Wednesday November 15th 7.30 pm
Samuel Queen (baritone) Audrey Hyland (piano)
Bononcini : Per la gloria (3)
Caldara: Come raggio di sol (2)
Mozart: Madamina (5)
Schubert : Der Einsame (5)
Schubert: Seligkeit (3)
Berlioz: Voici des roses (2)
Debussy : Il pleure dans mon coeur (3)
Fauré: Le papillon et la fleur (2)
Trad. arr Pegler : Poor wayfaring stranger (3)
Vaughan Williams : The Vagabond (3)
Rodney Bennett : As I walked by myself (2)
Trad. arr Burleigh: Go Down Moses (2)
The Behn String Quartet
Kate Oswin & Alicia Berendse (violins)
Lydia Abell (viola) Ghislaine McMullin (violoncello)
Haydn: String Quartet in D Op 64 no 5 ‘Lark'
Dvorak: String Quartet in F Op 96 ‘American'
Admission free with retiring collection. No tickets issued beforehand
Samuel Queen was born in London, and read English at Cambridge University, where he was awarded the Sir Rudolph Peters Prize for Music, before training at the Royal Academy Opera Course, where he won prizes for opera, Lieder and English Song. His operatic appearances include the Mozart baritone roles, Blazes in Maxwell Davies's The Lighthouse (RAO), Le Fauteuil in Ravel's L'enfant et les sortilèges (BBCSO/Denève) and Schaunard. He covered the role of Don Alfonso for Garsington Opera in 2015. Equally at home in concerts and song recitals, Sam made his Wigmore Hall debut in 2014, singing Lieder by Schumann and Schubert. Concert experience includes many of the major oratorios, and he is becoming known for his performances of Christus in Bach's Passions, and the Requiems of Fauré, Brahms and Duruflé. Samuel also maintains a busy private teaching studio, and is committed to music education projects.
Audrey Hyland studied at the Royal Scottish Academy of Music and the Guildhall School of Music & Drama, winning all the major prizes for accompaniment and chamber music. She won the Sir Henry Richardson Prize for accompanists. Her own recital group, Songsmiths, recently received great critical acclaim for their Wigmore Hall debut. Audrey is also in great demand as a vocal coach. She joined the staff at the Royal Academy of Music in London in 1999 and has been awarded an honourary ARAM in recognition of her outstanding contribution to the opera department. She heads the RAM's prestigious Song Circle. Audrey also coaches at the Royal Opera, Covent Garden on the Jette Parker Young Artists Programme, and is a guest coach for Samling Foundation masterclasses and Solti repetiteur course in Italy. Recent recitals include appearances at Musée d'Orsay Paris, Wigmore Hall, St John's Smith Square, The Sage, Newcastle, Haddo Arts Festival and the Lyddington Festival.
The Behn Quartet is formed of players from England, the Netherlands, New Zealand, and Wales. Recipients of the Amadeus Prize 2016, they currently hold the CAVATINA Chamber Music Fellowship at the Royal Academy of Music, and take their name from Aphra Behn, the seventeenth-century playwright, political activist, and philanthropist of the arts.Since their formation in 2015, the Behn Quartet have given recitals at the West Cork Chamber Music Festival, Norfolk & Norwich Festival, Guiting Music Festival, Leeds International Chamber Music Festival, at the Southbank Centre, Freemasons Hall, and Colston Hall Bristol. They were honoured to give the world premiere performance of Sir Peter Maxwell Davies' final work at his Memorial Concert in St John's Smith Square. The Behn Quartet have recorded chamber works by Stravinsky, Maxwell-Davies and Birtwistle for Linn Records in collaboration with Oliver Knussen, and their performances have been broadcast in the Netherlands, on NHK TV Japan, and live on BBC Radio 3. They have given concerts in association with ABRSM, the Concordia Foundation, and are currently resident quartet with Pro Corda. They were thrilled to collaborate with the Doric Quartet for a performance of Shostakovich Octet. The Behn Quartet were also part of the official 40th Anniversary celebrations of Bohemian Rhapsody by Queen, performing a specially-commissioned “reimagination” of the iconic song featured in news outlets worldwide, and praised by Rolling Stone Magazine as “a sweeping performance as grand as the original”.
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