TEMPEST FLUTE TRIO AT BOSTON GRAMMAR SCHOOL 17 MARCH 2020

CORONAVIRUS (COVID-19) – 17th MARCH CONCERT CANCELLATION

In light of the current situation and Government Advice it is with regret and disappointment that we have made the decision to cancel our concert this evening.

Tempest is an award winning, London based flute trio founded at the Royal Northern College of Music in Manchester in 2010. Determined to stand out from the crowd and to showcase the flute trio as a credible and versatile ensemble, Tempest aimed to expand the repertoire for 3 flutes and to deliver innovative performances. The trio has now performed all over the world, covering a wide spectrum of music including 20 new works and their own arrangements. Tempest’s award successes include winning Royal Overseas League Chamber Music Competition 2013 and Second Prize in the 14th International Kuhlau Flute Competition 2013. They also won the RNCM Contemporary Music Award, the RNCM Ensemble of the Year Competition, the RNCM Woodwind Chamber Music Competition, Trevor Wye Prize and were semi-finalists for YCAT (Young Classical Artists Trust). After auditions, they were selected to be artists for the Park Lane Group Concert Series and the Manchester Midday Concert Society. In 2011 Tempest won the Nonclassical “Battle of the Bands” competition for contemporary classical music. Tempest performed as featured artists in the National Flute Association Annual Convention in Las Vegas and the British Flute Society Convention in Manchester. Other highlights include recitals at the Wigmore Hall, Queen Elizabeth Hall and tours in Italy, Germany and Switzerland where they opened the Lucerne Chamber Music Series. The trio also deliver workshops and are members of the “Live Music Now!” scheme, a charity, which for over thirty years, has been putting into practice the visionary ideals of its founders, Yehudi Menuhin and Ian Stoutzker; bringing the joy and inspiration of live music to those who have limited access to conventional music-making. Much of Tempest’s success as a trio is fuelled by each member’s determination, originality and accomplishments as individuals. All three lead busy orchestral freelance careers as well as working as soloists, chamber musicians, teachers and workshop leaders.

Holly Melia – Biography:

Born in Ilkley, Yorkshire, Holly Melia graduated with a first class honours degree from the Royal Northern College of Music having studied with Katherine Baker, Richard Davis and Wissam Boustany. She began playing the flute at the age of eight, winning a scholarship to study at Chetham’s School of Music in 2003.
        As a solo artist, Holly was a finalist in the 2013 Royal Overseas League competition. She has won the RNCM concerto competition (2010 and 2013), the RNCM Gold Medal – the highest award for performance at the RNCM (2010), the British Flute Society Performance Plus competition, the Craxton Memorial Award and the Martin Musical Scholarship. In 2007 she was a woodwind semi-finalist in the BBC Young Musician of the Year competition. She was a member of Southbank Sinfonia in 2014, where she performed as a concerto soloist with the orchestra.
      Orchestral credits include performing with the Royal Opera House Orchestra, Royal Philharmonic Orchestra, Britten Sinfonia, English National Ballet, Royal Ballet Sinfonia, City of Birmingham Symphony, Hallé, BBC Philharmonic Orchestra, Opera North, Royal Northern Sinfonia and Welsh National Opera Orchestra. She currently holds the flute chair on ‘The King and I, UK and International Tour, and is on trial for the Principal piccolo position with the Royal Philharmonic Orchestra.

  Helena Gourd – Biography 

As an orchestral flautist, Helena works with orchestras including the Halle Orchestra, the Royal Philharmonic Orchestra, BBC Scottish Symphony Orchestra, English National Ballet, Philharmonia Orchestra, Welsh National Opera, Scottish Chamber Orchestra, Royal Opera House, Royal Northern Sinfonia, BBC Concert Orchestra, City of London Sinfonia, Birmingham Royal Ballet, Northern Ballet and St. Petersburg Ballet. Throughout 2016, she was a member of the Southbank Sinfonia with whom she performed in venues such as the Barbican, Glyndebourne, Cadogan Hall and the Notre Dame in Paris. Helena studied at the Royal Academy of Music in London and the Pole Superieur de Musique et Danse in Bordeaux with Karen Jones, Sam Coles and Jutta Pulcini. She was winner of the RAM Flute competition in 2013 as well as the Violet M Wallace award and the Joyce Anne Beckett Prize. She was also a 2014 winner of the Philharmonia Orchestra Martins Music Scholarship Fund. Recent highlights include performing Memoriale by Pierre Boulez for a broadcast on BBC Radio 3 as well as an orchestral tour of Japan in 2019 with the BBC Scottish Symphony Orchestra. Helena divides her time between orchestral freelancing across the UK and teaching flute at the Lady Eleanor Holles School. 

Dave Ruff – Biography 

David studied classical flute with a scholarship at The Guildhall School of Music and Drama gaining both his BMus (2008-2012 David studied classical flute with a scholarship at The Guildhall School of Music and Drama gaining both his BMus (2008-2012) and MMus (2012-2014 David studied classical flute with a scholarship at The Guildhall School of Music and Drama gaining both his BMus (2008-2012) and MMus (2012-2014). David regularly plays with orchestras such as the Bournemouth Symphony Orchestra, Birmingham Royal Ballet, Oxford Philharmonic, New London Sinfonia, The Army of Generals and The British Paraorchestra.

David plays in the West End and recently was the chair holder on Me and My Girl (Chichester Festival Theatre 2018), Young Frankenstien (West End 2017-2018.

Helena Gourd
David Ruff
Holly Melia

PROGRAMME

Claude Debussy 1862-1918 – (arranged Tempest) “Syrinx

Lucy Pankhurst b 1981 “Kokopelli”

Johann Sebastian Bach 1685-1750 (arranged Ann Cherry) Sonata in C Minor

Helen Wilson “There’s Something About Maggie”

Friedrich Kuhlau 1786-1832 Trio in G Minor opus 13 No 2 Allegro non tanto Allegro con moto

Georges Bizet 1838-1875 (Arranged M Orris) “The Gypsies Chorus”

Interval

Edmund Jolliffe “Tempus Fugit”

Leonard Bernstein 1918-1990 (Arranged Helen Wilson) West Side Story Suite “Somewhere” “Maria” “I Feel Pretty”

Eddie McGuire b 1948 “Celtic Knotwork”

Antonio Vivaldi 1678-1741 (Arranged Dominique Gauthier) “La Tempesta di mare” Largo, Presto

Billy Strayhorn 1915-1967 (Arranged Helen Wilson) “Take the A Train”

Claude Debussy (Arranged Helen Wilson) “Clair de lune”

All concerts are held at Boston Grammar School PE21 9QF and they begin at 7.30 pm. Tickets are £12 and may be purchased at the door or ordered in advance from Mrs V Robinson 01205 366018, children and students may attend the concerts free of charge.

REVIEW OF CONCERT ON 18th FEBRUARY 2020 by PIANO 4 HANDS

It was no ff for fiery furnace, but ff for the startling first chord of Schubert’s Allegro in A minor D 947 that prestigious Piano 4 Hands performed as the first work in their recital for Boston Concert Club last Tuesday. Our valiant Committee were clearly cross and embarrassed that they had not been told that the boilers would be out of action, so the audience felt chilly and more crucially so did Joseph Tong and Waka Hasegawa, who are Piano 4 Hands. There was considerable hand rubbing needed between pieces!

Waka and Joseph had contrived a programme around the development of music written for two at one piano. During the nineteenth century the instrument became a familiar piece of the furniture played by amateurs as well as professionals. I must say I found it hard to believe that Victoria and Albert, who Mendelssohn famously visited and played for and with, could have attempted the works this couple played for us. There were pieces by Schubert, Schumann and Mendelssohn, by Clara Schumann and Fanny Mendelssohn and a picture emerged of the change from thematic right hand player largely accompanied by the left – piano duet – through more shared thematic and accompaniment to a completely free use of the entire piano. Hence the term “four hands” rather than “duet”. The splendid set of variations by Dvorak, Opus 23 was surely the only way to finish, with its connections to the Schumann family.

This was impressive playing – Joseph and Waka seem completely in sympathy with one another, wonderful ensemble and interpretation.

So good that the vital young page-turner was acknowledged in the final applause. Now this is a nerve-wracking duty especially when it is for two players. Not only must the page be turned, but the music be maintained such that it suits both players.

The programme notes and introductions provided much food for thought. I wonder how many use, as I do, IMSLP online as a free source of scores after concerts?

Brenda Lane

PIANO 4 HANDS 18 February 2020 at Boston Grammar School

Joseph Tong and Waka Hasegawa are widely regarded as one of the UK’s leading piano duos, they were prize winners at the Tokyo International Piano Duo Competition in 2003 and at the Schubert International Competition held in the Czech Republic. The Duo has given recitals in Japan, Germany, Spain and the USA as well as broadcasts for BBC Radio 3. Since their critically acclaimed London debut for the Park Lane Group in 2002, Piano 4 Hands has performed regularly at Wigmore Hall including several Recitals under the auspices of the Kirckman Concert Society. Joseph and Waka have performed at many of the major concert venues around the UK and at festivals including Buxton, Cheltenham, Bury St Edmunds, Oundle and Presteigne. The Duo’s debut CD of Debussy piano duets for the Quartz Label was chosen as Album of the Week in The Independent, followed by recordings of Schubert and McCabe which have drawn similar critical praise.

Piano 4 Hands has commissioned new works from composers including Dai Fujikura, Rob Keeley, Nicola LeFanu, David Matthews, Edwin Roxburgh and the late John McCabe, whose piano duet Upon entering a painting (2009) they premiéred at Wigmore Hall. In July 2018 Joseph and Waka gave a recital at the newly reopened Purcell Room in London promoted by the Park Lane Group, marking the Debussy Centenary with a performance of La mer alongside the London Premiéres of Daniel Kidane’s Jungle and David Matthews’ Variations on a theme by Haydn Op. 144. These two new works were co-commissioned with the Cheltenham Music Festival, Piano 4 Hands giving their premiéres at the Pillar Room, Cheltenham Town Hall in July 2017.

Last Autumn, Joseph and Waka gave the first performance of Airs of the Seasons by Ailsa Dixon at St George’s, Bristol. Other recent recitals have included the Schubert Society of Britain and Luton Music Club, as well as the National Gallery in London. Joseph Tong and Waka Hasegawa were elected Associates of the Royal Academy of Music in 2008. Future projects include a new commission from the British composer Edwin Roxburgh and a series of concerts with the Bath Camerata, performing the Brahms German Requiem with their conductor Benjamin Goodson in Malmesbury Abbey and other venues including the Sherborne Abbey Festival and Bath Festival in Spring 2020. Joseph and Waka will also be leading a course devoted to piano duets and two piano repertoire at Benslow Music in Hertfordshire this summer.

Thanks to Joseph and Waka for these biographies.

PROGRAMME

Schubert : Allegro in A minor, D947 “Lebennsturme”

Robert Schumann : “Pictures from the East” Opus 66 1848

Mendelssohn : Andante with Variations in B flat, Opus 83a

INTERVAL

Schubert: Rondo in A major, D951

Fanny Mendelssohn-Hensel: Three Pieces for Four Hands

Clara Schumann: March in E flat

Brahms: Variations on a Theme by Schumann, Opus 23 1861 11 Variations.

All concerts are held at Boston Grammar School PE21 9QF and they begin at 7.30 pm. Tickets are £12 and may be purchased at the door or ordered in advance from Mrs V Robinson 01205 366018, children and students may attend the concerts free of charge.

REVIEW OF CONCERT ON 21 JANUARY 2020 AMY ROBERTS, oboe and GAMAL KHAMIS, piano

Amy Roberts, oboe and Gamal Khamis, gave a fine performance for our January concert. It was clear by the end of the opening Telemann sonata that Amy Roberts plays with great subtlety, with a real will to communicate her own obvious enthusiasm to an audience.

How clever was the programming! By the end of the first half we had been transported across three centuries of music. The collection of little pieces by Schubert and Schumann worked well and with Schumann’s Traumerei gave us a chance to hear solo piano. The notes may be simple enough for children to learn but it needs the care and delicacy that Gamal Khamis gave it to do it justice. As a duo their ensemble seemed faultless and they had set us up well for a second half devoted to twentieth century works. In this half the solo pieces for each instrument were particularly attractive. I was intrigued by the quirky oboe piece Arachnid, by contemporary Helen Grime and Gamal was impressive in Faure’s second nocturne. I applaud their introductions were often not merely anecdotal but with hints about what to listen out for.

Arrangements for our 70th anniversary lunch are finalised. The date is 24th March and it will be held at the Boston & County Club, Park Gate, Boston PE21 6RL 12 noon for 12.30pm. The last date for booking is at the February concert on 18 February.

Brenda Lane

21 January 2020 – 7.30 pm Amy Roberts (oboe) and Gamal Khamis (piano)

Amy Roberts is a British Oboist with a rich and varied career. She has recently featured as a guest principal with the London Philharmonic Orchestra, BBC NOW, BBC Symphony Orchestra and BBC Scottish Symphony Orchestra and she has performed all over Europe with the Gustav Mahler Jugendorchester . Other orchestras include the Royal Liverpool Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Mahler Chamber Orchestra, Hallé Orchestra and Royal Scottish National Orchestra. She is in demand as a soloist and chamber musician having become a 2019 featured artist with “Making Music”, recorded the Villa Lobos Concerto Grosso and performed concertos by Albinoni, Bach, Haydn, Mozart, Martinu and MacMillan. Her Quintet Moriarty Winds perform across the UK in a variety of concert and educational contexts and are proud to have been Chamber Fellows at the Royal Academy of Music and resident ensemble for Wigmore Hall Chamber Tots. She recently graduated from The Royal Academy of Music where she received a First Class MA with Chris Cowie, Ian Hardwick and Melanie Ragge. Previously she studied on the prestigious Joint Course between the Royal Northern College of Music and the University of Manchester studying oboe with Jonathan Small and baroque oboe. She received a First from both institutions and won the RNCM Concerto Competition. Whilst at the Academy she also won the Evelyn Rothwell Oboe Prize, Janet Craxton Memorial Prize and Barry Grimaldi Prize.

Gamal Khamis. After gaining a degree in Mathematics from Imperial College, London Gamal completed his formal musical education at the Royal College of Music. He first performed at the Wigmore Hall at the age of ten, and has since appeared at The Queen Elizabeth Hall, Purcell Room, Cadogan Hall, Sage Gateshead, Oxford Lieder Festival, Buxton Festival and Chipping Campden Festival, as well as across Europe, North America and Oceania. Gamal has won major prizes for both solo and collaborative playing, including at the Royal Overseas League Music Competition and the Ferrier Awards. He has performed concertos with orchestras all over England, and has worked with many of Britain’s leading composers. His playing is regularly broadcast on BBC Radio and Television and in Europe, America and the Middle East. Upcoming plans include recitals across Denmark, a return to the Flatirons Chamber Muisc Festival in Colorado, USA, and a tour of “Odyssey – words and music of finding home”, his new narrative recital with the actor Christopher Kent. Gamal is an artist with the Concordia Foundation, Park Lane Group, Samling and DEBUT, and he is a member of the award-winning Lipatti Piano Quartet, who recently made their Wigmore Hall, King’s Place and Southbank Centre debuts. Gamal would like to thank the Carne Trust for their continued generous support.

The highlight of the evening was pianist Gamal Khamis, whose sensitivity and imagination shone out of his three performances”. Financial Times.

PROGRAMME

Georg Philipp Telemann Sonata in A minor TWV 41:a3

Franz Schubert Die Vŏgel, D691

Camille Sain-Saens Oboe Sonata, op 166

Interval

Malcolm Arnold Sonatina for Oboe and Piano, op 28

Gustave Faurė Nocturne in B, op 33 No 2

Helen Grime Oboe solo “Arachne”

Henri Dutilleux Oboe Sonata

The Concert will be held at Boston Grammar School, PE21 9QF. Tickets are £12 and may be ordered in advance from bostonconcertclub@gmail.com or by telephoning o1205 366018. Children and Students may attend free of charge.

ALUNA DUO – Guitar and Flute on 17 December 2019 at Boston Grammar School, PE21 6EJ

The Aluna Duo.

The Aluna Duo recently formed this year at the Royal Northern College of Music in Manchester. Classical guitarist, Rafael Onyett graduated with a degree from the RNCM studying under renowned guitarist and teacher Craig Ogden. After winning a highly coveted Postgraduate Award from Help Musicians UK to assist in funding, Rafael is currently studying a Masters degree at the RNCM. Rafael has performed in many venues across the UK, both as a soloist and member of a tango group known as the Chuva Collective.

Flautist Lily Vernon-Purves completed her undergraduate studies at the RNCM with renowned flautist Kevin Gowland, and is now studying a Masters degree at the RNCM under world-class flautist and teacher Susan Milan. As an experienced orchestral and chamber music player, Lily has performed all throughout Europe, most recently touring with the RNCM Symphony Orchestra in Montepulciano, Italy. Lily has also performed with her flute quartet, Calla Flutes, in private and public performances across Manchester.

As the Aluna Duo, Rafael and Lily are both excited to share their debut performance together at St Ann’s Church, showcasing their love of Spanish/Latin inspired music. Biographical notes courtesy of Lily and Rafael.

THE “ALUNA DUO” APPEAR WITH THE KIND PERMISSION AND COOPERATION OF THE ROYAL NORTHERN COLLEGE OF MUSIC We appreciate the support of the Duo in visiting local primary schools as arranged by Boston Concert Club.

PROGRAMME

Jaques Ibert ” Entr’acte”

Astor Piazzolla “Histoire de Tango”

Arranged by A Adam “O Holy Night”

Mario Castel-Nuovo-Tedesco “Sonatine” op.205

Gregorian “O come, O come Emmanuel”

Roland Dvens “Felicidade” Solo by Rafael Onyett

INTERVAL

Astor Piazzolla “Invierno Porteno” Solo by Rafael Onyett

Manuel de Falla “7 Canciones Populares Espanolas”

Felix Mendelssohn “Hark the Herald Angels Sing”

Bela Bartok “Six Romanian Dances”

Manuel de Falla “La Vide Breve”

Tickets are £12 on the door or they may be ordered in advance from bostonconcertclub@gmail.com or by telephoning 01205 366018. Children and Students have free entry to every concert.

Rosanna Rolton Concert 19 November 2019

An evening to banish all ills we are currently facing at home and abroad as Rosanna Rolton captivated us with her enthusiasm for the harp. Now several harpists have played for Boston Concert Club over the years, including Osian Ellis, famous in his time. As I recollect, they all did introduce us to the history of this unique stringed instrument, and usually took trouble to explain the use of its pedals. Rosanna outdid them all, for she is as skilled in words as in playing her instrument. Surely, it’s rare for a musician to make sure their audience can hear properly and invite questions! She made us laugh, especially with telling the story behind de Falla’s opera La Vida Breve. By midway through the second half I was so well prepared and engaged that I could listen intently to a piece by Berio composed in 1963 that demands not only stroking the strings but smacking the frame.

A group of members spent the interval clustered round Rosanna clearly enjoying a chat with her during the interval and everyone I encountered over coffee was full of praise and admiration. It came as no surprise to hear how successful her school visit had been earlier in the day.

So clever to begin with a Scarlatti transcription to harp from harpsichord to show how both have a percussive quality because in both the strings are plucked. Then after a taste of some virtuoso harpists of the nineteenth century and more recent pieces, it was an arrangement from Smetana’s Ma Vlast, The Moldau, all life is there as the river flows from source to be finally lost in the sea – a wonderful choice to end a most splendid evening.

Brenda Lane

Rosanna Rolton 7.30 pm at Boston Grammar School on 19 November 2019

PROGRAMME


C.P.E Bach – Sonate for Harp wq. 139

L. Spohr – Fantasie for harp Op. 35

D. Scarlatti – Sonate in A major K209

F. Godefroid – Etude de Concert

C. Debussy – Valse Romantique 

 Interval

 M. de Falla – Spanish Dance from ‘La Vida Breve’

L. Berio – Sequenza II for solo harp

G. Connesson – Tocatta 

B. Smetana arr. Trenecek – the Moldau

Tickets are £12 at the door or may be ordered in advance from bostonconcertclub@gmail.com or by telephoning 01205 366018

REVIEW OF ENGLISH PIANO TRIO CONCERT On 15th October 2019

What a treat it was to hear not one but two Beethoven piano trios in the opening concert of Boston Concert Club’s 70th season – that anniversary, itself a cause for celebration, happens also to include the 250th since the birth of Beethoven. The well-established English Piano Trio were to play his masterpiece, op.97, known as the Archduke Trio, in the second half , but prepared us for that with earlier Beethoven and Haydn trios, pretty well contemporaneous, in the first. There was a somewhat uneasy friendship between these two. The much older Haydn labeled him a lazy student! What struck me particularly, listening to the set of nine short variations that complete the Beethoven op.11, were those characteristic uses of extreme dynamic contrast, sforzando and quirky rhythms. Its jolly, jaunty theme made me want to skip happily off at the interval (if only I could). Then to the Archduke! Such an advance. A glance at the score shows just how formidable a work it is. Gone the relative simplicity and compact nature of op.11. In op.97 the development of thematic material is taken to extremes , with mounting excitement!

That the English Piano Trio, Jane Faulkner violin, Timothy Ravenscroft piano and Pal Banda ‘cello are not given to extravagant body language I find admirable. Rather they play with the ease of the established and accomplished group they are and let the music speak for itself. There were occasions when I felt I would have liked more emphatic entries from the ‘cello, though it may be that this has more to do with the surroundings. The high raised but shallow stage at the Grammar School allows us see well but the performers and their sound seemed a little remote. Was it floating over our heads? A larger audience would surely improve the acoustic. Perhaps push the seating a little further back? The musician’s introductions were clearly enjoyed. Especially interesting was the story of the ‘cellist’s instrument with its possible link to Haydn. A serene encore, well deserved, finished our evening – well judged.

So let’s rejoice in the club reaching 70 years of concerts, enjoy the concerts to come and encourage others to join us. Thanks to the committee for giving us such a fine start to the season.

Brenda Lane

REVIEW OF SCHOOL VISITS 2018-2019

Now that Gravity have brought to a spectacular close to our season of concerts for 2018-19 it’s time to look back on another successful programme of school visits this year. With the administrative and financial help of Lincolnshire Music Service (LMS), who provide a grant of £1,500 annually, via Arts Council Funding, to facilitate the programme, we have taken five of our visiting artists into 16 primary schools in and around Boston this season, playing to just over 2,100 children, mostly of ages 5 to 11. In fact, at Stickney, the nursery class also attended the performance, so 3+ in age, and they were thoroughly captivated by the antics of Peter Mitchell and Anthony Mann, the talented percussionist who make up Gravity. The largest audience we played to was 296 or thereabouts, the smallest was just 38. But for the half term holiday in February, Laurence Perkins would have done some school visits, as he did when he came here three years ago with Cuillin Sound.

In addition to re-visiting many local schools with whom we have developed a good relationship over the last seven years, we have visited five new schools this year – those at Bucknall, Walcott, Martin and Tattershall (all near Woodhall Spa) and William Stukeley at Holbeach. Many schools are involved with programmes inspired, set up and/or organised by LMS, giving their children access to making music, whether it be singing in choirs or starting to p[lay an instrument, and the heads and classroom teachers are pleased to expand the experiences of their children with our visits. This year children have seen and heard the Duo of 19th century oboe and harp in October, the classical guitar duo from the RNCM in November (who performed in the three small schools near Woodhall Spa), the Passacaglia Trio in December, Lewis Banks and his accompanist, Marianna Abrahamyan in January before Gravity did the honours in March.

Members of the Committee always accompany the musicians as they go into schools, and I am extremely grateful for the assistance of the two Jenny, Dumat and Oughton, and Keith Osborne in helping to attend these events with me. Lest it be thought that all we do is turn up up and have a free concert, I should let you into one or two secrets from the season! For example I learnt how to assemble and dismantle Passacaglia’s harpsichord and to carry it to/from their transport, testing muscles I’d forgotten about, not least when taking them to Gosberton Clough and Risegate, then Holbeach, on a very wet Wednesday morning following the Tuesday evening concert, before we rushed back to Boston for a quick lunch at Downtown; the musicians were staggered by the range of furniture and goods for sale in the store and would have stayed longer but for the afternoon performance at Boston West!

Likewise, the visit of Gravity, where we became experts at setting up, then breaking down and packing away, their vast array of musical instruments, including the marimba and the vibraphone; once again, the Wednesday morning was somewhat fraught given the rapid transition required between the schools in Stickney and New Leake, thankfully only five miles apart.

Lewis and Marianna performed in three schools when they were here but only on the Wednesday though, as they were flying down to East Midlands Airport from Glasgow where they are based, on the Tuesday of the evening concert. They displayed their musical pedigree with verve to 600 children in all. However, the performance at Spalding St John’s after lunch almost never happened when we discovered to everyone’s horror, once we arrived at the school, that Lewis had forgotten to transfer his rucksack from Jenny Dumat’s car to mine in the Downtown car park (in the pouring rain, let it be said), inside which he had put his reeds….no reeds, no performance, and not much of a spectacle for the children, although I’m sure that Marianna would have done her best to hold the fort! Fortunately Jenny had realised Lewis’ error almost as soon as I had driven away, so cue phone messages and texts, then one rapid journey from Spalding to the Sutterton roundabout and back to collect said bag. The concert then went ahead, albeit a bit late, but nonetheless well received by the children.

Here’s to another interesting year of school performances next season, but perhaps without so much drama.

Stephen Boycott

April 2019