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Arts & Entertainment - Reviews

REVIEW: Marlborough and district before-and-after photographs show how town and around have - and have not - changed

Marlborough and Around Through Time by Stanley C Jenkins and Angela Long (Amberley Publishing, 2015)   £14.99

Here's a very new book - a slim volume ideal for the Christmas stocking.  But an ideal stocking filler for which member of the family?

Published this month - along with nine other new titles - it comes in Amberley Publishing's vast series of illustrated books about British towns and locations.  The series has around 400 titles and between them they have sold half a million copies. And they are about to start an Irish series too.

The Amberley formula is to compare and contrast old photographs (mainly in this case old and atmospheric postcards) with new photographs and a dash of explanatory text that always includes a few good tales.

In Marlborough and Around Through Time the new photographs were taken this August and September - when Marlborough in Bloom was in full colour.  They capture, in passing, the weeks when the Bollywood Indian restaurant became, briefly, the Jyoti - a time before The Crown's Inn sign changed into the much more arresting Piano Lounge sign - and just another day when Dormy House was damaged by an HGV truck.

Many of the old photographs are really interesting - some are dated from 'around 1912'.  One of Kingsbury Street includes the inn sign of The Bell and Shoulder - though it was surely known as The Bell and Shoulder of Mutton, which, unless I am mistaken, closed in 1919.

Its landlord at the time of the photograph was Frederick Pile.   Was he the same Frederick Pile who is listed (discovered after a bit of Googling) as a five-year-old 'Scholar' living in Preshute in 1871?  Answers on a postcard - please.

The one trouble with this formula is that 'before' and 'after' pictures often look very alike.  Perhaps that's part of the point: evidence of successful conservation decisions keeping town and country from modern blight.

The 'Around' part of this book is fairly large - one third of the book's pages are devoted to Avebury.  And it's a take on Avebury that will fascinate tourists - concentrating on Third Age Avebury with several pages featuring the visit in 1993 by Tibetan Lama Gangchen and 'Avebury Henge - the role of the Druid.'  

Indeed the book is dedicated to 'Tim Sebastion Woodman (1948-2007), Arch-Druid of Wiltshire, asnd Donna Brooke (1965-2015), Arch-Druidess of the Glastonbury Order of Druids.'

There is a very sad 2015 photograph of what used to be Charles Perry's hotel in Avebury.  It looks as though it is deteriorating very quickly - and may soon become a 'before' photograph.

There is a good section on the College and another on Marlborough's connection to and severance from the rail network.  And there are two surprising pages on Yatesbury at war.

But there is nothing in this book on one of the main features of the area: Savernake Forest which has a history all of its own. And from a marketing point of view, a couple of pages on Wolf Hall and why it's no longer there would have been good.

So whose stocking will it best fit into? A grandparent or perhaps an aunt visiting from Australia.   Actually, it should find its way into stockings belonging to anyone who is interested in Marlborough and its past.

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REVIEW: St Peter's Church recitals: a brilliant young pianist is joined by a brilliant young violinist

The Choi-Fox DuoThe Choi-Fox DuoOn a cold November night these two young musicians provided us with a feast of lovely music: Harry Nowakowski-Fox (piano) and Judith Choi-Castro (violin) - who perform and record as the Choi-Fox Duo.

The first half of this recital in the was devoted entirely to piano works played by Harry. He began with JS Bach’s Partita No2 in C Minor, very well known to the St Peter's Church audience. The work begins with an opening sinfonia, which has three very different sections.  We were treated to a very formal almost solemn grave section, which gives way to a lovely gentle andante before finishing with a two-part fugue in which Harry showed  a thorough mastery  of Bach’s familiar counterpart.  

Then follow a series of dance movements, all very varied in speed and in mood.  However it is in the last two movements, the rondeaux and finally the capriccio, where all the excitement lies.  Technically demanding, Harry sailed through these movements at a cracking tempo, the notes just pouring from his finger tips.

The Chopin Barcarolle in F Sharp Major which followed is a very different piece. A barcarolle is based on the rhythm and mood of the ‘barcarola’, a song sung by Venetian gondoliers, and a source of inspiration to many nineteenth century composers.  This one is lovely.

Harry articulated the rippling arpeggios which were reminiscent of sunlight on the waters of the Grand Canal, and poured much expression into the main theme, which is unmistakably Italian in its form.

The great Piano Sonata no 21 in C major, the ‘Waldstein’, was a complete contrast. Here is one of Beethoven’s finest piano works. Two thunderous outer movements are separated by a short and reflective adagio. Harry played with huge confidence, mastering the bravado that this work demands, but, at the same time, highlighting the moments of quiet contemplation found therein.

The second half saw Harry back at the piano to accompany Judith in two well-established works for piano and violin duo. The first of these was Beethoven’s wonderful Violin Sonata in F Major which, thanks to its sunny and joyous character has been known as the ‘Spring’ sonata.  

Its ‘uncomplicated’ light-heartedness makes a good contrast with the powerful Waldstein which had preceded it.  You can’t help but smile from the first moment of this work. Judith gave us a very personal rendering, highlighting the sometimes very intimate ‘conversation’ between the violin and the piano. This was joy both to watch and to hear.

The concert finished with a violin sonata in F Major written in 1838 by a young and buoyant Mendelssohn.  It is more complex than the Beethoven, and requires more attention from both the performer and the listener.  There are serene moments where the elegant melodies are reminiscent of the Songs Without Words. These were played with great eloquence. However, it is the ‘dash for the finish’, the assai vivace, with its long and breathless passages of joyous fast notes passed from one instrument to the other that was memorable.

Played with youthful bravado, this was a worthy end to the concert. Perhaps, though, Saint Peter’s church is not an ideal acoustic for the violin and there were times when the balance between the two instruments was not good, and the quiet intimacy of the instrument was drowned out by the piano.  Nevertheless this concert was recognised by many as one of the very best in these recent series of recitals by young musicians.

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Review: Wessex Places - Wiltshire Museum's exhibition brings new views of ancient sites in their modern landscapes

 

Silbury at Night - David InshawSilbury at Night - David InshawThe Wessex Places exhibition at the Wiltshire Museum in Devizes is precisely the right space for new works by four artists David Inshaw, Ray Ward, Robert Pountney and David Gunning.  Many of the works are for sale - mostly as artist's prints.

They all bring into the museum archaeological survivors that will never find a place in a museum.  They are, of course, too big. But close by the gallery you can see artefects found in or near these larger sites - work of extreme delicacy to contrast with some of these massive avchievements.

They are also monuments from our distant past that need the context of their landscapes - ancient and modern.  And depiction of landscape has long been a cherished and characteristic feature of British art.

Central to these artists is the Wessex inheritance of megaliths: Stonehenge, Avebury, Silbury Hill and, last but by no means least, the Marlborough Mound which is now known to be 'Silbury's Little Sister.'

David Inshaw is the well local known artist who first came to the public's attention in 1973 with his painting The Badminton Game - now in The Tate Gallery.  He came to Devizes in 1971 and formed a group of artists which became known as The Brotherhood of Ruralists.  He left the Group in 1983 and after some years in the Welsh borders, he returned to Devizes in 1995.

He works mainly on large oils, etchings and drawings. In this exhibition David Inshaw is showing some startling views of Silbury.  

His etching Silbury Sunrise is a representation of the mound and a rising sun that verges on the abstract.  It is almost as though it comes from a field notebook - hurriedly capturing the essence of the view complete with a jotted tree framing the right side of the view.  Regrettably it is not for sale.

The etching Silbury at Night, which appears on the poster for the exhibition, is rich with atmosphere.  The semi-darkened moon looks as though Inshaw may have captured an eclipse in progress.  And the familiar Silbury outline contrasts dramatically with the natural shapes of nearby trees.

Ray Ward has lived in Wiltshire for thirty years.  He graduated in fine art from Trent Polytechnic in 1983 and has supported his artistic life with a series of jobs - including work as an art technician at Marlborough College.  And his work for this exhibition  gives us several new and often surprising glimpses of the Marlborough Mound - on College property and now known to be the same age as Silbury Hill.

Marlborough Mount - Ray WardMarlborough Mount - Ray WardRay Ward works in in a variety of disciplines including drawing, painting and performance: "Last year I was asked to do some drawings for a book about Silbury Hill and thereafter the hill and its counterpart in Marlborough have infiltrated my thinking and have become markers not merely in the landscape but also in my personal history."

"The feeling that that they've always been there while everything around them has changed gives these mysterious man-made structures an occasionally comic but always prescient mystique."

One of Ray Ward's computer drawings printed onto archival rice paper shows the Marlborough Mound standing alone with bits of the College's Norwood Hall and Chapel peeping in from the side - trying their best to impose something a bit more modern on the tree-covered mound.

His Silbury Hill 009 shows the ancient man-made mound in the foreground against a broad, even rolling, Wiltshire landscape.  It shows with great ease the extraordinary scale of this 'Hill'.

If you thought you had seen Silbury Hill from just about every angle, in every weather, under every possible sky, from both sides of the A4 and from Avebury itself, you will get a very pleasant surprise from Ward's Silbury Hill 160 (Behind the trees.)  A very different view - with gentle colours of nearby vegetation.

Robert Pountney concentrates on the landscapes of Dorset. But in this exhibition he has a wonderfully evocative charcoal drawing of Avebury.  It features one standing stone dwarfed by heavy, rolling clouds of the kind that might well have frightened or at the very least worried the men and women who built Avebury.

"The predominant use of chiaroscuro in my drawings is intended to help dramatise the relationship between past and present, the seen and the unseen in prehistoric landscapes..."

As if to prove his point we have his charcoal drawing of Rawlsbury Camp under a starlit sky.  The camp is on a promontory of Bulbarrow Hill just west of Blandford Forum.  Not much of the five acre Iron Age fort is left, but seeing its rounded remains under the same star light as its Iron Age defenders saw it, does bring out that relationship between past and present.

David Gunning is represented by some of his depictions of Stonehenge and many other megaliths.  Throughout his life, Stonehenge, Avebury and other major Wiltshire sites, have captivated and fascinated him: "This new set of work reflects my continued passion and admiration for the megalithic builders who have left us such a magical heritage to reflect upon."

One of Gunning's really eye-catching works is Many Megaliths an imposing  assemblage of sixty small etchings lined up on a giclee print in four ranks showing megaliths from all over the British Isles.  They come in so many different shapes and landscapes that you begin to wonder how the ancients' skills were spread around.

Another of his works is a small etching Silbury Hill, Avebury - dated June 2015.  This is a narrow picture putting Silbury into its present day agricultural landscape with a post and wire fence in front of the ancient structure.

Wessex Places:  the exhibition is open until 2 January 2016.  The Museum is open: Monday - Saturday 10-5, Sundays and Bank Holidays 12-4. But it will close for Christmas from December 20-28.

Top row:  Left - David Inshaw with the curator and his Silbury Sunrise. Right - Ray Ward with one of his views of the Marlborough Mound.  Bottom row: Left - David Gunning. Right - Robert Pountney with his charcoal drawing of Avebury. [Photo courtesy Wiltshire Museum]Top row: Left - David Inshaw with the curator and his Silbury Sunrise. Right - Ray Ward with one of his views of the Marlborough Mound. Bottom row: Left - David Gunning. Right - Robert Pountney with his charcoal drawing of Avebury. [Photo courtesy Wiltshire Museum]



 

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A brilliant young pianist returns to Saint Peter’s Church - the fourth recital series begins

Mai Charissa Tran-Ringrose at the time of her first Marlborough recital...Mai Charissa Tran-Ringrose at the time of her first Marlborough recital...The new season of recitals at Saint Peter’s church began (October 25) with a return visit to Marlborough by Mai Charissa Tran-Ringrose who first came to play for the Brandt Group Brilliant Young Pianists series three years ago.  Mai Charissa was then aged 16, and now, aged 19, she is an undergraduate reading languages at Trinity College Cambridge.

In her short career as a pianist Mai Charissa won, aged 13, first prize in Thailand’s National Piano Competition for Young Pianists. At the same age she achieved the Diploma (with Distinction) of the Associated Board of the Royal Schools of Music, and a year later she was awarded its Licentiate.  She has also been awarded the equivalent qualification in France: the Diploma d’Etudes Musicales.

The first half of her programme was devoted entirely to Beethoven - just two works, both in very sombre minor keys.  First came the 32 Variations in C Minor. These toy variations, lasting in some cases but a few seconds each, were based on a simple eight-bar melody. There was a rich kaleidoscope of temperament in a very short time, some tempestuous, others placid, all rushing past the listener until Beethoven finally pauses for breath with the last dramatic and demanding variation. Mai-Charissa demonstrated not only her technical skills but also her ability to interpret each of these variations individually.  

Beethoven's Sonata 17 in D minor followed - another work in a dark key.  It begins with a remarkable first movement, with a series of tempo changes that leaves the listener wondering what Beethoven was planning. The movement remains one of huge variations in mood: the fast sections are almost manic in intensity.

The second movement has a steady and persistent rhythm, the repeated chords in the bass creating the atmosphere of a funeral march. Relief finally arrives in the rippling and gentle allegretto movement, but even here the movement ends quietly with a profoundly melancholic theme which completes this troubling sonata.

We heard some technical skill here and Mai Charissa wrung from the work the dramatic mood changes and all-embracing sense of anguish which the work conveys.

Most of the second half was devoted to Chopin. Mai Chairissa began with two of Chopin’s Nocturnes, E Minor and B flat Minor - a form Chopin popularised. After the tempestuous Beethoven these were a good deal more calming. They are lyrical and wistful and very elegantly played.  

...and more recently...and more recentlyThese were followed by Chopin’s Ballade in F Minor - another musical form which Chopin popularised. The name might suggest that there is a specific textual underlay; the telling of a story. There are pronounced shifts in mood, reflective passages which then lead into lighter dance-like moments, before ending in a dramatic and virtuosic outburst. Mai Charissa highlighted these mood changes in such a way that we could build up our own ‘ballad’ from the music.

The Chopin experience was briefly broken with the miniature ‘Smyrna’ which Edward Elgar had written in 1905 which visiting the eastern Mediterranean. This lovely work is very atmospheric, and the ‘colour and movement’ which Elgar describes is  bedded deep in the left hand where there are traces of eastern harmonies and rhythms.     

Finally the recital's grande finale: Chopin’s Andante Spianato and Grande Polonaise Brillante - two wildly differing works which are frequently paired for their dramatic contrast. The Andante is gentle and has a very familiar lullaby feel to it - in complete contrast to the fireworks of the Grande Polonaise.

Yet another musical form popularised by Chopin, the ‘polonaise’ is loosely based on the rhythms of an energetic traditional Polish dance. This Polonaise, the most ambitious Chopin wrote, is joyful, full of wild rhythms and a sense of bravura leading towards a dramatic climax of arpeggios stretching the pianist to the limit, arms stretching the length of the keyboard and hands lost in an avalanche of notes.

What a performance! It was technically very good indeed and the appreciative audience  greeted its conclusion with rapturous applause.

For a young pianist of but nineteen years Mai Charissa shows a very mature technical command of the piano. Perhaps her playing as yet, reflects too little of her own personality.  Furthermore she should learn to engage more with her audience.  However these are early days. After she completes her studies at Cambridge she plans to become an accountant.  Nevertheless, let us hope that she will continue to play, for without her the world of music would be all the poorer.   

For dcetails about future recitals in the series go to the MBG website - or follow our What's On Calendar.

 

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Queens and Minions entertain the crowds at Pewsey Carnival

 

A pair of Foxy HuntersA pair of Foxy HuntersA queen on the throne, The Queen on 'the throne', Father Christmas, and a milk float with a difference were all part of Wiltshire’s oldest and most vibrant illuminated carnival last night (Saturday).

117 years has not dulled the spirit of Pewsey residents who, if they weren’t in fancy dress in the procession, had turned out in traditionally-large numbers to cheer on the participants.

As always, the Carnival Queen and her attendants led the procession, but were followed not long afterwards by Her Majesty herself, or at least someone posing as her – a walking entrant sitting in a toilet, the legend Still On The Throne alluding to Elizabeth II’s record-breaking reign.

There were more topical floats – one in the form of the milk float with a life-sized cow implored local people to pay a fair price for their milk.

There was an early showing for Father Christmas and his elves, courtesy of the Party Animals, and as always a good smattering of popular culture references – the recently-resurrected TV classic Thunderbirds, Disney’s enduring Frozen, and the unescapable Minions.

And from the baby the the pouch of a kangaroo as part of the Cotton Eye Joey float, to the Pewsey Old Broilers – who used their Dun Clucking float to announce their retirement from Carnival – the event managed to appeal to every generation.

  • Click any image to enlarge

An Elf from the Party Animals Christmas floatAn Elf from the Party Animals Christmas floatCarnival Queen Daisy-Mae Phythian and attendant Chelsea WeirCarnival Queen Daisy-Mae Phythian and attendant Chelsea WeirKennet Valley Brass Bavarian Band Kennet Valley Brass Bavarian Band Make Love Not WarMake Love Not WarMinions 2015Minions 2015Pewsey Hasbeens Thunderbirds Are GoPewsey Hasbeens Thunderbirds Are GoPewsey Legions Two Tribes floatPewsey Legions Two Tribes floatPewsey Old BroilersPewsey Old BroilersPVADS Madness-themed floatPVADS Madness-themed floatStill on the ThroneStill on the ThroneThe Major WrecksThe Major WrecksThe milk float campaigns for fair milk prices for farmersThe milk float campaigns for fair milk prices for farmersThe youngest participant  Cotton Eye JoeyThe youngest participant Cotton Eye Joey

 

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One piano and four hands make 'a very successful' recital to aid the Mayor's fund raising for The Brain Tumour Charity

On Sunday (September 13), at St Peter's Church, in a concert organisedd by the Mayor of Marlborough, Councillor Margaret Rose, The Cook and Stanley Piano Duet provided a large audience with a varied range of works.  

Berendina Cook and Matthew Stanley had met in 1984 whilst they were music students at the Royal Holloway College, University of London and have continued to play together ever since. They have become established as one of the leading specialists in Piano Duet work, and have played in venues all over the world. International recognition came when in 1996 they won no less than three prizes at the International Piano Duet Competition in Tokyo

The recital began with Mozart's Sonata in C (which may have originally been intended for two pianos.) A spirited allegro opens the piece, contrasting with a gentle andante, before launching into a jaunty allegretto, the main theme returning time and time again.  

Schubert was a very able pianist and wrote extensively for the duet. His lovely Rondo in A may well have been written for him to play alongside one of his gifted pupils, probably one of the daughters of his patron, Prince Esterhazy. The work is based on a gentle, poignant theme around which the four hands interweave in a series of atmospheric and intimate variations. Such beauty, from a composer close to death from a terminal illness!

What a contrast this made to the bombastic and extrovert Valses Bourgeois by the larger-than-life Lord Berners.   Berners was one of the flamboyant figures of Britain in the 1920’s. A gifted musician, poet, novelist, artist and erstwhile diplomat, his social life revolved around the Sitwells, William Walton and Constant Lambert as well as the Mitford sisters. His hospitality at Faringdon House, where he kept a flock of doves dyed in vibrant colours, was legendary.  These Valses, are, not surprisingly, larger than life - showy, brash, satirical, and harmonically edgy. Furthermore, they were brilliantly played - a very suitable end to the first half.

The second half began with a Suite in Three Movements  by York Bowen, a sadly neglected composer these days, but one of the recognised musical talents of the interwar years. He was also a talented horn player and piano teacher. His Suite, probably written for his own use, is very difficult and requires substantial changes in mood. The wonderful central movement is a Nocturne, initially a gentle reflective piece which steadily rises to a disturbing climax. The last movement, Dance, is another tour de force.

Debussy’s Petite Suite is well-known to duet lovers and was beautifully played. The four movements begin with En Bateau, (a serene evening on a boat rudely interrupted by a nasty squall!) and includes a striking Minuet before finishing with a very well-known Ballet.

The programme finished with a piano duet version of Gershwin’s famous Rhapsody in Blue, better known in its original version for piano and orchestra. Indeed the work loses something of its variety of colour in this version for duet.  Nevertheless, it was played with great style and made a very suitable climax to the evening’s music.

It was most fitting because George Gershwin died at the age of 38 from a brain tumour, thus cutting short a very flourishing career. Berendina’s own son died of a brain tumour in 2000 at the age of 14, while the Town Mayor’s son-in-law suffered the same fate.  The concert, appropriately, was to raise money for The Brain Tumour Charity which will remain the Mayor’s Charity of choice throughout her year in office.  This was a worthy and most enjoyable start - a very successful concert.

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Trio of cultural landmarks to open free for Heritage Days

 

A reconstruction of 17th century life at The Merchant's House in MarlboroughA reconstruction of 17th century life at The Merchant's House in MarlboroughThree of the Marlborough area’s cultural landmarks will be throwing their doors open next weekend for Heritage Open Days.

Wilton Windmill – the last working windmill in Wessex - will hold an open day on Sunday, September 13 from noon until 5pm. Children’s games and free guided tours are all aprt of the package.

Nearby, visitors will be able to see the world's oldest working beam engines at the Crofton pumping station. Although the pumping station will not be 'in steam', volunteers will be given guided tours of the facility.

The Grade I listed Crofton Beam Engines - complete with original Boulton & Watt beam engine dating from 1812, and a Harvey of Hayle Cornish beam engine built in 1846 and rebuilt in 1905 - will be open in Saturday and Sunday, September 12 and 13, from 10.30am until 4.30pm.

And entry will be free at The Merchant’s House on Sunday, September 13, with free tours starting at 10.30am, noon, and 1.130pm.

The House of Thomas Bayly was built following the Great Fire of Marlborough in 1653, and reconstructions of life in the 17th century will take place around the house and gardens.

For information about Heritage Open Days events locally and further afield, log on to www.heritageopendays.org.uk

 

 

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