When You Sleep from their sublime 'Trio Reworks' album. Other pieces performed were The Day Before Tomorrow, Broken Angel and two that are unrecorded , Broken Signals and the delicious Bloom in Ashes. The latter has an optimistic feel and is inspired by the idea of a positive outcome when something comes to an end.
RIchard said that they only perform in public a few times per year which is sad because they are excellent and deserve a wide audience. I hope that they return to the fringe next year for a sixth time and I, for one, will make sure that I catch them.
Alex Watts
BAND OUT OF THE BOX - High Peak Big Band
As the sun begins to set over Buxton, the High Peak Big Band (a 19-piece ensemble), are warming up their instruments.
The warehouse room of Buxton Brewery (used as an entertainment hub) has its doors open to let in the fresh summer air, bringing in a brightness to the warehouse-style space, as the audience begin to take their seats around wooden tables, pints in hand.
With conductor and pianist Brian Lightowler leading the charge, the band launch into their first half of music, treating us to tunes such as: The Shadow of your Smile; Autumn Leaves (sung in French by Jules Scott), and a duet of Cheek to Cheek, featuring Jules Scott and Peter Boxall (who is usually a player in the band). The tunes varied from lively to soothing, with the opportunity for many of the bands musicians to show off their improvisational skills.
The turn out for the evening was extremely successful, and as the interval arrived, people moved to get some fresh air in the last rays of summer sun, and more drinks from the great Buxton Brewery staff at the bar.
Heading into the second act, we were serenaded with Route 66, an incredibly lively number from Jules; It Had Better Be Tonight (by Peter), and their final duet of Orange Coloured Sky, a number that showed off both singers abilities and how well their voices work together. The band itself gave us plenty of fantastic instrumentals, including Beauty and the Beast and Glocca Morra. The evening was wrapped up with one final song by Jules, where she sang us out to the upbeat Sweet Home Chicago.
Overall it was a great evening of music, touring us through genres, film and broadway numbers, with an incredibly talented band and performers. This was the first and only performance for the band for the festival, but you can catch them around the area at various other events, and hopefully at the Fringe again, next year!
Amy Powell
DEATH AND THE MAIDEN - Sounds Immersive
Moving, soulful, maybe uplifting music, of course, and here the performers seek to set a performance of this Schubert Quartet into a physical context.
‘Immersive’ in the sense that we are moved gently around the large room, one move for each of the movements. Screens dividing the room, so that we can’t see what’s in wait. These white screens have sparse pictures, memories, images, hanging on them, gently top-lit in a darkened room. Are they paintings of the Maiden, or her memories as she confronts the imminent Death?
And there’s one performer who moves, sometimes sensuously, costumed in black to that it’s hard to see her: and, yes, there appear to be labels on the ‘walls’ but we’re not encouraged to go close to explore - though nothing stops us. A short intro from (as we are told) ‘the eminent musicologist’ who would be, we imagined, our guide to the music, the themes, and/or its place in Schubert’s life, but while he may have been full of knowledge his real function seems to have been to draw us from one space to the next.
So did we learn about the music and its history? No. Did we enter into an atmospheric context as we listened? Yes, calm and almost mystical, as we caught sight of images, shadows cast on the ceiling, walls, screens by the softly up-lit musicians.
Pre-show publicity invited us to join the group 'as they explore Schubert’s Death and the Maiden, and what lies beyond the veil'. Certainly the Aestus String Quartet gave us a reflective experience along with their rewarding performance – and how good to be so close to the harmonics of the different instruments through the stages of the seductive, powerful, heartbreaking ‘narrative’. This reviewer didn’t go expecting a history or a detailed musicological experience, but some measure of introduction would have helped appreciation. Having read up a bit afterwards, I’m now committed to listening to the quartet again.
Michael Quine
ABSOLUTELY FAB CHOIR FESTIVAL - Fab Choir
With around 42,000 choirs in the UK, they are now more popular than amateur football! So, a free showcase for 9 different local choirs was always going to be a popular event. Indeed, there are other local choirs who were not involved so this event may grow in coming years. The Trackside venue was a little difficult to find, and the open barn acoustic was not ideal, but it was buzzing with excited singers and their supportive friends and family. The enthusiasm and genuine delight the singers brought to their performances, and the happy chatter and hugs amongst those listening was a clear demonstration of the benefits of singing with others. To spread the benefits even further people could donate to Parkinsons UK.
Each choir did a 20 minute slot, and despite no conferring before hand, there was only one song duplicated as their styles and choices were each quite different. Fab Choir and Chapel Ladies were all female voices and Chapel Male Voices all gentlemen, the Glossop Ukulele Group both played and sang. The Show Must Go On sang music from The Lion King and La La Land, and Soul Sounds got some toes tapping. Most encouraged the room to sing along, which many did with classics like ‘Somebody to Lean On’ and ‘Bridge Over Troubled Water’ proving popular. There is definitely something a little bit magic when people sing together in harmony, and it's infectious.
Between the 5th and 6th choir on the programme a piece of stage audio equipment was smoking badly and the venue management were unfortunately obliged to evacuate the building into the sunny courtyard. It was all very orderly, no panic, but an unexpected interruption to an otherwise fun friendly new event in the Buxton Festival Fringe diary. Buxton Community Choir sang their set acapella in the courtyard. At the time of going to press we don’t know if the 3 remaining choirs; Chapel Male Voice Choir, Peak Choir and Manchester Community Choir were able to perform.
All 9 choirs perform in their communities including some within Fringe 2026 and welcome new members if you’d like to do something enjoyable for your well being. Choir performances still to come in the Fringe: 25 July 7:30-9:30pm Buxton Community Choir at Buxton Methodist Church, and 26th 7-9pm Curtains Up, Last Night of the Fringe at the Palace Hotel.
Jean Ball
UKRAINIAN FOLK AND BEYOND - Iryna Muha
What a great festival crowd we have in Buxton. You might expect an hour of Ukrainian folk music to be a bit ‘niche’ at least. You might expect a few ‘world music nerds’ plus a few Ukrainian exiles but probably wouldn’t expect her gig to be a complete sell out.
Iryna Muha didn’t disappoint. She took to the stage with a Hurdy Gurdy and filled the Spring Gardens venue with rich, stirring melodies and sounds. She explained the theme of the first song and then introduced her repertoire one by one. Hopes for the harvest, jilted lovers, mismatched lovers and disapproving parents; they could easily have been English or Irish folk songs.
Iryna took to the guitar for the next few songs, some of which were supported with a pre-recorded sound track.
Her music and songs were enthusiastically welcomed.
A further show on 25th July.
Brian Kirman
DARREN, TRISH & THE NEW WORLD ORDER - Darren & Trish
For this year’s Fringe, Darren and Trish once again brought their friends, The Happy Valley Voices, to finish Fringe Saturday with a crowd-pleasing singalong of familiar, popular songs. On the following day, this is their new show, featuring a set of eight songs written by Darren, all new to the Fringe.
There was one similarity and two key differences between Saturday’s and Sunday’s appearances. The similarity was the same duo, with the same rapport with their audience. Trish trying, with only partial success, to keep Darren on track, and Darren being the same engaging, cheeky and lovable frontman. Both audiences seemed to really enjoy themselves.
The first difference was Darren’s Fringe debut playing the piano. Always useful to be able to vary the accompaniment and Darren’s playing was well suited to the songs and, though uncomplicated, still very creative. Otherwise, it was Darren’s guitar, and Trish on harmonicas and, more literally, on cajon.
The second difference was having eight songs, new to our Fringe. Regarding his songs, I can’t really improve on what I wrote last year - ‘Darren’s songs are musically uncomplicated and readily accessible. These days, he largely finds a pretty catchy chorus, with a great turn of phrase – the elusive hook’. For example, the simple phrase ‘just because you can, doesn't mean you should’ gradually morphing through the song ‘An Angry Young Voice’. Subject material ranging from closely autobiographical to more general social issues, often with a message of tolerance and solidarity, in the face of hostility and violence.
They’re also making a habit of involving other performers. This time, it was again the young performers of Shadow Syndicate who joined them onstage to form a chorus for a song in the middle of the set. Darren also paid tribute to a couple of people in the audience who had influenced his writing and performing career.
The Fringe is now free from FIFA sabotage, so treat yourself to a dose of Darren and Trish’s medicine at 5.30pm on Wednesday 22nd July or 8.30pm on Friday 24th July, both in Underground at Spring Gardens. Darren, I know you’re reading this, so don’t forget your guitar stand!
Ian Bowns
SIMPLY ACAPELLA - Ordsall Acapella Singers
Ordsall Acapella Singers are familiar faces in Buxton and a regular feature of the Fringe. Remarkable is the choir’s meteoric rise to fame in the North West from an informal community choir to a formidable exponent of the genre. Their notable success gobbling up the honours at festivals throughout the region must be causing the choral establishment to wilt. The group rehearses in Salford and are part of the adventurous genre of choirs abandoning conventional safety nets such as accompanying instruments and the practice of shuffling sheaves of paper aides memoire.
A striking performance refinement is Jeff Borradaile’s minimalist conducting style. By subtle gesture and leading with a range of cues, he coaxes the flow of music more naturally than beating time like a crazed windmill at the desensitised players. This choir is released from the distractions of scrutinising the paper and figuring out what the arm waving is all about. By listening to each other and by a large dose of intuition and musicality the resultant music from Ordsall has intangible natural flow. The choral holy grail is underpinned by considerable disciplined hard work and strong application to listening to the blend.
‘O Magnum Mysterium’ and ‘Ave verum’ were lovely examples of arrangements of ecclesiastical works which would be completely at home in a cathedral. Later in the programme they did a version of ‘Ubi Caritas et amor…’ the arrangement initially capturing the feel of plainchant and later in the piece sliding into the more accessible Ordsall style.
‘In the world there’s a whole lot of trouble’ has a rhythmic gospel feel captured amazingly well. A good example of the Ordsall’s strong sense of intra-choir communication within the chorus. With minimal conducting the harmonious sound comes from the singers’ blend.
The choir’s version of ‘Time’ showcased the singers versatility and skill producing percussive sounds of ticking clocks in a tricky arrangement with complex overlapping rhythms.
The Bob Dylan ballad, ‘To make you feel my love’ is great example of how Ordsall intuitively let the song dictate the pulse, giving the space to emotion to come forth. For ordinary choirs this arrangement would present a high risk of becoming a shambles and the popular soloists who cover this song, such as Billy Joel or Adele get out of jail by having a studio backing orchestra upon which to sit. Ordsall pull this off effortlessly by being their own rhythm and harmony; a great piece beautifully done.
‘Sing my child’ is a relatively modern choral composition, a sort of test piece. Ordsall have really got this one under control with some very challenging tuplets in different part lines across the principle beat. Successfully held together with a seamless interplay of rhythmic ideas. A great technical feat; I didn’t notice any lumpy corners and musical snobs waiting for the crash-out were disappointed today!
The choir’s finale ‘Everything I do, I do it for you’, Bryan Adams' megahit from the 90's film about the fictional Robin Hood… Nothing fictitious about the Ordsall singers delivering their choral arrangement with panache yet pulling out the emotion in the lyrics
The concert seemed very spontaneous and easy listening. The fluency and accuracy of both pitching numerous awkward intervals that crop up in some challenging arrangements and the overall tightness in execution of the off beat part entries, shows some commendable technique. It would be unfair to single out individuals or even sections for special praise because every voice counts. The selection of pieces is arranged such that the melodies were darting around the choir so everyone is a soloist and accompanist at the same time singing in harmony, beautifully. The articulation of lyrics was crisp, as indeed were the notes with some difficult lines to hold. The crucial overall impression was the cohesiveness of the choir which today revealed no weak links. Jeff Borradaile has a legendary reputation for unbounded energy and infectious enthusiasm inspiring even the most reticent choral aspirants to great things. He has clearly worked his musical magic today.
After the morning audience departed the URC with warm glee, wandering through town to my next gig, familiar strains of the swingle-style ‘Why we sing’ lured passers-by into the open door of the Pump Room. The ubiquitous Ordsall singers were in the spa bath filling the air with more wonderfully delicious harmonies. The freshness and spontaneity of Ordsall singers’ inimitable signature style was very much in evidence.
The Ordsall Acapella Singers are at Eccles Town Hall on 13th September, followed the next day, 14th September in St Georges Hall, Blackburn at on a choral extravaganza when they will be combining with several of Jeff Borradaile's other choirs from Lancashire.
Brian Lightowler
MRO SILVER ANNIVERSARY - Manchester Recorder Orchestra
This was the Manchester Recorder Orchestra’s 25th year performing at the Buxton Fringe Festival. 28 members played with conducting duties shared by Ian Chesters and David Walsh. The orchestra was led by Buxton’s own Martin Bisknell. Congratulations to all for reaching this Silver Anniversary and for another wonderful performance in Trinity Church.
Ian opened the programme with an arrangement of Ungarische Concert-Ouverture, an orchestral work by Romantic Hungarian composer, Bela Keler. Dramatic fanfares passing between the different sections captured our attention, announcing the intent of proficient players to show what this occasionally maligned instrument is capable of. The lyrical middle section of the first piece gave us a taste of the beautifully resonant and colourful tone that would continue to characterise the evening, not least when the lower instruments took over the theme and upper voices floated on top. Having so many players on the big instruments, basses all the way down in size to the sub contra, creates a perfect balance of sound and a strong foundation upon which the higher sopranino, descant, alto and tenor instruments can, and did, flourish.
The second piece was Shetland Suite by Dennis Bamforth, 1935-2005, who established a recorder orchestra in Manchester in 1981, the first in the world. He was a pioneer of this modern concept which soon caught on elsewhere and was a prolific composer and arranger. This suite evoked his love of the Shetland Isles and their folk song tradition.
Ian then introduced Paul Barnsley and the premiere of his innovative Symphony Opus 9 for Recorder Orchestra and Sylphyo. This is an electronic wind instrument (EWI) with a range of 6 octaves and a diverse variety of instrumental sounds and effects. A relatively unassuming piece of black plastic connected to a board of electronic synthesizer wizardry, controlled by foot, achieved a powerful and complex musical range.
A helpful explanation about what to expect through the four movements was provided by Ian, who invited audience participation. All challenges were met - amazing playing by soloist Paul, complemented in full by the orchestra. The audience marched, in a sitting on their chairs sort of way, up a steep hill for a long 'are we there yet' time, supported by an effective rhythmic pulse from the orchestra and the silence was used for sharing visions with neighbours as requested. The 3rd movement involved more sound effects, not just confined to the sylphyo this time (well done orchestra) leading us back to a lyrical ending. This modern piece pushed boundaries for the player and the listener, but I certainly found it a surprisingly rewarding experience.
After the interval, a return from the avant garde to the sublime. David took over the conducting role and we were treated to the Bach Tocccata and Fugue in D minor, a very well-known piece originally for organ, so therefore well suited to an orchestra of varying lengths of pipe and was enjoyed by all. This was followed by Anne Martin’s Journey to Skye, music which meandered through many ascending and descending flourishes to get to the familiar Boat Song, and was my favourite of the programme. A Fantasia on St Anthony Chorale by the late Ian Farquhar, another recorder orchestra pioneer, based on the Brahms Theme by Haydn, followed and then we were off for a day in the Rocky Mountains with Glenn Shannon’s Mountain Mosaic. This was another work written by a recorder player for recorder players, with glorious contrasts between the highest and lowest instruments and lots of interest for everyone in between. David acknowledged the wonderful playing of the alto and tenor soloists, and the whole orchestra stood for a well-deserved round of applause, before the final short, sweet, foot tapping and aptly named Toot’n the Blooz brought the concert to an end.
A thoroughly memorable evening.
Esme Upcott
MUSIC FOR A SUMMER EVENING - Cheshire Chamber Collective
Most of the classical music concerts at the Fringe celebrate familiar music and composers. Sometimes they explore a little deeper – unearthing interesting works from neglected composers, or neglected works by popular composers. Occasionally, individual players may add one or two of their own pieces to their concert – a composition for guitar, piano or small ensemble perhaps. It’s absolutely wonderful to be able to enjoy this rich and varied contribution to the fabric of Buxton’s Festival Fringe. It’s a delight though, to have the opportunity to experience an entire concert of original works by a single contemporary composer.
‘Music for a Summer Evening’ is a programme of works by Adrienne Spilsbury, the in-house composer/arranger – and occasional performer – with Buxton Fringe regulars, the Award-winning Cheshire Chamber Collective. There wasn’t a spare seat in the Ballroom of the Palace Hotel for this evening of music inspired by locations in Cheshire and North Wales, and by enduring musical friendships.
The tone of the evening was set with ‘Eyebright’, a piece for strings written in 2019 inspired by interactions with nature in wildflower meadows being created and conserved near Adrienne’s home in Cheshire. Eyebright is a wildflower that keeps vigorously-growing grasses at bay, allowing more delicate wildflowers to thrive. Evoking the sounds of insects and birds, and the changing emotional effects that nature can create, this piece dissolves into an almost meditative ending – transporting the audience to a tranquil place from which they could enjoy the rest of the evening’s music.
‘True Plain Hearts’ gave us pieces written for a set of five poems by the metaphysical poet John Donne, sung here by tenor soloist Tim Kennedy. These poems explored various aspects of relationships and love, from the slow melancholy of ‘A Valediction of Weeping’, through the brittle nature of ‘A Jet Ring Sent’, the supernatural tension of ‘The Computation and the tripping tones of ‘The Flea’ before ending with the reflective tones of ‘Good Morrow’.
We then enjoyed the World premiere of ‘Three Whimsies for Wind Quintet’. ‘It’s special to write for people you know’, Adrienne commented with obvious pleasure. The three parts of this well-received piece included a theme that shifted around the different instruments in the ‘Lento' (slow) middle part, and the slightly jazzy ‘Allegro giocosa' (fast and lively) third part.
After the interval we moved from Wind, to Strings, and Adrienne Spilbury’s ‘String Quartet No. 2 ‘Day, Turning’. Composed in 2021, and as that date might suggest, this was written when our lives were affected by the Covid epidemic. The inspiration for this piece came from watching long days pass during visits to a friend’s garden - enjoying and observing its pond, plants and wildlife. This was another evocative work, its six movements taking us right through from Adrienne’s morning walk to the garden, through the changing light and atmosphere of the day, to the reflective moonlight of the evening.
The stage was then set for the full orchestra, plus a few friends, for ‘Dancing to a Lighter Sky’, a work written for the 20th Anniversary of the orchestra. The origins of this piece lay in the countryside around Llanarmon-yn-lâl, a Welsh village and community in Denbighshire, on the River Alyn in the limestone of the Clwydian Hills. It recalls the experience of a hill walk Adrienne took, and transforms that into three movements, the slow climb, the excitement and enjoyment of the views across the landscape from the top, then the slow descent. At which point we had reached the end of our own exploration of Adrienne Spilsbury’s music, for this evening at least. Judging by the enthusiastic applause and the smiles and comments of those stepping out into the cool, July, Buxton evening, everyone had enjoyed the journey.
Curtis Bollington
BRASS MASTERS WITH BURBAGE BRASS BAND - Burbage Band (Buxton)
Buxton Fringe is a regular annual highlight for Burbage Brass Band – and, as usual, they did it proud, with an innovative concert that showed off their home-grown talent as well as featuring internationally-acclaimed guest soloists Glyn and Helen Williams.
Buxton Methodist Church is an ideal venue for the band, allowing the music to resonate around the lofty space and deliver its full potential.
The 35 members made their entrance in groups – starting with percussion, then basses, followed by trombones, tenor horns, baritones and euphoniums, and lastly the cornets – each section building the sound as they arrived.
Conductor Steve Critchlow did a great job of introducing each piece, with a mix of fascinating facts and amusing anecdotes. The programme featured a broad range of music, from traditional brass band numbers to popular songs more often heard on a West End stage. But they pulled it off with aplomb.
Highlights included Grandfather’s Clock, with a superb cascading euphonium solo by Glyn Williams; and Atchafalaya – an energetic swing number, inspired by the Louisiana river, arranged for the band by percussionist Will Rhode who was making his final appearance with them before heading off to university. Also popular was a piece from The Pearl Fishers, with a euphonium duet from Williams and the band’s own Sam Pollard.
The concert drew to a close with I Know Him So Well, from the musical Chess, featuring Helen Williams and the band’s lead cornet player Carl Gartside; Chicken Run from the film of the same name; melodic Meditation, featuring Helen and Glyn Williams; and finally climaxing with Starburst.
Altogether a great evening’s entertainment, enjoyed by an enthusiastic audience of all ages. Bring on the next one!
Lesley Caddy
MATINEE MELODIES - SONGS FROM STAGE AND SCREEN - Peak Voices
Ranging from opera to musicals from the last 60 years, this show offers a couple of hours of beautiful music, sung by various combinations of the performers in the group.
When all six were singing at the same time, the richness of the combined voices was truly wonderful, and the songs from Six and Chicago were a highlight.
Of note was Miss Adelaide's song from Guys and Dolls, performed by Gemma Flitter. Liz Braddocks performances were powerful whether singing Opera in the Flower Duet or in Defying Gravity from Wicked. Judd Slack made a good job of all her pieces, with the song from Company being particularly good - she made a complicated Sondheim song seem effortless. Sue Morgan's former training is very evident, particularly in Climb Every Mountain from The Sound of Music. Rachel Callen's voice matched well with more traditional musical pieces. Rachel Taft is a powerhouse in the group and was excellent in everything she performed, bringing an earthly bluesy tone to the group.
All of the members of this group are obviously talented and accomplished singers, with plenty of scope to be heard individually and in duet. Most of the musical selections played to the strengths of the voices, although some of the duets were a little unbalanced and from time to time the singers with not so strong voices were harder to hear - softer, quieter or spoken sections were sometimes drowned out by the piano.
Piano playing and introductions by Chris Blackshaw kept things zipping along and front of house from Athena and Keith was efficient and friendly. Highly recommended if you love musicals.
Julie Eastdown
DERBYSHIRE CITY & COUNTY YOUTH ORCHESTRA CONCERT - Derbyshire City & County Youth Orchestra
The Octagon on a comfortably warm Friday evening in Buxton embraced the Derbyshire City & County Youth Orchestra (CCYO). The venue overlooks the Pavilion Gardens on one side, and backs onto St John’s Road on the other.
The CCYO brings together many keen young musicians from schools and music centres across Derbyshire to form a ‘flagship’ large ensemble of the most talented players, led on this occasion by Conductor Harry Lai.
The Octagon is visually impressive - a large, open, high space (I’ll leave it up to you to guess it’s shape…) with a lot of glass. However it’s challenging for music and musicians. Sound bounces around the interior, and after a hot day the windows need to be left open to keep it cool, especially with a full orchestra present and around 150 people in the audience. There is background noise from St John’s Road traffic and from building services at the Leisure Centre and the Opera House.
But this is the CCYO, and they were well up for any challenge with a programme of music that started with Britten’s Courtly Dances - six movements from his 1953 opera ‘Gloriana’. These begin with the introductory fanfare of a March, then dance through a Corante, Pavan, Morris Dance, Gaillard and La Volta. Composed to celebrate the Coronation of Queen Elizabeth II, these pieces benefit from a robust ensemble of woodwind, brass, percussion and strings. It was clear that the CCYO were here to deliver. Some of the ‘frillier’ parts of this piece were scattered into the Octagon’s acoustics, but it allowed the orchestra to get the measure of the building.
Next up was Rodrigo’s Adagio for Wind Instruments, for which most of the rest of the orchestra left the stage. This was much more suited to the building, with its slow start, then interspersed quicker passages. This is short piece with contrasting dynamics, allowing the character of the orchestra to begin to emerge.
It was the turn of the strings to step up next – for the delicious waves of Vaughan Williams ‘Five Variants of Dives and Lazarus’, which begins with a lush statement of the main folk melody. The rich textures of the strings and many adagio (slowly) variants throughout the piece were perfect for a summer evening, delivered with subtlety and confidence by this young orchestra. This piece benefits from subtle dynamics and again the feeling of the orchestra for the music was clear - their musicality and personality shining through its ebb and flow. A lovely piece of music - both ethereal and bold from which to go into the interval.
Not long into the second half I wondered if there might have been some kind of strategy thing going on. All that lovely music in the first half? the soft ending into the interval? The lulling calm? I’d forgotten that this orchestra is mainly of teenagers. Good in one way that I’d forgotten – in that it proved their talent as players. But teenagers they are! I’ve got one - I know what they’re like: they’re inventive, clever, amazing – and they have a way of doing what they want. The first half had allowed them to get a feel for the room: The strings had poked the acoustics; the wind (brass and wood) section had explored their possibilities, the percussion had prodded from the back. Maybe the first half had just been some kind of reconnaissance for the second half?
I should have realised, as the orchestra buzzed back to their places for the second half. If I’d listed harder I might have heard: ‘OK audience, OK Octagon – we’re now nicely warmed up. We know how the room sounds. GET THIS!’ Mussorsky’s ‘Pictures at an Exhibition’, (arranged by Ravel).
Oh my goodness! Another Fanfare opening - but this time more like they were announcing themselves rather than the music. And that was it - we were off! If ever there was a piece to showcase the skill and character of this orchestra, this was it. Every section embraced and enjoyed its focus. ‘Pictures at an Exhibition’ is heavy on wind instruments, which explains the prevalence of strings during the first half of evening (a thoughtful balance.). It’s a playful and imposing piece of music that was well exercised by this talented ensemble. Energy, subtlety and skill in playing. Energy, subtlety and skill in the conducting by Harry Lai. The audience were on their feet at the end, with relentless applause that could only be placated by an encore.
Curtis Bollington
SERENADE ON A SUMMER NIGHT - Chapel-en-le-Frith Ladies Choir
One definition of the word ‘serenade’ is ‘a musical performance given to honour or express affection’. The appropriately named 'Serenade on a Summer Evening' marked a fond farewell not only to this choir’s talented accompanist, Jane Simmons, leaving after 20 years, but also their wonderfully engaging musical director, Joe Tanner, who has led them since 2024. The Chapel-en-le-Frith ladies sang their hearts out in style, to the delight of an appreciative audience.
Joe provided interesting and amusing commentary as he introduced a set of classics from stage, screen and influential artists of the 20th century. The choir sang confidently and achieved a lovely blended and balanced sound over a variety of styles - lyrical, light and lovely Shenandoah and Hushabye Mountain, followed by sinister, yet upbeat and jazzy, Mack the Knife, to melancholic Eleanor Rigby, followed by Eric Whittacre’s soothing Seal Lullaby, and completed the first set with a heartfelt rendition of Bridge over Troubled Water.
Guests for this concert were Sam Gilliatt and his mum, Andrea, no strangers to the choir or many members of the audience. Baritone soloist and musical director, Sam, led the Ladies Choir from 2019, whilst Andrea, viola player and former Hallé Orchestra member, was chauffeur in the early days before Sam’s driving test. They were delighted to be back with old friends, and the feeling was mutual.
The Gilliatt duo started their first set following on with another Simon & Garfunkel piece. Sam and Andrea gave us some amusing insights into their programme choices, and Andrea gave a ‘trigger warning’ before mentioning a Joni Mitchell song written in 1966. They continued with a beautifully reflective Norwegian Hymn, Elton John’s Your Song and finished with All My Loving, which had everyone singing along. Their arrangements for Sam on guitar and vocals, and Andrea accompanying on violin were cleverly crafted and demonstrated their love of music and of playing together.
After a social refreshment break, Sam and Andrea started with another Beatles classic - Here, There and Everywhere, further establishing the general feel-good ambience of the evening. This was followed by a contrasting couple of folk tunes, where the violin did the singing. The final piece of the set took Sam some considerable distance from I Fagiolini and Mass for Four Choirs, and would have the Gallagher brothers silenced in an oasis of admiration. No silence in the room though as everyone joined in. An absolute treat.
The choir took back to the stage - how to follow that? With a Liverpool anthem of course. This version of You’ll Never Walk Alone even contained a middle section of Climb Every Mountain, linking back to stage and screen. Another full circle moment came with Blackbird/Yesterday arranged by Sam Gilliatt - a lovely nod to the wonderful work Sam achieved with the choir, which Joe has built on. The final pieces of the evening allowed a further tribute. Misty by Garner & Burke and Ola Gjeilo’s The Rose both featured Jane Simmons on piano. The spotlight was turned in her direction for both these beautiful pieces and the applause demonstrated everyone’s appreciation. The final song, America from West Side Story, showcased the individual sections of choir as they passed the melody and tricky rhythms around confidently. It was a joyous way to end a celebratory evening.
Esme Upcott
BLOODLINES & BALLADS - Songbird Anna
For anyone new to Songbird Anna, her show offers a gentle and absorbing introduction to a singer-songwriter with a distinctive voice, a deep sense of place and an unusual instrument at the heart of her sound. Anna, originally from Cheshire and now based on the coast of Anglesey, performs with an autoharp: a beautiful, mellow instrument that she described as something of a hybrid between a zither and a guitar. Its warm, resonant tone became the thread running through an evening of storytelling, memory and song.
Anna explained that much of her songwriting begins with a theme. Family history, love letters, old postcards and significant events from the past have all found their way into her lyrics. Before each song she took time to introduce the story behind it, giving the audience just enough context to step into the world she was creating.
The performance was accompanied by a slideshow of photographs and scenes connected to the songs. These visuals added another layer to the experience, and Anna’s clever use of AI to animate some of the images helped bring the past vividly, and sometimes movingly, to life.
She opened with Dear Mollie, inspired by a vintage postcard addressed to two sisters. It was a lovely lyrical introduction to both Anna’s voice and the sound of the autoharp. From there, she led us through songs rooted in her own family tree, uncovering generations of mariners, shipbuilders, family secrets and the determination of those who came before. Each song felt heartfelt and carefully crafted, with the accompanying imagery reinforcing the emotional pull of the stories.
What made the set so engaging was the balance between the personal and the universal. Although many of the stories were drawn from Anna’s own history, they touched on themes that felt instantly recognisable: belonging, love, loss, resilience and the traces people leave behind. Her story about how her mum and dad met was particularly touching.
The concert ended with a song about another postcard this time from Ramsgate showing a traditional scene with donkey rides.
The ninety minutes passed remarkably quickly, as Anna’s songs transported me to other times and places. Her beautiful voice and clear connection to her subjects were complemented by her friend, Ellen’s accordion accompaniment, with the two instruments blending wonderfully together.
If Anna does return to Buxton and I hope she does, I would warmly recommend going along.
April Irwin
PIANO RECITAL - Jonathan Ellis
Jonathan Ellis is an outstanding pianist - it is that simple. With an alumni which includes Wells Cathedral School, Manchester University and The Royal Northern College of Music, this highly polished musician is a delight and a privilege to listen to.
Hosted this evening by Buxton Methodist Church, Jonathan's 2 hour programme was split into two halves. Commencing with a three movement Sonata by Haydn, this was closely followed by a composition from the unlucky Spanish composer Granados (he died when the ship he was travelling to England in was torpedoed in the English Channel during WWI) and concluded with Schubert's 'Wanderer' .
Following a short interval Jonathan took his audience through the delights of the 3 Sonnets of Petrarch by Liszt, 2 Sea Pieces from the pen of the American composer Edward Macdowell (a pupil of Liszt) and ended with a 4 movement Sonata from Brahms. The final Sonata reflected very plainly Brahms's admiration for Beethoven's work and whilst this was Brahms's second published Sonata it was actually written first. For an encore we were treated to an impeccably played piece as written by Chopin.
Jonathan Ellis cannot be praised highly enough for his musical skill. The piano is part of him and he is part of the piano. They work in tandem to deliver the most exquisite music which cannot fail to delight. What a joy it was to listen to this flawless masterclass of a performance by such a dedicated musician
Whenever you come across the opportunity to listen to Jonathan Ellis do not miss it - you will come away uplifted and delighted in equal measure.
Julie Alexander
MUSIC AND POETRY HOUR: PANGOLINS, MUSIC & POETRY - The Clarkes & Co
The upstairs room at Scrivener's is packed on this sunny Friday afternoon. For those of you who don’t know Scrivener’s bookstore this means all 10 seats are taken.
In the centre of the group, Stephen and Sue Clarke welcome the audience into the snug and informal setting.
Without being told, you instantly know from their gentle squabbling that this duo not only perform together but are married.
Together they take us on a journey of poetry, music and reminiscences. Poems from Stephen’s book, Stealing My Mother’s Car are interspersed with original songs from the couple’s first two CDs.
Stephen plays guitar, but its Sue’s English concertina that captures the audience’s interest. We learn that it was made in 1917 and differs from the Anglo concertina which is more suited to jigs, reels and sea shanties - “not my style”, says Sue.
Stephen introduces each poem or song with a bit of background on their inspiration: how a serious health diagnosis inspired a song about the cost of car parking, how Bradley Wiggins’ win inspired not only a song about the Tour de France but also a determination to give up smoking and why it was necessary to steal that car.
Both Stephen and Sue are engaging hosts and the time passes quickly. They end with a song about the endangered Pangolins, in whose aid they are performing.
At the audience’s urging, they give us one more poem and a final song in honour of Stephen’s birthplace in the Black Country, which is said to be red by night and black by day.
This was a lovely gentle hour to set the tone for a chilled Friday evening. There are two more chances to see them: Saturday 18th at 3pm to 4pm and again at 5pm to 6pm.
Carole Garner
BLUE DECADES - Responsibly Sauced
After last year`s 1960`s psychedelia excursion, Responsibly Sauced last night performed their 'Blue Decades' set illustrating the story of the Blues playing songs from the 1900`s onwards.
The band started with 'Frankie and Johnny' which appeared in 1904 (having been based on a real-life 1899 murder). They then played 'Crazy Blues' which became the first Blues hit in 1920. The next song was 'Trouble in Mind' from 1924, though its origins go back to a slave song of 1867. These songs from over 100 years ago all sounded as fresh as if they were from today.
Moving into the 1930`s, Robert Johnson recorded songs in 1936/7 that would be a great influence on later generations including Eric Clapton, Keith Richards, Robert Plant and Bob Dylan. The band performed excellent renditions of first Cream`s version of Crossroads and then the Rolling Stones` version of 'Love In Vain'.
Carrying on through the decades, we heard:
- Peetie Wheatstraw`s 'Police Station Blues'
- Josh White`s 'One Meat Ball' (renamed 'One Quorn Ball' as Will is vegetarian!!)
- Charlie Segar`s 'Key to the Highway'
- Slim Harpo`s 'I got love if you want it'
- Bo Diddley`s 'Before You Accuse Me'
- Willie Dixon`s 'Hoochie Coochie Man'
- Buddy Guy`s 'Mary had a little lamb'
- Jimi Hendrix`s 'Red House'
- The Kinks` 'A Gallon of Gas'
- The Blues Band`s 'Itchy Feet'
- Keb' Mo' 'Soon As I Get Paid'
- John Meyer 'Come When I Call'
The band then performed Will`s own song 'Barking Up the Wrong Tree' before finishing in the 2020`s with a Samantha Fish song.
I was only familiar with a few of these songs (the Clapton covers), but every single song was of interest and held our attention. The set had been chosen carefully, was described in detail and with humour by Will, and was played in the absolutely solid blues-rock style that we know this band will produce year-after-year. I didn`t notice a wrong note anywhere, but I do have to mention the Crossroads rendition as being my highlight. Would Clapton have played it any better? Maybe not?
Now, this first performance did not get the audience that it deserved. Maybe people thought it might be a maundering, depressing blues event (it`s not), maybe they were depressed by the football (it`s over). Anyway, there is just one more performance next WEDNESDAY JULY 22nd from 8pm to 10pm, Upstairs at the WMC. Tickets are on the Opera House website or available on the door. Please support the guys in the band because they have put a lot into this show, and I think you will enjoy it.
Royce Alexander
BEN HOLDER & CO - Buxton Jazz at The Old Club House
Mindblowing, stunning, utterly fabulous, spellbinding, exhausting, exhilarating. There aren’t enough words really to describe the feeling after a Ben Holder gig.
Downstairs in the pub there was apparently some football match going on, but upstairs at the Clubhouse the room was packed much to Ben’s surprise and delight. So keen was he to show this to his musical mates that he insisted on taking selfies with the whole room cheering and waving to prove their existence.
That feeling of intimacy and almost being ‘part of the band’ is mostly down to Ben’s exuberant personality and stage presence. The other band members, Tom Kincaid on keyboard and Tom Hill on double bass just added to the magic. After thanking Gerry Kreibich, the still very able 92 year old support act, Ben introduced the two Toms. Both of course have long musical histories of their own, Tom K is Elkie Brooks’ long term piano player whilst Tom H unbelievably turned out to be the UK voice of Kellogg's Frosties Tony The Tiger. ‘They’re gr-r-eat’ he intoned at various points during the show. That was hilarious if slightly surreal.
Anyway what about the music? Ben’s violin playing equaled the playing of the England footballers downstairs. He never stopped moving, his whole body jumping up and down with the music. He must have lost at least a couple of pounds. His energy so infectious. During a fantastic interpretation of Makin’ Whoopee, Ben started to sing. He turns out to have a great jazz voice too. How dare he. This was followed by the fabulous ‘Is you is or is you ain’t my baby’. The joint was jumping. I don’t think I’ve ever seen a more energetic performance.
The mood changed as Ben handed over to Tom K on piano, who played an extraordinarily moving version of Misty. It’s lovely how Ben can front the band, but also give time and the spotlight to the Toms by leaving the stage. Ben returned to the stage for Who’s Sorry Now? Don’t play this at weddings, he quipped. This is an incredibly tight band, who obviously really enjoy playing together. There wasn’t just excellent musical improvisation on show here, but also a lot of banter on the hoof. Just great fun for the audience. After a particularly manic number, one audience member shouted out ‘Do you know any fast ones?’
This rapport with the audience continued into the second half which kicked off with Benny Goodman’s, marvellous Airmail Special. Ben reflected that his favourite jazz instrument was the clarinet, and his least favourite? The violin. There then followed an absolutely stonking version of Puttin' On The Ritz. The band enjoying themselves at least as much as the audience was. Flashing fast fingers on every instrument. It was hard to keep up.
After another beautiful piano piece from Tom Kincaid, Water From An Ancient Well by South African composer Abdullah Ibrahim, it was Tony The Tiger’s turn in the spotlight. Tom Hill (Californian by birth) turned out not only to be a brilliant bass player but also a great teller of dad jokes, AND the possessor of a fine singing voice. This really was the band that kept on giving.
The whole gig was a riotous musical adventure. The audience loved it. The band loved it, I loved it. And even more astonishingly, it would appear that no strings were broken in the making of this gig.
Ben Holder & Co was presented by Buxton Jazz, who have recently brought world class jazz into the centre of Buxton every third Wednesday upstairs at the Club House. Come along if you can!
You can see Ben in action in Bakewell on Saturday 19th December as the Chanson Swing Quartet. If you can make that, just go.
Moira Kean
CAN'T GET OUT OF THIS MOOD - Basin Street Jazz & Blues
Popular local quartet Basin Street Jazz & Blues cooled down a sticky summer evening at Buxton WMC with a chilled mix of mellow music.
Fronted by talented vocalist Jules Scott, the band – pianist Brian Lightowler, bassist Adrian Sherwood and saxophonist Mike Dale – worked their way through an eclectic repertoire that ranged from jazz standards and continental influences to more contemporary numbers.
The WMC bar had a laidback, jazz club vibe for the evening... once the band had called on a little audience participation to get the bright lighting turned down!
Scott introduced each number, with a touch of humour, before demonstrating her musicality: her mellifluous voice merging seamlessly into the harmonies, like a fourth instrument. The band showed off the breadth of their skills too, with Lightowler switching between keyboard and accordian; Dale bringing in Fifi the flute, Steven the clarinet – and the shakers; and Sherwood credited with keeping things together on his bespoke electric double bass.
The evening began with title song, Can’t Get Out Of This Mood, followed by Fly Me to the Moon and Dusty Springfield’s Spooky; then Jules took a break while the band grooved on with the Yardbird Suite. She returned for songs by Melody Gardot, Madeleine Peyroux and Nina Simone before concluding the first set with Django Reinhardt’s Coucou.
The continental influence continued after the break... with French and Portuguese pieces as well as classics: from Mr Bojangles and So Nice, to I Put A Spell On You and What A Wonderful World.
It was a relaxed, sociable evening that proved a big hit with the audience, right through to the encore: Summertime. It really deserved a bigger turn-out.
There’s another chance to see Basin Street Jazz & Blues at the WMC on July 21st, 7.30pm – don’t miss it!
MOORLAND MELODIES TO MARITIME MISCHIEF - Kaleidoscope Choir
The arts-and-crafts setting of St Mary’s Church was a perfect location for the Kaleidoscope Choir’s concert, Moorland Melodies to Maritime Mischief. Starting with the choir members creating ‘sssssshhhhhh’ sounds evocative of the swishing of the wind through grasses on the moors, the large audience were taken on a delightful journey from the moors of the Peak District, out to sea, and beyond.
Any concert is not just about the individual songs. It’s about the way in which the songs move from one to the next, creating a satisfying whole, something this delightful programme definitely achieved. The Choir’s dynamic musical director, Bella Hardy, calls this event a ‘sharing’ rather than a concert, which is an appropriate description of this warm hour of song. The Choir’s confidence is clearly growing, along with its numbers, and it was great to see that, although they carry the music, most of the Choir’s members had their heads and eyes raised, so that we could see the enjoyment they felt in coming together in song.
The Kaleidoscope Choir is the official choir of Buxton International Festival (as Bella quips, ‘That’s why we’re so fancy’). They’re not fancy – imperfections in performance are celebrated – but they are truly inclusive, something reflected in their growing numbers and ability. Long may this joyful group continue to go from strength to strength.
The Choir is always looking for new members. They meet every Tuesday at 1pm during term-time and anyone can turn up and join in. For more information, go to https://buxtonfestival.co.uk/news-and-blog/kaleidoscope-choir-rehearsals
Robbie Carnegie
PDMC COMMUNITY ORCHESTRA DAY - Peak District Music Centres
Some 44 people signed up for PDMC’s exciting Community Orchestra Day at the Fringe. Peak District Music Centres is a registered charity based in Derbyshire that provides music-making opportunities for young musicians of all abilities. This Fringe event attracted players of all ages - the youngest being around 10 - with some much older alumni returning to the fold, grateful for the support they received from PDMC.
All of them had accepted the challenge of learning and playing extracts from Stravinsky’s Firebird Suite and then performing to an audience at 3.15pm. Participants had to be grade four or above but even with that level of experience, what a demanding mission to turn this around so quickly!
I arrived to the traditional cacophonous tune up with director Gavin Usher then taking charge to conduct the electrifying Danse Infernale. They played with great urgency right from the start but of course with a group of musicians who had never played before, timing was the immediate issue with Gavin emphasising the need for some really short staccato notes at the beginning. It was inspirational to hear him cry 'We’re getting further!' as the orchestra swiftly came together on all this.
Gavin managed to command total respect whilst being friendly and humorous. As I listened on, I came to appreciate that it was not just about keeping together but the balance of sound in the orchestra; 'Those of us in six-eight need to be very rhythmic but not too prominent', he explained at one point. As the orchestra moved onto the last eight bars of the Danse Infernale I realised the players were even at this early stage of their practice managing to invest their performance with real emotion as the music built to a menacing climax.
Cut to 3.15pm and an enthusiastic audience was treated to three movements: Danse Infernale, Berceuse and the Finale. Gavin described it as a 'very informal sharing challenge' but the huge sound this makeshift orchestra created in what turned out to be the great acoustic of the Buxton Community School Large Dining Room proved really staggering with the players handling syncopated rhythms, dance harmonies, lullaby dreaminess, dramatic climaxes and more, always with great verve and appreciation for the music.
My only sadness if that sizeable as the audience was, I’m not sure whether it included people not connected to the players. Given that I felt I was receiving a musical education just by witnessing this, I’d have loved their performance to reach an even bigger crowd.
Stephanie Billen
THE ART OF GUITAR - Rik Roberts
It was a hot sunny Sunday lunchtime as we gathered outside Underground's Spring Gardens venue for local guitar virtuoso and Fringe regular Rik Robert`s first performance.
Rik appeared on the stage dressed all in black against a black background, but soon illuminated the occasion with his delightful intricate guitar playing, starting with a Spanish track. He then moved onto the bossa nova 'Girl from Ipanema' and (despite fingers sticking to the strings, he said) continued to play delightfully through songs such as John Denver`s 'Take Me Home, Country Roads', the Beatles` 'And I Love Her' and 'Blackbird', and 'Midnight Special'.
Rik reminisced about when he first went to Bollington Folk Club as a Spanish guitarist, wondering what he would play, and that mix still shows through today in his choice of songs.
The influences of seeing Bob Dylan at Live Aid in 1984 (then buying Dylan`s records from the age of 12) and of Paul Simon`s Gracelands album were also mentioned.
All in all, it was a very pleasant hour listening to a very accomplished musician.
Rik has just one more performance at this Fringe which is this Wednesday 15th at 1pm in the Spring Gardens venue.
If you have a free hour then, I would highly recommend going along.- particularly as he has promised to finish with the Bee Gees` Staying Alive (which he didn`t have time to play on Sunday)!!
Royce Alexander
AMORE! - City of Manchester Opera
Opera can feel like one of those art forms you are supposed to understand before you are allowed to enjoy it. City of Manchester Opera’s Amore – Opera Choruses Celebrating Love proves otherwise. Warm, welcoming and full of recognisable music, this was the kind of Fringe performance that opens the door to newcomers without talking down to anyone already inside.
Founded in 1998, the company has long aimed to make opera more accessible, and that spirit ran through the evening. The programme brought together choruses and ensembles from operas many people will know by name, even if they have never sat through a full production, including Carmen, Don Giovanni, The Magic Flute, Lohengrin, The Bartered Bride, and Samson and Delilah.
Conductor Juan Ortuno introduced each excerpt briefly and clearly, giving just enough context to help first-timers follow the emotional stakes. His summaries also brought out one of opera’s great truths: if everyone on stage is declaring love, disaster is probably waiting in the wings!
For opera regulars, there was plenty to enjoy in the range of repertoire and the confidence of the ensemble singing. For those less familiar with the form, the concert worked almost like a guided tasting menu: short, vivid extracts, each with its own mood, drama and musical colour.
The twelve singers brought a warm, clear and beautifully balanced sound to St Mary’s Church, with pianist Jonathan Ellis accompanying them with care and energy.
The singing was impressive throughout. I had assumed this was a professional company until conversation in the interval revealed otherwise. The soloists spoke warmly about meeting fortnightly and welcoming new members, which neatly reflected the ethos of the performance itself: serious about the music, but never exclusive.
The excerpts from Don Giovanni, Samson and Delilah, and Carmen stood out in particular, but the pleasure of the concert lay in its cumulative effect: one beautifully delivered chorus after another, building a persuasive case for opera as something immediate, human and enjoyable.
If you have ever felt that opera might not be for you, this is exactly the sort of company to change your mind. And if opera is already your thing, City of Manchester Opera offers it with freshness, generosity and charm. By the end, the audience left smiling. I will definitely be returning next year. April Irwin
BENEATH, BETWEEN, BEYOND - Orugoru
Beneath, Between, Beyond refers to the Inca Trilogy inspired by Peruvian Folklore, so the audience were a little surprised when the programme opened with music based on folklore from Britany and Normandy. The new music composed by Paul Vowles took listeners on an international journey over land and sea. In addition to the composer playing a range of tiny to large wooden recorders, the three piece Orugoru ensemble includes Kwangho Lee’s skilful hands on keyboard, and Jamie Dalzell on Xylophone and drum.
Three Breton pieces were followed by 5 Songs from the Lighthouse including Song of the Sirens, The Fisherman Who Missed His Wedding, and Lights That Guide Us Home. This is storytelling music that would make a great film score, indeed it almost asks you to close your eyes and watch the film the music conjures in your minds eye.
The second half of the recital took us to the Andes with Return to Us, Hymn to Pacha Mama, Dance of the Serpent, Dance of the Puma, Flight of the Condor, and finally View from The Sun Gate. This evocative music brought back memories of travelling in that part of the world to your reviewer’s companion, which is part of the gift and power of music. This skilled and talented trio clearly love and enjoy what they do and that joy comes through their compositions and playing. It's a pity Orugoru are only doing this one performance here this summer, they are well worth looking out for in the future.
Jean Ball
4 X 25 = 100 - Will Hawthorne
A welcome return of Fringe regular, Will Hawthorne.
This year he takes on the monumental task of performing 100 different songs spread over 4 performances.
For the first batch of 25, Will chose songs to show his versatility: starting with Bowie’s ‘Major Tom’. He then interjected the topical anthem: ‘Football’s Coming Home’, which surprisingly has verses in addition to the well known chorus (who knew?). We hope that this will still be relevant for his remaining 3 gigs which conclude on 25th July by which time the World Cup Final will be over and the trophy will indeed have come home, or not...
Will followed on with songs from The Beatles, Rolling Stones, Crowded House, The Who and others. ‘The King of the Swingers’ from the jungle book had people dancing in the aisles. Will interspersed these well known songs with some of his own compositions; supported on some by Chris Hale on bass guitar. Precociously, one of his songs was written when he was eleven years old.
After a break we continued in a similar vein with crowd pleasers from: The Kinks, The Electric Prunes (anyone?), and a surprising mash up of Johnny Cash’s Fulsome Prison Blues with The Who’s Pinball Wizard (unlikely but it works).
The second instalment, songs 26 to 50, is on 14th July with subsequent episodes on 18th and 25th.
Significantly all proceeds from the shows go the charity “Music in Hospitals and Care”.
So go along, enjoy yourself and support a good cause.
Brian Kirman
CLOSE ENOUGH AT THE PUMP ROOM - Close Enough Barbershop Quartet
The Pump Room was a relatively cool venue at the end of a hot day, and as seats filled an anticipatory hum grew in the audience, a sure-fire sign of a good evening ahead. When the four pastel-jacketed members of Close Enough walked on it was clear we were in for a treat. A barbershop quartet is made up of four vocal parts, lead, tenor, bass and baritone, who sing unaccompanied harmonies, and Close Enough are masters of this art form. They clearly enjoy singing together, and rapidly built a rapport with the audience.
We enjoyed a wide range of repertoire from traditional barbershop songs like ‘Coney Island Baby’, to the Scottish folk song ‘The Bonnie Banks of Loch Lomond’, which had audience members toe tapping along. Each singer also did one or two solo items, making for a varied and interesting programme. I particularly liked the rendition of Tom Lehrer’s ‘Hold Your Hand in Mine’.
The four singers met at university, but it wasn’t until some time later that they came up with the idea of forming a barbershop quartet. They told us how Buxton Festival has been key to their artistic journey, with their first performance at The Cheshire Cheese pub, then at Scriveners (their first sell out performance) and then at the Green Man Gallery. The Pump Room suits their polished and upbeat style, and they coped well with the background noise from the continuing carnival festivities on the Slopes.
This near sell-out performance was enjoyed by long standing followers and new audience members alike. This was the only chance to catch them at Buxton Fringe this year, and it is to be hoped that they will be back next year.
Georgina Blair
CELEBRATE THE CELTIC - High Peak Orchestra
The High Peak Orchestra offered a trio of complementary romantic pieces in its concert at St John’s Church on Saturday, July 11th. Under the capable baton of Conductor Patrick Gundry-White, the evening opened with the romantic tragedy of Tchaikovsky’s Romeo and Juliet 'Fantasy-Overture', which wraps the three main strands of Shakespeare’s story into a 10-minute rollercoaster of passion, conflict and death. (which – minus the death of course – sounds like England’s performance later that evening in the World Cup Quarter Final)
The second piece was Alexander Glazunov’s Violin Concerto, one of his most popular compositions. Glazunov was a composer of the Russian Romantic period, as was Tchaikovsky (albeit slightly earlier). The Violin Concerto shows off Glazunov’s technically brilliant style, with the novelty of a slow second movement inserted seamlessly into the middle of the first. Written in 1904, the piece was dedicated to violinist Leopold Auer, who gave the piece its first performance in 1905. The guest performer this evening was Orla McGarrity, an Irish violinist based in Manchester and a graduate of the RNCM. Her playing was as much of a delight to the audience as it was to the regular members of the orchestra. Orla’s expressiveness was enhanced by the beautiful tones of the 1810 Giuseppe Baldantoni violin she plays.
After the cheerful elaborations of the Russian folk tune in Glazunov’s piece, Orla McGarrity departed, leaving enthusiastic applause ringing around St John’s. After the interval we were treated to more romantic music with traditional influences, travelling away from Russia to Ireland, courtesy of the ‘Gaelic’ Symphony by the American composer Amy Beach. This was the first symphony composed and published by an American woman, premiering in 1896. Beach drew inspiration from Irish melodies for this large orchestral work, incorporating three Irish tunes, as well as her own song ‘Dark as Night’ into the first movement. The result delivered a combination of lilting melodies and sombre density. Amy Beach was a composer and performer, and this imposing piece is testament to her talent, as is her largely self-guided education in composition. Credit to all performers this evening for their playing and for a thoughtfully balanced evening of interesting music.
Curtis Bollington
ON THE WAY, HERE AND NOW: A JOURNEY THROUGH SONG - Taylor Giacoma
Singer-songwriter Taylor Giacoma took her audience on a journey through her life last night, with a fresh show that slotted naturally into the feel of the Fringe, in the full-to-bursting Sock & Buskin cocktail bar. ('It’s the best problem to have!' Taylor grinned as the final couple squeezed in.)
With her megawatt smile, and trademark red lips, top and boots, this miniature powerhouse blasted her way from her birthplace in New York City, through the highs and lows, to her new life in the UK.
Her distinctive sound combines keyboard with ‘musical’-style songs and a singing voice that’s somewhere between her Swiftie namesake and Disney’s Moana.
Taylor’s songs draw very much on personal experience – from the people she meets and her own fears and fortunes, to figures from history and science.
Here and Now was the theme, from the first number (about how we can’t control what happens to us) to the end of the evening. Highlights included Ordinary Morning, about life in New York; Ef Eridanus, inspired by the stars; and her finale, The Stuck Song – a catchy tune complete with audience singalong.
Taylor Giacoma will be performing at the atmospheric Sock & Buskin bar again each Friday during the Fringe (July 17 & 24, 7pm)... and tickets include a free drink too!
Lesley Caddy
NOTHING TO LOSE AND A WORLD TO SEE - Amazing Performance
This evening was the Fringe debut of Amazing Performance – singers Lisa Coates, Katja Ebrigens and Jonathan Ellis (mainly here for piano – his words). Regular Fringe listeners will be familiar with Katja’s voice and Jonathan’s playing from their previous performances, but not Lisa’s (or indeed Jonathan’s) singing.
The travel theme was a useful hanger for a very wide range of songs, including some particularly unusual choices, which kept us on our toes. The evening did indeed include ‘opera, art song, music theatre, folk, and jazz’ – and all quite well-known songs. Singing duties, particularly solo and duet, was mainly from Lisa and Katja. From first to last, they sang beautifully, both individually and in harmony. Jonathan added occasional solo lines and more frequent harmony, much of which he had written for the three of them.
Jonathan's playing, sensitive and dynamic, was excellent throughout, though he didn’t really have much opportunity for extended solo playing – that we can hear on other occasions (see below). Some additional accompaniment by the others on recorder, guitar and melodica added to the variety on other songs.
The performance was relaxed and interactive, with scripted and ad-lib elements to the introductions between the songs. It was also evident to the audience how much the performers were enjoying what they were doing, heightening the audience’s appreciation and enjoyment.
Although the evening started on time, the performance overran by a few minutes, but that just meant a couple of extra songs over what we might have expected.
There is only one further opportunity to see this show, starting at 3:30pm on Friday 17th July, again in the United Reform Church, Purple Room.
Jonathan can also be seen and heard in Amore! with City of Manchester Opera at 4:00pm to 6:30pm on Sunday 12th July, and he has a Piano Recital at 7:30pm to 9:30pm on Friday 17th July at Buxton Methodist Church.
Ian Bowns
STRINGS OF LIGHT (MAGIC OF THE HARP GUITAR) - Jon Pickard
Jon Pickard certainly brought the Magic of the Harp Guitar to Buxton as he launched his fifth year at the Fringe with a relaxed lunchtime concert at St Mary’s Church.
The internationally-acclaimed composer and musician is one of the leading harp-guitarists of his generation and he demonstrated his talent with an inspiring range of music showcasing the rare 23-stringed instrument and its unique breadth of sound.
Abandoning more formal wear for shorts ('I couldn’t face trousers in this heat!'), Jon demonstrated the range of his self-designed harp-guitar with pieces by composers from JS Bach to Mark Knopfler. He also played a specially-adapted fretless harp-guitar: a haunting blend of his more familiar sound and a Middle Eastern oud.
The concert opened with Jon’s version of Dire Straits hit Romeo & Juliet – the sweeping melody resonating with both treble and bass. Bach’s Ave Maria followed, with Jon deftly mastering both the rippling chords and distinctive tune at the same time.
Several of the pieces were his own and he captivated the audience with tales of how he had been inspired by British folklore – from mythological creatures and Celtic warriors to submerged landscapes – as well by his family: finale Running on Rainbows was his young daughter’s spontaneous reaction to leaping through wet grass in the sunlight.
Jon Pickard’s unique style and distinctive musicality are a winning combination. Catch him on Saturday – 4pm, 6pm and 8pm – at the United Reformed Church.
Lesley Caddy
PIANO PLUS - Cheshire Chamber Collective
This performance was the first of a series of 2 concerts from the ‘Cheshire Chamber Collective’. The ensemble is a regular feature in the Fringe being class winners in previous years.
The opening piece, Clarinet trio in A minor op 114, was said to have been composed when Brahms was heading for retirement in his late 50’s. Obviously he experienced a revitalisation and this work demonstrates some inspired melodies woven amongst the instruments. Musicologists may interpret the themes as a reflection of Brahms’ life triumphs, frustrations, and a renewed wave of optimism in later years. In the Brahms trio there was something for everyone featuring three equal participants. The conversational interplay of the haunting melodies is delightfully crafted by clarinettist Emma Tennant and cellist Anna Cowham. The piano part has some tricky moments binding the piece, seamlessly executed by Julian Davis at the piano. The 3rd movement developed the idea of a lilting waltz, sometimes a polka, all very danceable. In the final movement the ensemble captured the mood of excitement with elements of mystery punctuated by dramatic stops and concluding with a furious restatement of themes and a final flourish. The audience’s attention was held to the end with some moments of brilliant playing from all three players.
After the interval was the Elgar Piano quintet op 84. Another very listenable chamber work from the audience viewpoint and a particularly exciting and inspirational work. To achieve the high standard of tonight’s rendition it is also quite a challenge to play! One could say “never a dull moment” with the Collective displaying some virtuosic playing contrasting some wonderfully voiced warmth in the ensemble passages. This was particularly demonstrated in the strong sonorous tones in the adagio from the viola of Adrienne Spilsbury and cello of Anna Cowham, the harmony underpinning the beautiful phrasing of violins played by Nicola Bright and Susan Harris.
The historic Broadwood grand at the URC church was certainly put through its paces by Julian Davis who appeared to be in complete control or the beast throughout the concert. There was some technically very challenging content to the programme which Julian sailed through making it all sound deceptively easy; a sign of a pianist on top of the game, belying much rigorous and devoted preparation. The final movement of the Elgar was a formidable tour de force with everything going for broke! The strings kept a firm grip on proceedings in perfect synchrony whilst the dominant force of the piano was on the brink of explosion from orbit. All wonderfully executed leaving the whole room is a state of breathtaking joy. If it had played to extra time, the band could have needed oxygen!
The second appearance of the Cheshire Collective features wide ranging music, much of which is specifically arranged by the violist in tonight’s concert, Adrienne Spilsbury. If tonight’s concert is a fore-taster, next weekend will be another gem in the diary for Saturday 18th July, 7:30 in the Palace ballroom.
Brian Lightowler
GIFTS FROM CROWS TRIO - INTIMATE AND ACOUSTIC - Gifts From Crows Trio
Gifts From Crows returned to the Fringe with the first of two shows this year. The trio, based in Chester bring a jazzy sound to the Fringe which was wafting through Sock & Buskin and along George Street. That’s not to say it’s loud, but in this weather the doors were open providing the occasional breeze through an appreciative audience.
The trio of Richard Laurence (Piano, Synths & Samples), Helen Southall (Soprano and Tenor Saxophones & Clarinet) and Garfield Southall (Drums & Percussion) called the show 'Intimate and Acoustic and it gave us a taste of some of their music they don’t usually play live and some tracks from their recent album Partial Magick (available on Bandcamp folks) - this was what Garfield described as their ‘quiet set’
Each member of the trio had a chance to showcase their talents and interact with the audience. Their music spanned a range of moods from quiet and contemplative to the turbulent sounds of a storm in their Seasons Suite. Not quite as famous as that other one, but enjoyable, nonetheless. Each piece of music drew warm applause form the audience, and several took the chance during the short interval to chat with each of the musicians.
If you’re looking for some jazz on a summer’s evening later in the Fringe you can catch them doing a free show at Café #1 where they will do a ‘full concert’. If you want to know what that entails you’ll have to go to find out.
Ian Parker Heath
THE ANYTHING COULD HAPPEN BUT MIGHT NOT SHOW - Fred Rolland
Guitarist Fred Rolland has 21 Buxton Fringe shows under his belt, appearing over the years in jazz bands, rock bands, choirs and, latterly, as one half of the duo Fred Up. This year, with his Fred Up partner otherwise engaged, Fred set himself the challenge of coming up with a solo show, and the result is The Anything Could Happen But Might Not Show. Instead of performing a straight-down-the-line concert, Fred has introduced the element of chance into the show. Two bowls are circulated around the audience. One contains a musical style (jazz, pop, rock, etc) and the other an era. Mashing these two together then inspires Fred to play something based on those categories.
It’s a fun idea, and has a lot of potential, but needs a bit of finessing. At present some of the categories feel a bit broad, particularly in terms of eras (for example, something between 50 and 100 years old). I feel there’d be more mileage in more specific timescales, perhaps confining them to a decade. It is when Fred is forced to play songs that feel outside his comfort zone (a couple of 90s songs especially) that the show really takes off as, in a show of this kind, there needs to be a – real or concocted – feeling of jeopardy, that (as the title suggests) anything could happen. Fred is an experienced guitarist, an enthusiastic singer, and a congenial host, with a wealth of experience, (including in panto bands) to give him a lot of potential material – no matter how absurd – to play with, and a few tweaks to the format could give this show that extra frisson of risk that it needs to really catch fire.
Further performances Wed 15th, Fri 24th.
Robbie Carnegie
BOTH SIDES NOW - Gill Sweeting
Gill has performed with other musicians at Buxton Festival Fringe over a number of years. In this show, she used the device of ‘Both Sides Now’ to showcase some of her favourite songs that showed contrasting, perhaps complementary aspects of human relationships and experiences.
The chosen songs were, stylistically, largely ballads, almost all composed by women, some more famous than others. I’d expect that most people would have had varied prior knowledge of these songs. For me, there were some revelations in the selection. Simple use of a visual slide to introduce each song was very effective. But, no spoilers here.
Gill played a few songs at the Fringe Launch Party the evening before, accompanying herself on ukulele. For this evening, Gill played piano throughout – the sound was clear and, as someone remarked to me at the end “I heard every word”.
The key things about Gill’s performance of the material was that she really communicated the meanings and emotions behind the lyrics and put something of herself into every single one. We heard dynamics, colour, all with Gill’s distinctive vocal quality. This is exactly the sort of performance that the Fringe is all about – an accomplished performer bringing something different, personal and extra. The perfect antidote to endless tribute bands and AI compositions. The audience were very appreciative.
Introducing the penultimate song (‘Salt, then sour, then sweet’, by Sara Bareilles, Andrea Gibson and Brandi Carlile) with a personal experience, which I won’t give away here, was particularly poignant. You won’t be surprised to learn the the last song was, indeed, Joni Mitchell’s ‘Both Sides Now’, beautifully delivered, with added Gill. You only have one more opportunity to see this show, from 7pm to 8pm on Sunday 19th July at Underground at the Working Men's Club. Highly recommended.
Ian Bowns
