| Forthcoming events

16 September 2014


Shulbrede Priory
Lynchmere. West Sussex





Em Marshall-Luck (Director, EM Records)

Laura Ponsonby (presenter)
Rupert Marshall-Luck (vn and presenter)

Matthew Rickard (pf)


Production | Designed Reality Ltd

This documentary film will explore the works for violin and piano by C. Hubert H. Parry, shortly to be recorded by Rupert Marshall-Luck and Matthew Rickard for EM Records. Although well-known for his large-scale choral works and for his setting of Blake’s poem ‘Jerusalem’, Parry’s contributions to the genre of chamber music are less familiar to most concert-goers. Filmed in the beautiful location of Shulbrede Priory, a twelfth-century building deep in the West Sussex countryside and which was once home to Dorothea and Arthur Ponsonby, Parry’s daughter and son-in-law, the documentary will also feature interviews with Laura Ponsonby, Parry’s great-granddaughter, and with Em Marshall-Luck, Director of EM Records.

26 September 2014


The Chapel of St Hild and St Bede
Durham University



BENNETT ZON: ‘Darwin’s Tree’ for violin and piano

Rupert Marshall-Luck (vn)

Bennett Zon (pf)

Composed for Rupert Marshall-Luck, ‘Darwin’s Tree’ by Bennett Zon uses elements of indeterminacy and mathematical sequencing and permutations to portray the great scientist’s theory of evolution and natural selection. Darwin’s own responses to music also form the basis for this involving, thought-provoking and fascinating work.


4 October 2014


Shulbrede Priory
Lynchmere, West Sussex


An Unexpected genre: The works for violin and
piano of hubert parry


Rupert Marshall-Luck (presenter)

With the contemporary resurgence of such composers as Elgar and Vaughan Williams, Walton and Britten, it is easy to overlook, or at least to underestimate, the revivifying effect of Parry’s work: his music was a refreshing, invigorating contrast to the reactionary environment that prevailed in British music through the first half of the nineteenth century. This new voice stemmed largely from the wider, continental European influences to which Parry was exposed as a student of Edward Dannreuther: a champion of Brahms, Liszt and Wagner, Dannreuther instituted a series of chamber music concerts at his London home, which provided both a stimulus for Parry’s own important assays into the genre of chamber music and a vehicle for their first performances.


Parry’s works for violin and piano range from the early and unpublished ‘Freundschaftslieder’ of 1872 to the Suite no.2 of 1907, and therefore provide a fascinating chart of their composer’s progress from a young man, eager to hone his craft, to an established and respected musician, academic and teacher. His music for this genre expresses a wide range of emotions: they are wistful and elegiac; beautifully and memorably lyrical; exuberantly energetic; and full-bloodedly and assuredly celebratory.




11 October 2014


5.30pm, Greycoat Hospital School
Greycoat Place, London SW1P 2DY


2014 stanford/howells weekend


STANFORD: Three Irish Dances, op.89
HOWELLS: Sonata in B minor for Violin and Piano
STANFORD: Six Irish Fantasies, op.54
HOWELLS: Three Pieces for Violin and Piano, op.28


Rupert Marshall-Luck (vn)
Matthew Rickard (pf)

This recital, forming part of the celebrations surrounding the annual meetings of the Stanford and Howells Societies, will feature the London première of Howells’s wide-ranging Sonata in B minor, recently recorded by Rupert Marshall-Luck and Matthew Rickard for EM Records as part of their double-disc conspectus of the composer’s complete works for violin and piano.



15 October 2014


ExCeL London Exhibition and Convention Centre
Royal Victoria Dock, 1 Western Gateway, London E16 1XL




Rupert Marshall-Luck (presenter)

How can musicians make their mark in today’s crowded musical marketplace?  How can performers use a special interest to develop and extend their careers?  Is it still possible to surprise and startle listeners with new repertoire? Rupert Marshall-Luck has become known as one of today’s foremost exponents of British music and, in this inspiring presentation and recital, he shares his own experiences in turning a particular musical focus into a driving force in his career development.  Join him on his journey to discover lost masterpieces, to bring them to the concert hall and the recording studio, and to open them to the ears of audiences worldwide.



19–21 November 2014


Wyastone Concert Hall, Wyastone Leys, Monmouthshire




FREDERICK KELLY: Sonata in G major for Violin and Piano (‘Gallipoli’)

ARTHUR SOMERVELL: ‘Two Conversations about Bach’
for Two Violins and Piano
ARNOLD BAX: Sonata no.2 for Violin and Piano


Rupert Marshall-Luck (vn)

Matthew Rickard (pf)

Frederick Septimus Kelly was born in 1881 in Australia and first came to the United Kingdom when he began his schooling at Eton College. Although a notable rower – he won a Gold Medal for Britain in the 1908 London Olympic Games – he was also a highly gifted composer, mostly active in the genres of song, solo piano music and chamber music. His Violin Sonata in G major was written for the violinist Jelly d’Aranyi and was composed in 1915 in Kelly’s tent at Gallipoli, hence the work’s appellation. Kelly wrote the Sonata not to express the horrors of war but rather to articulate his memories of the country in which he had spent his formative years and which had fostered his intellectual and creative development. In many respects it represents a farewell to a way of life; but it was also Kelly’s own farewell to d’Aranyi. The composer was killed on the Somme in 1916 and d’Aranyi later maintained that, on the night he was killed, she heard the Sonata being played as if from a great distance.


This recording of the ‘Gallipoli’ Sonata is, therefore, not only a fitting tribute to Kelly’s memory, but is also a commemoration of all those whose gifts and talents have been wasted by war.



11 February 2015


Birmingham Conservatoire

Paradise Place, Birmingham, B3 3HG



This seminar sets out a structured method which takes the practical musician from first viewing of a new, unknown work to its performance in the critical and public arena. Its five sections cover such issues as the manner of practice; the constructive division of practice time; practice procedures; practice away from the instrument; and psychological preparation for performance.