A very special edition of the Soundwave featuring composer and electronic/tape music innovator & pioneer Janet Beat in conversation.

https://www.mixcloud.com/Radio_Six_International/john-cavanaghs-soundwave-794-4th-6th-april-2020/

THIS EVENT IS SADLY CANCELLED

For International Women's Day Magenta Promotions will be continuing the celebrations at The Stable, Southampton on Sunday 15th March from 6pm to 9pm. Make sure to come along for a night of live music and a charity raffle, with all proceeds being donated to Yellow Door and Women in Music!

Beethoven 2020: The Next Generation

Royal Northern Sinfonia Return to Teesside for Beethoven Retrospective

Following the successful launch of Royal Northern Sinfonia’s Beethoven-themed concert series in January, the celebrated orchestra is returning to Middlesbrough Town Hall for their second instalment of celebrations for the iconic composer’s 250^th birth anniversary.

With Symphonies No. 1 and No. 3 having already been performed to acclaim in the first concert of the series, Thursday 19^th of March will see RNS perform Symphony No. 2 along with one of Classical Music’s most well-known and universally admired pieces, Beethoven’s Fifth Symphony.  

People of all ages will be familiar with this landmark piece of music, with the opening four notes being quoted across classical and popular compositions, referenced in television and film, and famously serving as the opening for BBC Radio broadcasts during the Second World War.

Led by celebrated conductor, Marta Gardolińska, this is a rare opportunity to experience this iconic piece of music in a live setting, performed by one of the country’s leading classical orchestras.

Commenting on the forthcoming performance, Gardolińska said:

“I have been very much enjoying re-exploring the world of Beethoven's symphonies in preparation for this concert. It is a fascinating experience to dive into his language and trace how it developed from early signs of strong musical character in the 2nd symphony to the revolutionary dramatism of the 5^th.  I can't wait to share this with the orchestra and audiences of our concerts.”

Accompanying the two symphonies will be a brand-new commission from Nora Marazaite, winner of the Royal Northern Sinfonia’s Young Composer Competition.

Speaking of the debut of her latest composition, the 25-year-old composer said:

“I can’t wait to hear my own piece premiered alongside Beethoven’s Second and Fifth Symphonies.

“The audience can expect an intense emotional musical journey from the evening, especially with the performance of Beethoven’s Fifth ending the concert.”

Gardolińska added: “I think juxtaposing Beethoven’s music with a fresh composition by a young composer who drew inspiration from his techniques will shine a new light on the symphonies.

“Needless to say, experiencing a premiere of a brand-new piece of music is always an extraordinary privilege as it invites us to listen in a different, unbiased way.”

Produced with the support of the EU funded platform, Classical Futures Europe, this concert series puts Beethoven’s work in the hands of the next generation of conductors and composers, with the aim of introducing a new audience to Beethoven’s work and demonstrate how the composer continues to be relevant today.

Commenting on the relevance of Beethoven in the 21^st Century, Gardolińska said:

“Beethoven was a volcano of creative energy and a bold, unapologetic composer, and is relevant today because of the universality of his ideas.

“He strived for creative and social freedom and was unapologetic about it. He composed from a place of great integrity and faithfulness to his ideals, always striving to innovate and explore.

“In the 21st century we have understood and put a lot of weight on the importance of being creative for individuals as well as for societies. Beethoven as a composer is a role model for anyone wanting to be creative.”

Marazaite continued: “I believe that Beethoven's works will remain relevant for a very long time as they hold such a significant position in the symphonic repertoire.

“Even as tastes change with time, the compositional technique and innovation means the works continue to captivate audiences as well as be an important source of research and analysis.”

Hailing from Lithuania, the young composer draws on the compositional style of Beethoven along with elements of the traditional music of her home country to create something altogether unique.

Marazaite commented on her approach to this commision: “As a starting point, I chose some elements of Beethoven's Symphonies that were quintessentially his, such as the use of extreme contrasts, juxtaposing materials and textures.  

“I then used fragments of traditional Lithuanian songs as a starting point for the melodic themes and developed these ideas in three small movements.”

Taking place within the recently renovated Main Hall, this event will be reminiscent of Middlesbrough Town Hall’s early history, when the venue played host to a number of now iconic classical artists, including Russian pianist and composer Sergei Rachmaninov, Austrian composer Johann Strauss and Sir Edward Elgar.

Beethoven 2020: The Next Generation will take place on the 19^th March at Middlesbrough Town Hall.

Tickets are priced at £21.00 - £26.00 (+ booking fee).

To book tickets, call the box office on 01642 729 729 or visit Middlesbrough Town Hall’s website: https://www.middlesbroughtownhall.co.uk/event/royal-northern-sinfonia/

With backing from Creative Scotland and individual supporters of a crowdfunding campaign, the Glasgow School of Art Choir has commissioned seven leading female composers from Scotland, England, Australia and the USA to create a set of entirely new choral works. These are being worked on now and will be premiered by the GSA Choir in Glasgow in May 2021.

Tailleferre Ensemble presents:

Tailleferre Ensemble Celebrate International Women’s Day

Monday 9th March @ 7:30 pm - 9:30 pm

'If you are in London, please do join us on Thursday 27th February to listen to the works by the wonderful Brazilian composer and pianist, Catarina Domenici who will be joined by DONNE's founder & curator, soprano Gabriella Di Laccio to present the UK premières of her new Song Cycle: Letters to my Mother as well as Amazonia, Ciranda and piano solos.'

'A special concert celebrating British composer Ailsa Dixon (1932 – 2017).

Villiers Quartet
Lucinda Cox soprano

Ailsa Dixon  Nocturnal Scherzo
Ethel Smyth  String Quartet in E Minor
Ailsa Dixon  The Spirit of Love

A recent revival of interest in the composer Ailsa Dixon has led to the performance of new works, including a set of songs for soprano and string quartet, ‘The Spirit of Love’, receiving its premiere at this concert, performed alongside the composer’s Nocturnal Scherzo and Ethel Smyth’s String Quartet in E minor.

Event supported by the Gemma Trust and the Music Reprieval Trust'

https://www.stgeorgesbristol.co.uk/event/villiers-quartet/

Illuminate Women's Music, Royal College of Music 15th February

WiM Founder Member Jennifer Fowler has a wonderful CD - extraordinarily her debut featuring only her music - called Lines Spun played by the Lontano Ensemble released by Divine Arts Recording Group

A highlighted quote says: 

“What better way than this for a composer to celebrate her eightieth birthday – and a lifetime of creativity!”

Women in Music congratulates Jenny Fowler on her success. Read the review here: 

Lines Spun. Music by Jennifer Fowler

Artist/s: Lontano, directed by Odaline de la Martinez, Raphaela Papadakis (soprano), Lauren Easton (mezzo-soprano). Lontano: Rowland Sutherland (flute), Clare O'Connell (cello), Natalie Bleicher (piano), Janey Miller (oboe), Andrew Sparling(clarinet)

Category: Classical, New Music
Label: Divine Arts Recording Group. Métier msv 28588

http://www.divineartrecords.com.  http://www.impulse-music.co.uk/jenniferfowler

Reviewed by Gwen Bennett

“What better way than this for a composer to celebrate her eightieth birthday – and a lifetime of creativity!”

"Expatriate Australian Jennifer Fowler was born in 1939 in Bunbury,Western Australia. Tertiary education at the University of Western Australia nurtured her talents which were soon recognised through composition prizes, performances and broadcasts. She travelled overseas for further education and experience and subsequently spent most of her life in London as a freelance composer. Her works include orchestral, ensemble, solo and choral music. Over the years she has won many awards, received many commissions and international performances. Amazingly, this CD is the first to be dedicated entirely to her output. It presents a nicely balanced program of three vocal works interspersed with three instrumental pieces..."    Read on on  here 

Diversity Arts Network  

New Projects  

Tues Jan 28th, Whitstable, 2-4pm

The Horsebridge Arts Centre, 11 Horsebridge Road, Whitstable CT5 1AF

Wed Feb 12th, Gravesend, 2-4pm

The Woodville, Woodville Place, Gravesend DA12 1DD

Wishing all our members a Happy and peaceful 2020 and looking forward to seeing you at one of these DAN sessions. 

Calling all local creatives, performers, producers, artists, designers, writers,  arts organisations, diverse community groups, museums and libraries.  The Diversity Arts Network is seeking to develop 3-4 new projects and commissions using local artists, arts organisations and venues in partnership with  DAN consortium members.  

DAN has been awarded funds from the Arts Council to develop its membership consortium in the South East.  As part of this we will be undertaking a mapping of all local organisations and artists including arts and community organisations, museums, libraries and any other relevant networks.  We will be gathering information on projects that members have been involved in that link to the diverse sector and the challenges that they have faced.  

DAN will share learning from this research,  and explore opportunities for partnerships and collaborations with NPOs and non NPOs locally, nationally or both.  Conclusions from the research will form the basis of a future local strategy that will result in more consistent and dynamic programming, partnerships and collaborations of diverse artists and arts/cultural organisations. 

Overall the data will provide the Network with a valuable resource and  recognised position in the locality as a body taking a central role in contributing to the Creative Case.

This data collected will include information on venues, performances spaces and  promotors/bookers across the region with potential to work with, support and programme artists from culturally diverse backgrounds.  The mapping will be used to more accurately access the art-form types and ranges of experience of diverse artists and arts/cultural organisations in the region.

If you are interested in being part of DAN and developing new partnerships, projects and commissions with local artists and organisations we would be interested in hearing from you. 

There will be opportunities for all attendees to talk about their projects and to network.  

A light lunch will be provided from 1.30pm. 

We would like to thank The Horsebridge Arts Centre and The Woodville for their support in co-hosting these sessions with us. 

Please register on Eventbrite at:

https://www.eventbrite.co.uk/e/diversity-arts-network-meeting-jan-28th-2020-tickets-84761061617

https://www.eventbrite.co.uk/e/diversity-arts-network-meeting-wed-feb-12th-2020-tickets-88663297309

http://www.equatorfestival.com/diversity-arts-network/

Herstory Rewritten exploring the life and music of Romantic composer, pianist, teacher and trailblazer Louise Farrenc in this week's show.

A is for Auerbach in the start of my A-Z of contemporary composers, every show featuring composers at the forefront of the classical scene.

A brand new world premiere of Florence Price by pianist Lara Downes.

Plus new albums by Nicholas Phan, Yolanda Bruno, Paula Gudmundson and music by Reicha, Ades, Arutiunian, Lili Boulanger and more gender balanced fun.

https://www.mixcloud.com/TheDaffodilPerspective/the-daffodil-perspective-17th-january-2020/

Among the many women composers side-lined in musical history who are becoming the focus of new interest, Ailsa Dixon (1932-2017) only began to receive her share of recognition in the last months of her life.  While there were a handful of performances during her most fertile period of composition in the 1980s and ’90s (most notably by Ian Partridge, Lynne Dawson, and the Brindisi Quartet), there followed several decades of almost complete neglect.  Then, in 2017, a work that had been lying in manuscript for thirty years was chosen for premiere as part of the London Oriana Choir’s Five15 project highlighting the work of women composers.  These things shall be received its first performance in the spectacular glass-roofed concert hall surrounding the keel of the Cutty Sark just five weeks before the composer’s death.

It was sung again at memorial concerts in London and Bristol, and is now showing signs of entering the choral repertoire, with subsequent performances by choirs in Oxford and Cambridge and festivals from Little Missenden to Romsey Abbey.  With its vision of a future when ‘New arts shall bloom’, it seems especially apt that it came to light in the context of the enterprise to give due prominence to the work of women composers.  

Born Ailsa Harrison, she came from a musical family background: next to the piano in the cottage where she grew up was a portrait of her musical ancestor Feliks Yaniewicz (1762-1848), the Polish composer and violinist who co-founded the first Edinburgh Festival.  She played the violin in the London Junior Orchestra, studied the piano with Hilda Bor, took her LRAM, and went on to read music at Durham University in the early 1950s.  It was here that she first began playing the lute, which she later studied with Diana Poulton.  There was no formal tuition in composition, but by the time she left university she had written her first work for string quartet (a Scherzo recently rediscovered in her archive), though it was not until some decades later that she returned to composition in earnest.

The intervening period was spent teaching and singing, but her musical life took a new turn in 1976 when she undertook a production of Handel’s Theodora. This was an all-consuming project, and left her with such withdrawal symptoms that afterwards, to fill the gap, she began to conceive an opera of her own, Letter to Philemon (based on an episode in the life of St Paul) which was performed in 1984 and proved to be the start of her most fertile period as a composer.

In the following two decades she wrote three works for string quartet (Nocturnal Scherzo, Sohrab and Rustum, and Variations on Love Divine), chamber works including a set of 3 fugues on Biblical subjects, and Airs of the Seasons, a sonata for piano duet (4 hands).  Among her vocal compositions are a variety of songs and duets, including settings of two Shakespeare sonnets for soprano and tenor, a cycle of 5 Songs of Faith and Joy for mezzo soprano and guitar, a set of 3 songs for soprano and string quartet entitled The Spirit of Love, and Shining Cold, a vocalise for high soprano, ondes martenot and strings. 

Many of these works went unperformed in her lifetime, but recent discoveries in her musical archive have stimulated a raft of new performances, including posthumous premieres of Airs of the Seasons at St George’s Bristol in 2018 and The Spirit of Love (in February 2020).  Plans are underway for a recording of her complete works for string quartet by the Villiers Quartet.  Her manuscript scores are now being digitised as part of a project in Finland to preserve the work of neglected female composers, and there are plans to deposit her archive at Heritage Quay, where the British Music Collection is held.

Religious themes are a strong element in Ailsa Dixon’s works, while literary texts (from medieval Latin lyrics to Shakespeare, Matthew Arnold and Walter de la Mare) inspired many of her compositions.  When asked about her musical influences in an interview in the ‘Meet the Artist’ series shortly before she died, she cited ‘Fauré (for his harmonic suppleness), Britten (for his powers of evocation and empathy), and Bartok (studying his compositional processes at Durham stimulated an interest in his lively variations of time signature and the elasticity of musical motifs)’, while observing that ‘the Greats preside over it all’.  Her interest in counterpoint is especially prominent in the three instrumental Fugues and the quartets, and was often deployed to figure the interplay and resolution of conflicting emotions, as in the Nocturnal Scherzo, and a farewell fugue sung by four characters in Letter to Philemon. 

Frances Wilson wrote of her musical style in a review of Airs of the Seasons, ‘The opening chords… are reminiscent of Debussy and Britten in their distinct timbres, and the entire work has a distinctly impressionistic flavour. Ailsa’s admiration of Fauré … is also evident in the harmonic language, while the idioms of English folksong and hymns, and melodic motifs redolent of John Ireland and the English Romantics remind us that this is most definitely a work by a British composer with an original musical vision.’    

More details at www.ailsadixon.co.uk   To subscribe to occasional newsletters featuring recent and upcoming performances of Ailsa Dixon’s works and news on the availability of scores, please use the Contact page on her website.

Women in Music would like to congratulate Judith Bingham for her OBE, Helen Grime for her MBE and Errollyn Wallen for her CBE in the New Year's Honours List. This national recognition for their contributions to music is a much deserved tribute and we wish them continuing success and recognition for all the fabulous works they have given us.

Discover 10 of the best, 10 of the most special, innovative and trailblazing recordings of 2019.

https://thedaffodilperspective.com/2019/12/14/the-daffodil-perspectives-classical-recordings-of-the-year-2019/

'Winners announced for national 2019/20 Emergent Commissions for Disabled Musicians 

Three emerging Disabled musicians have been awarded national commissions by Drake Music and its partner, Sound and Music. The winners of the 2019/20 Emergent commissions - Dyr Sister, Robbie Ashworth and Remi Fox-Novak - will create new work which brings together music and film, responding to the question: “What does it mean to be you and living in today’s society?”.

The composers, from Nottingham, London and Hull, come from very different musical backgrounds, including contemporary folk music, underground techno and composition for moving image.

The commissions aim to support emerging Disabled musicians to take the next step in their musical and career development, offering a supported opportunity to create new work and push their practice further.

The two organisations are working in partnership to raise the profile of Disabled composers within the UK contemporary music scene. As well as partnering each musician with a film-maker, the organisations will support them to become part of the British Music Collection, an online space and discovery platform for new music and creators in the UK.

Carien Meijer, Chief Executive of Drake Music, commented:

“This is the third year of our Emergent commission programme and it is wonderful to see the quality of the musicians coming through. 

"Disabled people are massively under-represented in the UK music scene, so it is exciting to be working in partnership with Sound and Music to bring these talented musicians to a whole new audience.”

The three Emergent Commission winners are:

Dyr Sister (Hull)

Sally Currie is a Multi-Instrumentalist based in Hull who is partially deaf and has an extensive history writing and performing music with bands and solo. Her main instruments are the Viola and the Piano which she learnt as a child, subsequently playing in local orchestras and string ensembles. As a solo artist she has performed her work all over the UK at venues and festivals sharing bills with acts like Laetitia Sadier, This is the Kit, Ruth Theodore, Thomas Truax and The Dead Rat Orchestra.

Sally’s current project is The Dyr Sister, a contemporary folk band which expands on her previous solo work and is described as ‘Fairy tales for the Modern Gentleman’.

Sally says:

“I am very excited as a deaf artist about turning my music into visual art and all the different possibilities that this entails. Being able to add another dimension to the presentation of my work that is accessible to the deaf community is something that means a lot to me and I feel privileged to be able to join the programme and explore this.”

Robbie Ashworth

A composer, performer and entertainer from South West London. His main instrument is piano but he also enjoys playing guitar and African djembe drums. He has a music degree from Kingston University and an HND from North East Scotland College. His favourite genres are jazz, blues and 1950s rock and roll but has also been classically trained to Grade 8 (piano).

“I am thrilled to be able to compose a piece of music set to a moving image which highlights how inclusion is still in its infancy with regards to people with hidden disabilities as well as visual ones. I would like my music to show how living in today’s society can be an isolating experience for those who are different.”

Remi Fox-Novak

Emerging from the Nottingham underground, Remi Fox-Novák is a producer, live performer and sound artist as a member of the Surfacing collective. This summer he released his first solo record ‘+’ and has begun performing his angular brand of dancefloor techno live.  A self-confessed music technology nerd, he is passionate about finding ways to make playing music accessible for all.

Remi adds:

“I am so pleased to be working with Drake Music. It’s a great opportunity to push my sound design skills in partnership with film makers and make connections with other artists.”

The Emergent: A Music Legacy programme is funded by Help Musicians UK to support new artistic and career opportunities for Disabled musicians and composers.

Drake Music brought the three artists together for a collaborative and exploratory music making session in November and they are now working on their commissions individually. In early 2020 they will be matched with film-makers, ready to release the new work in spring.'

Source: Drake Music https://www.drakemusic.org/blog/becky-morris-knight/emergent-commission-winners-2019-20-announced/

Women composers have been hugely successful in this year's Ivors Composer Awards, with winners in six categories and a lifetime achivement award. Huge congratulations to Charlotte Harding, Anna Meredith, Laura Jurd, Alison Rayner, Erika Fox, Charlotte Bray and Hilda Paredes.

https://ivorsacademy.com/awards/the-ivors-composer-awards/#nominees

The Daffodil Perspective is raising funds to help continue their work championing women and creating diversity in classical music. If you've enjoyed the show and their work please consider donating.

More information on the GoFundMe campaign here

Multi-instrumentalist and composer Rachel Beckles Willson brings her quartet Beyond Mode to London, animating a unique soundworld of voice, oud, bowed tanbur and double-bass interwoven with Indian tabla. The programme combines music by a female musician at the Ottoman court in 18th-century Istanbul, Dilhayat Kalfa, and newly-written instrumental pieces, songs and extemporisations for this unique quartet.

At the heart of the programme is Beckles Willson's Sing no Sad Songs for Me, the composition that launched the ensemble, exploring the poetry of Christina Rossetti, child of Italian exiles in 19th-century London. Sing no Sad Songs for Me expresses the mysteriousness and poignancy of parting in death, while bringing together in music the spaces of Europe and Asia all too often held apart.

Beyond Mode emerged from musical encounters at Labyrinth Musical Workshops, Crete. Rachel Beckles Willson is a composer, multi-instrumentalist and researcher, Professorial Research Associate at SOAS, University of London. Her work is dedicated to seeking out and amplifying unheard voices - often those of women, often those of people on-the-move.

Eventbrite: https://www.eventbrite.co.uk/e/soas-concert-series-beyond-mode-tickets-83698828449?fbclid=IwAR2EWn1A-Fr4Abd-ikW1HUR3ZTvZ6-fVlAcMMESzalCYhKP91tdpOONlkC0

£4 online booking required to guarantee seat allocation.

https://www.rachelbeckleswillson.com/Beyond-Mode/

1 year, 42 shows, 55 hours of music. How did it go?

409 composers including 204 female composers, 155 living composers and 40 BAME composers/composers of colour.

33 hours of music by women composers, 13 hours of music by living women composers, 6.75 hours of music by BAME composers/composers of colour

584 pieces including 339 by female composers.

14 pieces per week on average including 8 by women, 3 by living composers and from May onwards every show had at least 1 piece by a BAME compose/composer of colour.

Most Played Composer: Florence Price (14 times)

Mozart was played twice, Bach twice and Beethoven once.

See the full infographic report here: 

https://daffodilperspective.files.wordpress.com/2019/11/the-daffodil-perspective-1st-year-analysis-1.pdf

The Daffodil Perspective is now 1 year old!

Celebrate 1 year of championing gender equality in classical music with this special birthday show, featuring a special selection of some favourite pieces from throughout the year.

https://www.mixcloud.com/TheDaffodilPerspective/the-daffodil-perspective-1st-birthday-show/

This week discussing the work and music of visionary composer Wendy Carlos and a very exciting world premiere recording of Margaret Bond's epic cantata The Ballad of the Brown King from Malcolm J Merriweather and company.

Plus music from Elfman, Elisabeth Lutyens, Arvo Part and more!

https://www.mixcloud.com/TheDaffodilPerspective/the-daffodil-perspective-1st-november-2019/

The Tailleferre Ensemble will be playing Rhian Samuel's Redlands Suite, Cecilia McDowall's Century Dances & Claude Arrieu's Trio tomorrow at All Saint's Church, High Wycombe, 1:10pm.

http://www.allsaintshighwycombe.org/concerts.html

Women in Music has learned of an excellent new resource listing works for clarinet by women composers. The resource can be found here https://www.clarinetrepertoire.com/ 

It's the last ever Fun With Florence feature this week, wrapping up a year of celebrating the incredible music of Florence Price.

In honour of Black History Month UK there some special surprises as well.

Plus music from conductor Mei-Ann Chen, badass brass from composer Lucy Pankhurst and exciting new albums from Annabelle Berthomé-Reynolds and Gillian Smith.

https://www.mixcloud.com/TheDaffodilPerspective/the-daffodil-perspective-25th-october-2019/

Rachel Jepson's new book, Mental Health In The Music Industry: A Guide will be of interest to women working in the music industry. Rachel is a musician and counsellor with more than twenty years experience in the music industry who has presented her work to the ISM and Help Musicians UK amongst others.

Rachel says

There are many issues affecting the mental health of women in the music industry. I write about some of these issues in my new book ‘Mental Health in The Music Industry: A Guide’. To begin with, there is a major gender imbalance within the music industry in terms of senior management. According to a survey by UK Music, only 30% of senior positions in the music industry are occupied by women. Why is this? It could be a lack of encouragement, self-esteem, confidence and role models. There are a lack of role models and opportunities when it comes to certain music industry roles such as managers, tour managers, producers, mixers, sound engineers leading to some women not believing they will succeed if they pursue these careers. Women also have the added pressure of touring and working in the music industry whilst being a mother, feeling pressure from their orchestra, label, manager etc to tour whilst also feeling judged and guilty if they do so. It has been well-documented that some female artists have been abused, controlled and harassed whilst working in the music industry. There is a culture of: ‘’You’re lucky to be here and someone else will do it if you don’t.’’ For women in the industry, there is always a pressure to look beautiful and accept that they will be sexualised; this is not the same for men. Famous female musicians who live in the public eye are scrutinised, criticised and trolled if they have put on weight, had surgery, dyed their hair, worn the wrong dress leading to issues such as anxiety, depression, eating disorders and a distorted body image. I am not saying that some of the issues do not affect men, but they are a part of everyday life for most women in the music industry. Awareness must be raised of some of these issues, and support provided. I’m hoping this book, and my CPD accredited course in Mental Health Awareness In The Music Industry will address this.

Join me on a trip round the world this week, going down under with music from composer of the week Peggy Glanville-Hicks and friends Paul Bowles, Arthur Benjamin and Peter Sculthorpe.

A PARMA Recordings double bill this month with music from Mira Spektor and Finnish composer Maija Hynninen.

Plus Mexican music conducted by Alondra de la Parra, African music performed by Rebeca Omordia, Cuban music performed by Rachel Barton Pine and a flute concerto by Sally Beamish.

https://www.mixcloud.com/TheDaffodilPerspective/the-daffodil-perspective-18th-october-2019/