| Date and venue | Title |
|---|---|
| 26-Apr-2013 St John's Church, Hagley | The silver chain of sound with Orchestra of the Swan and Tamsin Waley-Cohen |
 David Curtis displayed his usual deceptively effortless ease on the podium. Perhaps this felt like a handy warm-up for the marathon that he would run, hard on the heels of this concert, in Stratford-upon-Avon, the Orchestra of the Swan’s home territory. He’d be racing to raise funds for musical outreach work in schools, one of OOTS’s laudable trademarks, along with their championing of new and contemporary works.Read full review... | |
| 8-Feb-2013 Gresham's School: Auden Theatre | Little-known Britten juvenilia brought to the fore at Gresham's School |
 The centenary of Benjamin Britten continues to gather pace as we move through February and it was a warm welcome given to the Aronowitz Ensemble for an all-English programme of chamber music on Friday evening. Gresham’s Auden Theatre is at the heart of many of the schools’ activities to celebrate their most famous old-boy and the Aronowitz Ensemble made the most of the occasion by programming works not only by Britten, but by his teacher Frank Bridge also.
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| 17-Jul-2012 Westminster Abbey | Stephen Farr opens Westminster Abbey's Summer Organ Festival 2012 |
 It is often said that the concert hall is the sanctuary of musicians and music lovers alike: frequent concertgoers flock to their favourite venues as regularly as Sunday service, dressed in their finest and observing the sacred rites and rituals of the classical concert. What an interesting spin, therefore, to see the view switched and church turned concert hall at Westminster Abbey for a recital by organist and conductor Stephen Farr, the first of the abbey’s Summer Organ Festival 2012 concert series.
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| 19-Jun-2012 St Leonard's Church, Shoreditch | Martinů, Dvořák, and Watkins from the Schubert Ensemble |
 Bohuslav Martinů's Piano Quartet no. 1 (1942) is a beautiful work. The first and third movements are sharp and witty pieces which touch on jazz influences almost as strongly as on Bohemian folk music. And the middle movement is a graceful lament, the outer sections written just for the string trio, with the piano only joining in for the central section, and then again for the soft, poignant final chords.
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