LAURENCE PERKINS (Bassoon) and JOHN FLINDERS (piano) will give a concert at Boston Grammar School, 7.30 pm on 21st March 2023

Tickets are £12 in advance or on the door, children and students have entry free of charge. Tickets may be booked in advance by phoning 01205 366018 of send your details to bostonconcertclub@gmail.com. There is ample parking at the Grammar School accessed by the Rowley Road PE21 6JE entrance.

‘Spring Serenade’ is a delightful programme of music celebrating this special time of year. Laurence Perkins and John Flinders have recently been recording together for the world-famous Hyperion record label, and the music they will be playing includes the lyrical Concertino by Michael Haydn (a favourite on Classic FM), ‘Funeral March of a Marionette’ by Gounod (the Alfred Hitchcock television theme), musical journeys to French Catalonia, Spain and the Scottish Hebridean islands, two pieces inspired by Shakespeare’s ‘The Tempest’ (featured on BBC Radio 3), and an encounter with a playful elephant!

Programme

Pierné, Gabriel: Solo de Concert

Haydn, Michael: Concertino, P52/5

Reade, Paul: ‘Catalonia’ (1997)

Ravel: ‘Piéce en forme de Habañera’

Weber: Andante e Rondo Ungarese

Interval

Gounod arr Laurence Perkins: ‘Marche Funébre d’une Marionnette’

Saint-Saens: Romance, Op.51

Alan Ridout: ‘Caliban and Ariel’ (for unaccompanied bassoon)

Elgar: Romance Op.62

Trad arr Perkins: Three Hebridean Melodies

Gilbert Vinter: ‘The Playful Pachyderm’

PASSACAGLIA an early music trio playing Baroque music at Boston Grammar School on 21 February 2023 at 7.20 pm. Tickets are £12 and may be purchased in advance or at the door. To purchase in advance please call 01205 366018 or email bostonconcertclub@gmail.com; Children and Students may attend the concert free of charge. Ample parking is available via the Rowley Road entrance PE21 6JE.

Passacaglia Trio

Annabel Knight – baroque flute, recorders

Robin Bigwood – harpsichord

Reiko Ichise – viola da gamba

PROGRAMME

GF Handel (1685 – 1759)

Sonata in G major for flute and basso continuo HWV 363b

Adagio – Allegro – Adagio – Bourée Anglaise – Minuetto

CPE Bach (1714 – 1788)

Les Folies d’Espagne wq 118/9

Anon

Green Sleeves to a Ground, from the First Part of the Division Flute

(1701)

GP Telemann (1681 – 1767)

Trio Sonata for recorder, viola da gamba and basso continuo TWV

42:F3

Vivace – Mesto – Allegro

Interval

JS Bach (1685-1750)

Sonata in G major for viola da gamba and basso continuo BWV 1027

Adagio – Allegro ma non Troppo – Andante – Allegro Moderato

F Couperin (1668 – 1733)

Les Barricades Mystérieuses from Ordre 6ème de clavecin

CPE Bach

Trio sonata in F major for bass recorder and viola da gamba Wq 163

Un poco andante – Allegretto – Allegro

Anna Bon di Venezia (1738-after 1769)

Sonata in G minor Op. 1 No. 5 for flute and basso continuo

Allegro – Andante staccato – Allegro

REVIEW OF CONCERT GIVEN BY VICTOR LIM on 17th January 2023

It is not often that the members of the Boston Concert Club give a standing ovation, but that is what happened at the end of a splendid concert given by pianist Victor Lim.

Victor began the concert with Haydn’s Piano Sonata in C major and this was a lively joyful piece of music played with dash and verve. Haydn wrote this music for a friend of his, Therese Bartolozzi, she must have been a very talented player and what a lovely present to receive.

The next three pieces were Nocturn No 3 in A flat major by Fauré, Grainger’s “Ramble on Richard Strauss’s ‘Der Rosenkavalier’” and Nocturn No 13 in B minor by Fauré. These followed seamlessly from one another and the audience paid rapt attention to Victor’s superlative playing.

After the interval Victor played J S Bach’s “Siciliano” as arranged by Wilhelm Kempff. This was a soothing and gentle beginning to the second half. Then we heard Grieg’s Holberg Suite and in the first of the dances the piano roared away at the beginning, Victor creating a very orchestral sound from the Grammar School piano. The second movement was gentler and songlike, followed by a jolly and fast-moving jig. The fourth movement was slower and the final movement was lively and fast moving with a slower section in the middle and finished in great style and at speed.

This was followed by two very contrasting mazurkas, first Chopin’s Mazurka in A minor and then Thomas Ades “Three Mazurkas”. The two pieces of music couldn’t have been more different; I think that I could have danced to Chopin’s despite there being about 50 different steps to a mazurka (and having two left feet), but Ades version was strictly for listening to. There was a section in the Ades Mazurka that was very bell like.

The highlight of the evening was Ravel’s “La Valse”, my goodness it was dramatic and Victor played with such passion, I felt quite breathless at the end. That standing ovation was justly earned.

Victor played as an encore the Prelude in B minor by Bach as arranged by Siloti. A beautiful ending to an exciting concert.

Afterwards members of the audience congratulated Victor on his wonderful performance and expressed the wish that he would come and play for us again.

CONCERT TO BE GIVEN BY VICTOR LIM, PIANIST AT BOSTON GRAMMAR SCHOOL ON TUESDAY, 17th January 2023 at 7.30 pm. Tickets are £12 in advance (phone 01205 366018), or at the door. Children and Students are admitted free of charge. There is ample parking accessed from the Rowley Road entrance, PE21 6JE.

PROGRAMME

Haydn – Piano Sonata in C major Hob.XVI:50

Faure – Nocturne No.3 in A flat major, Op.33 No.3

Percy Grainger – Ramble on Richard Strauss’s ‘Der Rosenkavalier’

Faure – Nocturne No.13 in B minor Op.114

Interval

Bach/Kempff – Siciliano 

Grieg – Holberg Suite, Op.40

Chopin – Mazurka in A minor Op.17 No.4

Thomas Ades – Three Mazurkas Op.27

Ravel – La Valse

Victor Lim Biography

Described as a pianist with ‘with great possibilities of nuance and perfect flexibility’ (Revista Arta), South Korean-British pianist Victor Lim is establishing himself as one of the most versatile and creative musicians of his generation. Following his first public appearance in the televised BBC Young Musician of the Year in 2012, Victor has performed around the world in the UK, France, Germany, Austria, Norway, Denmark, Romania, China, Singapore and South Korea. Victor is a City Music Foundation Artist, Making Music UK’s Philip and Dorothy Green Young Artist and the winner of the 2021 RNCM Gold Medal.

As a musician with tireless curiosity for all genres of music, Victor’s repertoire ranges from Rameau to Kapustin and his interest in new music has led to recent work with Thomas Adès, Graham Fitkin and Stephen Hough. Victor’s affinity with the music of Beethoven has been recognised by two awards from the Beethoven Piano Society of Europe, whilst he is known to have a great personal passion for the works of Robert Schumann.

Victor combines his active solo career with his great passion for chamber music. This season he has performed as a member of Manchester Collective and Manchester Camerata. He has previously collaborated with Karen Gomyo, Eszter Haffner, Susie Mészáros, Lara Andre’s Tomter and Sandrai Lied-Haga, and currently enjoys close duo partnerships with soprano Xiang Ting Teng and cellist Waynne Kwon with whom the duo won the 2020 Tunnell Trust Music Club Award. Victor was the founding member of the Louko Piano Trio who went on to win all of the chamber music prizes during their time at the Royal Northern College of Music.

An ardent advocate of community music, Victor works closely with Olympias Music Foundation in Manchester and is the Senior Creative Coordinator for Fingertips ASBL and has played a key role in the running of several projects including ‘Tune-in Nepal’, ‘Fingertips International Piano Competition’ and ‘Goldberg by 32 pianists’. Already much in demand as a teacher, Victor is currently the Head of Keyboard Studies at Rossall School, Associate Artist of International Young Musicians Academy, Leverhulme Fellow of Pro Corda, and a former coordinator of the Classical Music Academy at Millfield Summer School.

Victor trained at Wells Cathedral School with John Byrne and Richard Ormrod, then at the Royal Northern College of Music with Graham Scott, Jeremy Young and Murray McLachlan as an ABRSM scholar. Awards from Help Musicians UK and the Countess of Munster Musical Trust enabled Victor to continue his studies at the Royal Academy of Music in London with Michael Dussek, where he graduated with a Dip.RAM and received the Christian Carpenter Prize for the best final recital. After pursuing the Artist Diploma programme at the Norwegian Academy of Music, Victor now continues his studies with Kathryn Stott at the RNCM.

REVIEW OF THE ROSAMUND BRASS QUARTET CONCERT on 20 December 2022

The four young people of The Rosamund Brass Quartet are Seb Williman cornet, Adam Hofland-Ward cornet, Georgia Woodhead tenor horn and Alex Barron euphonium. They are all students at the Royal Northern College of Music and appeared by the kind permission of that College.

This was the third concert in our series and what a concert this was, full of interesting music, some familiar and some new to the audience.

The concert began with Joel Kirk’s Scherzo Piccolo, this was originally a work for brass sextet before being arranged by the composer for Rosamund Brass, in many ways this piece is a homage to the late great Derek Bourgeois.running as one continuous movement, the piece is primarily comprised of both ‘Tango-’ and ‘March-’ influenced themes and also a ‘romanza’ theme (described by Alex as “cheesy!”) infused into one another.

I wouldn’t normally build a review around one piece of music, but in this case, I must really single out Jonathan Bates “This Is the Place”. It is in four parts I Sisterhood Pride, Moss Side evokes the Suffragette movement, II From the Sea, a rush wind blowing, Hulme ; this sounded very Pentecostal and I loved the lyricism of this section. III was Thunderdome, Miles Platting; with Acid House Music backing from the laptop, this was very exciting. But the most moving section was IV In Memoriam. This is the Place …Albert Square. The backing for this section was part of Tony Walsh’s wonderful poem This is the Place. I make no apology for quoting bits of it here:

This is the place in the North West of England
It’s ace, it’s the best and the songs that we sing
From the stands, from our bands set the whole planet shaking
Our inventions are legends! There’s nowt we can’t make and

So we make brilliant music. We make brilliant bands
We make goals that make souls leap from seats in the stands
And we make things from steel and we make things from cotton
And we make people laugh, take the mick summat rotten”

The music was really an elegy for things past and in particular I thought of the 2017 Manchester Bombing and thinking of that was moved to tears.

Because this is a place that has been through some hard times
Oppressions, recessions, depressions and dark times
But we keep fighting back with Greater Manchester spirit
Northern grit, northern wit in Greater Manchester’s lyrics

And there’s hard times again in these streets of our city
But we won’t take defeat and we don’t want your pity
Because this a place where we stand strong together
With a smile on our face, Mancunians Forever”

Discussing this at the interval with one of our members, his opinion was that this was the best piece of modern music that he has heard this year. I wholeheartedly agreed with him.

This was followed by Eric Ball’s “Jewels” and had a more traditional feel to it and then Karl Jenkins’ Hymn & Palladio, this was beautifully played and brought me down to earth again.

During the interval the audience enjoyed mince pies, wine and soft drinks and really entering into the Christmas spirit.

The second half opened with Blue by Thomas Ganach followed in swift succession by Mozart’s Andante from the Sonata for bassoon and cello arranged by Alex and played by Alex on the euphonium and Georgia on the tenor horn. Then Peter Graham’s A Capella Duets played by Seb and Adam on cornets, first “Energico”, then “Scoot” with euphonium and cornet. These short duets were written during lockdown in the 2020 pandemic and feature music from some of Peter Graham’s most famous works for brass band: and then a “Time for Love” with cornet and tenor horn. The duos ended with William Alwyn’s splendid Fugue on an Indian Scale, arranged by Alex.

This was followed by Joseph Horowitz’s Variations on a Theme of Paganini, being a set of variations on Paganini’s famous Caprice 24. The concert then became very Christmassy with Leroy Anderson’s Sleigh Ride, arranged by Alex, Robert Wells’ The Christmas Song arranged by Seb. The concert ended with Alex’s arrangement of Bizet’s Farandole, the 4th movement of the L’Arlesienne Suite and this was very much in keeping with the Christmas spirit.

The Rosamunds are to be congratulated on a thoughtful, interesting and moving programme of music. Their playing throughout was superb and I found them to be engaging and delightful personalities

CM

ROSAMUND BRASS QUARTET will give a concert on 20th December 2022 at 7.30 pm at Boston Grammar School PE21 6JE; tickets are £12 at the door or in advance from 01205 366018, children and students receive free entry. There is ample parking via the Rowley Road entrance.

PROGRAMME

JOEL KIRK

Scherzo Piccolo

JONATHAN BATES

This Is The Place…

ERIC BALL

Jewels

TRAD arr DAVID CHILDS

Tiger Street Rag

Interval

THOMAS GANSCH arr ADAM HOFLAND-WARD

Blue

WOLFGANG AMADEUS MOZART arr ALEX BARRON

Andante from Sonata for Bassoon and Cello

PETER GRAHAM

A Capella Duets

i. Energico

ii. Scoot

iii. A Time for Love

WILLIAM ALWYN arr ALEX BARRON

Fugue on an Indian Scale

JOSEPH HOROVITZ

Variations on a Theme of Paganini

LEROY ANDERSON arr ALEX BARRON

Sleigh Ride

ROBERT WELLS arr SEB WILLIMAN

The Christmas Song

GEORGIES BIZET arr ALEX BARRON

Farandole

REVIEW OF THE CALDERON DUO

Concert given on 15 November 2022

The second concert of the season was given by the Calderón Duo who are Florence Hill classical guitar and Holly Melia flute and piccolo; what a splendid evening of music it was. The concert began with Jaques Ibert’s Entr’acte and Florence and Holly played this Spanish style music beautifully with the guitar and flute weaving in an out, this was a lovely beginning to the concert.

Then we had Edward McGuire’s Improvisations on Calderón. Pedro de la Barca Calderón was a Spanish poet and playwright, born in Madrid in 1600 and died in 1681. Florence confirmed that the Duo are named after him. Keith Osborne’s splendid programme notes say that the music commentates on elements of comedy and tragedy in the playwright’s work. This was evident in the music which began with a sad melodic tune followed by rapid trills from the flute echoed by the guitar, both instruments being played with wit and verve. Holly changed to the piccolo and the music speeded up then it was back to the flute.

Next we heard Siciliane by Pergolese, a lyrical, lilting piece beautifully played. This was followed by Piazzola’s Histoire du Tango – Bordel and Cafė these two pieces were very enjoyable, we were tangoed!

Florence has the makings of a very good composer indeed, as shown by her guitar solo of her own Reflections, this was played with great feeling and delicacy and was a highlight of the evening.

The first half ended with Faurė’s Pavane. Faurė never disappoints and this familiar piece sounded fresh played on the flute and guitar. A real delight to listen to.

After the interval Holly paced into the hall playing Debussy’s Syrinx on the flute, this was a dramatic beginning to the second half. Syrinx was a nymph in Greek mythology and known for her chastity, pursued by the god Pan, she ran to the river’s edge and asked the river nymphs for help. They transformed her into hollow water reeds that made a haunting sound when the god’s frustrated breath blew across them. Pan cut the reeds to fashion the first set of panpipes, which were thenceforth known as syrinx. The flute was the perfect instrument for this work.

This was followed by another piece by Edward McGuire – Passing Seasons: Summer Murmur, Autumn Leaves, Winter Thoughts and Spring Awakening. I thought that Winter Thoughts were quite melancholic but Spring Awakening was more cheerful with the flute singing away like a whole flock of birds.

We then heard a collection of ten folk songs collected by Cecil Sharpe and Ralph Vaughan Williams. The guitar and flute are well suited to play folk tunes and these were so enjoyable to listen to. The piccolo was much in evidence doing duty as a penny whistle. Holly told me that the piccolo is the loudest instrument in the orchestra! I believed her.

The Folk Songs were followed by Enrique Granados’ Danza Espaňola No 5. This was beautifully played and I was certainly in Spain for a while.The concert ended with Piazzola’s Libertango and such was the warm applause at the end that Florence and Holly gave us an encore. Florence said that this was another of her compositions but that she hasn’t yet given it a name and so she proposed to call it “Boston Groove” in our honour. We were honoured as this is a wonderful piece of music and deserves to be firmly in the repertoire. The audience had a thoroughly good, musical evening.

Our next concert is the Christmas one on 20 December.

CM

15th November 2022 at Boston Grammar School, PE21 6JE “The Calderon Duo” Flute and Guitar. The concert begins at 7.30 pm. Tickets are £12 either in advance or on the door. Children and Students are admitted free of charge.

Biographies of Musicians

Holly Melia – Flute 

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 competion. 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 holds the flute chair on ‘Beauty and the Beast’, on the Westend and UK Tour. Holly is currently performing at the Royal Opera House on their productions of Puccini’s  ‘La Bohème and Lizst’s Ballet ‘Mayerling’.

Florence Hill – Classical Guitar 

Florence Hill studied classical guitar at the Royal College of Music, graduating in 2007. 

She has performed with Ensemble Suavis, including going on a concert tour to India with the group, to promote western classical music. She also performed with Pesti Guitar Duo at many venues around London including at the O2, Boodles Club, Sir John Soane’s Museum and The Guildhall. As a solo guitarist she has also performed at the York Guitar Festival. Florence and flautist Holly Melia recently formed Calderon Duo and gave their first public performance in October 2022. Florence is also a dedicated classical guitar teacher and has been teaching classical guitar at King’s College School, London since 2012 and at Thorpe House School since 2016.  She is also an Alexander Technique Teacher; having qualified at Queen’s Park School, London and teaches this privately. More recently Florence has been enjoying composing for the classical guitar and you can listen to some informal recordings of her pieces on her YouTube channel ‘FlorenceHillGuitar’.

Calderon Duo Programme

Holly Melia: Flute

Florence Hill: Classical Guitar

Entr’acte- Jaques Ibert

Improvisations on Calderon (1981)- Edward McGuire

Siciliano- Giovanni Battista Pergolesi, Arr. Barna Kováts

Histoire Du Tango- Astor Piazzolla

  1. Bordel-1900
  2. Café 1930

Reflection- Florence Hill

Pavane- Gabriel Fauré, Arr. Stefan Nesyba

…………………………………………………….INTERVAL…………………..…………………………….

Syrinx- Claude Debussy


Passing Seasons- Edward McGuire

  1. Summer Murmur
  2. Autumn Leaves
  3. Winter Thoughts
  4. Spring Awakening

English Folk Songs- Collected by Cecil Sharp and Ralph Vaughan Williams:

  1. The Cuckoo (Somerset)
  2. The Lark in the Morning (Essex)
  3. The Lost Lady Found (Essex)
  4. The Keys of Heaven (Somerset)
  5. As I Walked Out (Essex)
  6. John Barleycorn (Somerset)
  7. Farewell, My Dearest Nancy (Somerset)
  8. The Brisk Young Widow (Somerset)
  9. The Brisk Young Widow (Somerset)
  10. Tarry Trowsers (Essex)

Danza Española No. 5- Enrique Granados, Arr. Jean-Maurice Mourat

Libertango- Astor Piazzolla, Arr. Klaus Jäckle

Review of Eos Duo’s Concert at Boston Grammar School on 18th October 2022

Appearing with the kind permission of The Royal Northern College of Music, Laurel Saunders (clarinet) and Angharad Huw (harp) gave the first concert of the Season on Tuesday evening 18 October. It was good to see so many old friends and new faces at the concert, and what a concert it was – full of colour, life and interest. Your reviewer has never come across any of the composers in the programme – except for that Dave Brubeck classic Take Five.

The combination of clarinet and harp is new to the Club, I think, but on checking online I find that numerous composers have written for this combination, Schubert and Schumann to mention just two of them. Others will be mentioned later on in this Review.

The concert began with a piece by Paul Reade “The Victorian Kitchen Garden Suite”. This was a very good beginning and I particularly enjoyed the Prelude and Summer, these were delightful and very evocative of a well doing kitchen garden. Next we heard a short lyrical and peaceful Aria by Aaron Breeze. This was followed by “The Coastal Suite” by Roma Cafolla and was composed especially for clarinet and harp. I found myself on the coast and listening to the sea and the wind in all their varied moods.

Carlos Salzedo wrote “Chanson dans la Nuit” for solo harp and Angharad played this short piece with wit and feeling and it came with some percussive elements.

Béla Kovács’ “Hommage á J S Bach” and “Homage á De Falla” are both works for a solo clarinet, Laurel played these superbly well.

Paul Desmond composed “Take Five” and of course this was familiar to all of us from the Dave Brubeck Quartet. This was most enjoyable and who knew that the harp made a good bass? I didn’t. The first half ended with a Jazz Improvisation by Laurel and Angharad proving once again that harp and clarinet make an ace jazz duo.

After the interval we had a rare event at our concerts, so said Keith Osborne in his splendid programme notes, we had the World Premiere of Aaron Breeze’s “Adagio”. This is a piece which ought to be listened to again as on the first hearing it seemed that the clarinet played discordantly at times and the harp was the bass beat. It shouldn’t have worked, but it did. It was followed by Laurel playing Tiberiu Olah’s Sonata for Clarinet and this piece showed very clearly the many different sounds that can be made by the clarinet, particularly by such a fine player as Laurel.

We then came to one of the most enjoyable pieces of music, this was “Six American Sketches” by Skalia Kanga. This is a descriptive and lyrical composition and the harp was very fine in II Running Water, very refreshing! And the clarinet was very grasshopper like in IV and in V Night Stillness the harp was very lovely with the clarinet interjecting. I would have liked to go to No VI the Country Fayre.

The piece of music by Uno Vesje I found fascinating “Life is flashing before my eyes and I realise that it all started with a blackbird”. This was played by Angharad and sure enough there is a real blackbird singing away (a pre-recording), and this was a lovely piece of music to listen to, both blackbird and harp!

We then heard two sections from Armando Ghidoni’s Jazzy-Celtic Suite – III Interlude and IV Celswing. In this the clarinet sounded smooth and the harp lyrical and in Celswing lively with a swing.

The concert ended, with I think my favourite bit. Laurel and Angharad played a folk improvisation and I asked Angharad about the lovely tune they improvised. Angharad wrote it down for me it is a Welsh folk tune “Hen ferchetan”. I looked it up online afterwards and it means old maid.

This was a wonderful beginning to the 2022/23 Season and I very much hope that Laurel and Angharad will be invited to play for us again. I am sure that they both have wonderful careers ahead of them.

CM

“EOS DUO” . Clarinet & Harp: Concert at 7.30 pm on 18th October 2022 at Boston Grammar School. There is ample parking in Rowley Road entrance, PE21 9QF. Tickets are £12, in advance or at the door. Children and Students have free entry. To order your ticket in advance phone Mrs V Robinson on 01205 366018 or email bostonconcertclub@gmail.com

PROGRAMME

Paul Reade – The Victorian Kitchen Garden Suite 

I: Prelude

II: Spring

III: Mists

IV: Exotica

V: Summer

Aaron Breeze – Aria

Roma Cafolla – Coastal Suite 

I: Onshore Breezes

II: Becalmed

III: Shoreline

IV: Restless Sea

V: Rolling Waves

Carlos Salzedo – Chanson dans la Nuit 

Béla Kovács – Hommage à J. S. Bach 

Béla Kovács – Hommage à De Falla

Paul Desmond arr. James Rae – Take Five

Laurel & Angharad – Jazz Improvisation

interval

Aaron Breeze – Adagio (World Premiere)

Tiberiu Olah – Sonata for Clarinet Solo 

Skalia Kanga – Six American Sketches 

I: The Lonesome Traveller

II: Running Waters

III: Solitude

IV: Grasshoppers

V: Night Stillness

VI: Country Fayre 

Uno Vesje – LIFE IS FLASHING BEFORE MY EYES AND I REALISE THAT IT ALL STARTED WITH A BLACKBIRD

Armando Ghidoni – Jazzy-Celtic Suite 

III: Interlude

IV: Celswing

Laurel & Angharad – Folk Improvisation