
December - Christmas Special
Olivia Moss & Tina Gelnere
Funtington Music Group’s Christmas Concert was held at the University of Chichester on 11 December. The Group was delighted to welcome back Tina Gelnere [mezzo-soprano] who was a previous Funtington Music Group Bursary Holder, and Olivia Moss [soprano], recipient of The Gus Christie Award 2018 from Glyndebourne, awarded to support young singers with exceptional promise. They performed a varied series of songs involving 15 composers across three centuries of music.
Olivia Moss (left in photo) began with a rousing and effective performance Meine Liebe ist Grun by Brahms and this was followed with Tina Gelnere singing two arias from La Clemenza di Tito by Mozart. The first aria Parto was particularly emotionally challenging and she sang with a radiant and refreshingly direct expressive performance.
The two singers were ably accompanied by Chris Coote whose playing throughout the evening was thoroughly supportive and sensitively caught the changing moods of the variety of compositions that flowed flawlessly throughout the concert.
It is difficult to compare the two singers, whose performances were equally engaging for the audience, who were extremely appreciative throughout the evening. Both charmed with their straightforward style, youthful tone and temperament, and their amusing and educational introductions to their songs. Both showed equal ability to sing challenging music, as Olivia did with her haunting and expressive interpretation of Come, Now a Roundel by Britten, and, as Tina did, with a convincing performance of the changing lyrical emotions demanded by Faites-lui mes Aveux by Gounod.
The programme included more light-hearted performances from Gershwin and Cole Porter where we were transported from the concert hall to the cabaret. However, for this reviewer the highlight was a duet of the well-known Flower Duet from the opera Lakme by Delibes. Both singers brought plenty of emotion to their performances, their voices melding together seamlessly, their singing often tastefully understated, yet they caught the poignant mood required, vividly, sensitively, and professionally.
Tina Gelnere, now working in Wales, included a short song Anfonal Angel by Arwyn, and she must be particularly congratulated for her rendition of the words in Welsh.
Chris Hough, Chairman of the Funtington Music Group, said, “This was a wholly engaging and wonderfully entertaining programme from two rising musicians, who performed perfectly. We give Olivia and Tina our heartfelt thanks. I must also congratulate Chris Coote (also FMG's Treasurer!) on his sensitive piano accompaniment which so effectively caught the mood of the music. A thoroughly successful evening”
Olivia Moss & Tina Gelnere
Funtington Music Group’s Christmas Concert was held at the University of Chichester on 11 December. The Group was delighted to welcome back Tina Gelnere [mezzo-soprano] who was a previous Funtington Music Group Bursary Holder, and Olivia Moss [soprano], recipient of The Gus Christie Award 2018 from Glyndebourne, awarded to support young singers with exceptional promise. They performed a varied series of songs involving 15 composers across three centuries of music.
Olivia Moss (left in photo) began with a rousing and effective performance Meine Liebe ist Grun by Brahms and this was followed with Tina Gelnere singing two arias from La Clemenza di Tito by Mozart. The first aria Parto was particularly emotionally challenging and she sang with a radiant and refreshingly direct expressive performance.
The two singers were ably accompanied by Chris Coote whose playing throughout the evening was thoroughly supportive and sensitively caught the changing moods of the variety of compositions that flowed flawlessly throughout the concert.
It is difficult to compare the two singers, whose performances were equally engaging for the audience, who were extremely appreciative throughout the evening. Both charmed with their straightforward style, youthful tone and temperament, and their amusing and educational introductions to their songs. Both showed equal ability to sing challenging music, as Olivia did with her haunting and expressive interpretation of Come, Now a Roundel by Britten, and, as Tina did, with a convincing performance of the changing lyrical emotions demanded by Faites-lui mes Aveux by Gounod.
The programme included more light-hearted performances from Gershwin and Cole Porter where we were transported from the concert hall to the cabaret. However, for this reviewer the highlight was a duet of the well-known Flower Duet from the opera Lakme by Delibes. Both singers brought plenty of emotion to their performances, their voices melding together seamlessly, their singing often tastefully understated, yet they caught the poignant mood required, vividly, sensitively, and professionally.
Tina Gelnere, now working in Wales, included a short song Anfonal Angel by Arwyn, and she must be particularly congratulated for her rendition of the words in Welsh.
Chris Hough, Chairman of the Funtington Music Group, said, “This was a wholly engaging and wonderfully entertaining programme from two rising musicians, who performed perfectly. We give Olivia and Tina our heartfelt thanks. I must also congratulate Chris Coote (also FMG's Treasurer!) on his sensitive piano accompaniment which so effectively caught the mood of the music. A thoroughly successful evening”

November
Ruisi Quartet
The Funtington Music Group welcomed back on 13 November to the University of Chichester the Ruisi Quartet. This Quartet founded in 2013 by the Ruisi brothers is now internationally acclaimed as one of the leading string quartets of its generation.
The programme began with a performance of Britten’s Three Divertimente. This was a very effective introductory piece, and it set the scene for the remainder of the concert. The Quartet’s playing was wonderfully incisive with crisp brilliance and consummately played rhythms. They interpreted Britten’s music brilliantly, highlighting his melodic appeal, textual sparkle, and structural beauty.
The second piece was a contrasting but equally pleasing performance of Haydn’s String Quartet in B Minor, Opus 64, No 2. This is an intimate piece of music and the Ruisi interpreted the slow sections soulfully, while the more dynamic movements were played with animated effectiveness.
After the interval the choice was a youthful Mendelssohn’s String Quartet in A Minor Opus 13. This is a beautiful piece and the Quartet’s interpretation was second to none. They kept the balance between the instruments precise, the energy was palpable but unforced, and their interpretation was totally immaculate.
This was a marvellous concert, which left our audience wanting more. Chris Hough, Chairman of the Funtington Music Group, thanked the Quartet for their visit to Chichester, “This was a thoroughly enjoyable evening and the Ruisi played superbly.”
Ruisi Quartet
The Funtington Music Group welcomed back on 13 November to the University of Chichester the Ruisi Quartet. This Quartet founded in 2013 by the Ruisi brothers is now internationally acclaimed as one of the leading string quartets of its generation.
The programme began with a performance of Britten’s Three Divertimente. This was a very effective introductory piece, and it set the scene for the remainder of the concert. The Quartet’s playing was wonderfully incisive with crisp brilliance and consummately played rhythms. They interpreted Britten’s music brilliantly, highlighting his melodic appeal, textual sparkle, and structural beauty.
The second piece was a contrasting but equally pleasing performance of Haydn’s String Quartet in B Minor, Opus 64, No 2. This is an intimate piece of music and the Ruisi interpreted the slow sections soulfully, while the more dynamic movements were played with animated effectiveness.
After the interval the choice was a youthful Mendelssohn’s String Quartet in A Minor Opus 13. This is a beautiful piece and the Quartet’s interpretation was second to none. They kept the balance between the instruments precise, the energy was palpable but unforced, and their interpretation was totally immaculate.
This was a marvellous concert, which left our audience wanting more. Chris Hough, Chairman of the Funtington Music Group, thanked the Quartet for their visit to Chichester, “This was a thoroughly enjoyable evening and the Ruisi played superbly.”

October
Peter Grevatt with Kenneth Roberts (piano)
Mozart’s Marriage of Figaro was the subject of the Lecture Recital given by baritone Peter Grevatt at the Funtington Music Group’s Concert at the University of Chichester on 9 October. He was ably assisted by pianist Kenneth Roberts.
Peter has enjoyed a distinguished career, having studied at the Royal Academy of Music and sung with British Youth Opera, London Opera Players and the D’Oyly Carte Company. He has portrayed some 80 operatic roles and sung in more than 60 oratorios. His lecture took the form of a multimedia presentation including slides, videos and of course the singing of several arias from the Opera. It was an extremely entertaining and insightful look at what is arguably Mozart’s finest opera. Peter showed us his versatility by not only singing baritone arias but also extracts from bass and mezzo soprano arias, and at one point sang all three parts of a trio, not necessarily together but always in the right order. He also shared some anecdotes from his experiences of performing which his audience found highly entertaining.
Chris Hough, Chairman of the Funtington Music Group congratulated Peter on a highly entertaining and informative evening and looked forward to welcoming him back to FMG again soon.
Peter Grevatt with Kenneth Roberts (piano)
Mozart’s Marriage of Figaro was the subject of the Lecture Recital given by baritone Peter Grevatt at the Funtington Music Group’s Concert at the University of Chichester on 9 October. He was ably assisted by pianist Kenneth Roberts.
Peter has enjoyed a distinguished career, having studied at the Royal Academy of Music and sung with British Youth Opera, London Opera Players and the D’Oyly Carte Company. He has portrayed some 80 operatic roles and sung in more than 60 oratorios. His lecture took the form of a multimedia presentation including slides, videos and of course the singing of several arias from the Opera. It was an extremely entertaining and insightful look at what is arguably Mozart’s finest opera. Peter showed us his versatility by not only singing baritone arias but also extracts from bass and mezzo soprano arias, and at one point sang all three parts of a trio, not necessarily together but always in the right order. He also shared some anecdotes from his experiences of performing which his audience found highly entertaining.
Chris Hough, Chairman of the Funtington Music Group congratulated Peter on a highly entertaining and informative evening and looked forward to welcoming him back to FMG again soon.
September
Bradley Creswick & Margaret Fingerhut
The Funtington Music Group welcomed Bradley Creswick,[violin] and Margaret Fingerhut [piano]to the autumn season opening concert, held at the University of Chichester, on 11 September. This was one of the most memorable concerts run by the Group, as these two internationally renowned musicians, playing largely, but not exclusively, music by French composers, held the audience with some spell binding performances.
The concert opened with Sonate pour violon et piano by Debussy. This piece has an undercurrent of nervous energy which allowed both players to exquisitely highlight the sound colours and atmospheric qualities of the work, playing so well together, minutely crafting their performances, from the dreamy and full of promise opening, to the rhapsodic haunting melodies that emerge during the performance. The audience gave rapturous applause, which continued throughout the evening.
This was followed by Sonata in A Major by Franck. This was another riveting performance by Bradley Creswick, where he employed a huge dynamic range, and expertly managed the ever-changing mood and tempo that the piece demanded. The accompaniment by the ever-attentive and supremely accomplished Margaret Fingerhut was also entirely sympathetic and technically memorable.
After the interval and a beautiful rendition of Vaughan Williams’ The Lark Ascending, the duo transported the audience to Central Europe with an exhilarating performance of Kreisler’s March Miniature Viennoise.
The final piece was Tzigane by Ravel. Begun before World War One, Ravel finished it in 1917, after he had experienced life changing events as a stretcher bearer on the Western Front. It is a difficult show-piece, where the music accelerates and decelerates time and again, so the musician has to be sensitive when called for, and then turn into a full blooded impetuous gypsy violinist. Bradley achieved this contrast brilliantly.
After a rousing encore Chris Hough, Chairman of the Funtington Music Group said, “Wow, what a fabulous concert! Bradley’s infectious stage presence was particularly engaging, and his performance was a real joy which was obviously appreciated by our audience. Margaret’s sensitive and spirited accompaniment allowed the duo to bring out all the variety and colours of the music to great effect. We look forward to welcoming back both musicians.”
Bradley Creswick & Margaret Fingerhut
The Funtington Music Group welcomed Bradley Creswick,[violin] and Margaret Fingerhut [piano]to the autumn season opening concert, held at the University of Chichester, on 11 September. This was one of the most memorable concerts run by the Group, as these two internationally renowned musicians, playing largely, but not exclusively, music by French composers, held the audience with some spell binding performances.
The concert opened with Sonate pour violon et piano by Debussy. This piece has an undercurrent of nervous energy which allowed both players to exquisitely highlight the sound colours and atmospheric qualities of the work, playing so well together, minutely crafting their performances, from the dreamy and full of promise opening, to the rhapsodic haunting melodies that emerge during the performance. The audience gave rapturous applause, which continued throughout the evening.
This was followed by Sonata in A Major by Franck. This was another riveting performance by Bradley Creswick, where he employed a huge dynamic range, and expertly managed the ever-changing mood and tempo that the piece demanded. The accompaniment by the ever-attentive and supremely accomplished Margaret Fingerhut was also entirely sympathetic and technically memorable.
After the interval and a beautiful rendition of Vaughan Williams’ The Lark Ascending, the duo transported the audience to Central Europe with an exhilarating performance of Kreisler’s March Miniature Viennoise.
The final piece was Tzigane by Ravel. Begun before World War One, Ravel finished it in 1917, after he had experienced life changing events as a stretcher bearer on the Western Front. It is a difficult show-piece, where the music accelerates and decelerates time and again, so the musician has to be sensitive when called for, and then turn into a full blooded impetuous gypsy violinist. Bradley achieved this contrast brilliantly.
After a rousing encore Chris Hough, Chairman of the Funtington Music Group said, “Wow, what a fabulous concert! Bradley’s infectious stage presence was particularly engaging, and his performance was a real joy which was obviously appreciated by our audience. Margaret’s sensitive and spirited accompaniment allowed the duo to bring out all the variety and colours of the music to great effect. We look forward to welcoming back both musicians.”

June
The Summer concert with the Endymion Ensemble
The Endymion Ensemble played for The Funtington Music Group at their Summer Concert on 12 June at the University of Chichester.
The programme chosen by these very experienced world class musicians began with a performance of Beethoven’s Violin Sonata No 5 in F Major Opus 24. Named after Beethoven’s death as the Spring Sonata, Krysia Osostowicz [violin] and Michael Dussek [piano] melded the music seamlessly, with flawless technique and sparkling, serene or calm musicianship as required. Both artists were noticeably sympathetic to the demands of the other player’s instrument, so that the performance of the Sonata was a triumph and extremely well-received by the audience.
The next piece chosen was Ligeti’s Trio for horn, violin and piano. This work, written in 1982 to coincide with the 150th anniversary of Brahms birth in 1983, is known as “Hommage a Brahms”. Stephen Stirling [Horn] joined the Trio at this point and introduced the piece. As Stephen helpfully explained, the piece “blends energetic rhythms, with deftly textured writing, and sharply contrasting harmonies”. The music does not however sound remotely like Brahms and the audience were certainly challenged by Ligeti’s music, but one of the strategies of the Funtington Music Group is to widen the musical knowledge and experience of its members. The Trio played this difficult late 20th Century piece with brilliant precision and immense expertise. The second movement, involving many diverse cultural influences from the Caribbean, Africa and Europe, was a particular success. The conclusion of the final rather poignant movement was also played expressively, with fascinating extremes of sound, from the pounding of the low notes on the piano, to, in complete contrast, the eerily diminishing, high, and haunting sounds of the violin.
After a very enjoyable buffet, the audience returned to hear the Trio for horn, violin and piano, Opus 40, by Brahms. The Trio played this consummately well, thriving on the variety of the musical timbres that the composer created. For instance the way in which the musicians moved apparently so effortlessly between the delicacy and tranquillity of the third movement Adagio to the passionate and exuberant climax of the fourth’s Allegro was a joy to admire.
As Chris Hough, Chairman of the Funtington Music Group, said, “This was an evening to remember when we have been entertained by three so talented artists who are at the top of their profession. It was also a privilege for us to be able to welcome back Stephen Stirling, and his colleagues, to perform for our Music Group.”
The Summer concert with the Endymion Ensemble
The Endymion Ensemble played for The Funtington Music Group at their Summer Concert on 12 June at the University of Chichester.
The programme chosen by these very experienced world class musicians began with a performance of Beethoven’s Violin Sonata No 5 in F Major Opus 24. Named after Beethoven’s death as the Spring Sonata, Krysia Osostowicz [violin] and Michael Dussek [piano] melded the music seamlessly, with flawless technique and sparkling, serene or calm musicianship as required. Both artists were noticeably sympathetic to the demands of the other player’s instrument, so that the performance of the Sonata was a triumph and extremely well-received by the audience.
The next piece chosen was Ligeti’s Trio for horn, violin and piano. This work, written in 1982 to coincide with the 150th anniversary of Brahms birth in 1983, is known as “Hommage a Brahms”. Stephen Stirling [Horn] joined the Trio at this point and introduced the piece. As Stephen helpfully explained, the piece “blends energetic rhythms, with deftly textured writing, and sharply contrasting harmonies”. The music does not however sound remotely like Brahms and the audience were certainly challenged by Ligeti’s music, but one of the strategies of the Funtington Music Group is to widen the musical knowledge and experience of its members. The Trio played this difficult late 20th Century piece with brilliant precision and immense expertise. The second movement, involving many diverse cultural influences from the Caribbean, Africa and Europe, was a particular success. The conclusion of the final rather poignant movement was also played expressively, with fascinating extremes of sound, from the pounding of the low notes on the piano, to, in complete contrast, the eerily diminishing, high, and haunting sounds of the violin.
After a very enjoyable buffet, the audience returned to hear the Trio for horn, violin and piano, Opus 40, by Brahms. The Trio played this consummately well, thriving on the variety of the musical timbres that the composer created. For instance the way in which the musicians moved apparently so effortlessly between the delicacy and tranquillity of the third movement Adagio to the passionate and exuberant climax of the fourth’s Allegro was a joy to admire.
As Chris Hough, Chairman of the Funtington Music Group, said, “This was an evening to remember when we have been entertained by three so talented artists who are at the top of their profession. It was also a privilege for us to be able to welcome back Stephen Stirling, and his colleagues, to perform for our Music Group.”

May
A Concert by Piers Adams (recorder) with the University Chamber Orchestra conducted by Crispin Ward
Crispin Ward, Senior Lecturer in Orchestral Studies at the University conducted the University Chamber Orchestra in Peter Warlock’s Capriol Suite, John Ireland’s Downland Suite and Elgar’s Serenade for Strings. The twenty string musicians had been extremely well rehearsed and this showed in the tightness of their ensemble playing and their enthusiasm, aided by Crispin’s vigorous approach to conducting, which ensured that he obtained the very best from the orchestra in these lovely renaissance dances and bucolic pieces invoking the English countryside.
They were joined by virtuoso recorder player Piers Adams for Giuseppi Sammartini’s concerto, a delightful piece which Piers brought to life with his effervescent playing on the descant recorder. This instrument, beloved of youngsters enjoying their first musical experience, has been described as the worst instrument ever invented. But certainly not in Piers hands! Then a very special treat, the World premiere of Crispin’s own composition, the Concerto for Recorder and Strings, an excellent piece evoking memories of earlier styles, where Piers played no fewer than four recorders, not all at the same time (although he has been known to). Piers is an amazing and charismatic performer, making us think of the Pied Piper of Hamelin as he dances around the stage and simulating the percussion section with his feet.
This concert was a real treat for FMG members and friends. Chris Hough, FMG Chairman, thanked Piers, Crispin and the Orchestra for a truly joyful evening full of excellent musicianship. “A concert that would remain in the memory for a very long time!”
A Concert by Piers Adams (recorder) with the University Chamber Orchestra conducted by Crispin Ward
Crispin Ward, Senior Lecturer in Orchestral Studies at the University conducted the University Chamber Orchestra in Peter Warlock’s Capriol Suite, John Ireland’s Downland Suite and Elgar’s Serenade for Strings. The twenty string musicians had been extremely well rehearsed and this showed in the tightness of their ensemble playing and their enthusiasm, aided by Crispin’s vigorous approach to conducting, which ensured that he obtained the very best from the orchestra in these lovely renaissance dances and bucolic pieces invoking the English countryside.
They were joined by virtuoso recorder player Piers Adams for Giuseppi Sammartini’s concerto, a delightful piece which Piers brought to life with his effervescent playing on the descant recorder. This instrument, beloved of youngsters enjoying their first musical experience, has been described as the worst instrument ever invented. But certainly not in Piers hands! Then a very special treat, the World premiere of Crispin’s own composition, the Concerto for Recorder and Strings, an excellent piece evoking memories of earlier styles, where Piers played no fewer than four recorders, not all at the same time (although he has been known to). Piers is an amazing and charismatic performer, making us think of the Pied Piper of Hamelin as he dances around the stage and simulating the percussion section with his feet.
This concert was a real treat for FMG members and friends. Chris Hough, FMG Chairman, thanked Piers, Crispin and the Orchestra for a truly joyful evening full of excellent musicianship. “A concert that would remain in the memory for a very long time!”

April
Student Showcase Concert
The sixteenth annual University Showcase competition on 17thApril was once again a most memorable evening when we heard six students competing for The Robert Headley Music Prize. They were chosen from the original fourteen that auditioned, and the competition was adjudicated by Ian Richardson, Assistant Director of Music at the Prebendal School Chichester, and Assistant Musical Director and Accompanist to the Portsmouth Choral Union.
Winner of the first prize of £600, soprano Bryony Morrison, entranced us with her beautiful tone as she performed songs by Liszt, Poulenc, Amy Beach and an unusual choice, Victor Hely-Hutchinson’s “The Owl and the Pussy Cat” which was singled out for its clarity and excellent communication The second prize of £350 went to soprano Aileen Baker, who sang songs and arias by Schumann, Verdi and Bizet. She captured the different moods of her pieces excellently. Third prize of £250 went to pianist Brady Lloydwho played a Moment Musicaux by Rachmaninoff followed by his own composition “90 Minutes”. He completed a most original programme with “Improvisation on Pachebel’s Canon”, the audience bursting into laughter at the sudden reference to Mozart’s sonata in C major.
There were three runners up prizes of £100 each. Sophie Earl sang the most amusing “Girl in 14g”, “She used to be mine” by Sara Bareillas, and “I’m a Star” by Scott Alan. Discarding her microphone and accompanying herself on the guitar, she ended her performance with “Over the Rainbow”. Nara Clapperton sang a Handel aria from Theodora, Schubert’s Frühlingsglaube and two lovely Britten songs. Jess Saunders(French horn) played Morceau de Concert by Saint Saëns and a movement from Mozart’s 1sthorn concerto, changing her modern instrument for a natural horn, without valves, with all its challenges!
Excellent accompaniment was provided by Ben Hall, Head of Music at the University, and Craig Thomas.
The prizes were awarded by the University’s Deputy Vice-Chancellor ProfessorCatherine Harper,who expressed her pleasure at the very high standard of musicianship on display, and the excellent relationship that the Funtington Music Group has forged with the University’s Music Department over the past sixteen years through its financial support by way of prizes and bursaries and the purchase of instruments for use by students. She hoped that the relationship would continue for many more years
Student Showcase Concert
The sixteenth annual University Showcase competition on 17thApril was once again a most memorable evening when we heard six students competing for The Robert Headley Music Prize. They were chosen from the original fourteen that auditioned, and the competition was adjudicated by Ian Richardson, Assistant Director of Music at the Prebendal School Chichester, and Assistant Musical Director and Accompanist to the Portsmouth Choral Union.
Winner of the first prize of £600, soprano Bryony Morrison, entranced us with her beautiful tone as she performed songs by Liszt, Poulenc, Amy Beach and an unusual choice, Victor Hely-Hutchinson’s “The Owl and the Pussy Cat” which was singled out for its clarity and excellent communication The second prize of £350 went to soprano Aileen Baker, who sang songs and arias by Schumann, Verdi and Bizet. She captured the different moods of her pieces excellently. Third prize of £250 went to pianist Brady Lloydwho played a Moment Musicaux by Rachmaninoff followed by his own composition “90 Minutes”. He completed a most original programme with “Improvisation on Pachebel’s Canon”, the audience bursting into laughter at the sudden reference to Mozart’s sonata in C major.
There were three runners up prizes of £100 each. Sophie Earl sang the most amusing “Girl in 14g”, “She used to be mine” by Sara Bareillas, and “I’m a Star” by Scott Alan. Discarding her microphone and accompanying herself on the guitar, she ended her performance with “Over the Rainbow”. Nara Clapperton sang a Handel aria from Theodora, Schubert’s Frühlingsglaube and two lovely Britten songs. Jess Saunders(French horn) played Morceau de Concert by Saint Saëns and a movement from Mozart’s 1sthorn concerto, changing her modern instrument for a natural horn, without valves, with all its challenges!
Excellent accompaniment was provided by Ben Hall, Head of Music at the University, and Craig Thomas.
The prizes were awarded by the University’s Deputy Vice-Chancellor ProfessorCatherine Harper,who expressed her pleasure at the very high standard of musicianship on display, and the excellent relationship that the Funtington Music Group has forged with the University’s Music Department over the past sixteen years through its financial support by way of prizes and bursaries and the purchase of instruments for use by students. She hoped that the relationship would continue for many more years

March
The Earth laughs in Flowers
Pippa Dames-Longworth,
Mezzo Soprano
Pippa Dames-Longworth, Mezzo-Soprano, delighted the Funtington Music Group at their Concert at the University of Chichester on 13 March. The programme she arranged with accompanist Nicholas Bosworth was entitled “The Earth Laughs in Flowers. A Seasonal Song Recital” and this was an enchanting programme of songs, piano solos and readings.
Pippa Dames- Longworth’s choice of music was cleverly allied with the title of “Flowers”, and her choice of composers ranged intriguingly from Handel to Flanders and Swann, from Argentina to Russia. Her choice of readings was equally varied, and well-chosen, and her interpretation of Joyce Grenfell’s Children Dancing was very well received by the audience. .
The audience also appreciated her range of voice and the subtle way in which she produced such a wide range of vocal colours, and this was especially noticeable with her interpretation of songs from Rachmaninoff, Mendelssohn, and Brahms. Her sense of longing, melancholy and sadness was also well portrayed in her performance of the World War One classic “Roses of Picardy.”
Nicholas Bosworth’s accompaniment on the piano was excellent and was particularly notable when playing the Rachmaninoff which is at times extremely challenging, and demanded, as Pippa accurately said, “a torrent of virtuosity”. His solos were also enjoyable for their variety and he played with ease and grace, and particularly successful was his Peer Gynt interpretative performance which was soothing, finely shaped, and so appropriate for such a well-known work.
Chris Hough, Chairman of the Funtington Music Group said, “We have been privileged to hear two versatile and experienced musicians combining music and poetry to make a really first class concert experience for our members. This was a really delightful evening.”
The Earth laughs in Flowers
Pippa Dames-Longworth,
Mezzo Soprano
Pippa Dames-Longworth, Mezzo-Soprano, delighted the Funtington Music Group at their Concert at the University of Chichester on 13 March. The programme she arranged with accompanist Nicholas Bosworth was entitled “The Earth Laughs in Flowers. A Seasonal Song Recital” and this was an enchanting programme of songs, piano solos and readings.
Pippa Dames- Longworth’s choice of music was cleverly allied with the title of “Flowers”, and her choice of composers ranged intriguingly from Handel to Flanders and Swann, from Argentina to Russia. Her choice of readings was equally varied, and well-chosen, and her interpretation of Joyce Grenfell’s Children Dancing was very well received by the audience. .
The audience also appreciated her range of voice and the subtle way in which she produced such a wide range of vocal colours, and this was especially noticeable with her interpretation of songs from Rachmaninoff, Mendelssohn, and Brahms. Her sense of longing, melancholy and sadness was also well portrayed in her performance of the World War One classic “Roses of Picardy.”
Nicholas Bosworth’s accompaniment on the piano was excellent and was particularly notable when playing the Rachmaninoff which is at times extremely challenging, and demanded, as Pippa accurately said, “a torrent of virtuosity”. His solos were also enjoyable for their variety and he played with ease and grace, and particularly successful was his Peer Gynt interpretative performance which was soothing, finely shaped, and so appropriate for such a well-known work.
Chris Hough, Chairman of the Funtington Music Group said, “We have been privileged to hear two versatile and experienced musicians combining music and poetry to make a really first class concert experience for our members. This was a really delightful evening.”
Performing Bach and Scarlatti on the Modern Concert Grand” was the title of Virginia Black’s lecture recital at the Funtington Music Group’s meeting on 13th February. Virginia is well qualified to speak on this subject, having studied both harpsichord and piano at the Royal Academy of Music, where she is professor of harpsichord and a Fellow of the Academy (FRAM), an honour limited to 300 members.
As a performer she pursued a dazzling worldwide career, initially specialising in the virtuoso harpsichord repertoire. Latterly she has returned to her roots as a pianist and her fascinating talk amply illustrated the differences between performing Bach, Scarlatti and Rameau on the harpsichord and the piano. A large audience was completely engaged by her clear presentation, and it was not necessary to be a keyboard player to appreciate the differences in technique between the two instruments. We learnt how it is possible to create the appearance of a crescendo on the harpsichord, which cannot itself play notes at different dynamics, simply by the careful exercise of rubato, and how the careful overlapping of notes can help create a legato or detached touch as required. All this of course is much more easily achieved on the piano, along with all the complications of having an infinite variety of touches and pedalling.
Virginia illustrated her point by playing extracts from Bach’s Italian concerto and the fifth French suite, and it was fascinating for those of us who play the piano to see just how much more colour, vibrancy and variety can be achieved simply by making a few adjustments to the way we play these pieces.
Virginia included several sparkling performances on the University chapel’s Steinway D piano. She played Bach’s 5th partita, three Scarlatti sonatas and extracts from Rameau’s keyboard suites. The latter were virtuosic and thrilling pieces, and it was clear that they were just as effective on the modern concert grand as they would have been on the instrument for which they were composed.
Chris Hough, chairman of the Funtington Music Group thanked Virginia for her insightful presentation and her brilliant performances.
As a performer she pursued a dazzling worldwide career, initially specialising in the virtuoso harpsichord repertoire. Latterly she has returned to her roots as a pianist and her fascinating talk amply illustrated the differences between performing Bach, Scarlatti and Rameau on the harpsichord and the piano. A large audience was completely engaged by her clear presentation, and it was not necessary to be a keyboard player to appreciate the differences in technique between the two instruments. We learnt how it is possible to create the appearance of a crescendo on the harpsichord, which cannot itself play notes at different dynamics, simply by the careful exercise of rubato, and how the careful overlapping of notes can help create a legato or detached touch as required. All this of course is much more easily achieved on the piano, along with all the complications of having an infinite variety of touches and pedalling.
Virginia illustrated her point by playing extracts from Bach’s Italian concerto and the fifth French suite, and it was fascinating for those of us who play the piano to see just how much more colour, vibrancy and variety can be achieved simply by making a few adjustments to the way we play these pieces.
Virginia included several sparkling performances on the University chapel’s Steinway D piano. She played Bach’s 5th partita, three Scarlatti sonatas and extracts from Rameau’s keyboard suites. The latter were virtuosic and thrilling pieces, and it was clear that they were just as effective on the modern concert grand as they would have been on the instrument for which they were composed.
Chris Hough, chairman of the Funtington Music Group thanked Virginia for her insightful presentation and her brilliant performances.

January
Ensemble Reza
Ensemble Reza were warmly welcomed back to perform at the Funtington Music Group’s Concert at the University of Chichester on 16 January. The programme they chose included Schoenberg’s Verklarte Nacht, probably the most popular piece today written by Schoenberg, a work written in 1899 which spans the divide between Romanticism and Modernism. It is full of lush post-Romantic harmonies, and surging melodic lines, but it is also foretelling Schoenberg’s abandonment of traditional tonal harmonies. Pavlos Carvalho introduced the piece and wisely concluded his introduction by helpfully reading the poem on which the piece is based, a poem written in 1896 by Richard Dehmel. This put the piece into context, with its range of emotions from tragedy to redemption, from agony to ecstasy. The Reza interpreted this most challenging of pieces by producing a glorious breadth of textures and musical colour. This was an assertive and top quality performance from six outstanding musicians.
The introductory piece was Schubert’s Quartettsatz D703.This was a convincing choice to come before the Schoenberg, and the Reza produced a formidably satisfying performance. They brought a perfectly balanced mix of vitality, depth, musical expertise, combined where necessary with a playful and theatrical flair.
No one musician can be highlighted as the players, although individually brilliant, played with a real tangible feeling of collegiate responsibility. The concert concluded with a performance of Dvorak’s Sextet in A Major, Opus 48. The Reza, in their interpretation created a fitting conclusion to a magnificent concert, which was extremely well received by the audience
Chris Hough, Chairman of the Funtington Music Group, congratulated the sextet, Lucy Jeal [violin], Andrew Thurgood [violin], Anna Cooper [Viola], Matthew Quenby [viola], Sarah Carvalho-Dubost [cello] and Pavlos Carvalho [cello] on their passionate and intense music making and particularly for their sensitive and satisfying interpretation of the Schoenberg. He concluded by saying that this was a very special concert and looked forward to welcoming Ensemble Reza back to FMG again soon.
Ensemble Reza
Ensemble Reza were warmly welcomed back to perform at the Funtington Music Group’s Concert at the University of Chichester on 16 January. The programme they chose included Schoenberg’s Verklarte Nacht, probably the most popular piece today written by Schoenberg, a work written in 1899 which spans the divide between Romanticism and Modernism. It is full of lush post-Romantic harmonies, and surging melodic lines, but it is also foretelling Schoenberg’s abandonment of traditional tonal harmonies. Pavlos Carvalho introduced the piece and wisely concluded his introduction by helpfully reading the poem on which the piece is based, a poem written in 1896 by Richard Dehmel. This put the piece into context, with its range of emotions from tragedy to redemption, from agony to ecstasy. The Reza interpreted this most challenging of pieces by producing a glorious breadth of textures and musical colour. This was an assertive and top quality performance from six outstanding musicians.
The introductory piece was Schubert’s Quartettsatz D703.This was a convincing choice to come before the Schoenberg, and the Reza produced a formidably satisfying performance. They brought a perfectly balanced mix of vitality, depth, musical expertise, combined where necessary with a playful and theatrical flair.
No one musician can be highlighted as the players, although individually brilliant, played with a real tangible feeling of collegiate responsibility. The concert concluded with a performance of Dvorak’s Sextet in A Major, Opus 48. The Reza, in their interpretation created a fitting conclusion to a magnificent concert, which was extremely well received by the audience
Chris Hough, Chairman of the Funtington Music Group, congratulated the sextet, Lucy Jeal [violin], Andrew Thurgood [violin], Anna Cooper [Viola], Matthew Quenby [viola], Sarah Carvalho-Dubost [cello] and Pavlos Carvalho [cello] on their passionate and intense music making and particularly for their sensitive and satisfying interpretation of the Schoenberg. He concluded by saying that this was a very special concert and looked forward to welcoming Ensemble Reza back to FMG again soon.