Author Archives: Otis Luxton

About Otis Luxton

Aldeburgh Young Musicians Officer

Morning yoga sessions on the Hepworth Lawn is Clara Bliss

Aldeburgh Young Musicians – A Year in Pictures

Music of Terezín (April 2014)
Aldeburgh Young Musicians explored the music of Terezín, a Nazi concentration camp in today’s Czech Republic, in which some of Europe’s most talented musicians were held during the Second World War. The musicians were also introduced to the concept of Entartete Musik. Guided by ‘cellist, singer and conductor, Simon Wallfisch, AYM were joined by holocaust survivor, ‘cellist Anita Lasker-Wallfisch, a gifted young musician born in Germany in 1929 who survived, Auschwitz because of her cello playing. Anita shared her experiences and memories of her childhood as a jew in Nazi Germany desperate to study the cello, as well as memories of those early days of the Aldeburgh Festival with Benjamin Britten.

Anita Lasker-Wallfisch and Oliva Da Costa

Anita Lasker-Wallfisch and Oliva Da Costa

One of the most memorable moments of the week, amongst many, was a special master class, during which Anita worked with two young AYM cellists, Olivia da Costa and Jonah Spindel. AYM composers also had the opportunity to create and develop new repertoire inspired by the musicians of Terezín, this historical period and the conditions in which they wrote. Alex Cook an AYM alumus was invited back to work through his ballet which was inspired by this period in time.  As a follow up to their week, in January 2015, Aldeburgh Young Musicians will sing at the National UK Commemorative Event for Holocaust Memorial Day in London in front of the BBC, the Prime Minister and members of the Royal Family.

Britten Sinfonia Academy
In July 2014 AYM joined forces with members of Britten Sinfonia Academy to collaborate on a chamber orchestra course working to the theme, ‘Britten Inspired’. The musicians explored existing repertoire by Adams, Onslow, Britten and Beethoven, together with new works developed by our AYM composers and led by Dobrinka Tabakova. This was also an opportunity for the composers to conduct a large ensemble and for our instrumental ‘wildcards’ to play in a more conventional setting.

Dobrinka Tabakova conducts AYM and BSa

Dobrinka Tabakova conducts AYM and BSA

Morning yoga sessions on the Hepworth Lawn is Clara Bliss

Morning yoga sessions on the Hepworth Lawn is Clara Bliss

A selection of AYM composers with Dobrinka Tabakova

A selection of AYM composers with Dobrinka Tabakova

New AYM video (July/August 2014)

Spanning over two courses at AYM, Roy Jones from Lightly Frozen Productions came to make us a new promotional video featuring some stunning shots of our beautiful surroundings, interviews with artists and AYM’s and many hours of people playing, composing, rehearsing and having fun. A new soundtrack will be composed and recorded for this film in Spring 2015 when AYM’s come together for a course working with film composer Anthony Weedon.

Filming Hannah Brock on the marshes.

Roy Jones filming

Competition Success

Aldeburgh Young Musicians were very proud of pianist, Julian Trevelyan – who reached the Category (Keyboard) finals of BBC Young Musician 2014. As the youngest member of his category, he gave a stunning performance in the Dora Stoutzker Concert Hall at Royal Welsh College of Music & Drama, filmed by the BBC and shown on BBC Four. Other successes included composer Dominic Wills, who won the 12-14 year age group of Cambridge Young Composer of the Year 2014/15.

Kishon Khan & Lokkhi Terra Snape Prom – August 2014
Following a vibrant World Music course in 2013, Kishon Khan & the Lokkhi Terra Crew returned to Snape Maltings Concert Hall in the form of a Snape Prom with Aldeburgh Young Musicians. From the melas of Bangladesh to the streets of Havana and the beaches of Brazil, the all‐star jazz fusion collective presented a seamless collage of the some of the most vibrant musical styles on the planet, sliding goodnaturedly from feisty Afro‐Latin dance rhythms to subtle and sinuous Bengali vocals, jazz‐funk brass to ska, rumba and India ragas.  This highly successful collaboration with AYM resulted in a stunning performance in the Maltings.

Lokkhi Terra prom

Lokkhi Terra prom

AYM Oli Spackman on stage

AYM Oli Spackman on stage

Britten Weekend – New Nocturnes. October 2014.

Continuing the success of the Britten Centenary Weekend collaboration with the Britten‐Pears Young ArtistProgramme (BPYAP) in 2013, two new song cycles were commissioned for BPYAP composer Samantha Fernando and AYM composer Jay Richardson. Inspired by Britten’s Nocturne, both composers used the themes of sleep and dreams as their key inspiration. Jay relished the opportunity to be working with professional artists and to collaborate with Britten–Pears.  Joined also by young Middle Eastern musicians, the resulting collaboration produced a wonderful performance for the Britten Weekend.

Musicians from Egypt and Jordan play Arabic music at The Crown

Musicians from Egypt and Jordan play Arabic music at The Crown in Snape

Composer Samantha Fernand, AYM Jay Richardson and conductor, Jay Crossland.

Arabic/AYM Viola Masterclass

AYM composer Jay Richardson

AYM composer Jay Richardson

“I wanted to thank all of you for the Nocturne project. It was the best experience I’ve ever had as a composer, both in the standard and commitment of the musicians and in the extraordinary level of care and administrative support from the team at Snape. I am mindful that such opportunities occur very rarely, particularly for composers of my age, and that when they do they very often occur at Aldeburgh Music. The experience is certainly one that I will carry in all of my future endeavours, as no doubt will all of the composers whose work has and will be improved through opportunities at Snape. The future of contemporary music is undoubtedly in safe hands!” Jay Richardson (AYM Composer)

AYM / Faster Than Sound – The Chimes Hour. October 2014

According to Suffolk chronicler George Ewart Evans, it was once believed that babies born between the Chimes Hours, the ringing of the churchbells “could discern happenings hidden from the sight of lesser mortals”. Drawing on the ambiguous spaces between nature and architecture, fact and myth that fill the Suffolk landscape, composers Jennifer Walshe and Lee Patterson, in collaboration with Aldeburgh Young Musicians, created an immersive modular composition for the Hoffmann Building, drawing out hidden sounds and stories, and placing the audience in the centre of it all.

AYM’s recording Suffolk Punches at the Suffolk Punch Trust at Hollesley Bay.

Lee Patterson creating sounds with some unexpected objects.

Lee Patterson creating sounds with some unexpected objects.

Jennifer Walshe leading improvisational technique workshops

Experimental Early Music Weekend – December 2014

Aldeburgh Young Musicians explored improvisation and creativity using early musical
sources as a starting point to create new pieces. Working with Laura Cannell, André Bosman and Ralph Cumbers, the musicians developed group improvisation, composition and solo playing to create medieval sound worlds using contemporary and early techniques and styles. The group will be work mainly by ear, creating graphic scores and using elements of historically informed performance as well as developing musical freedom. Using fragments and melodies from the 11th ‐ 14th centuries, the sessions will be used to explore ideas of authenticity, musical instinct and individual musical identity.

Group Improvisation

Andre Bosman and AYM’s Finn Collinson and Tom Leader on recorder and bowed guitar.

AYM’s trying out the technique of ‘overbowed’ fiddle – making a violin play all the strings at once.


Suffolk Punch Trust 258

A second photo diary: The Chimes Hour and Suffolk Punches

It is with great thanks to Phillip Ryder Davies and the Suffolk Punch Trust that this morning, Aldeburgh Young Musicians and artists working with them to form the ‘Chimes Hour’ took a visit to Hollesley in Suffolk to record the sounds of a Suffolk Punch horse…

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Suffolk Punch Trust 258

AYM Georgia Denham with a Suffolk Punch Foal at the Suffolk Punch Trust in Hollesley, Suffolk.

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Peter Meanwell recordings the sounds of a Suffolk Punch.

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Lee Patterson and Jennifer Walshe getting up close!

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AYM Laurence Wilkins getting to grips with field recording.

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Suffolk Punch Trust 266

Peter Meanwell

Suffolk Punch Trust 131

Suffolk Punch Trust 308

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Lee Patterson making some field recordings.

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AYM’s Luke Fitzgerald and Jay Richardson recording the sounds of the stable.


The Chimes Hour is on Saturday 1 November, 7pm in the Hoffmann Building, Snape.

Read more about the event and book tickets at our listings pages

Lee Patterson with some of his unique home made instruments.

A photo diary: The Chimes Hour and its development

Aldeburgh Young Musicians and Faster than Sound artists on a 'sound walk' around the Snape Maltings site.

Aldeburgh Young Musicians and Faster than Sound artists on a ‘sound walk’ around the Snape Maltings site.

Listening to the wind.

Listening to the wind.

'The Chimes Hour' producer, Peter Meanwell making some field recordings.

‘The Chimes Hour’ producer, Peter Meanwell making some field recordings.

On Monday morning, AYM's worked on the piece 'Stones' devised by Christian Wolff.

On Monday morning, AYM’s worked on the piece ‘Stones’ devised by Christian Wolff.

Performing 'Stones'.

Performing ‘Stones’.

Chimes Hour artist and cellist, Lucy Railton.

Chimes Hour artist and cellist, Lucy Railton.

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Chimes Hour producer Peter Meanwell and sound artist Lee Patterson work on the complicated sound installation.

Chimes Hour producer Peter Meanwell and sound artist Lee Patterson work on the complicated sound installation.

Lee Patterson with some of his unique home made instruments.

Lee Patterson with some of his unique home made instruments.

Lee Patterson demonstrates some of his instruments to AYM's.

Lee Patterson demonstrates some of his instruments to AYM’s.

Possibly the most bizarre source of sounds I've ever seen.

Possibly the most bizarre source of sounds I’ve ever seen.

The sounds that can be made with 'Andrews Salts' in a glass of water are quite incredible.

The sounds that can be made with ‘Andrews Salts’ in a glass of water are quite incredible.

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The Chimes Hour is on Saturday 1 November, 7pm in the Hoffmann Building, Snape.

Read more about the event and book tickets at our listings pages


Viola workshop

AYM, Britten Pears and Middle Eastern young artists: New Nocturnes – a photo diary

The Britten Centenary Weekend in 2013 featured an exhilarating first collaboration between two of Aldeburgh Music’s flagship young artist programmes, that produced composer Alex Woolf’s Serenade. A year later they combine again, alongside young Middle Eastern orchestral musicians from a new Aldeburgh Music initiative, as two young composers, Samantha Fernando and Jay Richardson turn to Britten’s original for inspiration for their own joint Nocturne song cycle on themes of sleep and dreams.

workshopAYM cellistsCello workshopJay Jay Crossland Olivia orchestra orchestra 2 Viola workshop Ralph Vaughan Williams

A New Nocturne is a concert at the Britten Weekend, on Sunday 26 October 2.30pm. For more information and tickets please visit our website.

AYM & Faster than Sound: The Chimes Hour


From Monday 27 October Aldeburgh Young Musicians (AYM) and Faster than Sound will be bringing their creative and collaborative forces together to develop ‘The Chimes Hour’ – a modular composition for the Hoffmann Building ‘linking multiple spaces in an interlocking sonic ecosystem’.

This collaboration between AYM and Faster than Sound is the first of its kind and in the case of ‘The Chimes Hour’ AYM will be working alongside producer Peter Meanwell, composer Jenny Walshe, sound artist Lee Patterson, Improvisers and musicians Angharad Davies and Lucy Railton.

The piece draws inspiration from the hidden secrets held within the architecture and its surrounding environment. The aim of the collaboration is to create a series of musical scenes, some composed some improvised, through which small groups of audience members are led, in turn disrupting the standard concert narrative as they overhear fragments of sound through open doors, encounter silent quartets, and sing from one room to another.

Some background

For me what makes ‘The Chimes Hour’ so fascinating as a piece- both conceptually and artistically- is the inspiration it also draws from local myth, folklore and oral-history.  Largely influenced by the writings of George Ewart Evans, The Chimes Hour explores ‘unheard sounds coexisting with the heard, audience coexisting with performers, and fact coexisting with myth’ – in so many ways this exploration reflects a very particular way of life, and the revolutionary way in which it was recorded, somewhere not so far away from where I sit writing this…

Nestled amongst the sandlings and low-lying heathland of East Suffolk, only a couple of miles away from Snape Maltings rests the village of Blaxhall. The village has an extraordinary history yet nothing remarkable really ever happened there; No ancient battles were fought on its soil, Royalty have never bothered to build a sprawling country house across its beautiful landscape, and it certainly has never been a hive of industry or loaned its name to a world changing innovation.

Blaxhall’s history is extraordinary for the way in which it’s own narrative has been recorded. It’s with gratitude to figures such as Peter Kennedy, George Ewart Evans, Alan Lomax and Keith Summers who were working in Blaxhall in the mid 20th century that we have such an in-depth insight into the usually neglected oral and folk history of a community. These ethnographers, musicologists, historians and folk-lorists discovered the community in Blaxhall at a time when the rest of England was going through a transitory period of post-war economic and cultural change. Due to its location, Blaxhall like so many other East Anglian communities wasn’t so affected by this shift which was carving such dramatic changes across the rest of the country. It was as though the village had been captured in a snow-globe; outside observers could look in to see a fascinating, charming, but deeply cultural community with a vernacular, lore and identity seemingly unchanged from a century before.

Singers at the Ship Inn, Blaxhall, 1953. Copyright Estate of Alan Lomax.

Pioneering American ethnomusicologist, field collector and archivist Alan Lomax came to Blaxhall in October 1953 to document what had then become the imitable ‘Ship Inn’ – a public house perched alongside a narrow, sandy lane in Blaxhall which had become well known for its song, dance, music and stories. Lomax alongside Peter Kennedy who was then working for the BBC brought their reel-to-reel tape recorder to the Ship Inn and made numerous recordings of the songs, stories and music which was shared quite willingly by the locals. Having been geographically, economically and culturally isolated as late as the early 50’s, most of the locals recorded at the Ship Inn were born before the turn of the 20th century – they had lived in period of time where work, culture and entertainment had barely changed for a few hundred years – the culture, accent, dialect and vernacular that had developed in this small pocket of East Suffolk was captured unbowdlerised (mostly) on quarter inch magnetic tape for future generations to reminisce upon.

Kennedy came back without Lomax a couple of years later to film a night at the Ship Inn – a digitised copy can be watched online at the East Anglian FIlm Archive.

Further background and George Ewart Evans

In 1947, a few years before Lomax and Kennedy first drove the sandy lanes to Blaxhall, with tape recorder rattling around on the back seat of their car, George Ewart Evans, an ex-School master from Sawston Village College near Cambridge had moved to the school house in Blaxhall where his wife had taken up post as headmistress. Unusually for the time, Ewart Evans was a ‘stay at home husband’, concentrating his efforts on writing. However It wasn’t long before he became fascinated by the rich local culture that he had discovered on his new doorstep – in many ways he ‘went native’ and became friends and acquaintances with many of the locals who later went on to become part of his writing and recording. He knew that he was living at a time of huge change – a cultural, social and historic paradigm shift which needed to be recorded.

George Ewart Evans

George Ewart Evans

In the period leading up to 1956, Ewart Evans began collecting, compiling and writing about the stories, customs, folklore and ways of life which had been so essential to the residents of Blaxhall’s being.

For the past eight years I have been living in the above village which is in a remote part of Suffolk; and I have been struck by the number of interesting survivals here…

….The old people, who have such a knowledge of the village community which is quickly passing, are dying out; and with their going much of real value is being lost.

Ewart Evans had been loaned a tape recorder by a friend David Thompson who was a producer at BBC ‘Third Programme’ (now BBC radio 3) with which he made recordings of Blaxhall residents. Thompson went on to create a series for BBC Third Programme with the recordings that Ewart Evans had made. Eventually in 1956 Ewart Evans decided to turn these recordings and transcriptions that he had made in to the book ‘Ask The Fellows who Cut the Hay’. Although initially rejected by Faber & Faber as “revoltingly pompous and pedantic”, Ewart Evans finally managed to get his book published, which in turn led to a successful career and a reputation to this day as a pioneer of Oral History. Faber went on to publish 9 more books written by George Ewart Evans.

Part of the George Ewart Evans collection has been made available online as part of the British Library Sounds archive. You can access it here where you will find many of the recordings made in Blaxhall.

The Chimes Hours

Although labelled revoltingly pompous and pedantic, ‘Ask the Fellows who Cut the Hay’ is still in print today and remains as influential and inspiring as ever. Amongst those who have an interest in Oral History and Folklore the book is a fascinating read which lends us an insight in to beliefs (or myths) which even if they had come from the playground, as Ewart Evans suggests, can resonate with us still.

The little customs and beliefs commonly cherished among children often give clues to interesting survivals. A boy in this village once told the school mistress very proudly that he had been born during the ‘Chinese Hours’. This statement was taken down for what is was worth, and a certain amount of research was done in an attempt to discover the boy’s meaning. Nothing could be found. Then it was decided to take a leaf from the book of a village lady, the first article in whose creed is: ‘if you wait long enough in a village, you’ll know everything.’ And true enough, the explanation of the boy’s boast soon turned up. His mother had meant to tell him that his Birth had fallen during the ‘Chimes Hours’: accordingly he was gifted with second sight, and could discern happenings hidden from the sight of lesser mortals. The belief dates from pre-Reformation days; but the exact times denoted by the Chimes Hours appear to be in dispute. Some say that they were the hours of 8 p.m., midnight and 4 a.m., others think differently. Perhaps some light may be thrown on the question by the following quotations: both taken from ‘The Church Bells of England’, by H. B. Walters: ‘The ringing for the canonical hours let the world know the time by day and night: and in those large churches were such a custom was followed, the several bells-as well as the ways in which they were rung for that purpose- told the precise service which was then about to be chanted.’ ‘At the Reformation, ringing at the canonical hours was dropped, except for Mattins and Evensong. We may perhaps, however, Medicean a trace of it in the custom of playing chimes at the hours of 3, 6, 9, and 12.’

Ask The Fellows so Cut the Hay, George Ewart Evans. Faber and Faber, 1956. Pg. 216-7.

The Chimes Hour is on Saturday 1 November, 7pm in the Hoffmann Building, Snape.
Read more about the event and book tickets at our listings pages

Exchanging Worlds Ensemble

My experience as an Aldeburgh Young Musician by Miranda Davies (2014 Alumni)

Miranda DaviesAfter 4 years at AYM I’m very sad to be leaving it behind. There have been some brilliant and memorable courses during my time here; ‘Glasgow Kiss’ from the Rock Weekend, the catchy Persian 11 from my very first weekend and Tim Steiner’s compositions for the ensemble are now firmly embedded in my head, along with Pete Churchill’s gospel songs and Irish blessing, the beautiful Palestinian song we sang with Oday and so much more… The sheer variety of musical styles, of ways of working and of people is what makes AYM so unique and stimulating: the exposure to so much different music has both hugely improved my playing, by providing more influences and techniques to draw upon, and has made me more receptive to experimenting with new ideas. Hearing music presented in ways I’d never dreamed of has also made me more aware of how much other music there is left to discover.

Being an AYM has also led to some superb performance opportunities. I have been lucky enough to play at Latitude and the London Jazz Festival as a member of the AYM Ensemble, and at the Bellowhead Prom; all three were incredible, energetic performances that will stay with me for the rest of my life. Equally lasting impressions have been made by some of the artists we have worked with, such as Ramzi, Will Carling, Miguel Tantos Sevillano and Joby Burgess; through AYM I was even given the opportunity to have lessons with the latter, which have been invaluable. So many of the artists bring not only new music but also a glimpse into their world often different to ours. For me for example, the insight given by the Palestinian musicians that we worked with transformed the Palestine-Israel conflict from a sad but distant struggle to a real-life, immediate crisis.

Exchanging Worlds Ensemble

Away from the music AYM has also been fantastic. Living together in Elizabeth Court fosters a great sense of community, and thinking of AYM football, Charades and Empires (the immortal Rob’s Mum) never fails to make me smile. Tai Chi/singing on the beach, Adam Possener burning toast and requiring the fire brigade, Alex Cook’s youthful entourage, the bus leaving without Andrew Farnden, accidentally setting fire to the microwave at Leiston Abbey, Julian coming out with ‘grotto’ in word association, Mafia…. the list of good memories is endless, and I hope AYM remains as inspiring, sparky and fun as it has been for the last four years. I’ve been very lucky to have been a part of it – thank you.

Colin Virr and AYM's

AYM summer courses and Snape Proms performance

Scott Stroman

The summer has always been busy for Aldeburgh Young Musicians and July 2014 has been no exception. This year we kicked off with ‘Crossing the Borders’ which was a week’s course collaboration between classical and non-classical musicians and languages.

There was the usual buzz of excitement on the first day of the course as the AYM’s reconnected with their friends. Working with Scott Stroman (London Jazz Orchestra, London Philharmonic Orchestra Renga Ensemble) ,Stuart Hall (Middlesex University, The Guildhall), Cennet Jönsson (Malmö Conservatory, Cennet Jönsson Quartet), Liam Dunachie (pianist, composer & arranger) and Alcyona Mick (pianist & composer) their week together focused on music crossing borders between classical and jazz. Working sometimes by ear and sometimes from scores, the musicians created an ensemble with a great sense of rhythm, great listening and some superb improvisation.

This summer we have also had the pleasure of having Britten Sinfonia Academy coming to stay. The course had a bit of a rocky start on the first day with trains from London being cancelled and AYM Julian Trevelyan held hostage at Colchester Station – but AYM is not so easily deterred and quickly the course was in full swing. This has been our first collaboration with Britten Sinfonia on a chamber orchestra course working to the theme, ‘Britten Inspired’. The musicians explored existing repertoire by Adams, Onslow, Britten and Beethoven. But the true excitement came from the new works which were being developed by our resident AYM composers that week led by tutor Dobrinka Tabakova.  The AYM composers relished the opportunity to work with a chamber orchestra and took advantage of the less familiar instrumental ‘wildcards’ of a euphonium and a guzheng; which had been thrown in to keep them on their toes.


A Dalcroze inspired musical exercise, working with movement and spatial awareness.

Other highlights from the week included yoga each morning on the Hepworth lawn with BSA tutor Clara Biss. Also the students had lots of fun in the evening visiting Aldeburgh’s famous fish and chip shop and birthday cake baking at the AYM ‘digs’. At the end of the week we had the privilege of seeing what the students had been working on.  Their performance was phenomenal. We were very proud of what they had managed to accomplish in such a short space of time.


Yoga on the Hepworth Lawn.

Also, it was great  having the Britten Sinfonia Academy team here at Aldeburgh working together with the AYM artists and we look forward to seeing them again soon. You can find out more about Britten Sinfonia Academy here.

We are now at the beginning of the last AYM course for this academic year. We are welcoming back Justin Thurgur, Kishon Khan and the Lokkhi Terra Crew. After last year’s AYM World Music course with Lokkhi Terra there was a lot of excitement from the AYM’s about their return.  You cannot help but dance listening to them practising- so we are eager to see what the students are going to create over the course of the week. The course  will culminate with a AYM/Lokkhi Terra collaborative performance at Snape Maltings Concert Hall, as part of the Snape Proms on Monday 4 August 2014 at 7.30pm. You can buy tickets for this event here.


AYM percussionist Acer Smith with Lokkhi Terra’s Oreste Noda

Aldeburgh Young Musicians working with composer Charlotte Bray in ‘Contemporary Music’ course.

This weekend sees the arrival of a number of Aldeburgh Young Musicians (AYM) who will be working with internationally renowned composer, Charlotte Bray. During their week together, the AYM composers will be challenged to write a new piece where they have total freedom to experiment with ideas in an intense environment, developing their awareness of the capabilities of the instruments and ensemble, stretching the performers to their limits.

Charlotte will also be working with Dave Maric, Simon Wallfisch and Harry Penny in running the course over the next week, and on Sunday 1 June, the course will culminate in an Open Session here at Snape Maltings (click on the link for tickets)

Dave Maric and Charlotte Bray

An AYM composer drafting ideas

An AYM composer drafting ideas

Charlotte with the AYM composers

Charlotte with the AYM composers

Aldeburgh Young Musician at category finals of BBC Young Musician 2014

On May 9, Aldeburgh Young Musician (AYM), Julian Trevelyan appeared on BBC Four in the BBC Young Musicians 2014 piano category finals. As the youngest finalist in his category at the age of 15, Julian stunned audiences and viewers across the country with his performances of Beethovens Piano Sonata in E major op.109, 3rd movt, and Etude no.10, Der Zauberlehrling by Ligeti. Julian demonstrated the immense musicianship and passion that AYM has become renowned for, whilst also exemplifying a breadth of style and challenging repertoire that our young musicians feel entirely comfortable with. Make sure to watch the clips of Julian performing at the bottom of this post.

Royal Welsh College of Music and Drama

Waiting for Julians Perfomance at the Royal Welsh College of Music and Drama.

Unfortunately competition was incredibly tough and Julian did not quite make it through to the finals, but Colin Virr, Head of AYM, who was at the performance at the Royal Welsh College of Music and Drama in Cardiff felt that Julian’s performance was incredibly well received- rounded off by “the warmest applause of the evening!”

AYM Julian Trevelyan after his performance.

AYM Julian Trevelyan after his performance.

In the weeks following up to the category finals in Cardiff, a small BBC production team came to Snape Maltings to film a profile of Julian whilst he was participating in an AYM residential course. The resulting film broadcast before Julian’s performance made Snape Maltings look just as beautiful as it really is, and showed the kind exciting work that AYM’s get up to when they are here. Colin Virr also made a television appearance and was asked to talk a little more about Julian as a musician and the AYM programme. (This, although he was nervous about doing, came across brilliantly!)

Colin Virr being interviewed by the BBC in the Kiln Studio at Snape Maltings.

Colin Virr being interviewed by the BBC in the Kiln Studio at Snape Maltings.

Well done to Julian for his determination, hard practice and superb musicianship for getting as far as he did. He is a real credit and asset to Aldeburgh Young Musicians.

AYM Julian Trevelyan after his performance.

AYM Julian Trevelyan after his performance.