A Quick Q&A with James Ehnes

A Quick Q&A with Canadian violinist James Ehnes ahead of his performances of Beethoven's Violin Concert with the RSNO this week.

What's your own history with the Beethoven Violin Concerto? How long have you been playing it?
I was lucky to have the opportunity to first perform the Beethoven when I was quite young, 16 I think. I think I've probably played it more than any other piece in my repertoire! I've had a lot of special experiences with the piece, and one of the great joys of playing it is that it's always a slightly different creature depending on the conductor, orchestra, hall, etc. I played it with Ed Gardner in Birmingham last season, and am greatly looking forward to revisiting it with him this week.
Your recording of the Concerto is released this autumn - is there a reason that you've waited until now to record the piece?
Not really; it was just a case of the circumstances being perfect. It's been my philosophy with recordings to pursue the projects that "work" - the right combination of collaborators, the right producer/engineer, the right repertoire of course - rather than trying to force projects based on abstract idea of what one "should" be releasing at a particular time in one's career. With last year's recording, all sorts of things fell into place that made it seem like the perfect thing at the perfect time. I'm very proud of the way it turned out.
What do you particularly enjoy about the piece? And how would you describe it challenges - both technical and musical/emotional?
I find it to be a very uplifting and energizing experience. It is supremely beautiful and lyrical, but also tremendously exciting and triumphant. It is certainly a difficult and intricate piece violinistically, but I think the greatest challenge lies in the pacing; it is important (in my opinion) to find the right balance between enjoying all its moments of extreme beauty and keeping the momentum and not losing the architecture of the piece as a whole.
You won the Instrumentalist of the Year award at the 2017 RPS awards - what does the award mean to you?
It is a great honour! I have had the very great fortune of performing a great deal over the years all over the United Kingdom, from Orkney to Brighton; the UK and its music lovers have meant a lot to me, so it was very special to be recognised for the wonderful experiences I have had sharing music in this country.

James Ehnes performs Beethoven's Violin Concerto in Perth Concert Hall on Thursday 12 October, the Usher Hall, Edinburgh on Friday 13 October and the Glasgow Royal Concert Hall on Saturday 14 October.


We live in a magnificent world in which it is our natural assumption that we may freely congregate in order to celebrate the wonder and magic of man's creativity on evenings such as this.
The events last night in Paris are a vivid reminder that mankind is also capable of acts of horrifying atrocity. The music we play stands in contrast to such inhumane violence and reminds of the heights to which we can all rise together. We would like to dedicate tonight's performance to the victims of last night's tragedy.
I would ask that following the Webern Langsamer Satz , a love song to all humankind, that we remain silent, contemplate, and hold any applause. From that moment on let us experience defiantly and whole-heartedly the beauty and joy of great music while we celebrate the idea that good will always prevail over evil.

Katherine Wren on Discover Day: Prokofiev

ProkofievWhen I was asked last year if I was interested in delivering one of the RSNO's new Discover Days on Prokofiev, I immediately jumped at the chance. I've been giving pre-concert talks for a few seasons now and I love the opportunity that that gives me to meet our audience and to share my love of music. It would be a real pleasure to spend a whole day looking at one of the most enigmatic and talented composers of the 20th century.
Prokofiev is a fascinating character. Highly intelligent (a whiz at chess, apparently!), he wasn't always the most patient man. Many found him aloof, even arrogant. Ploughing through archive material online, this comes across for me even in his appearance.  Matisse captures his latent energy perfectly in this sketch.
Prokofiev’s energy comes across in his performances, too. There’s a wonderful recording online of him playing his 3rd Piano Concerto in 1932, which became something of a signature piece for him: he was a superb pianist as well as composer. The melodies are shaped with a beautiful rubato and yet there is a potent energy driving the music forward. You can listen to it here:

One thing that I am very much looking forward to on the Discover Days is discussing Romeo and Juliet (and, in Edinburgh, Cinderella) with Scottish Ballet's conductor, Richard Honner. I played Romeo with Scottish Ballet and Richard back in the late 90s before I joined the RSNO and I know he shares my love of this music. We met a few weeks ago to swap ideas. I won't spoil the day by telling you what we talked about, but I will tell you how much I enjoyed my tour of Scottish Ballet's premises at Tramway – a far cry from West Princes Street, where the company was based in my time.
That brings me neatly onto the subject of our venue for the Discover Day in Glasgow: the RSNO’s New Home! Actually, I hardly know it myself yet – we've only been there for a week, but I can tell you that it is incredible! We are so fortunate to have it built for us.
So what are you waiting for? The chance to explore some wonderful music with me, to share the passion of Romeo and Juliet and to be one of the first people to see inside the RSNO's New Home. I’ll see you there on 7th November!

A view from inside the bear suit

I am a viola player in the Royal Scottish National Orchestra so what on earth am I doing on a cold March morning, standing on the very blustery Beach Boulevard in Aberdeen, dressed head to toe in a big furry bear suit?!
Well, six other RSNO musicians and I are in Aberdeen to present our under 5s chamber music concerts to over 400 nursery and primary school children at the Beach Ballroom as part of the Learning Through the Arts Festival organised by Aberdeen Arts.
These concerts were first devised five years ago for one of the orchestra’s Out and About weeks – a unique week in our year where we take up residency in a particular area of Scotland (usually one that we don’t visit as much as we’d like to) and try to reach out to as much of the community as we can.  Quite often we find ourselves in small groups which is exactly how this group was born.
The group is made up of a flute, violin, clarinet, bassoon, double bass and percussion although part of its success lies in its flexibility – we can swap instruments in and out – a French horn instead of a clarinet, or a cello instead of a bassoon for instance, giving the audience a broad representation of instruments of the orchestra.  We play orchestral music ‘reduced’ to suit the instrumentation of the group.
This particular show is a Teddy Bears Picnic and I am the presenter – Big Bear.  The rest of the band are musical bears except for the double bass player who is an elephant and has lost their way and quite literally bumped into a sleuth of bears on their way to a picnic.  Children love three things: silliness, stories and songs and I try to incorporate all of these which is why I am dressed like this for a start!  I read the story of Goldilocks and the Three Bears accompanied by the incredible music of Prokofiev's Romeo and Juliet (trust me, it really works) and I get chased by bees during Vaughan Williams' The Wasps Overture.  Then I sweat a thousand calories dancing to The Sailors Hornpipe, encouraging the children to do the same.  It's silly, it's fun but it exposes these impressionable minds to some of the most fantastic music ever written and to sounds they have probably never heard before.
I've been thinking a lot about connections recently.  As musicians, connecting with people is essentially what we do.  In the concert halls across Scotland, week after week, people are touched by our music – that very raw emotion within us that no one can see is exposed by that music and we make that connection without uttering a single word.  It doesn't necessarily have to be an uplifting experience but it definitely enriches our soul.
It saddened me to learn the other day that there are children in Scotland who arrive at school unable to recognise even their own name – no one has made that primal connection with them that we all so desperately need to thrive in this world.  I'm not saying that our concerts are going to change that but music has a profound effect on people, even at a very young age.
So, what's in it for us musicians?  Well, for me, I have a lot of creative input into this venture and it makes a big change from my day job of playing "mm, cha, cha" (which I love, don’t get me wrong!).  It's a challenge figuring how to make the shows engaging but informative at the same time.  We play without conductor so the band have the challenge of staying together by themselves – a good way of sharpening one's aural and visual tools.  But, most of all, I think we have fun too – who wouldn't in a hall full of 3- and 4-year-olds, completely free of any inhibitions, having a really good time, and being as cute as only they can be?
As I see over 3000 nursery children visiting the Henry Wood Hall in Glasgow this week to hear the full RSNO perform its Teddy Bears Easter Picnic, I really hope that this groups builds on its success so far. Music is so important at every stage of our development but none more so than in those early years.  All I can say is "watch this space!"

RSNO 2015:16 Season Launch

“Do you really want to know?” This was RSNO Principal Double Bass Ana Cordova’s response to Classic FM’s Anne-Marie Minhall when she asked what drew her to her instrument. Anne-Marie was in conversation with Ana, Music Director Peter Oundjian, and Principal Oboe Adrian Wilson as part of the RSNO 2015:16 Season launch at the Glasgow Royal Concert Hall on Wednesday. It was very exciting to be among over 200 RSNO subscribers invited to find out what we can expect from the RSNO’s 125th Anniversary celebrations.
We really did want to know, so Ana went on to explain that in school she was hyperactive and her doctors sent her to obligatory after school ‘activity’ classes. During this time she tried the piano and trumpet with little success before her mother suggested learning violin. Naturally, she rebelled and chose double bass instead. She found she loved it and the rest is history.
Watching Ana perform Gaspar Cassadó’s Requiebros, loosely translated as ‘a chat up line’, was truly mesmerizing. Having never heard the double bass performed as a solo instrument before, I was fascinated to see Ana make an instrument, normally praised for its low, powerful rumblings, sound playful, intricate and coy. She introduced the piece by saying, “I hope this gives you a little taste of the spicy flavour to the Spanish way of life.” She certainly did.
It is the opportunity to get a little closer to RSNO musicians that make these events so special and Principal Oboe Adrian Wilson had an equally interesting story to tell about how he came to his instrument:

“I started playing recorder at school. My recorder teacher told me he could see me playing the oboe. I had no idea what an oboe was but he got me one. He told me ‘I can’t teach you but I think you should try to play it.’ The strange thing is, he died a week later and I often wonder what would have been if he had never mentioned it. I might still not know what an oboe is.”

And thank goodness he does. Adrian played the Sonata for Piano and Oboe by Francis Poulenc dedicated to the memory of his great friend Serge Prokofiev. He captured Poulenc’s grieving process beautifully from the affectionate memory of friendship, to anger at its loss, before quiet acceptance.
And that was just the music! The rest of the evening was made up of short speeches made by Acting Chief Executive, Kenneth Osborne, and RSNO Executive Producer Manus Carey. I was very interested to hear Manus explain his motives for programming the 2015:16 Season; the first of a two-season 125th anniversary celebration. It will be a programme to celebrate the RSNO’s rich heritage, and to take the RSNO forward as they move into their new home.
Of particular note, was the announcement that former Music Directors Stéphane Denève, Alexander Lazarev will return to the RSNO with a programme from their respective home countries, France and Russia. Two concerts I will be sure not to miss!
Excitement over the potential of the new home was clear throughout the evening with Peter Oundjian imaging what the RSNO will do with the new space and Manus giving us a sneak peek into some of the initiatives that will be run there. I look forward to attending the ‘Under the skin of’ initiatives which will be an opportunity to learn more about the composers Tchaikovsky and Stravinsky in a more intimate setting.
However, perhaps the most inspiring thing I took away from the evening was realising how important our subscribers, donors and partners are to us. I came to better understand that without them our work wouldn’t continue. The RSNO is much more than the musicians sitting on the stage; it is a community of people who love music. What an evening!

Sitting in the balcony with an RSNO legend

There is electricity in the rehearsal hall today (Thursday). The atmosphere is positively charged with such energy, such emotion. And the focal point, the man wielding this power, is the legendary conductor Neeme Järvi.
As Conductor Laureate, Neeme has a gloriously rich past with the RSNO. Principal Conductor for 5 years from 1984 to 1988, and a regular guest conductor ever since, he holds a special place in the hearts of the RSNO's musicians and audiences alike, and that fact is inescapable in the rehearsal hall. I am not alone in the balcony today; joining me are donors, RCS conducting students, interns...Everyone is eager to see the master at work.
I've had the privilege of seeing Neeme conduct on many occasions, but this is the first time I've sat in on one of his rehearsals. I've often wondered what rehearsals with Neeme would be like, and it's just as I had imagined, only better! He always commands such powerful performances on stage with his inimitable, almost minimal, style of conducting; the slightest gesture of a hand, a finger, a shoulder, a look, the raise of an eyebrow.
Sat on the conductor's stool, his voice is gentle and calm as he direct the musicians through Shostakovich's Fifth. From the power and immense wall of sound in the opening movement to the whispering tremolando accompanying the softest of clarinet and flute figures in the Largo, the sound is immediately, unmistakably Järvi. Perhaps not surprisingly given their history of working together, but they have also spent the last couple of days recording together.
Neeme arrived on Sunday and was straight into an evening recording session with the Orchestra which continued on Monday and Tuesday; no less than fifteen works by Julius Fučik were committed to disc for Chandos.  Now, today, work begins for this weekend's concerts.  It is a schedule that would tire most mere mortals, but at 77 years young, Neeme is showing no signs of slowing down...And thank goodness for that, or we would be denied some truly wonderful performances.
Until the next time...
Neeme Järvi will conduct the RSNO in a programme of Rimsky-Korsakov's Capriccio espagnol, Prokofiev's Piano Concerto No3 with Jean-Efflam Bavouzet, and Shostakovich's Symphony No5 at the Usher Hall, Edinburgh on Friday 20 February 2015, then at the Glasgow Royal Concert Hall on Saturday 21 February 2015. Tickets can be bought online at rsno.org.uk/whatson 

Sitting in the balcony thinking about love...

Today (Tue 10 Feb) I'm sitting in the balcony thinking about love...or rather, the relationship between love and music!
One of my favourite Shakespeare quotes is from Much Ado About Nothing, when Benedick says to no-one in particular: "Is it not strange that sheeps' guts should hale souls out of men’s bodies?"  And I quite agree...Strings on musical instruments are not generally made from sheeps' guts these days, but there is simply something about music that can speak straight to the soul. There is certain music which can pull on your heart-strings before your ears really have the chance to listen to it, and this rehearsal that I'm currently enjoying is packed full of it.
This week, the Orchestra is going to be performing some wonderfully passionate music in our special Valentine's concert, Latin Passion. But there's very little slushy romantic sentimentalism here; instead this concert is packed with pulsing, swaying rhythms of Chabrier's Habañera, fiery passion in De Falla's El sombrero de tres picos...It's such an inspiring programme!
This concert is not just featuring classical music though. This year we're also having a foray into the world of love themes from the movies: John Williams' soaring Love Theme from Superman, Morricone's heart-breaking theme Gabriel's Oboe from The Mission (featuring our wonderful new Principal Oboe, Adrian Wilson), and Barry's timeless Theme from Out of Africa.
Our conductor this week is our fabulous French-Canadian Assistant Conductor Jean-Claude Picard. Jean-Claude has been with the Orchestra since June 2013 and his rapport with the musicians is clear to see.  I caught up with Jean-Claude after the rehearsal:
"We just had our first rehearsal this morning for this weekend's concerts and it's quite obvious to me and the musicians that this programme is very seductive. I can't wait to share the passion of the music with our audiences in Dundee, Edinburgh and Glasgow!"
Our soloist this week is harpist Xavier de Maistre. He'll be performing Rodrigo's Concierto de Aranjuez, a piece more commonly associated with the guitar, but the arrangement for harp is quite something. We came across a video of him performing it with Kristjan Järvi and the Orchestre de Paris, so here it is as a little something to whet your appetite... (https://www.youtube.com/watch?v=__Iu98UdouU)

The RSNO's Latin Passion concert will take place in Dundee's Caird Hall on Thursday 12 February, The Usher Hall in Edinburgh on Friday 13 February and the Glasgow Royal Concert Hall on Saturday 14 February. Tickets are still available for all performances, priced from just £12.50.  Visit www.rsno.org.uk/valentines to book.
Until the next time...

The faces behind the Enigma...

Elgar's Enigma Variations are well known for being dedicated to, as he put it, "my friends pictured within".  Each characterful variation is packed full of personality, and whilst the music can give a vivid portrayal of a person's nature, I've often found myself wondering what Elgar's friends actually looked like.  Well, wonder no more!  Thanks to our wonderful friends at The Elgar Birthplace Museum, we now know have pictures of each of them, in all their Victorian glory.
Variation I (L'istesso tempo) C.A.E.
C. Alice Elgar - Elgar's wife.

C. Alice Elgar.
Variation II (Allegro) H.D.S-P.
Hew David Steuart-Powell - a well-known amateur pianist and a great player of chamber music.

Hew David Steuart-Powell
Variation III (Allegretto) R.B.T.
Richard Baxter Townshend, Oxford don and author of the "Tenderfoot" series of books.

Richard Baxter Townshend
Variation IV (Allegro di molto) W.M.B.
William Meath Baker, squire of Hasfield, Gloucestershire.

William Meath Baker
Variation V (Moderato) R.P.A.
Richard Penrose Arnold, the son of the poet Matthew Arnold, and himself an amateur pianist.

Richard Penrose Arnold
Variation VI (Andantino) Ysobel
Isabel Fitton, a viola pupil of Elgar's.

Isabel FittonVariation VII (Presto) Troyte
Arthur Troyte Griffith, an architect and an "incompetent pianist"! Variation VIII (Allegretto) W.N.
Winifred Norbury, a easy-going friend Elgar's.Variation IX (Adagio) Nimrod
Augustus J. Jaeger - Elgar's close friend and music editor for his publisher, Novello & Co.Variation X (Intermezzo: Allegretto) Dorabella
Dora Penny, a friend whose stutter is depicted by the woodwinds.Variation XI (Allegro di molto) G.R.S.
George Robertson Sinclair, the energetic organist of Hereford Cathedral, with his bulldog, Dan (a well-known character) whose falling down a riverbank inspired this variation.Variation XII (Andante) B.G.N.
Basil G. Nevinson, a well known cellist. In later years, Nevinson would become the inspiration for Elgar's Cello Concerto.Variation XIII (Romanza: Moderato)  * * * 
Lady Mary Lygon, eldest daughter of the late 6th Earl Beauchamp, a personal friend of Alice and Edward Elgar's. She also promoted the Madresfield Music Festivals and was a keen supporter of Elgar's music.Variation XIV (Finale: Allegro Presto) E.D.U.
Edward Elgar!So there we have it, a face to put to the name... or should that be a face to put to the variation!  I know I'll certainly enjoy thinking of these pictures at our Elgar's Enigma concerts this weekend. You can hear the RSNO perform Elgar's Enigma Variations, conducted by Rory Macdonald, on Friday 7 November in the Usher Hall, Edinburgh and on Saturday 8 November at the Glasgow Royal Concert Hall. Both concerts start at 7.30pm.Some tickets are still available should you not have yours yet - just click here to book!Until the next time...CatAll images courtesy of The Elgar Birthplace Museum in Lower Broadheath, Worcester.

Arthur Troyte Griffith

Winifred Norbury

Augustus J. Jaeger

Dora Penny

George Robertson Sinclair and Dan the bulldog

Basil G. Nevinson

Lady Mary Lygon

Edward Elgar

Sitting in the balcony with old friends.

Today I'm back in my favourite seat in Henry Wood Hall; up in the balcony listening to the first rehearsal of the week. As poppies start appearing on lapels across the land, the RSNO will be performing a very special programme to commemorate Remembrance Day in Edinburgh and Glasgow.
This week's concerts are conducted by Rory Macdonald – a young Scot who is establishing a great career conducting in the likes of Covent Garden, Vienna Konzerthaus, Sydney Opera House and the National Centre for the Performing Arts in Beijing. Earlier this week he spoke to Kate Molleson of The Herald:

"There's a special kind of nervousness that applies to performing at home. How can there not be? I'll have friends, family, my old music teachers in the audience. They'll all be remembering me as a wee boy."

And he was right, in a way. When Rory arrived last week for an RSNO chorus rehearsal with Sally Beamish (for the Scottish Premiere of her new work Equal Voices), I realised we were seeing each other for the first time in about 14 or 15 years. You see, Rory and I played in West of Scotland Schools Symphony Orchestra (WSSSO) together between 1996 and 1998, under the baton of William Conway. But I wouldn't say I remember him as a "wee boy". Even back then, I realised that Rory was an immensely talented individual. When we first met, I was in 3rd year at school sitting in the second violins; he was in 5th year – the leader of the Orchestra, and an incredible violinist. (Incidentally, it turned out that his then desk partner, Martin Suckling, would go on to great things too. His compositions have been performed by orchestras such as the LSO, BBC SSO, Deutsches Symphonie-Orchester Berlin, London Sinfonietta, Scottish Ensemble and Hebrides Ensemble and he is currently the Composer in Association with our colleagues at the Scottish Chamber Orchestra.)
I mention my time at WSSSO not simply because it's how I knew Rory back in the day, but because in our second year at WSSSO –Rory still leading, me now in the ranks of the first violins – we performed Elgar's Enigma Variations, one of the pieces he will be conducting with the RSNO this week.  I still have very fond memories of the residential week of rehearsals in Castle Toward and the performances that followed so this is why, when I saw Rory's name on the Season planning documents alongside the Enigma Variations, I just knew within myself that this week's concerts were going to be great.
I had to just stop writing there. The orchestra had just got to that amazing bit where the last note from the eighth variation leads into the ninth... Nimrod. I just had to stop and listen. My heart is thumping and I don't mind admitting that my eyes are welling up. Wow.
Right, where was I? Ah yes, the concerts. Elgar's Enigma Variations are simply stunning. And I'm not just talking about Nimrod. My personal favourite is actually the twelfth – B.G.N. The soaring cello line is so intense; hesitant in places, insistent in others. It has an inherent sadness, and yet, so beautiful...
It's little wonder that this piece, alongside his Cello Concerto which Aleksei Kiseliov performed so wonderfully a couple of weeks ago, is considered one of Elgar's best compositions and is a firm favourite amongst British Orchestras and audiences alike.
You can hear Elgar's Enigma Variations, conducted by Rory Macdonald, on Friday 7 November in the Usher Hall, Edinburgh and on Saturday 8 November at the Glasgow Royal Concert Hall. Both concerts start at 7.30pm.
If you haven't got your tickets yet, please visit www.rsno.org.uk/whatson
Until the next time...

Sitting in the balcony with Elgar

Sitting in the balcony with Elgar

Listening to a professional orchestra rehearse is a privilege that not very many people get to experience, but every so often I like to take some time away from my desk in the RSNO's office and nip up to the balcony of the Henry Wood Hall to sit and listen to the Orchestra as they prepare for the coming weekend's concerts.  Having studied music myself, it is an experience that is not wholly unfamiliar, but the way that this band works with Peter Oundjian is simply mesmerising and my trips up to the balcony serve as a perfect reminder of why I do the job I do - spreading the word about the wonderful music that the RSNO produces each week in concert halls across Scotland.
These first couple of weeks of our new Season are ever so slightly different this year as our first couple of soloists are not being flown in from the international touring circuit, instead the spotlight is shining within our own ranks. Last week we had the truly stunning 5-star performances from our Principal Flautist Kathryn Bryan who played to audiences in Aberdeen, Edinburgh and Glasgow as we opened our 2014:15 Season.
This week is the turn of our Principal Cellist, Aleksei Kiseliov, who joined the Orchestra in September 2011, and he will be playing Elgar's immensely popular Cello Concerto.
I got in touch with the wonderful people at Elgar's Birthplace Museum and Visitor Centre, who were very kind in giving us access to some incredibly interesting information and resources relating to the various works by Elgar that the Orchestra will be performing throughout the Season. On my trip up to the balcony on Wednesday I felt like I'd been joined by a bit of history; whilst Aleksei was playing I had in my hand the facsimile of the piano score of the Cello Concerto, written in Elgar's own hand for his young friend, Alice Stuart Wortley (see below).

I've always loved following scores whilst listening to music, but there really is something about seeing the original handwritten version of a theme... makes the music more real somehow, more alive.
Another quite extraordinary thing is to hear the music whilst looking at photographs of not only of Elgar with the gent who gave the premiere of the Cello Concerto, but also of the very house in which it was composed. That kind of insight into Elgar's surroundings just adds another dimension to the music.

Brinkwells Cottage, in Fittleworth, Sussex, where Elgar wrote his Cello Concerto.

Edward Elgar with Felix Salmond (left) who gave the premiere of his Cello Concerto.
Shortly after the above photo was taken, Elgar wrote to his friend Sidney Colvin (one of the dedicatees of the concerto) to report on how it was coming along:

"Felix Salmond has been down here & we have put the finishing touches to your cello concerto & it will be produced at a London Symph. Orch. Concert before Christmas. Date to be fixed but I will let you hear it the earliest."

I'm also pleased to report that Wednesday's rehearsal with Aleksei and the RSNO went much better than the one the gentlemen above had before the Cello Concerto's premiere.  As Elgar's wife Alice noted in her diary on the 27th October 2019:

"E. & A. & C. to Queen's Hall for rehearsal at 12.30 or rather before - absolutely inadequate at that - That Coates went on rehearsing Secy. remonstrated, no use, at last just before one, he stopped & the men like Angels stayed till 1.30 - A. wanted E. to withdraw, but he did not for Felix S.’s sake - Indifferent performance of course in consequence E. had a tremendous reception & ovation -"

On the subject of tremendous receptions and ovations, I have no doubt that you'll be part of one soon should you be lucky enough to have secured a ticket for one of this weekend's concerts!
If you don't have a ticket yet, there are only a few still available, so hurry! Book online at www.rsno.org.uk/whatson
Until the next time...
The photos, manuscripts and transcripts included in this blog were kindly provided courtesy of The Elgar Birthplace MuseumThe photos, manuscripts and transcripts included in this blog were kindly provided courtesy of The Elgar Birthplace Museum.