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Nathan is performing in three concerts in the 2019 Alwyn Music Festival, which takes place between Friday 4th and Saturday 12th October 2019 at various venues in Southwold, Blythburgh and Aldeburgh. Visit the new festival website for the full programme, or see a summary of dates below:

Friday 4th October, 7:30pm, St Edmund’s Church, Southwold – The Alwyn Music Festival: Gildas Quartet and Nathan Williamson, piano

  • Mozart: ‘Dissonance’ Quartet
  • Alwyn: 2nd String Quartet, ‘Spring Waters’
  • Cheryl Frances-Hoad: My Day in Hell (2010)
  • Elgar: Piano Quintet (1919)

Saturday 5th October, 7:30pm, St Edmund’s Church, Southwold – The Alwyn Music Festival: Goldcrest Ensemble and Nathan Williamson, piano

  • Mozart: Flute Quartet in C major, K.285b
  • Guy Ropartz: Prélude, Marine et Chansons (1928)
  • Frank Bridge: Miniatures for piano trio, set 3 (1908)
  • Alwyn: French Suite (flute, violin, viola and harp – 1937)
  • Albert Roussel: Sérénade (flute, harp and string trio), op.30 (1925)
  • Mozart: Flute Quartet in A major, K.298

Wednesday 9th October, 6:30pm, The Red House, Aldeburgh – The Alwyn Music Festival: Discoveries – new works for recorders with John Turner and Laura Robinson, recorders, and Nathan Williamson, piano:

  • Lennox Berkeley: Three pieces for two recorders (world premiere)
  • Alwyn: Chaconne for Tom (recorder and piano)
  • Michael Berkeley: Haiku (solo piano)
  • Stravinsky: Lullaby for two recorders
  • Peter Dickinson: Elegaic canons
  • Alwyn: Prelude no.5, In Memoriam (solo piano)
  • Elis Pehkonen: Suffolk Bells
  • Handel: Sonata in F for two recorders and continuo

Friday 11th October, 10:30am, Holy Trinity Church, Blythburgh – The Alwyn Music Festival: Gildas Quartet and Jack NcNeill

  • Howells: Rhapsodic Quintet, op.31
  • Alwyn: Novelette, for string quartet (1938-9)
  • Lloyd Moore: Airs and Arabesques (solo clarinet)
  • Mozart: Clarinet Quintet in A major

Saturday 12th October, 3pm, Electric Picture Palace, Southwold – The Alwyn Music Festival: Madeleine (1950) – a film directed by David Lean, music by William Alwyn

Saturday 12th October 7:30pm, Jubilee Hall Aldeburgh – The Alwyn Music Festival: Prometheus Orchestra, with John Jermy, Trumpet, and Edmond Fivet, condcutor

  • Mozart: Eine Kleine Nachtmusik
  • Hummel: Trumpet Concerto
  • Alwyn: Tragic Interlude
  • Mozart: Symphony no.40 in G minor

Other news: New CD, ‘Colour and Light’ on SOMM-Recordings. Delius: Nocturne, Prelude and Duet; Peter Dickinson: Paraphrase II; William Alwyn: Twelve Preludes; Elisabeth Lutyens: The Ring of Bone; Anthony Herschel Hill: Litany and Toccata (premiere recordings). Reviews include:

  • International Piano Quarterly (CD of the month): ‘No praise could be high enough of Williamson’s performances, where, as in his previous discs of Brahms, Schubert and American piano music his conviction is palpable, making you long to hear more. Whether in the dream-world of the Delius Nocturne or in the fire and ice of the Herschel Hill Toccata, Williamson unearths musical treasure beyond price’. (Bryce Morrison)
  • Gramophone: ‘The eclecticism and stylistic contrasts on Nathan Williamson’s newest release reveal this pianist’s knack for conceiving intelligent and freshly minted playlists of relatively unfamiliar yet worthy repertoire… A stimulating and provocative release.’ (Jed Distler)
  • Musical Opinion: ‘Nathan Williamson’s earlier SOMM CD of Great American Sonatas made a considerable impression and he follows that success with another disc of distinction in choice of music and performance. … Williamson raises the stakes of musical appreciation with little-known but superb music… (James Palmer)
  • Limelight Magazine, Australia: ‘All are played by Williamson with that variety of confidence and sensitivity, in regard to form and content, that only another composer can guarantee.’ (Will Yeoman)
  • Classical Ear: ‘Fleet, felt playing, by turns concentrated and free (supported by his excellent booklet notes and a well-framed recording)…’ (Michael Quinn)
  • Music web International: ‘Nathan Williamson’s playing is excellent throughout. He rises to each of the challenges posed by the diverse compositional styles, and surpasses them with aplomb… Williamson’s booklet notes are also excellent, informative and succinct, and prove to be the ideal introduction to this music… A worthy addition to any collection of twentieth century British music.’ (Stuart Sillitoe)