Rare posters from Ewell Technical College (today’s NESCOT) concerts featuring Nick Drake, Genesis, Black Sabbath and Led Zeppelin are among more than 300 pieces of music memorabilia being auctioned from the collection of industry veteran Lindsay Brown.

A remarkable collection chronicling both Ewell’s place in British rock history and one man’s five-decade career in the music industry is to be sold at auction next month.

More than 300 posters, records, autographs, backstage passes and other pieces assembled by Lindsay Brown will go under the hammer at Omega Auctions in Merseyside on Tuesday 15th September.

Mr Brown began his music industry career in 1969 as social secretary at Ewell Technical College – now part of Nescot – where he helped bring emerging and established performers to the college.

The venue hosted concerts by artists including Deep Purple, Black Sabbath, Caravan, Taste, Genesis, Nick Drake and Atomic Rooster. Other celebrated acts associated with the college’s musical heyday included Led Zeppelin, King Crimson and Queen.

“It was a thrilling time to be involved in music,” Mr Brown told the Epsom and Ewell Times. “The great artists of the day were available for all to see. Hendrix, The Doors and Led Zeppelin, to name but a few.

“New artists were emerging all the time, some of which were booked to support at Ewell – Genesis, Black Sabbath, King Crimson, Queen and the now legendary Nick Drake.”

Mr Brown said the college became an important stop on the national concert circuit because successive social secretaries and entertainment committee members were adept both at securing major performers and identifying artists with the potential to become stars.

The college was also well placed near venues including the Toby Jug in Tolworth and the Fox Club in Croydon, with London’s music clubs within easy reach.

“Many managers and agents would offer their talent and new signings for support slots at Ewell,” he recalled.

Among the most valuable lots is an exceptionally rare poster advertising an Ewell Technical College concert by Atomic Rooster, Genesis and Nick Drake on 24th January 1970. It is expected to sell for more than £5,000.

Posters featuring Drake are particularly scarce because of his reluctance to perform live. The auction house believes the Ewell poster may be the first example of its kind to reach the open market.

Another lot is a small poster advertising what is described as the final public concert of Drake’s career, held at Ewell Technical College on 25th June 1970. It has an estimated value of more than £2,000.

A red-and-gold poster by artist David Arnott, produced for a college performance by Black Sabbath supporting Caravan, is expected to fetch more than £1,000. An Arnott poster for Deep Purple’s appearance at Ewell Tech on 18th April 1970 is being offered together with a ticket from the concert.

A framed 1968 Ewell Technical College poster originally advertising The Yardbirds is also expected to attract considerable interest. Following changes to the group, the concert instead featured an early incarnation of Led Zeppelin before a reported audience of just 150 people. The poster is estimated to sell for more than £2,000.

Mr Brown retains especially fond memories of concerts by Led Zeppelin, Deep Purple and Taste, although he said Caravan – which appeared at Ewell on several occasions – was the venue’s most successful act.

“Seeing a very early King Crimson concert was a real privilege,” he added.

After leaving Ewell Tech, Mr Brown went on to hold senior positions at Red Bus, MAM, Rock Exchange, Polydor and Eagle Rock Entertainment. As managing director of Eagle Rock, he signed The Rolling Stones for visual rights.

Across his career he worked with artists including Kate Bush, Elvis Costello, Barclay James Harvest, Dr Feelgood, 10cc, The Cure, Van Morrison, Björk, Alice Cooper, Queen, Jeff Beck and Simple Minds.

The wider collection reflects those associations. It includes authenticated Beatles autographs expected to fetch more than £3,000; a Fender Telecaster signed by Keith Richards; Rolling Stones autographs including that of Brian Jones; a 1969 Woodstock ticket; and Kate Bush tour posters, clothing, passes and merchandise.

A Queen collection relating to the band’s 1976 Hyde Park concert includes autographs, a framed show flyer and a map of the band’s route formerly owned by their driver. It is valued at more than £3,000.

Also for sale is a three-foot-high poster for the New York Dolls’ first UK performance at the Rainbow Room at Biba in November 1973 – a concert attended by figures who would later help shape British punk.

A 1969 flyer for the Toby Jug Blues Club in Tolworth features Led Zeppelin’s name misspelt and is valued at more than £500.

Although Mr Brown is parting with most of the collection, he has retained six particularly personal pieces. These include a poster from his farewell Caravan show at Ewell in 1970, a set of Rolling Stones autographs, a Kate Bush tour poster, a Barclay James Harvest gold disc and sales plaque, and a poster personally dedicated to him by Jeff Beck.

“It’s sad to see the collection go, but I am thrilled by the continued worldwide interest in Ewell Tech’s heritage, told through its posters, many of which were designed by the Redhill artist David Arnott,” he said.

“Knowing these posters are going to good homes is very gratifying and lets the story continue to survive.”

He believes collectors have an important role in protecting evidence of performances and events which could otherwise disappear from public memory.

“Without people keeping what might seem at the time inconsequential – tickets, stubs, flyers and so on – many of these shows would be completely forgotten in future years.”

The collection, entitled “Time Has Told Me – 50 Years in Music”, will be auctioned by Omega Auctions on Tuesday 15th September, with a public preview on Monday 14th September. The catalogue and bidding details are available from www.omegaauctions.co.uk.

1968 – 1971 Ewell Tech. Gig List – click here

Julie Kapsalis, CEO of NESCOT, responded to this story and told the Epsom and Ewell Times: “Music continues to be an important part of Nescot. The Entitled Sons played a gig at the college last year and Bazil Meade ran a masterclass on gospel music. Our music department also trains young people to enter the sector and this year they showcased their talents on the community stage at The Epsom Derby Festival. We now have a DJ club and college bands who regularly perform at college and external venues.”

Lionel Blackman

Epsom and Ewell acknowledges with thanks the main contributions and research undertaken by Faye Blaylock of www.jvpublicity.com for this article

Photo: The band Barclay James Harvest with Lindsay Brown: Left to right: Wooly Wolstenholme, John Lees, Lindsay Brown, Les Holroyd, Mel Pritchard

Related report:

When the Rolling Stones rolled into Epsom — twice

Looking for a summer holiday family day out? Discover the magic of Ukraine in Epsom

Families looking for something different to do this summer holiday are invited to Epsom Picturehouse on Monday 24 August for an afternoon of Ukrainian music, crafts and film, marking Ukrainian Independence Day.

From 4.30pm, visitors can enjoy live Ukrainian music and meet Ukrainian craft makers displaying their work at the cinema, before a short introduction and a 5pm screening of Mavka: The Forest Song. Every culture has stories that bring families together. Inspired by Ukrainian mythology and folklore, Mavka: The Forest Song brings one of those stories to the big screen through a colourful animated adventure. Rooted in Ukrainian culture, its themes of love, belonging, courage and protecting the natural world have helped the film connect with audiences far beyond Ukraine.

With the event falling during the school summer holidays, it’s a great day out for families looking for something a little different. Children’s tickets at Epsom Picturehouse are just £3 throughout the summer, with adult tickets from £9.99, while the music and crafts before the screening add even more to the afternoon.

The film will be shown in English, making it as inclusive as possible and giving families from across the community the chance to enjoy the story and discover Ukrainian culture together.

Joe Stroud, Marketing Manager at Epsom Picturehouse, said:

“Every culture has stories that bring families together, and Mavka is a brilliant example of that. It’s rooted in Ukrainian folklore, but its themes of love, belonging, courage and protecting the natural world are universal. It’s colourful, funny and visually spectacular too, so you don’t need to know anything about Ukrainian folklore to fall in love with it. That makes it a perfect film for celebrating Ukrainian culture while bringing the whole community together.”

Organised with Surrey Stands with Ukraine, with support from Epsom & Ewell Refugee Network, the event is open to everyone and will bring together Epsom’s Ukrainian and wider local community for a colourful, family-friendly celebration.

The celebration takes place at Epsom Picturehouse, Derby Square, Epsom, on Monday 24 August 2026, with Ukrainian music and crafts from 4.30pm and Mavka: The Forest Song at 5pm.

Opera will be coming to Surrey this summer as the touring company Wild Arts presents Mozart’s The Marriage of Figaro in Guildford and at Titsey Place.

The production visits the Yvonne Arnaud Theatre in Guildford on Friday 7 August before returning to the county for a performance at Titsey Place, near Oxted, on Sunday 6 September.

Titsey Place will also host An Evening of Opera on Saturday 5 September, combining well-known operatic arias with songs from classic musicals.

Founded in 2022, Wild Arts takes opera and classical music to theatres, country houses, gardens and other distinctive venues around the UK. Its productions favour intimate staging, imaginative costumes and close engagement between performers and audiences rather than large sets and heavy touring equipment.

The company also supports singers, musicians and theatre practitioners at the beginning of their professional careers through its Emerging Artist Programme.

Its new production of The Marriage of Figaro marks the directorial debut of international opera singer Danielle de Niese. Orlando Jopling conducts the ten-player Wild Arts Ensemble, with the opera performed in English in a new translation by de Niese and Jopling.

Mozart’s comedy follows Figaro and Susanna on the morning of their wedding, when they discover that their employer, Count Almaviva, has designs on the bride-to-be.

A day of disguises, misunderstandings and plotting follows as servants attempt to outwit their master and ensure that the wedding goes ahead. Among the opera’s best-known musical moments are its fizzing overture, the Countess’s aria “Dove sono” and the jubilant finale.

The cast includes Jack Sandison as Figaro for the Guildford performance, Ellie Neate as Susanna, Timothy Nelson as Count Almaviva and Elinor Rolfe Johnson as Countess Almaviva. Matt Siveter takes over the role of Figaro for the September performances.

They are joined by Abbie Ward as Cherubino, Olivia Ray as Marcellina, Timothy Dawkins as Bartolo and Antonio, William Searle as Don Basilio and Don Curzio, and Eleanor O’Driscoll as Barbarina.

Wild Arts describes the production as an evening of “sparkling tunes, tangled romances and razor-sharp wit”, staged with bold costumes, inventive props and an emphasis on pace and storytelling.

The company’s second Surrey offering, An Evening of Opera, is intended to provide an accessible introduction to the art form as well as an entertaining programme for established opera enthusiasts.

Devised and directed by Guido Martin-Brandis, the semi-staged production follows four singers through a 75-minute story of intrigue, jealousy, comedy and love, accompanied by a string quintet.

The programme brings together music by Handel, Mozart, Puccini, Rossini and other leading opera composers alongside songs by Irving Berlin, Leonard Bernstein, Rodgers and Hammerstein and Noël Coward.

Selections include the Flower Duet from Delibes’ Lakmé, the overture to Rossini’s William Tell, “Anything You Can Do” from Annie Get Your Gun, “On the Street Where You Live” from My Fair Lady and “Make Our Garden Grow” from Candide.

The Surrey performances are:

The Marriage of Figaro
Friday 7 August – Yvonne Arnaud Theatre, Millbrook, Guildford GU1 3UX

An Evening of Opera
Saturday 5 September – Titsey Place, Oxted, Surrey

The Marriage of Figaro
Sunday 6 September – Titsey Place, Oxted, Surrey

Further information and booking links are available from the Wild Arts website and its dedicated Marriage of Figaro page. Tickets for the Guildford performance are available through the Yvonne Arnaud Theatre.

Lionel Blackman Photo: Marriage of Figaro scene courtesy Wild Arts

Epsom Choral Society concert – June 20th 2026

The Four Seasons is surely one of the world’s best loved and most widely played pieces of classical music. Written by the great eighteenth century Italian composer and violin virtuoso Antonio Vivaldi, this set of four violin concertos is a purely instrumental piece, so its appearance in Epsom Choral Society’s summer concert, performed to an attentive and enthusiastic audience, merits a little explanation.

What we heard on this warm summer’s evening in Cheam was a new choral re-imagining of Vivaldi’s masterpiece, published last year to coincide with the 300th anniversary of its publication in 1725. Entitled A Season to Sing, it is the work of composer and singer Joanna Forbes L’Estrange and has already been performed over seventy times.

Under the skilled leadership of their conductor, Julian Collings, and accompanied by a terrific quartet of professional string players, Epsom Choral Society sang the piece’s familiar melodies with confidence and spirit. And when required they brought the same confidence and spirit to whistling, whispering, clicking and stamping – which also requires a bit of explanation.

As the name suggests, each of the pieces that comprise The Four Seasons represents a different season and unusually Vivaldi provided for each one a short descriptive poem, possibly of his own creation. The poems are full of vivid imagery appropriate to each time year – buzzing flies, barking dogs, sudden downpours, chattering teeth and so on – which Vivaldi represents faithfully, and brilliantly, in his music. When you add to these instantly recognisable details a string of charming melodies and Vivaldi’s sparkling violin writing it’s easy to see why the piece retains its popularity.

To create A Season to Sing, Joanna Forbes L’Estrange had to graft voice parts on to Vivaldi’s original, along with appropriate texts, and unsurprisingly some sections of the work lend themselves more readily to this approach than others. But as a past Musical Director of the famous Swingle Singers, she knows something about how voices can be used to recreate instrumental music and clearly relished the challenge of translating Vivaldi’s special effects into vocal sounds. The choir certainly gave a committed and full-bodied performance of this interesting new addition to the choral repertoire. 

This was all after the interval. The first half of the concert consisted of two works by the Norwegian-American composer Ola Gjeilo – Dark Night of The Soul and its companion piece Luminous Night of The Soul – along with Morten Lauridsen’s contemporary classic Sure on This Shining Night.

These three pieces suited the choir perfectly, highlighting its precise and powerful singing, and at the same time showcased the skills of their accomplished musical professionals. Julian Collings, a genial and energetic presence on the podium, had put together a programme which would challenge any choral society, but the clarity and sensitivity of his conducting brought out the very best in his singers. The sinuous melodic lines and shimmering harmoniesof Sure on This Shining Night glowed brightly and provided a welcome moment of calm after the driving rhythms of Dark Night.

At times in both Dark and Luminous NightGjeilo relegates the choir to an accompanying role and thrusts the piano onto centre stage. It needs a really good pianist to bring this off and in the choir’s regular pianist Peter Jaekel we had an outstanding one. His fluent, controlled playing made light work of Gjeilo’s tricky piano writing. Those members of the audience unfamiliar with Gjeilo’s music will certainly have had their interest sparked by Epsom Choral Society’s stirring, robust performances of these two works; one lady I spoke to told me she had never heard any of Gjeilo’s music before but intended to search out some recordings as soon as she got home. I’m sure she wasn’t the only audience member to be attracted to this increasingly popular composer’s sound-world.

Thanks are due to Epsom Choral Society for a concert of interesting repertoire and strong performances, with a beautifully designed, informative programme booklet and a free glass of wine in the interval. A delightful way to spend a fine summer evening.

Review by Ian Assersohn

A major new poetry festival is coming to Surrey this summer, as the Surrey Poet Laureateship launches its first annual poetry festival.

Surrey’s Big Poetry Weekend ’26 will take place on Saturday 1 and Sunday 2 August 2026 at the Egham Literary Institute.

The festival has been created by the Surrey Poet Laureateship CIC, a self-funded, volunteer-led organisation founded in 2024. In its first two years, the Laureateship says it has delivered eight free Poetry Hubs across the county, created more than 5,000 engagements with poetry, established more than 20 partnerships and welcomed more than 200 open mic performers to the stage.

Organisers say the new weekend festival will celebrate Surrey’s poets while also bringing nationally recognised contemporary UK poets to the county.

Adam Gary, President of the Surrey Poet Laureateship, said: “When we launched the Surrey Poet Laureateship, people told us poetry was struggling. What we’ve found is the opposite. People are hungry for connection, creativity, and spaces where they can express themselves and be heard.

“Everything we’ve built has been powered by volunteers, belief, and an extraordinary community. Surrey’s Big Poetry Weekend is our biggest leap yet.

“We’re bringing together nationally recognised poets, celebrated Surrey voices, and complete newcomers under one roof because we believe poetry should belong to everyone. We want people to leave inspired, connected, and excited about what poetry can do.”

The weekend programme will include headline performances, talks, panel discussions, workshops and community meet-ups.

Poets appearing at the festival include Len Pennie, Bradley Taylor and Dakota Warren, alongside Surrey poets and emerging voices.

Talks will explore poetry, creativity and literary life, with speakers including Adam Gary, Nia Broomhall and Katie Griffiths. Panel discussions will bring together poets, performers, educators and creatives to consider poetry’s place in modern life.

Topics include Finding Your Voice: Poetry, Wellbeing and Empowerment, looking at how poetry can support wellbeing, self-expression, confidence and resilience.

Another panel, Poetry Without Borders: How Different Voices Shape the Art, will consider how poetry can bridge communities, preserve heritage and create understanding across different backgrounds and lived experiences.

The programme will also include Poetry in the Digital Age: Social Media and the Modern Poet. Guest panellists are expected to include Len Pennie, Bradley Taylor, Adam Gary, Shaniqua Benjamin and others.

Workshops will cover writing, performance, creativity and spoken word. These include a performance workshop led by Bradley Taylor and a poetry for beginners workshop led by Surrey Poet Laureate Adam Gary.

A key feature of Surrey’s Big Poetry Weekend will be its Community Meet-Ups initiative, allowing festivalgoers to help shape the festival experience themselves.

Organisers are inviting attendees to arrange their own gatherings across the weekend, whether focused on Victorian poetry, spoken word, performance technique, niche poetry movements or simply meeting other creative people.

Tori Monks, Vice President of the Surrey Poet Laureateship, said: “One of the things that makes the Laureateship so special is that it welcomes everyone, regardless of their experience with poetry.

“As someone who is new to the poetry world myself, I know how important that sense of openness can be. Our inaugural programme is packed with an incredible line-up of events, performances and voices, offering something to inspire, entertain and engage adults of all ages and backgrounds. We can’t wait to welcome everyone and celebrate poetry together.”

The Surrey Poet Laureateship says the festival is the next stage in two years of community-building, volunteer effort and work to make poetry more accessible.

Despite operating without regular funding, the organisation says it has created free creative opportunities for thousands of people across the county through workshops, outreach projects, open mics, competitions and community partnerships.

Organisers hope Surrey’s Big Poetry Weekend will become an annual fixture in the county’s cultural calendar, attracting nationally recognised poets while continuing to nurture local voices and emerging talent.

Early Bird weekend passes have already sold out. General release day passes are now available.

For more information, visit www.surreypoetlaureateship.org.

The Surrey Poet Laureateship is based at The Literary Institute, 51 High Street, Egham, Surrey, TW20 9EW.

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Visitors to Kensington Gardens were treated to an afternoon of brass music on Sunday 14 June, as the Epsom & Ewell Silver Band performed at the historic Kensington Gardens Bandstand.

The concert, which began at 2.30pm under bright June skies, was part of the Hyde Park and Kensington Gardens Bandstand Concerts, co-organised by The Royal Parks and its Friends groups.

For two hours, the bandstand, a short stroll from Kensington Palace and the Round Pond, became the musical heart of the park. Passers-by, tourists and brass band enthusiasts paused their Sunday afternoon walks to set up deckchairs or gather on the grass, forming an appreciative crowd.

Under the direction of Musical Director Tariq Ahmed, the band delivered a varied programme. The performance reflected the standard that earned the Surrey-based group a strong result at the London and Southern Counties First Section Regional Championships earlier this spring.

The programme included traditional brass band marches, contemporary arrangements of film themes and show tunes, and melodic pieces that showed the band’s balance, precision and warm tone.

The afternoon captured the charm of a British summer in one of London’s best-known green spaces. By the time the final notes sounded at 4.30pm, the band was met with warm applause from an audience reluctant for the music to end.

“Hearing a top-tier silver band like Epsom & Ewell playing in the heart of the Royal Parks is exactly what summer in London is about,” said one local attendee. “The acoustic warmth of the brass floating across the gardens was just spectacular.”

Those who missed the Kensington Gardens performance will have further opportunities to hear the band closer to home this summer.

The band’s annual Summer Concert takes place on Sunday 12 July, from 5pm to 7pm, in the Walled Garden at the Old Moat Garden Centre & Café, Horton Lane, Epsom.

It will also perform at a free community Band in the Park event at Rosebery Park, Epsom, on Sunday 9 August, from 2pm to 4pm.

The Kensington Gardens concert was another reminder of the continuing contribution made by the Epsom & Ewell Silver Band to the local arts scene, whether competing regionally or performing for wider audiences.

For ticket bookings for the Walled Garden concert, or for information about joining the band, visit www.eesb.org.uk.

Steven McCormick

Art lovers in Epsom and Ewell are being invited to step inside artists’ working spaces this summer as the annual Surrey Artists Open Studios returns from 6th to 21st June 2026. The county-wide event sees hundreds of artists open their doors to the public, offering a chance to meet creators, view works in progress and buy original art directly.

Studios are organised into geographic areas across Surrey, with those closest to Epsom and Ewell forming part of the East Surrey grouping, alongside nearby towns such as Reigate and Redhill. Visitors are encouraged to plan their visits in advance, with many artists opening on selected days throughout the two-week period.

Among the participating studios within easy reach of Epsom is AJ Studio Gallery, where visitors can view a large collection of oil paintings. Also in Epsom, Terry O’Brien and Jacky Cowdrey Studio will be welcoming guests to explore their work in an informal studio setting.

A little further afield in Redhill, Heart and Home Studios brings together a range of disciplines including sculpture, handmade books and jewellery, while other studios across East Surrey showcase everything from ceramics and textiles to contemporary painting and mixed media.

The appeal of the Open Studios format lies in its accessibility. Visitors can explore a wide variety of creative spaces—from garden workshops to established studios—and speak directly with artists about their techniques and inspiration. Many venues also offer smaller works, prints and cards, making the event an opportunity to purchase unique pieces at a range of prices.

Full details of all participating artists, including opening days, times and exact locations, are set out in the official Surrey Artists Open Studios programme, available here:

https://surreyopenstudios.org.uk/wp-content/uploads/2025/05/SAOS-2025-Programme-PAG.pdf

With dozens of studios within a short drive of Epsom and Ewell, the event offers a simple way to explore Surrey’s vibrant arts scene and support local artists this June.

Lionel Blackman

“Our rivers bring the community together and inspire people to protect them,” organisers said as the Living Rivers Exhibition officially opened at the Ebbisham Centre this week.

The community-led exhibition, organised by Epsom and Ewell Climate Action Network (eeCAN), welcomed residents, partners and supporters to its launch on 22 April. The event was led by eeCAN Chair William Ward and formally opened by the Mayor and Mayoress of Epsom and Ewell, Robert and Marilyn Leach.

Visitors also heard from several contributors, including Peter, Chair of Epsom Camera Club, local artist David Ede, a Hogsmill River citizen scientist, and representatives from Emma’s Bubble Trust.

The exhibition brings together artwork from local schools, colleges, art groups and individual artists, offering a wide range of interpretations of rivers and their importance to the environment and community life.

Inspired by Robert Macfarlane’s Is A River Alive?, the collection highlights both the beauty of local waterways and the environmental challenges they face, including pollution and neglect. Organisers say the aim is to raise awareness while celebrating creativity across all age groups.

A spokesperson for eeCAN praised the contributions from across the community. “The artwork brings our rivers to life and encourages people to think about how we protect them,” they said.

The exhibition is located on the first floor of the Ebbisham Centre, just outside the library in Derby Square. Entry is free, and visitors can also take part in family-friendly activities, with refreshments available on site.

Running until 22 May 2026, the Living Rivers Exhibition invites residents to explore, reflect and engage with the future of local waterways.

Epsom and Ewell Climate Action Network has also announced a Heritage Walk along the Hogsmill River, taking place on Thursday 30 April at 1:30 p.m.

A limited number of places are still available. Those interested can reserve a place by emailing: eeclimateactionnetwork@gmail.com

Facebook: https://www.facebook.com/profile.php?id=61573916432364

Webpage: https://www.eecan.org/home

Romy Sustar

Freelance journalist | SIA-certified |

Email: romana.epsomandewelltimes@gmail.com Linkedin: https://www.linkedin.com/in/romanasustar/

X:@RomanaSustar

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What a glorious evening of music there was to be enjoyed last Saturday night (21st March) in St Martin’s Church, Epsom, with the Epsom Chamber Choir accompanied by Affinity Chamber Orchestra. There were two apparently diverse works for the concert, one in each half, having no obvious connection to each other and yet surprisingly intertwined. The conductor was the fine musician Jack Apperley.

A Time to Dance by Alec Roth, performed after the interval, was composed with the idea of being heard alongside the work which opened the concert, Bach’s Magnificat. Alec Roth had thought to use very similar instrumental sections as Bach intended when composing the Magnificat, Mary’s song of praise to God on learning that she will bear the Messiah. Affinity Chamber Orchestra were therefore the perfect accompaniment to the Chamber Choir for both works, although A Time to Dance added some unusual percussion instead of the timpani for Bach’s Magnificat.

The programme notes were very thorough and helpful, reminding the listener of the rich history of Bach’s Magnificat and providing background to the composition of the modern work, A Time to Dance. The Choir and Orchestra gave an incredibly uplifting rendering of Bach’s Magnificat, a joy to hear with its choral drama and fine arias.

Throughout the concert, the sound was consistently glorious, with impressively clear enunciation from the Choir and very sensitive accompaniment by the Orchestra. The acoustics of St Martin’s Church were ideally suited to the extensive dynamic range of both singers and instrumentalists, as well as to the style of both the Magnificat and the modern Roth composition.

The whole concert showcased the exceptional talents of the Chamber Choir singers, as members took all the solos throughout. This followed Bach’s original intention when composing the Magnificat and was mirrored beautifully in the storytelling of A Time to Dance. This modern composition proved a tuneful delight, taking the listener through movements depicting Time, the Seasons, times of day, Love and Dance. These themes were inspired by biblical text from Ecclesiastes, chapter 3, alongside both modern and historic poetry used as settings for the various movements.

The audience was treated to an ever-changing variety of words and music for Sunrise, a Spring Morning, Summer Noon, Autumn Evening and Winter Night. After the delights of Spring, with soloists and Choir beginning a journey of joyful reawakening and the encouragement to dance, Summer Noon conveyed a sense of drowsy heat and gently swaying countryside, including text from William Blake’s The Fly. The Choir and soloists vividly captured the atmosphere of high summer.

In “Humdrum” during Part III, Autumn Evening, the Choir revelled in the fun of song and dance, escaping the daily routine of life. This movement was brought to life by percussive elements including washboard, dinner gong and desk bell. Moving into Winter Night, more delicate musical textures emerged before “A Glee for Winter” burst forth, bringing merriment and evoking love and laughter, with dance once again at its heart.

The final movement, Afterdance: Proper Exercise, saw the Choir put down their scores to sing and clap with visible joy and enthusiasm. The whole work was magnificently performed by both Orchestra and Choir, expressing a vivid sense of dance throughout.

This was an exceptional concert of the highest quality and clearly much appreciated by the audience.

Future concert dates for Epsom Chamber Choir are 27 June, 7 November and 12 December at St Martin’s Church, Epsom.

Elizabeth Hargrave

Photo credit: Paul McCan

STEVENAGE, March 21, 2026 — The Epsom & Ewell Silver Band took to the stage today at the Gordon Craig Theatre for the London & Southern Counties Regional Brass Band Championships, competing in the highly competitive First Section.

Under the expert baton of Musical Director Tariq Ahmed, the band delivered a polished performance of this year’s set work, Variations on Was Lebet by Andrew Wainwright.

2026 First Section Results

The adjudicators, David Hirst and Steven Mead, faced a difficult task in a field of 14 high-quality bands. While Fulham Brass and the East of England Co-op Band secured the top two spots to qualify for the National Finals, Epsom & Ewell earned a respectable placing, further cementing their status in the section.

Looking Ahead

The result marks another year of solid progress for the band. Speaking after the results, members expressed pride in the performance, noting the significant step up in technical demands this year.

Fans won’t have to wait long to hear the band again; they are already preparing for their popular Summer Concert in the Walled Garden, scheduled for July 12th at the Old Moat Garden Centre.

Epsom & Ewell Silver Band website – www.eesb.org.uk

Steven McCormick

Photo credit – the author

This concert at St Martin’s Church, Epsom, was another milestone in the life of one of the town’s cultural jewels, its Choral Society. The German Requiem by Johannes Brahms was coupled with two pieces by his contemporary and friend Josef Rheinberger – Abendlied and the Mass in E Flat – providing an effective and well-matched prelude to the main work.

Rheinberger’s Abendlied, composed when he was just fifteen (and later revised), brought a warm six-part choral texture well suited to the spacious acoustic of St Martin’s. The performance was well controlled, with clear communication between choir and conductor. His Mass for Double Choir (1878), rooted in Renaissance tradition but shaped by Romantic language, offered greater contrasts of dynamics and texture. These were generally well realised, though from some positions the antiphonal effect of the two choirs was less distinct. The Gloria made a strong impact with tight ensemble in the louder passages, while the restrained drama of the et sepultus est in the Credo was sensitively handled. The confident entries of the Sanctus contrasted effectively with the quieter close of the Benedictus, and the atmospheric Agnus Dei provided a fitting conclusion to a thoughtful performance of this substantial work.

Brahms’s German Requiem is not a liturgical setting but a deeply personal reflection on remembrance. Taking years to complete, it stands as a work of remarkable craftsmanship and cohesion. Here it was performed using Iain Farrington’s seven-part accompaniment for three strings, three wind and piano. This arrangement proved effective, avoiding the balance challenges of a full orchestra, though at times the upper strings felt slightly underpowered.

The choir was central to the performance and rose impressively to the challenge. From the opening movement, there was a strong sense of confidence, contrast and atmosphere. The ensemble supported the second movement effectively, with particularly dramatic forte and fortissimo passages, although the fugal writing was not always fully clear.

Baritone soloist Dominic Sedgewick delivered a confident and commanding account in the third movement, matched by accurate and responsive choral singing in demanding passages. While some contrapuntal textures lacked clarity, the movement concluded strongly. The well-known fourth movement was rendered with tenderness, its fugal sections particularly successful, alongside Brahms’s shifting rhythmic patterns.

Soprano Elizabeth Findon was equally impressive in the fifth movement, her clarity and projection standing out. Balance across the ensemble was generally good, though harder to assess from nearer seating positions. The sixth movement maintained a strong tempo and opened effectively, building to a final section of conviction and a powerful conclusion.

The final movement began with excellent balance, including a particularly effective passage pairing soprano/alto with tenor/bass lines. The closing pages sustained the expressive intensity that characterised the performance throughout. This was a demanding work, requiring stamina and commitment, both of which were clearly evident. Epsom Choral Society can be proud of a performance that amounted to a genuine triumph, with the enthusiasm of its members and an influx of new singers pointing to a strong future.

Peter Lutton

*Evening song

A Worcester Park resident and former Epsom College music scholar is behind a new national competition celebrating Britain’s thriving amateur choral scene.

Lucy Mitchell, founder of UK Choir of the Year, is launching the initiative with a fundraising concert at Cadogan Hall in London on 18th May, ahead of the competition opening for entries later this year.

Mitchell, who lives in Worcester Park and is a member of the Adam Street Singers, said the project had been in development for more than a year and aims to highlight the strength and diversity of choirs across the country.

The new competition will open applications in June 2026 and culminate in a live final at Milton Court at the Guildhall School of Music & Drama in April 2027.

The launch concert will feature performances from the Adam Street Singers, Citi London Choir and the Lewisham & Greenwich NHS Choir – whose members famously topped the Christmas charts – alongside guest appearances by TV doctor Dr Ranj and The Choir with No Name.

Mitchell said the competition was designed to recognise the many high-quality choirs operating outside the fully professional music sector.

“So many choirs are doing extraordinary work but rarely get the chance to be heard nationally,” she said. “This competition exists to celebrate the standard, diversity, and community behind choral singing across the UK.”

UK Choir of the Year is being run as a not-for-profit initiative rooted in the belief that collective singing plays an important role in wellbeing and community identity.

Some of the proceeds from the competition will support The Choir with No Name, an organisation which runs choirs for people affected by homelessness.

The competition will be judged by leading figures from the UK choral world including composer Will Todd, conductor and vocal specialist Dan Ludford-Thomas and conductor and gospel specialist Karen Gibson MBE.

Funds raised at the Cadogan Hall concert will help develop the competition and create access bursaries to ensure choirs from across the UK are able to take part.

Mitchell said the initiative was intended to celebrate the “richness and diversity” of Britain’s choral tradition while creating a national platform for amateur ensembles of all styles and sizes.

Applications for UK Choir of the Year open at the end of June 2026, with the inaugural final scheduled for 10 April 2027.

Sam Jones – Reporter