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The Recorder Old and New
Fatima Laham - Recorder
Sunday March 4th, CONCERT HAS BEEN CANCELLED
Following the thrilling concert last December by the Improviso Ensemble, we're delighted to welcome back the group's leader, Fatima Laham, in a solo programme that showcases the sound of the recorder through the ages - from the Fourteenth Century to today.
The haunting tones of the period recorder in the crisp acoustic of the Acton Hill Church promises to be a warming winter treat!
The haunting tones of the period recorder in the crisp acoustic of the Acton Hill Church promises to be a warming winter treat!
Full Programme
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De los cuatro muleros
Spanish Folk Song Partita BWV 1013 J.S. Bach Meditation Ryohei Hirose |
Sonata H.562
C.P.E. Bach Istanpitta: Isabella Italian 14th century Ende Louis Andriessen |
4pm-5pm. Tickets: adults £6.00, concessions £5.00, children £2.00. Tickets available at the door. Crèche facilities available.
Fatima Laham
Fatima started playing the recorder aged 13 after falling in love with a recording of fourteenth century dances on an old LP. She started lessons with Sybil Whitman shortly afterwards, and eleven years later is still enjoying the extraordinary possibilities of recreating music from the 12th century onwards using something as elemental as breath passing through a wooden column with holes.
In 2011 Fatima started studying the recorder with Ashley Solomon, and from 2011-2014 she read Music at Magdalen College, Oxford, where she experienced historical recorders at the Bate Collection and recorded on the Bressan alto for the resOUnding app. After Oxford Fatima started Masters studies at the Royal College of Music, London, where she continued her studies with Ashley Solomon, María Martinez Ayerza, and Julien Feltrin, graduating in 2016 having received support from an Ian Evans Lombe Award, Help Musicians UK Postgraduate Award, and the Exuberant Trust.
Recent performances have taken her to Austria, Spain, and Germany, a live broadcast on BBC Radio 3, and London venues such as the Queen's Gallery, Buckingham Palace, Middle Temple Hall, St Pauls Covent Garden and the Wigmore Hall. Fatima’s ensemble Improviso has been selected for Brighton Early Music Festival Live!, Live Music Now, and the prestigious EEEmerging programme (Emerging European Ensembles).
In 2011 Fatima started studying the recorder with Ashley Solomon, and from 2011-2014 she read Music at Magdalen College, Oxford, where she experienced historical recorders at the Bate Collection and recorded on the Bressan alto for the resOUnding app. After Oxford Fatima started Masters studies at the Royal College of Music, London, where she continued her studies with Ashley Solomon, María Martinez Ayerza, and Julien Feltrin, graduating in 2016 having received support from an Ian Evans Lombe Award, Help Musicians UK Postgraduate Award, and the Exuberant Trust.
Recent performances have taken her to Austria, Spain, and Germany, a live broadcast on BBC Radio 3, and London venues such as the Queen's Gallery, Buckingham Palace, Middle Temple Hall, St Pauls Covent Garden and the Wigmore Hall. Fatima’s ensemble Improviso has been selected for Brighton Early Music Festival Live!, Live Music Now, and the prestigious EEEmerging programme (Emerging European Ensembles).
Location
Acton Hill Church
Corner of Woodland Avenue, High Street, Acton, Greater London, W3 9BU
Corner of Woodland Avenue, High Street, Acton, Greater London, W3 9BU
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We are on the corner of the Uxbridge Road and Gunnersbury Lane, W3, opposite Acton police station. Ten minutes walk form Acton Town tube station – District (Ealing Broadway) and Piccadilly lines. Front main entrance is on Gunnersbury Lane, turn right and walk down to the T-junction, turn right and the church is a twenty yards on your right.
Parking in Morrisons’ car park diagonally opposite (up to 1 hour before 4pm and unlimited thereafter). Street parking on Steyne Road (opposite), limited parking in Woodlands Avenue down the side of the church. Beware of the dropped curb at the end as parking tickets are issued on Sundays! |
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Copyright © 2016 Jane Schopf
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