Newsletter #62
This newsletter is to inform you that booking for the forthcoming Strings Attached Coffee Concert season opens on Monday 13 September. Tickets will be available from Brighton Dome Box OfficeMore
Coffee Concerts
Newsletter #61
We are thrilled to be able to announce the next Strings Attached Coffee Concert season. It will again be held at the Attenborough Centre for the Creative Arts (ACCA) at the University of Sussex.More
Coffee Concert 18th April 2021 – Joanna MacGregor with Brighton Philharmonic Chamber Ensemble – Strings Attached Review by John Hawkins
In contrast to their previous Schumann/Brahms concert, this wonderfully imaginative programme was exceptionally wide-ranging in time, style and forces. From solo violin and piano to full concerto, from Bach to Piazzola via Mozart, Purcell and Vaughan Williams, what might have seemed a bizarre mixtureMore
Coffee Concert 18th April 2021 – Joanna MacGregor With Brighton Philharmonic Chamber Ensemble – Other Reviews
Strings Attached welcomes reviews from anyone who has attended this Coffee Concert. If you would like to submit a review please contact the site editor at editor@stringsattachedmusic.org.uk. Opinions expressed on this page are those of the authors and do not necessarily reflect the views of the committee.
Joanna MacGregor’s habitual breaking of moulds, tearing-up of templates and radicalisation of routines should inspire and empower the Coffee Concerts after this arresting presentation. The new artistic director and conductor of Brighton Philharmonic Orchestra, installed during the pandemic in September and yet to stage her first BPO concert, stepped loose fromMore
18th April 2021 – Joanna MacGregor with Brighton Philharmonic Chamber Ensemble – Programme notes by Chris Darwin
J.S. Bach (1685-1750) Harpsichord Concerto No 5 in F minor BWV 1056 (1738)
No tempo marking
Largo
Presto
This concerto is one of a set of six for single harpsichord and strings that Bach assembled in Leipzig around 1738-9. Little is known of their provenance or purpose, but some are clearly identical to earlier surviving concertos written for a different solo instrument such as violin or oboe. For example, No 3 in D is a transposition of the violin concerto in E – the shift down a tone allowing its top note to remain within the compass of contemporary harpsichords. More