21/06/2025 RNCM Gold Medal: Classical Final

Programme

J S Bach ‘Ciaconna’ from Partita No 2 in D minor BWV 1004
Missy Mazzoli Dissolve, O’ My Heart
Benjamin Britten Lachrymae Op 48a *

Performers

Julius Mauldin conductor *
Angus Findlow, Ola Stanton violins * 
Kirin Howat, Estelle Gonzalez violas *
Dan Shearer, Maya Tucker cellos * 
Thomas Judge, Marcelo Rodrigues basses * 

Programme notes

The journey begins in the rich depths of the Baroque with ‘Chaconne’ from J S Bach’s Partita No 2 in D minor. A simple, repeating chord gradually unfolds into a world of emotional complexity. Through the viola’s deep, resonant voice, Bach’s intricate variations take us through moments of sorrow, triumph, and reflection, where time feels suspended between order and chaos.

From the grounded certainty of Bach, we move into the unknown with Missy Mazzoli’s Dissolve, O My Heart. The piece begins with the first chord of the Chaconne, echoing the past before dissolving into a whirlwind of dissonance and tension. Mazzoli’s music pulls us into an unpredictable sound world, where the familiar unravels into something raw, unsettling, and filled with emotion.

The journey concludes with Benjamin Britten’s Lachrymae, where echoes of the past meet the present. Inspired by John Dowland’s lute-song If My Complaints Could Passions Move, Britten’s reverse Theme and Variations begins with a fractured melody, hidden within the string textures. Slowly, the fragments begin to come together, leading us back to Dowland’s original, unadorned tune: a simple, haunting resolution that brings the programme full circle.

These three works create a narrative of emotional transformation, from Bach’s structured beauty to Mazzoli’s disorienting energy, and finally to Britten’s quiet return to the past. It’s a journey through chaos and clarity, where each piece explores the power of disintegration and the peace that comes with resolution.

Programme note by Jeanette Szeto, May 2025

Biography

Jeanette Szeto is a violist, composer, and creative based in London and Manchester, currently in the final year of her undergraduate degree at the RNCM. She performs regularly with leading UK ensembles such as the BBC Philharmonic Orchestra, Royal Northern Sinfonia, Chineke! Orchestra, and Manchester Camerata, and was awarded first place for the RNCM Viola Prize in her third year.

Jeanette is co-founder, creative director, and core performer of Valette Ensemble, known for its imaginative, genre-blurring performances, most recently featuring her original music in a retelling of Scheherazade. She also hosts Art Wall, a podcast where she speaks with musicians about their music, inspirations, and life beyond the stage.

Programme

James Moreau Couleurs en Mouvements
Peter Hoch From the quiet…
Diego Niñerola La Gruta

Performers

Jonathan Fisher piano

Programme notes

A European Expedition is a musical journey through the diverse and imaginative landscape of contemporary euphonium music in Europe. With works from France, Germany, and Spain, the programme brings together contrasting styles and sonic worlds: from vivid colour to quiet introspection and raw expression. It presents an unpredictable sound world that challenges stereotypes and preconceptions of euphonium music.

Couleurs en Mouvements by James Moreau opens the recital with three bold musical studies in sound colour and timbre. Composed in 1969 for the Paris Conservatoire, the work is rich in subtle nuances of character and style. It portrays Jaune Cuivré, Bleu Azur, and Rouge Flamboyant in music that shifts between lightness, intensity, and elegance.

From the quiet… is a striking and unconventional work that explores breath, resonance, and silence in lyrical and technical passages. Composed in 1995, the work emerged from a rare collaboration between Peter Hoch, a German composer and professor, and Angie Hunter, an American euphoniumist living in Germany. Hoch describes it as ‘movement that proceeds from the quiet and leads back to the quiet – tension and relaxation’.

La Gruta is a richly expressive work inspired by the mysterious atmosphere of a cave, composed by Diego Niñerola in 2006. With flowing lines, warm harmonies, and a dramatic solo cadenza, it is the most traditional piece in the programme, yet it still pulses with contemporary energy.

Throughout the recital, short poems by contemporary female authors are interwoven with the music. Rather than introducing or explaining the works, these poems offer a reflective thread: a quiet counterpoint that invites us to listen more deeply and consider the many artistic voices that shape expression. This feminine poetic voice contrasts with the predominantly male tradition of brass composition and performance, inviting us to reflect on whose voices we heard, and whose remain unheard.

Programme note by Daniel Hohm, May 2025

Biography

Daniel Hohm is a German euphonium player currently pursuing his master’s degree at the RNCM, where he studies under Steven Mead and David Thornton. Recognised for his clear, expressive tone and technical command, Daniel brings a fresh, confident voice to the brass music scene. He serves as Principal Euphonium of the Hammonds Band and has performed at major concert venues in the UK and abroad.

Supported by scholarships from institutions including the Hans und Stefan Bernbeck-Stiftung, Daniel focuses on both classical and contemporary repertoire – often championing overlooked works that challenge conventional boundaries. He is also committed to music education, inspiring the next generation with his passion.

Programme

Kazimierz Serocki Suite of Preludes: Animato, Affettuoso, Agitato and Veloce
Alexander Scriabin Sonata No 2 in G sharp minor Op 19
Caroline Shaw Gustave Le Gray

Programme notes

Throughout the 20th century, the modernist movement caused classical music to be dramatically re-shaped. Questions of how music can function were raised, and several distinct musical idioms were formed: from the end of impressionism to serialism – and ultimately, postmodernism.

Alexander Scriabin (1872-1915) witnessed this turn of the century and contributed to the experimentalist idiom, as the great stylistic difference between his early and late works demonstrate. The second sonata, however, is an early work (1897), during which time his musical language draws influence from the likes of Chopin and Debussy, yet somehow remains distinctly Russian. It is a daring piece that exploits all the colours and textures the piano is capable of.

Kazimierz Serocki’s (1922-1981) Suite of Preludes falls directly in the middle of the century (1952) and is slightly more ideologically complex. Having travelled to Paris to study with Nadia Boulanger, where he learnt the 12-tone method, Serocki returned to his homeland Poland under a socialist realism regime, whereby formalist music – i.e., innovative, atonal, often musically unclear – was deeply frowned upon. However, Serocki was able to disguise the serialist quality of the Preludes by stacking notes diatonically, in consonant intervals such as thirds, fifths and sixths. This allowed him to compose freely, finding his own unique voice, despite facing an anti-progressive ideology.

Finally, the 21st century is represented by Caroline Shaw’s (1982–) masterpiece, Gustave Le Gray (2012). It is wholly innovative, drawing extra-musical inspiration of a photo being printed onto wax paper and representing it in musical terms. Within the piece, the ‘image’ being developed is the famous Mazurka Op 17 No 4 (1832-3) by Frédéric Chopin (1810-1849). The music surrounding the mazurka creates the frame within which it hangs: it is fragmented and improvisatory, yet always beautiful – representing all the small, intricate details a wax paper print can show.

Programme notes by Madeleine Brown, May 2025

Biography

Madeleine Brown is establishing herself as one of the most exciting young pianists of this generation, described as having ‘the potential to become a major voice in the classical music world’ (Peter Donohoe CBE). Having graduated with a BA in Music from Trinity College, Cambridge, she is now studying at the RNCM with Helen Krizos. Madeleine has previously learnt with esteemed pedagogues Dina Parakhina, Charles Owen and Lora Dimitrova, and is grateful to receive coaching from Stephen Kovacevich and Muza Rubackyte.

Madeleine has performed in prestigious venues including London’s Steinway Hall, King’s Place, Stoller Hall, Lansdowne Club, West Road Concert Hall, Bonn Schumannhaus and Köln Bechstein Centre. She has performed to international acclaim, receiving an Honourable Mention diploma at the Vigo International Piano Competition 2025, and she was a keyboard semi-finalist in the Royal Overseas League Annual Music competition. Madeleine is grateful to the Robert Turnbull Piano Foundation for their support.

Programme

Claude Debussy Syrinx L 129
Maurice Ravel Pièce en forme de Habanera M 51
Camille Saint-Saëns Sonata for oboe and piano in D major Op 166
Jean-Charles Richard Caprice, Hommage à Charlie Chaplin
François Borne Fantaisie brillante sur Carmen

Performers

Gemma Beeson piano
Maria Skorykh dancer

Programme notes

Claude Debussy’s Syrinx: Composed in 1913, Syrinx was originally titled La Flûte de Pan and created as an accompaniment to a poem by Gabriel Mourey. Inspired by the myth of Pan and Syrinx, the piece reflects the nymph’s transformation into reeds and the creation of a new instrument by Pan using her body. Published in 1927, Syrinx is a celebrated solo piece, traditionally for flute, and will be performed here on soprano saxophone.

Maurice Ravel’s Pièce en forme de Habanera: Written in 1907, this piece was originally a wordless vocalise for bass voice and piano, inspired by the Cuban habanera dance. Later transcribed for cello and piano, the piece retains its virtuosic style, evocative rhythm, and expressive lyricism, and has inspired many arrangements for various instruments, maintaining its technical brilliance.

Camille Saint-Saëns’ Sonata for oboe and piano in D major: Saint-Saëns’ Sonata, composed in 1921, is one of his final chamber music works. It features three contrasting movements: a pastoral opening, a lyrical middle with cadenza-like passages, and a virtuosic finale. Dedicated to oboist Louis Bas, it was part of an unfinished series of chamber music works for wind instruments as the composer perished before accomplishing this project.

Jean-Charles Richard’s Caprice Hommage à Charlie Chaplin: Caprice for solo alto saxophone is a contemporary homage to Charlie Chaplin, blending classical and jazz influences. The piece, known for its spontaneous improvisation and vivid character, was a required work at the Andorra Sax Fest, showcasing both technical complexity and musical expression.

François Borne Fantaisie brillante sur Carmen: Written in 1880, Fantaisie brillante is based on themes from Georges Bizet’s Carmen. This virtuosic piece blends iconic melodies from the opera with opéra-comique elements, reflecting Carmen’s original form. It remains Borne’s most famous work in the flute repertoire.

Programme notes by João Luís, May 2025

Biography

João Luís is recognised as one of the leading young saxophonists of his generation in Portugal.

He began his musical studies in 2011 at the Chaves Academy of Arts, focusing on the saxophone. From 2018 to 2023, he studied at the University of Aveiro, earning both a bachelor’s degree in music and a master’s degree in music teaching. Currently, João is in the second year of his Master of Music in Performance at the RNCM.

Throughout his career, he has collaborated with various orchestras and ensembles, performing in renowned concert halls across Europe. João Luís is an active chamber musician, regularly performing as part of the Contigo Saxophone Duo and solo recitals.