Events 2020


We are sorry to announce that, owing to the spread of Covid-19, the 2020 spring festival is cancelled.

Join festivalgoers from across the country in the East Riding this spring for a joyous long weekend of exceptional music-making. The fifth New Paths spring festival is full to bursting with thirty events in a variety of venues across the beautiful market town of Beverley. This ‘unstuffy’ festival is a major community event in the region with a buzz that is irresistible. Events run throughout each day – from morning til night – ranging from short introspective performances to dazzling evening concerts. We hope to offer something for everyone and are confident you will enjoy browsing the programme. Don’t miss one of the most dynamic young classical music festivals in the land this April.

Day 1: Thursday 2nd April

Coffee Concert

Opus Alpha

  • Toll Gavel United Church
  • Thursday 2nd April 2020
  • 11am – 12:10pm
  • £10

Where better to start a festival than with Opus 1? In some cases these are composers’ earliest works, but sometimes they are bold creative statements from composers subsequently establishing their legacy by ascribing that significant number to carefully chosen works.

Soprano Aoife Miskelly and baritone Johnny Herford return to New Paths by popular demand, and they weave a journey from charming Fauré and sunny Fanny Mendelssohn, to Schubert’s fearsome Erlkönig and the height of late Romanticism in Schoenberg’s great early song Dank. Thomas Adès’ settings of T S Eliot are breathtakingly virtuosic, while the resurgence of interest in Amy Beach’s writing has shown her to be a delightful melodist.

Elgar’s Romance is lesser-known than his other works for violin and piano, but is full of his familiar heart-tugging beauty, while Beethoven’s earliest piano trio kick-starts our Beethoven anniversary celebrations, with its frothy exuberance and its delicious slow movement.

Elgar: Romance for violin & piano
Beethoven: Piano Trio in E flat Op 1 No 1
Songs by Fauré, Beach, Mendelssohn, Adès, Schoenberg and Schubert

Aoife Miskelly soprano, Johnny Herford baritone, Jamie Campbell violin, Cara Berridge cello, Libby Burgess piano

Sing Beverley!

  • Beverley Minster
  • Thursday 2nd April 2020
  • 2pm – 2:45pm
  • Free

In the weeks leading up to the festival, New Paths will be visiting Beverley primary schools with its flagship new singing project, Sing Beverley!. Singing is cognitively stimulating, it releases feel-good endorphins, it relieves physical pain, and it forges community. It develops confidence and concentration, helps subjects from maths to language, flexes children’s imaginations, and provides the sheer joy and buzz of making music in a live group setting.

Choral animateur Cathy Lamb was recipient of the 2019 Times Educational Supplement award for the best independent school / state school partnership project across any discipline in the whole country, for her outstanding Lichfield Music Share project based at Lichfield Cathedral.

Come and hear the results of this collaboration between the festival and local schools, in a short free performance in the magnificent Minster.

Cathy Lamb conductor, Richard Pinel piano


Songs Sung and Stories Told

  • Toll Gavel United Church Hall
  • Thursday 2nd April 2020
  • 3pm – 4pm
  • Free

How do we think of the people who create music? Most of us have an image of an inspired creator, with the power to see and hear the world in a unique way. Sometimes, this seems to be because of – and sometimes despite – personal suffering, physical and mental health problems, love lost or broken. Do those things really ‘make’ a composer? And what do the composers themselves have to say about their creative process?

Katy Hamilton explores the letters and diaries of composers from the day’s concerts, including Beethoven, Schubert, Debussy and Poulenc, to trace the tales they tell of their working lives. And we explore some of those familiar stories – from the healing power of music, to the composer’s brave struggle to overcome everyday tragedy – to see just how true they really are.

Katy Hamilton speaker

Celtic Rush Hour

  • Toll Gavel United Church
  • Thursday 2nd April 2020
  • 4:30pm – 5:45pm
  • Free

Composers and artists have long been inspired by the hills and glens, folklore and magic of the Celtic corners of the British Isles.

Perhaps the most famous of all pieces inspired by visiting Scotland is Mendelssohn’s stirring Hebrides Overture, here performed in the composer’s own piano duet arrangement by James Baillieu and Libby Burgess.

Widely hailed as one of the greatest living composers, James MacMillan writes music inescapably infused with Scottish magic. His short Memento for string quartet is an intimate and evocative miniature. Cheryl Frances-Hoad’s Tales of the Invisible, for clarinet and strings, was premiered at the Presteigne Festival in 2019, receiving four stars in the Guardian. Inspired by Nicholas Murray’s book Crossings, the piece takes inspiration from the border country of Mid Wales, and also explores other kinds of borders – between busyness and peace, sanity and madness, and night and day.

Welsh composers Morfydd Owen and Dilys Elwyn-Edwards, and Irelander Joan Trimble, may not be household names today, but their music is more than worthy of a wider audience. Tales of wives left behind, of guilt and sorrow, and of cherished love, these are beautiful songs from remarkable women. Britten’s gritty settings of Scottish folksongs are some of his finest, whilst Ivor Novello is one of the great tunesmiths of all time: his popular, nostalgic songs form a delightfully sentimental close to this early evening concert.

Mendelssohn: Hebrides Overture
MacMillan: Memento
Frances-Hoad: Tales of the Invisible
Songs by Owen, Trimble, Elwyn-Edwards, Britten and Novello

Alexandra Kidgell soprano, Johnny Herford baritone, John Slack clarinet, Jamie Campbell violin, Hannah Dawson violin, Simon Tandree viola, Cara Berridge cello, James Baillieu piano, Libby Burgess piano


In bocca al lupo

  • Carluccio’s
  • Thursday 2nd April 2020
  • 6pm – 7pm

Join other festivalgoers in the popular Beverley branch of Carluccio’s. The menu offers a wide variety of pasta, meat, salads, and other dishes, with dietary requirements well catered for.

Simply reserve a place through our normal booking process and we’ll collect your pre-order nearer the time. Delizioso!

The Monk and the Rascal

  • East Riding Theatre
  • Thursday 2nd April 2020
  • 7:30pm – 9:30pm
  • £15

Few composers demonstrate such bipolarity in their music as Francis Poulenc: breathless, carefree – almost manic – silliness and frivolity meet head-on with the depths of despair and heartbreaking nostalgia. In his day his mental health was not assessed or diagnosed in the way it perhaps would be today, but this extreme duality in Poulenc’s music was encapsulated in contemporary critic Claude Rostand’s description of him as ‘half monk, half rascal’.

Poulenc was particularly drawn to the woodwind sonorities, heard here in both his delightful Sextet and his much-loved Flute sonata, which form a wonderful showcase for our fabulous wind team. The surrealist poetry of Tel jour telle nuit belies the magnificent beauty of these songs, whilst his Deux poèmes de Louis Aragon respond in lament and satire to the suffering of France during World War Two.

This programme also explores those surrounding Poulenc: his major influences and colleagues. Debussy’s translucent and dreamy Sonata for flute, viola and harp stands for all that Poulenc and his contemporaries were rebelling against, whilst the tutelage of Satie was hugely significant to him. Germaine Tailleferre represents Poulenc’s circle ‘Les Six’, with her serene Arabesque for clarinet and piano, and Chabrier – whose biography Poulenc penned – proves a revelation in this rarely-heard setting of Baudelaire’s L’invitation au voyage, for soprano, bassoon and piano.

Aoife Miskelly was praised in Opera Today for her ‘masterful characterisation’, ‘bright soprano’, and her ‘portrayal glowing in humanity’ after WNO’s 2019 production of The Cunning Little Vixen, and she takes centre stage in this delectable French programme.

Poulenc: Sextet for winds & piano
Poulenc: Tel jour telle nuit
Poulenc: Sonata for flute & piano
Poulenc: Deux poèmes de Louis Aragon
Debussy: Sonata for flute, viola & harp
Chabrier: L’invitation au voyage
Tailleferre: Arabesque
Satie: Gymnopédie No 1

Aoife Miskelly soprano, Fiona Slominska flute, James Turnbull oboe, John Slack clarinet, Nick Wolmark horn, Connie Tanner bassoon, Olivia Jageurs harp, Simon Tandree viola, James Baillieu piano, Libby Burgess piano



  • Minster Quire
  • Thursday 2nd April 2020
  • 10pm – 11pm
  • £8

The suite of dances was a cornerstone of baroque music and culture, its varied rhythms and steps readily recognisable to people of the day, and its pacing and diverse inflections a fertile source of stimulation for composers. Two towering giants of the suite repertoire feature tonight, both from the mighty pen of J S Bach.

Bach’s great Six Partitas for keyboard were so significant to him that he named them Opus 1, drawing today’s programme full circle, although they were actually mature works. From the outset of its dramatic Toccata, the sixth partita, in E minor, combines elegant dance patterns with audacious harmonic twists and turns: Angela Hewitt writes, ‘It is a stupendous work on the grandest scale—one in which we feel his incredible strength of character, security, warmth of heart and deep faith. Here he is no longer writing for popular appeal but on the highest intellectual and emotional plane.’

The vulnerability and intimacy of the solo violin sonority contrasts with the architectural nature of the music: like this great building, the partita taps into something higher. The summit of the work is its final movement, the Chaconne, described by Yehudi Menuhin as ‘the greatest structure for solo violin that exists’ and by Joshua Bell as ‘not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It’s a spiritually powerful piece, emotionally powerful, structurally perfect.’

Bach: Keyboard Partita No 6 in E minor
Bach: Violin Partita No 2 in D minor

Maria Włoszczowska violin
Libby Burgess piano

Buy a Night Owl Pass and get entry to both late-night concerts for just £10!

Day 2: Friday 3rd April


Pipe Up!

  • The Danish Seamen’s Church, Hull
  • Friday 3rd April 2020
  • 9:30am – 10:30am
  • Free


  • Hull City Hall
  • Friday 3rd April 2020
  • 11am - 12pm
  • Free

Hear our three resident organ students perform and receive public tuition on two very different instruments within a 5 minute walk of one another.

The Danish Seamen’s Church is often passed by, but represents a fascinating piece of Hull history. Given the city’s trading past, Danish ships docked in Hull with cargoes of cattle, bacon, butter and corn, and by the nineteenth century Hull had a sizeable Danish population; a church was established to serve seamen, Danish residents and Scandinavian emigrants temporarily resident in Hull en route to the New World. Today’s 1950s building replaced the older church damaged in the war, and houses a small classical-style organ by the renowned Danish firm Frobenius.

Hull City Hall, by contrast, is home to the mighty Forster & Andrews instrument, one of the largest working organs in the country. The hall is a magnificent example of Edwardian civic architecture and was designed by Joseph Hirst, Hull’s first City Architect, assisted by Frank Matcham, who designed the London Palladium and the Hackney Empire. The hall’s striking copper dome is said to be based on that of St Paul’s in London and there are four hand-carved female figures around it, each representing one of the arts.

Our eminent masterclass tutor Richard Pinel, Director of Music at Jesus College Cambridge, will demonstrate each organ before coaching the students on their own performance of repertoire appropriate to the respective instruments. Coffee will be served at Hull City Hall between the two classes.

Richard Pinel organ tutor

Babies’ & toddlers’ concert

Listen Up!

  • Toll Gavel United Church
  • Friday 3rd April 2020
  • 10:30am – 11:15am
  • Free

The popular New Paths babies’ & toddlers’ concert is back! A programme designed especially to capture your children’s imaginations. Our stellar New Paths artist team provide music for dreaming, for bouncing, for dancing – and some singing along too!

Suitable for under-4s and their grown-ups.


  • Beverley Art Gallery
  • Friday 3rd April 2020
  • 1:30pm – 2:30pm
  • £12

We are thrilled to return to Beverley’s beautiful Art Gallery for this lunchtime concert of chamber music greats.

Mozart’s G minor string quintet is one of his masterpieces on this scale. In his hands the key is one of drama and intrigue, an intensely operatic dialogue; the interplay between instruments is heightened by the addition of a second viola to the usual quartet lineup, giving a depth to the sonority.

Vaughan Williams’ Phantasy Quintet for the same forces is inspired, like so much of his output, by the soaring lines of English renaissance music, generating an ethereal sense of space and timelessness. Britten too was an ardent admirer of his English musical forefathers, and so we open this programme with his arrangement for string quartet of Purcell’s glorious Chacony.

Book fast to avoid disappointment – this is an intimate venue and sure to sell out.

Purcell arr. Britten: Chacony in G minor
Vaughan Williams: Phantasy Quintet
Mozart: Quintet in G minor

Jamie Campbell violin, Maria Włoszczowska violin, Simone van der Giessen viola, Simon Tandree viola, Torun Stavseng cello


Music of Modernity

  • East Riding Theatre
  • Friday 3rd April 2020
  • 3:30pm – 4:30pm
  • Free

Gillian Moore CBE, Director of Music at the Southbank Centre and author of the acclaimed 2019 release The Rite of Spring: Music of Modernity, introduces Stravinsky’s firecracker of a ballet score, The Rite of Spring.

When the curtain rose on a cast of frenziedly stamping dancers, a near-riot ensued, ensuring the evening would enter the folklore of modernism. Stravinsky’s innovations in form, rhythm, and dissonance, and the sheer sonic power of the music, led the piece on a journey from scandalous novelty of 1913 to a 21st-century orchestral concert staple.

Gillian explores this remarkable work, its cultural climate, and the sweep of its subsequent influences, from Star Wars to Disney and The Pet Shop Boys.

“A stylish and concise account of the event” (Guardian)

“If Moore doesn’t convince you of the epochal significance of Stravinsky’s brilliant, outrageous fire-starter, you must be damn hard to please… An intoxicating tone which combines academic authority, rich, detailed description and pure thrill” (Big Issue)

“Gillian Moore’s succinct, lucid and beautifully illustrated book explains the history of this unique musical phenomenon with a keen sense of its broader significance” (Literary Review)

Gillian Moore speaker


The Rite

  • East Riding Theatre
  • Friday 3rd April 2020
  • 5pm – 5:40pm
  • £8

The Rite of Spring is often hailed as the true beginning of modernist music. Stravinsky pushed rhythmic and harmonic invention to their extremes, shattering preconceptions of what music could be, and stretching the orchestral players to their technical limit.

When the piece was premiered in 1913 it provoked a riot in the Paris theatre; the dancers were famously unable to hear the music or count the highly irregular beats, and the reaction to both Nijinsky’s angular choreography and Stravinsky’s pounding score was strong. Over a century later, the piece still has an astonishing impact.

In Stravinsky’s own version for four hands at one piano, James Baillieu and Libby Burgess present this tour de force of violence, agility and – within it all – surprising beauty.

Stravinsky: The Rite of Spring

James Baillieu piano, Libby Burgess piano

Rush hour pass: The Rite + Serenade + Love Story for just £22!



  • Thai Palace
  • Friday 3rd April 2020
  • 6pm – 7pm

In a festival first, we head to the welcoming Thai Palace on Lairgate. Offering a wide range of Thai cuisine, from curries to seafood and vegetarian dishes, there is something for everyone at this much-loved local eatery.

Simply reserve a place through our normal booking process and we’ll collect your pre-order nearer the time.

People Look East

  • Toll Gavel United Church
  • Friday 3rd April 2020
  • 7:30pm – 9:40pm
  • £15

Since time immemorial, and whatever their geographical starting point, people have looked to their East as a source of inspiration, with the daily refreshment of sunrise. The east-meets-west dialogue in the modern world is perhaps not as new as we think, and here we explore a wide range of Eastern influences on mostly Western music.

The inception of worldwide cultural and industrial exhibitions was part of a journey towards today’s globalism; in the 1891 Paris Exhibition, French musicians heard for the first time the sound of the Javanese gamelan. Many of Debussy’s greatest works nod to this sound-world, including his famous symphonic poem Prélude à l’après-midi d’un faune. This chamber arrangement of that piece was formed for a set of soirées hosted by Schoenberg, and is scored for eleven players.

Judith Weir’s Natural History sets four ancient Chinese philosophical texts by Chuang-tzu, her vivid writing painting creatures from fish and horse right through to ‘singer’(!), each in a parable of wisdom. Meanwhile Japanese composer Michio Miyagi’s sea-inspired Haro no umi depicts a peaceful dawn.

Prokofiev’s jaunty, klezmer-style Overture on Hebrew Themes was inspired by the Judaism of his instrumental colleagues, and Jewish music is also referenced, in a more sombre mood, by Bloch and Whitacre.

The two poets of Brahms’ Op 32 songs, Platen and Daumer, were both influenced by the medieval Persian poet Hafiz: Graham Johnson describes the dark and beautiful set as ‘a kind of latter-day Dichterliebe’, the songs full of loneliness, nostalgia and lost love. Persia is also the home of the folktale collection One Thousand And One Nights, from which springs the character of Scheherezade, set to music in glorious technicolour by Rimsky-Korsakov.

Prokofiev: Overture on Hebrew Themes
Brahms: Nine Songs Op 32
Weir: Natural History
Miyagi: Haro no ums
Mozart: Rondo alla Turca
Rimsky-Korsakov arr. Kreisler: Scheherezade (extracts)
Debussy arr. Sachs: Prélude à l’après-midi d’un faune
Music by Whitacre, Dove, Tamura, McPhee

Aoife Miskelly soprano, Johnny Herford baritone, Fiona Slominska flute, John Slack clarinet, James Turnbull oboe, Jamie Campbell violin, Hannah Dawson violin, Maria Włoszczowska violin, Simon Tandree viola, Cara Berridge cello, Torun Stavseng cello, John Tattersdill double bass, James Baillieu piano, Libby Burgess piano, Richard Pinel harmonium

Late night

Late Work

  • St John of Beverley RC Church
  • Friday 3rd April 2020
  • 10:15pm – 11pm
  • £8

Beethoven’s late period saw a troubled, unwell, deaf man writing music of extraordinary intensity, innovation and profundity: after his vast ninth symphony, premiered in 1824, he turned almost solely to string quartets in his last years. These late quartets were roundly dismissed by the audience of the day: composer Louis Spohr called them ‘indecipherable, uncorrected horrors’. And yet this music has had a deep effect on generations of composers since, and is today held to be some of the great art of all time.

Following recovery from a particularly acute period of illness, during which Beethoven found himself unable to compose, and feared for his life, the composer penned his Quartet No 15, Op 132. The weighty central movement is an intense prayer: he titled it ‘A sacred song of thanks from one made well, to the Divine; in the Lydian Mode’, or ‘Heiliger Dankgesang’. Like the great symphony of the previous year, the quartet takes the listener on a profound spiritual journey from darkness to light.

Beethoven: String Quartet No 15 in A minor Op 132

Jamie Campbell violin, Hannah Dawson violin, Simone van der Giessen viola, Torun Stavseng cello

Buy a Night Owl Pass and get entry to both late-night concerts for just £10!

Day 3: Saturday 4th April

Coffee concert

Game On!

  • Toll Gavel United Church
  • Saturday 4th April 2020
  • 11am – 12:15pm
  • £10

Step away from the market bustle of Beverley on a Saturday for a fun-filled programme of games-inspired music, from sports to masks, in anticipation of this afternoon’s card-games performance of Mary’s Hand.

Mozart’s graceful and sunny trio for the warm combination of clarinet, viola and piano is better known as the ‘Kegelstatt’ Trio – named after a skittle alley! Debussy’s Quatre Chansons de Jeunesse take as their starting point a world of commedia dell’arte disguise, a literal and metaphorical mask of sophistication that conceals deeper emotions: the characters such as Pierrot were the inspiration for Venetian masks of the same names, and the songs are full of vibrant and passionate scenes.

Handel and the librettist Brockes shared a love of the good things in life: Brockes’ texts are full of the joy of being alive. And whilst Shostakovich is primarily associated with more brittle music, his Three pieces for two violins and piano are delightfully schmaltzy. He was a great lover of football, whereas Charles Ives was a baseball fan. Sunrise was the last song Ives wrote and is a haunting reflection for baritone, violin and piano.

Latin syncopations meet bold gestures in Milhaud’s effervescent Suite, whose middle movements are fun-filled depictions of games themselves: Divertissement and Jeu.

A frothy, joyous musical start to your weekend!

Milhaud: Suite for clarinet, violin & piano
Handel: Meine Seele hört im Sehen; Süße Stille
Shostakovich: Three pieces
Debussy: Pierrot; Apparition
Ives: Sunrise
Mozart: Kegelstatt Trio

Alexandra Kidgell soprano, Johnny Herford baritone, John Slack clarinet, Jamie Campbell violin, Hannah Dawson violin, Simone van der Giessen viola, Richard Pinel organ, Libby Burgess piano

Ploughman’s Lunch

  • Beverley Minster Parish Hall
  • Saturday 4th April 2020
  • 12:30pm – 1:15pm
  • £5

Enjoy a relaxed buffet ploughman’s lunch before popping across to the Minster for the organ performance.

Wondrous Machine

  • Beverley Minster
  • Saturday 4th April 2020
  • 1:15pm – 1:45pm
  • Free

Since the outset New Paths has enjoyed a special relationship with Oundle for Organists, whose summer courses have inspired hundreds of blossoming young organists over the years. Spot the next generation of talent, and hear the festival’s three resident organ students, drawn from that summer course, perform on the Minster’s magnificent Schnetzler instrument.


‘Bloody Mary’? Queenship and Power in Tudor England

  • East Riding Theatre
  • Saturday 4th April 2020
  • 2:15pm – 3pm
  • Free

Why has Queen Mary I had such a bad press? Known as ‘Bloody Mary’ for the violent persecution of Protestants during her reign, she is often portrayed as the least attractive of the Tudors. But Mary’s story deserves to be re-told: a woman who faced down two major rebellions, believed passionately in the restoration of Catholicism, and maintained the royal magnificence that defined Tudor monarchy. As the first woman to rule England in her own right, Mary had to develop new strategies to legitimise her queenship.

An ideal pairing with the performance of Mary’s Hand, this talk by Tudor historian John Cooper presents both sides of the debate about Mary I: the tyrant who willingly presided over the religious persecution of her own subjects, versus the queen who strengthened English power and brought the best in Renaissance art and music to the court and Chapel Royal.

Dr John Cooper is Senior Lecturer in History at the University of York. Educated at Merton College Oxford, he is a specialist in the history of monarchy, Parliament and art under the Tudors. His book The Queen’s Agent was serialised on Radio 4, and he has worked as a historical consultant for the BBC series ‘Gunpowder’ and Starz ‘The Spanish Princess’.

John Cooper speaker

Mary’s Hand

  • East Riding Theatre
  • Saturday 4th April 2020
  • 3:15pm – 4:30pm
  • £8

Mary’s Hand is a new music drama about the life and reign of Queen Mary I – Bloody Mary, as we think we know her. Hear history re-told by the Queen herself as she shares a game of cards with the audience.

It’s a little-known fact that Mary loved games of chance, such as dice and cards. In Mary’s Hand the turn of the next card prompts the Queen to reflect on the influences and events in her life: her father Henry VIII, her mother Katherine of Aragon, her religion, her half-sister Elizabeth I, and her desperate desire for a child are all represented in the deck she holds.

Mary was chiefly driven by the wish to be a good monarch and her conviction that re-uniting England with Catholic Europe would secure her own – and her kingdom’s – future. Her marriage to Philip of Spain promised to fulfil both these desires, but Mary paid a high public and personal price for her choices.

With words and direction by Di Sherlock and music by Martin Bussey, Mary’s Hand is performed by mezzo-soprano Clare McCaldin and chamber ensemble.

★★★★★ The Independent

Bussey: Mary’s Hand

Clare McCaldin Mary
Di Sherlock Director



  • East Riding College
  • Saturday 4th April 2020
  • 5:15pm – 6pm
  • £10

The striking 2015 atrium of the East Riding College, with its views over the great east window of Beverley Minster, is the setting for this performance of perhaps the most popular septet ever written.

Written in the charming divertimento tradition, serenades display depth and beauty, lightness and atmosphere, full of outdoor nocturnal frisson. Beethoven’s soloistic and demanding violin part is the perfect showcase for Maria Włoszczowska, and the slow movement is a moment of sublime intensity.

After a day’s shopping, conjure up the atmosphere of a night-time Viennese courtyard, and be serenaded by this glorious winds and strings team.

Beethoven: Septet

Maria Włoszczowska violin, Simone van der Giessen viola, Cara Berridge cello, John Tattersdill double bass, John Slack clarinet, Nick Wolmark horn, Connie Tanner bassoon

Rush hour pass: The Rite + Serenade + Love Story for just £22!

Celtic mix-tape and Ceilidh

  • Memorial Hall
  • Saturday 4th April 2020
  • 8pm – 11pm
  • £20

Our musicians set the mood for the evening with a live mix-tape of evocative Celtic music – a musical language which has been an inspiration – and will be ‘til the seas gang dry’ – to both native composers and those from around the world. From haunting folk favourites to new discoveries, this short informally-presented performance will have something for everyone.

We’re delighted also to welcome popular local group, Beverley Community Choir, who were founded as part of the Beverley Folk Festival, who will launch the evening in style.

And then dust off your dancing shoes and join the New Paths team and artists on the dance floor in the liveliest barn dance Beverley has ever seen. We are thrilled to welcome back Triple Scotch, feted as the best professional ceilidh band in England, for this ‘highland fling’!

Why not begin the evening in style, and opt in for the hog roast at 7:15pm? At just £5 a head this is a bargain-tastic way to begin your night out.

Cash bar open throughout.

7pm Doors
7:15pm Hog roast
8pm Celtic mix-tape
9pm Ceilidh
11pm Closing time

Alexandra Kidgell soprano, Johnny Herford baritone, Jamie Campbell violin, Hannah Dawson violin, Cara Berridge cello, Fiona Slominska flute, John Slack clarinet, James Baillieu piano, Libby Burgess piano, Triple Scotch ceilidh band

Day 4: Sunday 5th April

Palm Sunday Worship

  • Beverley Minster
  • Sunday 5th April 2020
  • 10:30am – 12pm
  • Free

There has been a Christian community on the site of Beverley Minster for over 1300 years, since John, Bishop of York – the future Saint John of Beverley – founded a monastery at a place known as Inderawuda (“into the woods”), in the early 8th century. Join the Minster congregation and choir, under Director of Music Robert Poyser, on that very same spot, to mark Palm Sunday, the beginning of Holy Week.

Organ recital


  • Beverley Minster
  • Sunday 5th April 2020
  • 12:30pm – 1:30pm
  • Free

Illustrious organist, John Scott Whiteley – who was for more than three decades organist of York Minster – gives the Sunday lunchtime organ recital.

An authority on the organ music of Bach, John has become well known for his performances on BBC2 and BBC4 of Bach’s complete organ music – 21st Century Bach – described by the Daily Telegraph as ‘a triumph both nationally and musically’. The recital opens with one of Bach’s greatest works for organ, the Passacaglia and Fugue in C minor. Schumann described the variations of the passacaglia as ‘intertwined so ingeniously that one can never cease to be amazed’.

The recital continues with another set of variations, this time by John’s friend, the late Alan Spedding, organist of Beverley Minster for over 40 years. Chorale variations were a favourite vehicle for Alan’s solo organ music and today we hear his final organ composition, published posthumously – a set of variations (diversions) on the Lutheran chorale, Vater unser im Himmelreich. John’s performance will be a touching tribute to the kind musician in whose honour the festival was established.

John premiered James MacMillan’s Toccata at the 2019 Three Choirs Festival, and the recital ends with another Toccata – by the Italian virtuoso Fernando Germani who was one of John’s teachers and the man who made a number of famous LPs at Selby Abbey in the 1960s.

Join the crowds in the spectacular gothic nave of Beverley Minster to hear the fine 1769 Snetzler at this popular annual event.

Bach: Passacaglia & Fugue in C Minor
Spedding: Diversions on a Chorale
MacMillan: Gaudeamus in loci pace; Toccata
Jongen: Prelude & Fugue in E flat Op 121
Germani: Toccata Op 12

John Scott Whiteley organ


Notes from an Exhibition

  • Memorial Hall
  • Sunday 5th April 2020
  • 2:30pm – 3:30pm
  • £10

“This book is complete perfection” Stephen Fry

“Thought-provoking, sensitive, humane … by the end I had laughed and cried and put all his other books on my wishlist” Daily Telegraph

We welcome author, Patrick Gale, to the festival for a conversation about his bestselling ‘Cornish’ book Notes from an Exhibition – a moving, intuitive novel of artistic compulsion, marriage and secrets left behind.

Celebrated artist Rachel Kelly dies alone in her Penzance studio, after decades of struggling with the creative highs and devastating lows that have coloured her life. Her family gathers, each of them searching for answers. They reflect on lives shaped by the enigmatic Rachel – as artist, wife and mother – and on the ambiguous legacies she leaves them, of talent, torment and transcendent love.

Patrick talks to BBC Radio 3 Breakfast presenter Petroc Trelawny about his book and reads extracts from it. Readers will have the opportunity to take part in discussions with this brilliant author and ask questions about the novel.

Notes from an Exhibition takes its title from the information cards displayed beside works of art in a gallery or museum. Each chapter in the novel begins with a different example, all of them referring Rachel’s art or possessions. We never see examples of her work but it is described in detail and a cumulative effect of the novel is the reader’s sense that they are walking around a retrospective of her art.

As we journey through the story, we encounter a woman Patrick has called ‘my most frightening mother to date’. She’s a genius, a loving wife and parent, a faithful friend but she’s also tormented by bi-polar disorder and driven by an artistic compulsion – often barely distinguishable from her mental illness – to damage all who try to love and protect her.

Read Patrick’s novel in the approach to the festival and join him and Petroc for a fascinating discussion about this uplifting and empathetic book.

“Few writers have grasped the twisted dynamics of family the way Gale has. There’s really no one he can’t inhabit, understand and forgive” Amistead Maupin

“Gale’s prose, as ever, is as clear and bright as the Cornish light” Guardian

Patrick Gale speaker
Petroc Trelawny speaker


Love Story

  • Toll Gavel United Church
  • Sunday 5th April 2020
  • 4pm – 5pm
  • £10

Two of the most extraordinary musicians of their time meet when they are young; they fall deeply in love, they battle tirelessly for permission to marry, and go on to stimulate remarkable creativity in their respective music-making. Whilst in reality their lives were far from rosy, the love story of Robert and Clara Schumann has long captivated imaginations.

The flowers of the evergreen shrubs myrthen, or myrtles, are often used to make bridal wreaths, and Myrthen is the cycle of songs which Robert wrote for Clara as a wedding present. Unsurprisingly, the songs explore many facets of love: tender, ecstatic, sensual, maternal, and grief-struck. Drawing together multiple festival themes, the poems Schumann selected for these songs include translations of Burns, and a fascination with east-west interplay.

Mezzo-soprano Angharad Lyddon represented Wales in the 2019 Cardiff Singer of the World competition, where she was a song prize finalist, whilst Gareth Brynmor John is a former winner of the Kathleen Ferrier Award. They join Libby Burgess for a Sunday afternoon performance of Myrthen, which features many of Schumann’s most beloved songs, from Widmung to Die Lotosblume, and is a gorgeous evocation of love.

Schumann: Myrthen

Angharad Lyddon mezzo-soprano
Gareth Brynmor John baritone
Libby Burgess piano

Rush hour pass: The Rite + Serenade + Love Story for just £22!

Closing Time

  • East Riding Theatre
  • Sunday 5th April 2020
  • 7:30pm – 9:40pm
  • £15

Musical time, measuring time, moments in time… This tour of music inspired in various ways by our relationship with time draws the time of the festival itself to a close.

Beethoven was the first composer to measure musical time with a metronome. The fifth of his sonatas for cello and piano is exuberant and profound by turn, and concludes with a tightly-wrought fugue woven between the two instruments. We are delighted to welcome back stunning Norwegian cellist Torun Stavseng, who partners Libby Burgess in the final chapter of our Beethoven celebration.

Britten’s Songs & Proverbs of William Blake comprises dark and thought-provoking explorations of human experience, in friendship, jealousy, inequality, and the passing of time: ‘To see a World in a Grain of Sand, And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand, And Eternity in an hour.’

With the arrival of the railways in the nineteenth century came the standardisation of time across the UK; however one institution to this day retains its own time, five minutes to the west of, and therefore behind, Greenwich. Christ Church Oxford was the musical home of William Walton, perhaps best known for his church music, but whose occasional, colourful forays into chamber music, as with these short Two Pieces for violin and piano, leave us wishing he’d written more in this mode.

Schubert was the master of distilling human experience into a single moment of time: his Wanderers Nachtlied is just such a gem, whilst his biting An Schwager Kronos sets Father Time himself as the coachman, setting our destinies.

The festival is brought to a close with two reflections on the end of life: Vaughan Williams’ stunning The Last Invocation, with melting violin obbligato, and Strauss’ ravishing Four Last Songs, his own last completed works, meditations on the autumn of life and the beauty of love. We are thrilled to welcome award-winning soprano Ailish Tynan to New Paths for the first time to close the festival with these enduringly beloved songs.

Beethoven: Sonata No 5 in D for cello & piano
Britten: Songs & Proverbs of William Blake
Vaughan Williams: Two Vocal Duets
Walton: Two Pieces
Schubert: An Schwager Kronos; Wanderers Nachtlied II
Strauss: Four Last Songs

Ailish Tynan soprano, Johnny Herford baritone, Maria Włoszczowska violin, Torun Stavseng cello, James Baillieu piano, Libby Burgess piano

Throughout the festival

Art exhibition

Song of Songs

  • Beverley Minster
  • Every day
  • 9am - 4:45pm (Monday-Saturday) / 12pm-5pm (Sunday)
  • Free

On show in the North Transept of Beverley Minster during the festival is an exhibition of linocuts by Andrew Anderson. The exquisite works displayed are drawn from two areas of Anderson’s output as a linocutter – works inspired by Norfolk country churches, and works based on love poems in the Old Testament known variously as ‘The Canticles’, ‘The Song of Solomon’ and ‘The Song of Songs’.  

These second century BC love poems have inspired artists and musicians through the ages. Anderson sees both the verses and his depiction of rural churches from the viewpoint of an architect. For 35 years Anderson was architect to a large number of churches including two Norman Cathedrals. Whilst the imagery in the pieces is at its root architectural, there is something mysterious about them: architectural forms are combined with surprising perspectives, and layers of meaning in text and image overlap.  

Now retired and living in Beverley, this retrospective on Anderson’s life as a linocutter is a unique opportunity to see this selection of work gathered together for the first time. Not to be missed.